rostasi Posted November 20, 2005 Report Share Posted November 20, 2005 Just got back from seeing Jaap Blonk tonight. He's very shy in person, but he definitely opens up W I D E when he's on stage! Great show! A friend of mine has started an organization that's started to finally bring some interesting programs to our area. Upcoming shows will include Ellen Fullman, Pauline Oliveros, Guy Klucevsek and Carl Stone. It should be an exciting music year here locally (for a change). Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted November 20, 2005 Report Share Posted November 20, 2005 From another thread on this board: At last! The long awaited follow up recording will be released in December, 2005! If you enjoy the first; “Live at Glenn Miller Café” - you will love this one! Special offer for Organissimo registered members: Pre order the CD now to a price of US$ 10/Euro 9 including postage! And you will have the CD for Christmas. Just tell us at ayler.com@ayler.com: - your user name - complete name and address - send $ envelope to: Ayler Records Box 20, SE-61040, Gusum, Sweden - or use PayPal to: ayler.com@ayler.com ← Quote Link to comment Share on other sites More sharing options...
gnhrtg Posted November 20, 2005 Report Share Posted November 20, 2005 Exploding Customer's first album on Ayler, Live at Glenn Miller Cafe, is recommended (and it comes from Kjell Nordeson's first gig after he joined the band). Though I have not yet heard it, I'm sure this new release is at least as good since Martin Kuchen (the sax player and composer of all almost all of the band's material) told me that they were very happy with the music on this new release (this was before his gig with Looper, joined by John Tilbury, in Stockholm). Quote Link to comment Share on other sites More sharing options...
Alexander Hawkins Posted November 20, 2005 Report Share Posted November 20, 2005 Bagatellen: Accelerated Ghost Trance ← Thanks! A nice piece. I really identify with the bit about Braxton taking an alto solo. I was at the gig Leo just released as 'Quintet (London) 2004' and had exactly the same experience. The music was phenomenal all evening, but every now and then, there would be a truly visionary blast of the Braxton of 'For Alto' etc... Quote Link to comment Share on other sites More sharing options...
John B Posted November 20, 2005 Report Share Posted November 20, 2005 (edited) From Utech Records newsletter: I ordered both Nilssen-Love discs. These two put him up to 12 discs released so far this year. Not bad, but he'll never catch up with Vandermark. DD - Have you heard the Eye Contact or Lotte Anker discs on Utech? If so, would you recommend them? I love teh first Exploding Customer Disc and immediately pre-ordered the new one when Jan posted the offer. That is a fantastic price for an Ayler disc. Edited November 20, 2005 by John B Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 20, 2005 Report Share Posted November 20, 2005 (edited) From Utech Records newsletter: I ordered both Nilssen-Love discs. These two put him up to 12 discs released so far this year. Not bad, but he'll never catch up with Vandermark. DD - Have you heard the Eye Contact or Lotte Anker discs on Utech? If so, would you recommend them? I love the first Exploding Customer Disc and immediately pre-ordered the new one when Jan posted the offer. That is a fantastic price for an Ayler disc. ← John, based on samples I decided to skip the Eye Contact disc. I have the Lotte Anker one, but have not listened to it yet. Did you count the discs with Nilssen-Love as sideman? - you might easily get to 30 or so. His Personal Hygiene (Utech) with Lasse Marhaug is excellent, while the other one, with organ, seemed rather dull on first listen. I will also probably get the new Exploding Customer disc - I did not find the first dis to be particularly revelatory, but the potential was there. Gret price also. Edited November 20, 2005 by Д.Д. Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted November 20, 2005 Report Share Posted November 20, 2005 (edited) I'll get my coat then ← ~~~~~~~~~~ I posted on this above but was wondering if anyone was intending on sampling: Hope Street Starting in September 2005, to celebrate their 25th anniversary, the Nato and Chabada catalogues are gradually being re-issued on CD, in special digipacks, under the Hope Street imprint. HS10047 The Melody Four On request HS10049 Kazuko Hohki/Steve Beresford Chante Brigitte Bardot HS10050 Denis Colin & Les Arpenteurs Etude de terrain HS10051 Steve Beresford/David Toop/John Zorn/Tonie Marshall Deadly weapons HS10052 Lol Coxhill Before my time HS10053 Francois Mechali/Beb Guerin Conversations HS10054 Tony Coe Les voix d'itxassou HS10055 Steve Beresford L'extraordinaire jardin de Charles Trenet Anyone know if these are available yet stateside? Edited November 20, 2005 by Chaney Quote Link to comment Share on other sites More sharing options...
