Funny Rat

[blake]

Paul Flaherty occupies the fire-breathing spectrum of the Boston (and world) music, I guess, and he is very effective (and sincere, IMO) in this. He has a good, even admirable for stamina and determination, but somewhat limited in approach solo CD called "Voices" (on Wet Paint label), and a really excellent recently-released scream-fest Cold Bleak Heat: "It's magnificent, but it isn't war" (on Family Wineyard - also Boston-based label?)

Family Vineyard

PO Box 12243

Raleigh, NC 27605-2243

USA

I'm listening to samples right now. The label seems to have a nicely varied sound to it.

Jason Bivins of Unstable Ensemble is a contributor to Signal To Noise. I enjoy his perspective and it led me to pick up the first couple UE discs. It's been a while since I listened to them but I recall liking both - the 2nd release moreso than the 1st I think. I'd have to dig them out and listen again to add any lucid commentary.

[P.L.M]

Pullen/Rivers "Capricorn Rising" is another one that looks good. Anyone have an opinion?

It looks good and sounds very good. Rivers challenged Don Pullen much more than Pullen's usual tenor associates at the time (George Adams and Chico Freeman in particular). A thoroughly 'out' session which reaches just shade of the Rivers-Cecil Taylor duets.

This was one of the very first releases from Black Saint!

Well, I'd beg to differ. I thought it was pretty weak (listening to it now - to re-confirm). It is a very simplistic work with first track having a lot of extremely predictable tenor wailing, and then a couple of tracks with Rivers doing these up-and-down nasal soprano runs (and a bit of unspectacular flute) - one of the tracks being silly rock-ish tune. Pullen is doing his regular thing which sound spectacular when you hear it for the first time (I was thrilled first timee I heard Pullen), but gets extremely predictable very soon. Drummer (Bobby Battle) is nothing special either. I do not really hear anybody challenging each other (or themselves)here - very lazy music, IMO.

Even if I am a little late to the battle, I am, for once, completely in aggreement with David.

This record has never had, even when he came out, a good reputation (or good critics).

Agreed also about Bob James on ESP (but only for this one, the rest of his production that I've listen too is, to say the least, uninteresting).

David, there's still hope between us!

Edited March 4, 2006 by P.L.M

[Alexander Hawkins]

Pianist Lowell Davidson, who had a single record on ESP with Graves and Peacock, was an integral part of the Boston scene up through the 80s. Apparently he exacted a pretty strong influence on a number of people working there, including guitarist Joe Morris.

And man, is this a beautiful record!

Agreed - beautiful stuff.

FWIW, Taylor Ho Bynum is originally from Baltimore, I believe, but was based around Boston for a long while (before moving to NYC) as a result of his Wesleyan connection. He plays in Boston in 'The Fully Celebrated Orchestra' alongside Jim Hobbs.

[Guest Chaney]

Those Boston boys and girls really need to set up a site, along the lines of Bay Area Improvisers Network. It's not like it'd get mega-hits but it would be helpful to those looking to explore their sound world.

The Bay Area site is not meticulously maintained but at least it's there.

Bay Area Improvisers Network @ CD Baby

Hey David, check this one out:

"Solo contrabass compositions. By turns languid, dreamy, cranky and schizoid, Guberman's compositions/improvisations delve into interesting, probing abstract explorations. Who needs synths, noise machines, and fancy audio tracks when you've got a contrabass and the musical technique and imagination to exploit it?"

--Jim Esch, Orange Street Press

Edited March 4, 2006 by Chaney

[Д.Д.]

Hey David, check this one out:

"Solo contrabass compositions. By turns languid, dreamy, cranky and schizoid, Guberman's compositions/improvisations delve into interesting, probing abstract explorations. Who needs synths, noise machines, and fancy audio tracks when you've got a contrabass and the musical technique and imagination to exploit it?"

--Jim Esch, Orange Street Press

Tony, I have this disc, and I think it is excellent - one of my favorite solo bass records. I think the CD is officially OOP, so if you are interested (check the samples out at CD Baby and one full track from Pax website), get it asap. Morgan Guberman also has a solo bass-guitar release on lIMItEd SEdItION called "Passador-Jomel" - this is even more sick shit than the acoutstic disc: mp3 sample. "Passador-Jomel" is an edition of 79 copies. Still available, five years after release. Multi-million worldwide improv music fan base should be collectively embarassed.

[clifford_thornton]

Flaherty: I just got that Beloved Music disc, and look forward to delving into it. Tried to have a "shop" (yes, an actual store) order Cold Bleak Heat for me when it came out, but they couldn't get it. Guess I should go to the source...

I have a number of Flaherty's recordings, some on vinyl, and still haven't made up my mind on him. I still keep buying the records, though, so there is an interest. Just don't know what to make of it yet.

