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Satoko Fujii: Solo (Libra)

A stunning album of solo performances, the first of 12 monthly releases from Japanese pianist Satoko Fujii celebrating her 60th birthday, in an impressive set of seven original compositions illustrating her incredible skills in both profoundly beautiful and technically spectacular playing both inside and out of the piano, an exceptional start to the series. ... Click to View


Kaze (Fujii / Tamura / Pruvost / Orins): Atody Man (Libra)

The fifth album from the French and Japanese quartet Kaze, initiated by drummer Pter Orins, with two trumpeters--Christian Pruvost and Natsuki Tamura--and pianist Satoko Fujii, all using extended and unusual techniques as they perform innovative compositions from Fujii, Orins, and Tamura with a balance of serious and playful approaches; brilliant. ... Click to View


Fire!: The Hands (Rune Grammofon)

The genre-defying trio Fire! with Mats Gustafsson on saxophones & electronics, Andreas Werliin on drums, percussion and effects, and Johan Berthling on upright and electric bass, blend heavy and dark elements of free improvisation, free rock, free blues, sound and noise, and sampled overlays in their latest, cultured and crude album of brooding and gripping music. ... Click to View


Fire!: The Hands [VINYL + CD] (Rune Grammofon)

The genre-defying trio Fire! with Mats Gustafsson on saxophones & electronics, Andreas Werliin on drums, percussion and effects, and Johan Berthling on upright and electric bass, blend heavy and dark elements of free improvisation, free rock, free blues, sound and noise, and sampled overlays in their latest, cultured and crude album of brooding and gripping music. ... Click to View


Lisa Mezzacappa : Glorious Ravage (New World Records)

San Francisco Bay Area composer, acoustic bassist, and bandleader, Lisa Mezzacappa used the 1872 writings of British world traveler Isabella Bird "I am doing what a woman can hardly ever do ..." as the basis for lyrics for her adventurous ten-part "panoramic song cycle for improvisers, with Fay Victor handling the vocals with a stellar ensemble of modern improvisers. ... Click to View


George Lewis: Assemblage (New World Records)

Composer George Lewis leads an ensemble that bridges compositional and improvisation skills through four large compositions written between 2012 and 2014 using the concept of "assemblage," a pragmatic, material, non-teleological approach to composition on four differing themes, yielding fascinatingly complex yet diverse, thrilling and embraceable results. ... Click to View


Daniel Levin / Chris Pitsiokos / Brandon Seabrook: Stomiidae (Dark Tree Records)

A collective trio of vanguard improvisers and frequent New York collaborators, Daniel Levin on cello, Chris Pitsiokos on alto saxophone, and Brandon Seabrook on electric guitar, a working band captured here in the studio at Firehouse 12 for a powerful set of idiosyncratic and exhilarating improvisations with tracks and the title named for a family of deep sea fish. ... Click to View


Jaap Blonk / Terrie Ex: Thirsty Ears (Terp Records)

Ex guitarist Terrie Ex improvises with Dutch sound poet and electronicist Jaap Blonk for 9 stories and sonic works, using unusual phonetic interpretations in strange stories with electronic asides and interventions, a truly unique album drawing on the evolution of their duo since 2012 that includies performances in Ex's Ethiopian "Soundpoetry" series of concerts and workshops. ... Click to View


Plan B (Joe Mcphee / James Keepnews / David Berger): From Outer Space [VINYL with DOWNLOAD] (Roaratorio)

Spinning an unusual story, the trio of saxophonist and pocket trumpeter Joe McPhee, guitarist and laptop artist James Keepnews, and drummer David Berger envision the first encounter between alien life and a delegation of earthlings, while giving a nod to jazz's original man from another planet, Sun Ra, with a side-long suite dedicated to him. ... Click to View


Rutger Zuydervelt (w/ Ilia Belorukov / Rene Aquarius): The Red Soul (Sofa)

