24 luglio 2021


Glielo avesse chiesto - per la serie 'piccoli segreti confessati dai grandi chitarristi' di Guitar Talk - a Joel Harrison Chadbourne lo avrebbe sicuramente detto: è perché fu lui il primo musicista americano ad entrare in Romania dopo la caduta di Ceaușescu che lo Stato ha dato a un suo popolare biscotto alla crema il nome Eugenia. Original, ovviamente.

23 luglio 2021


Anche Terra Nova Press pubblica un bel volume di interviste, Guitar Talk: Conversations with Visionary Players. Le ha condotte Joel Harrison, chitarrista egli stesso, conversando con alcuni dei più importanti maestri e innovatori della chitarra del nostro tempo - tra questi Nels Cline, Fred Frith, Bill Frisell, Elliott Sharp, Henry Kaiser, Vernon Reid, Mary Halvorson, Ava Mendoza, Wolfgang Muthspiel e Ralph Towner - evidenziandone gli insegnamenti e le tecniche, le esperienze personali e le visioni per il futuro. Gliene rende merito uno degli intervistati più celebri, Pat Metheny: "The work that Joel Harrison has done to showcase the development of the guitar and the expanded role that it has taken in music is a testament to the almost unlimited sonic dimensions the word 'guitar' can invoke in the imagination of musicians and fans alike."

An enormous range of approaches and sounds exist in the modern guitar. The instrument can howl, scrape, scratch, scream, sing, pluck, and soothe. What stands out in this book is not so much the instrument itself, rather the wonderful and idiosyncratic personalities of these bold souls, their sometimes wild, often zigzagging, and ultimately profound journeys toward beauty, meaning, and excellence in their work. We find out that jazz icon Bill Frisell won a high school band contest  playing R&B tunes, beating out future members of Earth Wind and Fire. We learn which of Nels Cline's compositions he wishes to have played at his funeral. Michael Gregory Jackson recounts painful episodes  of racism as he stretched between the chasm of avant jazz, rock, and blues in the 1980s. Many more revelations, amusements, and philosophies abound.

22 luglio 2021


Blank Forms pubblica un'ampia selezione di interviste realizzate da Alan Licht a partire dal 1995 fino allo scorso anno: Common Tones-Selected Interviews with Artists and Musicians 1995–2020. Tra i nomi di spicco ci sono Glenn Branca, Rhys Chatham, Tony Conrad, Henry Flynt, Milford Graves, Christian Marclay, Phill Niblock, Lou Reed, Michael Snow e Ira Kaplan. 

For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed.


21 luglio 2021


Michael Mantler è titolare in questo periodo anche di un'elegante iniziativa editoriale, che vede la pubblicazione delle partiture complete di alcune opere scelte nell'arco di un'intera carriera. Tre finora i volumi prodotti, disponibili presso Ecm, tutti introdotti da Richard Williams: The Jazz Composer's Orchestra And Its Updates, Voices And Words, Concertos And Suites.

EDITIONS - Volume One - THE JAZZ COMPOSER'S ORCHESTRA AND ITS UPDATES (256 pages), includes engraved scores of all compositions contained on the two corresponding recordings, The Jazz Composer's Orchestra (1968 / JCOA 1001/2) and The Jazz Composer's Orchestra Update (2013 / ECM 2391), as well as facsimile scans of the original scores that were used during the iconic 1968 recording sessions.

EDITIONS - Volume Two - VOICES AND WORDS (280 pages) includes engraved scores for the music contained on Many Have No Speech (1988 / WATT/19), Cerco Un Paese Innocente (1995 / ECM 1556) and Hide and Seek (2001 / ECM 1738), a selection of Mantler's extensive work with the very special voices of Jack Bruce, Robert Wyatt, Marianne Faithfull, Mona Larsen and Susi Hyldgaard, interpreting texts by Samuel Beckett, Ernst Meister, Philippe Soupault, Giuseppe Ungaretti and Paul Auster, all in orchestral contexts.

EDITIONS - Volume Three - CONCERTOS AND SUITES (272 pages) includes engraved scores for purely orchestral works from Concertos (2008 / ECM 2054) and CODA / Orchestra Suites (2021 / ECM 2697).


20 luglio 2021


Michael Mantler riprende alcune delle musiche a lui più care - da 13 and 3/4Cerco un paese innocenteAlienFolly Seeing All ThisFor Two e Hide And Seek - e le ricompone in forma di brevi suite per orchestra: Coda-Orchestra Suites, per Ecm, registrato a Vienna al Porgy & Bess dove a settembre tornerà dal vivo per presentare Concertos.

"I have always considered myself an orchestral composer, even when, mostly economical, circumstances dictated smaller ensembles, at times even down-sized to the absolute minimum, such as the duets of Alien and For Two. This time I did not retain the original instrumentations, but settled on what seems to be my current favorite - a chamber orchestra consisting of flute, oboe, clarinet, bass clarinet, trumpet, french horn, trombone, tuba, guitar, piano, marimba / vibraphone, plus a string section, normally a string quintet, as used on my previous album Comment C'est, but this time enlarged to 16 players. Unlike the Big Band used for the Jazz Composer's Orchestra Update, very much a jazz-based ensemble with a more or less traditional rhythm section, the orchestra used for the current suites consists mostly of classical musicians with a smaller number of jazz musicians/soloists included, which still anchors the music in an environment clearly coming from jazz."

