28 giugno 2007

Molto nutrito come al solito il programma del festival austriaco Konfrontationen, a Nickelsdorf; le date di quest'anno - si tratta della ventottesima edizione - sono dal 13 al 15 luglio. L'abbonamento ai tre giorni è di 85 euro.

Friday 13.07.2007
--19:00 @ Jazzgalerie
Frank Gratkowski / Misha Mengelberg
Franz Hautzinger's "Oriental Space"
Barry Guy New Orchestra
Han Bennink / Terrie Ex

Saturday 14.07.07
--14:30 @ Kleylehof
Noid Quintet
--19:00 @ Jazzgalerie
Johannes Bauer / Clayton Thomas / Tony Buck
Eugene Chadbourne's "New Directions In Appalachian Music"
Townhouse Quartet

Sunday 15.07.07
--14:30 @ Kleylehof
Ronnie Rocket´S Barkestra
Phil Minton´S "Feral Choir"
--19:00 @ Jazzgalerie
Alberto Braida / Antonio Borghini / Edoardo Maraffa / Fabrizio Spera
Tony Buck / Magda Mayas
Trio Offonoff

jazzgalerie nickelsdorf
untere hauptstr.13a
2425 nickelsdorf
tel:+43 02146 2359
fax:+43 02146 2776


25 giugno 2007

A curare assieme agli organizzatori la prossima edizione del festival Unlimited presso l'Alter Schlachtof a Wels, Austria sarà Carla Kihlstedt. Stando alle anticipazioni del programma (dal 9 all'11 novembre 2007) parteciperanno Ben Goldberg Quintet, Faun Fables, Sleepytime Gorilla Museum, Braam-DeJoode-Vatcher, Drumming Core & Satoko Fujii & Natsuki Tamura, Carla Bozulich & Evangelista, John Butcher & Gino Robair, Wu Fei, Marina Rosenfeld, Kurzmann-Tilbury-Dafeldecker-Wishart, Trey Spruance & Secret Chiefs 3, Ron Anderson & The Molecules, Ellery Eskelin & Jim Black & Andrea Parkins, Bolivar Zoar feat. Ava Mendoza, Maryclare Brzytwa & Theresa Wong, Shahzad Ismaily, Comedies For The Young feat. Matthias Bossi & Scott Amendola, Lisa Caroll, Wellington, Moe! Staiano & Terrie Ex, Good For Cows feat. Ches Smith & Devin Hoff...

22 giugno 2007

MoonJune Records
pubblica un nuovo album di Hugh Hopper, Numero D'Vol (con Hopper sono Simon Picard, Steve Franklin e Charles Hayward).

Free improvisations that grooves from fuzz-bass and Canterbury icon Hugh Hopper and his latest project. For those who think that free jazz is inherently unapproachable, Numero D’Vol proves that it’s possible to be completely spontaneous while creating music with an instinctive focus. Saxophonist Simon Picard, keyboardist Steve Franklin and drummer Charles Hayward join Soft Machine Legacy’s Hopper for a session that proves there’s even room for a backbeat in purely improvised music. There’s also space for contemporary textures and a touch of ambient music as Franklin layers synth washes underneath his more oblique pianism. Picard, also a member of guitarist Phil Miller’s In Cahoots, brings an angular lyricism to this hour-long experiment in rhythm-based collective interaction.

20 giugno 2007

La rivista britannica Jazzwise pubblica un bell'articolo su Keith Tippett. Lo si trova in .pdf anche in http://www.redeyemusic.co.uk/Tapestry/JazzwiseReview.pdf

JAZZWISE is the UK's leading jazz monthly and the only magazine devoted to covering the entire spectrum, from cutting-edge contemporary jazz, mainstream, fusion and improv to jazz-club crossover and world-jazz.
Launched in 1997, JAZZWISE has evolved into a required read. A colourful in-depth commentator investigating the outer edges and inner currents with a vibrancy, passion and wit not normally found in jazz magazines.

Jazzwise Magazine
2(b) Gleneagle Mews
Ambleside Avenue
London SW16 6AE

19 giugno 2007

Il programma completo della tre giorni zorniana Complete Masada a Roma, Parco della Musica, Sala Sinopoli dal 25 al 27 giugno prossimi si trova in www.auditorium.com/eventi/3275546. Radiotre Suite Jazz trasmetterà in diretta le serate del 26 (escludendo però il trio Ribot / Dunn / Weston, di cui tra l'altro è appena uscito Asmodeus, settimo volume della serie Book of Angels su Tzadik) e del 27 giugno. Simile programma, ridotto però a due sere, sarà successivamente a Barcelona.

