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Drone Trio (Davis / Frith / Greenlief): Lantskap Logic (Clean Feed)

Recording in the Bay Area at the Mills College Chapel in Oakland, the Drone Trio of Fred Frith on electric guitar, Phillip Greenlief using extended techniques on alto & tenor saxophones, and Evelyn Davis on the Chapel's pipe organ, use the natural resonance of the chapel and their masterful skills as improvisors to evolve fervid and powerfully sonorous environments. ... Click to View


Flavio Zanuttini Opacipapa: Born Baby Born (Clean Feed)

Italian trumpeter Falvio Zanuttini (Arbe Garbe) leads his bassless trio with Piero Bittolo Bon on alto sax and Marco D'Orlando on drums through 8 Zanuttini compositions, exciting free jazz with a lyrical bent and a playful attitude, the unique orchestration driving the players into post-bop territory with great parallel interaction in the horns and swinging drums - impressive! ... Click to View


The Way Ahead (Roligheten / Alberts / Barno / Aleklint / Stahl / Hoyer / Ostvang): Bells, Ghosts And Other Saints (Clean Feed)

An incredibly informed and modern album of free jazz drawing on an Albert Ayler influence from the Norwegian and Swedish septet of Andre Roligheten on tenor saxophone, clarinet, Kristoffer Alberts on alto saxophone, baritone saxophone, Niklas Barno on trumpet, Mats Aleklint on trombone, Mattias Stahl on vibraphone, Ola Hoyer on double bass, and Tollef Ostvang on drums. ... Click to View


Francesco Cusa & The Assassins Meets Duccio Bertini: Black Poker (Clean Feed)

The Italian free improv quartet The Assassins (Francesco Cusa, drums; Giulio Stermieri, piano; Flavio Zanuttini, trumpet; Giovanni Benvenuti, sax) joins toget with the classical chamber string ensemble, Florence Art Quartet (Daniele Iannaccone, violin; Lorenzo Borneo violin; Agostino Mattioni, viola; Cristiano Sacchi, cello) in a wonderful hybrid of both approaches. ... Click to View


Zack Clarke: Mesophase (Clean Feed)

Mesophase: matter that is neither liquid or solid, sharing properties of both; pianist and electronic artistZack Clarke's inspired album shares properties of improvisation, experimental/ea and through-composed music, performed with fellow NY-ers Chris Irvine (cello), Charlotte Greve (winds), Nick Dunston (double bass), and Leonid Galaganov ( percussion, waterphone & shakuhachi). ... Click to View


Frantz Loriot / Christian Wolfarth: The Call [VINYL] (Shhpuma)

Two unconventional and experimenting improvisers--French-Japanese violist Frantz Loriot and Swiss percussionist Christian Wolfarth--in a deceptive album of acoustic improvisation that elusively takes on electric qualities in the hands of these two innovators, seducing the listener through unusual twists and turns of perfectly paced interactions. ... Click to View


Ricardo Toscano Quartet : Feat. Joao Pedro Coelho, Romeu Tristao & Joao Lopes Pereira (Clean Feed)

Saxophonist Ricardo Toscano's Quartet with Joao Pedro Coelho on piano, Romeu Tristao on bass, and Joao Lopes Pereira on drums, a great example of modern Portuguese mainstream jazz that pays homage to the masters of bop and the Blue Note era, in a lyrical album of Toscano original compositions, alongside a rendering of Herbie Hancock's "The Sorcerer". ... Click to View


Hamar Trio (Holm / Faustino / Morao): Yesterday Is Here (Clean Feed)

Drawing from two live performances, one at Salao Brazil in Coimbra, the other at SMUP Parede in Portugal, from the trio of Norwegian multi-reedist Klaus Ellerhusen Holm (Ballrog), and Portuguese double bassist Hernani Faustino (Red Trio) and drummer/percussionist Nuno Morao (The Selva), for four spontaneous improvisations of great depth and mastery. ... Click to View


Antonio Raia : Asylum (Clean Feed)

