25 giugno 2017


Nell'universo di sublime poesia e jazz da piano bar evocato dal Nostro nel segno della dichiarata nostalgia han fatto capolino, a fianco di Wyatt e Brassens, cover inattese di Bowie, Dylan e Cohen. Chi non ne ha seguito la diffusione in streaming in tempo reale ne trova registrazione nel ricco archivio su YT: è il bel concerto confidenziale di venerdì scorso di John Greaves al club Le Triton di Les Lilas (Francia), parte della rassegna Les Tritonales 2017. Intimacy and Ecstasy...

"L’homme, le piano, la voix. Une vingtaine de chansons qui traversent cinquante ans de scène. Un périple du Pays de Galles à Liverpool, Londres, Cambridge, New York, Paris. Le voyage est dans la musique, l’histoire dans les paroles. De vielles chansons de jeunesse et des chansons mûries de la dernière pluie. Ici, dénudées et vulnérables. Confidentielles." (John Greaves)

https://www.youtube.com/watch?v=oostzA3_M3w
http://www.letriton.com/programmation/temps-forts/les-tritonales-2017-3091
http://www.letriton.com/programmation/temps-forts/date/john-greaves-solo-2090

24 giugno 2017


Era uscita una decina d'anni fa in poche copie per Tonefloat Records una preparazione mista con i più gustosi assaggini di macedonia di flauto serviti da Theo Travis appena prima di Oily Way - come da menu Angel's Egg - nei concerti dei Gong di Zero to Infinity, tra il 2000 e il 2001. Oggi riappare tramite Bandcamp, in forma di salutare probiotico: Eleven Bowls of Acidophilus Flute Salad.

"The album comprises eleven solo flute improvisations played live on the Gong Zero to Infinity world tour of 2000/2001. Nearly every night of that tour Theo performed a "Flute Salad" about half way through the gigs as an introduction to a song called "Oily Way", and while Daevid Allen was doing one of his costume changes into the most outrageous white silk full body and pointed hat outfits. the improvisations were anything from two minutes to nearly seven minutes depending on how far away the dressing room was, how stuck Daevid got getting into his suit and how inspired he felt..."

https://theotravis.bandcamp.com/album/eleven-bowls-of-acidophilus-flute-salad
https://www.discogs.com/Theo-Travis-Eleven-Bowls-Of-Acidophilus-Flute-Salad/release/1069023

23 giugno 2017


Per la sua Reel Recordings l'indimenticato Michael King aveva recuperato diversi nastri inediti di Bob Downes - registrazioni del 1978/1979 in compagnia di Barry Guy, John Stevens e Brian Godding tra gli altri - allineandoli nel prezioso Crossing Borders (2009). Oggi anche Chris Cutler per ReR recupera materiali prodotti in varie epoche dal flautista e pluristrumentista e, d'accordo con il titolare, ne fa un ragionato catalogo alternativo alla discografia fin qui ufficiale: It’s a Mystery.

Spiega Cutler: "Bob Downes was a name you’d see everywhere in the late '60s/early '70s – always up to his neck in something interesting and experimental. Last year I tracked down a composition of his for Alphorns for the Probes series (it will be in No. 22) and a few months later he sent me an unreleased recording of his 1970 Dream Journey, a great dance composition that speaks volumes about the general musical climate of the time (it’s for 3 percussionists, two flautists, saxophone, trumpet and bass). I asked if there were more and we soon shuffled this compilation together, which covers a lot of ground: from solo to 65-piece wind band, recording experiments to library music and the years 1970 to 2004. And, of course, Alphorns. Several tracks feature the legendary John Stevens, classical percussionist Derek Hogg and bassist Daryl Runswick. It’s constantly engaging, inventive and a pleasure to listen to; and it’s also a fascinating window onto a (sadly) vanished aesthetic."

http://www.bobdownesmusic.de
http://tinyurl.com/y8mf9mf4
https://www.allaboutjazz.com/its-a-mystery-bob-downes-rer-megacorp-review-by-roger-farbey.php

22 giugno 2017


Si tiene questa sera al Cafe Oto il sospirato debutto londinese di Half the Sky: Dagmar Krause, Chlöe Herington, Miwazow, Wataru Okhuma, Nasuno Mitsuru, Yumi Hara e Chris Cutler, con le musiche di Lindsay Cooper. Il successivo appuntamento è tra pochi giorni all'Avantgarde Festival a Schiphorst (Germania).
La genesi del progetto è nota, ma Yumi la riassume a beneficio di nuovi seguaci e sostenitori: "In 2013, soon after Lindsay Cooper passed away, Matthew Watkins made a call for arrangements of her mini-composition Slice for a special edition of his podcast Canterbury Sans Frontières. I made a transcription of the piece and recorded it for solo clavichord. Chris Cutler and I also played it in Japan and NY. A little later, inspired by the three memorial concerts Chris Cutler organised in 2014 with the original bands, I put Half the Sky together to play Lindsay’s music in Japan. The gender split follows Lindsay’s general practice and the example of the original bands - Henry Cow (50% female) and News from Babel (75% female). With the exception of Slice, it was only after - and because of - the 2014 concerts that any working scores for the Henry Cow pieces became available, having been painstakingly assembled from Lindsay’s notebooks, original band-members’ surviving parts and careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had already been reconstructed for the memorial concerts by Zeena Parkins; the rest I had to work out from scratch – as well as rearranging everything for a mixture of occidental and oriental instruments. This programme is approached very much as a music of the present - and not as an academic reconstruction."

https://www.cafeoto.co.uk/events/half-the-sky
https://www.gofundme.com/half-the-sky-tours
https://www.facebook.com/avantgardefestival
http://www.avantgardefestival.de/Programm_AiH_2017.pdf

21 giugno 2017


Fa idealmente seguito al lodevole recupero qualche anno fa da parte dell'etichetta Dusk Fire di uno dei capolavori di Neil Ardley, A Symphony of Amaranths (Regal Zonophone, 1971) la pubblicazione di alcuni inediti, sempre di Ardley, trasmessi nel corso dei programmi Jazz Club e Jazz in Britain della BBC nel febbraio e nel settembre 1971: Neil Ardley & The New Jazz Orchestra, On The Radio-BBC Sessions 1971. Ci sono tra gli altri Harry Beckett, Ian Carr, Henry Lowther, Mike Gibbs, Don Rendell, Barbara Thompson, Brian Smith, Dick Heckstall-Smith, Dave Greenslade, Dave Clempson, Jeff Clyne, Jon Hiseman, Frank Ricotti, Barry Guy e Keith Winter.
Descrivendo la suite The Time Flowers, che da sola occupa il secondo set di cui si compone il cd, scrive Roger Farbey: "The music oscillates, sometimes wildly, from contemporary classical, often with a neo-romantic flavour, to out and out avant-garde married with bursts of electronica. Although it may not be Ardley's best or most memorable work, as an archival rarity it is undoubtedly an important testimony to the sounds that were emerging on the scene in the early 1970s, in the wake of psychedelic and progressive rock and nascent fusion. Also significantly, the BBC at that time was more enlightened in terms of the amount of airtime it was prepared to afford contemporary music."

