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Alister Spence / Satoko Fujii: Intelsat (Alister Spence Music)

Continuing her monthly releases for her 60th birthday, Japanese pianist Satoko Fujii meets Australian keyboard and electronic artist Alister Spence for their second meeting, touring Japan and recording this spellbinding album merging bells, gongs, electronics, and acoustic piano, inside and out, in a passionate album that balances melodicism and sound. ... Click to View


Peggy Lee : Echo Painting (Songlines)

Commissioned by Coastal Jazz and Blues and premiered at the 2016 Vancouver International Jazz Festival, cellist Peggy Lee's suite for ten players includes some of the most interesting improvisers on the Vancouver scene, the music multi-layered, texturally varied and melodically rich, with beautiful melodic passages, driving rhythm, and incendiary improv; outstanding! ... Click to View


Paul Dunmall / Jon Irabagon / Mark Sanders / Jim Bashford: The Rain Sessions (FMR)

Dedicated to Cecil Taylor and taking advantage of NY saxophonist Irabagon's UK visit, this album presents four drum duets "time two", as two tenor saxophonists--Paul Dunmall and Jon Irabagon--meet two musical drummers--Mark Sanders and Jim Bashford--following Dunmall long-standing interest in drum and sax duets, the results this ebullient and remarkable album. ... Click to View


Szilard Mezei Septet: Veres Pancel (FMR)

Vojvodinian composer and violist Szilard Mezei formed this septet in 2005, his 3rd chamber group with a distinctly free jazz voice, citing influences Gyorgy Szabados, Anthony Braxton, Bela Bartok, Witold Lutoslawsky, Gyoryg Ligeti, Jimmy Giuffre, Steve Lacy, Mal Waldron, to which we would add Eric Dolphy, here in their second FMR album capturing a live concert in Serbia, 2018. ... Click to View


Phil Gibbs / Marcello Magliocchi / Adrian Northover / Maresuke Okamoto: Sezu (FMR)

An intense live concert in Bristol, UK of collective free improvisation using insane technique and ecstatic drive from the quartet of Philip Gibbs on guitar & banjo, Marcello Magliocchi on drums, Adrian Northover on soprano & alto saxophones, and Maresuke Okamoto on cello & voice, a wonderfully skilled example of unexpected directions in creative free playing. ... Click to View


Runcible Quintet, The: Four (FMR)

London-based free improvisers and members of the London Improvisers Orchestra (LIO), this ensemble consists of soprano saxophonist Adrian Northover, flautist Neil Metcalfe, acoustic guitarist Daniel Thompson, double bassist John Edwards and Italian-born drummer Marcello Magliocci, in their second album on the FMR label, a spectacular live performance at I'klectik in 2017. ... Click to View


Dave Sewelson (w/ William Parker): Music For A Free World (FMR)

West Coast baritone saxophonist Dave Sewelson leads the accomplished quartet of Steve Swell on trombone, William Parker on bass, and Marvin "Bugalu" Smith on drums through six collective compositions, plus a reprise of Sewelson's earlier "Music for a Free World" compositions, and his new composition "Bill" for guitarist/composer and friend Bill Horvitz. ... Click to View


Frame Trio (Luis Vincente / Marcelo Dos Reis / Nils Vermeulen): Luminaria (FMR)

Recording at Centro Norton de Matos Gymnasium, in Coimbra, Portugal, the Frame Trio led by Portuguese trumpeter Luis Vicente and Portuguese guitarist Marcelo Dos Reis, with Belgium double bassist Nils Vermeulen rounding out their unique approach to improvised music blending jazz and free approaches as they present their six part "Luminaria" (Luminary) suite. ... Click to View


Free Pantone Trio: A Blink Of An Eye To The Nature Of Things (FMR)

Free Pantone trio is a Portuguese musical group recently created in Lisbon by bassist Rui Sousa, pianist Manuel Guimaraes and drummer Joao Valinho, taking a trans-idiomatic and experimental approach they seek to exploit diverse musical genres and sub-genres from jazz and contemporary music using improvisation and real-time composition as their uniting principle. ... Click to View


Don Cherry / Marion Brown / Evan Parker / John Stevens: Free Jazz Meeting Baden Baden '67 (Hi Hat)

Recorded at the 2nd Free Jazz Meeting (now known as the SWR NewJazz Meeting) in Baden-Baden, 1967, with 4 recordings from the groupings of Jeanne Lee, Albert Mangelsdorff, Gunter Hampel & Pierre Courbois; Marion Brown, Peter Kowald & Sven-Ake Johansson; Albert Mangelsdorff, Evan Parker & John Stevens; and Don Cherry, Evan Parker, Peter Kowald, Buschi Niebergall & John Stevens. ... Click to View


