Uno dei più geniali e tenaci interpreti delle musiche di Frank Zappa, Ed Palermo, propone a Marlboro (New York) stasera per la festa di Halloween uno spettacolo a tema nella più pura tradizione zappiana (ma in scaletta c'è anche parecchio di Todd Rundgren): Zweeney Zodd-The Demon Barber of Marlboro. Si dovrebbe poterlo seguire anche da qui, in streaming presso Concert Window.
Delle più recenti attività della Ed Palermo Big Band - anche con ospite Napoleon Murphy Brock - si trova ampia documentazione alla pagina YouTube di Raymond Morelli.

https://m.facebook.com/palermobigband
www.palermobigband.com
https://www.youtube.com/user/masterninja01/search?query=palermo

Per i venticinque anni del festival Zappanale - appuntamento comunitario d'obbligo per ogni buon zappiano, ogni estate a Bad Doberan (Germania) - la benemerita associazione promotrice Arf Society ha prodotto un fantastico volume celebrativo dal titolo We Are The Other People (con l'avvertenza: 'a book about people who like stuff that is not normal'). Quasi cinquecento pagine zeppe di documenti e materiali curati da organizzatori e musicisti, storie e immagini raccolte sul palco e tra il pubblico, commenti e dediche di ospiti e diretti protagonisti, con ampio spazio per ricordi, aneddoti, curiosità e memorabilia. Da non perdere!

In celebration of the 25th Zappanale the ARF Society e.V. announces a colorful new large format book chronicling the history of the festival with over 1000 photos on 500 pages. Dieter Jakob, Robert Riedt and Burkhard Schempp delved deep into the roots of the Zappanale. How did the festival get its start? How has it developed since? Where is it today? And as the book‘s title reminds us, it's also about the people who come to the Zappanale.
With a foreword from Frank Zappa's sister Candy, the book includes contributions and congratulations from Joe Trump, Caballero Reynaldo, Fried Dähn, Morgan Agren, Essra Mohawk, Jean-Luc Ponty, Sandro Oliva, Paul Carr, Umezu Kazetoki, Doctor Nerve, Mani Neumeier, Chris Opperman, Co de Kloet, Terry Bozzio, Pierre-Jean Gaucher, Gary Lucas, Albert Wing, Ed Mann, Ray White, Robert Martin, Tom Fowler, Don Preston, Adrian Belew, Denny Walley, Roddie Gillard, Brot + Böller, Daevid Allen, Ed Palermo, Jono El Grande, Jim Cohen, Daniel Schröder, Harald Koob, Steve Hillage, Napoleon Murphy Brock, Ben Watson, André Cholomondeley, Daniel Rohr, Hakan Engborg, and Ali N. Askin.

http://www.arf-society.de

http://www.zappanale.de

http://tinyurl.com/ln2sn7z

Con tutto il bene che si può volere ai King Crimson d'epoca 1972-1974, dopo le collezioni di Larks' Tongues in Aspic e The Road to Red era proprio necessario un altro mega-box - tra cd, dvd-a e blu-ray stavolta i dischi sono 27! - come Starless? Nel dubbio, consultare John Kelman: "On the Larks' Tongues Box, a nascent quintet was still finding its way with a largely new book of music; by the time of The Road to Red, the remaining quartet had become a well-oiled, thundering machine, and one that took risks night after night, to be sure - its pure improvisational forays a characteristic that differentiated it from so many of its peers at the time - but which had also, by then, found what Fripp has often described as "a way of doing things." Starless provides the opportunity to hear how the group got there, from early versions of tunes that were significantly longer to germinal performances of songs where the lyrics were continually being fine-tuned and arrangements adjusted. In a nutshell, Starless completes the story of Crimson's until-now most heralded incarnation, bridging the gap between Larks' Tongues in Aspic and The Road to Red with the performances that led up to and then followed the release of Starless and Bible Black on March 29, 1974. For those interested in this King Crimson incarnation, it's an essential piece of the puzzle that is all the better for it by also sporting the most consistently excellent sound of any live Crimson box to date."