http://marketsquaremusic.com/product/neil-ardley-the-new-jazz-orchestra-on-the-radio-bbc-sessions-1971
https://www.allaboutjazz.com/on-the-radio-bbc-sessions-1971-dusk-fire-review-by-roger-farbey.php

20 giugno 2017


Cronache dei concerti dei mesi scorsi e uno sguardo ai prossimi appuntamenti in calendario, oltre alle segnalazioni delle recenti pubblicazioni di materiali audio e video d'archivio: è pronto un nuovo numero dello Smith's Academy Informer, il 105, con tutto quanto fa Westbrook.

http://www.westbrookjazz.co.uk/sai/index.shtml

19 giugno 2017


Evan Crankshaw (alias Flash Strap) ha festeggiato giovedì scorso il successo di Jeremy Corbyn e dei laburisti alle elezioni generali in Regno Unito con una puntata speciale del suo programma settimanale Explorers Room presso Give the Drummer Radio di WFMU a Jersey City (Stati Uniti): Fringe, Romance, Contraband, Lend Me Your Era!, tre ore interamente in compagnia delle musiche di Robert Wyatt.

We celebrate the surprise success of Corbyn in the UK – and the broader, hopefully hopeful implications that result has for left politics going forward – by spending an evening with the music of Robert Wyatt. I probably would have done this show regardless of the electoral outcome; it's a necessary tonic in victory or defeat. In 1972, Wyatt asked, "how long can I pretend that music's more relevant than fighting for a socialist world?" The music resulting from that conundrum gives us an invaluable vision of socialist-informed art: not only steadfastly political, unflinchingly critical, and committed to the cause of human emancipation, but also absurdist, experimental, endlessly playful, romantic, and deeply personal. Tonight we'll hear from a variety of Wyatt's solo and collaborative projects, both political and poetic (as if the two weren't one). Tune in and hear He of the Great Voice.

http://wfmu.org/playlists/shows/73172
http://flashstrap.blogspot.com/2017/06/tonight-in-explorers-room-fringe.html

18 giugno 2017


La mostra di dipinti Within di Jayne Cooper - aperta da ieri a Louth (Regno Unito) fino al prossimo 14 luglio, qualche giorno oltre la durata del festival Zero Degrees che la ospita - ha una piccola sezione dedicata ai ritratti di Robert Wyatt che la pittrice ha realizzato negli ultimi tempi. Si intitola Great Wall of Wyatt, e ha ricevuto la visita di persona del suo illustrissimo ispiratore: http://tinyurl.com/RWvsGWOW

Louth based artist Jayne Cooper is exhibiting as part of Zero Degrees Festival this summer. Her exhibition 'Within' features paintings and drawings of Robert made over the last six months, as well as portraits of other characters from this unique Lincolnshire market town. Come see the GWOW (Great Wall of Wyatt) at Spout Yard Gallery, Ludgate, Louth. The exhibition runs until July 14th and is open to the public on weds, Fridays and Saturdays 1-4pm.

http://www.jaynecooperpaintings.com

17 giugno 2017


Dal suo blog Bob Drake ci aggiorna circa lo stato dei lavori attorno alla realizzazione del nuovo album di Peter Blegvad, atteso per l'inizio del nuovo anno assieme, forse, a un cofanetto antologico. Con Blegvad e Drake - lo si evince anche da qualche foto uscita dalle sessioni di registrazione a La Borde Basse - sono coinvolti John Greaves, Chris Cutler e occasionalmente Mark Lockett. C'è anche Karen Mantler, anche se in foto non appare. Pochi peraltro la riconoscerebbero nel suo nuovo nuovo look: http://tinyurl.com/y8raf86l

http://bdblog.bdrak.com/attics-pasta-blegvads-and-more

16 giugno 2017


Dopo le iniziative intraprese lo scorso anno nel periodo di più acuta crisi migratoria nel nord della Francia, Caroline Kraabel è tornata di recente nella zona di Calais e Dunkerque, dove nel frattempo la situazione per profughi e migranti è assai peggiorata, specie dopo la chiusura e la distruzione dei campi Jungle e La Linière. Ne ha scritto un dettagliato rapporto al suo blog, e nel contempo ha prodotto un interessante audio-documentario con interviste raccolte tra rifugiati e volontari, stralci di una sua coraggiosa passeggiata sassofonistica solitaria lungo il confine di un'area sorvegliata e vari contributi musicali di Beshwar Hassan. L'acquisto del podcast tramite Bandcamp vale quale contributo alle associazioni umanitarie Care4Calais, L'Auberge des Migrants e Utopia56.

https://carolinekraabel.bandcamp.com/track/news-from-calais-spring-2017
http://masskraabel.tumblr.com/post/160088839745/going-outside-calais-motorway-wall-25-april
http://care4calais.org
http://www.laubergedesmigrants.fr/en/home
http://www.utopia56.com/en

15 giugno 2017


Prende il via oggi presso il londinese Cafe Oto una bella rassegna curata da Blanca Regina e Steve Beresford, Art of Improvisers, mirata a (ri)affermare l'importanza delle donne in musica nei campi dell'improvvisazione, della performance creativa, dell'innovazione e della ricerca, nonché delle arti visive e altri media spesso associati alle pratiche musicali. Concerti, dibattiti, laboratori, installazioni e mostre di documenti audio e video sono in programma a ritmo serrato fino al 22 giugno, con protagonisti numerosi nomi della scena londinese storica o più attuale: oltre ai due inseparabili curatori della serie Unpredictable ci saranno tra gli altri Tania Chen, Gina Southgate, Sharon Gal, Helen Petts, Julie Pickard, Maggie Nicols, Helen Frosi, Mandhira de Saram, Terry Day, Julie Kjaer e David Toop.

