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Nakatani Gong Orchestra: Live Concert At Silo City (Nakatani-Kobo)

A full scale concert of Tatsuya Nakatani's Gong Orchestra with 15 performers bowing and striking Nakatani's collection large gongs under the conduction of Nakatani, recorded at the Silo City performance space in Buffalo, NY in 2017 in a rich, deep and mysterious album of large tones using the natural resonance of the Marine A Grain Elevator. ... Click to View


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Dynamic and compelling improvisations from the Oslo-based international guitar trio of Brinicle is an improvising trio comprised of Norwegian Hakon Norby Bjorgo on upright bass, Canadian Mike McCormick on electric guitar and Michaela Antalova on drum kit, who met in 2015 to join their interestes in the intersection of avant improvisation and post-rock. ... Click to View


J@K@L (Keefe Jackson / Julian Kirshner/ Fred Lonberg-Holm): After A Few Days (Jaki Records)

The amalgamation of the names of Chicago mainstays, saxophonist Keefe Jackson, drummer Julian Kirshner and Fred Lonberg-Holm on cello, tenor guitar and electronics, J@K@L are captured live the Hungry Brain in Chicago in a concert of intricate, dynamic, fast-paced and expressive free improvisation with a unique palette and extraordinarily strong communication. ... Click to View


Polyorchard: Sextet | Quintet (Out and Gone Music)

Quintet and sextet recordings from the Polyorchard group of Jeb Bishop on trombone, Chris Eubank on cello, Bill McConaghy on trumpet, David Menestres on double bass, David Morris on tuba, Dan Ruccia on viola, Jeb Bishop on trombone, Jacob Wick on trumpet, recording at "The Store" in Raleigh, NC, for sublime and complex and collective free improvisation. ... Click to View


Simon Rose / Philippe Lemoine: Seance (Tour de Bras)

Tenor and bariton saxophones in an exchange of spectral interactions that emphasize harmonic overtones and intersections, unusual emanations from both instruments in a perfectly paced improvisations, each of the 12 dialogs named aptly for locations and crossing in Englad and France, adding a sense of journey to these mysterious and wonderful expeditions. ... Click to View


Michel Bonneau / John Heward / Scott Thomson : 4x3 (Tour de Bras)

An unusual mix of instruments from the Montreal trio of percussionist Michel Bonneau on congas & balafon, John Heward on drums, and Scott Thomson on trombone, all members of Ratchet Orchestra and Heward's Murray Street Band, in an album of active and uniquely layered confident rhythmic floors over which Thomson freely plays with remarkable technique. ... Click to View


Beaudoin-de-la-Sablonniere, Louis / Eric Normand / Louis-Vincent Hamel: Brulez les Meubles (Tour de Bras)

Seeking to extend the guitar trio into new and unique territory, the Quebec trio of Eric Normand on electric bass, Louis Beaudoin-de-la-Sablonniere on electric guitar, and Louis-Vincent Hamel on drums, reference performers like Jim Hall, Sonny Sharrock, John Abercrombie, Bill Frisell while focusing on harmolodic force and unusual melodic lines. ... Click to View


Bill Orcutt: Why Does Everybody Love Free Music But Nobody Loves Free People? [VINYL 2 LPs] (Palilalia)

An horribly recorded album of solo guitar that begins with the concert promoter screaming at the audience, as Bill Orcutt takes the stage and plays an amazing set of solo acoustic guitar, a visceral album that perfectly fits Orcutt's history and playing style. ... Click to View


Giles Thornton Jazz Orchestra: Be In Today (FMR)

A large band project from UK composer, arranger and conductor Giles Thornton, directing 29 musicians through original works and reinterpretations of ballads like Joni Mitchell's "A Case of You", in a blend of acoustic and electronic musicians that avoids overt fusion overtones while keeping the music melodic with the occasional exotica flair. ... Click to View


Peter Brotzmann The Octet : Machine Gun [VINYL] (Cien Fuegos)

One of the exemplary albums of European free jazz originally issued on Peter Brotzmann's on BRO label in 1968, aggressive but astute music from now-legendary players Brotzmann, Evan Parker & Gerd Dudek on tenor sax (Brotzmann doubles on baritone sax), Peter Kowald on bass, Fred Van Hove on piano, Buschi Niebergall on bass, and two drummers - Han Bennink and Sven-Ake Johansson. ... Click to View


Peter Brotzmann The Octet : Machine Gun - Alternate Takes [VINYL] (Cien Fuegos)