Don Cherry Trio: Studio 105, Paris 1967 (Hi Hat)

The complete broadcast on the French radio station ORTF of Don Cherry's work at Studio 105, Maison de l'ORTF, Paris in March of 1967, finding multi-instrumentalist/trumpeter Don Cherry, also on cornet, piano, bamboo flute, gong, performing with Karl Berger on vibes, marimba, piano, cleste, percussion, and Jacques Thollot on drums, bells, timbales. ... Click to View


Sun Ra: The Early Albums Collection 1957-1963 [4 CDs] (Enlightenment)

A 4-CD collection bringing together 7 full albums and early singles, more than five hours of music from the early part of Herman Blount's, aka Sun Ra's, career as a bandleader, tracint the development of his work from 1957 to 1963 as he introduced increasingly out forms of jazz through compositions like "Sunology", "Interplanetary Music", "We Travel the Spaceways", &c. ... Click to View


Biliana Voutchkova / Michael Thieke: Blurred Music (elsewhere)

Berlin-based violinist Biliana Voutchkova and German clarinetist Michael Thieke (Magic I.D., International Nothing) present a stunning achievement in blending compositional, pre-structured material with live improvisation, creating a blurring of virtually identical sections that create microtonal anomalies in timing, rhythm, timbre and motive, as heard in 3 amazing performances. ... Click to View


Matthew Revert / Vanessa Rossetto: Everyone Needs A Plan (erstwhile)

The second collaboration between sounds artist Vanessa Rossetto and writer and sound artist Matthew Revert is a monumental work that studies the evolution of communication through fragments of spoken words, and a rich tapestry of sound from acoustic and electronic instruments, field recordings, and perplexing and dramatic sources of sound. ... Click to View


Lucio Capece / Marc Baron: My Trust In You (erstwhile)

Two electroacoustic improvisers and composers--Lucio Capece on reeds, analog synths, effects, field recordings, drums machines, speakers in motion, and Marc Baron on field recordings and analog devices--developed these 6 extraordinary recordings that blend motion, perspective, sound and noise, and concrete references in a mystifying and mesmerizing journey in sound. ... Click to View


Melaine Dalibert : Musique pour le lever du jour (elsewhere)

Inspired by the work of Hungarian-born French media artist Vera Molnar, and by the vicissitudes of natural phenomena, French pianist and composer Melaine Dalibert developed algorithmic procedures to compose this work, translating to "Music for the Daybreak", as an illusory "endless piece" of meditative layered, resonant music in the mode of Morton Feldman. ... Click to View


Otomo Yoshihide / Paal Nilssen-Love: 19th of May, 2016 (PNL)

An intensively diverse and thrilling game of "cat and dog" between Norwegian percussionist Paal Nilssen-Love and Japanese guitarist Otomo Yoshihide, performing live at Dom Cultural Center, Moscow, Russia in 2016 for two extended improvisations that exemplify incredible technical skills, reflective and introspective dialog, and cathartic release; absolutely impressive. ... Click to View


Marker (w/ Ken Vandermark): Wired For Sound (Audiographic Records)

The debut from this Chicago band merging strong grooves with free playing, with 2 guitarists--Andrew Clinkman & Steve Marquette, plus Macie Stewart on keys & violin, Phil Sudderberg on drums, and Ken Vandermark on reeds, each of the 3 tracks dedicated to an artist: Belgian movie director Chantal Akerman; German choreographer Pina Bausch; and Anthony Braxton and Bernie Worrell. ... Click to View


Vandermark / Kugel / Tokar: No-Exit Corner (Not Two)

the second CD by the trio featuring the tenor saxophonist and clarinetist Ken Vandermark, the drummer Klaus Kugel, and the bassist Mark Tokar has the band back at Krakow's Alchemia Club, bringing these three Chicago and European players together for a skronky, energetic romp of commanding playing alongside unorthodox approaches and powerfully creative intent. ... Click to View


Bobby Zankel & The Wonderful Sound 6: Celebrating William Parker at 65 (Not Two)

Celebrating bassist and composer William Parker's 65th birthday at the Painted Bride Art Center in Philadelphia in a band led by Bobby Zankel on alto saxophone, Muhammad Ali on drums, Dave Burrell on piano, Steve Swell on trombone, Diane Monroe on violin, and William Parker himself on bass, in a 4-part suite of beautifully turbulent and masterful free jazz. ... Click to View


Ernesto Rodrigues / Guilherme Rodrigues / Fred Marty / Carlos Santos: Jardin Carre (Creative Sources)