Art of Improvisers (15th to 22nd June 2017) presents a festival curated by Blanca Regina and Steve Beresford and affirms the importance of women in free improvisation and arts. It presents, in a variety of ways, both the back history and the current state of women in free improvisation. It also looks at free improvisation’s strong, but rarely noted, connection to visual work. This show draws on a number of female artists who are part of the newer generation of free improvisers and also artists in different media. The exhibition will draw on an extensive body of previously unseen artwork, documentation and rich archive material. Exhibiting artists include Andie Brown, Tania Chen, Poulomi Desai, Helen Frosi, Sharon Gal, Rie Nakajima, Helen Petts, Julie Pickard and Blanca Regina. The programme presents workshops with Maggie Nicols, Sharon Gal and Helen Frosi and a talk closing the show. It brings together some of the founding members of the UK free improvisation music scene, plus new generations of musicians and artists, unveiling previously unknown aspects of their art. Joining the evening performances at Cafe Oto will be Steve Beresford, Mandhira de Saram, Terry Day, Julie Kjaer, Maggie Nicols and David Toop.

http://www.unpredictable.info/artofimprovisers
https://www.cafeoto.co.uk/events/art-of-improvisers
https://www.mixcloud.com/Resonance/clear-spot-art-of-improvisers-extended-17th-may-2017

14 giugno 2017

13 giugno 2017


Un altro che ci prova tenacemente con Art Bears e News from Babel è Jason T Ingram, che all'interno del suo spazio FB annota i personali progressi nel trascrivere e interpretare alcune trame di quei racconti (The Summer Wheel, Anno Mirabilis). Certamente da incoraggiare: ad oggi rimane insuperato il suo simil-karaoke di Bad Alchemy alla guida del furgoncino...

https://www.facebook.com/jasontingram
https://www.facebook.com/SundayDriverProductions
http://www.hibou-anemone-bear.com/jti

12 giugno 2017


"Reprendre des éléments de la thématique d’un groupe mythique de progressive rock des seventies, Henry Cow - e Art Bears, vien da aggiungere - et les traiter dans notre propre esthétique." Questo il progetto Echos d'Henry Cow del flautista francese Michel Edelin per il suo attuale quintetto, comprendente Sylvain Kassap (clarinetti), Sophia Domancich (piano), Stéphane Kérecki (basso) e Simon Goubert (batteria). Tra gli esiti si possono sentire per ora Half the Sky (Cooper/Hodgkinson, da Western Culture), The Hermit e The Bath of Stars (Frith/Cutler, da Winter Songs): http://tinyurl.com/edelinHC

http://micheledelin.nuxit.net

11 giugno 2017


Con la vittoria, seppur di misura, di Rosie Duffield sul veterano avversario Julian Brazier finalmente Canterbury manda a Londra - per la prima volta dal 1918 - un proprio parlamentare non conservatore. Stenta quasi a crederci Robert Wyatt: "Canterbury gone Labour for the first time ever, I think - am I dreamin'? Then I don't want to wake up!". E Matthew Watkins ci vede un motivo in più per celebrare il plenilunio di questo giugno: Canterbury Sans Tory MP!!

Robert Wyatt live on BBC TV in 1983, Caravan and Hatfield both live in '74, a standout track from a lesser Gong album, something newish from North Sea Radio Orchestra, something oldish from Penguin Cafe Orchestra, a classic slab of Hendrix, something from Soft Machine around the time they were touring with him, Alice Coltrane, an extraordinary tribute to her by Seattle's Sun O))), almost-forgotten Anglo-French Henry Cow-influenced band Officer!, a couple of new things from Bristol's Bloom collective (Evil Usses, Spindle Ensemble) and a tribute to BBC Radiophonic Workshop's star employee Delia Derbyshire. The middle hour is dedicated to the pioneering studio work of Osbourne Ruddock, a.k.a. King Tubby, in the form of a mix of some of his finest 70s dub tracks.

http://canterburywithoutborders.blogspot.com/2017/06/episode-47.html
http://www.bbc.com/news/uk-england-kent-40212652

10 giugno 2017


Ricorre oggi il trentacinquesimo anniversario della scomparsa dell'amatissimo Rainer Werner Fassbinder (1945-1982). Per ricordarlo, oltre che immergersi in qualcuno dei tanti capolavori della sua immensa filmografia, ci si può rivolgere alla biografia completa scritta da Jürgen Trimborn (Ein Tag ist ein Jahr ist ein Leben, 2012). Oppure avvicinarvisi attraverso la frammentaria rievocazione personale suggerita da Alessandra Novaga, in concerto e su disco: Fassbinder Wunderkammer (Setola di Maiale, 2017).

https://www.alessandranovaga.com
http://www.ilsaggiatore.com/argomenti/cinema/9788842819639/un-giorno-e-un-anno-e-una-vita

09 giugno 2017


L'album di debutto di Roberto Musci del 1984, The Loa of Music, era già riapparso una decina d'anni fa in versione arricchita in cd per iniziativa dell'olandese Lowlands con il titolo Debris of a Loa. Oggi fa il suo ritorno per Soave Records, un doppio vinile con la serie completa e in gran parte inedita delle sessioni di registrazione originali: The Loa of Music (The Complete Sessions).

The Loa of Music is the first recording project of Milanese composer and musician Roberto Musci inspired by Voodoo Religion; Vever (the magical voodoo paintings) and Loas, the dark and magic spirits. The deep charm of non-Western music has led him to travel for many years across Africa, India and Asia, studying rhythms, scales, performance and interpretation of the most varied traditional and indigenous music, as well he make many field recordings and collected ethnic instruments that would then be combined with synthesizers and electronics in The Loa of Music. Recorded in 1983 originally had 80 minutes of music but only half was released on original LP. Soave pressed for the first time the Complete Recording Session from original tapes of this masterpiece that combines in a natural, spontaneous and unforced manner the sounds of distant and historic cultures, loopped, cut and effected, with avantgarde and mystical approach creating a very personal and inspired innovative musical language.

https://soave.bandcamp.com/album/roberto-musci-the-loa-of-music-the-complete-sessions
https://www.facebook.com/SOAVE-Records-211060232700996

08 giugno 2017


Si prende nuovamente l'onore e l'onere di restaurare e rimettere in circolazione un antico album di R. Stevie Moore la sempreverde Cordelia Records: stavolta tocca a Glad Music, sesto album del tuttofare 'grandfather of DIY' all'epoca della prima pubblicazione nel 1986, e primo a esser da lui realizzato in un vero e proprio studio di registrazione anziché autoprodotto nel salotto di casa. E i risultati un po' lo premiarono: "R. Stevie Moore is a genius of a rare order - si scrisse in quell'occasione sul NME - with the ability to marshall a bewildering diversity of styles and influences and mould them into something quite peculiarly his own. He's one of the few practitioners of post-modernist cross-pollination with the wit and sheer taste to produce a worthy hybrid".

http://www.cordeliarecords.co.uk
http://www.rsteviemoore.com/cd/gladmusic.html

07 giugno 2017


La dedica è per Allan Holdsworth, Elton Dean, Hugh Hopper, Riza Arshad e Dave Carpenter: It Must Be Jazz, nuova antologia a tema che MoonJune Records offre tramite Bandcamp scegliendo 25 brani da 25 diversi album prodotti per l'etichetta dal 2011 a oggi.

https://moonjunerecords.bandcamp.com/album/it-must-be-jazz

06 giugno 2017


Il catalogo digitale del londinese Cafe Oto si arricchisce di una nuova preziosa pagina: 17.1.17, documentazione del concerto dello scorso 17 gennaio di Mark Wastell con Julie Tippetts. Al brano è assegnato il suggestivo titolo Unraveling the Waterfall.