[Alexander Hawkins]

On a Black Saint note - I'm just listening to November 1981 and it is fantastic. Compositionally very interesting, and Bill Dixon is something else.

How do Barry Guy and William Parker work together on the Vade Mecum disks? Sounds like a slightly unlikely pairing.

[jon abbey]

How do Barry Guy and William Parker work together on the Vade Mecum disks? Sounds like a slightly unlikely pairing.

more than slightly, and I'm not normally much of a fan of either. but both of them almost completely rein themselves in here to play Dixon's music, they get that this session isn't about them.

Edited March 6, 2006 by jon abbey

[Steve Reynolds]

since the Flaherty/Corsano disc was mentioned, I figured I'd paste my recent review here for those who didn't see it elsewhere:

Paul Flaherty-Chris Corsano: The Beloved Music

--------------------------------------------------------------------------------

Recorded May 4th, 2004 in Louisville, KY

Paul Flaherty: tenor and alto saxophones

Chris Corsano: drums

On Family Vineyard (FV39)

I received a copy of this from Eric Weddle who runs the family vineyard label

Having never heard either of the participants and being in somewhat of a funk as far as listening to

jazz for a variety of reasons (which will follow) I didn’t have much hope that I would be in the mood for this. The reasons being that I am:

1) currently obsessed with listening to Can’s first 4 recordings in a very compulsive way

2) my recent obsessive listening to erstlive 005 (maybe through the whole thing 5 times within 2 weeks) and my obsessive listening of the first disc from the Cloud 2 CD set

3)Not feeling too good about anything over the last 3 or 4 days – infact kind of struggling with acceptance over many things (including myself) over the past few weeks has me in a bit of a rut – and when I’m in a rut, sometimes, I can’t egt with anything different – and even old favorites don’t quench my thirst.

Every time I do start to listen to jazz over the past few weeks, I am not seeming to be in right space for it – even Miles/Trane from 1960 or Dunmall’s Ghostly Thoughts or Hemingway’s The Marmalade King – none were doing it for me.

So feeling full and a bit blue after eating lunch today, I had an empty 45 minutes before going back into the office – so I put this on expecting something on the order of Frank Lowe/Rashied Ali type of thing – or another screaming saxophonist with a bashing drummer doing their version of the sax/drum duo inspired by Interstellar Space 40 years hence.

In the past as many know maybe my favorite jazz/improve format has been variations on the sax-bass-drums trio. Some of my post-Coltrane incarnations have been combinations such as Wilkinson-Fell-Hession, Parker-Guy-Lytton, Anderson-Parker-Drake, Brotzmann-Parker-Drake, Brotzmann-Hokins-Ali, Gayle-Parker-Ali, Dunmall-Rogers-Norton, Lacy-Avenel-Betsch, Perelman-Duval-Rosen or anyone with Morris and Charles.And anything with Peter Kowald and a good drummer and a good saxophonist – the Anderson trio set with Drake comes to mind as a very fruitful and rewarding listen.

I think most of you who don’t know me get a bit of the point. In fact, if I go back about 3 or 4 years, I might have been as fanatical about much of this sort of music as anyone who posted here.

However, besides a few things like the Parker-Prevost duo, “Most Materiall”, I often found (and find) sax-drum duets (especially) blow-outs lacking in variation and dearly missed what the great modern bassists often bring to these occasions – really always the glue that would give what otherwise might be almost meaningless emotive playing a purpose.

More recently I seem not to be as attracted to this sort of thing – I sure hope it doesn’t come from listening to Paul or Brian (let alone Jon) – but I have been more interested lately in the jazz (more recent jazz at least) that I listen to – to hear for more subtlety that fire in the jazz I do listen to.

And then I heard this. It is not so much that this wasn’t kind of what I was expecting – it might be that I didn’t know that there was:

1) a saxophone player who could play like this – this type of visceral and intense stuff – even moreso than a guy like Perelman – and have a fullness of tone – and pack it all in so tightly. Not taking his time ala Dunmall – but keeping a melodic sense as Dunmall is wont to do. And having the kind of awesome control of his instrument with jazz dropping intensity. And yes – unrelenting through the 42 minutes (and I love 40-something minute discs – nothing better than wanting for more – not much worse than waiting for a disc to end – as one might know that the rest might be the same as what had come before.