French double bassist Fred Marty joins Creative Sources core performers, violist Ernesto Rodrigues, cellist Guilherme Rodrigues and electronic artist Carlos Santos for an extensive improvisation exploring both lyrical and pointillistic improvisation, themed loosely around a garden quartet or frame, the music detailed, active and formidably sophisticated. ... Click to View


Urlich Mitzlaff : Ten Sonic Miniatures about the "Scream" by Edvard Munch (Creative Sources)

Using Edvard Munch's famous painting "The Scream" as his muse, German cellist living in Portugal, Ulrich Mitzlaff, presents 10 acoustic miniatures from just over a minute to 4 1/2 minutes in length, including wildly interactive moments of delirium to darkly melodic bowed passages, using his impressive technique to create vivid depictions of Munch's work. ... Click to View


4! (Patrizia Oliva / Carlo Mascolo / Domenico Saccente / Felice Furioso): Factorial (Creative Sources)

Free electroacoustic improvisation from the Italian quartet of Patrizia Oliva on voice, electronics, bawu, objects, Carlo Mascolo on prepared trombone, Domenico Saccente on accordion and prepared piano, and Felice Furioso on drums, cupa cupa, contrabbassa, sounded objects, using voice and unusual instrumentation to guide unusual and forward-thinking improv. ... Click to View


Frantz Loriot : Reflections on an Introspective Path (Neither/Nor Records)

French-Japanese violist Frantz Loriot's first solo album takes the viola into unusual territory, using an acousmatic approach to create music and sounds with no visual reference by transforming the sound of the viola through preparations and remarkable extended techniques, layering and assembling his works to create concrete statements of movement. ... Click to View


Costa's Acustica, Carlo: Strata (Neither/Nor Records)

New York composer and drummer Carlo Costa assembled this accomplished ensemble of NY improvisers for a live performance at IBeam in Brooklyn, capturing his piece "Strata" that evolves layers of sound from very sparse to densely yet accesibly stacked sound, varying recurring material to change perspectives in the aural space as the piece progresses; impressive. ... Click to View


Flin van Hemmen (w/ Neufeld / Obsvik): Drums of Days (Neither/Nor Records)

Debut album as a leader from drummer and pianist Flin van Hemmen, an evocative album of original compositions and improvisations recorded in a trio with Eyvind Opsvik on double bass and Todd Neufeld on acoustic guitar, with Tony Malaby on alto and soprano sax on one track; a beautifully cinematic and poetic album that allows for space and reflection. ... Click to View


Peter Blegvad : Bandbox [6 CD BOX SET] (Recommended Records)

Starting with Blegvad's "Downtime" LP, this box traces the evolution of the Peter Blegvad Trio into a quintet with Karen Mantler and Bob Drake, released in a solid box with a double CD of alternate versions, unreleased material and live performances, plus a 72 page book of photographs, memorabilia, drawings, documents and recollections; the ultimate reissue! ... Click to View


Roberto Musci / Giovanni Venosta: Messages & Portraits (2018 Edition) (Recommended Records)

A welcome reissue of two 1980s, forward-thinking albums of electronic compositions from Milanese ethnomusicologist composers, sound engineers and performers Giovanni Venosta and Roberto Musci, incorporating exotic field recordings from their world travels into accessibly sophisticated pieces, creating unexpectedly innovative, novel and melodically rich hybrids. ... Click to View


Vitor Rua & The Metaphysical Angels: When Better Isn't Quite Good Enough [2 CDs] (Recommended Records)

Guitarist Vitor Rua (GNR, Telectu) recorded the 15 pieces of this 2-CD set first as a series of overdubbed solo improvisations, using his virtuosic skills to create intriguing and compelling works, which he orchestrated and recorded with the quintet of Hernani Faustino on bass, Luis San Payo on drums, Manuel Guimaraes on organ, Nuno Reis on trumpet, and Paulo Galao on clarinets. ... Click to View


Allen Ravenstine : Waiting For The Bomb [VINYL] (Recommended Records)

Many years after Pere Ubu and his work as a pilot, one of the world's most unique synth players, Allen Ravenstine, releases an album of composed works, 18 discrete hybrid miniature sound worlds that blend acoustic, real-world and synthetic sounds in unorthodox ways that elusively twist conventional approaches with unexpected elements and narrative twists. ... Click to View


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Notes from After Yodel: New Swiss Music


By Kurt Gottschalk & Brian Olewnick
Photos by Dominik Huber 2003-04-07

The eight-night After Yodel festival, curated by the Swiss-American turntablist Christian Marclay, was a part of the larger Swiss Peaks festival, three months of concerts, films and gallery exhibits displaying the best of Swiss art and architecture at 25 venues across the city. More than two dozen performers came from Switzerland to perform with New York musicians at the festival, which ran from March 21- 29 at Tonic in Manhattan's Lower East Side. The following overview was written by Kurt Gottschalk, with Brian Olewnick pinch-hitting on Day 7.

