20 marzo 2019


Peter Hammill dal vivo, da solo, ancora ruggente: su YT c'è una ripresa pressoché integrale del suo concerto al Gagarin Club di Atene lo scorso 9 marzo. Chi cerca Refugees la trova come bis in conclusione.

http://sofasound.com
https://youtu.be/TUylFjegXIE

19 marzo 2019


Hugh Hopper and Friends, cioè Short Wave, cioè Hopper con Didier Malherbe, Phil Miller e Pip Pyle, registrati in concerto all'Ouest de la Grosne in Bresse-sur-Grosne l'8 novembre 1991. Da (ri)sentire presso Phil Miller-The Legacy.

https://philmillerthelegacy.com/music/short-wave-bresse-sur-grosne-1991

18 marzo 2019


Elton Dean's Ninesense dal vivo al quarto Bracknell Jazz Festival, nel luglio del 1978: ne ripropone l'ascolto Inconstant Sol. Con Dean c'erano Alan Skidmore, Marc Charig, Harry Beckett, Nick Evans, Radu Malfatti, Keith Tippett, Harry Miller e Louis Moholo.

https://inconstantsol.blogspot.com/elton-deans-ninesense.html

17 marzo 2019


C'è Caroline Kraabel tra gli ospiti del nuovo lavoro del Grand groupe régional d’improvisation libérée (GGRIL) di Rimouski, in Québec, e con lei anche Ingrid Laubrock e John ButcherFaçons, su etichetta Tour de bras. "I remember my experience of working with the GGRIL with great joy - scrive Caroline - they were creative, inspiring, focussed and responsive, and I felt the work we did made a difference to my practice as well as to theirs."

https://ggril.wordpress.com
https://tourdebras.bandcamp.com/album/fa-ons

16 marzo 2019


Tra le più recenti iniziative del dinamico - e imprevedibile - collettivo londinese costituito da Blanca ReginaSteve Beresford e Pierre Bouvier Patron c'è una breve serie di incontri di conversazione e musica improvvisata diffusi in diretta tramite il web e successivamente archiviati presso YT: Unpredictable Radio. Nel corso dei due primi episodi, trasmessi dal centro d'arte contemporanea Raven Row in Spitalfields alla presenza di un ristretto pubblico lo scorso 15 febbraio e ieri 15 marzo, sono intervenuti Gina Southgate, Alan Wilkinson, Terry Day, Iris Garrelfs, Matthias Kispert e Douglas Benford.

Unpredictable Series looks at spontaneous music and art: the archives of pioneers and the creation of new works. We create festivals, exhibitions, performances, talks, publications and workshops engaging audiences in new ways of making and understanding music and art. Unpredictable Series was created in London in 2013 by artist & curator Blanca Regina and free improviser & composer Steve Beresford. Pierre Bouvier Patron later joined them, focusing on experimental film and performance. Current projects include Unpredictable Radio (live streaming sessions) and Strange Umbrellas, which presents unique events of experimental music, free improvisation, film and art, in London and elsewhere.

http://www.unpredictable.info/project/unpredictable-radio
https://www.youtube.com/channel/UCm631gX0AttTVrP25L9X_vA/videos
https://unpredictableseries.bandcamp.com

15 marzo 2019


Uwe Bräutigam ha seguito il concerto del Lindsay Cooper Songbook a Bonn la settimana scorsa e ne pubblica una presentazione per Nrwjazz: "Die Band Lindsay Cooper Songbook besteht aus drei Mitgliedern von Henry Cow: Chris Cutler am Schlagzeug, Tim Hodgkinson an Klarinette und Altsaxophon und Dagmar Krause Gesang. Weitere Bandmitlieder sind Yumi Hara an Klavier, Keyboard und Harfe, Mitsuru Nasuno am E-Bass, Chlöe Herington an Fagott, Sopransaxophon und Melodica. Atsuko Kamura übernimmt für Dagmar Krause den Gesang, die aus gesundheitlichen Gründen nicht dabei sein kann. Lindsay Cooper Songbook besteht paritätisch aus Frauen und Männern, wie auch ihre Vorgänger Band Half the Sky, deren Namen nach dem chinesischen Sprichwort: Die Hälfte des Himmels ist weiblich, gewählt wurde. Auch Henry Cow und News from Babel hatten Genderparität. Henry Cow war immer eine politische Band, die sich als Teil der linken Protestbewegung der 60er und 70er begriff. Lindsay Coopers Musik und die Texte von Chris Cutler richteten sich gegen Unterdrückung und Ausbeutung und für die Gleichberechtigung der Frau. An diese Tradition knüpft das Konzert an."

http://www.nrwjazz.net/Lindsay_Cooper_Songbook_In_Situ_Bonn

14 marzo 2019


Quando alle edizioni d'arte Æncrages & Co a Baume-les-Dames (Francia) si decise di ripubblicare in antologia i volumi del progetto MW con i testi in versione francese di Robert Wyatt e Alfreda Benge si salutò l'evento - che coincideva con il ritorno alle stampe dopo il devastante incendio subìto dalla tipografia nel 2007 - con una festa in piena regola con tanto di invitati, torta, candeline e champagne, con gli interventi pittorici di Jean-Michel Marchetti e le azioni musicali di Pascal Comelade con Gérard Meloux. Era il 7 marzo 2009, e il bel gesto venne documentato, oltre che in una specifica pubblicazione prodotta in pochissimi esemplari, Round About Robert, anche in video: da qualche giorno se ne trova un breve estratto anche su YT.