Naples tenor saxophonist Antonio Raia's album of solo saxophone improvisations employs a mix of traditional and unusual techniques in 12 concise pieces that fragment "scraps" of melody into a diverse ruminating streams, recorded at the city's Filangeri Asylum by sound artist Renato Fiorito, using ten microphones to capture the unique qualities of the space. ... Click to View


Antonio Raia : Asylum [VINYL] (Clean Feed)

Naples tenor saxophonist Antonio Raia's album of solo saxophone improvisations employs a mix of traditional and unusual techniques in 12 concise pieces that fragment "scraps" of melody into a diverse ruminating streams, recorded at the city's Filangeri Asylum by sound artist Renato Fiorito, using ten microphones to capture the unique qualities of the space. ... Click to View


Chicago Edge Ensemble (Phillips / Drake / Williams / Bishop / Pablan): Insidious Anthem (Trost Records)

Drawing together some of Chicago's finest improvisers--leader Dan Phillips on guitar, Mars Williams on saxophones, Jeb Bishop on trombone, Krzysztof Pabian on double bass, and Hamid Drake on drums--for their second album, a balance set of creative jazz tunes with solid compositions that lend themsevles to exultant soloing, unusual sonic moments, and great collective playing. ... Click to View


Simon Nabatov String Trio: Situations (Leo)

As much a composed work as a work of improvisation, pianist and composer Simon Nabatov's String Trio with Garteh Lubbe on viola and Ben Davis perform six Nabatov compositions, chamber jazz works that express in both buyouantly intricate and languourosly beautiful abstraction, each piece leaving room for each player to improvise and express themselves. ... Click to View


Heath Watts / M.J. Williams / Nancy Owens / Blue Armstrong : Sensoria (Leo)

Saxophonist Heath Watts' 3rd Leo release is an album of free improvisation with three Montana jazz mavens--Blue Armstrong on double bass, MJ Williams on trombone, piano & melodica, and Nancy Owens on violin--in nine recordings of sophisticated and intelligent interaction that naturally evolves new directions of irrepressibly enjoyable and diverse conversation. ... Click to View


Ikui Doki (Bernado / Mayot / Rinaudo): Ikui Doki (Ayler)

Winners of the Jazz Migration and tour JMF 2018, the chamber jazz trio of Sophie Bernado (bassoon), Hugues Mayot (saxophone & clarinet) and Rafaelle Rinaudo (harp & effects) share their passion for creative music that embraces composition and improvisation, springboarding off composers like Debussy while transferring warmth and vision into free jazz; magnificent. ... Click to View


Szilard Mezei Tul A Tiszan Innen Ensemble: Citromfa [2CDS] (FMR)

Violist Szilard Mezei's Serbian jazz-folk group Tul a Tiszan Innen Ensemble is a twelve-piece band that functions as a small orchestra playing a range from complex to spacious compositions and arrangements from Mezei, using themes from Hungarian folk songs from Vojvodina to create expansive compositions over which the adept members of his ensemble improvise. ... Click to View


Les Surruralists (Bull / Normand / Grossman / Jacques / Berirau): La Way Qu'a Do (Tour de Bras)

Slyly crossing modern improv and EAI approaches in a surreal take on early bottleneck, banjo and slide blues styles from the Quebec quintet of Arthur Bull on harmonica, voice, guitar, electronics, Eric Normand on banjo, voice, bass, Ben Grossman on "old wheel", Anne-Francoise Jacques on engines, and Gabriel Rochette on trombone; sincere and eccentric. ... Click to View


Plant (Jim Denley / Eric Normand): II (Tour de Bras)

Separated by 1,000 KMs and speaking a different language, the collaboration of Quebec bassist Eric Normand and Australian saxophonist Jim Denley, both dedicated experimenters, share a common aesthetic in free improvisation as they release their third album: five dialogs using reeds, electric bass, drums, objects and tools to create unusual sonic conversations. ... Click to View


Weasel Walter : Curses (Ugexplode)

Drummer/percussionist and electronic artist Weasel Walter's solo album presents 99 tracks that represent 4 large movements of "detailed abstract madness", titled "Curse Against Humanity", "Casting Destruction", "Ode To The Death Of Enemies", and "Cursed in Eternity", each a vicious and intensely captivating set of elusive movement in accord and discord; fascinating. ... Click to View