John B Posted November 20, 2005 Report Share Posted November 20, 2005 John, based on samples I decided to skip the Eye Contact disc. I have the Lotte Anker one, but have not listened to it yet. Did you count the discs with Nilssen-Love as sideman? - you might easily get to 30 or so. His Personal Hygiene (Utech) with Lasse Marhaug is excellent, while the other one, with organ, seemed rather dull on first listen. I used the discography on his website, plus the two new discs on Utech, to get my total. I have the disc with Marhaug and like it very much. I missed out on the organ duo, unfortunately. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 20, 2005 Report Share Posted November 20, 2005 I have the disc with Marhaug and like it very much. I missed out on the organ duo, unfortunately. ← Try getting in touch with Paal directly. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 20, 2005 Report Share Posted November 20, 2005 I'll get my coat then ← ~~~~~~~~~~ I posted on this above but was wondering if anyone was intending on sampling: Hope Street Starting in September 2005, to celebrate their 25th anniversary, the Nato and Chabada catalogues are gradually being re-issued on CD, in special digipacks, under the Hope Street imprint. HS10047 The Melody Four On request HS10049 Kazuko Hohki/Steve Beresford Chante Brigitte Bardot HS10050 Denis Colin & Les Arpenteurs Etude de terrain HS10051 Steve Beresford/David Toop/John Zorn/Tonie Marshall Deadly weapons HS10052 Lol Coxhill Before my time HS10053 Francois Mechali/Beb Guerin Conversations HS10054 Tony Coe Les voix d'itxassou HS10055 Steve Beresford L'extraordinaire jardin de Charles Trenet Anyone know if these are available yet stateside? ← I submit to pressure, and place an order for two of those (Coxhill and Mechali/Guerin) at amazon.fr. I wonder if the older (heh-heh) guys (brownie and P.L.M. that is, if they didn't get the hint) could comment on these Nato disc - I am only vaguely familiar with many of these muscians. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 20, 2005 Report Share Posted November 20, 2005 Friends, this one is highly recommended: Rent Romus' Lords of Outland! with John Tchicai ADAPT... or DIE! (Jazhzeads, 1997) John Tchicai – tenor saxophone Rent Romus – alto & sop. saxophones Jon Birdsong – sousaphone Dave Mihaly – drums This is some easy-listening music that would not scare out even an Exploding Customer fan. Most of the music is infectiously groovy modal free-jazz stuff (that I am normally not in a mood to listen to these days), but not of formulaic sort - it is cleverly designed music with some quirky melodies and unexpected tempo/mood turns. Romus has HUGE sound on alto (I am not that much of alto saxophone sound fan - I listen to quite a few alto saxophonists of course, but rarely enjoy their sound per se - but Romus' sound is a sheer pleasure for me.. a bit like John Handy's, I'd say). One could call Romus a fire-breathing type of saxophonist if his playing did not sound so easy - fire is there, for sure, but not that much of screaming. He also plays alto- and soprano- simultaniously (well), but not going into gimmicky side too much. Tchicai is present on half of the tunes, and he is definitely good (btw, I was listeing to this disc right after I listened to some field recordings of Burkina Faso folk music and it stroke me how much African folk music feel there is on Tchicai's playing - these short repetative phrases without much ornamentation, vocal cries, rhythmic feel, etc. - amazing), but compared to Romus here he sounds clumsy and less diverse, IMO. Very basic but tasteful support form sousaphone/drums (having a sousaphone is a nice idea - makes music more fluid than with bass). Good good stuff. Revewis, ordering info and sounds sample (this is the least successful track, IMO!) here. Gotta get me more Romus. Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted November 20, 2005 Report Share Posted November 20, 2005 Looks good, David. Just ordered a copy. FYI: In case you didn't know, Edgetone is Rent's label. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 20, 2005 Report Share Posted November 20, 2005 ...It seems the other one on hatOLOGY is even better, though: ← Friends, I listened to it today for the first time - it is great! I had to check the the sleeve to ensure this was recorded in mid-60s - the music is so advanced, really like nonthing elese recorded at that time - and the sound quality is just superb. Quote Link to comment Share on other sites More sharing options...