Quelques extraits pour ceux qui n'ont pas assisté à la performance de Jean-Michel Marchetti et Pascal Comelade "autour" des chansons de Robert Wyatt, le 7 mars 2009 à Baume-les-Dames. A cette occasion, le livre d'artiste à tirage très limité Round About Robert a été illustré par Jean-Michel Marchetti, devant le public, au son de reprises de chansons de Robert Wyatt jouées par Pascal Comelade (et son compère Gérard Meloux). Cet événement a été organisé à l'occasion de la sortie du livre Robert Wyatt - Anthologie du projet MW.

Éditions Æncrages & Co
1 rue Faivre d'Esnans
25110 Baume-les-Dames
Tel : 03 81 84 32 88
aencrages.et.co@wanadoo.fr

http://aencrages.free.fr
http://aencrages.free.fr/rub/fiche/art8.htm
http://aencrages.blogspot.com/performance-round-about.html
http://aencrages.blogspot.com/video-de-la-performance-round-about.html
http://www.disco-robertwyatt.com/images/Robert/mw/index.htm
https://youtu.be/8_qjKXerTjA

13 marzo 2019


E uno sguardo a Robert Wyatt lo ha voluto lanciare anche Nadia Szachniuk, interpretando Lullaby for Hamza nel suo album notturno di un paio di anni fa, Luna Atrás.

Luna Atrás es mi canto a la noche, mi oscuridad confesa en canciones desveladas, en seculares nanas y tímidos arrullos que empañan la noche de mis entrañas. Es la memoria de la canción primera, los días que son de noche y las ausencias que se arrastran como oruga ciega anochecida. Canciones que se cifran en lunas abriendo los ojos de las aguas nocturnas, sonando la noche del que canta y del que escucha. La noche vacila entre el sueño y el desvelo revelando los tesoros de la sombra”.

https://youtu.be/O_GKae71_kY

12 marzo 2019


Marion Berthier e Xavier Vochelle sono titolari a Poitiers (Francia) del progetto Baron Chien, attraverso il quale guardano a modo proprio alle canzoni di Robert Wyatt. Le hanno raccolte provvisoriamente sotto il titolo RevieW, offrendone qualche esempio di studio e dal vivo in Soundcloud e Vimeo.

Formé de Marion Berthier au chant et de Xavier Vochelle à la guitare et autres bricoles sonores, Baron Chien s’offre un premier champ d’expérimentation musicale en s’immergeant dans l’univers poétique et nébuleux de l’anglais Robert Wyatt, ancien batteur/chanteur de Soft Machine. Un set construit autour de moments subtiles, d’envolées plus rock, d’atmosphères étranges et de surprises avec en point de mire son album phare Rock Bottom.

http://www.insuasso.fr/baron-chien
https://soundcloud.com/user-915835462
https://vimeo.com/310051315

11 marzo 2019


Dal meteorite di Morozovo alla giornata della memoria per le vittime della repressione politica si dipana l'intricata trama di Novosibirsk, di Jane Ek. La colonna sonora è in un doppio cd prodotto da Alan Jenkins per Cordelia Records a nome The Melamine Division Plates, che il regista russo Sergej Aleksandrovič Solov'ëv ha definito "An important landmark in Experimental Surf Music". Tutto vero. Lo spiegano le note di copertina.

http://www.cordeliarecords.co.uk

10 marzo 2019


Se già trent'anni fa aveva chiari i dubbi e le incertezze, tanto professionali quanto personali, circa il proprio futuro ('The future R. Stevie may well give up the fight', in Back in Time), nemmeno oggi, a sessantasette anni e con problemi di salute più che seri, R. Stevie Moore ha abbandonato la strada della libertà artistica e dell'autoproduzione, intrapresa con determinazione e tenacia fin dagli esordi. Afterlife, ennesima selezione tratta dal suo sterminato canzoniere storico - ma i brani sono stati fedelmente registrati ex novo in tempi recenti - ne riafferma tutto il valore: esce in due versioni in vinile e in cd per Bar-None Records, con l'aiuto di Irwin Chusid.

When R. Stevie Moore achieved underground notoriety in the 1970s, he was hailed as a do-it-yourself pioneer. DIY was a rogue subgenre of independent music in which artists assert maximum control over the creative process. Writing music and lyrics, playing all parts in overdubbed layers, engineering, mixing, Moore was a one-man music factory. Despite occasional collaborators and sidemen, he was too self-centric to be a team player. The outcome was (and remains) critical acclaim, but limited commercial splash. Not for lack of effort on the part of Mr. Moore.
His output slowed with age, but he continues recording because that's his raison d'etre. Afterlife consists of top-tier post-2000 recordings, eleven from 2010-2013. Some of the songs are four decades old; others were written relatively recently. The vintage songs were originally recorded at home in the 1970s and '80s, often on chronically malfunctioning open-reel decks with low-grade 1/4-inch tape. They were great tunes, transcending the lo-fi muck, and they begged to be revisited with state-of-the-art clarity. Afterlife is a survey of some of R. Stevie's best pop tunes, covering a lifetime of songwriting. A few were recorded solo, most include longtime friends and bandmates. From an audio standpoint, there might not be a better-recorded RSM collection, and every song is an idiosyncratic pop gem. For RSM, perhaps there's life after obscurity.

http://www.rsteviemoore.com/cd/afterlife.html

09 marzo 2019


L'anello di congiunzione fra Henry Cowell e Vincent Price non poteva fornirlo che Eugene Chadbourne, ed è una storia lunga e personale: The Banshee.