25 Giugno

Erik Friedlander Solo
Erik Friedlander violoncello

Jamie Saft Trio
Jamie Saft pianoforte
Greg Cohen contrabbasso
Kenny Wollesen batteria

Bar Kokhba
Marc Ribot chitarra
Mark Feldman violino
Erik Friedlander violoncello
Greg Cohen basso
Cyro Baptista percussioni
Joey Baron batteria

26 Giugno

Marc Ribot chitarra
Trevor Dunn basso
Calvin Weston chitarra

Mark Feldman/Sylvie Courvoiser
Mark Feldman violino
Sylvie Courvoiser pianoforte

Masada Quartet
John Zorn sassofono
Dave Douglas tromba
Greg Cohen basso
Joey Baron batteria

27 Giugno

Uri Caine Solo
Uri Caine pianoforte

Masada String Trio
Mark Feldman violino
Erik Friedlander violoncello
Greg Cohen basso

Electric Masada

John Zorn sassofono
Marc Ribot chitarra
Jamie Saft tastiera
Ikue Mori elettronica
Trevor Dunn basso
Cyro Baptista percussioni

Joey Baron, Kenny Wollesen batterie

16 giugno 2007

Domani domenica 17 giugno, dalle 22:30 circa, a Radio Popolare per "Prospettive musicali" Alessandro Achilli presenta la seconda parte del suo speciale dedicato alla musica nella "Banda dei brocchi" di Jonathan Coe (Hatfield and the North, High Llamas, Louis Philippe, Sex Pistols, Gentle Giant, Vaughan Williams, Robert Wyatt, John Cage, Jan Steele).

15 giugno 2007

La regione Emilia-Romagna, in collaborazione con Jazz Network, sceglie Annette Peacock come prima protagonista di una serie di progetti dedicati ad autori e interpreti della musica contemporanea. Il progetto prevede una tournée realizzata nel territorio regionale dal 17 al 28 giugno 2007, in cui Annette Peacock si esibirà dapprima in solo (17 giugno - Ferrara, Aterforum) e quindi in un duo inedito con il percussionista Roberto Dani (22 giugno - Vignola MO, Jazz in’It; 23 giugno - Mondaino RN, L’arboreto - Teatro Dimora; 27 giugno - Parma, Teatro Due; 28 giugno - Lugo RA, Lugo Musica Estate). Da questi concerti registrati dal vivo sarà realizzato un Cd, in uscita il prossimo autunno in allegato alla rivista Musica Jazz, che nell’occasione dedicherà alla geniale artista di Brooklyn anche il suo tradizionale inserto. Per l’intero periodo della sua permanenza in Italia, fino al 30 giugno, L’arboreto - Teatro Dimora di Mondaino sarà la residenza creativa di Annette Peacock, per le prove dell’inedito duo e per la composizione di un libro sul tema del tempo, che sarà pubblicato entro l’anno da L’arboreto Edizioni.

14 giugno 2007

Tre dei più riusciti concerti del festival Les Tritonales sono raccontati da Tom Landon in What's Rattlin':

We were lucky this year to be able to see Colorphone, Brainville 3 and then the FIRST EVER public performance of Kew-Rhone with John Greaves and Peter Blegvad - on consecutive nights!

So who are Colorphone, you ask. The answer is a new band with Hugh Hopper on bass (as one would expect), Denis Colin on bass clarinet, François Verly on drums/tabla, as is often the case for Hugh's French excursions, and Régis Huby on 'violin, viola and effects'.
The concert was a particularly satisfying event for me personally, as I first met Denis Colin playing in a bar in the Rue de Belleville in Paris in about 1984 (a very Hopperian date, as Aymeric pointed out) and immediately thought "this guy likes Soft Machine", a fact later confirmed when I asked him about it. Later, in 2000 or thereabouts, my daughter sang in the chorus for some of his works played at the Conservatoire de Montreuil (where he was for some time guest in residence and may still teach jazz...). There again, the link to Soft Machine was delightfully clear, so I was very interested when I heard that he was preparing something with HH.
The result was excellent - mostly in the usual vein of HH's current performances, with slightly-written structures giving a lot of room for jazzy improvising , but this time with a couple of new twists: first of all the fine bass clarinet of Denis Colin, which provided a range of unusual textures which were significantly different and more varied than the ubiquitous saxophones, while also having enough balls to become part of the rhythm section and occupy the lower frequencies if necessary, notably when Hugh was soloing. Coilin too is a fine soloist capable of whipping up quite a storm. The other new twist was the presence of Régis Huby, whether laying down loops and chords or manipulating his initial sounds until they bore no resemblance to the original but created some fascinating atmospheres, as well as occasional solos.
Another aspect of the concert which pleased me was the presence of several compositions by Denis Colin - more written and focused than HH's, but clearly part of the same idiom and superbly led by the bass clarinettist. A band really worth seeing if you can.