Strikingly sparse and meditative percussive duo from esteemed vocalist Julie Tippetts and Confront boss man, Mark Wastell. Both equipped with a wealth of percussion but perfectly restrained, the pair are near-still, bright and clear at first, until the surface of their glistening sound begins to prickle and rush with an unseen current. Tippett's voice effortlessly matches the bellows of the Wastell’s shruti box, and its gentle drone highlights her natural vocal warmth. Intimate, explorative and intuitive, each note struck or sung is turned over gently, explored, and put back down to rest - like a rare find in a rock pool.

https://www.cafeoto.co.uk/shop/mark-wastell-julie-tippetts-17117

05 giugno 2017


Robert Wyatt raccontato da Silvio Perrella per Wikiradio: ascolti da Rock Bottom e Nothing Can Stop Us, accenni a Un certo discorso e un assaggio di Venceremos. Più un frammento di Hazard Profile che non c'entra niente. La puntata è quella del 1 giugno 2017, ora disponibile in podcast negli archivi Rai: http://tinyurl.com/y7yeyahd.

04 giugno 2017


La serie di presentazioni pubbliche - il mese scorso negli Stati Uniti e attualmente in Europa - del suo ultimo libro Being in Time (Skyscraper Publications, 2017), già costellata di contestazioni, ripensamenti da parte degli organizzatori, cancellazioni e repentini cambi di sede, ha esposto Gilad Atzmon addirittura ad un'aggressione fisica. Dell'episodio, avvenuto martedì scorso a Edimburgo, e di quello precedente a Newcastle, parla e dà testimonianza diretta il giornalista David Scott; ne parla anche lo stesso Atzmon in un video su YT: https://www.youtube.com/watch?v=Gcxdxtvkf4Y

In the post-political neighbourhood in which we live, much of humanity has been reduced to serving the interests of big money, mammon and oligarchy, with Left and Right, those two familiar poles of politics as we have always understood them to be, now indistinguishable and irrelevant. The freedom to think openly and speak clearly are but nostalgic concepts. Our Western Liberal Utopia has turned into an Orwellian dystopia (Gilad Atzmon).

http://lighthousebookshop.com/blog_posts/encouraging-debate-vs-promoting-hate-speech-cancelling-gilad-atzmon
http://www.gilad.co.uk/writings/2017/6/1/gilad-atzmon-physically-attacked-by-antifa
http://www.gilad.co.uk/writings/2017/6/2/david-scott-on-anti-fascist-fascists-uk-column

The events of 2016 – the UK vote to leave the EU, and the US Presidential Election – broke the mold which shaped ideas of democracy, politics and social identity. In this book, Gilad Atzmon argues that Left and Right have become indistinguishable and meaningless in the post-political universe in which we now live, and much of humanity has been reduced to serving the interests of big money and oligarchies. The freedom to think openly is now just a distant memory. Our Western liberal “utopia” has turned into an Orwellian catastrophe, and the people are left bewildered and impoverished, and out in the cold. Being in Time is a courageous attempt to grasp the intellectual developments that led towards the current dystopia. The book delves into the bankruptcy of the ideological grand narratives. It explores the colossal failure of the media, academia and politics to detect and address the events that led us towards destitution. It identifies the ideologies that have planted Identitarian politics and the tyranny of political correctness in our midst. We, the people, have been demoted into mere audience in a Greek tragedy that happens to be the story of our own destruction. The time is ripe to understand it all.

https://www.youtube.com/watch?v=_YH_lx-05is
https://www.youtube.com/watch?v=yDBir720kAY

03 giugno 2017


Partenza con il botto per la rinata Turtle Records, fragile e gloriosa creatura di Peter Eden nell'età aurea del jazz britannico a cavallo tra anni Sessanta e Settanta, ora sotto l'egida di Cherry Red: un mini-cofanetto contenente entrambi i volumi di Marching Song, capolavoro del 1969 della Mike Westbrook Concert Band, un terzo cd aggiuntivo (When Young) pieno di inediti e rarità d'epoca Deram a nome del quartetto e sestetto di Westbrook e della Concert Band con ospite Norma Winstone, più un ricco apparato critico e iconografico curato da Duncan Heining e Colin Harper e uno scritto dello stesso Mike Westbrook. Wow.

Marching Song began as a one-off nine minute composition for a shelved album, recorded by Mike with a Sextet in 1966, previously unissued, it is included here as a bonus track on Disc 3. An expanded 15 piece Concert Band performance of the composition, by then developed into a 2 hour anti-war epic, first took place in 1967 at Plymouth’s Athenaeum. The full piece was finally recorded in early 1969 and released by Decca Records in the UK on their Deram imprint on two separate single LP volumes. In 1970 the LPs were combined for a 2LP release in the US. The recordings were produced by Peter Eden, then in the prime of his modern jazz producing tenure with Deram, capturing the cream of the British Jazz scene which had steadily risen from the mid 1960’s onwards.
This box set also features on Disc 3 both sides of a single produced by Peter of Mike’s Concert Band with Norma Winstone for a one-off single in 1970, never before reissued. Two further bonus tracks are on disc 3, a 16 minute piece entitled ‘When Young’ and a ten minute piece called ‘But It Must Get Better’, both recorded as the Mike Westbrook Quartet in 1970, and previously unreleased.
This box set of the two remastered Marching Song volumes, plus the bonus material mastered from the analogue tapes in Mike’s archive, are packaged with a booklet containing rare photographs from the 60’s live performances plus a major essay on Mike, and these compositions, by noted jazz critic and writer Duncan Heining.

http://www.westbrookjazz.co.uk/mikewestbrook/marchingcd.shtml
https://www.cherryred.co.uk/product/marching-song-vol-1-vol-2-plus-bonus-3cd-box-set
https://www.discogs.com/The-Mike-Westbrook-Concert-Band-Marching-Song-Vol-1-2-Plus-Bonus/release/10364575
https://thebluemoment.com/2015/11/23/turning-turtle

02 giugno 2017


Per iniziativa della Hux Records, con il pieno appoggio di Mike Westbrook e l'immancabile sostegno di Jon Hiseman, rivede la luce lo storico album Live del quintetto elettrico westbrookiano con George Khan, Gary Boyle, Butch Potter e Alan Jackson, ripreso nel gennaio-febbraio 1972 alla vigilia delle registrazioni di studio - con formazione nel frattempo cambiata - del primo Solid Gold Cadillac. Rispetto all'originale, un Cadillac del 1973 divenuto presto rarissimo, ci sono qui due sostanziose aggiunte (Marching Song e Spaces, circa venti minuti nell'insieme) e la rititolazione, oltre che di Live in Live 1972, di Hyde Park Song in Metropolis IX. C'è anche la dedica, già presente nell'edizione cd prodotta dalla nipponica BirdSong nel 2007, al bassista Roger 'Butch' Potter, scomparso nel 2003. E ci sono le note di copertina di Mike: "This band only existed for a few weeks, mostly for a south-west tour at the beginning of 1972. After Metropolis I was due to make another album for RCA. I offered them this 'live' recording. They turned it down. If RCA had released it, the group would probably have continued in that form for a while longer. As it was, by the time we made the studio album, Solid Gold Cadillac, things had changed. Some of the original band had gone on to other things, new people were involved and it became another story. We felt that the 'live' recording was important, so John Jack and I released it on Cadillac. Live remains the only document of a moment in the creative lives of five particular musicians. I was fortunate to be one of them."