Music for the movie "The Red Soul" by Jessica Gorter, a chilling and fascinating look at the legacy of Josef Stalin, from an electroacoustic trio of Rutger Zuydervelt (Machinefabriek) editing and processing the playing of saxophonist Ilia Belorukov and percussionist Rene Aquarius, a dark and muted set of 14 emotional tracks that reflect a dark history. ... Click to View


Lasse Marhaug: Void [7"] (BeCoq)

Two dark works of sound creating a mysterious chasm of drones, pulsations, electronic stretches, and mysterious percussive engines, a strange pair of recordings that definitely fit the title of this 7" record from Norwegian sound experimenter Lasse Marhaug. ... Click to View


Makoto Kawabata / Richard Pinhas / Tatsuya Yoshida: (Bam Balam Records)

Makoto Kawabata (Acid Mothers Temple), Richard Pinhas (Heldon), and Tatsuya Yoshida (Ruins), modern and prolific explorers in the 21st century evolution of so-called progressive rock, reunite at the Studio Condorcet in Toulouse (France) to record a series of fiery improvisations and experimentations blending free noise, blues, and psychedelia. ... Click to View


Makoto Kawabata / Richard Pinhas / Tatsuya Yoshida: (Bam Balam Records)

Makoto Kawabata (Acid Mothers Temple), Richard Pinhas (Heldon), and Tatsuya Yoshida (Ruins), modern and prolific explorers in the 21st century evolution of so-called progressive rock, reunite at the Studio Condorcet in Toulouse (France) to record a series of fiery improvisations and experimentations blending free noise, blues, and psychedelia. ... Click to View


Dominik Karski : GLIMMER Flute o'clock (Bolt)

... Click to View


Cortex: Avant-Garde Party Music [VINYL] (Clean Feed)

Cortex propels their persuasive, groove oriented approach to jazz with this swinging album that blends free jazz styles with great hard bop, in line with a band like The Thing, this Scandinavian group wants to make your body move without indulging in excess or pandering, instead following a muse that's solidly in the exuberant free jazz tradition. ... Click to View


Evan Parker / Barry Guy / Paul Lytton: Music For David Mossman (Intakt)

David Mossman is the founder of The Vortex Jazz Club in London, where in January 1983 the British trio of Evan Parker on sax, Barry Guy on bass, and Paul Lytton on drums recorded their first album together on the Incus label, "Tracks"; returning now, 43 years later, to pay tribute to the club and to record this absolutely impressive album of commanding free improvisation. ... Click to View


Amok Amor: We Know Not What We Do (Intakt)

An edgy, technically spectacular, inventive and slightly twisted jazz quartet of German-based free improvisers Christian Lillinger (drums), Petter Eldh (bass), Wanja Slavin (sax), with NY trumpeter Peter Evans (Mostly Other People Do the Killing) on trumpet, for 9 innovative compositions that thrill, amuse, and keep you on the edge of your seat. ... Click to View


Jurg Wickihalder / Barry Guy / Lucas Niggli: Beyond (Intakt)

A working trio formed from 3 generations of free jazz players dedicated to performing and recording, Jurg Wickihalder (sax), Barry Guy (bass) and Lucas Niggli (drums) spent two days at the Loft in Cologne, Germany recording this album of virtuosic skill and joyful playing, effortlessly passing from lyrical to abstract sections with always a song in their collective heart. ... Click to View


Eskelin / Weber / Griener: Sensations of Tone (Intakt)

Taking their title from a 19th century text by Hermann von Helmholtz on acoustics and perception of sound, the trio of NY saxophonist Ellery Eskelin, German drummer Michael Griener, and Swiss bassist Christian Weber present a a series of improvised pieces alternated with early jazz compositions, juxtaposing both approaches to highlight their similarities and the differences. ... Click to View


Ivo Perelman (w/ Matthew Shipp / William Parker): The Art Of Perelman-Shipp Volume 1 Titan (Leo)

For more than 20 years Brazilian tenor saxophonist Ivo Perelman and New York pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this first volume of 6 albums brings the two together with frequent collaborator William Parker for a 6 part work, fittingly dedicated to Saturn's largest moon, "Titan". ... Click to View


