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Satoko Fujii / Joe Fonda: Mizu (Long Song Records)

With commanding instrumental skills and a growing history of collaboration, bassist Joe Fonda and pianist Satoko Fujii are heard again in two live concerts as part of their 2017 European tour, two duos from Belgium and one in Germany, the CD taking its title from the Japanese word for "water" as the two converse in powerfully emotional and technically breathtaking ways. ... Click to View


Steve Coleman and Five Elements: Live at the Village Vanguard, Vol. I (The Embedded Sets) [2 CDs] (Pi Recordings)

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Steve Coleman's Natal Eclipse: Morphogenesis (Pi Recordings)

Steve Coleman's Natal Eclipse brings together 9 musicians in a chamber jazz setting without a drum set--Jonathan Finlays(trumpet), Jen Shyu (vocals), Matt Mitchell (piano), Mara Grand (tenor sax), Rane Moore (clarinet), Kristin Lee (violin), Greg Chudzik (bass), and Neeraj Mehta (percussion)--performing 9 of Coleman's sophisticated original compositions. ... Click to View


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Victoriaville, Quebec electronic composer Charles Barbare creates abstract electroacoustic works, here in an impressive 6-movement work that covers a wide ground from minimalistic rhythmic sections to time-stretched voices and electronics to musique mystery, his inquisitive approach allowing his scores to unfold in decipherable, dramatic and coherent ways. ... Click to View


Hvizdalek / Nergaard / Tavil / Garner: Juxtaposition (Nakama Records)

Sonic sources of a wide variety of timbre, rhythm and tone, mixed with voice, feedback, even bird sounds, make up the strata of this intriguing album from Oslo Improvisers Agnes Hvizdalek (voice), Magnus Skavhaug Nergaard (electric bass, electronics, field recordings), Utku Tavil (snare drum, no input mixer, sampler), and Natali Abrahamsen Garner (voice, electronics). ... Click to View


Hvizdalek / Nergaard / Tavil / Garner: Juxtaposition [CASSETTE] (Nakama Records)

Sonic sources of a wide variety of timbre, rhythm and tone, mixed with voice, feedback, even bird sounds, make up the strata of this intriguing album from Oslo Improvisers Agnes Hvizdalek (voice), Magnus Skavhaug Nergaard (electric bass, electronics, field recordings), Utku Tavil (snare drum, no input mixer, sampler), and Natali Abrahamsen Garner (voice, electronics). ... Click to View


Goh Kwang Lee / Christian Meaas Svendsen: Gibberish, Balderdash and Drivel (Nakama Records)

Three "nonsensical" musical conversations between Malaysian experimental musician and Herbal International label founder Goh Lee Kwang, and Norwegian bass player and Nakama label leader Christian Meeas Svendsen; a first encounter between two different mindsets, nationalities and generations, packaged with a pencil to let you draw your own cover. ... Click to View


Goh Kwang Lee / Christian Meaas Svendsen: Gibberish, Balderdash and Drivel [VINYL] (Nakama Records)

Three "nonsensical" musical conversations between Malaysian experimental musician and Herbal International label founder Goh Lee Kwang, and Norwegian bass player and Nakama label leader Christian Meeas Svendsen; a first encounter between two different mindsets, nationalities and generations, packaged with a pencil to let you draw your own cover. ... Click to View


Hal Hutchinson: Factory Metal Sound [CASSETTE] (Banned Production)

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Mako Sica / Hamid Drake: Ronda [VINYL 2 LPs] (Feeding Tube Records)

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Mako Sica / Hamid Drake: Ronda [CASSETTE + DOWNLOAD] (Astral Spirits)

The long-running Chicago free-rock trio Mako Sica currently comprised of Przemyslaw Drazek (trumpet & guitar), Brent Fuscaldo (guitar) and Chaetan Newell (drums & piano) are joined by free improvising legend Hamid Drake on drum kit, tablas and frame drum for a beautiful and rich album of genre merging, spiritually warm, primarily instrumental music, inclusive and persuasive. ... Click to View


Musaeum Clausum: Musaeum Clausum (Umlaut Records)

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Sebastien Beliah : Nocturnes (Umlaut Records)

Sebastien Beliah is a Paris-based double bass player, a member of Umlaut Big Band, The Coquettes, Un poco loco, &c., here in a solo album of bass noir, dark and resonant tones evoked through strong bowing, finding harmonics between the strings and from the instrument itself, creating beautiful passages in a mirage of engulfing deep timbre. ... Click to View


Charles Noyes K. / Owen Maercks w/ Henry Kaiser / Greg Goodman: Free Mammals [VINYL] (Feeding Tube Records)

A great example of open-minded West Coast free improvisation around the late 70s from the quartet of Charles K. Noyes on percussion & saxophone, Owen Maercks on guitar, Henry Kaiser on guitar, and Greg Goodman on piano & percussion, side A from a live concert in Berkeley recorded by guitarist Henry Kaiser, side B from sutdio sessions in San Francisco. ... Click to View


