22 luglio 2018

Ai confini del tempo e dello spazio? Star Clocks, perbacco!


21 luglio 2018

20 luglio 2018

E' il festival Zappanale, al via oggi per il tradizionale summit zappiano d'estate a Bad Doberan (Germania), a offrire il palcoscenico per il secondo concerto del Lindsay Cooper Songbook dopo il debutto al Cafe Oto londinese il mese scorso. L'appuntamento è per domani pomeriggio. E stavolta Dagmar ci sarà!

Lindsay Cooper (1951-2013) brought the bassoon and the compositional techniques of 20th century art music into the world of ‘70s experimental rock. She was a musical polyglot, equally fluent in classical, rock, jazz, and free improvisation and the author of many film and theatre soundtracks. She was a member of the groups Comus, Henry Cow, National Health, David Thomas and the Pedestrians and the Mike Westbrook Orchestra. Lindsay co-founded News from Babel and the Feminist Improvising Group and led her own projects Music for Films and Oh Moscow. She lived for many years with multiple sclerosis, which eventually forced her to retire from performing in the 1990s.

Yumi Hara formed Half The Sky in 2015 to perform Lindsay Cooper’s songs in Japan. The original group was entirely Japanese, with the exception of original drummer and lyricist Chris Cutler. This group - with small personnel changes - was later invited to Europe, when it was joined by the songs’ original singer Dagmar Krause. For these new European concerts the line-up adds two more members of Henry Cow, for whom much of this material was written, and called themselves Lindsay Cooper Songbook. As was true of the original bands Henry Cow and News From Babel - the new line-up retains an equal gender split.

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, painstakingly pieced together from Lindsay’s notebooks, original band-members’ surviving parts and a careful analysis of the recordings. A handful of the News from Babel songs – none of which had ever been performed live – had been reconstructed for the memorial concert by Zeena Parkins; the rest Yumi had to work out from scratch – as well as rearranging all the compositions for a small ensemble of multi-tasking musicians.


19 luglio 2018

Prende il via oggi a Nickelsdorf (Austria) una nuova edizione del festival internazionale di musica improvvisata Konfrontationen, quattro intensi giorni di concerti e incontri nell'accogliente e informale ambientazione della Jazzgalerie, con ospiti una settantina di musicisti di varia provenienza e formazione. E con uno speciale pensiero a Cecil Taylor, che così esprime Paul Lovens: "Dieses Festival ist nicht Cecil Taylor gewidmet, zollt ihm keinen Tribut: denn man darf sich nicht mit dem Namen eines verstorbenen Genies schmücken. Deswegen spielen wir auch nicht "in memoriam" seiner. Wahrscheinlich aber würden wir heute nicht eine solche Musik machen, wäre er nicht seit mehr als einem halben Jahrhundert visionäres Vorbild. Nur einige von uns haben direkt mit ihm gearbeitet, wenige sind ihm begegnet, viele haben ihn nie "live" gehört. Weg ist er, doch immer da. Die Jungen sind erwachsen, die Alten dürfen sterben."

Jazzgalerie Nickelsdorf invites you to Konfrontationen 2018 – International Festival for Free and Improvised Music. The 39th edition of our four-day festival brings together 68 musicians, who play 19 concerts at three locations (in the Jazzgalerie courtyard, at Kleylehof and in the Protestant church). A special treat this year are the big ensembles: the Castelló Tentet / The Dark Blue combines electronic noise with delicate instrumental passages to create a magic horror-movie atmosphere; the eleven-piece Prague Improvisation Orchestra works with guest musicians and graphic scores to paint a Central European landscape with musical devices; the electro-acoustic septet Skein seems fascinated by flocks of birds in flight; and last but not least, the all-star octet Without Cecil, which like so many of the musicians that have played in Nickelsdorf over the past decades sees the late pianist and poet as a visionary genius and his radicalism an inspiration to the international avant-garde. At the other end of the spectrum are the solo performances: from virtuoso playing to subtle reductionism, the adventurous US trumpet player Peter Evans and Austria's grand seigneur of avant music, Radu Malfatti, explore melody as a series of musical events and silence as sound. Between these poles you can explore a range of bands that make improv hearts flutter: whether their name reminds you of a beat boxer's sound poem (BZSS) or a password-protected number plate from France (J77D13X442), whether they come all the way from Sweden like Up Umeå or just pretend to, like the three-girl combo Möström, whether its members will be playing for the first time in Nickelsdorf, as for instance Dave Rempis, Michael Marcus and Szilárd Mezei, or are familiar faces like Phil Minton, Georg Graewe and Sofia Jernberg, whether they prepare the piano like Kaja Draksler or prefer to take it apart like Juun – if you come with open ears, you will not be disappointed.


18 luglio 2018

E nel cuore di Dalston a Londra, già sottoposto ad alta pressione dalle incessanti attività del Cafe Oto e del Vortex Club, si apre occasionalmente ad euforiche incursioni improv anche il Total Refreshment Centre di Foulden Road. E' da lì che proviene il terzo album di Binker & Moses (ovvero Binker Golding e Moses Boyd, rispettivamente sassofonista e batterista) Alive In The East?, tratto da Gearbox Records da una bollente serata dell'estate scorsa con ospiti Yussef Dayes, Tori Handsley, Byron Wallen e un Evan Parker in forma grandiosa di fronte a un pubblico a dir poco su di giri. "The music's default position is ferocity - racconta Chris May per All About Jazz - but discordancy is not a feature. The emphasis is on solo rather than collective improvisation, so avoiding the cacophony that is a characteristic of much full-on free jazz. Jumping-off points are provided as much by Boyd's beats as Goldings's harmolodic centres. Motor rhythms are ever present, not so much grooves as urgent pulses, pushing the music forward. The result is a whirlwind. It can rip the hair clean off the back of your neck."


