28 gennaio 2006

Il sito francese Infratunes pubblica questo mese un'intervista del redattore Grisli con Fred Frith, con interessanti ragguagli sulle sue primissime mosse nella musica - soprattutto blues - e sulle attività attuali. Con qualche commento in retrospettiva anche su Henry Cow, Massacre, Derek Bailey.

"Adolescent, j’ai été confronté au blues: beaucoup de bluesmen américains tournaient en Angleterre, il y avait des clubs dans chaque ville… Jusqu’à ce que l’Angleterre leur montre de l’intérêt, les artistes de blues Américains n’étaient pas considérés dans leur pays. Ils l’ont été seulement ensuite, après une longue période d’indifférence. Entre 1966 et 1969, j’ai vu jouer, entre autres, Muddy Waters, BB King, Lightnin’ Hopkins, John Lee Hooker, et j’ai même pu tenir la basse auprès de Champion Jack Dupree, qui a fini par s’installer dans ma région du Yorkshire, où il disait être bien plus heureux qu’à la Nouvelle Orléans. Il ne faut pas aller chercher plus loin que ça: j’étais imbibé de blues, que je chantais dans des clubs, bien avant même que n’existe Henry Cow. Mais cette période a été assez courte. A un moment, on ne peut pas s’empêcher de se demander ce que la musique a vraiment à voir avec vous. Je me devais de trouver ma propre musique, et ne pas me servir de celle des autres pour exprimer mes vues personnelles."

https://www.dmute.net/interview/Fred-Frith.html

25 gennaio 2006

La grande radio, in onda sabato 28 gennaio 2006 su Radio3 dalle 17.40, dedica una puntata di buon compleanno a Robert Wyatt componendo spezzoni tratti da vari programmi Rai del passato, remoto e non (Un certo discorso, Audiobox, Storyville, Suoni e ultrasuoni, Battiti). A cura di Francesca Zammarelli.

http://www.radio.rai.it/radio3/ascolta.cfm

17 gennaio 2006


Radio Città Fujiko di Bologna trasmette nel programma Intersezioni del prossimo 19 gennaio il concerto di David Thomas and the Accordion Club - alla sua terza configurazione, con Thomas Agaton, Stefan Agaton e Chris Cutler - tenuto a Bari per il festival Timezones, allora alla sua seconda edizione, nel giugno 1987. 

15 gennaio 2006


Gli appassionati hanno cercato negli anni - spesso inutilmente, o a costi impossibili nel circuito dell'usato - una copia in vinile di Facets of the Universe, album Goody-BYG in tiratura limitata, epoca 1969, che riuniva a fianco del leader Selwyn Lissack alcuni protagonisti assoluti del jazz sudafricano e britannico del tempo (Mongezi Feza, Harry Miller, Mike Osborne tra gli altri). Downtown Music Gallery - non soltanto negozio e servizio di distribuzione, ma da poco anche etichetta discografica in proprio - ne annuncia (con giusto orgoglio) la pubblicazione in cd: "The second release on Downtown Music Gallery's newly formed DMG ARC label is considered by many fans to be one of the rarest late '60s Euro/Brit avant jazz recordings. Originally released on the BYG associated 'Goody' label in France [in fact the only one of seven Goody releases that was an original release, and not a questionable reissue], the LP has commanded high prices ranging to $100 to $300 from collector's shops and auction websites including eBay."

13 gennaio 2006

R. Stevie Moore sarà protagonista di un concerto venerdì prossimo, 20 gennaio, al Tonic di New York. Buona notizia per i sostenitori e i simpatizzanti del geniale cantante e chitarrista tuttofare del New Jersey, evidentemente le sue condizioni di salute sono ora migliori. Uno speciale radiofonico in onda oggi su East Village Radio NYC (ore 16.00 - 18.00 locali) dà ampio saggio della sua originalissima produzione, colpevolmente trascurata anche nelle cronache meno ufficiali del rock d'autore: "Improviser, composer, arranger, producer, musical conceptualist, comedy writer, vocal stylist, filmmaker, sketchpad artist, self-taught instrumentalist and bon vivant, R. Stevie Moore was born 1952 in Nashville TN to famed Elvis bass player Bob. Since '66 RSM has recorded nearly 2,000 songs on over 400 very original homemade albums of alarmingly idiosyncratic variety and styles, often considered a seminal pioneer in the DIY ethic. Remaining virtually unknown, he quietly resides in New Jersey as curator of his own museum."

http://www.rsteviemoore.com

12 gennaio 2006

Tra qualche giorno, il 28 gennaio, si riunisce l'amatissima Bonzo Dog Doo-Dah Band per celebrare con un concerto all'Astoria Theatre a Londra il quarantesimo anniversario della propria fondazione (o meglio, dell'uscita ufficiale del loro primo disco My Brother Makes the Noises for the Talkies). Per il 2006 sono in cantiere molte altre iniziative incentrate sulla storia, le vicende e il ruolo dell'impareggiabile combriccola nella cultura britannica ed europea a cavallo degli anni Sessanta e Settanta.