19 luglio 2021


Jonathan Coe con l'Artchipel Orchestra, il meglio di due mondi. Insieme questa sera a Milano, al Castello Sforzesco.


18 luglio 2021


A suo tempo si erano fatti passare per Claudine Coule e Gemini Forque, due sventurate francesine - però finemente abbigliate - accomunate da tragiche vicende personali. Oggi si ripropongono all'occhio del pubblico confidando, quarant'anni dopo, in un immutato potere di seduzione: Deux Filles, cioè Simon Fisher Turner e Colin Lloyd Tucker, con il singolo Take It Easy e l'album Shadow Farming.


17 luglio 2021


Dopo numerosi rinvii vede oggi la luce Broken Gargoyles, progetto di Diamanda Galás ideato assieme a Daniel Neumann l'anno scorso, nei mesi più tremendi dell'inizio pandemia: viene presentato in pubblico in forma di installazione sonora, senza la presenza di Diamanda, questa sera ad Hannover (Germania) nella storica - ed emblematica - Nikolaikapelle.

Broken Gargoyles is a sound installation by the American singer, composer, and pianist Diamanda Galás, which she composed in 2020 during the beginning of the Covid-19 pandemic. She worked with the artist and sound designer Daniel Neumann, both remaining in isolation in separate places due to the pandemic - Galás in San Diego and Neumann in New York.

Based on two poems from 1911 by the German poet Georg Heym, "Das Fieberspital" and "Die Dämonen der Stadt", the work consists of natural and heavily processed voices, manipulated piano, and various other sound sources. In addition, parts of Galás’s 2020 album De-Formation: Piano Variations, A Work for Solo Piano were added, as well as excerpts from verses from "Das Fieberspital" performed by the artist Robert Knoke.

Broken Gargoyles is being presented in the ruins of the Nikolaikapelle, built around 1250 in Hannover, which was located outside the city wall at the time and served as a quarantine for those who suffered from the plague and leprosy in the Middle Ages. Diamanda Galás will not be present due to the Covid-19 pandemic.


16 luglio 2021


Mezzoretta di MDK servita da Arte Concert in versione apericena con i Magma dal vivo al Ground Control parigino lo scorso 22 giugno. Il resto a settembre (forse).


15 luglio 2021

... e magari una birretta?

14 luglio 2021


Farsi un panino?...

13 luglio 2021


Hugh Hopper torna di stretta attualità in questi giorni anche per la pubblicazione di un inedito del gruppo Ndio - Cuneiform ne pubblicò l'esordio, Airback, nel 2005 - tratto in gran parte dal loro primo concerto dal vivo, all'Opmaat Festival di Breda nel 2003: si intitola Zenith ed esce in cd e doppio vinile per lodevole iniziativa del sassofonista Frank van der Kooij.


12 luglio 2021


Le musiche di Wyatt e di Hopper approdano a Umbria Jazz domani sera, al teatro Morlacchi di Perugia. E chi se non l'Artchipel Orchestra?


11 luglio 2021

Ora si può dirlo, il primo cd in lingua molkayana della storia esiste davvero: F.I.T. - Found In Translation. E chi se non Massimo Giuntoli?


10 luglio 2021


Notturno aggiunge un nuovo capitolo all'affascinante ricerca di Roberto Dani nell'ambito del linguaggio espressivo delle percussioni, invitando a percepirne ad ogni gesto le più minute risonanze, le dissolvenze, finanche il respiro. Coproduce l'album Marco Pandin per Stella Nera.


09 luglio 2021


Le percussioni di Kuljit Bhamra, Evelyn Glennie e Charles Hayward si incontrano per la prima volta in un sorprendente concerto al Cafe Oto londinese organizzato in alleanza con Trestle Records, promotrice della bella serie One Day Band: 24.8.19.

Trestle Records is a London based label dedicated to new instrumental music. Alongside a programme of new LP releases the label also hosts the One Day Band sessions. Musicians are invited to a fully engineered studio to make a record in a day. A multitude of artists have been invited to participate from a variety of backgrounds and genres of music. The participants are either selected by the label or a musician is invited to curate the session themselves. The idea is to facilitate an environment for musicians to meet and collaborate on an improvised endeavour. The results are then hosted on the Trestle Records website to be listened to in a developing archive reflecting and celebrating the concept. The musicians involved are sent the mixed edits of the days recordings to comment upon before we eventually post them on line. It's an incredibly collaborative and respectful process where the musicians invited are often playing together and meeting for the first time.


08 luglio 2021


Esce per l'etichetta Esp-Disk A Civil Right, nuovo album di Larry Ochs e Don Robinson a sei anni da The Throne, finora loro unico episodio discografico in duo dopo anni di concerti insieme e numerose collaborazioni in varie altre formazioni. Con grande soddisfazione di Ochs: "Our playing together has gotten to a really special place, I think. We’re definitely coming out of the tradition of horn-drum duos from John Coltrane & Rashied Ali to Wadada Leo Smith & Louis Moholo-Moholo, but we’ve found our own space in that Galaxy after a long stretch of shows together. The CD includes some high-energy playing and moments that are more spatial, as well as some homages to more popular music. In a duo setting like this, the music hits a listener right away – nothing is obscured, everything is clear."


