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Magill / Hatcher / Kirchen / Kirshner:
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Erica Pomerance :
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Nate Wooley (w / Laubrock / Modney / Roberts / Courvoisier / Smythe / Matt Moran / Greenberg):
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"Mutual aid" is the primary ethic of an anarchistic utopia in which each knows what they have, is honest about what they need, and is prepared to give and receive accordingly; here in 8 compositions from trumpeter Nate Wooley performed with Ingrid Laubrock, Sylvie Courvoisier, Cory Smythe, Josh Modney, Matt Moran, Russell Greenberg, and Mariel Roberts. ... Click to View


Flow Trio w/ Joe Mcphee:
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Chris Corsano / Bill Orcutt:
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Continuing the collaboration that started in 2013, the duo of drummer Chris Corsano and guitarist Bill Orcutt expand on their free playing during the pandemic, recording remotely, with Orcutt improvising two passes over Corsano's initial drum tracks, creating something that blurs the lines between jazz, rock, folk and something passionately unique to their dialog. ... Click to View


Chris Corsano / Bill Orcutt:
Made Out of Sound [VINYL] (Palilalia Records)

Continuing the collaboration that started in 2013, the duo of drummer Chris Corsano and guitarist Bill Orcutt expand on their free playing during the pandemic, recording remotely, with Orcutt improvising two passes over Corsano's initial drum tracks, creating something that blurs the lines between jazz, rock, folk and something passionately unique to their dialog. ... Click to View


Playfield (Carter, Muhr, Ishito, Plaks, Namenwirth, Takahashi, Swanson, Panikkar):
Vol. 2 (Orbit577)

The second of a 3-album trilogy, Playfield offers the musical equivalency of a walk through the diversity of New York in a loft-style extended improvisation from the octet of Daniel Carter on horns & reeds, Luisa Muhr on voice, Ayumi Ishito on sax, Eric Plaks on piano, Aron Namenwirth & Yutaka Takahashi on guitars, Zach Swanson on bass, and Jon Panikkar on drums. ... Click to View


Paul Dunmall / Keith Tippett / Philip Gibbs / Pete Fairclough:
Onosante (577)

A 4-track collective improvisation project performed by Paul Dunmall (saxophones, fife & bagpipes), pianist Keith Tippett, guitarist Philip Gibbs and drummer Pete Fairclough, recorded at Victoria Rooms at the University of Bristol, UK in 2000 and originally issued on Dunmall's own DUNS label, here reissued 20 years later in the memory of Keith Tippett. ... Click to View


David Shea:
The Thousand Buddha Caves (Room40)

Composer, keyboardist and conceptualist David Shea continues his musical journeys through the world's ancient trading routes that began with his albums Hsi-Yu Chi, The Tower of Mirrors, Satyricon and Rituals, here in ten encompassing compositions exploring the trading route from ancient Xian to Rome, through music, stories, history and Buddhist influences. ... Click to View


Michel Banabila :
Wah-Wah Whispers (Bureau B)

Dutch composer Michel Banabila amalgamates genres, using acoustic and electronics elements to serve his work, here in 8 recent pieces that blend electronica, world forms and soundscape in sophisticated ways, with vocal samples from all n4tural and Yuko Parris, guitar from Cok Van Vuuren, and a collaborative composition with Machinefabriek/Rutger Zuydervelt. ... Click to View


Sun Ra:
Extensions Out, Plus: Four Poetry Books (1959/1972) [4 BOOKS] (Corbett vs. Dempsey)

Four books of poetry by Sun Ra: two pamphlets that accompanied early Sun Ra albums issued in the late 1950s — Jazz By Sun Ra (1957) and Jazz In Silhouette (1959) — and two published more than a decade later later by Infinity Inc./Saturn Research: The Immeasurable Equation and the very rare Extensions Out: The Immeasurable Equation Vol. II. ... Click to View


Elephant9 :
Arrival Of The New Elders [VINYL] (Rune Grammofon)