17 luglio 2018

Da uno dei luoghi più accoglienti e ospitali della scena improvvisata londinese degli ultimi anni, l'Iklectik in Carlisle Lane a Lambeth, giunge uno dei frutti più gustosi dell'estate, offerto dagli ineffabili John Edwards e Steve Noble di nuovo felicemente insieme all'amico Alan Wilkinson: 3 Of A Kind, per Bo'Weavil Recordings: "The trio of Alan Wilkinson, John Edwards, and Steve Noble continue to plot their course ever outward and ever upward. These new songs, recorded in South London at that wonderful performance space at the heart of the improve scene here at this moment, Iklectik, are the very beating heart of improvised music. It's not that they are good, or even representative - such relative terms fail to express the continuum of which these sounds are a key part. This is music that evades the strictures of scientific measurement or critical theory. It just is. Wilkinson is a master of the tribal, balls-out approach to sax playing. He lets it all hang out. But there is great subtlety in what he does with his horn, in the range of inflection, the space between the phrases, the singing tone. At times he sounds like a tight knit sax section in a swinging big band all on his own. There is definitely jazz in there. Edwards and Noble form the rhythmic base for much that is good and beautiful in the improv scene today. Years of playing together and individual brilliance mean they mesh like the gears of a micro-tuned machine. Together the trio make music. And that is all that needs saying."

16 luglio 2018

In edizione firmata e numerata è giunto ai sottoscrittori della primissima ora assieme allo splendido nuovo cd Waiting for the Bomb, alcune copie però sono disponibili anche singolarmente presso ReR Megacorp: Four Stories, di Allen Ravenstine.

Così lo consiglia Cutler: "Slim, 44pp. perfect bound, paperback containing four stories. Illustrated by Mary Thomas. These four stories were written while Allen was working and touring with Pere Ubu, and speak directly of his experiences in those years. They waste no words - and the words used are meticulously chosen; I’m a fan. These are fine stories, artfully told. I’m not alone - Allen was one of those selected for The Penguin Book of Rock and Roll Writing in 1992. A small limited edition."

15 luglio 2018

Altra interessante pubblicazione presso Bloomsbury è lo studio condotto da Richard Elliott The Sound of Nonsense attraverso letteratura, poesia sonora, musica d'avanguardia e canzone pop, con celebri esempi dell'assurdo e del surreale da Lewis Carroll, James Joyce e William Burroughs a Bob Dylan, John Oswald, Magma e Ivor Cutler.

In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop. By emphasising sonic factors, Elliott makes new and fascinating connections between a wide range of artistic examples to ultimately build a case for the importance of sound in creating, maintaining and disrupting meaning.


14 luglio 2018

C'è anche uno scritto di Chris CutlerLoops, Memories and Meanings, nel libro Over and Over - Exploring Repetition in Popular Music curato da Olivier Julien e Christophe Levaux e pubblicato in questi giorni da Bloomsbury: "From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times."


13 luglio 2018

Dopo una presentazione pubblica condotta il mese scorso a Los Angeles da Homer Flynn - di cui si trova qualche testimonianza sul web - e una prima distribuzione di copie ufficialmente autografate dai Nostri, The Residents pubblicano in questi giorni presso Feral House il loro nuovo racconto, The Brickeaters.

First up, the guys are delighted to have their new novel, ‘The Brickeaters’ published today! July 10th. “What the fuck?”, I hear you ask. Well, this the fuck… “The Brickeaters is an absurdist buddy movie story featuring a very tall internet content screener teaming up with an aging career criminal whose primary companions are an oxygen bottle and a .44 Magnum. After a short crime spree cementing their unhinged partnership, they work together to prevent a middle-aged lottery winner from polluting the LA water supply with massive amounts of fluoride. Their adventures unfold via a highly unreliable alcoholic narrator desperately avoiding the reality of spousal abandonment.” It sounds obvious, right? We’ve read it, and we’re re-reading it. Does it get better every time around? And how do four guys write a novel together anyway? Well, there’s only one way to find out…


12 luglio 2018

Il sorprendente esito della campagna I Am A Resident! - che ha raccolto quasi duecento versioni di brani dei Residents prodotte da amici, ammiratori e piccoli fan, poi radicalmente rimaneggiate dal gruppo in forma di condensati sonori - non rimarrà confinato, come inizialmente sembrava, entro la stretta cerchia dei diretti sostenitori del progetto. Ne sono infatti pronte per la generalità del pubblico ben tre versioni, in parte diverse tra loro: singolo cd, doppio cd e doppio vinile. Ne ha qualche copia Cherry Red Records:

11 luglio 2018

E Moacrealsloa di Radio Panik propone in questi giorni anche una rarissima intervista a Renaldo & The Loaf sulla scorta dell'ancor più raro concerto tenuto poche settimane fa a Vienna nell'ambito dei festeggiamenti di Klanggalerie. L'etichetta ha intenzione di documentare l'evento su cd il prossimo autunno; intanto ci si può fare un'idea tramite YT.

Renaldo Malpractice and Ted The Loaf took their time to give their impressions after a blast of a concert. They did their first ever live concert in Vienna, after a small performance in 1980. The interview was done the day after this unbelievable experience. Since the late 1970s they released some of the most unique and exceptional music with albums like Play Struvé & Sneff, Songs for Swinging Larvae, Arabic Yodelling, The Elbow Is Taboo and they also collaborated with The Residents on Title in Limbo. Klanggalerie issued in 2014 their new album Gurdy Hurding and they also pleasantly went on reissuing all of their catalogue in wonderful quality.


