31 ottobre 2006

Stasera si può lasciare ad altri il trito rito di 'Trick or Treat' e preferirvi l'ascolto in radio di Carla Bley alla guida della sua Big Band così come registrata a Umbria Jazz a Perugia lo scorso luglio. In formazione, oltre ai fedelissimi, anche qualche nuovo nome reclutato in occasione dei laboratori didattici che Bley e Swallow dirigono con una certa frequenza in Europa: Carla Bley (piano, direction) Andy Sheppard (tenor saxophone) Wolfang Puschnig (alto saxophone, flute) Roger Janotta (saxophones) Christophe Panzani (tenor saxophone) Julian Arguelles (baritone saxophone) Lew Soloff (trumpet) Florian Esch (trumpet) Earl Gardner (trumpet) Giampaolo Casati (trumpet) Gary Valente (trombone) Gigi Grata (trombone) Giuseppe Calamosca (trombone) Richard Henry (bass trombone) Steve Swallow (bass guitar) Karen Mantler (organ) Bill Drummond (drums).


30 ottobre 2006

Un commento al concerto dello scorso 29 ottobre al Vortex Jazz Club londinese in onore di Elton Dean e anche in ricordo di Pip Pyle:

"For the most part the evening passed through a haze of free jazz legends whipping it out (by turns grating and pleasantly surprising), a labyrinth of chairs outnumbering audience members, and all manner of unshakeable thoughts about death (of my own mind's making and others'). I do like this 20 minutes each business, with a short social break in between every act. That's got to be the best way to do free jazz.
The pinnacle for me was the In Cahoots set. Fred Baker was particularly good for finger watching. 3-piece brass section (quite a few musicians I didn't recognise), solo-heavy, and better tunes than I recall from the Phil Miller albums I've heard. If only there were a way to get to see InCa play again...
Hatfield set: minus Richard Sinclair, they naturally played the Hatfield jam numbers. With cathartic playfulness, they were nudging the old tunes into overdrive. Joyous stuff.
Speaking of catharsis, Mark Hewins brought the evening's sentiment to a climax with a performance of a farewell song written for Elton by Pip, to Alex Maguire's music (he was on the ivories). Although the song was written and played out of his vocal range (and he's not a vocalist), the tears and the onstage purging were undeniably moving, and seemed a fitting way to say goodbye, just before the last bit of free blowin denouement.

Aggiunge Aymeric Leroy:
"The frontline for the InCa gig was SimonPicard on sax, Simon Finch on trumpet and Gail Brand on trombone. Picard and Finch will also be on the upcoming Japanese dates. The "Hatfield" set consisted of "Seven Sisters" (instrumental version) and "The Yes-No Interlude" with the reprise of "Take Your Pick" at the end. Fred Baker concluded that set with a solo guitar version of Elton's tune "Baker's Treat"."

27 ottobre 2006

A proposito del concerto Electric Proms tenuto a Londra lo scorso 25 ottobre, cui sono intervenuti Hugh Hopper & Seb Rochford, John Surman & Dave Okumu, John Taylor & Tom Arthurs, tutti dapprima in duo e poi anche assieme - si può leggere la recensione pubblicata in http://www.bbc.co.uk/electricproms/jazzon3.

Per qualche giorno sarà visibile anche una ripresa video dell'intero concerto.

24 ottobre 2006

Chi è a Parigi la sera del 31 ottobre non si perda il concerto di John Greaves a L'Archipel. In programma tra l'altro anche qualcuno dei nuovi brani scritti sulle poesie di Verlaine. Tra gli invitati Jeanne Added, Marcel Ballot e David Lewis.

22 ottobre 2006

Un primo commento, non del tutto positivo, al concerto del Canterbury Sound di venerdì scorso si può leggere su What's Rattlin'. Lo invia Stephen Reynolds.

[...] The Puffins were already on stage and not really expecting to like them I joked 'shall we go to the bar' but we stayed and although they had a strict no photo policy I tried taking a few without the flash which didn't come out!.
The Puffins had Geoff Richardson and Jim Leverton from Caravan, plus a female percussionist and a acoustic bass guitar player, GR switched between ukulele, acoustic guitar and viola. As ever he is excellent and projects a great cheering personality that brightens the whole room, JL was a good acoustic guitar player and sang in that smokey style of his and was fine.
I felt irked when people requested a Caravan or was it a Dave Sinclair number, to which was politely declined with a remark about contacting Japan. I was on their side then and enjoyed their set except the excerpt of Caravan they didplay from 9ft Underground, which was originally sung by RS, it never sounds quite right with Jim Leverton's voice but it was well arranged.
So they left the stage and the feeling was what was that to do with the Canterbury Sound? they had played a Eric Clapton and a Travelling Wilburys number! So not very Canterburian to me...