Sabu Toyozumi / Rick Countryman / Simon Tan: Preludes And Prepositions (ChapChap Records)

Three extended free improvisations recorded in 2017 in Cubao Quezon City from the trio of Rick Countryman on alto saxophone, Simon Tan on acoustic bass, and Japense first generation free improviser Sabu Toyozumi on drums & Erhu (a 2-stringed Chinese instrument), as the trio take their listeners on a marathon session of inspired and playing. ... Click to View


Derek Bailey / Vertrek Ensemble ‎: Departures (Volatile Records)

After only their first album as a duo, the Edmonton, Canada duo Vertrek Ensemble of Vadim Budman on electric and acoustic guitar & cornet and Ron de Jong on percussion, travelled to London in 1998 to record a session with legendary free improviser Derek Bailey, this album of open-minded, uniquely voiced and beautifully captured improvisation the result. ... Click to View


Ivo Perelman / Matthew Shipp: Oneness [3 CDs] (Leo)

A significant release culminating the partnership of saxophonist Ivo Perelman and pianist Matthew Shipp, a distillation of their work after 8 duo recordings and dozens of collaborative albums, this 3 CD presents their work together in nearly telepathic terms: sympathetic and intimate without irascibility, a beautiful and introspective reflection of a shared ethic. ... Click to View


Aine O'Dwyer / Graham Lambkin: Green Ways [2 CDs] (erstwhile)

A unique sound document originally envisioned as a sound map of Ireland, collecting and composing with live recordings from performances in Doon, Dungarvan, Plaistow, Shoreditch, Singo & Stratford, using song, sound, spoken word, extraneous, ambient recordings and abstract and unidentifiable elements, making for an absolutely fascinating and somewhat bizarre album; recommended. ... Click to View


Dustin Carlson (w/ Mitchell / Gentile / Hopkins / Morgan / Trudel / Gouker): Air Ceremony (Out Of Your Head Records)

A strong album of modern creative jazz from New York guitarist Dustin Carlson, in a septet with Matt Mitchell on synth, Kate Gentile on drums, Adam Hopkins on bass, Nathaniel Morgan on alto saxophone, Eric Trudel on baritone saxophone, Danny Gouker on trumpet, sophisticated, intricate, lyrical and compelling compositions driving the enthusiasm and exuberance of their "ceremony"! ... Click to View


Jurg Frey : 120 Pieces of Sound (elsewhere)

Two distinct works by Swiss composer and bass clarinetist Jurg Frey: the 1st, recorded in Connecticut, a quintet composition from 2009 for bass clarinet, cello, violin, keyboard and electric guitar, Frey's harmonies creating an open instrumentation for the clarinet and cello; the second a 1997 composition for multitimbral field recordings and bass clarinet. ... Click to View


Clara de Asis : Without (elsewhere)

French composer and guitarist Clara De Asis composed the extended soundwork "Without" for the duo of Erik Carlson (violin) and Greg Stuart (percussion), defining a precise framework for the position and duration of each sound section and silence, with outlines for texture, volume, use of tone or noise, and percussive materials, but leaving space for many of the performers' choices. ... Click to View


Stefan Thut : about (elsewhere)

Composer & cellist Stefan Thut performs his composition with Ryoko Akama (electronics), Stephen Chase (guitar), Eleanor Cully (piano), Patrick Farmer (metal percussion), and lo wie (tingsha), where half of the group allow single percussive, ringing or electronic sounds to decay, as the other half play high register pitches, in between walking "about" and uttering monosyllabic words. ... Click to View


Insect-ions (Pascal Landry / Mick Barr): out.over.forever (Tour de Bras)

Acoustic guitar intermeshes with electric guitar as Canadian guitarist Pascal Landry and New York guitarist Mick Barr, both of whom play in heavy rock and free improvisation settings, meet in Queens, NY to record this intense album of free playing using a diverse set of approaches, intertwining their strings in an insectile swarm of notes and timbres. ... Click to View