10 luglio 2018

Un ritratto di Geoff Leigh attraverso la complessa discografia ufficiale, con l'aggiunta di brani inediti, rarità, spezzoni di un recente concerto dal vivo in duo con Makoto Kawabata e una conversazione con il diretto interessato: è negli archivi di Moacrealsloa di Radio Panik, alle puntate del 5 e 19 giugno scorsi.


09 luglio 2018

I materiali provvisori prodotti da Domenico Lancellotti assieme a Sean O'Hagan per Soundistante, uno degli eventi culturali di contorno nella Londra delle Olimpiadi del 2012, confluiscono a distanza di qualche anno nell'ottimo The Good is a Big God (Luaka Bop, 2018): un lungo percorso in molti tratti panoramico che dai sentieri della Serra dos Órgãos giunge quasi a incrociare Talahomi Way...

Domenico was asked to take part in an artistic occupation in the city of London during the 2012 Summer Olympics. There, he reunited with famed British musician Sean O’Hagan - whom he’d met a few years prior during a show that paid homage to Tropicália. Before he left for London, Domenico sent O’Hagan a few musical sketches he’d done on guitar; by the time the Brazilian made it to the U.K., O’Hagan had string arrangements to accompany Domenico’s music. “We recorded nine songs that served as the soundtrack for my final Rio-Occupation project - an art film called Soundistante in a big exhibition,” says ​Domenico a renowned drummer with the likes of Gilberto Gil and member of the now-defunct the +2s. The musician added lyrics to some of these songs once he returned to Brazil. His friend and label mate Kassin helped​ Domenico write the words for “Insatiable,” and O’Hagan wrote the lyrics for “Logo.” “There was a record ready!” Domenico recalls with excitement.

08 luglio 2018

Venne anticipato un paio d'anni fa da un extended play contenente tre brani, di cui uno assai bello, Ibrahim, fortemente caratterizzato dalla partecipazione di Robert Wyatt. Ora è pronto l'album completo, River's Tent, e l'autore Gerald Clark lo diffonde nuovamente sotto il nome The Great Divide: “There’s a line in Ibrahim about ‘the old world creeping up on you’. And in lots of ways that’s a common theme of the songs on River’s Tent (itself a line from The Wasteland by TS Eliot). It's about the clash between the Old World and the New World, and how that clash manifests itself in our culture.”


07 luglio 2018

Viene invece dalla versione che gli Henry Cow (con Robert Wyatt) consegnarono notoriamente a Concerts la riproposta di Little Red Riding Hood Hit the Road operata da Yumi Hara con due protagonisti di allora, Tim Hodgkinson e Chris Cutler, suoi alleati (anche) nel trio The Watts. Per l'occasione, un concerto a Tokyo/Akihabara lo scorso 4 dicembre, c'erano sul palco del Goodman anche gli altri tre Canterbury Favourites oltre a Yumi, Kazuto Shimizu, Toshiaki Sudoh e Yuya Osabe.


06 luglio 2018

Nell'album Knows Time, Knows Change (Fledg'ling Records, 2017) che ne ha segnato la ripresa delle attività dopo vent'anni, il gruppo Daphne's Flight - Helen Watson, Melanie Harrold, Julie Matthews, Chris While e Christine Collister, a vario titolo nomi di spicco nell'ambito del folk-rock britannico più eclettico ed elegante - ha inserito una versione di Shipbuilding derivandola a loro dire direttamente dall'ascolto di Robert Wyatt (e non cioè dalle 'colleghe' June Tabor o The Unthanks, per esempio). Il brano è parte anche del loro repertorio dal vivo: https://www.youtube.com/watch?v=Q0xfBOV2XS8


05 luglio 2018

Ora è pronto a svelare tutti i suoi tesori, disseminati lungo trent'anni di musiche secondo un arco evolutivo ampio che ha condotto dal solo (Downtime) al trio (Just Woke Up, Hangman's Hill) al quintetto (Go Figure), con due ulteriori antologie di inediti (It's All 'Experimental') e un libriccino che racconta a più voci mille storie, criptostorie, retroscena (e qualche disavventura): The Peter Blegvad Bandbox.

ReR released the first Peter Blegvad Trio LP in 1988 and since then there's been a new one along about every 10 years, the latest adding Karen Mantler and Bob Drake, so it's a quintet now. In between, the trio toured Europe, America and Japan, did various projects and mounted a music-theatre performance. 30 years in, it seemed timely to collect everything together, add unreleased materials from concert recordings and out-takes, and write a fat illustrated book to tell the story so far. That box does this. In addition to the original releases, now re-mastered by Bob Drake and comprehensively repackaged, there are two full CDs of unreleased materials - and the book. That's 72 pages of documentation, recollections, reactions, insights and testimony - alongside priceless drawings and photographs, and all presented in a beautiful sturdy box. The trio was part of the fallout from the merger between Henry Cow and Slapp Happy in the mid 1970s. Once they'd unmerged, Henry Cow's bassist John Greaves joined Peter in New York to make Kew.Rhone - at Carla Bley's Grog Kill studio (which is where they met Karen, who X years later joined the band). Drummer Chris Cutler, also from Henry Cow, masterminded and released Peter's first independent recording, during the execution of which the trio instinctively came together. Since then, whatever other projects the three may have been engaged in (and there have been absurdly many), they kept coming back together to play Peter's songs. A proper artist: his songs have been covered (amongst others) by The Fall and Loudon Wainwright III - and have featured in movies; his cartoon series Leviathan ran in the Independent on Sunday for a decade [Peter Blegvad's comic strip is one of the greatest, weirdest things I've ever stared at. Matt Groening]; he's a regular on BBC Radio 3's The Word and author of several experimental radio dramas; his paintings appear in galleries and his stories are published in books. This box brings all the strands together - with additional help from B. J. Cole, Adam Philips, Eddie Reader, Loudon Wainwright III, Syd Straw, Phil Shaw, Geraint Watkins, Stoffer Blegvad and Jakko Jakszyk.