http://www.westbrookjazz.co.uk/mikewestbrook/livecd.shtml
http://www.huxrecords.com/cdsales151.htm
https://www.discogs.com/Mike-Westbrook-Live/master/426124

01 giugno 2017


Rimane aperta fino al prossimo 20 agosto la mostra allestita presso l'Haus der Kunst a Monaco (Germania) dedicata alla mirabil storia dell'etichetta Free Music Production (FMP), curata da Markus Müller sull'esempio di quella di cinque anni fa sull'ECM. A punteggiarne l'esperienza poche settimane fa, a quasi metà percorso, vi si sono tenuti due concerti d'eccezione, convocati da Peter Brötzmann: con lui c'erano Toshinori Kondo, Joe McPhee, Heather Leigh, Marino Pliakas, Alexander von Schlippenbach, Michael Wertmüller e Han Bennink. Dopo Monaco la mostra, dal titolo Free Music Production / FMP: The Living Music, riaprirà al pubblico a Berlino nel marzo 2018.

Haus der Kunst devotes an exhibition and concert series to the work of the pioneering Berlin avant-garde recording label and collective Free Music Production / FMP. Nearly 50 years after its founding, the work of this innovative experimental label and collective demands a new critical analysis with respect to its contributions to music. The exhibition and its accompanying program and publication follows on the curatorial context established with the landmark 2012 exhibition and concert series: "ECM: A Cultural Archaeology", which was devoted to the influential work of ECM and Manfred Eicher in 2012.
The record label and improvisational music production platform Free Music Production / FMP was founded in West Berlin in 1968. Its radically expansive focus on contemporary improvisational music and avant-garde jazz was a global undertaking from the beginning. Cutting across diverse musical and cultural practices, FMP invited musicians and composers to explore a range of performance possibilities, from its renowned recordings to concerts, festivals (Total Music Meeting), interdisciplinary workshops (Workshop Freie Musik), and exhibitions. It involved hundreds of musicians, composers, and artists from around the world in a divided Berlin, at a time when the city was positioned as the beacon of Western artistic freedom.
Working on the boundary between radical experimentation in sound structures and virtuosity in playing, FMP facilitated some of the most accomplished and important cultural achievements out of West Berlin in the postwar period. However, what the label, which functioned like a collective, achieved culturally and musically also extended into the political realm, especially as one of the first platforms to challenge the Cold War ideological system through its collaborations with East German musicians. With a catalogue of more than 500 published recordings, countless concerts, more than 100 festivals, and an archive of films, photographs, posters and other graphic work, FMP represents a wholly unique example of lasting artistic radicality that challenges previous norms of collective practice.

http://www.fmp-label.de
http://www.hausderkunst.de/en/exhibitions/detail/free-music-production
https://www.br-klassik.de/themen/jazz-und-weltmusik/ausstellung-free-music-production-haus-der-kunst-muenchen-100.html
http://www.freejazzblog.org/2017/05/fmp-living-music-munich-3102017-8202017.html

Haus der Kunst
Prinzregentenstraße 1
80538 München
+49 89 21127 113
+49 89 21127 157 Fax
mail@hausderkunst.de

31 maggio 2017


L'attività di diffusione e promozione di musiche d'arte e d'avanguardia presso il mitico centro culturale indipendente Dom a Mosca non è mai cessata nel corso dei suoi molti anni di attività, sempre senza alcuna sovvenzione statale, e anzi ha accresciuto il ritmo con il compimento, proprio nei giorni scorsi, della maggiore età. Una succinta e preziosa documentazione degli eventi si rinnova periodicamente alla pagina YT del centro: tra i concerti attualmente in visione spiccano le riprese, spesso integrali, di Konk Pack, Elliott Sharp, Eugene Chadbourne, Peter Brötzmann in trio con John Edwards e Steve Noble, Larry Ochs con Mark Dresser e Vladimir Tarasov, Otomo Yoshihide in solo e in duo con Paal Nilssen-Love, John Butcher con Martin Blume e Wilbert de Joode e, tra i più recenti, Fred Frith in duo con Lotte Anker.

http://dom.com.ru
https://www.flickr.com/photos/alexey_subbotin
https://www.youtube.com/channel/UC9Zuz6uVKNN-x4pjHxX0Y6g

30 maggio 2017


Elliott Sharp suona Thelonious Monk (Monkulations): due distinti concerti di pochi giorni fa documentati su YT, al PointCulture di Charleroi (Belgio) e alla Galerie Maerz di Linz (Austria).

https://www.youtube.com/watch?v=W6n57HIEzgk
https://www.youtube.com/watch?v=JlXnHKjfevU

29 maggio 2017


Quattro nuove pubblicazioni segnano la primavera 2017 per Cuneiform Records, due di gruppi ormai veterani, due di gruppi accolti invece per la prima volta nei ranghi della coraggiosa e tenace etichetta di Silver Spring (Stati Uniti): Bubblemath, Edit Peptide; Cheer-Accident, Putting Off Death; The Great Harry Hillman, Tilt; Miriodor, Signal 9.

Based in the Washington D.C. area since its founding in 1984, Cuneiform Records is widely recognized as an international force in the world of avant-garde and truly progressive, cutting-edge music. This independent record label has charted an adventurous course, avoiding music’s oft-travelled mainstream and resisting confinement within any single musical genre. Instead, Cuneiform has focused on the nascent edges of a variety of genres. It is especially renown for championing music that transcends traditional, rigidly-defined 20th Century musical styles, championing pioneering composers and genre-defying music that organically fused elements from various styles to form vibrant new hybrids. Repeatedly, Cuneiform has released music that’s either influenced or served as precursors to modern music’s most intriguing new forms. For instance, much of the radical, genre-defiant music that Cuneiform released in the 1980s and 1990s to the confoundment of rock, jazz and classical music critics alike – music such as Curlew’s foot-tapping, genre-morphing jazz/pop/blues/rock, and Present and Univers Zero’s startling Chamber Rock – would in later years be recognized as precursors (forming the metamorphic bedrock) for post-jazz and post-classical genre-defying hybrids that now define 21st century music.

http://www.cuneiformrecords.com
http://cuneiformrecord.blogspot.com/2017/05/new-releases-may-26-2017.html