Eugene Chadbourne / Vertek Ensemble: Dimsum, Dodgers, And Dangerous Nights (Volatile Records)

Documenting the meeting of guitarist Eugene Chadbourne, also singing on "If I Were a Bell", with the Edmonton, CA-based Vertrek Ensemble of Ron de Jong on percussion and Vadim Budman on guitars and trumpet, in a city Chadbourne lived in 25 years prior, as he returns for a serious and well recorded album of informed free improv, plus one solo Chad track from a concert during his visit. ... Click to View


John Zorn: In A Convex Mirror (Tzadik)

Three pieces of "sonic voodoo" with John Zorn improvising on saxophone over the hypnotic Hatian influenced drumming of Ches Smith, while Downtown NY experimenter Ikue Mori provides swirls of sound and other aural additions, Zorn's incredible technique, lyrical skills and unusual twists and turns keeping the listener captivated over compelling and rich rhythm. ... Click to View


BROM (Lapshin / Ponomarev / Kurilo): Sunstroke (Trost Records)

Super heavy free jazz with a rock sensibility that also quotes and references the greats, including a track dedicated to Charles Mingus, from the Moscow trio of Dmitry Lapshin on double bass, Anton Ponomarev on saxophone, and Yaroslav Kurilo on drums, founded in 2008 but only now gaining global acknowledgement of their informed and ferocious brand of improv. ... Click to View


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  Big Sounds in a Small Town  

The Victoriaville Festival celebrates, or at least notices, its 20th anniversary


By Kurt Gottschalk
Photos by Martin Morissette 2003-06-19

Last year, after the 19th annual Festival International de Musicque Actuelle de Victoriaville, I asked festival organizer Michel Levasseur if he had big plans for Victo's 20th birthday. His response was, quite simply, that it was just another year and that he didn't see any reason why it should be a bigger deal than any other year.

Still, there were signs all over the small town (with a population of about 40,000, 7,000 tickets sold over the course of the five-day festival represent a noticeable swell on the streets every Victoria Day weekend) celebrating the anniversary, and a downtown bank gave away pieces of a birthday cake inscribed to FIMAV. Mentions of the anniversary from the stage, however, were rare. And while there were big sets from big names with long histories at the fest, other performances almost seemed to reinforce the idea that anniversaries are no big deal. Along with the stars and the oddities, a current of small sounds, well amplified, ran through the five-day festival.

Frith, Lussier, Etc.
Fred Frith, Maxime Lepage, René Lussier, Tom Walsh
Rene Lussier and Fred Frith performed at the first festival in 1983, and a duo set was the first release on Victo records, so it was fitting enough that the Quebecois guitarist opened the first night of the fest with Frith in his band. The nonet played deeply deconstructed folk songs from Lussier's record Tombola Rasa, with melodies sometimes only vaguely recognizable. Some pieces were played by smaller groupings of the ensemble, but when the full group played they toyed with familiar melodies and themes that would dissolve and break apart frustratingly fast, phrases filtering, sweltering, smelting, flowing, growing but never quite gelling. It wasn't until the third song, with Lussier singing, that that Franco-Dixie-St. Germaine sources became apparent (at least to a listener visiting from the States).

Excellent support was provided especially by violinist Liette Remon and clarinetist Lori Freedman, but the nine people onstage were an orchestra (as well as a big band and a hootenanny), with all the diversity and arrangement that befits an orchestra. Euro jazz, mountain music, hula, funk and, of course, the inexplicable, the actuelle and French lyrics were incorporated, reminding visitors from the south that North American music comes from all over North America.

Fred Frith returned three nights later with Montreal's Nouvel Ensemble Moderne to present three composed works (including Traffic Continues released in 2000 by Winter & Winter) intertwined into a long suite over 75 minutes.