04 luglio 2018

Sean Kitching dipinge per The Quietus lo strano strano mondo di Charles Hayward, e ne parla nel contempo col diretto interessato. Da lui si fa dire tra l'altro dello strepitoso set solitario proposto dal vivo per anni tra la gioia e la meraviglia del pubblico di mezzo mondo - tra Abracadabra Information e One Big Atom più o meno, ma in epoche anche precedenti - prima di suscitare analoghe reazioni con il più recente, affatto diverso, 30 Minute Drum Roll: "I started to wonder how I could play drums and sing, and not do it with other musicians. So, I devised this system, where there are no click-tracks and in fact nothing is in time with anything else. I came up with a system where I had a collection of foot pedals, which controlled volume and then I had these taped signals which could be up to nine minutes long, which were built and tailored specifically to the song I was making, and as the song changed I’d take some sounds out and bring other sounds in, related to the harmonic shifts and I would bring them in and out in relation to the drum beat and the vocal line and people would think that everything was to a click-track. If I was playing a bass part, when I recorded the bass part, I would be thinking along the lines of a constantly shifting pulse, so there is no pulse. It becomes almost like an extreme funk, the bass doing these amazing syncopations against the drums, but it’s completely random. I think some people think I’m playing to a backing track, and I’m not. I’m playing to some sounds that I have made, that are assembled in front of your ears, differently each time I play. The audience makes sense of it and 90% of the work is going on in their heads. It means I can be wild. If I’m playing to a click-track, I’m being a good boy and the last thing I want to be when I’m making music is a good boy. Having to justify your time keeping against some bit of machinery is dehumanising. The heartbeat is at the centre, not the clock."


03 luglio 2018

Un concerto di Steve Miller e Lol Coxhill del settembre 1974, tratto dalle cronache del Virgin Crisis Tour con protagonisti Hatfield and the North e Kevin Coyne. Lo propone tra decine di altre perle rare il sito web dedicato alla memoria di Phil Miller, fratello di Steve. Per ogni altra cosa prodotta dal duo Coxhill/Miller (e/o Miller/Coxhill) rimane imprescindibile quanto raccolto da Cuneiform nel 2007 in The Story So Far​.​.​. / .​.​.​Oh Really?


02 luglio 2018

Compie cinquant'anni Machine Gun, Trost/Cien Fuegos lo rimette in circolazione in vinile e il titolare Peter Brötzmann affida un personale ricordo a Downbeat: "I never thought music was a healing force of the universe. I didn’t agree with Albert Ayler. But we wanted to change things; we needed a new start. In Germany, we all grew up with the same thing: ‘Never again.’ But in the government, all the same old Nazis were still there. We were angry. We wanted to do something.”

This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European -- not just German or British -- jazz recording. Originally self-released by Peter Brötzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and "energy music" that few have approached since. Brötzmann is joined on sax by British stalwart Evan Parker and Dutch reedsman Willem Breuker (before Breuker moved away from free music, his lungs were as powerful as Brötzmann's). The rest of the group consists of drummers Han Bennink (Dutch) and Sven-Åke Johansson (Swedish), Belgian pianist Fred van Hove, and bassists Peter Kowald (German) and Buschi Niebergall (Swiss). Brötzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Brötzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that's timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it's just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding -- much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill. (Joslyn Layne, All Music)


01 luglio 2018

Un interessante e articolato scritto di Evan Parker presentato nel 1992 come note al programma in occasione della sua partecipazione al festival di Rotterdam Man & Machine (Zaal de Unie) trova nuova diffusione grazie a un'agile edizione bilingue nella serie delle raffinate produzioni della francese Lenka Lente. Il testo si intitola De Motu (for Buschi Niebergall) ed è stato citato tra gli altri da Steve Lake nella riedizione qualche anno fa di uno dei più esemplari lavori in solo del sassofonista, Monoceros. Nella sua versione sobria è presente anche presso l'archivio di European Free Improvisation Pages tenuto da tempo immemore dall'impareggiabile Peter Stubley.


30 giugno 2018

Importanti iniziative a sostegno di Keith Tippett si tengono a Londra oggi, a Manchester e a Bristol la prossima settimana. Intervengono tra gli altri i Soft Machine guidati da John Etheridge, Paul Dunmall, Jim Dvorak, Gary Husband, Geoff Eales e a Bristol anche uno speciale Appreciation Ensemble alle prese con diverse partiture originali del Nostro.

The respected Bristol born composer, pianist and band leader Keith Tippett is currently recovering from two heart attacks coupled with a chest infection and pneumonia. The good news is that he is now out of hospital and is recuperating at home. As result of illness Keith has cancelled all engagements for this year and it will be some time before he will be well enough to perform or appear in public. On hearing this worrying news the jazz community have arranged a number of benefit gigs to raise money to help Keith & Julie and family through this difficult period. There are benefit concerts planned in London, Birmingham and Manchester: musicians taking part include Keith's friends, old band colleagues, ex-students or just players who feel their careers have been inspired by Keith's incredible music and want to show their support. The influence that Keith Tippett's music has had and his contribution to the history of British Jazz and European Improvised music can not be overstated and these gigs are meant to be an opportunity for us all to show our appreciation and help Keith at a time when he is unable to work and earn any money.