28 maggio 2017


Sfuggita alle cerimonie del quarantennale più per la supposta indifferenza dei suoi soci che per autentiche divergenze di opinione, diventa affare del solo Charles Bobuck - con la complicità di Walter Robotka dell'austriaca Klanggalerie - la revisione dell'album di debutto dei Residents, un extended play dall'allusivo titolo Clank, Clank, ClankAd illustrare la genesi e l'evoluzione del progetto ci pensa il terzo fittizio complice, Hardy Fox: "In the midst of writing music for The Ghost of Hope back in 2014, Charles Bobuck had what he thought was a musical epiphany. The Residents were very focused on their 40th Anniversary and he felt that a special 40th anniversary album should be released. The train wreck album seemed fine but very removed from the anniversary celebration. So he proposed an album about the Meet The Residents LP from 1974. It would be new material but include versions of the songs from Meet the Residents cobbled out of samples taken directly from the original recordings. It would be autobiographical. It would include stories and memories from making the recording forty years earlier. The idea was received with little interest. In response, he decided to record some demos to show what the new arrangements could sound like. Still, the idea did not catch on, and neither did The Ghost of Hope which was shelved due to the touring schedule, so Bobuck started working on What Was Left of Grandpa and the demos were filed away. Three years later, 2017, Hardy Fox and Walter Robotka were figuring out the Hacienda Bridge newsletter schedule and subjects. They wanted to do an issue on robots, AI, computer music - that kind of thing. Walter asked Charles Bobuck if he had any music that would fit into that theme for a CD to go with the issue. He remembered that he had the demo redo’s of Meet the Residents that used a lot of hi-tech computer driven splicing and syncing. Hardy and Walter agreed the demos should be released. After a bit of reworking, they were fashioned into an EP CD called Clank, Clank, Clank. It is the sound that robots make when they dance."

http://www.klanggalerie.com/gg245

27 maggio 2017


Va in onda oggi la replica della puntata di martedì scorso di The Voices of... con protagonista Andy Partridge. Il programma, giunto alla sua seconda serie, è prodotto da Alan Hall per BBC Radio Four; alcune puntate della prima serie sono ancora disponibili in archivio, e tra queste imperdibili almeno quelle su Annie Briggs e Robert Wyatt.

Brought up on a council estate in Swindon, Andy Partridge's escape from the poverty of his working class upbringing followed a classic path - art and music. At 15, he enrolled in what he calls the 'art floor' of the local college - Swindon didn't boast an actual art college. Then, he discovered the magnetic power of carrying around his Dad's old guitar. He didn't even have to play it to find himself the centre of attention.
In the years that followed - and in the wake of the punk explosion - he tasted celebrity and success with his band XTC. His curious vocal style and angular compositions were distinctive and influential. XTC built a cult status with songs such as Making Plans for Nigel and Senses Working Overtime, as well as albums including the acclaimed Skylarking.
But Swindon didn't lose Andy for long, despite the lure of London and New York. He lives there still, now with his American partner. And he's still writing songs - including for the recent album by the reformed Monkees. In this programme, he talks about the trajectory of his career and the 'art blood' that has consistently flowed through his veins.

http://www.bbc.co.uk/programmes/b08r1tsz

26 maggio 2017


Il programma radiofonico Les légendes du jazz di France Musique ha ritrasmesso, nelle puntate del 14 e 20 maggio scorsi, il brillante concerto che Carla Bley tenne con la sua band nello studio 104 della Maison de la Radio a Parigi il 16 marzo 1982. Con lei in formazione c'erano allora Michael Mantler, Gary Valente, Earl McIntyre, Vincent Chancey, Steve Slagle, Tony Dagradi, Arturo O'Farrill, Steve Swallow e D. Sharpe. Il concerto ora è conservato negli archivi web del programma: https://www.francemusique.fr/emissions/les-legendes-du-jazz

Nous sommes en 1982, à une époque où Carla Bley dirige cet excellent orchestre d'une dizaine de musiciens, le bien nommé Carla Bley Band, pour un résultat qui tranche quelque peu avec ses expérimentations précédentes, le Jazz Composer's Orchestra avec son compagnon Michael Mantler ou le Liberation Music Orchestra de Charlie Haden. Avec cette nouvelle formation, elle n’affiche pas ouvertement d’opinions politiques, mais elle produit une musique toujours aussi libre et inclassable où se mêlent bebop et fanfare, pop et rhythm and blues, free jazz et tango, ainsi que de la musique de cabaret pour des prestations assez proches du théâtre musical...

https://www.francemusique.fr/emissions/les-legendes-du-jazz/carla-bley-la-maison-de-la-radio-en-1982-1-2-34516
https://www.francemusique.fr/emissions/les-legendes-du-jazz/carla-bley-la-maison-de-la-radio-en-1982-2-2-34133

25 maggio 2017


Come non bastassero gli impegni di questo periodo con l'Artchipel Orchestra, Massimo Giuntoli ne ha tanti altri in agenda in proprio, tutti da seguire e in continua evoluzione: Pie Glue! con le poesie della Beat Generation, le musiche di Robert Wyatt, quelle di Jonathan Coe, Vox Populi, U-Gene, One Song, la programmazione dei concerti di Inaudito, il seminario di Sound Please Percussion, il recital solitario di Piano Poetry di recente a Milano, Arese e Legnano e presto anche al Festivaletteratura di Mantova. Wheee...

http://www.massimogiuntoli.com

24 maggio 2017


E un'agenda fitta di importanti eventi è certamente quella dell'Artchipel Orchestra guidata da Ferdinando Faraò, che in poche settimane ha allineato presentazioni e concerti con la propria Batik Africana Suite e interi progetti con le musiche di György Ligeti, John Coltrane e Mike Oldfield. Senza dire della pubblicazione a giorni dell'attesissimo nuovo album, il loro terzo, con l'omaggio a Lindsay Cooper: To Lindsay. Wheee...

https://www.facebook.com/ArtchipelOrchestra

23 maggio 2017


Agenda insolitamente fitta di appuntamenti dal vivo per Annette Peacock, con concerti imminenti a Parigi, Porto, Barcellona e successivamente Montréal. Questa sera è a Modena, al Teatro Comunale Pavarotti, e sul palco con lei salgono anche Roger Turner e Roberto Dani.

There's often no prize for coming first in music. The preternaturally talented composer, ear-boggling singer, intuitive multi-instrumentalist, vocal manipulation innovator and pioneering synthesizer early adopter Annette Peacock, knows this more than most...

http://www.annettepeacock.com
https://www.facebook.com/Annette-Peacock-196626877079450

22 maggio 2017


Fu Destination Out qualche tempo fa a recuperarne i file audio per una versione in digitale diffusa via Bandcamp, in analogia a quanto compiuto per diversi altri titoli - molti antichi e quasi tutti assai rari - della gloriosa FMP. Oggi però è l'etichetta Corbett vs. Dempsey a riportarlo su supporto fisico, in un'edizione oltretutto arricchita ed estesa: è King Alcohol, il debutto discografico dell'impareggiabile Rüdiger Carl, colto dal vivo all'Accademia delle Arti di Berlino nel gennaio 1972 in compagnia di Günter Christmann e Detlef Schönenberg.