First time issued on vinyl: alternate takes from the essential "Machine Gun" album on Brotzmann's BRO label in 1968, aggressive but astute music from now-legendary players Brotzmann, Evan Parker & Gerd Dudek on tenor sax (Brotzmann doubles on baritone sax), Peter Kowald on bass, Fred Van Hove on piano, Buschi Niebergall on bass, and two drummers - Han Bennink & Sven-Ake Johansson. ... Click to View


Derek Bailey / Jamie Muir: Dart Drug [VINYL] (Honest Jons Records)

A reissue of the 1981 Incus LP of guitarist Derek Bailey with one-time King Crimson percussionist Jamie Muir ("Larks Tongues in Aspic"), also a member of Bailey's Music Improvisation Company, an album of hovering harmonics from Bailey's feedback amidst Muir's kitchen-sink collection of items that creates a unique and riveting complement to Bailey's playing. ... Click to View


Derek Bailey: Aida [VINYL 2 LPs] (Honest Jons Records)

Extending UK improvising guitarist Derek Bailey's 1980 solo album on his own Incus label with a full additional album of solo guitar recordings from the BBC in the same year, giving a fuller story of Bailey's development of his self-defined non-idiomatic improvisation, wonderfully commanding playing of great technical skill and clear intention. ... Click to View


Amado / Mcphee / Kessler / Corsano: A History Of Nothing (Trost Records)

Following up their 2015 Not Two album "This is Our Language", the quartet organized by tenor saxophonist Rodrigo Amado with Joe McPhee on soprano saxophone and pocket trumpet, Kent Kessler on double bass, and Chris Corsano, a superb album of intense communication and soloing from a collective that merges free and lyrical playing, from ballads to full-on fury. ... Click to View


Amado / Mcphee / Kessler / Corsano: A History Of Nothing [VINYL] (Trost Records)

Following up their 2015 Not Two album "This is Our Language", the quartet organized by tenor saxophonist Rodrigo Amado with Joe McPhee on soprano saxophone and pocket trumpet, Kent Kessler on double bass, and Chris Corsano, a superb album of intense communication and soloing from a collective that merges free and lyrical playing, from ballads to full-on fury. ... Click to View


Spring Heel Jack / Wadada Leo Smith / Pat Thomas / Steve Noble: Hackney Road [VINYL] (Treader)

The Spring Heel Jack duo of guitarist and multi-instrumentalist John Coxon and keyboard & electronics player Ashley Wale are joined by UK improvising masters Pat Thomas on synth, keyboard & theremin, Steve Noble on drums, and US legend Wadada Leo Smith on trumpet, for a six "Scene" album of staggeringly intense improvisation over rich soundscapes; superb. ... Click to View


Fay Victor's SoundNoiseFunk (feat Joe Morris): Wet Robots (ESP)

SoundNoiseFUNK is New York free vocalist Fay Victor's quartet with Sam Newsome on soprano sax, Joe Morris on electric guitar and Reggie Nicholson on drums, a great collective group of leaders who perfect support Fay's wordless vocals and pointed statements, the title "Wet Robots" refererring to technology that is useless to help in an apocalyptic age; impressive. ... Click to View


Acid Mothers Temple & The Melting Paraiso U.F.O.:: Hallelujah Mystic Garden Part 1 (Important Records)

Two long sides of "blissed-out, super tight Acid Mothers Temple jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history" performed with AMT core members Cotton Casino (voice), Kawabata Makoto (guitar), Higashi Hiroshi (keys), Mitsuru Tabata (guitar), Staoshima Nani (drums), and S/T Wolf (bass). ... Click to View


Buck Curran: Morning Haikus, Afternoon Ragas [VINYL] (ESP-Disk)

American singer, songwriter, and guitarist, known for the psych-folk duo Arborea with Shanti Deschaine, in his second solo album of mostly instrumental acoustic guitar work, rich, reflective and confident work that fits in a John Fahey mode, with Adele Pappalardo providing vocals on one track, and Nicolo Melocchi playing Basuri Flute on another. ... Click to View


Joelle Leandre : A Woman's Work [8 CD BOX SET] (Not Two)

A thorough overview of bassist and vocalist Joelle Leandre's recent work in a boxed set of 8 CDs and a 16 page booklet of essays, photos and credits, each CD bringing a unique grouping from Les Diaboliques to duos with Mat Maneri, Fred Frith, Lauren Newton, & Jean-Luc Cappozzo, plus one solo disc and a quartet with Zlatko Kaucic, Evan Parker and Augusti Fernandez; magnificent. ... Click to View