"I have a personal defense of my use of Vincent Price material, as through my entire life I have promoted his work with a fervor and ingenuity few PR maestros could come anywhere near. This campaign has distinct periods. There is the "Cathechism class" era of the Roger Corman/Edgar Allan Poe films, as a growing number of drop-outs from the Sacred Heart Saturday morning Cathechism class would join me at the Boulder Theatre for our "Holy Trinity" of Boris Karloff, Peter Lorre and Vincent Price. Shortly thereafter a fad broke out which involved yelling "Price! Price! Watch out! Price!" whenever danger was perceived or more likely faked, this came from his role in The Last Man on Earth.

When I was 17, my family moved to Calgary. A few months after settling in I wandered on bus (and then back on foot) to a movie theatre on entirely the otherside of town, (NW to SW) to see Vincent Price in the Abominable Dr. Phibes. It was still playing a month later and so I did the same thing again. Many of these fascinating exploits are chronicled in my book Dreamory. As a young father I shamelessly promoted Vincent Price with my children; now they are all fans. This circle will be unbroken so watch it, Price!

The Banshee is one of several selections from Henry Cowell’s book of solo piano pieces for which I have worked on creating guitar and banjo arrangements. Rob Magill and Daniel Masiel played The Banshee with me in an electric guitar trio during December of 2018. One night in we recorded two versions in Rob's garage on the outskirts of Ojai, California."

https://eugenechadbourne-documentation.squarespace.com/shop/the-banshee

08 marzo 2019


Joni Mitchell fa coincidere con l'8 marzo l'uscita dell'album che ricorda i festeggiamenti dei suoi primi settantacinque anni, Joni 75-A Birthday Celebration, tratto dai concerti dello scorso novembre al Dorothy Chandler Pavilion in Los Angeles circondata da artisti e amici in una delle sue ormai rarissime uscite in pubblico: Brandi Carlile, Glen Hansard, Emmylou Harris, Norah Jones, Chaka Khan, Diana Krall, Kris Kristofferson, Los Lobos con La Marisoul, Cesar Castro e Xochi Flores, Graham Nash, Seal, James Taylor e Rufus Wainwright. Ad esso si unisce idealmente anche la preziosa collezione in quattro atti concepiti per la danza Love Has Many Faces, curata personalmente da Joni cinque anni fa per la Rhino e da poco ripresa in una voluminosa edizione d'artista in vinile.

"Act One begins in the fifties. Two 15-year-old girls are standing front of a black burlesque show at the end of a mile-long midway. The music is seductive — jazzy — stripper music. They had been forbidden to stop there. “Don’t even look! Pass right on by!” In the background you hear the barker — “Step right up folks! The show is about to begin!” Rock ‘n’ roll is new and cars have given teenagers an unprecedented liberty. It continues into our materialistic and litigious times. Act Two is dark. It leads us into the perversion and corruption of these times until the wise little housekeeper, Hanna, lights the lamp. A healing begins. Humanity returns. The heart opens. The ability to love becomes a possibility. This act closes with an enchanted Night Ride Home. Act Three is the smitten act — the “in love” act until the imperfections corrode the harmony. This act defines what love is — ideally. Act Four is called If You Want Me I'll Be In The Bar. If danced, much of it would be a barroom setting — characters coming and going. Here, love of land, love of water, wanderlust, obsession, frustration — many “faces of love” appear and disappear. This act, the final act, has a warm and friendly ending — the dancers link arms and wish us all a lot of luck."

http://jonimitchell.com

07 marzo 2019


L'incredibile storia di Vivian Stanshall scritta dalla persona che più gli è stata vicina, la moglie Ki Longfellow, e dalla quale, più che da ogni altra, egli stesso voleva venisse raccontata: The Illustrated Vivian Stanshall-A Fairytale of Grimm Art, con le illustrazioni di Ben Wickey, è finalmente un libro grazie a Eio Books.

"Vivian was a genius as Emily Dickinson was a genius, as Vincent van Gogh was a genius. All three were hopeless at being much of anything else. In her time, no one patronized Emily. No one printed her poems. Beyond her small insular Massachusetts family and one or two puzzled pen pals, no one had ever heard of her. In his time, no one bought what Vincent bled to paint. If they'd heard of him at all, he was the brunt of jokes. During his life, Vivian did a little bit better. He was revered by the cream of British musical talent, by its poets and painters and comics. Aside from these, and never more than a respectable number of fans, he was "Vivian who"?
The book I've written for him is not a biography of one of Britain's greatest 20th Century artists nor is it a piecing together of its most unusual band clamoring away in the midst of rock and roll. It's not even a small bittersweet memoir of our life together... although it has become a little of each in the writing. I saw as the words fell together on the page, Vivian's life was beautiful, dark and strange, a Grimm fairytale of art. With laughs."

http://www.theillustratedvivianstanshall.com
https://youtu.be/Q7TD8K0pFG4

06 marzo 2019


Mike Westbrook parla con Emma Smith dell'album Catania (Westbrook Records, 2018) all'interno della più recente puntata di Jazz Now, per Radio 3 della BBC: un intervento di una ventina di minuti verso lo scadere della prima ora del programma, con ascolti da I.D.M.A.T., Tender Love e Factotum al Bebop.

https://www.bbc.co.uk/programmes/m0002zjc
http://www.westbrookjazz.co.uk/mikewestbrook/catania_cd.shtml

05 marzo 2019


Quattro concerti per ritrovare dal vivo le care musiche di Lindsay Cooper: a Canterbury, Londra, Bonn e Münster, dal 7 al 10 marzo, proposte dal Lindsay Cooper Songbook (Yumi Hara, Chlöe Herington, Atsuko Kamura, Mitsuru Nasuno, Tim Hodgkinson, Chris Cutler).