Recorded for the German FMP label in 1972, this is one of the landmark recordings of free jazz in Europe, a mind-blowing studio session featuring Carl on tenor saxophone, Günter Christmann on trombone, and the astonishing Detlef Schonenberg on drums. Volatile and precise, anticipating much of the future sound of free music in Europe but also paying homage to American antecedents like Roswell Rudd and Archie Shepp, King Alcohol is truly a lost jewel. This is its first time on CD, remastered from the original tapes, and featuring a full disc of newly discovered, previously unreleased bonus tracks. Reproducing the insanely rare first-pressing cover with its black and white line drawing by Carl himself.

http://www.fmp-label.de/freemusicproduction/labelscatalog/fmp0060.html

21 maggio 2017


La passione di Han Bennink per le arti visive, e molte delle sue personali realizzazioni in questo campo, saranno presto oggetto di un libro (HAN BENnInK, a cura di Irma Boom) e di una esposizione ufficiale presso il Kranenburgh di Bergen (Paesi Bassi) il prossimo ottobre. Si può contribuire all'iniziativa in https://www.voordekunst.nl/projecten/5521-kunstboek-han-bennink-1

Han Bennink is well-known as a drummer, but not many people know that he is also a visual artist, and considers himself as a servant of two masters: music and art.  He never studied music, but he does have a diploma from art school! Now that he's turned 75, there will be a major exhibition of his art work, opening in October 2017 at the Museum Kranenburgh in Bergen. But although there are myriad recordings of Han (many with his artwork on the cover!), there has been precious little published of his visual art. Now we would like to give him a big birthday present - a book of his art work, designed by the world-famous Irma Boom. That's what this crowdfunding project is about...

http://www.hanbennink.com/news/2017/5/1/han-bennink-crowdfunding-the-art-book

20 maggio 2017


Doveroso doppio ringraziamento alla Ogun perché rimette in circolazione, in versione completa rispetto all'originale Impetus (1987), un raro concerto del quintetto di Elton Dean di metà anni Ottanta - in Brasile, a Sao Paulo, con Harry Beckett, Paul Rutherford, Marcio Mattos e Liam Genockey - e perché porta a compimento uno degli ultimi lavori di salvataggio sonoro intrapresi dal compianto Mike King: Welcomet!

This reissues a scarce vinyl album, on CD for the very first time, that includes about 30' of extra music - making the entire concert available for the first time. This is also one of the last things that the great engineer Michael King worked on before he died. "Recorded Live by Radio Cultura de Sao Paulo, Brazil, 1986. Ogun is extremely proud to present, on CD for the first time, the complete Sao Paulo concert recording of this stellar quintet. Transferred from the unedited analogue master by the late Michael King, “Welcomet” sounds as cutting-edge now as it did back in 1987 when edits from the concert were first released on lp."

https://www.dustygroove.com/item/841185

19 maggio 2017


C'è tempo ancora solo qualche giorno per recuperare dal web, se la si fosse persa in prima battuta, la puntata del programma radiofonico di Jools Holland trasmessa dalla BBC Radio 2 lo scorso 24 aprile. Era ospite Mike Westbrook, con una breve selezione da Glad Day e A Bigger Show, oltre a un paio di brani di Duke Ellington e un'esecuzione dal vivo in formazione inedita, con Holland e gruppo, di uno dei temi forti di On Duke's Birthday, successivamente intitolato D.T.T.M. alla memoria dei compianti amici orchestrali Danilo Terenzi e Tony Marsh.

http://www.bbc.co.uk/programmes/b08n16dm

18 maggio 2017


Un po' del concerto di Steve Beresford e Mandhira da Saram tenuto al Vortex londinese lo scorso 16 aprile - pomeriggio di Pasqua, appena qualche ora prima dell'apertura del festival dedicato all'etichetta Intakt - si recupera allo spazio YT di Mopomoso, assieme a tanti altri documenti relativi ai concerti promossi dalla benemerentissima associazione.

http://www.mopomoso.com
https://www.youtube.com/user/mopomoso/videos

17 maggio 2017


Con il titolo Trois ciné-poèmes la parigina Documentaire sur grand écran raduna in un unico dvd con sottotitoli in inglese e francese tre conosciutissimi documentari prodotti dalla premiata coppia Nicolas Humbert e Werner Penzel: Step Across The Border (1990), Middle of the Moment (1995) e Brother Yusef (2004).

A chaque fois, un film élégant, épuré, qui donne à ressentir ce qui est filmé: la musique, la transe, le nomadisme géographique ou culturel. Nicolas Humbert et Werner Penzel aiment à approcher les frontières, à les franchir pour mieux pénétrer la vérité intérieure d'un artiste ou d'une culture. Et à nous les faire franchir.

http://www.docsurgrandecran.fr/dvd/trois-cine-poemes

16 maggio 2017


E a proposito della bravissima Heather Leigh, chi ne segue più assiduamente le imprese già sa che un po' del suo distintivo lavoro alla chitarra orizzontale - rubato al Cafe Oto londinese a gennaio dell'annno scorso, durante una prova tecnica - è rintracciabile nella nuova affascinante colonna sonora realizzata da Simon Fisher Turner per il film di Makino Takashi Picture From Darkness, un ideale rimando ventitré anni dopo all'indimenticabile Blue di Derek Jarman.

Speiga Turner: "It's a very electronic piece for me. I went back to my early electronic roots of Terry Riley and then Morton Feldman's Rothko Chapel ideas. I used software I have called MARX - it's pure, and simple. I also wanted natural sounds and they came from wood sound baffles from the new National Theatre in Tokyo. Two other musicians also let me use tapes I have of them - Heather Leigh from a soundcheck at Cafe Oto, and Lucy Railton let me use a cello recording she made for me for another film soundtrack. The film is a wonderful abstract colour dream film and I feel Takashi and I have made a firm friendship and a good collaboration. He let me be free, and he is alive. Most directors really want to dictate how they imagine the music. I thought very long and hard about this and James Aparicio and I made it over two days on his studio. It's like sounddream come true for me."

http://www.optical-sound.com/releases/os.067.htm
http://www.makinotakashi.net/work_the_picture_from_darkness.html

15 maggio 2017


Dai documenti del trentennale di un altro importante festival austriaco, il Music Unlimited, esce in forma ufficiale per l'etichetta Trost Sex Tape, il concerto di Peter Brötzmann e Heather Leigh tenuto all'Alter Schlachthof di Wels il 13 novembre 2016: "a leaked document of extreme duo interaction, the sensuous private made public, the crude sexuality of Brötzmann’s early sides – Balls, Nipples – re-played as a devious creation myth. But Jesus what a sound!"