brownie Posted November 20, 2005 Report Share Posted November 20, 2005 Thed Ortega 'New Dance' was originally released on vinyl by Revelation. The liner notes include the following Technical Data: This is a high fidelity recording although on side 2 track I, you may have to fool around with the controls to make the drums speak clearly. All material was recorded in Revelation's Mt. Washington, Los Angeles, hilltop studios in October 1966 (duo) and January 1967 (trio) on the old Concertone 505 at 7.5 ips with J.W. Hardy ''engineering''. Jon Horwich watched in ectasy. We used Electrovoice 666 and 664 microphones (2), and got a little drunk on music and beer. C.C. Spiller, his garage and his Western Electric Lathe were featured in the mastering sessions. Priceless! and that goes for the music, too! Quote Link to comment Share on other sites More sharing options...
king ubu Posted November 21, 2005 Report Share Posted November 21, 2005 Ordered that Tchicai, and added this one: No idea if that was a stupid or a smart move... Also i think I did order the "New Dance" disc in the latest discplus.ch hat-sale (I think not that great a deal for foreign orders, due to shipping costs? Not sure... David, you're aware they're having another sale, I assume?) Played the Copland solo hatO, "Time Within Time", and I liked it a lot - quite in spite of what I expected... found it as moody as some of the better parts of that "jazz n (e)motion" box, really! That was one of the freebies we got from WXU at our interview Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 21, 2005 Report Share Posted November 21, 2005 Thed Ortega 'New Dance' was originally released on vinyl by Revelation. The liner notes include the following Technical Data: This is a high fidelity recording although on side 2 track I, you may have to fool around with the controls to make the drums speak clearly. All material was recorded in Revelation's Mt. Washington, Los Angeles, hilltop studios in October 1966 (duo) and January 1967 (trio) on the old Concertone 505 at 7.5 ips with J.W. Hardy ''engineering''. Jon Horwich watched in ectasy. We used Electrovoice 666 and 664 microphones (2), and got a little drunk on music and beer. C.C. Spiller, his garage and his Western Electric Lathe were featured in the mastering sessions. Priceless! and that goes for the music, too! ← Just realised Tony 'Batman' Ortega is a sideman on Zappa's "Grand Wazoo"... Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 21, 2005 Report Share Posted November 21, 2005 Just got back from seeing Jaap Blonk tonight. He's very shy in person, but he definitely opens up W I D E when he's on stage! Great show! A friend of mine has started an organization that's started to finally bring some interesting programs to our area. Upcoming shows will include Ellen Fullman, Pauline Oliveros, Guy Klucevsek and Carl Stone. It should be an exciting music year here locally (for a change). ← Hey, good reminder about Fullman - I've been meaning to check out her music since I've read that article about her in STN. Will order some of her CDs. Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 21, 2005 Report Share Posted November 21, 2005 What do you say, not bad, ah? Quote Link to comment Share on other sites More sharing options...
7/4 Posted November 21, 2005 Report Share Posted November 21, 2005 Just got back from seeing Jaap Blonk tonight. He's very shy in person, but he definitely opens up W I D E when he's on stage! Great show! A friend of mine has started an organization that's started to finally bring some interesting programs to our area. Upcoming shows will include Ellen Fullman, Pauline Oliveros, Guy Klucevsek and Carl Stone. It should be an exciting music year here locally (for a change). ← Hey, good reminder about Fullman - I've been meaning to check out her music since I've read that article about her in STN. Will order some of her CDs. ← I like Ellen Fullmans Long String Instrument. That's some cool shit. Quote Link to comment Share on other sites More sharing options...