07 luglio 2021


Dopo l'album con il gruppo Sunwatchers pubblicato tre anni fa - il graffiante 3 Characters - Jim McHugh incontra nuovamente Eugene Chadbourne, stavolta a tu per tu a casa sua a Greensboro, per un altro excursus intergenerazionale nella canzone d'autore e di protesta, recuperando variamente Shockabilly, Woody Guthrie, Nick Drake, un celebre inno degli Industrial Workers of The World, Little Feat e addirittura Ten Years After. E a sorpresa salta fuori anche Jimmy Carl Black: Bad Scene.

'Bad Scene' is a blistering set of freeform improv and overdriven songcraft from Sunwatchers main man McHugh and veteran improviser Chadbourne, who's played alongside Keiji Haino, Derek Bailey, Sun City Girls and others. Recorded early last year, McHugh captured the jams in single takes on a portable rig, overdubbing where necessary to create "full-band vibes". The result is a surprisingly timely set of angry protest jams, singing across boundaries to multiple generations of Americans. By torching the boundaries of rock 'n roll, jazz, blues and country, they make a racket that sounds surprisingly timely, and very much on point.


06 luglio 2021


Una collezione di vari brani in duo o in trio con protagonista Duck Baker e di volta in volta Derek Bailey, Steve Beresford, John Butcher, Mark Dresser, John Edwards, Michael Moore, Steve Noble, Roswell Rudd, Alex Ward e Joe Williamson: Confabulations.

In his five-decade career, finger-style acoustic guitarist Duck Baker has played in lots of styles, from folk (real folk, such as Scottish and Irish fiddle tunes) to blues to jazz, in the latter genre particularly focusing on bebop greats, with whole albums devoted to the music of Thelonious Monk and Herbie Nichols. But he has flashed an avant-garde side as well, and of course ESP-Disk was interested in exposing more of the latter work. This album of duos and trios with an all-star roster of players, mostly British, collects recordings ranging from 1994 through 2017.

05 luglio 2021


The Only One
Louis Andriessen (1939-2021)

04 luglio 2021


Phil Minton dirige virtualmente da casa sua a Bath il gruppo vocale Polyfolie in un concerto in presenza in programma stasera a Bonn presso la Kreuzung an St. Helena. Sarà trasmesso in streaming su YT, con inizio alle ore 20.00. "My recent experience of working with singers, many of whom think they cannot sing, has strengthened my conviction that the human voice is capable of so much more than is generally understood - dice Minton a proposito della serie per cantanti debuttanti e principianti Feral Choir da lui inaugurata oltre trent'anni fa - and in the workshops I have encouraged participants to realise that anyone who can breathe, is capable of producing sounds that give a positive aesthetic contribution to the human condition and many of these contributions are without any cultural influences or references."

Phil Minton (geboren 1940 in Torquay, Devon, UK) ist ein Jazztrompeter, der 1962 nach London kam, und sich in Mike Westbrook's Orchestra immer weiter einen eigenen unverwechselbaren Vokalstil erarbeitete, bis er 1988 von der Zeitschrift Jazzforum als bester männlicher Sänger Europas genannt wurde. Er hat mit dem who is who der improvisierten Musik und des Freejazz gespielt, darunter John Russell, Roger Turner, John Zorn, Axel Dörner, Veryan Weston und Audrey Chen. Seit längerem leitet Minton überall auf der Welt sogenannte Feral Choirs (wilde Chöre), für die er mit dem Satz 'Wer atmen kann, kann auch singen!' wirbt. Aus dem dreitägigen Kölner Feral Choir von 2011 mit 150 Teilnehmern entstand nach und nach der gemischte, frei improvisierende Chor Polyfolie mit um die 15 TeilnehmerInnen, mit bisher den meisten Konzerten in Düsseldorf, jetzt endlich in Bonn zu elft.


03 luglio 2021

Mike Westbrook porge un commosso saluto allo scomparso Stuart Brooks (1957-2021), trombettista di talento molto apprezzato anche (o soprattutto) in ambito extra-jazzistico e membro dell'Orchestra in diverse stagioni, quella di On Duke's Birthday e Smith's Academy, quella di Chanson Irresponsable e quella assai più recente dei concerti in Italia e a Londra con la Uncommon: "Stuart was one of the finest trumpet players around and the leader of choice for many bands. I was fortunate to work with him often. He first set his stamp on our music with On Duke’s Birthday in 1984. Our most recent collaboration was with the Uncommon Orchestra and we had gigs together in Italy in 2018 and at Ronnie’s in 2019 which were a high point for all of those involved. I know many will agree that it was a major asset to have Stuart in your band. As a composer I have always been grateful for his formidable musicianship, for his humour and generosity of spirit. His positive attitude never deserted him even when things got bad towards the end. Kate and I and all Stuart’s musician friends salute a truly great musician. We have lost a star." 


02 luglio 2021


Billie Bottle parla per due ore con Markus Reuter. Di tutto, di più, e di altro ancora: Mike Westbrook, David Bedford, Richard Sinclair, Robert Wyatt e la scena di Canterbury. E ovviamente di Val 'hello there' Doonican: As Nature Intended.