29 giugno 2018

Nel cuore di uno dei periodi più fertili e creativi per Carla Bley, a cavallo tra gli anni Settanta e Ottanta, nacque uno dei suoi album più divertenti in assoluto, anche se a prendersene formalmente la titolarità fu il batterista dei Pink Floyd, amico e sostenitore e in quel caso anche produttore associato: Nick Mason's Fictitious Sports, uscito nel 1981 ma registrato in verità due anni prima. Con Bley e Mason presero parte al progetto Michael Mantler, Gary Windo, Terry Adams, Gary Valente, Howard Johnson, Chris Spedding, Steve Swallow, vari altri membri della Band di allora impegnati perlopiù come coristi (ad esempio nelle irresistibili Can't Get My Motor to Start e Boo to You Too), Karen Kraft (indimenticabile in Hot River) e uno splendido Robert Wyatt, costantemente in primissimo piano. L'album tornerà presto in circolazione all'interno di un piccolo box (Unattended Luggage) assieme ad altri due titoli del Mason solista, Profiles e White of the Eye.


28 giugno 2018

Aymeric Leroy ricostruisce in video una Gloria Gloom d'annata (1972) anche perché stanotte baci la Luna Fragola il più bel Saturno di tutto il 2018: "From Matching Mole's Queen Elizabeth Hall concert in September 1972, with what I believe is the only recorded performance of Gloria Gloom with the definitive lyrics. Of course no footage of the concert exists so this is illustrated with other footage which only approximately synchronises with the audio, although I am quite proud of the snare drum hit at the beginning!"

27 giugno 2018

Negli archivi della fotografa Gertrud Vogler (1936-2018) qualcuno ha ritrovato alcuni scatti fatti a Maggie Nicols, Lindsay Cooper e Joëlle Léandre nei primi anni Ottanta, uno dei quali poi utilizzato per la copertina dell'album Live at the Bastille (Sync Pulse, 1982). Li si vede su FB: https://tinyurl.com/y7r2td6v


26 giugno 2018

C'era anche la voce emozionata di Petter Herbertsson - uno dei Testbild! - nel coro del pubblico durante l'esecuzione di Anno Mirabilis al concerto del Lindsay Cooper Songbook qualche sera fa al Cafe Oto londinese. Tramite Bandcamp c'è occasione di risentirla, e in modo più articolato, nella bella versione del brano che Petter ha or ora accordato all'altro suo progetto, Sternpost.


25 giugno 2018

E una ricognizione del mondo zappiano è a suo modo anche il secondo libro del super esperto Andrew Greenaway, noto a ogni appassionato per essere il curatore del sito web The Idiot Bastard e, in epoca pre-Internet, colonna portante di T'Mershi Duween: si intitola Frank Talk: The Inside Stories of Zappa’s Other People e raccoglie commenti e opinioni (e pochi pettegolezzi) tratti da una quarantina di interviste con famigliari, musicisti, amici e stretti collaboratori di Zappa. Lo pubblica la britannica Wymer.

Following his highly successful previous book, Zappa The Hard Way, Frank Zappa specialist Andrew Greenaway’s second tome on the influential cult artist is something completely different! Frank Talk: The Inside Stories of Zappa’s Other People is compiled from over 40 interviews Greenaway has conducted during the past three decades, with the people who knew and worked with the legendary composer and musician. From Zappa's own family (including his eldest son, Dweezil), through to members of the Mothers of Invention (Jimmy Carl Black, Roy Estrada & Don Preston), his major discoveries (like Steve Vai, Warren Cuccurullo & Terry Bozzio) and the musicians who played in his last touring band (such as Ike Willis, Scott Thunes and Mike Keneally). Frank Talk gives an extraordinary insight into this musical genius that is piled on in layers. With Greenaway’s recognised knowledge of Zappa this book will undoubtedly complement his previous title and be every bit as revered.


24 giugno 2018

A una mappatura zappiana addirittura interattiva ha lavorato tempo fa con grande impegno (e buon esito) Cameron Piko, realizzando uno strumento utile a orientarsi per quanto possibile attraverso i principali snodi della famigerata continuità concettuale proclamata dallo stesso Zappa attraverso sessantatré suoi album: The Crux of The Biscuit: Aural Conceptual Continuity in the Music of Frank Zappa.

Alla medesima idea, ma operando con strumento affatto diverso, si è ispirato di recente Marc With A C, producendo per Consequence of Sound una serie di sei podcast, con l'intervento di alcuni ospiti, dedicati all'intera (o quasi) opera discografica di Zappa: https://consequenceofsound.net/artist/frank-zappa

23 giugno 2018

L'annunciato atlante di luoghi e itinerari zappiani - The Zappa Tour Atlas, di Mick Zeuner - pare non sarà pronto prima dell'estate 2019. A far da apripista provvede allora Cordelia Records con un'altra delle sue, e non poteva trovar titolo più azzeccato: Mappa Zappa.


22 giugno 2018

Presso ReR Megacorp si chiudono oggi i termini per prenotare la speciale edizione aumentata del Peter Blegvad Bandbox, e contestualmente si aprono quelli per richiedere l'altrettanto speciale edizione del nuovo album di Bob Drake, L'isola dei lupi, illustrato ancora una volta dallo straordinario Joe Mruk. Un singolo ne anticipa l'uscita, prevista per settembre, con due brani già disponibili presso Bandcamp: https://bdstudio.bandcamp.com/album/lisola-dei-lupi-the-single

Altri titoli in evidenza nell'aggiornamento di metà anno proposto da ReR sono quelli di Jon Rose e Chris Abrahams (Peggy), Vito Rua con The Metaphysical Angels (When Better isn’t Quite Good Enough), Mikolas Chadima & The Ex Extempore Members (The City/Velkomesto), un box di otto cd con il meglio di Alan Jenkins (The Experimental Surf Music), e poi Sun Ra, Iannis Xenakis, Harry Bertoia, i ripescaggi di un Musci/Venosta (Messages and Portraits) e dell'esordio degli (ec) Nudes (Vanishing Point).