Ivo Perelman (w/ Matthew Shipp / Bobby Kapp): The Art Of Perelman-Shipp Volume 2 Tarvos (Leo)

For more than 20 years Brazilian tenor saxophonist Ivo Perelman and New York pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this second volume brings the duo together with legendary drummer Bobby Kapp, who's nimble and relaxed approach showcases himself and the duo of Pereleman Shipp with grace. ... Click to View


Ivo Perelman (w/ Matthew Shipp / William Parker / Whit Dickey): The Art Of Perelman-Shipp Volume 3 Pandora (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 3rd volume brings David S. Ware's (or Shipp's Trio) rhythm section the studio for a turbulent and ultimately fiersome album of free improv that only such long relationships can invoke. ... Click to View


Ivo Perelman (w/ Matthew Shipp / Michael Bisio): The Art Of Perelman-Shipp Volume 4 Hyperion (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 4th volume celebrating that partnership adds another long-term compatriot, NY bassist Michael Bisio, for a 10 part series of improvisations exploring a diverse set of approaches. ... Click to View


Ivo Perelman (w/ Matthew Shipp / William Parker / Whit Dickey): The Art Of Perelman-Shipp Volume 5 Rhea (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 5th volume celebrating that partnership brings the duo together with bassist William Parker and drummer Whit Dickey, where the long-term bonds of all 4 players push each to great heights. ... Click to View


Ivo Perelman (w/ Matthew Shipp): The Art Of Perelman-Shipp Volume 6 Saturn (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 6th volume bring us back to the core, evoking the planet Saturn in a 10-part series of duos between these two masterful players, showing fire and angular playing in mid-tempo exploration. ... Click to View


Ivo Perelman (w/ Matthew Shipp / Andrew Cyrille): The Art Of Perelman-Shipp Volume 7 Dione (Leo)

For more than 20 years Brazilian/NY saxophonist Ivo Perelman and NY pianist Matthew Shipp have collaborated in a diverse set of projects that have led to more than 30 albums; this 7th and final volume brings legendary drummer Andrew Cyrille together with the duo in a subtle album propelled by Cyrille's authoritative rhythms and superb interaction of all three players. ... Click to View


Myra Melford Trio: Alive In The House Of Saints CD 2 (Hatology)

The much-anticipated 2nd volume in pianist Myra Melford's series of live performances, "Alive In The House Of Saints", documenting sublimely beautiful and innovative playing with her trio of Lindsey Horner on bass and jazz legend Reggie Nicholson on drums, performing live in two concerts in Germany in 1993. ... Click to View


Michael Adkins Quartet (w/ Russ Lossing / Larry Grenadier / Paul Motion): Flaneur (Hatology)

Much is made of Canadian saxophonist Michael Adkin's mid-tempo approach to jazz, heard here in his 3rd album, "Flaneur", which translates to "stroller" or "saunterer", an apt description of the lyrical, unhurried yet technically adept and sophisticated approach taken by his quartet with Russ Lossing on piano, Larry Grenadier on bass and Paul Motian on drums. ... Click to View


Samuel Blaser Trio (w/ Marc Ducret / Peter Bruun): Taktlos Zurich 2017 (Hatology)

With a history of work in Switzerland, NY and Berlin, trombonist Samuel Blaser brings his multi-national trio with avant improvising guitarist Marc Ducret and Dutch drummer Peter Bruun to the stage of the Taktlos Festival in Zurich, Switzerland in 2017 for a set of extended improvisations, all three players displaying a unique language of incisive and fascinating free jazz. ... Click to View


Markus Eichenberger / Daniel Studer: Suspended (Hatology)

Swiss compatriots with a long history of creative approaches to improvisation, double bassist Daniel Studer and clarinetist & bass clarinetist Markus Eichenberger join together for a studio album recorded at Radio Zurich in 2016, an album of furtive tension and suspense, each track named for a motion or subtle action that they carefully describe. ... 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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