01 luglio 2021


Le immagini della serie Diana and Actæon create al carboncino da Kate Westbrook nel periodo di isolamento imposto dalla pandemia tornano in un nuovo montaggio curato da Chris Topley per il WestbrookJazz Moving Picture Show: Lockdown Charcoals. Mike accompagna al piano con una inedita rilettura di uno dei temi a lui più cari, quel Death Letter Blues di Jimmy Yancey che già gli diede ispirazione per lo struggente Blues for Terenzi.


30 giugno 2021


Esce per Lenka Lente a Nantes (Francia) un fitto dossier su Steve Lacy (1934-2004) con cronologia, discografia e note di copertina, saggi, interviste e contributi vari a cura di Guillaume Tarche: Steve Lacy (unfinished). Ci sono i ricordi e i commenti tra gli altri di Steve Adams, Irene Aebi, Alvin Curran, Martin Davidson, Jean Derome, Christoph Gallio, Ben Goldberg, Guillermo Gregorio, Phillip Johnston, Pablo Ledesma, Urs Leimgruber, Dave Liebman, Giancarlo Locatelli, Roberto Ottaviano, Evan Parker, Jon Raskin, Patrice Roussel, Bill Shoemaker, Bruno Tocanne e Seymour Wright.

À l'approche du vingtième anniversaire de sa disparition (ou du quatre-vingt-dixième anniversaire de sa naissance), écouter Steve Lacy c'est observer diversement la silhouette du sopraniste s'éloigner: pour les uns, une chambre sourde l'enserre dorénavant, étouffant la résonance; pour les autres, son écho nous parvient encore, grâce à ses continuateurs ou par sa seule force...

29 giugno 2021

Frederic Rzewski (1938-2021)

28 giugno 2021


A un anno esatto dalla scomparsa Confront Recordings porge omaggio a Simon H. Fell pubblicando un estratto da un suo concerto del 2018 al Cafe Oto londinese assieme a Mark Wastell e Alex Ward in cui venne eseguito in pubblico per la prima volta il brano di Derek Bailey With Apologies To G. Brecht.

"This cryptic text score has an explicit relation to the work of George Brecht; during the late 1960s Bailey had played Brecht pieces with Gavin Bryars, John Tilbury, Evan Parker and others in the ‘Instelimp’ group, which preceded the Music Improvisation Company (Bailey may also have had personal contact with Brecht, who lived in London from 1968 to 1971).Whether Bailey’s piece is influenced by Fluxus or represents a reaction against the movement is a matter of debate; like many Fluxus scores the text is non-specific, and requires considerable input from the realising musician(s) – although it is also possible that the score that survives is actually incomplete. For this first performance Simon Fell has prepared a version which reflects the growing exclusiveness of Bailey’s commitment to improvisation at the end of the 60s. Performers are required to turn-over instructional cards, complete a household chore then improvise."


27 giugno 2021


Dopo ben due rinvii potrebbe essere a settembre, l'11 e il 12, l'occasione buona per la festa d'anniversario di Yumi Hara Cawkwell al Cafe Oto londinese. Ma ora con l'impazzare della variante Delta chi può più dirlo...

Oto presents a special Yumi Hara retrospective focusing on the past 10 years of her activities, and launch of her second solo album. Yumi Hara’s compositions have been performed by contemporary classical ensembles such as Piano Circus and the BBC Singers, but she has become increasingly well known as an improvisor and performer in the avant rock, Canterbury and RIO scene since releasing CD Dune with Hugh Hopper in 2008. She has formed bands and projects such as The Artaud Beats (with Geoff Leigh, Chris Cutler, John Greaves), you me & us (with Daevid Allen, Chris Cutler), Jump for Joy! (with Jean-Herve Peron, Zappi, Chris Cutler, Geoff Leigh, Geraldine Swayne), The Watts (with Tim Hodgkinson and Chris Cutler) and Half the Sky / Lindsay Cooper Songbook. She is senior lecturer in music at University of East London.


26 giugno 2021


Corde ce n'erano eccome, salde e ben governate, sulla chitarra di Frith - allora una Burns Black Bison - con i Massacre al CBGB newyorkese il 24 aprile 1981, pochi giorni dopo il concerto parigino che poi costituì buona parte di Killing Time: lo ricorda un breve documento pubblicato da Laswell nei suoi archivi Bassmatter, CBGB 1981.


25 giugno 2021


Di altra assenza - nello specifico, di corde sulla chitarra - ha ben più gioiosamente testimoniato Fred Frith prendendo parte il mese scorso al Maker Music Festival, operando appunto con una 'No Strings Guitar' e inoltre con esemplari - più unici che rari, letteralmente - di 'Super Strut Bandaw Bass', 'Portable Street Piano' e 'Post Hole Tone Music Box' rinvenuti nell'incredibile laboratorio creativo di Sudhu Tewari. Se ne vedono un po' gli esiti presso Boing Boing, oltre che negli spazi pubblici e privati dell'ingegnosa cittadella studentesca creata ad hoc per l'edizione virtuale del festival.


24 giugno 2021


Il 6 novembre 2015 a Berna fu l'ultima volta che Keith Rowe si presentò in concerto, da solo. Per un motivo. Serio. 

