Muteant Sounds is a net label out of Florida who have reissued a minor treasure. This album pairs saxophonist Kenny Millions (born as Keshavan Maslak) and pianist Sergey Kuryokhin in what is a minor minimal masterpiece.
This is a two-track album, with the first track going into an eerie minor-key romp for twenty-five minutes, giving one the chills. The second track gets a touch more noisy, but maintains the aura of a film noir soundtrack.
Though Kuryokhin has been reposed for around 25 years now, his influence in the Russian improvisational scene still looms large, as does Millons‘.
Middlesex improv band Led Bib nearly defy categorization, except to say that they fit only inside the avant-progressive and improvisational genres, barely. This album covers a lot of ground in four tracks, mainly with a lot of skronk and racket that flows rather nicely. Cuneiform releases another masterpiece.
Raphael Weintraub-Browne is a friend of our blog, and it’s a pleasure to present you with his latest work. The project, Kamancello, is quite a bit different from the last album reviewed, as Weintraub-Browne has recorded a wholly improvised album with Shahriyar Jamshidi, a Iranian Kurd who plays the kamancheh. I will pay these two a very high compliment, as the closest record I can compare it to is with the work of Kayhan Kalhor while working with the New York-based ensemble Brooklyn Rider. It might even be a bit darker, a touch more Western-leaning, but cinematic in scope, and so wonderfully well-recorded.
Glorious listening, absolutely.
Source: Treblezine. Naked City is free jazz, at least some of the time. Free jazz didn’t just expand on the premise of jazz, it blew it to pieces, usually with the power of a lot of breath blown into a tiny reed. The free jazz Naked City is most indebted to is Albert Ayler, who […]
via John Zorn’s ‘Naked City’ Reviewed for 30 Year Anniversary — Avant Music News
Tijana Stanković is a composer from Serbia who offers a work played on a prepared violin and vocals. From her Bandcamp site on LOM Records out of Slovakia:
Freezer is an album of raw and emotive improvisations by Serbian violinist-vocalist Tijana Stanković. Her chosen theme, the proverbial ‘freezer’, makes for a stark setting, serving as both a musical metaphor and literally the echoey meat freezer in Bratislava where the music was created and recorded. “Freezer is a place of cruelty and hope,” Stanković says. “It is a metaphor – an inner place where thoughts and feelings wait to be addressed.”
Though a dedicated free improviser, Stanković’s background in folk and Ethnomusicology puts her in touch with an ancient emotional syntax. Her key tools – violin and vocals – both yearn with an organic and creaking fragility, tied irrevocably to old cultures. As a means to express, they offer boundless possibilities (something Stanković has long explored in a vast array of collaborative groups, ensembles, and projects), but locker herself in the Freezer, on these recordings Stanković gains access to some potent introverted sonic realms, putting them in stasis to keep them at their most genuine, honest, and revealing. “To freeze,” she explains, ”is to preserve.”
Each of the four lengthy improvisations captured on Freezer takes its aesthetic to a logical endpoint. For example, ‘From dust and shine’ is a trip into gentle bow strokes over jarring and fragile violin strings, droning and grating between ethereal half-melodies and gentle moans. Stanković’s violin can at times evoke a creaky wheel as much as a musical instrument.
Though very much locked away in her own world of free and idiosyncratic music, the melodic character, stark sentiments, and heterophony of Balkan folk also play an important role. Closing track, “salty words” has Stanković meditate loudly on a trembling violin string repetition, wordlessly vocalizing a vast spectrum of inner angst.
Freezer is the culmination of Stanković’s abilities as both instrumentalist and improvising, coalescing her experience into a uniquely personal statement, aptly captured to tape in a freezer. Living until recently in Budapest, Stanković is now based in Belgrade.
“I would like to dedicate this release to my dearest friends who were there for me when I needed them the most.”
Be patient with this release. It will grow on you.
As I finally had a long stretch of time where I could actually enjoy hearing whole albums again, I decided that RAIC would be Album Number One today. What a revelation this one has turned out to be!
According to the collective’s Bandcamp website for this release, “Chance Operations was inspired by John Cage’s “Silence.” RAIC often brings together musicians who normally would never play together. For Chance Operations, twenty musicians from a wide range of backgrounds- jazz, rock, noise and world music, some with backgrounds in improvisation and some without – came together at Etching Tin Studios in Richmond, Virginia. The musicians’ names were written on different ping pong balls and then placed in a sealed container. In a separate container were balls with the number for the ensemble ranging from a duet to a sextet.” Chance operation, indeed.
The album itself makes for eerie listening. There is one track which stood out for me, “Irrigating An Arid World,” where shrieks, wailing and very sparse instrumentation make one feel like they are on a heavy hallucinogenic trip. The spirit of John Cage having a heavily spiked mushroom tea with Sun Ra and, maybe, Cathy Berberian or Diamanda Galás, permeates this album. The group have a new album coming soon, and I’m already looking forward to hearing much more from them.
Listening to what I would assume is microtonal guitar work (if my friends would be so kind as to correct me, I would be much obliged) proved to be a very rewarding expeience. HJ Ayala, a friend of this blog, collaborates with cellist Stéphane Clor in this release clocking in at just under 40 minutes. This is a quiet release, but the interplay between guitar and cello seems to intricate that it managed to hold my attention throughout. I’m already a fan of Ayala’s guitar playing, so I’m not surprised he continues to release improvisational music of such great quality, but it’s nice to see him collaborate with Clor, whose work I had never heard until today. A recommended disc.
I’ve had the pleasure of following Selen Gülün’s work for about five years now, and her albums keep getting more and more interesting. Many Faces sounds like a work straddling the line between music, theater and painting. The sounds are delicate, graceful, but never sappy. The vocals are crisp and sharp, with no feeling of wasted motion. It’s a beautiful album.
I only have one gripe – I would love to see all of her back catalog become available digitally, at least, through Bandcamp and, if possible, to see these all come out on vinyl. It’s a selfish wish, of course, because I find her music is suited best to the audiophile world, but one can dream.
Source: Broadwayworld. Supersense is thrilled to announce a once in a lifetime line-up bringing together two legendary ensembles of contemporary music, jazz and improvisation: ground breaking pioneers of American free jazz the Art Ensemble of Chicago and transcendent, internationally revered Australian trio The Necks. In a never-to-be repeated double bill at Hamer Hall on Sunday […]
via Art Ensemble of Chicago and The Necks to Perform in Melbourne — Avant Music News
Montreal-based band Gisèle were one of the first purchases I made on Bandcamp, so it’s quite nice to see their name pop up on my feed after a long, quiet absence. It’s a mish-mash of improvisational music, post-rock and progressive rock done tastefully. Two tracks only, but the listening is good and engaging.