After their double live albums, the Norwegian jazz-rock prog trio of Stale Storlokken on keyboards, Nikolai Haengsle on electric bass and electric & acoustic guitars, and Torstein Lofthus on drums & percussion, take a step back from the heavy grooves associated with their music to present a new chapter of sophisticated, spacious and sonically satisfying psychedelic interplay. ... Click to View



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  Manuel Zurria 
  Again & Again  
  (Ants Records) 


  
   review by Brian Olewnick
  2021-02-25
Manuel Zurria: Again & Again (Ants Records)

This 2-CD set of (mostly) solo flute works can be divided into three general areas. First are pieces by the "big three" of Minimalism: Terry Riley, Philip Glass and Steve Reich. Next are compositions by composers tangentially related in one way or another to Minimalism: Kevin Volans, Howard Skempton and James Tenney. Lastly are works by perhaps lesser known composers from Hungary, Lithuania and Slovakia: Lászlo Sáry, Adrián Demoč, Rytis Mažulis, Tobor Szemző and Ričardas Kabelis. The set includes a booklet that contains an interview with Zurria (in English and Spanish).

The flutes are often augmented or overdubbed. For example, two of Glass' "Dances" (1979) are heard, #2 and #4, where the flutes, essentially playing the overlapping lead lines, are accompanied by field recordings and toy percussion. They flesh out the pieces — for this listener, some of the last Glass really worth hearing — very well, giving a somewhat fresh, sometimes amusing angle on them. "In Again Out Again" (1968), originally for two pianos, here for two flutes and toy percussion, also benefits from the additional instrumentation, resulting in a light and spritely work, what sounds like a mini-glockenspiel providing excellent frissons in the upper registers. Reich's well-known "Clapping Music" (1972), is rearranged for "handclappers and electronics", though it sounds like popping flute keys, and not much is gained by the alterations. His "Reed Phase" (1966), originally for saxophone and tape is nicely transformed in Zurria's version for three piccolos and toy percussion, in a manner similar to the high-pitched Glass transformation. The step from saxophone and delays to flute and delays for Riley's "Dorian Reeds" (1965) isn"t so extreme and the result is a track as engaging as the original, creamy and lovely.

Both discs end with brief "Bagatelles" from Skempton, one from 1985 and one written for Zurria in 2019. The earlier one is your basic, delightful Skempton while the latter is quite plaintive, a bit sad and very beautiful. Volans" "7 Flutes" (2015), is quasi-minimalist in its layering of various rhythmic patterns, some rapid, others slower, generally recalling Reich but with a looser feel. Zuria ups the ante to twelve flutes (plus sine tones) for his rendition of Tenney's "Harmonium #1" (1976). The mystery and sense of almost extraterrestrial wonder generated in this subtly fluctuating, drone-like piece make it this listener's personal highpoint of the collection.

Each disc begins with a short piece by Sáry, 'számzene I & II" (1995), odd, staccato works for, respectively, counting voice (the work is dedicated to Tom Johnson) and seven flutes, both with toy percussion and both kind of zany fun. Demoč's "Canon" (2017), for four alto flutes and written for Zurria, is quite enchanting, the lines weaving and bobbing like fish in a stream, surfacing for air now and then, returning to the flow. Concise and beautiful. Scored for ten flutes, Mažulis" "Carduelis", though consisting of iterated lines, sounds somewhat less minimalist than dreamily neo-Romantic, but is otherwise unremarkable. A Reichian/Rileyesque sound resurfaces in Szemző's "Water-Wonder" (1981-83), for four flutes and delays; pleasant enough, but maybe a bit overly indebted to those composers, though the blurring effect toward the end works very well. Finally, Kabelis" "Kalno Sutartinė" (2015) for...72 (!) flutes generates a reed organ world of sound, shifting groups of four notes (de facto chords), in descending patterns, one after another, a kind of sonic waterfall, mesmerizing, rich and evocative.



Manuel Zurria: Again & Again
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