21 giugno 2018

Tra quanti hanno seguito il concerto del Lindsay Cooper Songbook l'altra sera a Londra - purtroppo era assente Dagmar Krause - c'erano Petter Herbertsson, Gary Franklin e Gus Iyouvid, che hanno riportato qualche personale impressione:

20 giugno 2018

Debutta dal vivo domani all'Ashburton Arts Centre per il Dartmoor Resonance Music Festival nel Devon (Regno Unito) il nuovo lavoro di Kate Westbrook Granite, fresco di stampa per l'etichetta autogestita dai Westbrook e disponibile nei prossimi giorni in cd e formato digitale. Saranno con lei Roz Harding, Jesse Molins, Matthew North, Billie Bottle, Coach York e naturalmente Mike Westbrook. In sintonia con i temi del festival, quest'anno in una speciale edizione da anniversario, sono in programma anche Erme Estuary e Tamar River, due noti brani di Mike proposti in nuove versioni adattate per questo settetto.

Dartmoor Resonance Music Festival, 16th–24th June 2018. A musical evocation and journey through time marking the 20th anniversary of The Dartmoor Society. The Dartmoor Society is holding a 9-day midsummer music festival, using a wide variety of venues, events and partners, to celebrate the remarkable diversity of composers and performers of sacred and secular music, from prehistory to the present day, all inspired by Dartmoor. This rich cultural thread, which has not been explored collectively before, will contribute significantly to a sense of place, both old and new, reaching out to communities on Dartmoor, in Britain and beyond.


19 giugno 2018

Proseguono a spron battuto le pubblicazioni della rinnovata Cadillac Records, ora sotto la guida di Mike Gavin: la ristampa di due importanti lavori di Johnny “Mbizo” Dyani (1945-1986) del periodo svedese, Rejoice e Together, già riuniti in doppio cd quattro anni fa, e una tripletta per Stan Tracey, Solo:TrioFor Heaven's Sake in quartetto e Alone & Together With​.​.​. ​Live At Wigmore Hall, 1974 per metà in duo con Mike Osborne.


18 giugno 2018

I giorni della mitica maison de sons di Pierre Henry (1927-2017) al 32 di rue de Toul a Parigi - casa d'artista per antonomasia, sede di ogni attività del compositore fin dal 1971 e divenuta via via essa stessa fonte sonora, luogo di concerti e deposito vivente di apparecchiature, nastri, oggetti, strumenti e documenti - potrebbero essere contati, causa una banale operazione immobiliare. E il suo abbattimento potrebbe compiersi prima di aver trovato un'altra sede atta ad ospitare l'incalcolabile patrimonio lasciato dal Nostro, catalogato finora soltanto in minima parte. Questo il timore delle fedeli custodi Isabelle Warnier e Bernadette Mangin, per decenni rispettivamente compagna e assistente del compositore, e con loro di molti appassionati di musica e cultura, a fronte di blandissimi segnali lanciati dagli enti parigini preposti e una raccolta di firme che in un anno ha raccolto solo diecimila adesioni.

Ne scrissero a suo tempo Olivier Lamm e Sarah Bastin: "In the middle of a quiet street in Paris’s 12th arrondissement, halfway between Daumesnil and the Michel Bizot metro station, the former home/workshop/studio of Pierre Henry lies tucked away, almost concealed from view, beneath a whirlwind of thick ivy. For 46 years, Pierre Henry did everything here – lived, composed, sculpted, copied, pasted, organized, disorganized and even gave concerts. The house is still occupied, rustling gently with deceptively intense activity. Isabelle Warnier, his assistant and partner since 1967, is in the studio with Bernadette Mangin, his right hand and “living memory”. They are busying themselves, as best they can, preparing the next step, whatever that may be. First and foremost, there is work to do to save the premises and to preserve the documents, something no institution has stepped up to do. The building is not owned by Pierre Henry and is in a fragile state. Renovating it and turning it into a museum would cost a fortune. There are resources and documents that are incredible and one-of-a-kind. The composer had kept a trace of everything over the course of his 70-year career, the music and its inspiration as well as as activities with movie directors and playwrights. Isabelle Warnier says, with a melancholic tone: “We think, reasonably, that in its current state, this house will not be preserved and we will need to find a solution for the materials to be properly stored, in an active manner, to help keep Pierre’s music alive. We met people from l’INA, l’IMEC and the National Library, huge structures which could be capable of this, but with the slowness typical of these mammoth institutions."


Victime d'un projet immobilier la maison de Pierre Henry, l'immense compositeur de musique électroacoustique disparu le 5 juillet 2017 est désormais en sursis. Cette maison inouie est devenue au fil du temps l'instrument même du compositeur. Pierre Henry l'avait dit: depuis ses débuts de compositeur, il aimait vivre dans son atelier, avec ses consoles et sa collection de sons. Dans cette maison qui lui servait aussi de studio et de salle de concert, tout, des sols aux plafonds, était dédié à la musique. Cette maison unique en son genre, fait parti de notre patrimoine et mérite qu'on la sauve. Help us save french composer Pierre Henry's house from destruction!


