Ecco in dettaglio il programma di maggio 2006 presso The Stone a New York in memoria di Derek Bailey:

May 2006 at the Stone
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curated by Derek Bailey and Karen Brookman


5/2 Tuesday
8 pm
Christian Marclay and John Zorn
Christian Marclay (turntables) John Zorn (alto sax)

10 pm
Erik Friedlander and Ikue Mori
Erik Friedlander (cello) Ikue Mori (electronics)


5/3 Wednesday
8 pm
Alan Licht
Alan Licht (guitar)

10 pm
Tim Barnes
Tim Barnes (percussion)


5/4 Thursday
8 and 10 pm
George Lewis, John Zorn and Bill Laswell—remembrance of Yankees
George Lewis (trombone) John Zorn (saxophone) Bill Laswell (bass)


5/5 Friday
8 pm
William Parker
William Parker (bass)

10 pm
Shaking Ray Levi Society
Dennis Palmer (voice, synthesizer) Bob Stagner (drums)


5/6 Saturday
8 pm
Cyro Baptista and Billy Martin
Cyro Baptista (percussion) Billy Martin (percussion)

10 pm
Cyro Baptista and Billy Martin
Cyro Baptista (percussion) Billy Martin (percussion) and many special guests


5/7 Sunday
8 and 10 pm
John Zorn Improv Night to Support The Stone
John Zorn (alto sax) Cyro Baptista (percussion) Ikue Mori (electronics) Ned Rothenberg (reeds) Kenny Wollesen (drums) Tim Barnes (percussion) Erik Friedlander (cello) Kato Hideki (bass)



5/9 Tuesday
8 pm
Julian Kytasty
Julian Kytasty (bandura)

10 pm
Jennifer Choi and Shelley Burgon
Jennifer Choi (violin) Shelley Burgon (harp)


5/10 Wednesday
8 pm
Thurston Moore Solo
Thurston Moore (guitar)

10 pm
Thurston Moore
Thurston Moore (guitar) and special guests


5/11 Thursday
8 pm
Lisle Ellis's Audible Means
Pamela Z (voice) Rudresh Mahanthappa (saxophone) Kathy Supove (piano) Guillermo E Brown (drums, electronics) Lisle Ellis (bass and circuitry)

10 pm
J.D.Parran
J.D.Parran (flute, clarinet, percussion) Mary Halvorson (guitar) Stephen Haynes (trumpet)


5/12 Friday
8 pm
George Lewis and Douglas Ewart
George Lewis (electronics, trombone) Douglas Ewart (reeds)

10 pm
Joe Morris
Joe Morris (guitar) Michael Evans (percussion, electronics) Daniel Levin (cello) Daniel Blacksberg (trombone) Michael Winograd (clarinet, alto sax) Joe Moffett (trumpet) Jeff Kimmel (bass clarinet) Dana Jessen (bassoon) Adam Dotson (euphonium)


5/13 Saturday
8 pm
Wadada Leo Smith Solo
Wadada Leo Smith (trumpet)

10 pm
Wadada Leo Smith and Tyshawn Sory
Wadada Leo Smith (trumpet) Tyshawn Sory (drums)


5/14 Sunday
8 pm
Eugene Chadbourne and John Zorn
Eugene Chadbourne (guitar) John Zorn (alto sax)

10 pm
Eugene Chadbourne Solo
Eugene Chadbourne (guitar)


5/16 Tuesday
8 and 10 pm
Jim O'Rourke Solo
Jim O'Rourke (guitar)


5/17 Wednesday
8 pm
Carla Kihlstedt and Zeena Parkins
Carla Kihlstedt (violin) Zeena Parkins (harp)

10 pm
Zeena Parkins
Zeena Parkins (harp)


5/18 Thursday
8 pm
Susie Ibarra, Min Xiao-Fen and Okkyung Lee
Susie Ibarra (drums) Min Xiao-Fen (pipa) Okkyung Lee (cello)

10 pm
Ikue Mori
Ikue Mori (electronics)


5/19 Friday
8 pm
Robert Musso
Robert Musso (guitar) Shanir Blumenkranz (bass) Jackson Krall (drums) Billy Atwell (percussion)

10 pm
Remembrances of Derek
Karen Brookman and friends
Stories, music and remembrances about Derek by his friends and colleagues.