Lo rivela lui stesso in Absence (erstwhile, 2021), indicando anche l'attimo cruciale: "November 2015 marked the end of the first year of living with Parkinson's. During that year the right hand tremor was becoming more and more uncontrollable, to the point I could not conceive of how in the future I could manage solo performances. During that year I had experimented with different anti-shaking set-ups, in attempts to work around the tremor caused by stress and anxiety of performing solos. It was during the 33min solo on the 6th of November in Bern that I concluded that I did not want to continue performing solos, and almost immediately from that day onwards I declined invitations to perform as a soloist. Retirement, or stepping away, is difficult and painful. It requires a recognition of certain realities, that you are not important, that the world does not care that you have stopped performing solos, actually the world does not notice that you have stopped, life outside your bubble continues, get used to it, you are not at the centre of anything. A part of the reality is to try not to leave a big mess for others to tidy up after you have left the departure lounge, retirement is an opportunity where you are able to discard all the junk you’ve accumulated. I want to share with you a recording of that 33 mins solo from Bern before it too departs for the dustbin. An important moment in the solo is at 12:10 thru 12:21 where the Parkinson's tremor frequency (around 300bpm) can be heard, and it’s around this moment I decide not to solo again."

23 giugno 2021


La foto di Jack Kilby in copertina può trarre in inganno chi ne ricorda una simile utilizzata per Withdrawal, ma rispetto a quello non ci sono né Wheeler né Guy né Parker né Bailey (pur parzialmente presente, quest'ultimo, nell'immagine). Ci sono però Trevor Watts, Paul Rutherford, Bruce Cale e naturalmente John Stevens nello Spontaneous Music Ensemble qui documentato per iniziativa di Rhythm and Blues Records, che in Question and Answer 1966 mette assieme il loro concerto del 22 giugno 1966 al Prince Albert di Greenwich con una mezzoretta di domande e risposte e una breve sessione di studio prodotta dal medesimo quartetto qualche settimana più tardi.

The Spontaneous Music Ensemble enjoys mythical status, not least among free jazz devotees. Its driving force, drummer John Stevens, determined early in his career to focus upon 'free' and 'improvised' music. From the mid-sixties until his untimely death in 1994, Stevens' story is one of creative achievement with little in the way of financial reward. London's Little Theatre Club supported the attempts of Stevens and others to forge a new music at a time when precious few other venues were willing to do so. The Prince Albert in Greenwich did offer the SME a gig, the session was recorded and it forms the basis of Question and Answer 1966, a two-disc release from Rhythm and Blues Records. Stevens teamed up with like-minded souls Trevor Watts, alto sax, Paul Rutherford, trombone, and bassist Bruce Cale to explore the possibilities of a new approach to music first signalled by Ornette Coleman. Their efforts on the night of June 22, 1966 in a typical pub setting, were committed to tape and it is only now that we can hear the previously unreleased material. 


22 giugno 2021


La storia dell'Instant Composers Pool prima dell'Instant Composers Pool: è raccontata da Corbett vs. Dempsey nel doppio Incipient ICP (1966-71).

The untold early history of Amsterdam's seminal collective. Founded in 1967 by three of European free music's leading lights – pianist Misha Mengelberg, drummer Han Bennink, and saxophonist and clarinetist Willem Breuker – the Instant Composers Pool (ICP) was simply one of the most important vehicles for experimentation and improvisation in the history of creative music. Culling ideas and materials from jazz, modern and contemporary classical music, Fluxus, traditional music from the Balkans and elsewhere, as well as avant-garde theater, ICP was ahead of the pack in numerous ways, presenting a kind of irony-tinged, amalgamated version of free and structured improvisation – or instant composition – that would be a hallmark of subsequent movements in New York's downtown scene and elsewhere in Europe in decades to follow. 


21 giugno 2021


Due volte Rova in streaming a sostegno del Center for New Music di San Francisco, in tempi ancora assai difficili per le attività artistiche e musicali in presenza: Rova On The Air, dal vivo in studio con diversi brani nuovi e alcune anticipazioni del prossimo album atteso a settembre su ESP-Disk.

The Center for New Music was founded in 2012, and is a 501(c)(3) not-for-profit corporation. It fosters contemporary music’s growth by giving practicing artists access to professional resources and expertise, and by providing them with opportunities for sharing knowledge and exploring new ideas. The Center serves the practitioners of creative, non-commercial music by providing the resources they need, including space to work, rehearse, and perform, access to a like-minded community, and access to media resources. Through these services, the Center seeks to support and build the community of new music to encourage its efficiency, growth, integration, and excellence.

The Center acts as a steward for our community, including but not limited to composers, performers, producers, presenters, teachers, students, listeners, scholars, advocates, engineers, curators, collaborators, critics, and organizers. By valuing diversity and inclusion, fair treatment of members, fair payment of participating artists, and advocacy for the growth and integration of our community, the Center will provide a platform for communication, collaboration, outreach, program development, incubation of new artists, engagement of new listeners, and increased activity for the business of new music.

The Center was conceived in 2011 by composer-performers Adam Fong and Brent Miller. Through their experience as both artists and administrators in the Bay Area new music scene, and resulting from a thorough community needs assessment, they designed a plan to provide a flexible space for new music: during the day the Center functions as an administrative and research hub, a space to work, meet, learn, and rehearse; in the evenings it hosts workshops and affordably-priced concerts of innovative music.