2) Didn’t know a drummer like Chris Corsano existed. Simply said, the most explosive powerful drummer of this sort I have ever heard. Has changed my paradigm as to what is possible playing free jazz on the drum kit. And yes – he is kind of a basher – and despite how powerful he is with Flaherty – the two solos – particularly the one that opens the middle 18 minute piece – is pretty much 6 minutes of sonic bliss. Never heard a drum solo like this before

damn - nice to write something like this about this disc

Never thought I would write any of this about this disc. I was execting something *like* something I had heard before. The liners talk about Corsano channeling Denis Charles through some other sort of experiences - but the only thing I hear is some kind of nuclear force drummer. And I have long railed against some of the drummers who bash - usually can't take it anymore - I usually lean towards guys like Paul Lovens, Tony Oxley or Mark Sanders. In fact, I have oftne been dissapointed by the younger drummers who have played at events like the Vision Fest over the years - having seemed to my ears to have only listened to guys like Murray and Graves - and having turned into lesser versions of the grand masters.

Corsano (at least from the evidence here) is a new player on a different plane than anyone else playing this sort of fiery free jazz improvisation - at least that I have heard

5 stars

peace and blessings

[Guest Chaney]

Nice review, Steve, but... 5 stars?

I haven't heard this one but you sure have me curious. Sometime soon I'll place an order with Family Vineyard, get The Belove Music, listen and compare notes.

[Д.Д.]

Steve, just as you I am becoming less and less interested in listening to fire-music scream-fests - but I am also somehow attacted to what Flaherty is doing. I think his music comes across as something very sincere - and when it is so purely emotional, it somehow avoids sounding trite, even if everything new in his chosen idiom has been already eloquently enough said 30 years ago. I think this sincerety distinguishes Flaherty from those by-default derivative "free" saxophonists like Murray, Ware, Gayle, Finn, and (sorry) - more often than not - Dunmall.

Edited March 7, 2006 by Д.Д.

[Д.Д.]

Beloved or Hated, that is the question.

[Chuck Nessa]

Steve, just as you I am becoming less and less interested in listening to fire-music scream-fests

Do you consider this "growth"? Or is it a passing "phase"? How exactly do you relate to music?

[clifford_thornton]

There are times when I feel the need to listen to other things, but at the end of the day, fire music is still what I enjoy the most. Which is more inclusive than a lot of other subgenres, I'd say...

[jon abbey]

Which is more inclusive than a lot of other subgenres, I'd say...

what's that mean exactly?

[David Ayers]

Steve, just as you I am becoming less and less interested in listening to fire-music scream-fests

Do you consider this "growth"? Or is it a passing "phase"? How exactly do you relate to music?

Good question which deserves a whole thread to itself I should have thought!

[Д.Д.]

From EMANEM:

Emanem new releases - available March 15:

TERRY DAY ‘Interruptions’ (1978-1981) - Emanem 4125

Terry Day was a compelling force on a wide variety of instruments (before ill health curtailed much of his activity in the late 1980s) as can be heard on these 29 solo improvisations and multi-tracks performed on piano, keyboards, alto & soprano saxophones, bamboo pipes, drums, percussion, cello, mandolin, home made instruments, balloons, toys, African thumb piano, voice, Chinese flutes, plastic trumpet, and a Michel Waisvisz crackle box. (There are also cameo appearances by Peter Cusack and Davey Payne on 3 punk rock songs.)

77 minutes – all previously unissued.

Psi new releases - available March 15:

RUDI MAHALL ‘Solo’ (2005) - Psi 06.01

The first solo record by the Berlin based master of the bass clarinet.

56 minutes.

EVAN PARKER OCTET ‘Crossing the River’ (2005) - Psi 06.02

Groups in the range septet to tentet are increasingly possible, given the long term commitment to free improvisation from London based musicians. This CD features two extended octet improvisations by NEIL METCALFE (flute), JOHN RANGECROFT (clarinet), EVAN PARKER (tenor saxophone), PHILIPP WACHSMANN (violin), MARCIO MATTOS (cello), JOHN EDWARDS (bass), JOHN RUSSELL (guitar), and AGUSTН FERNБNDEZ (piano) - plus a sting quintet, and some short trios and duos.

77 minutes.

All Emanem & Psi CDs are now available except 4002, 4015 & 4067 which are currently out of stock.

Also available for sale at the same price as Emanem CDs:

‘ACOUSTIC TRIO’ Treader TRD004

JOHN COXON (piano, guitar), EDDIE PRЙVOST (percussion), ASHLEY WALES (objects) 2004

‘JOHN TCHICAI WITH STRINGS’ Treader TRD005

JOHN TCHICAI (bass clarinet, alto sax, voice), JOHN COXON (piano, guitar, samples, etc), ASHLEY WALES (samples, percussion, etc) with MARK SANDERS (percussion), 2005

[P.L.M]

PAUL FLAHERTY & MARC EDWARDS: KAIVALYA VOL.1 (Cadence)

Recorded October 03 at PBS Studio.

A very good "Fire Music" records (in my opinion).

From the lines of the booklet written by PAUL FLAHERTY:

"Free music players are born, not made. Why else would someone travel this road, if they didn't have to. So I figured out, in my mid-twenties, that I was a free player. This was the type of music that made me feel at home... Improvisation directing the whole ball of wax. It really wasn't a choice."