The following day we were graced with the extravagant presence of Daevid Allen, Hugh Hopper (again) and Chris Cutler (or Chris Cutlery as Allen called him) under the name of Brainville 3. They played a mix of old Soft Machine songs, early Gong (Camembert Electrique era), HH stuff and improvisations with glissando guitar and Daevid's effects, as well as featuring some great bass loops from HH created before our very eyes.
And a great time was had by one and all! Despite occasional inaccuracies, the three put in a performance of exceptional charm, wit and energy. A special mention for Chris Cutler who is always a joy to watch - it's like ballet - and who was on particularly good form, although playing in socks, having taken off his shoes (so did Daevid). I also enjoyed the ever-impish personality of Daevid Allen, including proclaiming in the rather chaotic encore jam:
"Oompah oompah, stick it up your jumper,Oompah oompah, stick it up your bottomAnd become a fart..."

And on the Saturday night, we saw the first public performance of Kew.Rhône with John Greaves (piano/bass, sometimes at the same time), Peter Blegvad (voice, occasional guitar, maracas and slide show), Jef Morin on guitar (from JG's Roxongs group), the tiny but perfectly-formed Jeanne Added on cello and delightful voice, and David Lewis on trumpet and similar brass instruments.
After a first half of songs by Greaves and then by Blegvad, nearly all of Kew-Rhone was played with gusto and evident pleasure, surprisingly considering its extreme complexity and, frequently, high speed. Jeanne Added was more than up to the task of the voice parts, often backed by Blegvad, who also projected a set of particularly surreal slides to illustrate various key moments during the piece, most if not all from the record cover and insert. I can't say that these helped to come any closer to an 'understanding' of what the whole thing is about, but the images were often very funny and helped to maintain a jokey atmosphere in the midst of this very demanding, furious piece.
After the gig, everyone seemed particularly happy, not least the band who had been unsure if they could carry it off. They are now hoping to play it a few more times, hopefully at festivals, so perhaps next year?

Tom Landon

13 giugno 2007

Tra notizie buone - e altre decisamente meno - a proposito del nuovo album di Robert Wyatt, Comicopera, in uscita a settembre per Domino Records, si cominciano a conoscere alcuni dettagli su brani, autori e musicisti coinvolti:

ACT ONE Lost in Noise

1 Stay Tuned (Anja Garbarek) 3.49
Robert Wyatt voice, piano, percussion, trumpet
Brian Eno keyboard, effects
Seaming To voice, clarinet
Annie Whitehead trombone
Yaron Stavi bass violin

2 Just as You Are (Benge, Wyatt) 4.21
Robert Wyatt voice, piano, percussion, cornet
Monica Vasconcelos voice
Paul Weller guitar
Yaron Stavi bass violin

3 You You (Benge ,Wyatt) 4.22
Robert Wyatt voice, keyboard, cornet
Gilad Atzmon saxophones, clarinet
Annie Whitehead trombone
Jamie Johnson bass guitar

4 A.W.O.L (Benge, Wyatt) 2.56
Robert Wyatt voice, old metronome, trumpet
David Sinclair piano
Annie Whitehead baritone horn
Yaron Stavi bass violin

5 Anachronist (Wyatt) 3.28
Robert Wyatt voice, keyboard, cornet, percussion
Gilad Atzmon saxophones
Annie Whitehead trombone
Yaron Stavi bass violin

ACT TWO The Here and The Now

6 A Beautiful Peace (Wyatt, Eno) 2.27
Robert Wyatt voice, guitar
Phil Manzanera guitar
Yaron Stavi bass violin

7 Be Serious (Wyatt) 2.56
Robert Wyatt voice, percussion
Paul Weller guitar
Yaron Stavi bass violin

8 On the Town Square (Wyatt) 5.26
Robert Wyatt keyboard, percussion, cornet
Del Bartle guitar
Gilad Atzmon tenor saxophone
Orphy Robinson steel pan

9 Mob Rule (Wyatt) 2.16
Robert Wyatt voice, keyboard
Yaron Stavi bass violin

10 A Beautiful War (Wyatt, Eno) 2.40
Robert Wyatt voice, piano, percussion, karenotron (i.e voice of Karen Mantler)

11 Out of the Blue (Benge, Wyatt) 3.41
Robert Wyatt voice, keyboard, enotron (i.e voice of Brian Eno)
Alfie Benge voice
Brian Eno keyboard bass.
Beverley Chadwick baritone saxophone
Annie Whitehead trombone
Yaron Stavi bass violin