Guest Chaney Posted November 21, 2005 Report Share Posted November 21, 2005 (edited) What do you say, not bad, ah? ← Not bad at all! Although not stated in the following piece, this release seems to be a limited edition of 550 copies. TRIO CAVEAT [JOHN MCLELLAN / JAMES ILGENFRITZ / JONATHAN MORITZ] - An All-too Brief Silence That Speaks Untold Volumes (Earthtones) So you take a drumkit, a doublebass, and a saxophone, all played in almost ordinary ways with specific idiomatic references to jazz, and you get something that sounds fresh and unprecedented. It's 2005--is that even possible? Listening to Trio Caveat I can't help but think there must be dozens of records that have explored the same concept, yet I'm at a loss to cite even one. Maybe it's because the concept seems so obvious, regardless of whether the musicians' intentions actually correspond to it; it's the kind of thing that surely dozens of post-jazz musicians would've inevitably stumbled into in the past few decades. So what's the concept? To my ears it's playing free jazz with the utmost possible restraint, the polar opposite of the entrenched free jazz tradition of hard blowing. Low-density, low-energy music, isolated phrasal fragments and copious pauses. Sound familiar? Of course. It's a solid tradition in non-idiomatic free improv going back a few decades and in recent years has become the dominant improv paradigm. But, wait a second, has anyone tried to play JAZZ this way? I mean, by now, jazz has seemingly been played every way possible, but I've simply never heard the raw vocabulary of jazz reduced to a vanishing point before, a few cymbal hits, a few doublebass plucks, a stunted saxophone melody. The music is barely there. Compared to Trio Caveat, the Jimmy Giuffre trio sounds like the Albert Ayler trio. This music would never be mistaken for so-called "European free improv". For all its subtractional extremes, what remains are tiny gestures of pulse and melody crafted with mostly non-extended techniques, the least likely phenomena to show up in non-idiomatic free improv. On the other hand, this music would never be mistaken for the all-too-common "subtle and mellow" jazz that amounts to anemic, vacuous politeness. It's thorny and difficult, requiring as much concentration and patience as late-period Morton Feldman. Among these three youngish musicians, drumkitter John McLellan is the veteran who makes this disc something special that holds up to repeated listens. He's the only drumkitter so far who's accepted the challenge of adapting Randy Peterson's innovations playing Maneri music with Mat and Joe Maneri, finding his own way to imply multiple layers of pulse with an extreme and dramatic economy of gesture. In this trio McLellan has gone further out than ever before, subtracting away from even the hushed introspection of the profound Messiaen interpretations he did with Keith Yaun, Mat Maneri, and Bern Nix, and his sublime, relaxed duos with Joe McPhee (both classic discs released by Boxholder). His ultra-sparse playing here is an extension of an aesthetic he's been refining for a long time, even going back to his overlooked trio disc with James Rohr and Nate McBride (They Sent Three Henchmen). The basis of his style is the sheer sound of cymbals and snare, the classic timbral palette of the jazz drumkit player. He hints at his prodigious old-school drumkit chops when he sculpts rhythm fragments, but he lets the timeless timbres do the rest of the talking. Doublebassist James Ilgenfritz and saxophonist Jonathan Moritz are promising players I'm hearing for the first time here. Ilgenfritz seems to have internalized the same post-Maneri aesthetic as McLellan, while also sharing the same desire to push it in a new direction of ultra-restraint and economy. As an active, developing performer and organizer in the recent NYC improv scene, I suspect the current experimental lowercase improv zeitgeist has filtered into the typical attempts of a young musician to locate themself as part of the post-jazz continuum, a kind of synthesis of two worlds many of his peers like Nate Wooley are also dealing with. Ilgenfritz's plucked notes sound huge and rich with variations in dynamic envelope and overtones, bridging the world of extended techniques and pulse like Mark Dresser, who he's moving to San Diego this fall to study under. His work here is quite exciting to my ears. Moritz gets the foreground all to himself here, but in a way this music really only does something new and special when he avoids a traditional role as a narrative soloist. At times he sounds too clear when the music calls for vagueness and faint suggestions, falling back on jazz cliches with a tone that's too generic to hold interest in itself. The trio's signature jazz ellipses