http://www.bonzodog.org/bonzos/bonzo_top.htm

07 gennaio 2006

Alias, supplemento settimanale de "il manifesto", dedica oggi due pagine a Robert Wyatt con brani di intervista per lo più sui materiali di Cuckooland (2003) e qualche ragguaglio sulle attività un po' più recenti. La presentazione di Pierluigi Castellano non è gran cosa, ma lo spazio al Nostro è ovviamente del tutto meritato.

https://www.discogs.com/Robert-Wyatt-Cuckooland

04 gennaio 2006

Sono disponibili al ricchissimo archivio fotografico Downtown Music tenuto da Peter Gannushkin le foto dello speciale concerto di capodanno al Tonic di New York, con Cyro Baptista, Kurt 'Submerged' Gluck, Bill Laswell, Guy Licata, Tatsuya Nakamura, Mike Patton, Otomo Yoshihide, John Zorn. 

Lo commenta uno dei presenti, Michael Stack: "The New Year's Day show - originally billed as Painkiller vs. Methods of Defiance - was really quite something different. The original bill (Zorn, Laswell, Guy Licata, DJ Submerged and Patton) were augmented by Otomo Yoshihide, Tatsuya Nakamura, Cyro Baptista and some electronics guy whose name I didn't catch. They were overflowing the Tonic stage (literally, Zorn, Patton and Baptista were on the floor) and positively explosive. They opened with a 50+ minute performance that alternated between Laswell-directed free improv and dub sections. I've never seen Painkiller, but it seemed like Laswell was totally in charge of the show, indicating who should lead each section. The performance was a frenzy - a rhythmic storm was worked up over which a seemingly endless array of explosive leads and solos came forth. Zorn and Patton intwined around each other, Otomo (who I am only somewhat familiar with) was downright brilliant, and the rhythm section was fierce, particularly Baptista, who was all over and occasionally ranting into a megaphone. After a brief duet between Zorn and Patton, the band played another 15 or so of more or less the same sort of stuff.The only complaint is that there was so much going on during the performance that every time you watched what someone was doing you realized you were missing something else - it was a bit overwhelming in a way, but "there was too much amazing stuff" going on is really damning with praise, suffice to say it was an amazing show."

https://downtownmusic.net/painkiller-vs-method-of-defiance

03 gennaio 2006

La sera del 31 dicembre è andato in onda su Radio 3 della BBC un recente lavoro di Peter Blegvad dal titolo Guest + Host = Ghost, racconto radiofonico a metà tra la claustrofobia e la deprivazione sensoriale, affettuosamente dedicato a quanti mal sopportano il peso di festini e festicciole di precetto a fine anno. Lettura a più voci per opera dell'autore e di Nick Cave, tra gli altri, con ambientazione sonora quasi impercettibile - prodotta dal Langham Research Centre - e una girandola di riferimenti da Cousteau a Duchamp e ovviamente agli ospiti equivoci e sgraditi di Edward Gorey.

This half hour radio play was made for the experimental strand on BBC Radio 3 called Between the Ears, and it features readings with a gothic frosting by Nick Cave. The play charts a journey into one man's isolation. Our narrator is consigned to a flotation tank in an attempt to beat the world record for sensory deprivation. He's visited by doubtful guests of the mind as his desire for solitude collides with his social instincts and thoughts of his lost love, Esperanza. The program uses Edward Gorey's Tale, the Doubtful Guest and other literary illustrations to explore the ambiguities of disengagement and using music concrète techniques specially developed by Langham Research Centre: in this configuration Felix Carey, Iain Chambers, and Philip Tagney.

"Between the Ears (Radio 3) is crackers. To be fair, that is its remit: to tickle the parts of the brain untouched by almost all other radio. At its best, the strangeness of the sonic adventures actually roots you to the spot. You feel as if you are suddenly able to follow something in a language you don't speak. That was how Guest + Host = Ghost left me feeling on Saturday evening. With its setting in a flotation tank, a perkily multi-layered text, gurgling, bubbling music, quotations read with a gothic frosting by Nick Cave, and script by avant-garde all-rounder Peter Blegvad, it proved a mighty bracing end to the year. It provided some cheery thoughts for 2006 ("if it were not for guests, all houses would be graves"), some pressing questions ("how long has it been since we have visited ourselves?") and some startling asides ("it's Jacques Cousteau!"). Dark, wildly meandering, and often funny, it offered the same possibilities as the sensory deprivation it was so fascinated by: "a hole in the universe, a door through into another world". (The Guardian)

https://www.bbc.co.uk/radio3/betweentheears/pip/aao11

02 gennaio 2006

"Carla Bley: l'arte di arrangiare" è la nuova serie che Alessandro Achilli ha preparato per Fuochi, il programma di Rai Radio 3 ideato da Pino Saulo con Nicola Catalano in onda dal lunedì al venerdì dalle 23.30 alle 24.00. Ecco le scalette dell'intera serie, al via oggi:

Lunedì 2 gennaio
ROBERT WYATT, To Carla, Marsha and Caroline (for Making Everything Beautifuller), da "The End of an Ear" - Columbia 493342 2
PAUL BLEY TRIO, Ida Lupino, da "Closer" - Esp CD 1021
JAZZ REALITIES, Oni Puladi, da "Jazz Realities" - Fontana 881 010 ZY
GARY BURTON, Interlude: Shovels / The Survivors / Grave Train, da "A Genuine Tong Funeral" - Rca Bmg DRC1-1446
CHARLIE HADEN & LMO, Viva la Quince brigada, da "Liberation Music Orchestra" - Impulse! IMP 11882
CARLA BLEY & PAUL HAINES, End of Rawalpindi, da "Escalator over the Hill" - Jcoa/EOTH 839 310-2

Martedì 3 gennaio
CARLA BLEY, Enormous Tots (to People's Music Works), da "Tropic Appetites" - Watt/1 557 480-2
JACK BRUCE, Tickets to Waterfalls, da "Live '75" - Polydor 065 607-2
CARLA BLEY, Forever and Sunsmell, da Jan Steele / John Cage, "Voices and Instruments" - Obscure OBS 05
CARLA BLEY, Song Sung Long, da "Dinner Music" - Watt/6 825 815-2
JOHN GREAVES & PETER BLEGVAD + LISA HERMAN, Twenty Two Proverbs, da "Kew.Rhone" - Virgin CDV 2082

Mercoledì 4 gennaio
CARLA BLEY, Wrong Key Donkey, da "European Tour 1977" - Watt/8 831 830-2
CARLA BLEY, Musique mecanique III, da "Musique mecanique" - Watt/9 839 313-2
NICK MASON, I Was Wrong, da "Fictitous Sports" - Emi Harvest 3C 064-64216
CARLA BLEY, Walking Batteriewoman, da "Social Studies" - Watt/11 831 831-2
KIP HANRAHAN, India Song, da "Coup de tête" - American Clavé AMCL 1007

Giovedì 5 gennaio
CARLA BLEY, Blunt Object, da "Live!" - Watt/12 815 730-2
CARLA BLEY, The Internationale, da "I Hate to Sing" - Watt/12 1/2 823 865-2
CARLA BLEY, Otto e mezzo, da aa.vv. "Amarcord Nino Rota" - Hannibal HNBL 9301
LIBERATION MUSIC ORCHESTRA, The Ballad of the Fallen (Milonga para un fusilado), da "Ballad of the Fallen" - Ecm 1248

Venerdì 6 gennaio
CARLA BLEY, La paloma, da "Mortelle randonnée" - Mercury 812 097
JOHN OSWALD, Funnybird Song, da Paul Haines, "Darn It!" - American Clavé AMCL 1014 2
CARLA BLEY, Funnybird Song, da "Tropic Appetites" - Watt/1 557 480-2
KAREN MANTLER AND HER CAT ARNOLD, Mean to Me, da "Get the Flu" - XtraWatt/5 847 136-2
CARLA BLEY & STEVE SWALLOW, Major, da "Are We There Yet?" - Watt/29
CARLA BLEY, Major, da "Goes to Church" - Watt/27 533 682-2
CARLA BLEY, Wolfgang Tango, da "Fancy Chamber Music" - Watt/28 539 937-2
LIBERATION MUSIC ORCHESTRA, This Is not America, da "Not in Our Name" - Verve 0602498292488

http://www.wattxtrawatt.com

01 gennaio 2006


In ricordo di Derek Bailey, una personale proposta di ascolti per l'inizio anno. Dieci titoli scelti al volo nella sua immensa discografia:

1968, Karyobin, Chronoscope CPE2001-2 (Spontaneous Music Ensemble)
1970, The topography of the lung, Incus 1
1972, Chapter one 1970-1972, Emanem 3CD 4301 (Iskra 1903)
1974, First duo concert (London 1974), Emanem 4006 (con Anthony Braxton)
1977, Company 6 & 7, Incus CD07
1980, Pisa 1980: improvisors' symposium, Incus 37 (LP)/psi 04.03/4 (CD)
1982, Yankees, Celluloid CELD 5006 (con George Lewis e John Zorn)
1994, Saisoro, Tzadik TZ 7205 (Derek and the Ruins)
1995, Guitar, drums 'n' bass, Avant AVAN 060
2002, Ballads, Tzadik TZ 7607