ACT THREE Away with the Fairies

12 Del Mondo (Ferretti, Zamboni, Maroccolo, Magnelli, Canali) 3.29
Robert Wyatt voice, keyboard
Yaron Stavi bass violin

13 Cancion de Julieta (Garcia Lorca, Wyatt) 7.32
Robert Wyatt voice, keyboard, pocket trumpet, percussion
Chucho Merchan bass violin

14 Pastafari (Orphy Robinson) 4.37
Robert Wyatt, Jamie Johnson electrical interference
Orphy Robinson vibraphone

15 Fragment (Benge, Wyatt) 1.38
Robert Wyatt keyboard, percussion
Monica Vasconcelos voice

16 Hasta Siempre Comandante (Carlos Puebla) 4.37
Robert Wyatt voice, monicatron, karenontron, (i.e voices of Karen Mantler and
Monica Vasconcelos)
Maurizio Camardi saxophones
Alfonso Santimone piano, keyboards
Alessandro Fedrigo bass guitar
Paolo Vidaich percussion
Gianni Bertoncini drums

Recorded at home in Louth and Phil Manzanera's Gallery Studio (except Track 16, instruments recorded at Movin' Studio, Padova)
Engineered by Jamie Johnson with help from Mark McCarthy (except tracks 13, vocals on Track 16 by Charles Rees, and instruments on Track 16 by Piero Bolzan)

Mixed by Jamie Johnson
Produced by Robert Wyatt

Su titolo e ispirazione di Comicopera dice Wyatt: "It's really about the unpredictable mischief of real life - it's sort of chaotic our life. It's about humans and the things we turn to, and looking for fun and stimulus and meaning and stuff." I comunicati stampa sono per ora affidati alla penna di Alexis Taylor, cantante nel gruppo Hot Chip. Se ne legge uno in http://tinyurl.com/yrbyvb

12 giugno 2007

Fanno unica tappa in Italia sabato prossimo, 16 giugno, i tre Brainville Daevid Allen, Hugh Hopper e Chris Cutler. Il loro concerto, presso l'ex ospedale psichiatrico Paolo Pini a Milano, è inserito nel programma curato da Cox18, Archivio Primo Moroni, Libreria Calusca, Olinda chiamato THE BEAT GOES ON… ABBIAMO SOLO CAMBIATO IL RITMO. Sentendo come i tre hanno suonato al festival parigino Les Tritonales poche sere fa - in quell'occasione si è brevemente unito a loro Didier Malherbe - l'allusione un po' diminutiva del sottotitolo parrebbe non riguardarli più di tanto...

11 giugno 2007

Sul concerto tenuto l'altro ieri da John Greaves e Peter Blegvad al festival Les Tritonales, dedicato in buona parte alla rivisitazione pressoché integrale del capolavoro Kew.Rhone, così scrive Aymeric Leroy:

This was the highly anticipated debut performance of "Kew.Rhone", a mere 30 years after the release of this legendary album. In the event, not everything was performed (it seems "Gegenstand" had been rehearsed as well - maybe next time?), but that apart, this was a brilliant show. Excellent performances from all musicians, in particular the young Jeanne Added who was a more than worthy replacement by Lisa Herman, and is well worth checking out in her many other projects (notably the Vincent Courtois Quartet). The first set was oriented towards John and Peter's respective solo careers - John began solo, then was joined by David Lewis for the second song, and Jef Morin for the third and fourth. Then Peter arrived and John switched to bass - this was the only part of the evening when Blegvad played any guitar. As for the second set, it was completed by other examples of the duo's 1970s/80s collaboration, including their first-ever joint effort "Bad Alchemy" from the Slapp Happy/Henry Cow days.

Questa la scaletta dettagliata di quanto eseguito:

primo set: Swelling Valley [Greaves-Blegvad] (4:58); The Trouble With Happiness [Greaves] (5:28); The Thunderthief (He Puts Us Under) [Greaves-Blegvad] (5:48); Earthly Powers [Greaves] (7:55); Golden Age [Blegvad] (3:05); Powers In The Air [Blegvad] (8:35); The Marvellous In The Everyday [Blegvad] (4:26); In Hell's Despite [Blegvad-Partridge] (6:03)

secondo set: Good Evening [Greaves] (0:36); Twenty-Two Proverbs [Greaves-Blegvad] (4:57); Seven Scenes from the Painting "Exhuming The First American Mastodon" by C.W. Peale [Greaves-Blegvad] (5:35); Kew.Rhone [Greaves-Blegvad] (6:10); Pipeline [Greaves-Blegvad] (6:35); Catalogue of Fifteen Objects and their Titles [Greaves-Blegvad] (6:04); Apricot [Greaves-Blegvad] (4:44); Bad Alchemy [Greaves-Blegvad] (4:23); The Song [Greaves-Blegvad] (7:10); For Bearings / Silence [Greaves-Blegvad] (4:50)