While the pieces were a little too similar to combine into a dynamic suite, the performance was enhanced by sonically theatrical staging. Musicians rose from their seats and moved to the side of the stage, playing and speaking without microphones (as with almost all of the sets at Victo, the performers were otherwise well miked and the sound was exemplary), dropping wooden blocks on the stage floor and creating an acoustic sound field within the piano syncopation and complex, linear, nonrepeating oboe and flute lines emanating from the p.a. Frith took over the conducting from ensemble leader Lorraine Vaillancourt for brief interludes of real-time arrangements before slinking back to the side of the stage to punctuate with his prepared guitar. It was an interesting, romantic, static, intelligent and lucid suite. The pieces no doubt stand better distinct, but what should be expected from an inventive mind other than inventive ways to present its work?

The Victo festival also has a long relationship with the Montreal label Ambiences Magnetiques, which was represented in several of the concerts, including a duet by Jean Derome and Joane Hétu, the husband/wife team that co-founded and run the label.

Intimacy is a word that gets thrown around a lot in discussions of music: intimate clubs, intimate atmospheres, intimate concerts, intimate albums. But the intimacy of family, of a gracious couple entertaining guests, brings an altogether different nuance to the claim. Derome and Hétu are perfect hosts, jointly relating stories, complimenting without interrupting each other. They surely must be the sort of couple that defers conversational points to each other, depending on who "tells it better."

Joane Hetu
Joane Hétu
Hétu on alto and vocals, Derome on alto, flute, bass flute and an array of sound-making devices, both singing and vocalizing, their songs (sung in French) were miniature portraits of domesticity and getting along, imparting a feeling of cooking dinner while the news plays in the next room. Intimate enough as to simply breathe into the microphone and through the saxophone. And jazz being the macho business that it is, you have to appreciate a guy who'll go onstage and play patty-cake with his wife.

Mike Patton has more recently become a regular on the Victo program, but nevertheless pulled together a program of note. His Fantomas, playing in tandem with The Melvins as the Fantomas Melvins Big Band, had only done one previous concert before they closed the last night of the fest. They began as a double trio with two singers, two bassists and two drummers in perfect sync. Two rock bands demanding sacrifice in unision, like Black Sabbath looking in a mirror. From there they broke into bpm noise and huge thrash metal. It was the festival's closing party and it's money shot, and they rocked freakin' suitably. Flipping between anthemic speed grinds and tense, sparse, hilarious segues, the assault came to an end with all six bashing on cymbals for more than a short time. Learned listeners run the risk of overlooking them because they might not be good, or at least not especially innovative, and indeed Mike Patton has become very adept at doing other people's ideas well. But what matters about rock bands has never been if they're good. What matters about rock bands is if they rock.

Another blockbuster set was a double trio fronted by Peter Brötzmann and Evan Parker. They opened with an all-out twin tenor Coltrane attack. The two saxophones began a simple unison theme and took only moments to turn that into sheer energy. They truly were a double trio: Brötzmann, drummer Hamid Drake and bassist William Parker leaving the stage early on to give Evan Parker, Alexander von Schlippenbach and Paul Lytton the spotlight, then Parker and von Schlippenbach setting down a series of short statements, separated by brief pauses while Lytton lightly rolled across cymbals and snare.

The sextet moved beyond its double-trio structure and into a rotating ensemble. Different passages in the unbreaking piece included quintets with each of the horns stepping out, a remarkable trio with von Schlippenbach's piano and the two drummers and a bass/drum duo by Parker and Drake. The sextet ended, dissolving until a few lone notes hung in the air. An unnecessary but welcome encore brought them back to the stage, and back to the Trane. In a festival revolving so much around the new and unusual, it was great to hear free jazz this good.

Perhaps the most excitement was generated by two sets from John Zorn, and indeed it was odd coming from New York to hear over 1,000 people screaming for one of his game pieces. Zorn presented a big, fat, long Cobra, thickly coiled and taking its own sweet time to strike. And with Mr. Zorn approaching the dawn of his sixth decade, it was a more generous Cobra as well, with the leader at the prompter's pulpit offering players the opportunity to lead the piece, a move known as 'guerilla tactics' that once had to be claimed, not merely accepted, by participants. (Alternately, Zorn ended some moves early, seeming to break with game piece tradition in order to ensure a stronger musical result.)