Samara Lubelski / Bill Nace: (Relative Pitch)

Issuing on CD the duo album of violinist Samara Lubelski and guitarist Bill Nace, originally released on Nace's Open Mouth label early in 2018, presenting a series of psychedelic textural works, Lubelski creating vibrant and reiterating structures that Nace uses as a foundation for swells and expressive emanations; hypnotic and mesmerizing. ... Click to View


Irene Aranda / Johannes Nastejo / Nuria Andorra: Inner Core (Relative Pitch)

Referencing geothermal physics in the titles of their improvisations, these three Spanish improvisers create a riveting and radical set of experimental works, with Irene Aranda working inside and out of the piano, Johannes Nastejo extending and adapting his double bass, and percussionist Nuria Andorra using an arsenal of metallic and percussive objects. ... Click to View


Matthew Lux's Communication Arts Quartet: Contra/Fact [VINYL] (Astral Spirits)

Chicago bassist Matthew Lux (Isotope 217, Exploding Star Orchestra) in an album of effusive and spiritual percussive grooves under electronic and acoustic leads, performed with Ben Lamar Gay on cornet, electronics and percussion, Mikel Patrick Avery on drums, percussion, mellotron and more, and Jayve Montgomery on various woodwinds, samples and percussion. ... Click to View


Andrew Barker / Daniel Carter : Polyhedron [CASSETTE + DOWNLOAD] (Astral Spirits)

Four duos from New York multi-reedist, wind and brass improviser Daniel Carter and drummer/percussionist Andrew Barker, dedicating each of four pieces to each player's past collaborators--Roy Campbell, Sabir Mateen, William Parker and Charles Water--through informed dialog that push each player into passionate territory with strong lyrical affinity. ... Click to View


John McCowen: 4 Chairs In Three Dimensions [CASSETTE + DOWNLOAD] (Astral Spirits)

Using only acoustic techniques and recording live, New York clarinetist and contrabass clarinetist John McCowen (Tweak Bird, Wei Zhongle) draws out an incredibly impressive array of harmonic difference tones, interference beats and inexplicable sound from these typically monophonic instruments, using circular breathing to create long drones and aberrant textures. ... Click to View


Liudas Mockunas / Jacek Mazurkiewicz / Hakon Berre: Live In Warsaw [CASSETTE + DOWNLOAD] (Astral Spirits)

Lithunian reedist Liudas Mockunas, Polish bassist and electronicist Jacek Mazurkiewicz (3Fonia, Warsaw Improvisers Orchestra, Modular String Trio) and Norwegian drummer Hakon Berre (Aram Shelton, Susana Santos Silva) are captured live in Warsaw at Mozg in 2015 for three exploratory improvisations with Mockunas on clarinet, soprano & tenor saxes. ... Click to View


Luke Stewart: Works for Upright Bass & Amplifier [CASSETTE + DOWNLOAD] (Astral Spirits)

Bassist and sound artist Luke Stewart is a Washington, DC stalwart, a member of a variety of improvised and rock bands and active in Sonic Circuits, and also an Artist-In-Residence at Union Arts and Manufacturing; this solo work uses the resonant feedback of an amplifier with unusual double bass technique to coax a fascinating journey that accompanied his 2017 art exhibit. ... Click to View


Ghost Trees Big Band: Goodyear [2 7-inch VINYL RECORDS] (Future Recordings)

The hard-working duo Ghost Trees of saxophonist Brent Bagwell and drummer Seth Nanaa, extended their group to a 10-piece band of interesting orchestration--piano, vibraphones, sax, pedal steels guitar, bass, cellos and violas--taking over the Charlotte, NC Goodyear building to present their unique compositions blending conceptual composition and improvisation. ... Click to View


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  Peter Kowald and the New York Unity Village  


By Mike Heffley
Photo by Enid Farber 2002-12-20

In the months before Peter Kowald's death on September 21, 2002, at 58, the master bassist and dedicated organizer was in the process of relocating to New York City. He had taken an apartment in Harlem and was heavily involved in that year's Vision Festival, even working the concession stand any time he wasn't playing, methodically cutting bread and cheese and selling sandwiches.

