The Squid's Ear
Recently @ Squidco:

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David Myers Lee:
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Perturbations (Peck / Simches):
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EUPHORIUM_freakestra (feat Wadada Leo Smith / Barre Phillips):
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Jim & The Schrimps (Jim Black / Asger Nissen / Julius Gawlik / Felix Henkelhausen):
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Three-Layer Cake (Mike Pride / Mike Watt / Brandon Seabrook):
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Circumventing pandemic lockdowns, the trio of Brandon Seabrook on guitar, banjo & tapes, Mike Pride on drums, marimba, glockenspiel, bells & organ and Mike Watt on bass recorded their contributions in separate studios and file-shared to create this genre-merging album of free improv, rock, experimental and inexplicable forms; an inspired and seriously unique album of challenges overcome. ... Click to View


Martin Archer (w/ John Jasnoch / Sarah Farmer / Lee Boyd Allatson):
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Duo User 52 (Udo Schindler / Etienne Rolin):
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Confidently forceful German free improvisation with an eccentric approach, from multi-instrumentalist Udo Schindler on clarinets, cornet & tuba and artist & improviser Etienne Rolin on basset horn, Glissotar (a continuous wind instrument) & a Bansuri flute, as they improvise over Schindler's poem (jetzt/now) from his cycle frequenz schaukelt / frequency swings. ... Click to View


Eden Lonsdale:
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Splitting the album between two ensembles, UK composer Eden Lonsdale's beautifully languid compositions are performed first by Apartment House, and then by the young Rothko Collective, the four pieces showing Lonsdale's development of writing for harmony, timbre and resonance into works focused on the passing of time and the integration of prominent melodic elements. ... Click to View


Marco Baldini :
Vesperi (Another Timbre)

Influenced by the seemingly contradictory sources of 16th century Italian composers and their polyphonic compositions, Eliane Radigue, and North Indian classical, Italian composer Marco Baldini's beautifully dark works employ a slow, rarefied pace and subdued dynamics with a fascination for pianissimo playing, heard in eight chamber compositions for low strings and marimba. ... Click to View


Ljug Aldrig:
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Ljug Aldrig, aka Roosen, a visual artist, guitarist and vocalist from Stockholm, is heard in a 2-song 7" + download release performing with Dennis Egberth on drums, Alexander Zethson on keys, Anton Toorell on bass, guitars and Isak Hedtjarn on saxophone. ... Click to View


Axioms (PEK / SpokenWord / Lomon / onBass / Simches):
Illusion and Reality (Evil Clown)

Two vocalists associated with Cecil Taylor's final trio--Albey onBass and Jane SpokenWord--join Evil Clown leader David Peck (PEK) on reeds, winds and a large collection of percussive devices, and Glynis Lomon on cello & aquasonic, for an extended work of critical poetry and spoken word, merging truth and abstraction through free improv and pointed expression. ... Click to View


Friedrich Kettlitz :
Rabolgs Bergwand [4 CDs] (Euphorium)

Having collaborated with EUPHORIUM_freakestra and Gunter Baby Sommer, narrator and actor Friedrich Kettlitz presents a 4-CD set of sound poetry using a language that pretends to be German but expands upon his native tongue, his deep voice carrying innuendo, humor, seriousness and articulate expression that fascinates regardless of the listener's own language. ... Click to View


Paul Dunmall / Liam Noble / John Edwards / Mark Sanders:
One Moment (FMR)

Some of the finest London and Birmingham improvisers, the free improvising quartet of saxophonist Paul Dunmall with pianist Liam Noble, drummer Mark Sanders and bassist John Edwards, continue their work together with this exceptional live performance at the Eastside Jazz Club, Birmingham Conservatoire in an extended, far-ranging and engaging collective concert. ... Click to View



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Reviews of live performance


  Holland Hopson / James Keepnews with special guests Damian Catera and Tom Chess 

  (Washington Square Church) 


Friday, March 28th, 2003
   review by Phil Zampino
  2003-04-10

Under the arches and pipe organ inside the Washington Square Church, soprano saxist †Holland Hopson and guitarist James Keepnews assembled a collection of powerbooks, rack electonics and pedals, performing for two hours as a duo and in trio with Tom Chess on tenor sax and oud, and Damian Catera on guitar, powerbook and electronics.

Starting with sirens and politically charged samples, the duo- both of whom's racks included anti-war stickers- worked subtle sax riffs and passionate guitar chords in juxtaposition to the samples. †Hopson's playing was generally continuous, twisting around the samples with odd harmonic interactions generated by his computer. The umbilicus of cables trailing from his sax included an altitude sensor with which he could control various aspects of the generated sound, at times creating a chorus of saxes playing in multiple registers and tonalities. †Keepnews jumped between the powerbook, his rack and his guitar, controlling the flow of the samples and occasional sampled rhythms, even dropping in the Casey Casum quotes that caused Negativland so much legal trouble. †The results were a lovely juxtaposition of ugly sentiment and beautiful playing, as the two created a 21st century improvisation, cajoling odd signal twists from their electronics.

After performing two pieces the duo was joined by Tom Chess for two improvisations. †On the first Chess played tenor sax, opening with a powerful tone over which the three developed an abstracted interplay. †Here Chess was an excellent foil for Hopson and Keepnews as his lower register playing†complemented their higher octave strategies. †The piece slowly developed into a duo between Hopson and Chess, an interesting contrast of acoustic tenor and electronic soprano. †For their second piece Chess switched to the oud, playing middle-eastern melodies over which Keepnew s' haunting samples wailed. †The communication between the three was excellent, interacting with each other as Keepnews varied the piece through samples of voices and rhythms, slowly bringing itself to a peaceful and coherent conclusion.

Hopson and Keepnews then returned to duo format with the most structured piece of the evening which they described as having a "modicum of a plan." †They described the piece as taking the audience to the "South East instead of Central Asia (along the axis of evil)." The piece began with samples of traffic noises and a slow tabla led rhythm over which Hopson played clustered figures against Keepnews' distorted guitar riffs, making a meandering journey into a dark world. After the break the two returned for two more improvisations, interactions with squiggly noises and strident distortions, whistful pieces that never completely congealed, but which wafted about the church in interesting ways.

Damian Catera then joined the duo as the final guest of the evening. †This introduced one more powerbook and another guitar to the fold, as Keepnews and Catera built sheets of drones over which Hopson looped sax lines. †A rich, thick noise tapestry was created out of which identifiable beats played forward and backward while samples appeared and dispelled themselves. The music took interesting turns with dense dynamic drops, the three interacting with bold structures and ideas.

The concert ended with a final duo improvisation using no processing. †The subtle interactions between Hopson and Keepnews showed the musicality that provided the foundation for their electronic excursions, a lovely ending to a dynamic and interesing performance.



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Recent Selections @ Squidco:


Archie Shepp:
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To
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- Revisited
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