Die britische Künstlerin Lindsay Cooper hat mit Fagott und Neuer Musik den experimentellen Rock der 70er aufgemischt. Schon eine Leistung für sich! Sie hat in Kult-Bands wie Henry Cow oder National Health gespielt und etliche Soundtracks komponiert. War Mitbegründerin der Feminist Improvising Group und leitete ihre eigenen Projekte Music for Films und Oh Moscow. Wegen schwerer Krankheit konnte diese solitäre Grenzgängerin zwischen Klassik, Rock und Jazz allerdings seit den 90ern nicht mehr auftreten. Sie starb 2013. In der Folge hat die in London lebende Japanerin Yumi Hara das Ensemble Half the Sky gegründet. Mit dem Ziel, Coopers Werke (viele davon niemals im Konzert aufgeführt!) lebendig zu halten. Für die erkrankte Dagmar Krause steht beim Konzert im Pumpenhaus die japanische Ausnahmesängerin Atsuko Kamura auf der Bühne. Und mit Tim Hodgkinson ist jetzt noch ein weiterer Wegbegleiter aus der Band Henry Cow am Start. Das Lindsay Cooper Songbook wartet auf Endeckung!

04 marzo 2019


Dagli archivi storici della rivista statunitense Cadence spunta un'intervista a Lindsay Cooper condotta da Dale Smoak nell'ottobre 1989, pochi giorni prima della presentazione di Oh Moscow al Festival International de Musique Actuelle de Victoriaville, concerto poi divenuto album ufficiale per l'etichetta Victo (1991).

https://tinyurl.com/y3zgdlph

03 marzo 2019


We're All In It Together: è l'affettuoso omaggio di Luciano Margorani a Lindsay Cooper, offerto qualche giorno fa tramite Soundcloud. Da risentire oggi, che sarebbe il suo compleanno. Ciao Lindsay!

https://soundcloud.com/luciano-margorani/were-all-in-it-together-dedicated-to-lindsay-cooper

02 marzo 2019


Dave Newhouse è protagonista a distanza anche di un altro progetto, Told, condiviso con Tommaso Leddi, Davide Mezzatesta - alias Olga Gacano, qui la O dell'acronimo - e Luciano Margorani: l'album omonimo esce in questi giorni in digitale per la palermitana Sasime Records, diffuso tramite Bandcamp.

https://sasimerecords.bandcamp.com/album/told

01 marzo 2019


Un omaggio a Robert Wyatt (Zed He Said), un omaggio anche a Hugh Hopper e Soft Machine (Mini Hugh), ma soprattutto un omaggio alla migliore tradizione ('AmeriCanterbury') che a suo tempo seppero esprimere The Muffins: Dave Newhouse guida i suoi Manna/Mirage a una seconda ottima prova, Rest of the World, a pochi anni dall'esordio di Blue Dogs. Spiega: “When The Muffins broke up, I decided to start a band of rotating musicians that could express the old AmeriCanterbury sound that I thought The Muffins had been slipping away from for some time. Manna/Mirage is that collective that I hope is doing just that. The first album, Blue Dogs, consisted of half of the compositions (my pieces) that I removed from what was another Muffins album in progress. This second Manna/Mirage album, Rest of the World, is an album all on its own, not culled from another project, and a continuation of that AmeriCanterbury sound that I so love. The musicians, engineers, and artists that make up the Manna/Mirage “collective” (including Gonzalo Fuentes / Guerilla Graphics, Eric Kearns, and Mike Potter at Orion Studios), are all part of a unique and close national and international Independent Music Community on FB. Many of us have never met in person, but we feel like a very close knit “family”. I didn’t consciously set out to do this, but by the time I was almost finished with the album, I realized that I had most of that community on the album! Half of The Muffins are here (Billy Swann and me), all of Diratz (Carla Diratz, Bret Hart, and me), and all of Moon Men (Jerry King, William Jungwirth, Bret, and me) as well as Guy Segers from Univers Zero, Dereck Higgins, Mark Stanley, Sean Rickman, Forrest Fang, and Greg Segal. Three of the pieces on this album, “Catawampus”, “Zed He Said”, and “That Awful Sky”, were originally slated to be recorded as Muffins tunes before the band dissolved. “Zed He Said” is a tribute to Robert Wyatt. “Mini Hugh” is for Hugh Hopper and Soft Machine. All of it is the best AmeriCanterbury we can offer.”

http://www.mannamirage.com

28 febbraio 2019


Si può ritrovarne la versione originale in Parallel (1996), o in Mind Over Matter (2011), o altrove, ma quella che ne dà oggi Billie Bottle aggiunge nuovo e inatteso fascino a ED or Ian?, composizione strumentale dell'indimenticato Phil Miller cui Billie ha sapientemente aggiunto un suo testo ispirato a Robert Frost ('Two roads diverged in a wood, and I / I took the one less traveled by / And that has made all the difference'). Bravissima.

https://youtu.be/f-T4WbCir6E
https://philmillerthelegacy.com

27 febbraio 2019


Approfitta del suo nuovo account Twitter per esprimere soddisfazione e gioia riguardo le recenti vicende dell'Uncommon Orchestra. Scrive Mike Westbrook: "The rise of the Uncommon Orchestra from the back room of the South Devon Arms to the glittering lights of Soho and Ronnie Scott's famous club, via the classical opulence of Teatro Rossini, is the stuff of legend. Thanks, everyone, you’ve made an old composer very happy!"

