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Transmap+ (Evan Parker / Matt Wright / Robert Jarvis):
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A 2022 concert of acoustic and electroacoustic interaction at The Jazz Centre UK from the Trans Map duo of Evan Parker on soprano saxophone and Matthew Wright on laptop processing, the "+" in Transmap+ being trombonist Robert Jarvis, a versatile collaborator since London Improvisers Orchestra and here a 3rd voice expanding their spectacular open collective free improv. ... Click to View


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Ingrid Laubrock / Tom Rainey:
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Paul Dunmall Quintet (w / Saunders / Foote / Owston / Bashford):
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Tatsuya Nakatani / Kris Tiner:
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Rie Nakajima / Takahiro Kawaguchi:
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Rapid and lucid activity of mechanical and organic activity, a mad mechanism under the control of master machinists perking the ears in inexplicable ways, from the collaboration of Japanese sound artists Rie Nakajima and Takahiro Kawaguchi, their uncredited sources seemingly a mix of motors, bells, squeaky toys, material flurries, whistles, &c. &c.; playfully fascinating. ... Click to View


The Haters / Kavader:
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Anthony Braxton / James Fei:
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Composed for a performance at the 2021 OM 25 Festival in San Fransisco between saxophonist & composer Anthony Braxton and saxophonist James Fei, "Composition 429" uses Braxton's new music system Lorraine, a combination of traditional notation and color-coded symbols of the composer's design to indicate specific sound types or performance techniques. ... Click to View


Alexander Schlippenbach von :
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Alexander Schlippenbach von :
Globe Unity [VINYL] (Corbett vs. Dempsey)

Wild, nearly unprecedented and an exhilarating direction in European Free Improvisation heard in the 1st recordings from 1966 of pianist Alexander von Schlippenbach's Globe Unity band, a 14-piece ensemble that included young saxophonists Peter Brötzmann, Gerd Dudek & Kris Wanders, bassist Peter Kowald, bass clarinetist Willem Breuker, trumpeter Manfred Schoof, &c. ... Click to View


Devin Waldman Brahja / Hamid Drake:
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Evoking the spirit of a seance experienced by alto saxophonist Devin Brahja Waldman, the duo of Waldman and drummer Hamid Drake are captured live at Elastic Arts, in Chicago, beginning as a mysteriously delicate concert of intricately introspective playing and spiritual reflection, building to a free jazz drum & sax duo of powerful and enthusiastic release. ... Click to View


Aonghus McEvoy :
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Beautifully flowing acoustic avant folk under a diverse set of influences from the Dublin five-piece band led by acoustic and electric guitarist Aonghus McEvoy, with George Brennan on electronics, David Lacey on drums, Sean Maynard Smith on upright bass and Ailbhe Nic Oireachtaigh on viola, evolving their tracks from pastoral to edgy agitation or ecstatic drone. ... Click to View


Artur Malecki & The Creature Trio (w/ Chmiel / Aftyka):
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Widoki, Polish for Views, is the debut album of the free improvising trio of Artur Malecki on drums, Michal Aftyka on double bass & electric bass and Przemylaw Chmiel on tenor & soprano saxophones, performing seven compositions from drummer Malecki and one collective improvisation, a strong and wide-ranging set of recordings from a band with a fresh perspective on creative jazz. ... Click to View


Cyprien Busolini / Bertrand Gauguet:
Miroir (Akousis Records)

An album of intensive listening through concentrated improvisation from the long-running collaboration of French improvisers, Cyprien Busolini on viola and Bertrand Gauguet on alto saxophone, both using unfaltering techniques as they metamorphose their instruments from delicate silence to forceful tones, oscillating and vacillating across two extended improvisations. ... Click to View


Tragic Assembly:
Blood Drains And Memories (Soul City Sounds)

The Durham, NC free improvising trio of Crowmeat Bob on alto & tenor saxophones, clarinet & guitar, Phil Venable on double bass and Charles Chance on drums notch up their playing, with Crowmeat Bob performing on both reeds and electric guitar as the band explores breaking down the barrier between subconsciousness and expression through collective improv. ... Click to View


Tatsuya Nakatani / Kyle Motl:
Quicksand (Nakatani-Kobo)

Innovative Japanese percussionist Tatsuya Nakatani met with bassist Kyle Motl (Peter Kuhn Trio) at Nakatani Kobo Studio, in New Mexico to record these two extended improvisations, the 1st creating an aural environment through ringing metal and bowed contrabass, the 2nd a set of agitated and disruptive interactions through incredible technical skill and expressive dialog. ... Click to View


Bun Itakura / Mishio Ogawa :
Stardust (Ultragash)

A flowing twilight electro-jazz cover of the standard "Stardust" from Japanese guitarist Bun Itakura and vocalist Mishio Ogawa, expanding the melody and Ogawa's phrasing with encompassing electronics and percussion from Takefumi Kobayashi; backed with an experimental "Mystery Making Factory" using paint brush, harmonic tone guitar, and mbira. ... Click to View



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  Jennifer Allum & Ute Kanngiesser 
  Bell Tower Recordings  
  (Matchless) 


  
   review by Massimo Ricci
  2015-05-06
Jennifer Allum & Ute Kanngiesser: Bell Tower Recordings (Matchless)

Percolations of metropolitan activity and the quiet attendance of the bell tower's mechanics figure as not irrelevant protagonists in this austere duet for violin and cello. The recordings were made in 2012 at Hackney's St Augustine's Tower; credit must be given to Emanuele Costantini's brilliant engineering job for achieving the result of an extremely graphic acoustic character.

The record consists of three tracks, durations ranging from nine to thirty minutes. What immediately strikes a focused ear is the exemplary nudity of the tones, requiring no ornaments or gadgets to reveal their profoundness. Allum and Kanngiesser attest to the necessity of practicing an instrument in the proper way: far removed from classicist propositions, they just sniff the air and sense the surrounding vibrations. What is seized by sheer intuition gets converted into music which notwithstanding the delicateness of numerous of its shades is definitely solid in terms of impact and definition, all pitches existing for a reason evident to those in possession of a kindred insight. The small noises deriving from condensed scraping gestures and bumps add strength to a "being right there" kind of pragmatic brightness.

In particular, the longest improvisation ("Bell Room") gives the musicians an opportunity to respond and ultimately conform to the environment more intensely than anywhere else. Sometimes they stop playing altogether, allowing the echoes from the city to take over. Heavy traffic, sirens, airplanes, birds: all of these elements have been utilized time and again in similar contexts, yet in this case they are welcomed as a necessary perspective. And as an active one too, as certain frequencies seem to pervade the interplay by autonomous decision.

Having juxtaposed all of the above to the introspective instrumental dialogue and the occasional appearance of the clock, we can't help but remind ourselves that confidence, indecision, conscious smiling and smoggy bedlam belong to the interior soundtrack of a life. Allum and Kanngiesser are intent in scrutinizing the core of its secret code: finding answers inside the oscillation of strings, still remaining unwavering in front of an advancing incertitude. And still entirely aware of the transitoriness of the whole.



Jennifer Allum & Ute Kanngiesser: Bell Tower Recordings
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