Sometimes frenetic, always exhilarating duo work between Portugese electric guitarist Antonio Chapparreiro and drummer/percussionist Pedro Alcada, succinct tracks, some as short as 36 seconds, where the two spar and unite over angular rhythms and abrupt changes, with a twisted sense of humor and a wealth of adventurous spirit.
Two CDs representing two extended improvisations of the IKB Ensemble with slightly different personnel, with each ensemble slowly unfolding an amazingly textured work of acoustics and electronics with strong intent and incredible technique, balanced by close listening and attention to detail; an excellent 21st century improvisation orchestra captured live.
Three foreboding tracks of aggressive and open improvisation from long-time collaborators Lebanese trumpet player Mazen Kerbaj and guitarist Sharif Sehnaoui in a quintet with Creative Sources labelmates Ernesto Rodrigues on viola, Guilherme Rodrigues on cello, and Carlos Santos on electronics; a confrontational, at times frightening world of sound; gripping.
A half composed, half improvised album for solo electric guitar from composer and improviser Justin Lepany, known for his work with musicians like Sven-Ake Johansson and his composition "Ringing Peace" premiered during the 2014 Peace Nobel Prize ceremony: three diverse pieces using effects to create both density and spacious sonic fields.
The trio of bassist Achim Tang, prepared pianist Philip Zoubek, and trombonist Matthias Muche extended with Sven Hahne on computer and Christian Thome on drums and electronics in a freely improvised electroacoustic album of subtle pacing and diverse approaches, with many of the rhythmic elements imparting a gamelan feeling.
A lowercase meeting of strings, objects, microphones and computer between core Creative Sources members Ernesto Rodrigues on viola and Guilherme Rodrigues on cello, and Karne Decorne (objects) and Simon Proffitt (microphones & computer), investigating microsound in four unhurried conversations that include moments of odd interjections, tones, and timbre.
An exceptional lowercase acoustic improvisation album from some of the finest of Europe's outside-technique free improv players, with frequent collaborators and label-mates Ernesto Rodrigues on viola, Nuno Torres on alto sax, and Guiherme Rodrigues on cello, in quintet with Red Trio pianist Rodrigo Pinheiro and French improv drummer Naoto Yamagishi.
The 2nd album for this quartet, with Daniele Martini on saxophones, Giovanni di Domenico on piano, Goncalo Almeida on doublebass, and Joao Lobo on drums, for an album of slowly building free improv starting in a Necks mode and developing into frenetically lyrical passages, a great blend of modern and traditional approaches to free jazz.
The duo of Carlos Santos and Jorge Valente developed this project around the metallics of a cymbal, recording it and digitally manipulating and transforming it into a musical structure using the maxmsp programming; this recording was captured live at the Hertzoscopio Festival in Fabrica da Polvora, Barcarena, Portugal in 2004.
Urgent and inspired free jazz from the Swedish/UK trio of Martin Kuchen on tenor and soprano sax, flute and retardophone, Johan Berthling on double bass, and Steve Noble on drums and percussion, recording a series of "Gate" improvisations, anguished laments of power and pulchritude.
The second album between European Free Jazz legend Peter Brotzmann and US-born, Scottish residing pedal steel guitarist Heather Leigh, performing live at Music Unlimited Festival, in Wels, Austria in 2016 for a biting yet intimate set between the two, both players on fire as they weave long sinuous lines in an emotional and often brutal orgy of sound.
Antoine Beuger performs composer Maria De Alvear's 1995 contemplative work "Besando El Tiempo" (Kissing The Time) written using an automatic script and originally composed for the flautist Caren Levine; after hearing Beuger's interpretation she requested that he record it, the result this rendition that takes the composition on an introspective journey.
Three works, two for large ensembles of performers on sax, guitar, clarinet, voice, percussion, horn, flute, vibes, and objects that belie the size of the group in its fragile presences, with a shorter trio of Frey, Greg Stuart and Erik Carlson transitioning the large pieces; compositions conceived as both short presences within abundant orchestration.
The duo of Beat Keller and Philipp Bowee on electric guitars perform 6 subtle compositions from Turkish-born sound artists and composer Cem Guney's, including 'a bas relief of a talisman' dedicated to Charles Ives and 'soft kill incubator' dedicated to Sylvia Alexandra Schimag.
American organist and composer Carson Cooman performs three sontatinas, each in three movements, and the 2014 work "drones", by German contemporary composer Eva Maria Houben, a member of the Wandelweiser group, all slowly evolving works of tone and subtle harmonics.
Two versatile and innovative improvisers, Mats Gustafsson on saxophones and Christof Kurzmann on electronics and voice, extracted improvisations recorded in the studio to create the 7 parts of this rich, pulse-based and intensely understated work about Falling and Failing.
