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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


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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


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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)

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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


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

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

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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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  Ameri-chord: Johnny Cash Remembered  

Amer-chord - Johnny Cash & June Carter
By Skip Heller

In 1964, Johnny Cash recorded the Bitter Tears album, which made known his feelings about Native Americans. Its centerpiece was his hit version of Peter LaFarge's "Ballad Of Ira Hayes," a brilliant, accusatory song about the Pima Indian who was one of the five men to raise the flag at Iwo Jima, came home to less than fanfare, and died drunk in 1955 at the age of 33.

The Pima tribe inhabited a piece of Arizona not far outside Tuscon. They were a peaceful tribe who farmed well enough to sustain their food needs, until their water rights were taken from them and everything they worked for was either killed off by dry heat or was taken from them outright. But Ira Hayes felt a duty to his country, enlisted, went to fight for the good old USA, and became a decorated American hero. You can guess how glorious his life was upon returning. One night Ira Hayes fell drunk into an irrigation ditch and froze to death in cold water.

I saw that land had a gig in Tuscon in May 2002, driving southeast from Los Angeles on the way to a gig in Tuscon.

Los Angeles in spring is paradise. The sky is visible and wide, the mountains pose for postcards, freeways open and you realize how vast our country is. It is beautiful as long as you don't go too far east. That's when the oasis turns back into the desert from which it was carved. LA to Tuscon is about eight hours of driving, and the first four or five are gorgeous.

Arizona comes on the heels of a fairly ugly piece of southeastern California, and has nothing to recommend it upon entry. As you drive in a little more, the Indian reservation stores - with tax-free cigarettes - pop up. Past Phoenix towards Tuscon, you see a rest stop with wall displays that tell the story of Ira Hayes and the Pima tribe. Sort of.

The tale they tell is some "see Dick run" shit and says nothing about the kind of man Ira Hayes was - to forgive what had been done to his tribe and enlist in the Marines. And they certainly said nothing of his death and who helped that tragic process along. The Pima Indians, in recent years, are noted for diabetes (studies have shown that one out of two adults suffers from Type II) and morbid obesity. It seems that, when their right to water was stolen and they could no longer grown their own crops, they had to adopt a "western" diet, which did egregious things to their bodies.

I have a thing about Cash. Maybe it's because the only actual day he spent in jail was the very day I was born, October 4, 1965. Cash was popped at the El Paso border checkpoint. He was trying to smuggle several thousand amphetamine capsules across the border from Mexico.

If you've ever brought contraband through a Mexican border crossing, you know the drill. I got pulled out of the car once, holding a hundred 600 mg Ibuprofen capsules, sold over the counter in the local farmacia but illegal without a presciption in the USA. Fortunately, the border cops didn't look far inside a gym bag of clean clothes (although they were very thorough with the dirty clothes, the guitar case, and the glove compartment).

Mexico was wide open in '65, so Johnny - then no stranger to intense amphetamine procurement - probably thought nothing of it until they slapped the cuffs on.

June Carter - who he married and who died May 15th of post-operatory complications - got him cleaned up, helped him find religion, and helped him realize certain dreams that were not in reach for most country singers in the sixties. June was born into the Carter Family - a major American Music dynasty if there ever was one - but had enough brains and ability to keep herself from being defined by her legendary mother, Maybelle Carter. She had a viable career in country music, then chucked it and went to New York, where she joined the Actor's Studio (director Elia Kazan - who died just 16 days after Cash - sponsored her enrollment), and finally returned to the Carter Family. They became part of Johnny Cash's touring show in 1961; by '63 June was in love enough with Cash - then totally out of control on pills - to write a song, "Ring Of Fire" about it.

Johnny Cash burst onto the scene in 1955 with "Cry Cry Cry." He came not from a Nashville major but that most venerable of indie labels, Sun, the Memphis label that had at about the same time sold Elvis' contract to RCA for an unprecedented $30,000. RCA would soon enough begin trying to make sister Anita Carter into a rock'n'roll star as part of a trio called Nita, Rita, and Lita. June was at the time married to country star Carl Smith, whose "You Are The One" is a classic of the period. They would have a daughter, Carlene, who later married British pop singer Nick Lowe.

If you can find photos of country singers of the period, you notice that 1950s Nashville had nobody like Johnny Cash. Look at George Morgan, Webb Pierce, Porter Wagoner or the great Lefty Frizzell. They're colorful, extroverted. Cash was hard-looking, introverted, and dressed in black.

Similarly, listen to the typical male country singers of the period. The biggest was Eddy Arnold, a human Hallmark card. Singers like him and Marty Robbins forecasted the "countrypolitan" movement to come and paved the middle of the road for Nashville easy listening artists like Jim Reeves, Patsy Cline, and Floyd Cramer.

Honky-tonk, on the other hand, was nowhere near so repulsive. This was a harder Southern urban sound, with walking electric bass, and a cracking drumbeat that cut through the din in bars and dancehalls. All the guitars were electric, too. Webb Pierce's fantastic "Honky Tonk Song" was not hill music, although his voice stayed in close touch with the high lonesome sound. "Honky Tonk Song" was a 12-bar blues streamlined in Nashville, and it's not wussy music.