wind up getting too close to the same old circles. While it doesn't tackle the radical extremes of Trio Caveat, the fascinating 1998 session pairing Mats Gustafsson and Guillermo Gregorio (released on hatOLOGY as Background Music) has some good examples of how restrained saxophone playing can evoke jazz without actually playing it, and suggests a path of jazz evasion for Moritz to follow. For the most part, however, Moritz finds a beautiful balance between convention and abstraction, and shows an impressive ability to modulate his timbre within a phrase. His extended unaccompanied opening in track 5 has a brilliant rough tone that morphs through patient, slow phrases. This disc is a gorgeous, challenging gift to fans of difficult jazz who want to dig deep into the raw building blocks of pulse and melody with the thrilling risk of finding nothing but enjoying the process of communing with these perenially vibrant acoustic instruments. -Michael Anton Parker Edited November 21, 2005 by Chaney Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 21, 2005 Report Share Posted November 21, 2005 (edited) No way am I reading a review this long. Meanwhile, listening to the disc which actually pointed me towards this Trio Caveat thingie: Jonathan Moritz Trio Xanadu (J.A.S. reocrds, 2000) Jonathan Moritz - tenor saxophone Lieven Venken - drums Lindsey Horner - bass Some good stuff, I say. Fairly traiditinal trio, Moritz here being quite a bit Henderson-influenced. Nice tuneful melodeis, singing bass (where have I heard this bass?) and very sensetive drumming (reminded me of less insistent Blackwell). All very light, tasteful and relaxed. Not unlike Philip Greenlief's more mainstream (and better ones) projects. Got my copy at indiejazz. Moritz has some samples at his website. ------------------------- Before that listened to James Finn "Plaza de Toros" (Clean Feed). Third attempt. Total bullshit. Quite a disappointment after all this hype. The guy has technique, but just no original ideas - boring endless forced wailing and runs up and down. No thinking. Nothing that hasn't been played many many times before during last 50 years. And he has a fitting partner in Dominic Duval, his bass playing being close approximation of Finn's mindless noodling. Drummer (Warren Smith) is also so-so. Stupidly recorded as well - all too upfront and aggressive. Complete fake. I haven't thrown away any music for years, but this one is likely to be a trashbin pioneer. Edited November 22, 2005 by Д.Д. Quote Link to comment Share on other sites More sharing options...
John B Posted November 23, 2005 Report Share Posted November 23, 2005 (edited) I will also probably get the new Exploding Customer disc - I did not find the first dis to be particularly revelatory, but the potential was there. Gret price also. You should also check out Martin Küchen's solo album Music From One of the Provinces in the Empire, part of Confront's "Collector's Series." It is very different from his work with Exploding Customer. All tracks are solos on prepared alto and soprano saxophones. It would be difficult to tell that these sounds were created by one human playing a saxophone if you did not have that information before listening. Review here. Edited November 23, 2005 by John B Quote Link to comment Share on other sites More sharing options...
Д.Д. Posted November 23, 2005 Report Share Posted November 23, 2005 More from CDBaby - some solo alto saxophone: Hermann Bühler. I finally listened to this disc, and it is really good. Somewhere in the terrotory of Evan Parker solo soprano discs, but with critical (for me) differences: slower, more economic and with ideas being very clear. There is a sense of direction and an underlying wise symplicity somewhat similar to what you can hear in folk music (I was listenig to some Armenian duduk music yesterday - and I hear some similarities). Also, between two bads, I would always prefer alto to soprano (his alto sound is qute beautiful, actually - and nicely recorded). Nice to hear a solo reeds disc where musicin is not determined on showing absolutely everything he can do an an instrument. Will return to this disc quite often. Check the samples out. Quote Link to comment Share on other sites More sharing options...
king ubu Posted November 25, 2005 Report Share Posted November 25, 2005 Got this in a sale yesterday and gave it a play last night, very impressed! Quote Link to comment Share on other sites More sharing options...
king ubu Posted November 25, 2005 Report Share Posted November 25, 2005 Also got this, but only caught some small parts of it. Nice to hear an accordionist in such a free context! Quote Link to comment Share on other sites More sharing options...
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