Day 1

Swiss Horns
MYTHA
If the blowing of 10-foot-long wooden horns isn't a traditional Swiss invocation, it's easy enough to pretend it is. In any event, it was with this festival and Mytha's first set opening night.

My penchant for the front row proved frightening; I was far closer to the bells of the huge Alpine horns than were the players themselves. Opening with a pleasant drone, they moved into jazzy arrangements, then into vaguely baroque settings, then New Orleans march, all within the first 15 minutes. It's easy, foolish and Amerocentric to imagine a group living in a mountain cabin, farming yaks and ordering World Saxophone Quartet cds from Amazon, wishing they had saxophones and making do with their granddad's big horns. Xenophobic, even, and I know it. But hell, this whole Swiss exchange program already has me imagining cultural mythologies.

In any event, the Alpine horn is a real instrument and a dynamic one, able to mimic soft trumpet lines and with a chamber resonant to make for an effective pe rcussion instrument as well. But it's a pitched instrument, without keys or valves, which limits the range. Some other use might be more interesting than Mytha's jazz combo stylings.

Before long, they'll no doubt be putting their horns through Powerbooks. The Alpine horn might be the only instrument left that hasn't been run through a laptop. I was excited to see Stephan Wittwer , and am still excited to have seen him, although why the wango tango of his electric guitar needs to be funneled through a Powerbook was not clear from his opening night set.

More of a revelation was Dorothea Schürch, who I'm adding to my shortlist of evocatively avant vocalists. (That list so includes Jaap Blonk, Shelley Hirsch, Catherine Jauniaux, Makagami Koichi, Phil Minton and David Moss.) Schürch demands less attention than those other vocalists, even with the pastryknot of hair atop her head. She doesn't command the proceedings, but listens and responds intently.

The local participant in the trio set with Schürch and Wittwer was Japanese expat Toshio Kajiwara. Someone had to hold the house together, and the turntablist seems to be a stonger improviser every month.

They were followed by another Wittwer trio, with Alan Licht and Lee Ranaldo. Notable for Wittwer's volume, Licht's fancy Flying V replica and Ranaldo playing bass (though perhaps not much else).

Day 2

Jacques Demierre opened his solo set in a fascinating fury. If I've ever before described someone as playing piano like a drum, I knew not of what I spoke. He worked the instrument over, inside and out, and it didn't fight back. He made sounds from parts not designed to make sounds. He chewed it up and spit it out.

Jaques Demierre
JAQUES DEMIERRE
I didn't get such a feeling of volatility from his duo recording with Sylvie Courvoisier (Deux Pianos on Intakt). He's capable of beautiful playing, but during this set I couldn't help feeling he was mad about something, mad at the country he was in, mad that there were only 15 people in the room, many of whom were also playing in the festival.

Demierre didn't leave the stage after his ferocious set. He just invited Min Xiao-Fen to the stage and began their duo without a break in energy. Xiao-Fen's thin, delicate pipa had a rough time keeping up with Demmere's intensity until she began, for the first time I've seen, applying a variety of electronic effects to her instrument.

An unstoppable force, after their set came to a conclusion Demierre motioned to Xiao-Fen for one more, and returned to some of the more delicate passages of the evening. For an acoustic player, he covers an incredible dynamic range. He's plays quiet like the wind and mighty like a hurricane.

Koch-Schütz-Studer don't waste their time with music. Instead, the horn-cello-drum trio is occupied with displays of simpatico. The idea of a solo would be ludicrous in this music; the stew is too thick for any ingredient to rise to the top (unusual when there's a horn in the mix - Hans Koch plays soprano saxophone and bass clarinet). The group isn't afraid of repetition, syncopation or simplicity. Nor are they above a balls-to-the-wall blowout.

Day 3

A nicely flowing set of static and tone, pop and chime from the dual laptops of Ralph Steinbruechel and New York's o.blaat, with the two seated at small tables in front of the stage, facing each other. One can't help but wonder if cubicles will b e the next stage setting for electronica improv. If the cycle of car alarms wasn't so predictable, the noise from outside would have fit in beautifully.

Okkyung Lee
OKKYUNG LEE
Following was a cello dual committed by Okkyung Lee and Martin Schütz. Lee left it to the latter to open, with a scrape, a pop and a long bowed note, then weighed in with her quick hammering. It took the pair all of two minutes to explode into a barrage of extended technique and mutual challenge, like two people playing speed chess without taking turns.

