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Jones, Jean Claude (JC) / Sophie Agnel / Yael Barolsky / Raphael Saint-Remy / Ulrich Krieger / Cathe (Kadima)

"For the fourth reference in his Kadima Distance Recordings collection, which lists recordings made remotely by musicians regularly exchanging their digital files, the lap-style guitarist JC Jones, inexhaustible agitator of the said Kadi...

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product information:

Label: Kadima
Catalog ID: KCR 52
Squidco Product Code: 30725

Format: CD
Condition: New
Released: 2019
Country: Israel
Packaging: Cardboard sleeve, sealed


Sophie Agnel-piano

Yael Barolsky-violin

Raphael Saint-Remy-eppinette, cithare

Ulrich Krieger-saxophone

Catherine Jainiaux-voice

Jean Claude Jones-guitar

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Artist Biographies:

"If it's in Paris that Sophie Agnel was born in 1964, it is towards other sounding islands in the heart of a reinvented temporality that she dwells today, at the stern of a grand piano, an instrument that she turns into a real living & vibrating organism.

Classically trained, escaped from jazz (drawn away by the too strict treatment of harmony), Sophie Agnel boards the piano from every sonic angle this musical vessel can offer : keys, strings & board are simultaneously apprehended, in a mixed procedure (as we say of painting techniques) that would be understated if it was reduced to the cagian definition of the prepared piano. Considering the instrument - that she extends with several accessories, paper cups, balls or strings - as a poetic supplier of anamorphic textures, the musician takes it to be an equal match to the wider diversity of musical systems, whatever the craft they where conceived in (from physiological to electro-acoustic) ...

We would then no longer be surprised to notice her understandings with Michel Doneda and to find her to the side of the wet saxophone of Alessandro Bosetti, of the acoustified electric guitar of Olivier Benoit, of the voices of Catherine Jauniaux and Phil Minton, or the keyboard of Christine Wodraska...

The same seal of esthetic evidence marks all of her musical companionships, with this same taste, beyond the narrative, for the delicate sonic quests and blossoming of dimensions to which the auditor takes part through an active listening : in the heart of Jean Pallandre's phonographic worlds, of Jerôme Noetinger & Lionel Marchetti's small scale cinema, John Butcher or Axel Dörner's crimpy tissues, by the lovely machines of Erik M or Ikue Mori, the harmonico-stratospheric rustling of Stéphane Rives...

The originality of the research conducted by Sophie Agnel today leads her to develop, in solo or with significantly chosen companions, a most refined and highly poetic approach to sound that makes each of her concerts a moving construction filled with chiseled musical gestures, a soft and sumptuous irradiation."-Guillaume Tarche

-Sophie Agnel Website (

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"Ulrich Krieger is well known as a saxophone player in contemporary composed and free improvised music as well as a composer of chamber music and electronic music.

His recent focus lies in the experimental fields and fringes of contemporary Pop culture: somewhere in the limbo between Noise and Heavy Metal, Ambient and Silence.

His original compositions go back and forth between Just Intonation, Silent Music, Noise, Instrumental Electronic, often asking for elaborate amplification, and works in the limbo of Rock culture - not accepting stylistic boundaries.

Krieger developed his own, often amplified style of saxophone playing, he calls 'acoustic electronics'. He uses refined acoustic, quasi-electronic sounds, which then get processed, the saxophone often becoming more an 'analogue sampler' rather than a traditional finger-virtuoso instrument. By amplifying his instrument in various ways, he gets down to the 'grains of the sounds', changing their identity and structure from within.

Ulrich Krieger was commissioned to write works for: Soldier String Quartet, oh-ton ensemble, Ensemble United Berlin, KontraTrio, zeitkratzer, Ensemble Experimente, Seth Josel, intersax, Text of Light, and others. His compositions are widely performed by ensembles in Europe and the USA.

He has managed to transcribe and arrange Lou Reeds infamous 'Metal Machine Music', everybody thought impossible to do, for classical instruments, performed by zeitkratzer and other groups.

He also arranged works by Merzbow, Throbbing Gristle, Deicide, Terry Riley, Henry Cowell and others for chamber ensemble.

He collaborates with: Lou Reed, LaMonte Young, Phill Niblock, Text of Light, Lee Ranaldo, Phill Niblock, John Duncan, Zbigniew Karkowski, Merzbow, Thomas Köner, DJ Olive, Christian Marclay, Kasper T Toeplitz, Antoine Beuger, Radu Malfatti, Mario Bertoncini, Michiko Hirayama, Miriam Marbe, Hans-Joachim Hespos, Ensemble Modern, Berliner Philharmoniker, Soldier String Quartet, zeitkratzer, just to name a few.

Krieger has received prizes, grants and residencies from: Kunststiftung Baden-Württemberg, Villa Aurora Los Angeles, Deutsches Studienzentrum Venedig e.V., Akademie der Künste Berlin, 'Meet-the-Composer' Forum New York, DAAD, Darmstädter Ferienkurse für Neue Musik, and many others.

He lived in Berlin and New York, and was 'Composer-in-Residence' in Los Angeles, Rom, Venice, Bologna, and Townsville (Australia).

He studied saxophone, composition and electronic music at the UdK Berlin (University of the Arts) and the Manhattan School of Music New York and performed with orchestras like: Berliner Philharmoniker, Deutsches Symphonie Orchester, Rundfunk-Symphonie-Orchester Berlin, Ensemble Modern, Musikfabrik, and many more.

Since 2007 he lives in Southern California, where he is associate professor for the composition faculty at the California Institute of the Arts in Los Angeles."