In October of 2012, the Center for New Music San Francisco signed a lease on the ground level retail space at 55 Taylor Street. Located one-half block from a bustling and rapidly changing Market Street corridor, this site is comprised of 4,400 square feet, with a main gallery space that can accommodate performing ensembles solo to quintet, and room for up to 100 audience members. While pursuing non-profit status, the Center was fiscally sponsored by Rova:Arts.


20 giugno 2021


Chi fosse curioso di conoscere la scaletta dello strabiliante concerto offerto qualche giorno fa su Night Flight Plus dai Residents sappia che è stato eseguito per intero, o quasi, il materiale dello storico Duck Stab/Buster & Glen (Ralph, 1978), riveduto e aggiornato anche in vista dell'imminente nuova serie di appuntamenti dal vivo. Nell'ordine: Lizard Lady, Blue Rosebuds, Laughing Song con Bach Is Dead, Sinister Exaggerator (il cui attore principale in origine era il compianto Hardy Fox), Weight-lifting Lulu, Krafty Cheese, Elvis And His Boss con Birthday Boy, Semolina, Hello Skinny, The Electocutioner con Constantinople, accompagnata quest'ultima da alcuni video creati appositamente dai partecipanti alla seconda serie di I Am A Resident. Grand Chess Records ne ha già promesso un'edizione audio e video entro fine anno.


19 giugno 2021

L'ultimo concerto dal vivo dei Pere Ubu prima della sospensione causata ovunque dalla pandemia fu a Madrid il 16 gennaio dell'anno scorso, all'Auditorio de Conde Duque. In scaletta l'album The Long Goodbye, in formazione David Thomas, Keith Moliné, Gagarin e Chris Cutler. Quel concerto - finora documentato in piccolissima parte su YT - è ora disponibile ufficialmente e per intero via Bandcamp: Conde Duque - The Long Goodbye 16​.​01​.​2020.

The last gig Pere Ubu played before the pandemic caused a lockdown in 2020. The gig was played at the Conde Duque in Madrid as part of the 'Suena Conde Duque' series of shows. The previous night, there was a masterclass with local musicians, run by Chris Cutler and David Thomas. The set features the 2019 album The Long Goodbye in its entirety. Those in possession of the CD format of that album can compare how the show advanced from its first outing, with the 'Montreal' bonus disc included in that package. The show was vibrant and features the songs undergoing variations from the studio recording, thanks to the tendency of this band line-up to enjoy curve balling some improvisations into the mix.


18 giugno 2021


Due nuove affascinanti collezioni di musiche create ai sintetizzatori digitali e analogici dal prodigioso Allen Ravenstine, radunate in unico album in vinile o in doppio cd: Electron Music e Shore Leave. Inaugurano la serie Tyranny of Fiction, per Waveshaper Media.

Electron Music/Shore Leave brings together ten of the prodigious composer’s most recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, traditional acoustic instruments and the sampled sounds of birds, dogs and other artifacts of nature. Working prodigiously on a daily basis, over the past two years Ravenstine has amassed a large number of atmospheric recordings that he has intuitively aggregated into groups of five pieces each. The first five recordings, subtitled Electron Music, are found on Side A of this LP while the second five, Shore Leave, comprise Side B.

Ravenstine played the majority of the sampled instruments on these recordings as well as piano, Moog theremin, a Roland Aerophone and a bevy of synthesizers including a Korg MS20, EML 200, and a Doepfer Dark Energy. Recording virtually over the internet due to the covid pandemic, collaborators from around the world contributed Ondes Martenot, prepared piano, transverse flute, trumpet, saxophone, double bass and percussion. The result is a heady, disparate brew of compositions that range from abstract to lyrical, in the process conjuring up a bricolage of ambient soundtracks, jazzy miniatures, space age exploration, world music, Erik Satie-like studies and the ghost of Harry Partch. As a collection Electron Music/Shore Leave is a stunningly mature work that provides new and surprising sonic rewards with each and every listen.

17 giugno 2021


Con ancor vivo il ricordo del suo Zappe Zappa di vent'anni fa, Pierrejean Gaucher trae ispirazione ora (anche) da Erik Satie: inevitabilmente, Zappe Satie.

20 ans après son projet qui reste une référence saluée par la presse et les fans de Frank zappa, Pierrejean Gaucher a eu l’envie de réitérer cette aventure autour de l’univers musical d’Erik Satie. Ce nouvel album marque son retour à l’écriture avec un tout nouveau répertoire, porté par de jeunes et brillants musiciens qui font l’actualité du jazz en France depuis des années (ONJ, Ping Machine, PJ5, Sarab…)


16 giugno 2021


Quando lo prese nella sua band, anni e anni fa, Arturo era un giovane di talento, ancora minorenne, vivace e tanto cariiino... Ora che è cresciutello, O’Farrill e la sua Afro Latin Jazz Orchestra pensano a lei, Carla Bley, per un gustoso omaggio nella serie Virtual Birdland in lockdown: Celebrating Carla Bley. Con una breve apparizione della festeggiata - c'è anche Karen a un certo punto - e la prima esecuzione di un suo inedito: Blue Palestine.