Toshimaru Nakamura : Re-Verbed (No-Input Mixing Board 9) (Room40)

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Paul Flaherty / Chris Corsano: The Hated Music [VINYL 2 LPs] (Feeding Tube Records)

Gary Panter's artwork is updated and the format is vinyl this time for this welcome reissue of the 2000 Ecstatic Yod CD from the now long-running duo of tenor & alto saxophonist Paul Flaherty and drummer Chris Corsano, a superb free jazz album of great invention and seriously deep playing, from hard attacks to introspective musing, truly impressive! ... Click to View


Sidsel Endresen / Jan Bang: Hum (Confront)

Using sampler, dictaphone, and voice, the duo of Sidsel Endresen and Jan Bang improvise and interact to create unorthodox hybrids of fractured electronics and articulated word, as edgy and engaging as it is unusual, captured live at Victoria Nasjonal Jazzscene, in Oslo, Norway in 2016, a great followup to Bang's "And Poppies From Kandahar" Samadhi album. ... Click to View


Don Cherry: Home Boy, Sister Out (WeWantSounds)

Trumpeter Don Cherry recorded this funk album in France in 1985 with a set of multi-ethnic Paris players including Elli Medeiros and produced by Ramuntcho Matta, the songs crossing funk with jazzy vamps, rock roots and modern approaches, reissued with new liner notes and 5 bonus tracks including the cult 1983 single "Kick" featuring legendary author Brion Gysin. ... Click to View


Don Cherry: Home Boy, Sister Out [VINYL 2 LPs] (WeWantSounds)

Trumpeter Don Cherry recorded this funk album in France in 1985 with a set of multi-ethnic Paris players including Elli Medeiros and produced by Ramuntcho Matta, the songs crossing funk with jazzy vamps, rock roots and modern approaches, reissued with new liner notes and 5 bonus tracks including the cult 1983 single "Kick" featuring legendary author Brion Gysin. ... Click to View


Small Cruel Party: ἡσυχασμός (complacency) [CASSETTE] (Banned Production)

The first new release from William Key Ransone's Small Cruel Party, two 12 minute pieces, the first a work of subtle noise that ebbs and flows in subliminal ways; the second a work of strong tone combinations with distracted percussion and unusual tonal interruptions, a unique album of atmosphere and tension. ... Click to View


Axel Dorner / Jason Kahn: For Berner Munster (Confront)

The pairing of German trumpeter Axel Dorner, and NY-born experimental artist Jason Kahn living and performing in Zurich, brings the tradition of avant free jazz and nonidiomatic improvisation into an unusual merging of techniques and approaches, each applying their advanced virtuosity to this intense concert, recorded during Hamburg's Zoom In Festival, 2017. ... Click to View


Douglas Benford : For Now (Confront)

Sprawl Imprint label leader Douglas Benford developed this fascinatingly layered composition with a diverse set of instruments, objects, and field recordings from captures made at the Stockholm Music Museum and at performances in Lithuania and England between 2009 and 2017, assembling them to create this exceptional odyssey of concrete, ambient and ethnic sources. ... Click to View


Isotope Ensemble: Barium (Creative Sources)

Large scale improvisation of the most subtle nature from Portugal's Isotope Ensemble led by Ernesto Rodrigues, 17 musicians slowly unfolding this beautiful work of consonance and dissonance dedicated to element atomic number 56, recording live at O'Culto da Ajuda in Lisbon with instrumentation including acoustic reeds, strings, brass, percussion, and electronics. ... Click to View


Ernesto Rodrigues / Guilherme Rodrigues / Andrew Lafkas / Bryan Eubanks: 0 Minutes And 0 Seconds (Creative Sources)

Lisbon-based viola player Ernesto Rodrigues joins three Berlin-based musicians--cellist Guilherme Rodrigues, double bassist Andrew Lafkas and electronics artist Bryan Eubanks--merging the lowercase approaches of Creative Sources groupings with experimental electronics for a 5-part album that ranges from the subliminal to assertive tones and momentum. ... Click to View


Sergio Merce: Three Dimensions Of The Spirit (Edition Wandelweiser Records)

Conservatory trained Argentinian saxophonist Sergio Merce uses a prepared tenor sax and a microtonal sax to create rich harmonics and slowly moving tonal works, layering aberrant and alluring tones in restrained configurations that allow each stratum of sound to be distinguished and appreciated, creating mesmerizing compositions of elusive and illusionistic sound. ... Click to View


Beuger.Boon.Susam: (Edition Wandelweiser Records)

Pianist and composer Dante Boon performs his own work "Years, Numbers", alongside Antoine Beuguer's "Pour Etre Seul(e), Sans Reserve" and Taylan Susam's "Tombeau", and Bueger's "Nov. (piano)", four works of graceful and introspective beauty using minimal approaches to tone, chord, or spaciousness, recorded live at University Of Wisconsin-Whitewater in 2014. ... Click to View


