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."

https://www.francemusique.fr/la-maison-de-pierre-henry-sera-detruite
http://daily.redbullmusicacademy.com/dans-la-maison-de-pierre-henry

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!

https://secure.avaaz.org/fr/petition/Ministre_de_la_Culture_Francaise_Francoise_Nyssen_Anne_Hidalgo_Maire_Paris_Sauver_la_maison_de_Pierre_Henry/?pv=13

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."

http://westbrookjazz.co.uk/smithsboard/index.shtml#Jon

16 giugno 2018


Debutta questa sera al Cafe Oto londinese il Lindsay Cooper Project, 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.

https://www.cafeoto.co.uk/events/lindsay-cooper-songbook

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.

https://www.napoliteatrofestival.it/spettacolo/qui-16-giugno
http://poesia.blog.rainews.it/2018/06/qui
https://www.napoliteatrofestival.it.pdf

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...

http://klanggalerie.com/events
http://www.klanggalerie.com/kg/kg25/kg25.html
https://www.facebook.com/events/1727368317281606

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.

http://www.sven-akejohansson.com/blue-for-a-moment-dvd
http://ni-vu-ni-connu.net/film/blue-for-a-moment

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.
https://burningshed.com/bill-bruford_uncharted_book
https://www.press.umich.edu/9562155/uncharted

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.

https://tinyurl.com/canzonieterodosse
https://www.nazioneindiana.com/2009/04/11/musiche-maestre
http://cartescoperterecensionietesti.blogspot.com/2009/05/blog-post.html

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…

https://www.villamedici.it/villa-aperta-viii-calling-for-a-new-renaissance-7-9-giugno-2018

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.

https://www.cafeoto.co.uk/events/lindsay-cooper-songbook
https://www.mixcloud.com/Resonance/the-other-rock-show

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.

https://matchlessrecordings.com/music/amm-unintended-legacy
https://www.discogs.com/AMM-An-Unintended-Legacy/release/12084332

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.

https://www.cafeoto.co.uk/shop/111115-shelley-hirsch-joke-lanz
https://thefreeimprovpod.wordpress.com/2017/09/23/fip4-shelley-hirsch
https://soundcloud.com/freeimprovpod/the-free-improv-pod-4-shelley-hirsch

05 giugno 2018


Uno scritto di Kate Westbrook, Tracks of Desire, inaugura il nuovo strumento informativo ideato dai Westbrook, lo Smith’s Academy Notice Board, collocato all'interno del sito web ufficiale e inteso ad ospitare analisi e approfondimenti di vario respiro su aspetti e temi di rilievo. Va a sostituire il glorioso Smith’s Academy Informer fondato trentatré anni fa da John e Margery Styles - e successivamente affidato alle cure di Martin King - le cui pubblicazioni hanno oltrepassato il centinaio di capitoli. Tutto cangia, il ciel s'abbella!

For over 30 years the Smith’s Academy Informer, founded by John and Margery Styles has chronicled the activities of the Westbrook Band. Originally a printed, quarterly newsletter circulated by post, latterly published online more sporadically, the SAI has kept track of tours, recordings and new projects. Now that the relaying of up-to-date information is provided by the Social Media and the Diary and Latest News pages on the website, the Informer is free to concentrate on its other function, that of providing a space for reportage and background information. Re-invented as the Smith’s Academy Notice Board, it will in future set out to give a platform to comment, analysis and in-depth writing on relevant topics. The Notice Board will be published on the website and each new publication will be notified by email. Back issues of SAI will continue to be available on the website.

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

04 giugno 2018


Quale primo atto da compiere nel suo rinnovato studiolo domestico Andy Partridge - o Angry Porridge, come a volte ama chiamarsi sui social - aveva in mente un omaggio ai propri anni d'infanzia. Eccolo qui, un extended play in vinile con versioni mono e stereo di Apples & Oranges (Pink Floyd) e Humanoid Boogie (The Bonzo Dog Band). Ne esistono soltanto 1396 esemplari, e li ha in custodia Burning Shed.