Then the bare footed Chris Cutler followed Hugh Hopper onto stage, HH doing hisusual bedrock bass and CC 'playing' sounds and his electric drum kit, see his website for explanation. With wierd and wonderful sounds and recordings emerged floating over HH's superb bass booming out.
My partner looked highly ill at ease by now and she asked me if I wanted to go to the bar... touche!
Then the great one emerged, Daevid Allen! I can't describe him to do him justice, but his completely fab look and huge stage presence encapsulated me,and we were off on heady ride off old and even older hits and some I didn't recognise. 'We did it again', 'Hope for Happiness', 'Dedicated to You but you weren't listening' (with rewritten words by DA) and many more, I loved the Brainville 3 they were great, and at times he had me in stitches with; Who's afraid...e specially when he said Who's afraid of crowds and somehow suddenly seeing usall repelled back with a Aaargh, Who's afraid of dying suddenly felt poignant, when the numbers really started driving Chris Cutler was fantastic, as an amateur drummer myself I can attest he has a unique style with a flamboyant looking revolving arms and he was pounding them drums, driving the set along. DA led the ostinato fest, a true star, as for his axe he was playing a truley bizarre and wonderful white plastic looking guitar with no head and mostly played with a punky distortion, and some lovely glissando.
They were all too soon gone, with a touching three cheers for Pip and some lovely comments from Daevid Allen about Pip being a 'classic'. True enough there's no one that can play like Pip as we would soon see...

So too the break, a crowded bar and then back in, no photo policy now so I got some shots of Hatfield & the North who took to the stage with an announcement/introduction from Jonathan Coe.
They started with Share It, with Doug Boyle (Caravan) guesting on lead guitar, he was superb, but the band sounded unrehearsed to me, Mark Fletcher who I have seen with Richard Sinclair at Coventry and many times with In Cahoots is a great drummer, but he fell well short of Pip's standards, he appreared a lot of the time to be reading the material and I felt he was off the beat or the feel wasn't right on most of the songs, he did best on Nan's True Hole, the former Matching Mole number which is a heavy riff number, but then throughout the night Richard kept forgetting lyrics, which on previous occasions I have taken in the spirit of their 'eccentricity' and it's not bothered me, but tonight I found it, rude and inconsiderate, there is a paying audience with you, this isn't a rehearsal room.
Which let's face it they could have done with in my view. So they played mostly Pip's stuff with RS burbling when he forgot words! They played Underdub, but an interlude commenced when they couldn't find Doug Boyle who rushed back on stage and was duly heckled 'best go get your guitar' which was jovial but it looked a tad shambolic.
As stated SB was great, and the numbers were soon over, Alex Maguire's introduction to the band had been successful when I had seen Hatfields previously, but tonight I found that he overplayed in places, not much 'less is more' in his performance. He seems a very energetic soul but we don't need 10million notes a minute all the time. So we got to the end and they played 'God Song' one of my all time Canterbury favourites. SB joined Phil Miller and Richard Sinclair and the guitars were beautiful, but Richard delivered the song 'karaoke' style, the original irony/feeling lost in transit, I know I am being mean but that's how it came across to me, very disappointing. They then looked to do another song but couldn't find the other members of the band and it fizzled out. My thoughts were left that maybe the Hatfield monicker should be dropped, replacing one member was survivable but not two, without Pip it does not fly.
Vi risponde poco dopo Simon Knights:
Well, The Puffins. What can you say about the Puffins. Is there a Canterbury connection? To be honest, and I have thought about this, I can't find one. Yes, I know that Geoff Richardson was there and so was Jim Leverton. But it just doesn't do it for me. Musically I can find no connection with the genre. The one thing that I thank them for was that Geoff didn't start to play his spoons - perhaps that had been spot-welded together. The one thing that I wouldn't thank them for was for playing 'Disassociation' from 'Nine Feet Underground'. I've heard Caravan do this in the last few years with Jim Leverton on 'vocals' and it just isn't right.
Next up, Brainville 3. Now we are talking. Chris Cutler perched up high with his kit and electronics. Not only visually captivating, but the sounds he produces are really ace. He holds back, fixes sounds when they are needed, he is a really intelligent percussionist. But when the music needs his power he just turns it on and drives the band forward. And Hugh Hopper and the power of his bass. Repeating patterns, fret-sounds, scraped strings. Solid. Rhythmic. And so inventive and distinctive. Then when Daevid enters the stage his presence is commanding. Eccentic, witty ("who's afraid"), challenging. Different versions of old tunes and songs "We did it again..", "Dynamite", "Memories" etc.
Hatfield - I saw Hatfield last year in London, and earlier this year in Deal on the Kent coast and was, as always, looking forward to hearing them again. An extended band this time with Doug Boyle on guitar. Now Doug is a great guitar player but I had the feeling that he was present just to give a another 'Canterbury' link rather than complement Hatfield as a band. As Stephen said in his posting, Doug's second entrance was shambolic (but did generate a titter around the theatre). Richard did manage to remember the words to most songs but (and this is something of a trademark these days) did have to burble through parts of some.
Mark Fletcher. Great drummer, but not Pip Pyle - which is fine, because he wasn't there to be Pip Pyle - he was there as Mark Fletcher. More animated than Pip but not as loose and relaxed as Pip. In fact, on the occasions when I did see Pip drum, I was always amazed at how little he needed to move in order to play the way he did. He seemed to have this natural ability to conserve energy and play brilliantly.
Qualche momento iniziale del concerto di Brainville 3, con i soli Hopper e Cutler in scena, è visibile in un filmatino di poca qualità a http://tinyurl.com/tc3b9