Cobra is the most played of Zorn's game pieces, a set of rules that impose structure on improvisation and allow players to direct the performance even as they're playing. At its core, it's about using personality clashes and sympathies to create an environment automatically tailored for any set of musicians. This meeting, however, didn't explore individual or cultural divides. Zorn used the structure as a compositional tool more than he allowed players to contend against each other to build something not entirely controllable. Cobras of late have become more musical and less contentious anyway. This one was immense, monolithic and satisfying, thanks primarily to Diane Labrosse's fierce, grinding noise and guest Makagami Koichi's leaps and screams.

Electric Masada have been woodshedding a more orchestrated, fast-cut version of the latest take on the Masada songbook, but unfortunately the group was in jam band mode for their set. An unusually powerful, syncopated, melodic and structured set was presented by some other visiting New Yorkers, however. Mephista were more dynamic than ever, visually cuing each other and even referring to scores, a direction which, according to laptop percussionist Ikue Mori, the group has developed with recent heavy touring.

MINIATURES

Sparse electronic music can have a microscopic effect, like listening to photosynthesis or cells dividing. When it's done well, it can carry the feeling of the lives we live zoomed in to an unrecognizable degree. Laura Kavanaugh and Ian Birse, both Canadian, worked that angle well, pairing soft crackles and reverberating whirs with slow black-and-white videos of pedestrians shot from overhead. The walkers got nowhere, the documentation of their simple tasks slowed, reversed and repeated, displayed on four monitors surrounding the audience. It was life slowed to a crawl, mental activity not mattering, biological functions continuing.

The miniature music was amplified to epic proportions with a quintet comprised of Quebecers Diane Labrosse and Martin Tetreault and French improvisers Xavier Charles and the duo Kristoff K. Roll. The electronics-and-small-objects ensemble invited observers into the physical space, setting up in a circle in the middle of the room and asking the audience to promenade around them, revealing their many sound sources to full view. The quintet included Labrosse's laptop and Tetreault's turntable, but otherwise relied on cups of lentils, kitchen utensils, rubber bands, aluminum foil, plastic toys, cds dropped onto a zither being moved arross a tabletop scattered with rice. Charles' clarinet provided the only strictly musical sounds; his short squeaks and breathy tones would push the edges in a jazz context, but against the rattle of this giant junk drawer it sounded deceptively melodious. The rest was amplified more than it was altered, coming off deceptively like electronically generated music when it was really the sounds of inanimate life, with the volume up.

Another quintet seemed to embody not the sound but the actual movement of thousands of small objects. In an excellent set by Kazue Sawai, Michel Doneda, Kazuo Imai, Le Quan Ninh and Tetsu Saitoh, the players were in constant movement, flying under the radar of chaos. Guitar, bass and koto strings were rubbed and rubbed hard while Le Quan worked metal edges against his table-mounted bass drum. Doneda darted above and circled below with his soprano. They were frenetic, energetic, quietly fast and fantastic.

Krebs Neumann
Annette Krebs & Andrea Neumann
The microsonic plane was further explored by two essentially acoustic players, Annette Krebs on guitar and Andrea Neumann playing the strings and metal frame of a piano stripped of keys, pedals and wooden casing. With contact mikes placed on the guitar laid across her lap, Krebs applied steel wool, brushes and bows to her hypersensitive strings. Likewise, Neumann's playing had less to do with the vibration of strings than what can be made to happen upon them. The sounds themselves weren't of particular note. Instead, their aesthetic is about a shared penchant for placing the sounds, and they work quiet beautifully together.



continued...




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Recent Selections @ Squidco:


Flavio Zanuttini Opacipapa:
Born Baby Born
(Clean Feed)



The Way Ahead
(Roligheten /
Alberts /
Barno /
Aleklint /
Stahl /
Hoyer /
Ostvang):
Bells, Ghosts
And Other Saints
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Drone Trio
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Simon Nabatov String Trio:
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Chicago Edge Ensemble
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Aine O'Dwyer /
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Dustin Carlson
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John Zorn:
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Roscoe Mitchell Sextet:
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BROM
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Mary Halvorson /
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The J. & F. Band
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Mars Williams presents:
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