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 ci 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