http://www.dgmlive.com

http://shop.schizoidshop.com/king-crimson--starless--limited-edition-boxed-set-p1418.aspx

http://www.allaboutjazz.com/king-crimson-starless-live-in-europe-by-john-kelman.php

Quanto sia stato importante per Marcus O'Dair scrivere Different Every Time, la biografia autorizzata di Robert Wyatt, e perché gli siano serviti tre anni più del previsto lo confessa egli stesso in un bel pezzo per The Arts Desk ('On writing the authorised biography of one of the UK's most respected musicians'). E quali siano alcuni momenti esemplari nella colonna sonora della sua vita, Robert Wyatt lo indica per titoli e temi nella rubrica Sountrack of my Life in The Guardian: 'The song that proves I’m no rebel. The track that made me realise it was fine to sing high. The one that reminds me of my wife. The record that turned me into a fanboy. The record that made me think about possibilities in music. The recent song that is as good as the 60s classics.'

http://www.theartsdesk.com/new-music/robert-wyatt-different-every-time
http://www.theguardian.com/music/2014/oct/26/soundtrack-of-my-life-robert-wyatt
http://youtu.be/ABqSFIrdyJQ

Esoteric Recordings ha riprodotto in vinile, in un'edizione a tiratura limitata, il primo LP dei Matching Mole, tentando di farne un'esatta replica dell'originale (CBS, 1972). Perfino nel logo. Rimasterizzazione e note di copertina però sono quelle del 2012, e tra quest'ultime anche un commento di Robert Wyatt, raccolto nel 1997, indicativo della natura dell'album: "Well, I have to say that, although the first one is called a Matching Mole record, people like Phil Miller are bit bemused, he wasn't disgruntled about it, but he said, well it was very much Robert Wyatt's group, that's the way he put it, or, he called it a group, he talks democracy... But the fact is that is I created a skeleton framework upon which I constructed a sequence of events around the wondrous mellotron and so on. Maybe it was a group recording, but the production was where I took the opportunity to take over, and there was nothing the group could really do about it."

http://www.cherryred.co.uk/shopexd.asp?id=4775

https://www.burningshed.com/store/canterburyscene/product/104/5821

Aveva consegnato poche settimane fa un'ampia e approfondita intervista agli archivisti di Purple Haze, presso l'australiana Southern FM, ripercorrendo il proprio lungo tragitto musicale dagli esordi agli album da solista - incluso il recentissimo Silver Rails - oltre ovviamente all'epopea di Cream e Tony Williams' Lifetime. Se ne è andato ieri a 71 anni il leggendario Jack Bruce.

The composer, the singer, the multi-instrumentalist, the Legend. Hailed as one of the most powerful vocalists and greatest bassists of his time, his improvisational skill and utterly unique, free-spirited approach to composition and performance would forever change electric music. His pioneering, full-toned, free-wheeling playing on the electric bass revolutionised the way the instrument is used and influenced the playing of countless bassists to today, including Sting and Jaco Pastorius. His work with bands such as Cream and the Tony Williams' Lifetime, as well as his solo material, unlocked the doors to the pent-up energy of a new approach to the art of sound, breaking the barriers of tradition and creating a kind of music that had never been heard.

http://www.jackbruce.com

Doveva essere il loro terzo album a pieno titolo dopo Un Peu De L'ame Des Bandits e Onze Danses Pour Combattre La Migraine, ma non era mai giunto a compimento. Esce ora, a distanza di oltre trent'anni, recuperato nel quadro di riedizioni e ristampe in cd e vinile che investe contemporaneamente anche The Honeymoon Killers/Les Tueurs De La Lune De Miel, fratelli e sorelle di adozione: Ex-Futur Album, degli Aksak Maboul con Veronique Vincent, Vincent Kenis, The Honeymoon Killers appunto, e vari altri ospiti.
Ne parla in prima persona Marc Hollander - guida del gruppo, nonché fondatore e tuttora responsabile dell'etichetta Crammed Discs - in una presentazione curata in Late Night dall'emittente belga Klara: http://klaralatenight.blogspot.be/2014/10/lex-futur-album.html