Il nuovo account Twitter di Kate Westbrook si inaugura invece con uno sguardo a Tracks of Desire, dallo splendido Granite (Westbrook Records, 2018), presto in scena a Bristol, Halle e Londra.

26 febbraio 2019


E il libretto su Wyatt disponibile da Dale Zine è tra le segnalazioni che Jean-Paul Marillier, curatore dell'impagabile Une discografie de Robert Wyatt, raccoglie nella sua più recente newsletter, la numero 47: http://www.disco-robertwyatt.com/images/Robert/newsletter/news47/index_site.htm

http://www.disco-robertwyatt.com

25 febbraio 2019


Nella fiera di libriccini d'arte, targhe, adesivi, decalcomanie e altri fantasiosi gadget di Dale Zine a Miami (Florida) è ancora disponibile per pochi dollari qualche copia del volumetto amatoriale dedicato da Fan Man (sic) a Robert Wyatt, poche trascurabili pagine impreziosite però da un irripetibile ritratto da colorare (con piccolo set di acquerelli incluso!).

https://www.dalezine.com/Robert-Wyatt-Fan-Man

24 febbraio 2019


Per la gioia di vecchi archivisti e nuovi lettori torna disponibile l'intera collezione della storica fanzine canterburyana Facelift, attiva a fasi alterne per una decina d'anni tra il 1989 e il 1999. Le richieste per ottenerne le copie originali rimaste vanno indirizzate direttamente all'autore, Phil Howitt, tornato in anni recenti a scrivere attraverso un suo blog, The Canterbury scene(zine) continued, e un omonimo gruppo fondato su FB.

Facelift was a fanzine which produced 19 issues between 1989 and 1999, containing interviews, reviews, biographies and news of all the key players within what is known as the ‘Canterbury scene’. Over 10 years it produced 1000 pages and in excess of 300,000 mostly original words about the genre. Since 2016 it has taken the form of a regular blog that takes a more anecdotal path but will hopefully also pass on current information about the scene, which is still amazingly vibrant. Both fanzine and blog aim(ed) to cover bands such as Soft Machine, Caravan, Hatfield and the North and National Health as well as musicians such as Robert Wyatt, Kevin Ayers and Steve Hillage. Parts of the fanzine’s 19 issues have been digitised here, alongside some unpublished material intended for issue 20. You can buy box sets or individual issues of the magazine here.

https://canterburyscene.com
https://www.facebook.com/groups/1928474387265516
http://homepages.3-c.coop/facelift/facelift/buy.html

23 febbraio 2019


Una conversazione con Charles Hayward raccolta poche settimane fa da Phantom Power è da qualche giorno disponibile sul web con il titolo A Drummer's Tale: solo un cenno agli imminenti appuntamenti conclusivi della turbinosa vicenda This Is Not This Heat e invece approfondimenti sulle più recenti inziative solistiche The Bell Agency e 30 Minute Snare Drum Rollhttp://phantompod.org/2019/02/15/ep-9-a-drummers-tale-charles-hayward

22 febbraio 2019


Non sono solo i King Crimson a festeggiare quest'anno i cinquant'anni: "Magma fête, cette année, ses 50ième rugissants et Christian, en ce jour, un peu plus! Bon anniversaire au Maître de la Zeuhl Wortz! Et merci de ne pas avoir capitulé face à l'adversité! No Surrender!"

https://kosmikmu.blogspot.com/2019/02/bon-anniversaire-christian-magma-na-que.html

21 febbraio 2019


Al suo apparire Andy Partridge ammise: “It sounds unlike anything else out there at the moment. It's pagan, verdant, greasy, idiosyncratic, salacious.” Per i vent'anni di Apple Venus Volume One, uno degli indiscussi capolavori XTC, Mark Fisher ne ricompone l'indimenticata scaletta, da River of Orchids a The Last Balloon, attingendo a piene mani da YT: https://tinyurl.com/yyew4yjq

http://chalkhills.org/reelbyreal/a_AppleVenusV1.html

20 febbraio 2019


Klanggalerie rende disponibile in cd il saluto di commiato che Hardy Fox ha indirizzato al suo pubblico pochi giorni prima di andarsene: 25 Minus Minutes.

Hardy Fox, primary composer for The Residents, incredible solo musician, and the most lovely human being imaginable, has left this world. His last years were amongst his most prolific ever. Hardy stated on his website that he gave up composing music in 2018, but, believe it or not, only one week before his untimely death, he recorded this good-bye (mini)album to his fans. It is the most personal music ever created, a kind of diary, a stream of consciousness with fractured parts, with emotional and contextual shifts and most intimate comments. It is a requiem to himself and a farewell message to you.