When it came to making initial recordings in his newly upgraded studio at the end of 2017/start of 2018, it was to favoured tunes of half a century ago to which Mr. Partridge returned, specifically: Syd Barrett’s Apples & Oranges (originally the A side of the third Pink Floyd single issued in November 1967) & Neil Innes’ Humanoid Boogie (originally the Side Two opener from The Doughnut In Granny’s Greenhouse, the second album by The Bonzo Dog Band released in November 1968). Andy was one of those few who bought & loved the Floyd single & its equally fab B side Paintbox – it was their first not to chart in the UK, while The Bonzos, having featured in Magical Mystery Tour, went on to a regular, much watched TV slot on Do Not Adjust Your Set which was broadcast in 1968/69, making the album a ‘must buy’ when it appeared.
Meanwhile in 2018, with the songs recorded & pleased with the result, the next question became how best to release them & a 4 track (both songs in Stereo & Mono, naturally) 10” vinyl EP format in a picture sleeve with neither song identified as an A side became the format of choice.

http://chalkhills.org/reelbyreal/s_ApplesAndOranges.html
https://burningshed.com/store/ape/artists-ape/andy-partridge
https://burningshed.com/andy-partridge_apples-and-oranges_humanoid-boogie_vinyl

03 giugno 2018


Una collaborazione a distanza tra Dave Newhouse, Bret Hart e Carla Diratz, nata con premesse affatto diverse - circoscritta inizialmente a un brano destinato al progetto post-Muffins Manna/Mirage del solo Newhouse - è poi cresciuta con convinzione e ora sfociata in concerti e una prima prova discografica, Diratz, salutati da ottime recensioni. Con i buoni auspici anche di Robert Wyatt!

http://www.mannamirage.com/diratz
https://www.youtube.com/watch?v=WWSKeDK134s
https://canterburyscenecom.wordpress.com/2018/05/23/diratz-album-review
http://gapplegateguitar.blogspot.com/2017/12/diratz.html

02 giugno 2018


In alternativa alle fanfare del 2 giugno giunge appropriata la citazione (strumentale) de Il barbiere, degli Stormy Six, proposta in concerto dal Mezz Gacano's Self-Standing Ovation Boskàuz Ensemble. Che qui, come già in Kinderheim, ha ospite Tommaso Leddi. Capirsi senza parlare.

01 giugno 2018


Saranno presto venticinque anni anche dalla scomparsa del grande Derek Jarman (1942-1994), e ad anticiparne le celebrazioni, producendo per la prima volta in Blu-ray alcuni suoi indimenticabili capolavori, provvede il British Film Institute. Un primo gruppo di opere è raccolto in Jarman Volume One: 1972-1986, con In the Shadow of the Sun, Sebastiane, Jubilee, The Tempest, The Angelic Conversation e Caravaggio: vi si ritrovano le musiche di Throbbing Gristle e Coil, di Brian Eno e Simon Fisher-Turner, l'esordio della strepitosa Tilda Swinton, un cameo di Lol Coxhill nei panni di un vecchio prete, una messe di materiali aggiuntivi tra cui schizzi, trame provvisorie, sessioni inedite di registrazione, scene segrete delle scorribande londinesi di Genesis P-Orridge con William Burroughs a inizio anni Ottanta, riflessioni ex post di alcuni protagonisti, un libretto zeppo di note e un prezioso set di cartoline con i costumi creati da Christopher Hobbs.

24 years have gone by since his death at just 52, but the legacy of the iconoclastic filmmaker Derek Jarman (1942-1994) lives on, and his ground-breaking and highly influential work has lost none of its relevance or impact. The first of two deluxe box sets brings together a selection of his feature films on Blu-ray for the first time. Jarman Volume One: 1972-1986 contains In the Shadow of the Sun, Sebastiane, Jubilee, The Tempest, The Angelic Conversation and Caravaggio and is packed with an incredible 30 extras and accompanied by an 80-page book.
Jarman’s multi-faceted work is inspirational in its fearlessness, yet remains touchingly personal. The dynamism of these features evokes comparison with the bold romanticism of directors like Ken Russell (an early champion) and Michael Powell, as well as artists Paul Nash and John Piper. But Jarman was also a subversive force in film. Beginning with his psychedelic debut feature, In the Shadow of the Sun (1972-1974), then came the provocative Jubilee (1978), the evocative Shakespeare adaptation The Tempest (1979) and The Angelic Conversation (1985), in which he invoked Elizabethan occultist Dr John Dee and explored alchemical imagery, a subject in which he was well versed. In Sebastiane (1976) and Caravaggio (1986) he revived key gay and homo-erotic figures from the past – with edgy and unmistakable style.
Derek Jarman’s first six feature films have all been newly scanned at 2K from original film elements and are presented in this lavish box set alongside an exciting array of new and archival extras drawn from Jarman’s archive of workbooks and papers held in BFI Special Collections. Newly interviewed exclusively for this box set are some of the people who worked on these films; punk legend Jordan, producer and filmmaker Don Boyd, production designer Christopher Hobbs and artist filmmaker John Scarlett-Davis.

https://shop.bfi.org.uk/jarman-volume-1-1972-1986-blu-ray.html
https://www.imdb.com/name/nm0418746