To my ear, Cash was most influenced by Ernest Tubb. Both made unpolished, minimalist records. Tubb was from Texas, and sang in a low, craggy voice. His records of the '40s are very proto-Cash, with sparse electric guitar up front. Cash covered Tubb's "Thanks A Lot" while he was still on Sun, and you can hear how close to Tubb Cash really was.

Cash was not immediately invited to join the Grand Ole Opry, but Louisiana Hayride, which was more at home than the Opry with mavericks, like Elvis Presley, Jimmy Martin, and a few others who were a little dangerous.

The more famous Cash got, the more rebellious he seemed. He left Sun because he wanted a higher royalty and to make thematic LPs. The subject of royalties is always dangerous, and LPs were then a novelty for country singers. In 1957, Cash became the first artist to have an LP on Sun. The following year, Cash had a new album out - on Columbia.

As his success elevated, Cash became a speed freak. This was common in country music back then. Lots of driving, being on the road 250+ days a year, often having to drive back from wherever you were to be back in Nashville to do the Opry or Shreveport, LA to do Hayride. Early morning broadcasts after playing 'til midnight or later 300 miles away from where you did your morning broadcast were common. It was a rough life, and the pay wasn't great. But it was the job, and benzedrine helped many get it done.

In those days, tour buses were a rarity. Bands traveled by car. If they were lucky, they had a station wagon and a little trailer. You'd strap the upright bass to the roof. Cash and his band made about $150 per week each on the 1961 package tour. June Carter fell in love with Johnny Cash under these conditions, which speaks volumes about his appeal and her intestinal fortitude. It sure wasn't about the money.

Very few artists can achieve some of their highest achievements in their art while being up to their eyeballs in chemicals. But Cash was on an artistic roll through the 1960s, before, during, and after the period of his El Paso arrest, with groundbreaking thematic LPs. He also appeared at the Newport Folk Festival, where he finally met Bob Dylan, whose "It Ain't Me Babe" Cash had been performing for some time.

In 1968, he recorded the Live In Folsom Prison album, followed shortly after by Live At San Quentin, which contained "A Boy Named Sue", his biggest hit of the decade. He was not new to playing prisons - Merle Haggard was a member of the captive audience when Cash performed at Quentin in 1959, and said afterwards that the sheer force of Cash's performance turned his life around. By 1968, largely because of June carter, Cash had turned his own life around, trading drugs for fundamentalist Christianity. Whatever works.

Around that time, Cash got his own network TV show, pretty much unheard of for country artists at that time. Unlike other music shows of the time, his show was often a showcase for cutting edge music of the time. His guests included Merle Haggard, Joni Mitchell, Judy Collins and even Bob Dylan, who at that point was largely allergic to TV cameras. But Cash was held in such high artistic regard that someone like a Dylan or a Joni would do TV if he asked.

Because of his celebrity at that point, June Carter's contributions are usually reduced to her appearances on records like "Jackson" and "If I Were Carpenter". But it was she who first told Johnny about a janitor at the Columbia recording studio who was writing songs. His name was Kristoffer Kristofferson.

People don't recognize it now, but Kristofferson was a threat to Nashville's status quo. Cash was tough enough for the local establishment to deal with, but he came from nothing, and Nashville always likes a Cinderella story.

Through the 1950s, Nashville's GNP was not music but insurance. It's nickname (self-imposed, I'm sure) was "the Athens of the South." Nashville has Vanderbilt University and a full-scale replica of the Parthenon.

Kris Kristofferson was a former Air Force pilot, Golden Gloves boxer, and a Rhodes Scholar. And he chucked it all to go starve in Nashville. I'm sure the attitude towards Kristofferson in Nashville was that local society would be better off with less songwriters and more Rhodes Scholars.

Kristofferson was a longhair from Texas, and his songs were a little raw by the standards of the time, which were getting a too loose for the locals anyway. Texans had always been a problem, ever since Bob Wills brought drums to the Opry stage and Floyd Tillman wrote unapologetically about cheating. Kristofferson lines like "the beer I had for breakfast wasn't bad so I had one more for desert" did not fit the image makeover Nashville was going for, which was typified by the string-drenched records of former honky tonk great Ray Price. But Cash was all-powerful. And June Carter was the power behind him.

"Sunday Morning Coming Down" was a remarkable song, and Cash turned in a performance that came from hard-won field research, and it was a hit. Cash started doing tunes like "Cocaine Blues."

Cash was definitely the only '50s country performer who could fit in with the 60's songwriters. June Carter, who was a very intelligent woman but who was also duty bound to country music tradition because of her family, was likely the key to his ability to expand so gracefully while never forgetting who Johnny Cash was.

The '70s were scattershot for Cash. The hits didn't dry up completely, but he was no longer a constant on the country charts. He became something of an actor, and made The Gospel Road, a documentary about him in the Holy Land. There was a Christian comic book chronicling his fight with pills. He played a great many benefits for Native Americans, especially in Arizona.

Johnny Cash and June Carter had come into that Louis Armstrong place where they were genre symbols about as much as they were musicians who still occasionally had hits. By the 80s, Cash had been dropped by Columbia, who refused to grant him the respect they gave Miles Davis. So Cash went to Mercury, and, for the first time, put out a few shitty records. He also teamed with Willie Nelson, Waylon Jennings, and Kristofferson for a group called The Highwaymen, who had a few hits but nothing all that memorable.



continued...




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Squidco

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