Crammed Discs founder Marc Hollander and Honeymoon Killers vocalist Véronique Vincent finally release their trailblazing avant-pop album, recorded and unfinished in… 1980-83! This record was never completed. What was originally intended to become the third album by Aksak Maboul (the seminal band formed by Marc Hollander) had gradually evolved into a strange artefact, closely mingling (iconic Honeymoon Killers chanteuse) Véronique Vincent’s dreamy vocals and deceptively bubbly lyrics with Hollander’s musical ramblings. Electronic pop music with genre-wrecking leanings. But the project (too pop to be experimental? too quirky for early ‘80s pop?) was dropped at some point, and life went on. When they were ‘rediscovered’ three decades later, it seemed obvious that the songs had aged delightfully well, and that they probably make a lot more sense now than they did then…
So here’s that Ex-Future album, collated from demos and rough mixes (some of them on cassette tapes), and brought to you in its original glorious unfinished state, with a slight delay of 30 years. Performed & recorded in 1982/83 by Véronique Vincent (vocals), Marc Hollander (keyboards, woodwind, programming, arrangements, production, etc.) and Vincent Kenis (guitars, bass, engineering, coproduction etc.), plus guests including the other half of The Honeymoon Killers, Alig Fodder, Tuxedomoon’s Blaine Reininger and more.

https://www.facebook.com/pages/Aksak-Maboul
https://crammed.greedbag.com/aksak-maboul
https://crammed.greedbag.com/thehoneymoonkillers

Canzoni d'amore del più vario tipo tratte dal repertorio di Family Fodder e raccolte in una speciale edizione in vinile a tiratura limitata: l'album è Just Love Songs, su etichetta Staubgold. Così ne illustra i contenuti Alig: "The 'kinds of love' here include: the love for a child, nostalgic love and imaginary journeys, love renewed and shared, love of animals, love of music, nostalgia, love in loss and memory, love in kinship across generations, poetic and physical loving, love of the unknown or unfamiliar and the desperate love of needing."

Family Fodder was originally formed in 1979 by Alig Pearce - with a cast of thousands over three decades. They emerged from the melting-pot of 70s/80s London alongside This Heat, The Flying Lizards, The Pop Group, Slits and many others. The original formula consisted of psychedelic and new wave influences, incisive song-writing, improvisation, experiment and far-out dub mixing. They always managed to evade major exposure, but influenced generations of bands on five continents. Family Fodder was often more at home in the studio than on-stage, but completed several European tours as well as cherished performances in their native London. The group released a series of compelling, now collectable singles and albums between 1979 and 1983. "Their music was generally playful, a hint of dub and reggae mixed with absurd, blissful pop, with synthpunk and sometimes experimental instrumentation. Most of the lyrics were also sung in French, courtesy of original vocalist Dominique Levillain, a combination rumored to be of some significant influence over Stereolab." (Systems of Romance)

http://familyfodder.co.uk

https://www.facebook.com/familyfodder

http://www.staubgold.com/en/album/145/just-love-songs

https://soundcloud.com/rebootfm/2014-05-24-staubgold

https://soundcloud.com/staubgold/family-fodder-deja-deja-vu

Terzo capitolo di una sceneggiatura noir costruita lungo trame musicali oblique e inquietanti come in un poliziesco di Chandler o Hammett. Dopo City of Nets e Crimeways, ecco Pitfall, nuova autoproduzione per The Remote Viewers, sempre in formazione estesa a settetto: David Petts e Adrian Northover con Caroline Kraabel, Sue Lynch, Rosa Lynch-Northover, John Edwards e Mark Sanders.

http://theremoteviewers.com

Un pomeriggio di settembre, l'anno scorso. Luciano Margorani e Elaine Di Falco insieme, dov'è di casa l'arte. Meraviglie.

https://www.facebook.com/luciano.margorani
https://www.facebook.com/elaine.difalco.9

Tornano a Trento gli omaggi di Sonata Islands a Magma e Coltrane (Sonata Islands Kommandoh) e al pop-rock eterodosso giapponese dei primi anni Novanta (Sonata Islands Nippon Eldorado) con due concerti consecutivi - ripresi dal vivo in vista di future pubblicazioni ufficiali - oggi e domani presso il Teatro Sanbàpolis. Inizio alle ore 21.00.