19 febbraio 2019


E un riuscito omaggio incrociato al Frith di Technology of Tears e ai Residents di Third Reich 'n Roll si rinviene nei laboratori di ibridazione Rave: You Reich What You Eat.

https://rave.dj/clMn1SL4jeuaKw

18 febbraio 2019


All Is Always Now è il titolo della raccolta in tre cd che la Intakt ha tratto dai molti concerti tenuti da Fred Frith presso il club newyorkese The Stone tra il 2006 e il 2016. Un omaggio al Nostro e alla sua tenace pratica di ricerca musicale condotta (anche) sul terreno del dialogo, della composizione istantanea e dell'improvvisazione. Sono riportati numerosi incontri - alcuni estemporanei, altri ripetuti negli anni - con Laurie Anderson, Sylvie Courvoisier, Nava Dunkelman, Shelley Hirsch, Annie Lewandowski, Jessica Lurie, Miya Masaoka, Ikue Mori, Pauline Oliveros, Evan Parker, Gyan Riley, Theresa Wong e Nate Wooley tra gli altri, oltre a sedute con il proprio Trio allargate a vari ospiti.

http://www.intaktrec.ch/320-a.htm

17 febbraio 2019


Un mondo di auguri, nell'anno dei settanta. Ciao Fred!

"I’m a songwriter, composer, multi-instrumentalist (bass, keyboards, violin) and an improviser performing mostly on various permutations of the electric and acoustic guitar. Occasionally I use crude home-made string instruments of my own invention. I learned how to compose in rock bands, starting with Henry Cow in 1968. This meant writing for and with people that I knew, and then arriving at the final result through a collective rehearsal process. During the Henry Cow years I fell in love with the recording studio and its endless possibilities. I embrace the idea of the “work” as an unfinished and constantly mutating entity. Collaboration, improvisation, sculpting sound in the studio, and treating composition as an open-ended process remain central to how I make music."

www.fredfrith.com

16 febbraio 2019


Sarà Atsuko Kamura a sostituire Dagmar Krause negli ormai prossimi concerti del Lindsay Cooper Songbook: le date in programma sono a Canterbury, Londra, Bonn e Münster, dal 7 al 10 marzo.

The Lindsay Cooper Songbook group regret to announce that for the forthcoming concerts in March, Dagmar will not be performing with us. This is due to a serious back condition from which she needs more time to recover. Stepping in as lead vocalist is Atsuko Kamura, whose work we have admired for many years. Kamura began in music in the 80's as vocalist and bassist of Mizutama Shobodan (Polka Dot Fire Brigade), the first feminist punk band in Japan. She toured the US with Tenko as the Honeymoons, joined the Frank Chickens in London, and the anglo-Japanese jazz progressive rock band Setsubun Bean Unit, and initiated projects such as I am a Kamura, with Robert Storey, and Kamura Obscura. Throughout her work she has maintained clear political, feminist, and ecological positions, campaigning recently against nuclear power, following the Fukushima disaster in Japan.

https://www.yumiharacawkwell.co.uk/HTML/HalftheSky.html

15 febbraio 2019


E lo stesso fanno Richard Lee per LondonJazz e Matthew Wright per Jazz Journal: Pure Gold, ancora.

http://www.londonjazznews.com
https://jazzjournal.co.uk

14 febbraio 2019


Con il titolo Light, shade and anarchic roars Mike Hobart firma per il Financial Times un'entusiastica recensione del concerto di Mike Westbrook e la Uncommon Orchestra due sere fa al Ronnie Scott's londinese: Pure Gold.

http://www.westbrookjazz.co.uk

13 febbraio 2019


Quattro album in vinile riportano alla luce registrazioni soliste di Eugene Chadbourne risalenti addirittura alla metà degli anni Settanta. Li pubblica, in pochi esemplari, l'americana Feeding Tube Records con il titolo Solo Guitar. Due sono già pronti, e così li commenta Byron Coley: "Eugene Chadbourne is one of the great guitar players of the modern era. At the time he began recording in Canada in 1975, his music was a unique syncretic formulation. While its most obvious component was free improvisation in a style then most widely associated with English and European players, his music also contained elements of jazz, country, folk, blues, psychedelic and international sounds, referencing these threads in ways that were so diverse and intensely personalized it would take scholars decades to decode them."

http://feedingtuberecords.com/releases/solo-guitar-volume-1-1-3

12 febbraio 2019


Raggiunge nuovi vertici la collaborazione tra Peter Stampfel e Shelley Hirsch nella finta (ma realistica) serie ispirata ai periodi dell'era paleozoica inaugurata presso Don Giovanni dal glorioso violinista che fu in Holy Modal Rounders e Fugs: dopo The Cambrian Explosion siamo ora a The Ordovician Era, sempre in compagnia degli Atomic Meta Pagans.

http://www.dongiovannirecords.com/categories/peter-stampfel
https://www.youtube.com/watch?v=yzzpatwmlJU

11 febbraio 2019


Lo splendido concerto tenuto da Shirley Collins qualche giorno fa alla Roundhouse londinese a cinquant'anni di distanza dall'unica precedente occasione - era il lancio dell'etichetta Harvest, e in cartellone con lei e la sorella Dolly, titolari di Anthems in Eden, c'erano Edgar Broughton Band e Deep Purple! - è recensito in dettaglio da David Weir in Folk Radio e da Ben Hogwood in MusicOMH. Per lei ha ribadito stima smisurata Stewart Lee: “Shirley is a time traveller, a conduit for essential human aches, one of the greatest artists who ever lived, and yet utterly humble”.