John Greaves - piano, vocals, bass
Peter Blegvad - vocals, laptop, shaker, rhythm guitar
Jef Morin - electric guitar
Jeanne Added - vocals, cello
David Lewis - trumpet, flugelhorn, melodica

10 giugno 2007

In concomitanza con l'attuale serie di esibizioni presso il club Le Triton a Les Lilas, nell'ambito del festival Les Tritonales, esce il terzo dei quattro DVD Magma dedicati alle quattro settimane di concerti che il gruppo tenne nel medesimo club nel maggio 2005. Protagonista di questo terzo capitolo è l'epico Kohntarkosz.

09 giugno 2007

Pronto per MoonJune Records il nuovo album di Soft Machine Legacy, nella formazione con Theo Travis, registrato e prodotto nello studio londinese di Jon Hiseman. Si intitola Steam e contiene, tra gli altri, una versione di un brano (Chloe & The Pirates) a suo tempo presente su Six.

The group new release, "Steam", combines collective freely improvised jams with new writing from Hopper, Etheridge and Travis. Gone are the keyboards that so defined 1970s Soft Machine. In their place are modernistic sampling/looping and sonic processing, creating expansive soundscapes not possible during Soft Machine heyday. Between Etheridge broad sonics,Hopper's legendary bass loops and "fuzztonics" and Travis system of ambitronics - allowing him to sample his saxophones and flutes in real time and naturally layer unpredictable harmonies - Soft Machine (Legacy) often sounds larger than a quartet.
Powerful rock rhythms, funky jazz-rock grooves and abstract interaction are interspersed with muscular soloing and dense textures. A modern look at Chloe & The Pirates from 1973 "Six" is brought into the 21st Century, anchored by Etheridge loops and the light but insistent groove of Hopper and Marshall. The group is driven by a tradition of experimentation andunfettered improvisational abandon that remains purposeful, hard-edged and exciting.
The limitless possibilities of the band forward-reaching innovations will not only appeal to fans of 1970s Soft Machine, but to anyone who likes their fusion wide open, their jams loose and totally spontaneous, and their jazz combined with potent grooves and fiery energy.

05 giugno 2007

Il concerto del Pip Pyle's Bash 'In Memoriam' al festival Les Tritonales lo scorso 1 giugno è recensito da Tom Landon in What's Rattlin':

It was a great show with everyone in fine fettle. Manu Denizet was, to my mind, an excellent choice - not to replace Pip, but to serve his music, as his playing has just the right balance between jazz and rock, delicacy and driving power.
Patrice Meyer was particularly serious, but magnificent - I'm tempted to say 'as usual', but this was something special. It is always an astounding experience to see him play.
Fred Baker was his usual genial and masterly self, mixing melody and drive, working particularly well with Manu Denizet on the drums.
And Alex Maguire also played a great gig, perhaps slightly more subdued than when we saw him with Hatfield and The North, as the occasion demanded, but also more lyrical: his solo piano rendition of Psychic Warrior interspersed with Hatfield's Licks For The Ladies was poignant and beautiful, one of the highlights to the evening.
I went away regretting that it was their last gig - this was a fine reminder of what a good composer Pip was, as well as revealing an excellent band that really gelled.
The whole thing's such a pity really...

02 giugno 2007

Gli articoli che Annie Gosfield ha scritto per il New York Times la scorsa primavera - finora visibili solo iscrivendosi, a pagamento, al sito del quotidiano - si leggono ora liberamente anche in http://anniegosfield.com/writings.html. Tutti riguardano aspetti del processo compositivo seguito dall'autrice, ma non solo.

In March, 2007, I contributed four weekly articles to the New York Times' TimesSelect series "The Score", which featured four composers (myself, Glenn Branca, Michael Gordon, and Alvin Curran) writing on music.

Composer House Arrest
Read about composer house arrest, writing music in my pajamas, and the untypical workday
Factory Girl
Creating music in the factory: my all-expense paid six weeks in Nuremberg, Germany
How I Learned to Love the Wrong Notes
On manufacturing tangled ivory, and the long journey from Chinese restaurants, fly-by-night bars, and punk clubs, to concert halls
Bringing in the Noise
Here's the inside story about noise, sex tapes, Steve Reich, and New Orleans riverboats