17 giugno 2018

Mike Westbrook ricorda Jon Hiseman con un toccante scritto pubblicato presso lo Smith's Academy Notice Board, che così conclude: "Like all those who enjoyed his friendship, learned from his wise counsel and benefitted from his great skill and artistry we are devastated that he should have been taken so suddenly when he was at full stretch and at the height of his powers. Almost the last word he said to me when we spoke just before his operation, and I ventured to suggest that he might need to slow down, was ‘Why?’. We have lost a guiding star."


16 giugno 2018

Debutta questa sera al Cafe Oto londinese il Lindsay Cooper Songbook, precedendo di qualche settimana la partecipazione al festival Zappanale a Bad Doberan (Germania). Del gruppo fanno parte, come è noto, Yumi Hara, Chlöe Herington, Dagmar Krause, Tim Hodgkinson, John Greaves e Chris Cutler. Il programma odierno si avvale anche delle esibizioni di Greaves e Herington in solo, di un momento riservato al trio The Watts (Yumi con Hodgkinson e Cutler) e delle preparazioni sonore di Marina Organ. L'inizio è per le 19.30.

Lindsay Cooper (1951-2013) brought the bassoon and the compositional techniques of 20th century art music into the world of '70s experimental rock. She was a musical polyglot, equally fluent in classical, rock, jazz, and free improvisation and the author of many film and theatre soundtracks. She was a member of the groups Comus, Henry Cow, National Health, David Thomas and the Pedestrians and the Mike Westbrook Orchestra. She co-founded News from Babel and the Feminist Improvising Group and led her own projects Music for Films and Oh Moscow. She lived for many years with multiple sclerosis, which eventually forced her to retire from performing in the 1990s.

Yumi Hara formed Half The Sky in 2015 to perform Lindsay Cooper’s songs in Japan. The original group was entirely Japanese, with the exception of original drummer and lyricist Chris Cutler. This group - with small personnel changes - was later invited to Europe, when it was joined by the songs’ original singer Dagmar Krause. For these new European concerts the line-up adds two more members of Henry Cow, for whom much of this material was written, and we call ourselves Lindsay Cooper Songbook. As was true of the original bands Henry Cow and News From Babel - the new line-up retains an equal gender split.


15 giugno 2018

Alessandro Achilli racconta Robert Wyatt domani sera a Villa Pignatelli di Riviera di Chiaia nel cuore della sezione letteratura del Napoli Teatro Festival Italia. In ottima compagnia, preceduto da Maria Attanasio e Umberto Fiori. L'inizio è alle ore 19.00.


14 giugno 2018

Due giorni di concerti per festeggiare venticinque anni di attività: la viennese Klanggalerie guidata da Walter Robotka si autocelebra da domani presso il Replugged con un programma ricco di sorprese e novità, Klang 25. La performance più attesa è naturalmente quella degli storici amici residentsiani Renaldo & The Loaf, qui alla loro primissima esibizione in pubblico. Chissà che non sia anche l'ultima, come qualcuno già dice...


13 giugno 2018

(Jon Hiseman, 1944-2018)

12 giugno 2018

E a proposito di creatività del batterista c'è tra i tanti anche il lampante esempio di uno storico e autentico fuoriclasse, Sven-Åke Johansson: lo ha descritto in tempi recentissimi Antoine Prum, producendo per la sua Ni Vu Ni Connu il film Blue for a Moment, proiettato l'anno scorso in diverse sale cinematografiche e ora disponibile anche in dvd.

Blue for a Moment retraces the artistic career of the Berlin-based Swedish jazz musician, avant-garde composer, poet and visual artist Sven-Åke Johansson, one of the most singular and exciting figures in European improvised music.
Johansson (born 1943 in Mariestad) moved to Berlin in the late 1960s, where he has since been active in a variety of music and artistic contexts. His first performances took place in the context of the Zodiak Free Arts Lab on Hallesches Ufer, where young musicians and art students eagerly explored the boundaries between genres. In the 1970s and ’80s, he was a regular figure on the West Berlin Free Jazz scene that formed around the FMP/SÅJ label. Johansson has been cultivating longstanding musical friendships with Alexander von Schlippenbach and Rüdiger Carl, and “developed his own concept of noise music with which he became a forerunner of the Echtzeitmusik scene that emerged in the eastern part of Berlin after 1990 in the nexus between squats, free improvisation, punk and New Music” (Wolfgang Müller). In his performances and compositions, Johansson explores the musical relics of 1950s and ’60s modernism, often with the help of “cheap” materials such as cardboard or foam. The Austrian composer Peter Ablinger has termed this practice musica povera, in reference to Arte povera, which elevated everyday objects to art and promoted the use of unconventional or “poor” materials.
Influenced by the Fluxus movement and its experimental and anti-conformist approach, Johansson started deconstructing his own practice as a free-jazz drummer very early on. By transposing the libertarian principle of free music into other artistic fields and switching effortlessly between the roles of performer, artist, poet and composer, he undermined established genres and media and turned the jazz drummer into a Gesamtkunstwerk.


11 giugno 2018

Il lavoro creativo del batterista e il suo ruolo nelle interazioni tra musicisti è il soggetto dell'imponente studio compiuto da Bill Bruford sulla scorta di precedenti scritti - nessuno però di simile taglio accademico - e della propria diretta esperienza, oltre a quella di molti illustri colleghi: Uncharted - Creativity and the Expert Drummer, pubblicato nella serie Tracking Pop dalla University of Michigan Press.