Lee is a great player, and Schütz pushed her as hard as anyone has. If this were a match (and it might have been), smart money would have been on Schütz, if only for his greater years of experience. But the duo met head-on, on equal footing, varying dynamics but never easing up. Lee's bow was threadbare and had to be replaced after the first 20 minutes.

Somehow it was with the trio of Schürch, Schütz and Wittwer that I finally felt deep in the heart of Zurich. While it's understandable that musicians coming to play in town want to play with New Yorkers, it can be disappointing to so rarely see visitors able to explore familiar ground. These three clearly know each other, and their familarity showed. Shards of sound fell in place, they didn't interrupt. Like a good basketball team, they knew where each other were and where they were headed without having to check. Wittwer's splinter metallics, the blasts from Schütz' electrified and effect-plied cello and Schürch's dramatic, understated vocalizing continually wove around each other without tying each other in knots.

Attendance was the lowest yet tonight. Are the Academy Award s really that interesting?

Day 4

An evening of improv resulted from some originally booked electro players not coming to town in protest of US actions in Iraq, resulting in the most total music meeting of the fest so far. Electronic duos and trios with Steinbruechel, Norbert Moslang (of the now defunct Voice Crack), Günter Müller and New York turntablists Christian Marclay and Toshio Kajiwara. Marclay and Müller started the night with a melding of sounds, as opposed to the previous nights meeting (and clashing) of styles. If Schürch, Schütz and Wittwer were an immersion into the Swiss aesthetic, Marclay and Müller were a melting of regionalism.

Electronics and turntables, perhaps, lend themselves to that loss of ego. The mechanized production of sound and the inability to always tell who's playing what blur distinctions of culture, predilection, instrument. It's a very different kind of free improv, like a string quartet jamming underwater, with a storm passing overhead.

Christian Marclay
CHRISTIAN MARCLAY

The night, in a sense, replaced the "open combinations" midnight sets which had been advertised but canceled, and the short sets had the feeling of a suite, one group picking up where the last left off. Müller was surprisingly loud (though of course still not loud) with Marclay, a dizzying mesh of grind, scratch, stutter and musical utterance. Marclay hadn't been scheduled to perform, but sat in for the missing Swiss.

Spoke with Schürch after the show, who said That the musicians who didn't come out of protest shouldn't be replaced, that their protest should be respected with gaps in the program. Besi des, she said, "I like gaps sometimes."

Following Marclay and Müller's great duet was a NY trio, breaking the festival theme or perhaps just the hole in the cheese. Maybe it was homefield advantage, but Marclay, Kajiwara and Shelley Hirsc h l aid down one of the most powerful, charismatic sets of the night.

The home team took the next inning as well, with Marclay, Kajiwara and DJ Olive delivering a strong five-minute burst before bringing Steinbruechel and Müller up to join them and finish the night, Marclay playing plastic and ceramic cups on his turntable.

Confronted at the end of the night by Schütz. "I looked at your Web site today. There is nothing about this?" You've got to give me a little time to write, I said. I'll do one piece when it's all over. "You should do it immediately, get it up there," he said. "That's important. Like us, we are naked when we're up there."

Day 5

176 keys and 176 strings. Four hands, ten fingers. Half the stage filled with piano, two baby grands like two giant onyx tortoises sleeping side by side.

Demierre and Sylvie Courvoisier woke them, gently tickling and prodding them, surprisingly gently for two such physical players. They opened with a brief, pastoral piece before moving into extension, caressing the Baldwins' innards. Pretty, really, like Chopin is pretty (only, of course, not).

The percussive pianist duo was followed by a purely percussion duet, with Raz Mesinai on hand drums and Fredy Studer on kit, interesting because they're both such syncopated players but both strayed so far from steady rhythm during the set. Studer played with his hands, matching Mesinai's delicate taps. Studer played muted high-hat runs while Mesinai sang into his drum. Mesinai played hand bells to Studer's fast snare rolls. They held at low volume, listening intently to each other, allowing for constant shifts in sonority.

Mesinai's drums are generally quiet, but he creates a fairly massive feedback machine by placing a microphone inside his instrument. Studer clearly enjoys volume, and together they conjured a tumultuous storm in the second part of the set, p e rhap s not meshing well (Mesinai's feedback drum has been used in other setting to better effect), but Studer still rose to the occasion, banging a large, heavy cymbal to meet Mesinai's attack. If a drum duet sounds like something only a drummer would love, Mesinai and Studer proved the setting to be rife with possibility.



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