15 giugno 2021


La lunga e complessa preparazione di Turner in Uri, presentato dai Westbrook in prima mondiale al festival Alpentöne di Altdorf (Svizzera) il 15 agosto 2003 e replicato qualche giorno dopo a Zurigo, è documentata in Devil's Bridge, film realizzato da Charles Mapleston a stretto contatto con autori e interpreti durante le fasi di ricerca, studio, scrittura, prove e messa in scena. Prodotto e trasmesso a suo tempo dalla televisione svizzera è ora disponibile integralmente presso il WestbrookJazz Moving Picture Show.

A seven-part work based on the painter J.M.W. Turner's travels in Switzerland. Written for two solo vocalists, Kate Westbrook and classical baritone Claudio Danuser, choir (Schola Uriensis directed by Renaldo Battaglia) brass band (Brass Band Uri, conducted by Hans Burkhalter), jazz/rock group: Jon Hiseman (drums), Tim Harries (bass guitar), Mike Westbrook (piano), Chris Biscoe, Barbara Thompson (saxophones). Music: Mike Westbrook. Text: Kate Westbrook, including translations in the five Swiss languages, German, French, Italian, Swiss German and Rumantsch. Plus film projection of paintings by Kate Westbrook. Commissioned by Alpentöne Festival. Premiered in Altdorf and at Zurich Theater Spektakel, August 2003. Broadcast by Swiss Radio and TV. Documentary film directed by Charles Mapleston for Malachite Films, commissioned by Swiss TV.


14 giugno 2021

Splendida occasione per riascoltare le musiche dell'amatissimo Jonathan Coe, nella nuova versione che ne darà l'impareggiabile Artchipel Orchestra in concerto per Estate Sforzesca a Milano il prossimo 19 luglio.


13 giugno 2021


Occasione preziosa per riascoltare l'amatissimo Phil Miller nella preparazione domestica e solitaria di alcuni brani destinati a esser pubblicati in forma completa in Cutting Both Ways (Cuneiform, 1989): Solo Demos 84-85.

Scrive Aymeric Leroy: "These solo demos were recorded by Phil using a Fostex 4-track cassette recorder in 1984/85. Obviously the intention was to help the other members of In Cahoots get the feel of each piece, along with the score, rather than a finished product anyone outside that close circle was supposed to ever hear. But this is a fascinating listen for anyone who likes Phil’s music and, particularly, his wonderful multi-layered guitar playing. Unlike his later demos, produced using MIDI, these were made playing instruments in real time, so there’s a strong human element there."

12 giugno 2021


Due nuove occasioni per riascoltare l'amatissimo Lol Coxhill: St Mary's Aylesbury 1991 (con Adam Bohman, Mark Browne, Trevor Davis e Steve Nash) e un Live in London registrato in due distinte occasioni nel 1995 e 1996 (ancora con Mark Browne, Adam Bohman e il fratello Jonathan). Dagli archivi Scatter.


11 giugno 2021


Tutto da immaginare è anche quello che succede nel giardino sul retro della casa di Sylvia Hallett. Però qualche indizio c'è: Bolt and Latch.


10 giugno 2021


Anche la scultura Io sono - come Buddha in contemplazione, o Afrodite piange - di Salvatore Garau bisogna immaginarsela: esiste, ma non si vede. Tuttavia, si vende.

Italian artist Salvatore Garau has just sold an invisible sculpture for $18,000 USD. The Io Sono (I am) sculpture, as the artist explains, exists but just not in material form, and is actually more like a “vacuum.” The 67-year-old went on to elaborate that, “the vacuum is nothing more than a space full of energy, and even if we empty it and there is nothing left, according to the Heisenberg uncertainty principle, that ‘nothing’ has a weight. Therefore, it has energy that is condensed and transformed into particles, that is, into us.” Much like how we “shape a god we’ve never seen.” The “sculpture” is intended to be displayed in a 5×5-foot square and must be displayed in a private space free from obstructions where lighting and climate control are not required. Reiterating that even if you can’t see it, it does exist, Garau included a certificate of authentication to the purchaser.

09 giugno 2021


Sabato al cinema, ogni settimana fino al 10 luglio. Il film bisogna immaginarselo, tra popcorn e coca-cola, le fotografie di Heike Liss e le musiche di Fred FrithThe Movie I Will Never Make. A Basilea (Svizzera), al Lotsremark Projekte.

The Movie I Will Never Make ist eine partizipative Installation, die im Foyer eines Kinos spielt. An den Wänden sind in Technicolor gedruckte Lobby-Karten angebracht, die Momente aus dem Film zeigen. Diese „Film-Stills“ halten eine internationale Besetzung von Amateur-Schauspielern in filmischen Momenten in Aktion und Pause fest. Sie wurden von Heike Liss entdeckt und fotografiert; ihre Beziehung zueinander bleibt offen. Weiter bleibt unbekannt, wo dieser Film beginnt oder wann er endet. Begleitet von der dramatischen Bewegung des Soundtracks von Fred Frith sind Sie eingeladen diese genre-übergreifende Produktion mitzugestalten.