Cyril Bondi / d'Incise: Kirari-Kirari (Edition Wandelweiser Records)

A sextet of Cyril Bondi (vibraphone), d'Incise (metallic objects), Magnus Granberg (piano), Anna Lindal (Baroque violin), Anna-Kaisa Meklin (viola de gamba) and Christoph Schiller (spinet) perform two works composed by Bondi and d'Incise, recorded by Simon Reynell of Another Timbre, works of repetition with distinct variations that evolve as each piece progresses. ... Click to View


Johan Lindvall: Giraffe (Edition Wandelweiser Records)

Fourteen pieces for solo guitar from Norwegian composer Johan Lindvall, sparse yet warmly spaced pieces that focus on the individual notes or simple chords in intimate ways, meditative yet warmly evocative; two sections are presented in multiple movements, with "five songs for voice and guitar", Rasten singing words written by Marianne Moore; lovely and refined. ... Click to View


Stephen Cornford : Battery Acid [CASSETTE] (Banned Production)

UK Sound experimenter Stephen Cornford took the bare wires of two microphone cables and submerged them in the cavaties of a large but run-down car battery, plugged it into a mixer, panned hard left and right and recorded, adding a 12 Volt trickle charger to the external terminals of the battery and made a second recording, the results heard here unchanged. ... Click to View


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  Morton Feldman 
  Trio  
  (Mode Records) 


  
   review by Kurt Gottschalk
  2010-11-03
Morton Feldman: Trio (Mode Records)

The Japanese experimental guitarist Tetuzi Akiyama has commented that he felt compelled to make mid-tempo, moderate volume music because everyone around him was working in extremely loud or extremely quiet sounds. The need to rebel, in a sense, forced him into breaking old ground.

It's a similar position to the one Morton Feldman found himself in a half century earlier. With the minute having been explored a generation earlier by Anton Webern, and with his peers seemingly more than willing to adhere to the dictates of the LP, Feldman began to grow interested in creating exceedingly long works. (The similarity doesn't end there, either. As much as Feldman's compatriot John Cage is celebrated, in many ways it's Feldman the formalist, with his use of sound and silence is extremely deliberate an exhibition of ego, as Cage might accuse who is a truer progenitor of the new school of minimalist improvisation.)

To cite the man himself (as quoted in Give My Regards to Eighth Street: Collected Writings of Morton Feldman, published by Exact Change in 2000):

My whole generation was hung up on the 20- to 25-minute piece. It was our clock. We all got to know it and how to handle it. As soon as you leave the 20- to 25-minute piece behind, in a one-movement work, different problems arise. Up to one hour you think about form, but after an hour and a half it's scale. Form is easy just the division of things into parts. But scale is another matter. You have to have control of the piece it requires a heightened level of concentration. Before my pieces were like objects; now they're like evolving things.

Trio for violin, cello and piano was composed in 1980, is among Feldman's first experiments in extended duration, and is seen as marking the beginning of his late period works, from 1979 until his death in 1987. And while it's all too easy in discussing Feldman to get preoccupied with on clock-watching, the roughly two-hour Trio was followed in 1984 by the four-hour For Philip Guston and the oft-cited six-hour String Quartet No. 2. But what matters, of course, is not how long the theater is rented out for but what's done with it once you're there. Central to the Trio (and to Feldman's ideas about use of scale) is the fact that the piece is a single movement; There's no time open for a regrouping of wits or a realigning of motifs. It is a singular expression. Rather than boldly announcing the next thematic variation, then, Feldman is constantly in flux, working within palette and pace, making subtle realignments and shifts in emphasis.

In that sense, the use of repetition is far from an elongating device. The instrumentalists get locked into patterns in unison, in succession, or sometimes in isolation not to create scale but to explore it, as if to say "We couldn't have a mountain were it not for each of these stones."

At the same time, however, there's a curious irony to Feldman's mountain climbing. The composer also wanted to eschew the dramatic underpinnings of concert music (notably that of Boulez), and yet it's the drama of his extended works that make them so majestic, so mountainous. For duration without drama, see (for example) Warhol's film Empire, a work of a very different emotive impact than the Trio. Feldman's long pieces, in other words, are far from drones. They are filled with suspense. And in fact, the Trio is filled with murder-mystery string swells. Certainly the composer isn't responsible for the projections of pop culture, but at the same time it's hard to imagine that in 1980 Feldman wouldn't have recognized the baggage Bernard Hermann had attached to stabbing violins. And indeed, suspense is Feldman's mojo. His pace allows ample time to wonder what will happen next. No Mozartian filigrees here! The music is, literally, suspended in time.

Mode's 2006 recording of the performance by violinist Marc Sabat, cellist Rohan de Saram and pianist Aki Takahashi is gorgeously warm and intimate. The only shame is that, with Feldman having despised the confines of the LP side, the 105-minute performance should be spread across two CDs. With the possibility of DVD-audio release, technology is finally catching up to Feldman's vision.



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