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Amsterdam-based bass clarinetist Ziv Taubenfeld's sextet perform the leader's innovative compositions that include a tribute to alto saxophonist Jemeel Moondoc, and a graphic composition for Sunny Murray, in a band with Michael Moore (sax & clarinet), Joost Buis (trombone), Nico Chientaroli (piano), Omer Govreen (double bass) and Onno Govaert (drums & percussion). ... Click to View


Daniel Carter / Watson Jennison / William Parker / Federico Ughi:
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Working together in tours and recording since 2005, the NY trio of multi-reedist and wind player Daniel Carter, bassis William Parker and drummer/percussionist Federico Ughi are joined by saxophonist Watson Jennison also on flute, recorder and keyboards for this enlightened album of modern and transcendent jazz in a limited, remastered LP edition with bonus material. ... Click to View


Chad Fowler / WC Anderson:
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Free jazz recorded one person at a time from the duo of saxophonist Chad Fowler and WC "Chad" Anderson who, constrained by pandemic, chose to create "simulated concerts" by exchanging solo recording, each starting the process for different pieces and surprised at how "live" the results felt, as they built up the twelve excellent, rule-breaking tracks of this album. ... Click to View


Daniel Carter / Jim Clouse:
Playing Retention (Mahakala Music)

Known first as one of New York's finest audio engineers running Park West Studios, Jim Clouse is also a drummer and saxophonist, this his first recorded foray into free jazz partnering with legendary multi-instrumentalist Daniel Carter on sax, trumpet, piano & drums, for seven diverse and extremely well informed improvisations as each follows their natural inclinations. ... Click to View


Kyle Motl / Patrick Shiroishi:
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Cordoba (Brianna Tong / Eric Novak / Cam Cunningham / Zach Bain-Selbo / Khalyle Hagood / Zach Upton-Davis):
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Combining elements of neo-soul, jazz fusion and hip hop, the Cordoba genre-bending sextet from Chicago use their warm, slightly off-center grooves to present vocalist Brianna Tong's articulate lyrics that observe and reflect on the state of world, the band's arrangements extended on five songs with the Latin America-influenced Kaia String Quartet. ... Click to View


Michael Pisaro-Liu :
Two Scrolls From Western Australia (Edition Wandelweiser Records)

Composer Michael Pisaro-Liu asked guitarist Jameson Feakes and saxophonist Josten Myburgh to each select a location in Western Australia and make a set of field recordings at different times of day, providing the basis for a musical scroll akin to Chinese scroll paintings, each musician then a poetic character placed into the virtual landscape of their recordings. ... Click to View



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  Instant Composers Pool 
  Incipient ICP, 1966-71  
  (Corbett vs. Dempsey) 


  
   review by Nick Ostrum
  2021-06-14
Instant Composers Pool: Incipient ICP, 1966-71 (Corbett vs. Dempsey)

Incipient ICP (1966-1971), Corbett vs. Dempsey’s recent Instant Composers Pool (ICP) archival release, is a wild one. It is comprised mostly of unreleased recordings, though a few tracks on the first disc were released in 2012’s mammoth 50-CD box-set Instant Composers Pool and the first few on the second had been released on the exceedingly rare 1969 promo box-set The Dutch Jazz Scene. And, it is an invaluable document of some the most varied and compelling material performed by the ICP core of Misha Mengelberg, Willem Breuker, and Han Bennink, plus numerous guests (including Arjen Gorter, Frederic Rzewski, Manfred Schoof, Peter Bennink, and others circulating in the Amsterdam scene at the time) in the early years. I am not sure how much will be unexpected to those familiar with the group or, really, any of these musicians individually. Mengelberg is as concerted and unpredictable as ever. Bennink’s percussion is restive and playful. Breuker already seems bent on developing his patented blend of circus music, sideways marches, Dolphy-esque climbs and plunges, and continental huff.

The two-disc Incipient ICP is more than another “long-lost tapes” release of a classic extended ensemble. These recording s are genuinely exciting. One can almost feel the sheer joy experienced in unanticipated turns, the swinging passages blended into breathy quiet into crashing cacophony, in the accidental discoveries of new routes from point A to B, or in that new and hitherto elusive point C. The music is also earnest, in that it is hell-bent on pushing accepted musical boundaries and merging hitherto separate musical forms into an amalgam of experimentalism. That sensation of elation in the process of discovery redounds to the listener. One hears the early stages of licks that Breuker later developed with his Kollektief, especially a brief joyful passage in Mengelberg piece, Die Berge schutzen die Heimat. (For what it is worth, I swear he played some version of this live when I finally caught the Kollektief live 15 years ago in the Netherlands, though my memory has deceived me before.) One hears the early relentlessness of Bennink, who shuns repeating rhythms once stumbled upon in favor of the next strange combination of blustery clatter. His skills, of course, have refined over the following half-century, but that obstinate curiosity was clearly there from the very beginning.

Given the timing, location, and sound, I want to read a Situationist esthetic into the ludicrousness of some of these pieces. The Dadaist/Fluxist impulse is certainly there, as are the jazz foundations, evident in cuts such as “Session No. I” (Mengelberg) and the delicious deconstruction of “September Song”. And, of course, the American free jazz inspiration is unmistakable. Just listen to the group’s take on Albert Ayler’s “Angels” on the second disc, which is a true homage, or Breuker’s biting “Viet-Cong”. One also hears the seeds of classical minimalism in Mengelberg-penned pieces such as “Piano Distance” and the ofttimes absurdist juxtapositions that would become characteristic of the Dutch scene in tracks such as ”HRRG II”, “STCH Shuffle” (both by Mengelberg), the wonderfully cabaretic dirge “Trammermusik” and the folk-turned-phased-free-march of “Siep (Sybren Polet)” (both by Breuker).

Admittedly, the frenetic collision of unlike elements and styles has lost some of its luster over the following decades. However, just as the work that Painkiller and Naked City did fusing grind, metal, and free jazz still sounds much more convincing than the myriad derivatives that followed, so too does ICP still sound that much fresher and more robust. And maybe that is because it was fresh at the time, a veritable Misha-mash (yep) of sounds and melodies that was truly challenging players, listeners and society to reexamine their pretenses about art, order, society, and life. Indeed, one can hear that sense of wonder, possibility, and conviction with which Bennink, Breuker, Mengelberg and the rest of the Pool, five decades ago, approached a craft which was still in its infancy.

Corbett vs. Dempsey has released numerous pieces of the ICP and related archives as of late. Although I have not worked my way through all of them, each one I have heard has been a gem. Add this to the list and move it to the top.



Instant Composers Pool: Incipient ICP, 1966-71
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