14 maggio 2017


Jazz Explorer pubblica su YT un'ampia documentazione video dei concerti tenuti un paio di settimane al festival Kaleidophon di Ulrichsberg (Austria), giunto alla diciassettesima edizione. Tra questi, il concerto dedicato al Saxophone Special di Steve Lacy, proposto dal Rova in formazione per l'occasione estesa a Burkhard Stangl e Christof Kurzmann, dopo precedenti prove con Jean Marc Montera, Eyal Maoz e Henry Kaiser tra i chitarristi: http://tinyurl.com/k9eks22

Steve Lacy‘s Komposition Saxophone Special, ein Stück für Saxophonquartett, E-Gitarre und Elektronik, ist Ausgangspunkt für dieses Unterfangen. Rova hat 2015 eine neue Version dieses Stücks mit Henry Kaiser und Kyle Bruckmann aufgenommen und arbeitet im Moment an weiteren Varianten mit Eyal Maoz/Chuck Bettis in New York, Jean Marc Montera/Christian Sebille in Marseille und eben hier, im Rahmen dieser Tour mit Burkhard Stangl und Christof Kurzmann. Lacy‘s kompositiorische Vorgaben dienen als Basis. Die genauere Ausgestaltung erfolgt dann einerseits mittels der von Rova entwickelten, teils handzeichengesteuerten Conduction-Prozesse und andererseits, wie könnte es anders sein, unter Ausschöpfung des improvisatorischen Potenzials der jeweiligen Teilnehmer.

http://www.jazzatelier.at/zh5/kal17.htm

13 maggio 2017


Esce oggi in vari formati l'atteso nuovo album di Paul Weller A Kind Revolution, contenente il brano She Moves With The Fayre cui partecipa anche Robert Wyatt. Il carattere vivace del pezzo e alcune scelte nell'arrangiamento finale fan venire in mente quella This Summer Night scaturita una decina d'anni fa dalla collaborazione di Wyatt con Bertrand Burgalat. La speciale edizione deluxe ne contiene quattro versioni, e di queste la travolgente Villagers Remix evidenzia ed espone forse al meglio la magia del breve cantato del Nostro: "And so before / He closed his eyes / Remembered things / At bridge of sighs".

http://paulweller.com/akr
https://www.youtube.com/watch?v=MJUHNF3cQyQ
https://www.youtube.com/watch?v=Zty_ONRLevE

12 maggio 2017


Altri che non si sottraggono a tentazioni wyattiane sono Nina Persson e Martin Hederos, dal vivo a Copenhagen un paio di sere fa con una versione di Free Will and Testament: https://www.youtube.com/watch?v=0GbJRvYa-1s

11 maggio 2017


Sono un gruppo di Miami Beach, dal nome lì per lì fuorviante: Ex Norwegian. Si cimentano spesso con versioni di brani celebri, prendendo da Kinks e Pink Floyd, David Bowie e Lou Reed, Brian Eno e 10cc, Todd Rundgren e Shocking Blue. Di recente han messo mano anche a Signed Curtain, dal primo Matching Mole: https://www.youtube.com/watch?v=yWY-2etz58g

10 maggio 2017


Jonathan Coe torna a scrivere, e anche a far musica. Un assaggio delle sue ultime novità è su Soundcloud: Bliss Mill. Nel frattempo BBC Radio 6 Music propone nuovamente un'oretta di musiche preferite dal Nostro: ci sono tra gli altri Louise Le May, Stackridge, Pernice Brothers, Orwells, Sufjan Stevens e Sean O'Hagan.

https://soundcloud.com/user-112781549/tracks
http://www.bbc.co.uk/programmes/b080y39z

09 maggio 2017


Anche Christophe Petchanatz - ovvero Klimperei - salda i conti con l'antica passione per i minimalisti storici (Young, Riley, Glass) e prosegue senza più remore nel progetto Ostinatii, giungendo oggi al secondo capitolo: lo pubblicano in combutta la francese In-Poly-Sons e la russa Monochrome Vision. "Une des caractéristiques du Klimperei "canonique" c'est l'imprécision du tempo, ce très léger écart par rapport au métronome, qui plaît tant à nos amis japonais. Et c'est notamment ce que j'ai essayé avec des pièces. Battements, écarts minimes de temps et d'harmonie, légères indécisions qui permettent, me semble-t-il de rester en terrain familier tout en abordant des rivages plus austères (ici: pas de mélodie)."

http://inpolysons.free.fr/en/klimperei-ostinatii-2.html
http://klimperei.free.fr
https://klimperei.bandcamp.com
https://www.youtube.com/user/Petchanatz/videos

08 maggio 2017


Regola in pubblico un po' di conti personali con Fripp e Frippertronics - a quaranta e passa anni di distanza! - e nel contempo dichiara immutata fedeltà al metodo Riley in fatto di delay con nastro magnetico. Poi però recupera tre brani prodotti in digitale nel 2006 per (ri)proporli ai suoi fan attuali come 'audio trance wallpaper': è l'Henry Kaiser di Nostalgia for Infinity (Fractal, 2017), tutto uno struggersi per indimenticabili scene di primavera australe sopra e sotto i ghiacci dell'Antartide.

“I have a great love for the feedback tape delay system that Terry Riley developed and named in the 1960’s: The Time Lag Accumulator. It is an amazingly expressive creative tool, and just one of the myriad of wonders that exploded from The San Francisco Tape Music Center. When Robert Fripp and Brian Eno later co-opted this twin Revox tape recorder technology and approach from Riley in 1973 - Fripp dubbed it Frippertronics - that co-opting kinda spoiled this simple long delay with feedback approach to solo guitar for me as form of public performance. While Fripp created some truly great guitar music with Riley’s methodology, he seemed to build a wall around the possibilities for other guitarists using those Terry Riley techniques, by creating a situation where anyone who employed Riley's methods without tipping their hat to the King Crimson bandleader was scorned. Despite this, I would sometime enjoy privately playing in this manner at home alone - but never in public. My gratitude for opening up that sonic world, goes 100% to Terry Riley. I seem to have been the first guitarist to use studio digital delays for this purpose in the mid-70’s; with the first digital looping on an album with 1978’s recordings of Outside Pleasure and Aloha. Most of my released long-form solos however have been in the completely different square-wave modulated delay approach that I discovered in the 70’s, seemingly independent of anyone else. My albums Everything Forever, A Rainbow for Riley, and Garden of Memory being my favorite releases in that style. Here on Nostalgia for Infinity are long form solos performed without the square wave modulation in the delay, and in more of a Terry Riley modality. Just one guitar live into a TC 2290 digital delay.”

http://www.waysidemusic.com/Music-Products/Kaiser-Henry-Nostalgia-For-Infinity-Solo-Antarctic-Guitar__Fractal-spc-NFI.aspx