Kowald was no stranger to New York, of course. He had helped to organize the Sound Unity Festival, the precursor to the Vision Festival, in 1984, and had a long-standing relationship with fellow bassist William Parker and his wife, dancer Patricia Nicholson, the driving force behind the Vision festival.

Just as he organized musical groups and festivals, Kowald was a builder of communities. And while no one can say what a life cut short might otherwise have brought, one thing seems certain: had he lived just five more years, the free music scene in New York would have been dramatically different.

The following selections show Kowald's interest in New York and in American jazz. They are excerpted from a remarkable 1,200 page manuscript on the history of FMP records and German jazz by Mike Heffley an English Professor at Rutgers University and author of The Music of Anthony Braxton and the forthcoming Northern Sun, Southern Moon: Europe's Reinvention of Jazz, due out in the Spring and based on his dissertation.

Thanks to Mike Heffley for allowing us to reprint sections of his work, and to Harold Meiselman for pointing us to this important document.

"I first met Peter Kowald in New York, when he performed at the Vision Festival in 1996. He was totally receptive to my desire to write a book about European improvisers centralizing him and his FMP colleagues. He invited me into his home in Wuppertal for several days while I interviewed him and his neighbor Peter Brtzmann. His opennessa nd generosity of intellect and soul opened the doors to other musicians in his circles from around the world, both for me and my project and for the music itself. More than anyone, it was he who put a face to what Western music might look like as just one flower, well placed, in the bouquet of the world's musics. I am grateful to have known him..." ?Mike Heffley, November, 2002

Kowald's impromptu summary of his history with groups paints him as the perfect personality type for the oft-noted European organizational preference for collective bands, in contrast to the individualistic leader-sideman constructs more typical of American groups (to say nothing of the fit such a personality is with the traditionally supportive role of the bassist in jazz).

Peter Kowald

"The trio with Pierre"?Favre?"and Irčne"?Schweizer, from 1968-69?"was more of a collective group," he says, "but I have to say that again I was the youngest in that group. Then I started playing with [Alexander] von Schlippenbach in both Globe Unity projects and in the quartet"?1973-78?"but still I felt more or less like a sideman. The quintet I led"?1970-72?"was an exception to the norm, and I gave it up largely because it was too early to do my own projects; they still lacked conviction.

"The first of my own projects was the trio with Leo Smith and Baby Sommer in '79. It was my choice of people; it was still basically a collective group, and we gave it a collective name. So I guess I'm not so much of a bandleader type anyway, to this day, even though I've had my own groups for a long time."

A glance at Kowald's resumé nonetheless reveals the strength and maturity that can issue from such a personality: collaborations with a vast network of well-known players, poets, painters a n d dancers from America, Asia, Indonesia, New Zealand and Australia, Russia, and Europe; recording projects such as Duos (1992 FMP, a 3-LP/1-CDset of short impromptu duets with thirty different instrumentalists/vocalists from Europe, Japan, and the U.S.); ongoing collaborations with a few of these combinations, including the Siberian singer Sainkho Namtchylak, the Global Village group of improvisers from Asia, America, and Europe; and a pattern of art activism that results in interdisciplinary and cross-cultural formations and organizations devoted to presenting and promoting their products, such as the Sound Unity Festival and Musicians Coop he set up in New York with fellow bassist (often Cecil Taylor's) and friend, William Parker. By comparison, the approach of a strong leader always forming groups and statements around his own personality and concept would conceivably miss a lot of ground Kowald has covered, even broken, for the music.

I ask him about a trip to Africa he had mentioned. It was an exchange of mostly visual artists organized by an African painter who had come to Wuppertal to study with German painter Joseph Beuys. Kowald was the only musician, with four German artists, who lived in a West African village for two-and-a-half months in 1992 to work with five artists there; the following year, the five came to Wuppertal.

"I draw a little bit, so I did some drawings there too, but I played with different people, a kora player and two drummers, and a singer regularly. They tried to teach me all these rhythms, and I couldn't learn them," he laughs, "but I didn't say no. It took awhile for us to get to a point of trust, after which we arrived where I wanted to arrive, which was for me to be able to do my thing and let them do theirs, and organize it only in terms of when to start and stop and roughly what to do-and it worked, in the end; we did a concert or two, and it worked out. I didn't have to leave my material and they di d n' t have to leave theirs...