Edited March 9, 2006 by P.L.M

[Guest Chaney]

An eBay seller (not me) with some nice items at nice prices...

I'm bidding on The Cortet HHHH Electro acoustic John Butcher so HANDS OFF that one. -_-

[Д.Д.]

I'm bidding on The Cortet HHHH Electro acoustic John Butcher so HANDS OFF that one. -_-

Don't worry, Tony - my focus at e-bay is somewhat different.

[John B]

Thanks for the link Chaney! I bid on the AMM, Korber, Trio Sowari and Necks cds.

I left the Cortet action alone.

Edited March 11, 2006 by John B

[Guest Chaney]

Just some news and a few new releases spotted 'round the 'net:

It appears that Blossoms: Farewell Concerts Lacy to Europe is now available from Afkikker at (ouch) €140.

The Blossoms Concerts

'Blossoms' was a cycle of 10 concerts in 10 days, and formed Lacy's way of saying farewell to Europe after a thirty-year stay in Paris.

The cycle of concerts started on Steve's birthday, the 23rd of July 2002 in Ghent, and ended on the first of August in Antwerp. All the concerts took place in different places in Belgium, each time with different musical partners. Surrounded by his most loyal fans and friends, Lacy could express himself fully. The music was rich in construction and content, and always adjusted to the specific moment and context.

In Ghent we invited Shiro Daimon, a Japanese dancer. In Brussels there was Free music with Fred Van Hove and the Art-song with Irene Aebi, who gave also a double concert in Loppem (Heidelberg). With classical violist Michail Bezverhny there was another concert in Ghent. In café Belga in Brussels there was a courageous dialogue 'One More Time' with improvisor Joëlle Léandre. Solo concerts were performed in Mons, (Zebrapad) and Brussels. The cycle closed on the Free Music Festival in Antwerp with avant-gardist Frederic Rzewski.

~~~~~~~~~~

New on Absinth Records:

SERGE BAGHDASSARIANS / BORIS BALTSCHUN / BURKHARD BEINS

New on Intakt:

A second and third releases from NEMU Records:

(These look really good.)

Edited March 11, 2006 by Chaney

[Д.Д.]

I like the Absinth design...

Talking of design, got the Trio Caveat release:

So, the CD "case" is a sheet of dense paper, folded and held together by a string. Inside the liners are printed on a transparent plastic.

More importantly, the music is good. Slow slow stuff. Every sound is placed carefully, as if reluctantly. All instruments (tenor - bass - drums) sounding beautiful. Recommended.

[Guest Chaney]

Sounds like they're doing that microtonal thang. (I see Joe Maneri cited on a resume.)

David: How do you manage to find these gems at CD Baby? Do you have a search stragedy?

For me, CD Baby is a very unwieldy site. Or maybe I just don't have the patience to browse. (Reminds me of when I visit the old brick 'n mortar to shop for anything at all. It's like a commando raid: get in, accomplish the mission as efficiently as possible, and get the hell out. If anyone is unfortunate or unwise enough to get in my way, s/he's quickly and quietly snuffed with either an evil stare or, if s/he gets sassy, vicious, curt words. Needless to say, I shop alone.)

Edited March 12, 2006 by Chaney

[Д.Д.]

Sounds like they're doing that microtonal thang. (I see Joe Maneri cited on a resume.)

David: How do you manage to find these gems at CD Baby? Do you have a search stragedy?

For me, CD Baby is a very unwieldy site. Or maybe I just don't have the patience to browse. (Reminds me of when I visit the old brick 'n mortar to shop for anything at all. It's like a commando raid: get in, accomplish the mission as efficiently as possible, and get the hell out.)

I am a big fan of CDBaby - for generous samples (and you can listen to all samples from a disc on one click), for really unique selection, for $5 sale (check out the Pax releases) and for very reasonable shipping rates.

No particular search strategy. I do the Browse -> Free Jazz (or Weird Jazz) and listen to samples. Also, each CD (as well as your cart when you start adding items to it) would have a couple of suggestions links and they are suprisingly relevant.

But I can save you some time - recent additions to my cart (not ordered yet):

http://cdbaby.com/cd/camarda

http://cdbaby.com/cd/sfnptp

http://cdbaby.com/cd/andregoudbeek (you wanted some accordeon, didn't you?)

http://cdbaby.com/cd/meridianae3

http://cdbaby.com/cd/mmgk

http://cdbaby.com/cd/kyriakides

http://cdbaby.com/cd/michalowski

http://cdbaby.com/cd/opsvikjennings

As for Trio Caveat, I don't think they are playing microtonal struff - it is just v e r y s l o w. But good.

Edited March 12, 2006 by Д.Д.