Many surprises and many special guests.


5/20 Saturday
8 pm
Mark Dresser Solo
Mark Dresser (bass)

10 pm
Mark Dresser Trio
Mark Dresser (bass) Rudresh Mahanthappa (sax) Gerry Hemingway (drums)


5/21 Sunday
8 pm
Fred Frith Solo
Fred Frith (guitar)

10 pm
Fred Frith and friends
Fred Frith (guitar) and special guests


5/23 Tuesday
8 pm
Duck Baker Solo
Duck Baker (guitar)

10 pm
Duck Baker and friends
Duck Baker (guitar) Marty Ehrlich (saxophone) and special guests


5/24 Wednesday
8 pm
Stephanie Stone
Stephanie Stone (piano, voice)

10 pm
Sylvie Courvoisier
Sylvie Courvoisier (piano)


5/25 Thursday
8 pm
Elliott Sharp Solo
Elliott Sharp (acoustic and electric guitars)

10 pm
Chad Taylor
Chad Taylor (drums)


5/26 Friday
8 pm
Henry Kaiser and John Zorn
Henry Kaiser (guitar) John Zorn (alto sax)

10 pm
Invite the Spirit
Henry Kaiser (guitar) Sang-Won Park (kayagum) Charles K. Noyes (percussion)


5/27 Saturday
8 pm
Shelley Hirsch, Ikue Mori and Okkyung Lee
Shelley Hirsch (voice) Ikue Mori (electronics) Okkyung Lee (cello)

10 pm
Arto Lindsay
Arto Lindsay (guitar, vocals) and special guests


5/28 Sunday
8 pm
Annie Gosfield
Annie Gosfield (keyboards) Roger Kleier (guitar) Ches Smith (drums)

10 pm
Kramer
Kramer (keyboards, guitar, bass, tapes, voice)


5/30 Tuesday
8 pm
Steve Dalachinsky and Loren Connors
Steve Dalachinsky (poetry) Loren Connors (guitar)

10 pm
Trevor Dunn's Double Guitar Quartet
Charlie Looker (guitar) Hilmar Jensen (guitar) Trevor Dunn (bass) Mike Pride (drums)


5/31 Wednesday
8 pm
Jim Staley
Jim Staley (trombone)

10 pm
Miguel Frasconi
Miguel Frasconi (glass instruments)

THE STONE is located at the corner of avenue C and 2nd street, NYC, NY.

Si sapeva che oltre al concerto londinese un altro si sarebbe tenuto a Parigi in ricordo di Elton Dean. Ora c'è qualche dettaglio in piu':

Hommage à Elton Dean

http://www.citizenjazz.com/breve2346373.html

samedi 27 mai 2006 - 21h

HOMMAGE À ELTON DEAN

Le Triton - LES LILAS

http://www.letriton.com

Invité par Robert Wyatt à se joindre à Soft Machine, Elton Dean contribua à façonner, par sa sonorité caractéristique, l'identité du groupe dans sa phase la plus créative (1969-72, les albums Third, Fourth et Fifth), avant de partir se consacrer à ses projets plus personnels, tout en participant aux grands orchestres de son fidèle complice Keith Tippett (Centipede), de Chris McGregor (Brotherhood of Breath) ou de Carla Bley, s'imposant comme une figure marquante de la scène jazz londonienne.
A partir des années 80, sa carrière se déroulera également de ce côté-ci dela Manche. Elton aimait Paris, où il vivait la moitié de l'année, et Paris le lui rendait bien puis qu'il collabora, au cours de ces vingt dernières années, avec plusieurs groupes : l'Equip'Out de Pip Pyle, le collectif Polysons, Soft Bounds (avec Hugh Hopper, Sophia Domancich et Simon Goubert) ou encore les Belges de The Wrong Object.
Autant de groupes dont les membres vont tenter d'oublier, l'espace d'un concert, à quel point il leur manque. Car Elton nous a quittés prématurément le 8 février dernier. Il était un habitué du Triton et c'est sur cette scène que ses amis musiciens ont tenu à lui rendre un hommage musical.
Avec: Patrice Meyer, Pip Pyle, Hugh Hopper, Sophia Domancich, Simon Goubert, Faton Cahen, Didier Malherbe, John Greaves, Pierre-Olivier Govin, les membres du groupe The Wrong Object, etc