-Ulrich Krieger Website (

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"Jean Claude Jones was born in Sfax, Tunisia and moved to France as a young child. As a teen, he taught himself simultaneously to play lead and bass guitar. At the age of 17 he began working in professional pop and jazz bands. In 1978 he moved to the US to pursue formal music studies, graduating from the Berklee College of Music in Boston, where he majored in jazz guitar. He continued his studies at the Music Institute of Technology in Los Angeles. In 1983 he emigrated to Israel, where he became a key player on the newly developing jazz scene. Several years later he made a definitive switch from guitar to double bass, and became involved in free improvised music. In time, he added electronics and computer-manipulated sounds to his musical arsenal. In 2016 because of a serious illness he returned the guitar as his main instrument.The driving force behind his work is "finding my space."

JC Jones is an esteemed music educator, and served as chair of the Jazz Department at the Jerusalem Academy of Music and Dance between 1996 and 2000. He has performed and recorded with many leading international and Israeli musicians, dancers, poets, and vocal artists, including Stan Getz, Red Rodney, and Dave Liebman. Since the 1990s he has appeared with John Zorn, Anthony Coleman, Ned Rothenberg, Joey Baron, Marc Ribot, Ikue Mori, Mike Patton, Damon Smith, Joelle Leandre, Slava Ganelin, Steve Horenstein, Albert Beger, Arkady Gotesman, Avishai Cohen, Ariel Shibolet, Harold Rubin, Victoria Hanna, Josef Sprinzak, Amos Hetz, Anat Shamgar , Felix Ruckert, Dieter Hautkamp, Julyen Hamilton, Mark Dresser, Barre Phillips, Bert Turetzky, Irina Kalina Goudeva.

In 2004 he founded his label Kadima Collective Recordings.

Some of JC's major projects include Deep Tones for Peace 2009 telematic performances, the Kadima Triptych Series (cds/dvds/texts featuring double-bass masters), Myelination (the myelin chemical sounds and improvised music), and The Temperamental Duo, a collaborative work on Lydian + Explorations with composer/reeds player Steve Horenstein.

Since 2016 he has been working with lap-style prepared and sometimes prepared spanish guitar, in multiple collaborations and recordings with several eminent musicians. Works includes Wild Guitar Musings 2016 solo guitar, Keep on Dancing, duos recordings with percussionists Haim Peskoff, Oren Fried Denis Fournier, and JC on guitar, Sick Puppies In Love duos with vocalist Anat Pick 2016, Drones 2017, La Sprezzatura Ensemble 2018, Give it your all - Wild Guitar Musings 2018."

-Kadima Collective (

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track listing:

1. T1 2:01

2. T2 2:34

3. T3 2:12

4. T4 4:07

5. T5 2:06

6. T6 2:36

7. T7 3:10

8. T8 2:36

9. T9 4:21

10. T10 2:13

11. T11 6:01

12. T12 1:56

13. T13 0:45

sample the album:

descriptions, reviews, &c.

"For the fourth reference in his Kadima Distance Recordings collection, which lists recordings made remotely by musicians regularly exchanging their digital files, the lap-style guitarist JC Jones, inexhaustible agitator of the said Kadima label, has chosen to join five French instrumentalists or Israelis in love with experiences and broken at the risks of improvisation. For several years now, drummer Denis Fournier, guitarist Raymond Boni and pianist, oboist and "high-brass" player (instruments of his own making) Raphael Saint-Remy have happily lent themselves to the exercise, achieving despite (or thanks to) the virtuality of the exchanges of duo discs, the musical quality of which is nothing fictitious. But this time, the master of the house has chosen to open wide the doors of his platonic studio. So there is a rush, besides JC himself and a Raphael Saint-Remy credited this time with the spruce and the zither, the singer Catherine Jauniaux and the pianist Sophie Agnel, who in 2008 fascinated us all with The Seated Man. in the hallway, a superb erotic text by Marguerite Duras; the composer and saxophonist Ulrich Krieger, a chamber music enthusiast who did not hesitate, in that same year 2008, to form a trio with Lou Reed himself and Sarth Calhoun on electronics (Metal Machine Trio - MM3); and violinist Yael Barolsky, a member of the Israel Contemporary Players and signatory, at Negev Music, of a solo entitled Meanderings opening on Luciano Berio's Sequenza VIII. They all improvise from a distance, in most configurations allowed, and during sessions usually hosting the masterpiece of this collective album, daringly titled Dead Cool (literally, "too classy", "too deadly"). Voice / guitar, violin / spruce, alto sax / guitar, voice / piano / zither, the exchanges follow one another with such obviousness that we very quickly forget the abstraction to concentrate on the sound, the character of the vibrations and the singularity of game modes deprived of interactions and brutally brought together. These 12 duets and this trio, based on listening and immediate reaction, do not lose sight of the unity of the whole, whose initial process could have given rise to fear of a certain scattering, since each one relies on recognition. natural in the other of a specific language of which he nevertheless shares the essential signs. Thus, the violin rushes down cascades that are both timeless and harmonious, thanks to the firmness of the chords placed on the spruce keyboard. The voice reaches the farthest degrees of the range as soon as the guitar, in its permanence, occupies a medium zone from which it does not dream of deviating - and so on. The balance established from the outset remains a priority that no one deviates from, any more than this perceptible intrinsic seriousness, beyond the pleasure and a certain humor, in the tension of the sentences and the urgency of the necessary attacks. to the reality of encounters, rejecting any risk of juxtaposition. A seriousness also enshrined in the sincerity of the company, the relationship to the world of shared consciousnesses, and the collective lucidity of artists involved in a revolt against this "death" decidedly too "fresh" to be really "class".-Joel Pagier (from Google translate)

Related Categories of Interest:

In Stock, Not Yet Cataloged

Improvised Music
Free Improvisation
Sextet Recordings
Unusual Vocal Forms

Other Releases With These Artists:
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