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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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  Charming the Cobra  

A first-hand account of organizing a performance of John Zorn's most famous game


By Eyal Hareuveni 2003-08-20

John Zorn, in the liner notes to the latest recorded version of Cobra, on Tzadik, said of his most popular game-piece that "at its worst it can become psychodrama", but "at its best it's like magic." As it happened, the first official Israeli Cobra was almost doomed to become a kind of political psychodrama. Seventy-two hours before the concert, Zorn, who was supposed to be on hand as the conductor/prompter, decided to cancel his visit to Israel because of the shaky and troublesome situation in the Middle East. Luckily, due to the most creative and wise conduction by the Israeli viola player Nori Jacoby, the Israeli Cobra turned out with many magical moments.

The Israeli Cobra was being planning by Zorn and the Israeli Artistic Director, bass player Jean-Claude Jones, who jammed with Zorn during his 1994 visit to Israel with the Masada quartet (and was thanked on the liner notes of Masada in Jerusalem double disc on Tzadik), for the Israel Festival at Henry Crown Hall on June 7, 2003. For eight months prior to the performance, Jones and I had been assembling the players according to Zorn's suggestions - i.e. at least two female players, two Israeli-Arab players (one of them cancelled a month before the concert), a DJ and players from diverse backgrounds - jazz, improv, classical music, electronics. Zorn wanted playful, adventurous players, and emphasized that he does not care at all about virtuosity.

As we began to look for the players, we found out that most of them have heard of Zorn; vocal artist Maya Dunietz had even played with him an improv nights at Tonic in New York City. Only few of them owned any of his recordings, however, and none knew what the hell Cobra is. The sole exception was Jacoby, who was drafted a month before the concert. Jacobly learned Cobra from a Canadian musician and even conducted and played in some underground performances of the piece. None of the players really understood the rules Zorn sent, and even Jacoby needed a hour-long talk with Zorn, a day before the concert, to fully realize the key dynamics of a successful Cobra. Zorn last word of advise to Jacoby, an hour before the concert were quite short: "Have fun!"

After much preparation, the 13 players met for the first time nine hours before the performance for a quick sound check and a long rehearsal. Some had played with each other before, but not in such a large formation. Some had tried to rehearse the piece a few weeks before the concert. None of the players canceled after hearing that Zorn had decided to stay home. The players were: Jones, one of the best known jazz player in Israel, on bass and electronics; Dunietz on vocals, toys, shoes, percussion and synth; Taiseer Elias, who played in world music ensembles such as Bustan Abraham and Ziryab Trio, on oud; Dana Waxman, a member of the Israeli improv group Tel Aviv Art Ensemble, on cello; Ofer Ganor and Nadav Remez on electric guitars; multi instrumentalist Adam Scheflan on dobro, mini-vibes and kazoo; Daniel Ran on piano; Jeffrey Kowalsky, lead percussion player in the Beer Sheba Symphonietta, and long time collaborator of Steven Horenstein, on vibes, steel drums and darbouka; Hagai Freshtman, a long time collaborator with Assif Tsahar and Ori Kaplan (two Israeli saxophonists living in New York) on drums; video artist Ran Slavin on lap-top; Yoav Bernstein as DJ and special guest Shanir Ezra Blumenkranz (who played in the festival with Daniel Zamir's Satlah) on bass. The youngest player was Remez, only 19 years old. The oldest, at 53, was Kowalsky.

The first characteristic of the Israeli Cobra players that our conductor Jacoby tackled was their insistence on playing all the time. Every time that Jacoby signed 'pool' (as he explained it, the cue means that every player can jump into the pool, but not all players have to jump at the same time) everybody began playing, seeming to enjoy the overall chaos. Then all the players tried to check out how fun the guerilla tactics are, but all was done in a very playful way. Slowly, but in a very confident way, Jacoby turned the rehearsal from a psychotherapeutic workshop for suppressed musicians into a really creative process. It began to seem that Zorn's absence would not hinder the concert.

Cobra was scheduled to open the festival, a free performance that filled the 700-seat hall. More than half the attendees did not know what to expect, believing they had come to see a jazz concert led by a well known Jewish musician (but only a few dozen left during the performance). The beginning of the first piece was hesitant, the players seemed to have lost some of their self-confidence since the last rehearsal, but it quickly evolved into a game of duos and Jacoby kept signing the players almost randomly, sometimes surprising them.

The real magic happened halfway into the concert, during the third piece. Jacoby created an event, selecting Elias on oud, Blumenkranz on bass and Kowalsky on the hand drum darbouka, and the three of them improvised beautifully on a Middle-Eastern scale with Elias leading, while the rest of the players tried to catch up. Jacoby used a lot of jump cuts between the three players and the other musicians and you could feel the kaleidoscopic musical vision of Zorn comes alive with a beautiful cello solo by Waxman, strange e-bow playing on the dobro by Scheflan, gibberish vocals from Dunietz and funny LP selections from Bernstein. The last section focused on the outer worldly laptop playing of Slavin and the piano outbursts of Ran, while the other players improvised in and out of the setting that Slavin and Ran created. Really beautiful music.

After more than 70 minutes the players were exhausted, physically, emotionally, but all of them felt so high, thanking anyone around, from the great sound engineer Uri Barak, to the festival officials, each other, me. All the tension was released. It was a unique experience for all of them, for the spectators, for the festival. The recording of this Cobra will soon be sent to Zorn to let him know what he was missing, and most of the players are planning to stage more Cobras in Israel in the near future.



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Recent Selections @ Squidco:


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