The Movie I Will Never Make is a participatory installation set in the foyer of an imaginary movie house. Arranged upon the walls are promotional theatre lobby cards, printed in technicolor, showing a series of undefined cinematic moments. These film stills capture an international “cast” in action and repose. The characters have been discovered and screen-tested by artist Heike Liss but it is unknown how they relate to each other. It is also unknown where the movie begins or ends. Accompanied by the dramatic movement of Fred Frith’s soundtrack, you are invited to create this genre- defying production for yourselves.

Lotsremark Projekte
Klybeckstrasse 170
CH-4057 Basel

08 giugno 2021

La documentazione delle attività del centro di produzione e ricerca musicale Art Zoyd Studios a Valenciennes (Francia), già piuttosto ampia grazie a un articolato sito web frequentemente rivisto e aggiornato, si arricchisce di due interessanti serie in podcast, Radio Paz: una riguarda le attività dei compositori in residenza, i corsi di studio e i laboratori audio e video - ed è quella che nell'ultimo periodo ha avuto maggiore impulso, accompagnando le esigenze della didattica a distanza - e una è dedicata alle origini e all'evoluzione del gruppo da cui il centro ha preso origine, gli Art Zoyd storici di Gérard Hourbette e Thierry Zaboïtzeff. Proprio a quest'ultimo è dedicato l'episodio più recente, il quinto.

Basé à Valenciennes, Art Zoyd Studios est un Centre de Création Musicale. À travers ses résidences, le centre favorise la conception et la réalisation d’œuvres musicales nouvelles, en assure la diffusion, et contribue au développement de la recherche musicale. La pratique de nouveaux instruments, la découverte de nouvelles formes de musique, la création, l’écoute et l’exploration sonore sont l'essence de la structure.Le centre participe activement à la transmission des œuvres électroacoustiques. Il a été fondé en 1999 par Gérard Hourbette et Monique Hourbette Vialadieu. Il porte le nom d’Art Zoyd groupe issu du rock progressif que Gérard Hourbette a dirigé jusqu’à sa mort en 2018 (codirection avec Thierry Zaboïtzeff jusqu’en 1997). Puisant dans les ressources sonores infinies des instruments électroniques, Art Zoyd mêlait les influences du rock et de la musique électroacoustique pour faire jaillir l’imaginaire fantasmatique de la musique.


07 giugno 2021


Ci sarà presto per Bureau B un box antologico per i Faust, contenente gli storici titoli Polydor e Virgin e vari estratti dalle edizioni ReR. I cinque titoli che proprio ReR raccolse in cofanetto - con un bel libretto curato da Chris Cutler - più di vent'anni fa, The Wümme Years 1970-73, sono disponibili singolarmente a poche sterline, ma solo per acquisti entro fine mese (e finché le scorte durano): Faust, So Far, The Faust Tapes, 71 Minutes, BBC Sessions.


06 giugno 2021


Viene diffusa in streaming oggi una nuova maratona sonora ideata e prodotta dai tre storici direttori artistici di Bang On The Can, Michael Gordon, David Lang e Julia Wolfe. Il tema scelto questa volta è la canzone, sviluppato attraverso il contributo di quindici diversi autori - tra cui Anna Clyne, Julius Eastman, Fred Frith e Charles Amirkhanian - con molti lavori commissionati ad hoc e alcune anteprime: Marathon of Song.

The Bang on a Can Marathon of Song features 15 performances streamed from musicians’ homes around the country and across the world. For this Marathon, all performances will include some type of vocalization – singing, speaking, murmuring, or other use of the voice. The Marathon will be hosted by Bang on a Can’s artistic directors Michael Gordon, David Lang and Julia Wolfe who will speak to the artists after each performance. “Humming, speaking, crooning, shouting, praying, tuneful, harmonized or noisy, we have spun songs since the beginning of our existence. These adventurous composers are redefining what it means to make song, and these powerful performers bring it to life with a myriad of colors and sensibilities.”


05 giugno 2021


Terry Riley da casa sua in Giappone ed altri amici in vari luoghi si danno appuntamento online oggi e domani per raccogliere fondi in favore della drammatica situazione pandemica in India e Nepal: Music for India, in streaming presso Gray Area.  

Music For India is a special live concert series to raise urgent funds for India Covid-19 relief. All proceeds raised will go directly to organizations working on the ground in India to provide oxygen, food, and other needed supplies. On June 5, join us for the first concert in the series — a very rare live streaming concert by the legendary composer Terry Riley. Riley, who turns 86 years old next month, will be broadcasting live from Japan, where he currently lives. Riley has had a longstanding alliance with the rich musical cultures of India, going back to the 1960s. Like other prominent musicians of the time, including the Beatles and Ravi Shankar, Riley was key in forging an important bridge between Indian music and the West. Riley first achieved international acclaim in the 1960s, when he launched what is now known as the Minimalist movement with his classic “In C.” This seminal work provided a new concept in musical form based on interlocking repetitive patterns, changing the course of 20th century music. In 1970, he became a disciple of the master Indian raga vocalist Pandit Pran Nath; Riley appeared frequently in concert with Pran Nath until Pran Nath’s passing in 1996. His work has inspired prominent composers such as Steve Reich, Philip Glass and John Adams and the music of rock groups such as The Who, The Soft Machine, Tangerine Dream, Curved Air and many others. Terry's hypnotic, multi-layered, polymetric, brightly orchestrated Eastern flavored compositions set the stage for the prevailing interest in a new tonality.