https://www.musicomh.com/reviews/live/shirley-collins-roundhouse-london
https://www.folkradio.co.uk/2019/02/live-review-shirley-collins-at-the-roundhouse-london

10 febbraio 2019


Dagli archivi storici della FMP ricompare in forma restaurata conforme all'originale il box For Example, uscito nel 1978 con un ricco volume di immagini e documenti relativi ai primi dieci anni di attività dell'etichetta e tre album tratti dai numerosi Workshop Freie Musik tenuti all'Akademie Der Künste a Berlino a partire dal 1969. Della riedizione in vinile, in tiratura limitata a duecento copie, si occupa Be! Jazz, mentre una versione in digitale è sempre disponibile attraverso Destination:Out.

Here is a fantastic three-disc sampling of FMP bands from the label's birth through 1978. It chronicles both the evolution of FMP itself, and the flowering of European free improvisation during that same period. The three LPs are grouped by format: the first features solo performances; the second, small groups; the third, large orchestral works. The 138-page book hosts written contributions from Steve Lacy, Misha Mengelberg, and Peter Brötzmann, as well as longer analyses by Ekkehard Jost, Wolfgang Burde, and Tomas Schmit. Gloriously illustrated throughout with black-and-white photos and archival posters used to announce the annual Workshop Freie Musik, it is a remarkable record of an explosion of talent and creative fire.

http://www.fmp-label.de/xfmpse1978
https://for-example-workshop-freie-musik-1969-1978
https://Various-For-Example-Workshop-Freie-Musik-1969-1978

09 febbraio 2019


Un bell'omaggio alle musiche di Carla Bley è l'album Around Again, inciso per l'etichetta Tum da Iro Haarla in trio con Ulf Krokfors e Barry Altschul. Particolare attenzione è rivolta alle composizioni dei primi anni Sessanta, scegliendone più d'una tra quelle incluse a suo tempo in Closer (1965), splendida opera del Paul Bley Trio in cui militava proprio Altschul.

Scrive la pianista finlandese: "I greatly admire Carla Bley as an artist - her wealth of ideas as a composer and arranger, the talent to write entirely her own kind of music for large orchestras (such as her extended compositions A Genuine Tong Funeral and Escalator Over the Hill as well as various recordings by Charlie Haden´s Liberation Music Orchestra and by her own ensembles). I also admire how, through her own strength and independence, she has had such a remarkable career in a time when women were not yet appreciated as "great artists" in the world of improvised music - at least not in Europe and perhaps even less so in the macho world of American jazz.
The suggestion to record our own interpretations of this music originally came from Ulf Krokfors. As a result, I have now had the opportunity to record some examples of the broad-ranging work of this composer I so admire. In keeping with Carla Bley´s versatility, the music on this recording covers emotions that range from one extreme to another. It was a particular pleasure to have the legendary Barry Altschul join Ulf and myself as the drummer of this trio. He knows so well how to interpret Carla Bley´s music in the piano trio context, as he was the longstanding drummer of the Paul Bley Trio and participated in the first recordings of a number of the compositions featured on this recording, including "Closer," "Batterie," "Ida Lupino," "And Now, The Queen" and "Start," which all come from the 1965 album Closer, one of the most important recordings of all time to me personally."

08 febbraio 2019


Dave Larder, curatore sul web del sito Lincolnshire Arts and Music Bulletin dedicato alle arti e alle inziative socioculturali in svolgimento nell'area, ha da poco pubblicato un ritratto di Robert Wyatt, di cui è amico personale oltre che vicino di casa (e talvolta portavoce sui social). E' un breve sommario della carriera di Wyatt dagli esordi nel Daevid Allen Trio fino al 1988, mentre per il racconto degli anni successivi al trasferimento a Louth si rimanda a una conversazione tenuta dallo stesso Larder con Robert e Alfie diffusa già sul finire del 2017. C'è anche una bella foto recente del Nostro, con il suo famoso nuovo taglio di barba e capelli...

https://www.laamb.co.uk
https://www.laamb.co.uk/musicians/robert-wyatt
https://www.laamb.co.uk/features/robert-wyatt-and-alfreda-benge-chat
https://soundcloud.com/dave_larder/chatting-with-robert-and-alfie

07 febbraio 2019


Sarà pronto a settembre per la Duke University Press l'atteso studio sugli Henry Cow di Benjamin Piekut, docente a Ithaca (Stati Uniti) alla Cornell University: Henry Cow: The World is a Problem. A commentarlo tra i primi è Robert Wyatt: "What was it all about, to me? Thinking. Henry Cow really thought about the why, the what, the appropriate methods of making music. Their riveting music was the sound of thinking out loud: Henry Cow seemed to be asking ‘so, what is the significance of these sounds in our heads?’ And they were always witty: just look at the name of the band, and the unwearable sock representing ‘the Henry Cow legend.’ I am very glad this book exists. Henry Cow’s history—in all its inevitable turbulence—tells an inspiring story."