Bill Bruford’s Uncharted explores the creativity involved in the way drummers make things work, make things matter, and make sense of both. The book draws on interviews with nine top drummers - including Peter Erskine, Chad Wackerman and Dylan Howe - and Bruford’s own experience. What do expert drummers do? Why do they do it? Is there anything creative about it? If so, how might that creativity inform their practice and that of others in related artistic spheres? Applying ideas from cultural psychology to findings from original research into the creative behaviors of a specific subset of popular music instrumentalists, Bruford demonstrates the ways in which expert drummers experience creativity in performance and offers fresh insights into in-the-moment interactional processes in music.

10 giugno 2018

La straordinaria stagione di Musiche (1987-1997) è stata ricordata in uno speciale di Battiti andato in onda domenica scorsa, in tempo quasi esatto a celebrare il trentennale della nascita della rivista, con il titolo Canzoni eterodosse. Da ascoltare anche in podcast, magari rileggendo l'insuperato scritto commemorativo di Gian Paolo Ragnoli Alla ricerca di Nomansland.


09 giugno 2018

Il concerto di Fred Frith ieri sera a Roma, invitato dal festival Villa Aperta VIII: Calling for a New Renaissance a dialogare con le creazioni visive di Gao Xingjian nella splendida ambientazione di Villa Medici, è ora negli archivi di Arte Concert: https://www.arte.tv/fr/videos/082090-004-A/fred-frith-gao-xingjian-au-festival-villa-aperta-2018

Invité d’honneur par l’Académie de France à Rome au Festival Villa Aperta, Calling for a new Renaissance, Gao Xingjian lance aujourd’hui cet appel à ce lieu historique, la Villa Médicis. La combinaison entre les créations visuelles de Gao Xingjian et les compositions de Fred Frith crée une ambiance unique.

Gao Xingjian, Prix Nobel de littérature en 2000 est romancier, dramaturge, poète, metteur en scène, peintre, cinéaste. Né en Chine en 1940, il vit à Paris depuis 1988 et a eu la nationalité française en 1997. Traduit dans quarante langues, et surtout connu pour son roman La Montagne de l’âme, il a également publié des ouvrages de réflexion sur l’art et la littérature. Ses pièces de théâtre ont été jouées dans le monde entier, et de grandes expositions de ses peintures lui sont régulièrement consacrées en France, Espagne, Belgique, Suède, Allemagne, Suisse, aux Etats-Unis, Portugal, à Taiwan et Singapour. Cet artiste total souligne que le temps est venu de se débarrasser du carcan des idéologies et de se tourner vers le futur. Gao Xingjian revendique un art non utilitaire au-delà des intérêts politiques et de la loi du marché. Une renaissance des arts et lettres.

Multi-instrumentaliste, compositeur et improvisateur Fred Frith se produit sur toutes les scènes du monde depuis presque 50 ans, il a débuté sa carrière avec le collectif rock Henry Cow qu’il a cofondé avec Tim Hodgkinson en 1968. Fred Frith est renommé pour ses compositions à la guitare électrique mais aussi pour les musiques écrites pour le cinéma, la danse et le théâtre. Cet artiste a joué au sein de groupes comme Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, et il est resté attaché aux racines du rock et de la folk music, tout en expérimentant de nouvelles directions musicales. Son actualité mène à penser qu’il pourrait avoir le don d’ubiquité : projet éducatif à l’Université Austral de Chile à Valdivia, performances de Barcelone à Varsovie, ou au Louisiana Art Museum du Danemark, il compose également une pièce musicale qui sera créée à San Francisco en mars 2019 et prépare la sortie de 4 albums…


08 giugno 2018

Marina Organ e Yumi Hara preparano il terreno per l'imminente debutto del Lindsay Cooper Songbook al Cafe Oto londinese con una speciale puntata del programma radiofonico The Other Rock Show presso Resonance FM: brani da Work Resumed on the Tower, The Golddiggers, Letters Home, Western Culture, Logos e Kew.Rhone. oltre a due diverse versioni, entrambe inedite, di Slice e l'invito a impararsi ben bene Anno Mirabilis per poterlo cantare in coro la sera del concerto.


07 giugno 2018

Un importante documento dell'attività recente degli AMM nella ricomposta formazione a tre - Eddie Prévost, John Tilbury e Keith Rowe - è pronto per Matchless Recordings in forma di libro e tre cd audio: An Unintended Legacy. All'attenzione ci sono i concerti tenuti a Londra, Parigi e Trondheim a cavallo tra il 2015 e il 2016, riportati integralmente; il libro, dedicato a Lou Gare, contiene in una settantina di pagine saggi e vari scritti di Prévost, Rowe, Gare appunto, Paige Mitchell, Allen Fisher, Harry Gilonis e Seymour Wright.


06 giugno 2018

Shelley Hirsch e Joke Lanz presero parte nel 2015 all'edizione londinese del festival di arti varie Next, con sede a Bratislava, con una briosa performance presso il Cafe Oto. Era l'11 novembre, e in cartellone c'erano anche Rashad Becker, Jonas Gruska e Urbanfailure. La registrazione è ora disponibile come file audio nella sezione Otoroku del club con il titolo 11.11.15. Peter Urpeth ha ulteriormente documentato l'evento pubblicando alcuni estratti video e una bella intervista a Shelley tenuta quella sera: è il quarto episodio della sua serie The Free Improv Pod.

New York improvising vocalist, composer, and performance artist Shelley Hirsch met the Swiss turntables and electronic musician Joke Lanz (Sudden Infant) at a festival in Biel, Switzerland, where they were both performing solo. Shelley was struck by his performance and Joke admitted that he has “loved her work since the early ’80s.” Booked to play Oto as part of Next festival, the pair explored consciousness, both immediate and memory based, and drew on personal experience to create a three act improvisation which reinterprets the strange and the known.