20 ottobre 2006

Jonathan Coe scrive oggi su The Guardian un pezzo dal titolo Pilgrims' prog rock, in occasione del 'Canterbury Sound' di stasera al Marlowe Theatre a Canterbury, dove lui stesso introdurrà il concerto di Hatfield & the North.

19 ottobre 2006

Chris Cutler sarà protagonista di un eccezionale concerto con la BBC Scottish Symphony Orchestra il prossimo 4 novembre a Glasgow. Interverranno anche John Oswald, Jon Rose e Zeena Parkins. In programma p45 (III), scritto da Cutler ed eseguito dalla BBC Scottish Orchestra con solisti Zeena Parkins, Jon Rose, John Oswald e lo stesso Cutler. Seguirà l'esecuzione di Pieces for Orchestra, scritti da John Oswald. Condice Ilan Volkov.
Si spera che la BBC faccia buona opera di diffusione almeno della notiza, e che trasmetta il concerto (magari in diretta, per esempio, in Here & Now). Un commento di Cutler parrebbe sgomberare il campo da troppe illusioni: "BBC have done practically zero promotion outside the classical music public in Glasgow, so please pass this around if you know people in the area; thanks".

18 ottobre 2006

Si tiene il 29 ottobre prossimo al Vortex Jazz Club la serata londinese da tempo annunciata in onore di Elton Dean. Ci sarà ampio spazio anche per un ricordo di Pip Pyle.
Questi i dettagli:
Sunday 29 October - 5pm
Elton Dean Night
The Vortex Jazz Club,11 Gillett Street,London N16 8JH
Dalston Kingsland (Silverlink) - 1 minute walk from the venue.Connect from Highbury & Islington (Victoria Line)
An unmissable gig to celebrate the life, music and friendships of the much-loved saxophonist Elton Dean, (a long-standing Vortex supporter), who died in February 2006. There will also be a special set to celebrate the music & memory of Pip Pyle.
Featuring : Fred Baker, Gail Brand, Paul Dunmall, Jim Dvorak, Mark Fletcher, Tony Levin, Alex Maguire, Phil Miller, Evan Parker, Simon Picard, Howard Riley, Paul Rogers and Mark Sanders.
Set 1 (5:45-6:30pm)
1. Paul Dunmall/Paul Rogers/Tony Levin
2. Simon Picard/Jim Dvorak/Howard Riley/Mark Sanders
Set 2 (6:40-7:20pm)
Phil Miller (guitar), Peter Lemer (keyboards), Fred Baker (bass), Mark Fletcher (drums), Simon Picard (tenor sax), Gail Brand (trombone), Simon Finch (trumpet)
Set 3 (7:30 - 8:15pm)
1. Mark Hewins - solo
2. Evan Parker/Tony Levin - duo
3. Evan Parker/Simon Picard/Alex Maguire/Paul Rogers/Tony Levin
Set 4 (8:30 - 9:15pm)
1. Jim Dvorak/Mark Hewins - duo
2. Gail Brand/Mark Sanders - duo
3. Evan Parker/Howard Riley/Paul Rogers/Mark Sanders
Set 5 (9:30-10:10pm)
Hatfield/Pip Pyle dedication
Phil Miller (guitar), Fred Baker (bass), Alex Maguire (keyboards), Mark Fletcher (drums)
Set 6 (10:20-10:40pm)
Paul Rogers (double bass) - solo
Paul Dunmall (sax) - solo
Set 7 - (time willing)
10:45 - exhaustion sets in/audience leave/police are called
Musicians' choice

17 ottobre 2006

In occasione del 'Pip & Pierre Tribute' (Pip Pyle e Pierre Moerlen, naturalmente) in programma al 'Gong UnConventional Gathering' di Amsterdam a inizio novembre, ecco un invito diffuso via e-mail da Daevid Allen:

"Hey everybody! For Pip's tribute we would like all who want to be there (in the Old Hall, on the Saturday, time To Be Announced...) to bring a percussion instrument large or small with them to the UnCon and join in a giant percussion jam with hopefully three drum kits and numerous drummers and other instrumentalists indispersed with hilarious road stories starring Monsieur Pyle, and featuring several tunes composed by Pip and played by Didier and others. Let's make it a right royal blast-off for the much loved wild man of Gong!
See y there! Cheers!!
Daevid Allen"

14 ottobre 2006

Ed Palermo è da annoverare senz'altro - e non da oggi - tra i migliori arrangiatori e interpreti delle musiche di Frank Zappa per big band. L'album pubblicato di recente da Cuneiform, Take Your Clothes Off When You Dance, è un'ottima occasione per conoscerne e apprezzarne il lavoro, anche considerato che un suo primo cd zappiano andò subito esaurito circa otto anni fa senza più essere ristampato. Un'intervista con Palermo si trova in CloudsandClocks, e un piccolo special radiofonico con intervista e brani dal vivo in studio si trova in http://tinyurl.com/sxuy4
Ed Palermo is an alto sax player and arranger; he has had a big band for twenty-five years, which is an impressive feat in itself, and has had his band performing the music of Frank Zappa for over a decade. Years and years of playing these pieces in front of enthusiastic crowds at a number of venues in New York City and beyond have honed the band’s skills with this difficult material to where they can glide through these charts as if they were butter. There are a number of ensembles performing the music of this great 20th century American composer, but no one does it with this ease, skill and originality; Ed is not afraid to turn a piece into a salsa number (the title track) or to take what was a one minute miniature and to develop it out into a six minute work. The band is a 15 piece ensemble of 6 woodwind players, two trumpeters, three trombonists, two keyboardists, bass and drums, plus a few guests. All of these musicians are NYC professionals, and they have been playing this music for years with Ed, because, like Ed, they recognize and appreciate the genius inherent in the huge body of Zappa's work, and they want to keep this great music alive and in front of the public.

09 ottobre 2006

Monoteismi, fedi assolute, l'esistenza di dio e il ruolo della radio nei culti religiosi sono i temi di un nuovo capitolo Negativland dal titolo It's all in your Head FM, titolo sia dello spettacolo sia del doppio cd dal vivo, con materiali desunti da oltre 25 anni dello show radiofonico Over the Edge. L'album è disponibile soltanto ai concerti - una nuova serie solo statunitense tra fine ottobre e inizio novembre - oppure tramite il sito ufficiale del gruppo.
Vi si legge:
Negativland's "crusading" IT'S ALL IN YOUR HEAD FM show is an effort to bring our 25-years-on-the-air Over The Edge radio show to the live stage for the first time. No puppets, no film projectors, no bells and whistles... just "theater of the mind"... the creation of a live radio program with a studio audience! "It's All In Your Head FM" is a densely-layered examination of monotheism in all its worldwide forms, as hosted by the venerable Dr. Oslo Norway.

E a proposito dell'album:
Our brand-new live double-CD set, recorded at the San Francisco and LA "It's All In Your Head FM" shows in 2005, is our first official live album ever, and a rather timely release of this all-new material. No greatest hits here - this is a completely new work. This disc is not being released through stores - mailorder and our live shows only!

02 ottobre 2006

Bob Ostertag e Pierre Hébert sono a Bolzano per Transart sabato prossimo, 7 ottobre, per presentare dal vivo un nuovo capitolo del loro connubio artistico noto come Living Cinema.
Living Cinema is the creation of Quebecois film maker Pierre Hébert and San Francisco composer Bob Ostertag. The project is innovative in many ways, bringing the creation of cinema out of the movie and recording studios and on to the stage. Ostertag has created innovative software which allows the two artists to actually perform an animated movie with soundtrack, live on stage.
For decades, Hébert was considered one of the masters of the unusual craft of creating animated films by engraving directly on film. Living Cinema allows him to apply the craftsmanship acquired through years of engraving on film to whatever materials he wishes to use. Ostertag brings his years of experience with live manipulation of sampled sound to the project, using a variety of objects and techniques to create a soundtrack that is synchronized with the image as both are being created.
The flexible, open-ended character of Living Cinema gives the artists the ability to respond immediately to political and cultural events in a way that conventional cinema never could. The work is thus profoundly influenced by world events.
The performance is innovative enough to be difficult to describe to those who have not seen it, yet transparent enough to be easily grasped by those in attendance. Children have typically been among its most enthusiastic fans.
sabato 7 ottobre 2006, ore 20.30