"I have a group called the Global Village, after the Marshall MacLuhan term. Sainkho is one of the best examples from that group of this co-creative concept. There are different people from Japan too, and from Greece, and from anywhere, in the theory that people grow up in their tradition-but Sainkho is an interesting example because you can see it so obviously in her life. Her grandparents were still nomads. Both of her parents were already teachers, so she grew up with the music there in Mongolia, then she studied and learned some other things?but her early life, in her twenties, she was singing Tuvan folk songs, going on tour with four other women. Then at a point she went to Moscow and met other people and left the folk song. But now when she improvises with us?she's now part of the family, okay? She left the folk song, but she brought all the stuff she learned in it, except for that local form, to our improvised music.

"It's the same with the Japanese shakuhachi player who starts to improvise: he leaves the local folk song but brings the techniques and vocabulary. Or an African drummer, or a bandoneon player from Argentina?they all leave the traditional local forms behind and come into the open situation of free improvisation, basically, and then they make the step into modernity?die Moderne, we say?they make the step into the twentieth century, somehow.

"I mean, I don't mind folk songs, they're fine; let's just say that if you leave the folk song?what Sainkho brought, all the throat singing, the shamanistic breathing, all that is still there, but not in its original context. She plays with Butch Morris on this record we did [When the Sun is Out you Don't See the Stars, FMP 1990]; the first night they played together she did her stuff and Butch did his, and it works. This is wonderful to me, this is really wonderful. That's how I believe it works. It's a method that could be so m et hin g of a model, of how people can come from different cultures, different areas, with different characters, with all of that, and they bring what they bring,and it's okay?just throw it together with the other stuff, and it works. After just a little bit of figuring out how it works together, then it does."



But if New York was to be Kowald's next village, it was a very different one than his Wuppertal home And Kowald had a very different relationship with what might be called American folk music than he did with European and Asian traditional musics.

The relationship with American jazz has been as problematic in its own way as that with Western civilization as a whole, in terms of achieving healthy individuation. Kowald is a good source for this phase from FMP's first hour Emanzipation, because he is the one who articulated it with phrases such as Kaputtspielphase and "father-killing." The "fathers" in America's case included both European- and African-American aspects of the music and culture: the white side was the same Western diatonic tradition the FMP players were leaving behind in their own European culture, plus whatever particular musicians had been emulated for their mastery of that tradition in jazz terms; and the black side was whatever was peculiarly African in the American mix, an identity that could only be learned from, not drawn directly out of German musical/cultural soil.

"I remember in the studio we did a lot of things we'd never done, like playing with knives on the table, tapping," Kowald says. "So in this way I thought we did something of our own; but at the same time I remember thinking myself?I don't know if everyone else thought this?that I wondered if it would fulfill American standards... I think many of us wouldn't say that out loud; there was a point when we said we didn't want to be beholden to America?'father-killing,' as they say in psychology?so at that time it was sti ll no t cl ear....I remember when we played in Donaueschinger in '66 or '67 with Globe Unity: [Archie] Shepp was there, with Beaver Harris, a very good band, two trombones, Roswell Rudd and Grachan Monchur, Jimmy Garrison; they played after us. I think everybody admired Shepp in a way we wouldn't do now. I mean, we were still the young Europeans looking up to them, even if we didn't admit it, we did... I guess it's really normalized now. But those were phases of emancipation; you have to kill your father for awhile, or tell him to leave you alone. In the late '60s, early '70s, step by step we did that."

Of course, that is the same thing black Americans did with white musical culture to come up with jazz itself, and with advances in it all along the way.

"Let me go back for a minute to Machine Gun and that period," I say. "You gave me a good explanation of the GUO experience. For the smaller groups, and the records that came from them that have become classics, was there a feeling in you at the time of the kill-the-American-father thing, of leaving America aside for something better?"

"I remember when we played with Machine Gun, that band played live first," he says. "So we played in Frankfurt in the festival. And I think Jeanne Lee played with Gunter there, and she liked us, I remember that; and Lee Konitz was sitting in the audience, and he came up after the concert, and he liked it. So I wouldn't say we... it was more the feeling that we got respect from established Americans somehow, like Lee Konitz was. We didn't expect him to like Machine Gun, but he did. Maybe he was just being nice, but I think he was really interested in the movement of the late '60s and stuff, so he was open."

"So maybe you had a connection. Once you stepped out on a limb and killed the father, if the father says, yeah, it's okay, then maybe it's..."

"Well, it was two things at once. You still admired the American musici an s, b ut yo u also were saying you didn't need them. Very normal father relationship."



continued...




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Recent Selections @ Squidco:


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