Il cartellone del newyorchese The Stone, piccolo spazio concertistico aperto e diretto da John Zorn, prevedeva per il mese di maggio 2006 la direzione artistica e la partecipazione di Derek Bailey. Dai suoi appunti e da qualche scritto lasciato appena prima della scomparsa, la moglie Karen ha attinto e raccolto idee e indicazioni, per un programma che si annuncia intensissimo e toccante. Questo il primo comunicato:

MEMORIAL FOR DEREK BAILEY

Derek Bailey loved New York City. He loved playing here and he loved being here. It was his hope to come back to New York to both curate and play at The Stone for the month of May. Alas, it was not to be. Drawing largely from his original list, Karen Brookman has helped realize his vision. Many of the players are travelling great distances to participate in this month long tribute to one of the greatest musicians of the twentieth century—a man who helped change the world through improvisation. We all miss him.

Qualche interessante ripresa video di Soft Machine e Robert Wyatt, anche se di qualità appena sufficiente e di durata assai breve, si puo' rinvenire effettuando ricerche nei siti:

http://blogfiles.wfmu.org e http://www.youtube.com

Quest'ultimo contiene da qualche giorno anche un estratto (piuttosto raro) in due parti di This Heat.

Tra aprile e maggio 2006 sono in programma diversi concerti per Il Trio, nato nel gennaio del 2005 da un’idea di Franco Fabbri. "L’obiettivo è quello di creare una formazione agile ed efficace, in grado di riprendere ed ampliare il lavoro di Fabbri con gli Stormy Six, integrandolo con le personalità di musicisti di valore, vicini allo spirito di quel lavoro. In una prima fase il Trio si concentra sul repertorio “storico” (anche nel senso proprio: canzoni dedicate a episodi della storia) degli Stormy Six, allargato alle fonti musicali e testuali di quel repertorio: le canzoni della resistenza europea, dell’antifascismo americano, del folk revival inglese, e soprattutto quelle dell’éndechno traghoúdi, la “canzone d’autore” greca influenzata dal rebetico."

Franco Fabbri – voce, chitarra, bouzouki
Èrrico Pavese – chitarra, bouzouki
Vladímir Denissénkov – baján

27 aprile 2005, Savona, Fortezza Priamar
29 aprile 2005, Nonantola, Cinema Teatro Troisi
2 maggio 2005, Milano, Feltrinelli Piazza Piemonte
9 maggio 2005, Milano, Centro San Fedele
15 maggio 2005, Torino, Hiroshima Mon Amour
16 maggio 2005, Milano, Piccolo Teatro

Inaspettata e curiosa - come ogni cosa lo riguardi, peraltro - la playlist che Louis Philippe presenta per il mese di aprile 2006. Ecco il testo:

Many charges can be brought against Led Zeppelin. Plagiarism, as Bert Jansch and the late Willie Dixon found out; ridiculous haircuts; a rather nasty streak of misogyny in lyrics that, most if not all the time, would make a 16-year-old diarist blush (and not just because of their content); misuse of violins (though not on Kashmir); drum solos; and please feel free to exercise your teeth on other bones of contention. But, speaking of bones, of all the skeletons that have been rattling in my cupboard for as long as I can remember (and I do – 1971, Led Zeppelin III), none have made such a din as the baddest hard-rock band of them all. As if they’d been characters from The Corpse Bride copulating on a tin roof, to misquote Sir Thomas Beecham.
Why is it that the delicate, sensitive, popsmith that I’m told I am still fishes out one of his copies (note the plural) of ‘Houses of the Holy’ when little else will do?
Good question. This is what I’ll try and answer now, remembering at long last a promise I made quite a while ago.
I should say straight away that I am in fairly good company when I confess to my love for Led Zep. My friend Saeko Suzuki, as fearsome on a drum kit as she is deliciously refined in real life, swears by them. So does, or so has in my presence, the Hon. Andy Partridge. Even more interestingly, the extraordinary Rob Kloet (the rhythm man in the Nits musical circus of wonders) will not stop eulogising if you mention the name of John Bonham to him, as I did after the Dutch band’s recent gig at Bush Hall. Rob’s ‘drumming’ had had me close to tears after a few bars. Such lightness, such economy, such power. His bass drum was the size was an orchestral grosse caisse – ‘just like John Bonham’s’, he said afterwards around a bottle or two of Shiraz. That cue was enough to launch me into a near-rant about the great man, encouraged as I was by Rob’s remarks, such as: ‘Bonham played up, not down’. Yes, I could see – hear – what he meant. ‘Up’.There was something spiritual about the violence of Bonham’s playing, and genuinely so. Led Zep’s secret was his as much as Plant’s and Page’s and Jones’s.
It is this ‘upness’ of Bonham’s that explains why one of the tracks I keep going back to is ‘The Ocean’, in itself a fairly run-of-the-mill rocker written by Plant about his young daughter, I’m told. Run-of-the-mill – until Bonham unleashes a volley of mini-breaks on the song’s bridge, his snare rolls cunningly combined with down-slides on Page’s guitar. I do not know of any more brutally elemental moment in the whole history of rock’n’roll; and, as with all great music, the effect of it is not blunted by repetition; on the contrary, it has acquired a granite-like awesomeness to me. I can feel it thud in my ears – but I’m not just punched senseless – I can also feel elevated, as if I’d gulped a big lungful of free air and expanded like a balloon.
Some of you may ask what I had for lunch after reading this. Nothing untoward, I promise you. I ‘d warned you – this skeleton makes a lot of noise.
However, if Bonham’s playing is one key (ha – those cross-rhythms on Black Dog…), it is not the only one with works that particular lock open.
Thirty-five years on, when so much of the huff and puff of that era has dwindled to nothing more than a rabbit’s fart on a tarpaulin (ask your French friends where this image comes from), these records have retained their capacity to shock, surprise and seduce. I’m no great fan of the first two, I’ll admit; too much heavy-arsed rock-blues in there for my own taste. For it is (to me, at least) when LZ becomes angular like a Chinese banjo that we’re in for the magic trip. The physical power of their music has much to do with its abstraction. I’m extremely surprised that no-one has ever remarked on the remarkably ‘modernist’ approach to track-construction and, more generally, sound treatment Page adopted on ‘Presence’, one of the most under-rated albums in the rock’n’roll canon. It is black music – as in ‘starless and Bible-black’, from which every hint of ornamentation has been taken off. Even Plant’s ludicrous (and thrilling) vocalising has lost any hint of corporeity; Page, it seems, slowed down the master tapes in order to make his singer gain half-a-tone or more when the tracks were played back at normal speed. Even the guitarist’s brief interjections seem sculpted in a matter that is both hard to the touch – with a grit of its own – and preternaturally smooth to the mind’s eye. Do listen to ‘Presence’ again if you can; and you may agree with me (and my friend Michka Assayas, another great admirer of this opus) that there is little that people find in Joy Division’s Unknown Pleasures that cannot be found in a single bar of Achille’s Last Stand, despite the pretentiousness of its title.
For those of a less austere disposition (Presence can be hard work), The Song Remains The Same (the track, not the very ordinary live album of the same name) could be an entry point in Led Zep’s rather bleak but astonishing soundscape. I’ve often played the intro to this song to unsuspecting listeners, as well as the tour-de-force of Page’s carefully-constructed riffing in its coda. ‘What the hell is this?’ tends to be the reaction. And ‘what?’ the comment, after I’ve answered the query. Led Zep, it seems, should sound like Spinal Tap, not like this.
Nor should it sound like ‘Going To California’, a ravishing song which was somehow forgotten in the explosion of ‘IV’; or ‘Gallows Pole’, and most of the B-Side of III, which was written by someone – Page – who could hear things in English folk music that no-one had heard before. Seriously.
In the end, it is all down to prejudice, isn’t it? How could three hairy sessionmen and a hairier vocalist produce something worth hearing three-and-a-half decades later? I learnt long ago that this kind of question wasn’t worth asking. And I also learnt that I oughtn’t be ashamed to have – almost – played air guitar to ‘Misty Mountain-Hop’ in my boarding-school dormitory. Do join in, please. There’s room for a few more people yet.
Louis

Paolo Chang cura la serie radiofonica "Spike Jones. La musica in gioco" per Fuochi, su Radio3. Da lunedì 3 a venerdì 7 aprile 2006, dalle 23.30 a mezzanotte.