In its open improvisations, lapidary lyrics, errant melodies, and relentless pursuit of spontaneity, the British experimental band Henry Cow pushed rock music to its limits. The band’s rotating personnel, sprung from rock, free jazz, and orchestral worlds, synthesized a distinct sound that troubled genre lines, and with this musical diversity came a mixed politics, including Maoism, communism, feminism, and Italian Marxism. In Henry Cow: The World is a Problem Benjamin Piekut tells the band’s story—from its founding in Cambridge in 1968 and later affiliation with Virgin Records to its demise ten years later—and analyzes its varied efforts to link aesthetics with politics. Drawing on ninety interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals, and meeting notes, Piekut traces the group’s pursuit of a political and musical collectivism, offering up their history as but one example of the vernacular avant-garde that emerged in the decades after World War II. Henry Cow’s story resonates far beyond its inimitable music; it speaks to the avant-garde’s unpredictable potential to transform the world.

06 febbraio 2019


Un box antologico dedicato al lavoro di Tim Blake in Gong, Hawkwind, Crystal Machine e vari altri progetti nell'arco di quarant'anni è uscito per Esoteric Recordings, con molti materiali audio e video finora inediti: Lighthouse.

https://www.cherryred.co.uk/product/tim-blake-lighthouse-an-anthology-1973-2012-3cd-1dvd-remastered-clamshell-boxset

05 febbraio 2019


Nel corso dell'anno vedrà la luce anche un box antologico dedicato ai Gong, con il recupero della discografia ufficiale dell'epoca d'oro e numerosi documenti dal vivo: per ora si sa di Flying Teapot, Angels Egg, You, Shamal, Bataclan 1973, Roanne 1973, Edinburgh 1973, London-The Marquee 1975, London-Hyde Park 1974.

https://www.planetgong.co.uk

04 febbraio 2019


Torna la trilogia Robot Woman con tutti i relativi documenti sonori e grafici dell'epoca - tre album tra il 1981 e il 1986, e molto materiale inedito - raccolti in una meritoria riedizione completa a cura di Harry Williamson, diretto protagonista di Mother Gong assieme a Gilli Smyth. La si può ottenere tramite Burning Shed.

Gilli Smyth, co-founder of Gong alongside Daevid Allen, formed Mother Gong with Harry Williamson in 1978 and the Robot Woman trilogy is widely accepted as one of the pinnacles of the band's career. Previously only available on 3 vinyl LP releases pressed in small number in the 1980s this long-awaited release heralds the first appearance of Robot Woman 1, 2 and 3 on CD, something devoted Gongsters have been requesting for years. Also included is a fourth disc of fascinating 'Demos and Rarities'; 18 previously un-released unknown and hidden extras, the earliest of which dates from 1976. The audio on all the discs has been re-mastered by Harry Williamson at Spring Studios in Australia from his original master tape archive. All four discs are housed in a deluxe, full-coloured 64-page hardback book, which features all of the original album artwork and inserts, including the 15 page comic book companion to the Robot Woman 2 story - originally a large B&W poste - in glorious full colour (something desired but beyond the budget in 1980s).

https://burningshed.com/store/madfish/mother-gong_robot-woman_boxset

03 febbraio 2019


Per fare cinque esempi di Canterbury sound Nicola Catalano si rivolge ai classici-che-più-classici-non-si-può: Soft Machine, Gilgamesh, Delivery, Hatfield and the North e Caravan. 'Progressivi' in cattedra(le), per L'idealista di Rai Radio 3.

https://tinyurl.com/yad2c4j5

02 febbraio 2019


OK saranno pure commentati, ma quanti quanti strafalcioni...

01 febbraio 2019


Tricatel a congresso al Palazzo dei festival di Cannes per tre giorni di incontri, concerti, danze, proiezioni ed esposizioni e per fare il punto sulla situazione creativa e progettuale dell'etichetta lanciata da Bertrand Burgalat oltre vent'anni fa, forte di una propria originale sintesi tra musica, cinema, letteratura e intrattenimento. Tra le molte cose c'è spazio anche per una performance acustica di Sean O'Hagan e la riproposta della mostra interattiva 7x7 di Jean Pierre Muller, con i contributi di Robert Wyatt, Nile Rodgers, Terry Riley, Archie Shepp, Mulatu Astake, O’Hagan e Kassin.

http://tricatel.com/cannes2019
https://www.youtube.com/watch?v=YKgx2Rn3O9o
https://ymlpsend4.net/7b515bjusapaehebuaiaejsaaambb/click.php
http://www.jpmuller.be/seven.html

31 gennaio 2019


Si avvicina al clou l'operazione pREServed di recupero e restauro delle opere del primo (e più glorioso) periodo storico dei Residents: pochi mesi fa è toccato a Fingerprince e Duck Stab/Buster & Glen, ora è il turno dei magnifici Eskimo e Commercial Album e a breve sarà pronto il box che raduna l'intera (ma incompleta) trilogia Mole. Nel frattempo è iniziato ieri a Berlino un nuovo ciclo di concerti - il primo a dare seguito alla scomparsa del compianto Hardy Fox, peraltro già da tempo assente dalle scene - con ben dieci appuntamenti in Europa. Informazioni: https://residents.com/tourdates

https://residents.com

30 gennaio 2019


Chris Cutler affida nuovamente agli studenti della University of East London a Stratford le partiture grafiche di Conspiracies, con l'aiuto di Yumi Hara, Guy Harries e Karina Townsend. Oggi, più o meno all'ora di pranzo, con ingresso consentito anche al pubblico.

https://www.facebook.com/events/1925131711127067
https://archive.org/details/SempleScoreConspiraciesChrisCutler