Frequent collaborators, West Coast double bassist Damon Smith and AACM charter member Alvin Fielder on drums travel north to join free improv saxophone legend Joe McPhee at Roulette in New York City in 2016, recording this excellent example of informed free improvisation.
The MaDam Electroacoustic Improvisation Collective based in Spain performs the first in Pisaro's 34 piece Harmony Series, which attempts to create the conditions for a harmonic situation without giving any actual notes, just numbers, durations of tones, and pauses; this work is based on "swell piece (for alison knowles)" (1967) by James Tenney.
Composer Burkhard Schlothauer, co-founder of Editions Wandelweiser and a member of Zeitkratzer and the Wandwelweiser Composers Ensemble, in a five part work conceived as a single part, combining previous works into various possible versions as "events", working with spatial distribution, slow beats, noise, and pulse, superimposed from their origins.
Toronto-based composer Nick Storring presents two highly textural, side-long pieces; "Field Lines" originally composed for Yvonne NG Peck Wan's dance piece, "Magnetic Fields", presenting a series of a brief, dreamlike clearings through clusters of tonal instruments; and "Yield Criteria" a work of drifting drones that ebb and flow in rich harmonies.
Montreal composer Chris Strickland used strategies of "deliberate uncertainty" to direct these 3 pieces of minimized technique, narrative, and emotion, performed by Montreal musicians Guido del Fabbro on violin and Solomiya Moroz on flute, with field recordings creating a hazy ambiance over the slowly evolving works.
Roman philosopher Titus Lucretius Carus named "Clinamen" the unpredictable (in time and space) swerve of atoms falling in the void, which aptly describes the unexpected directions taken in subtle free improvisation from this French trio, led by bassist Louis-Michel Marion, with Jacques Di Donato on clarinet, and Philippe Berger on viola.
The third solo venture for Lisbon-based guitarist and visual artist Filipe Felizardo, performing without effects and loops over a lush and spare framework, for a "ghost blues meditation" in 8 movements of focused, beautifully paced and sonically oriented playing.
A co-production between BeCoq Records and Creative Sources, the quartet of saxophonist Mathhiew Lebrun with 3 guitarists--Leo Rathier, Paul Menard, and Thomas Coquelet--use preparations, feedbacks, glass, cymbals, microswitches, and unusual sax techniques to create unusual sonic environments that ebb and flow in introspective and disquieting ways.
The Swedish duo of percussionist Andreas Pollak and prepared pianist Johan Graden (Adam & Alma) in an album of references and innuendo, clandestine and furtive sounds that evoke great mystery and drama in beautifully shaped sound; evocative music that deceives to emerge from the electronic realm while in actuality coming from all acoustic sources.
Live recordings at Exploratorium, in Berlin, Geremany in 2010 from the quartet of Klaus Kurvers on double bass, Andrea Sanz Vela and Ernesto Rodrigues on violin, and Micha Rabuske on dlute, bass clarinet, and soprano sax, collective improvisation with complex interplay and a bright spirit as the group follows their instincts in interesting dialog.
The second volume of the project heard in the previous Creative Sources album, "Suspensao", here in a 9-piece electroacoust ensemble with viola, cello, doublebass, alto sax, trombone, piano, electric guitar, computer and percussion, suspenseful lowercase music that unfolds in mysterious, beautiful and rewarding ways.
A beautiful collaboration between Luis Jose Martins on classical guitar, percussion & electronics, and Joan Sa on piano, toy piano, celestra, idiophones & electronics, gentle music that's nearly a song, but actually sophisticated, textured, and lovely contemporary improvisation.
The Korekyojin trio of Tatsuya Yoshida on percussion, Kido Natsuki on guitar and Mitsuru Nasuno on fretless bass, plus violinist Miyamoto Rei on several tracks, take their intricate and exuberant rock into acoustic territory with this impressive album, which includes acoustic takes on "Arabesque", "Careless Heart", "Four Holes in the Sky", &c.
After a six year break, the Humcrush duo of Stale Storlokken on keys and Thomas Stronen on drums & electronics return with this studio album of rhythmic angularities and experimental sound worlds, drawing on their experiences with bands including Supersilent, Food, Elephant9, Time is a blind guide, Meadow and Motorpsycho.
Chick White (Darcy Spidle) recorded this album while on residency in Economy, Nova Scotia, as part of the White Rabbit Arts Festival, displaying a truly unique approach to the jaw harp, along with seal bones, eagle feathers, and broken clam shells, as he floated in a raft in the world's highest tide, the Bay of Fundy, making these evocative recordings.