http://www.trentinojazz.com/styled-3/index.html

Il compleanno privato è stato ad aprile ma i festeggiamenti in pubblico cominciano oggi: ogni sera per una settimana intera Evan Parker si offre generosamente ad amici ed estimatori alternando concerti al Cafe Oto e al Vortex, a due passi uno dall'altro nel cuore di Dalston, a Londra. E sulla torta dei settant'anni la ciliegina la mette Otoroku, promettendo per dicembre la ristampa in vinile in copia conforme dello storico The Topography of the Lungs - Parker con Derek Bailey e Han Bennink -, album che nel 1970 diede il via alle autoproduzioni Incus. Auguri!

Evan@70

Monday October 20 - Cafe OTO

Evan Parker + The Necks 

Tuesday October 21 - The Vortex

Evan Parker / Chris Corsano / John Edwards (trio)

Evan Parker / Joe McPhee (duo)

Evan Parker / Chris Corsano / Joe McPhee / John Edwards (quartet)

Wednesday October 22 - Cafe OTO

Evan Parker + AMM (John Tilbury & Eddie Prévost)

Thursday October 23 - The Vortex

Evan Parker with Black Top (Pat Thomas & Orphy Robinson)

Evan Parker / John Edwards / Steve Noble

Friday October 24 - Cafe OTO

Evan Parker / John Edwards / John Russell

Saturday October 25 - The Vortex

Trance Map Quartet with Matt Wright computer and turntables/Hannah Marshall cello/Barry Guy bass

Sunday October 26 - Cafe OTO

Evan Parker Electro-Acoustic Ensemble

Evan Parker is one of the great saxophone players, pushing the instrument into uncharted waters since his emergence in the late 1960s. To mark his 70th year, Parker curates a week of performances at the Vortex and Cafe Oto, performing with some of the artists he’s worked so closely with over the years. Both venues are close to Parker’s heart, having built reputations as spaces where musicians can experiment and take risks, and for this week they present a very special programme of concerts on alternating nights.

“Can you think of a better saxophone player? I can’t. He is a giant.” (Robert Wyatt)

http://www.vortexjazz.co.uk/series/evan-parker-70
http://cafeoto.co.uk/programme.shtm
http://otoroku.cafeoto.co.uk/products/535262-pre-order-evan-parker-derek-bailey-han-bennink-the-topography-of-the-lungs-vinyl-lp

Nella sezione Brief Encounters del suo blog Rant & Dawdle, William E. (Bill) Smith scrive del trombonista inglese Paul Rutherford, scomparso nel 2007, e di una delle sue più importanti formazioni, Iskra 1903. Con un vivido ricordo della primissima volta che lo sentì suonare, al Little Theatre Club londinese, una sera d'autunno del 1966: "Back then there was a plethora of pub back rooms where jazz could be heard, but it was up four flights of narrow stairs – delayed by a pint of best bitter in the tiny lobby bar – into the Little Theatre Club, hidden away from the hustle of the city in St. Martins Place, that we chose. Here we experienced a startling new form of music based entirely in improvisation, on the quick-witted dexterity of co-operative players. The home of the Spontaneous Music Ensemble, a group conjured up from the imagination of three chums; drummer John Stevens, saxophonist Trevor Watts and Paul Rutherford. Paul’s trombone was playing full of unimaginable sounds, unorthodox techniques never before witnessed; vocalizations, circular breathing, multi-phonics, all integrated into a gutsy dixieland brawling. What a night it turned out to be, discovering that jazz was once again travelling a new path, inspired in part on concepts developed by Ornette Coleman toward the end of the previous decade. The shape of jazz to come with an English accent."

http://tinyurl.com/iskra1903
http://efi.group.shef.ac.uk/mrutherf.html
http://www.emanemdisc.com/cd-rutherford.html

Circolano da sempre tra appassionati e collezionisti di jazz, e spesso affiorano anche sul web - in ordine sparso, magari a richiesta dei lettori - presso qualche blog specializzato: sono le registrazioni effettuate dalla radio tedesca Norddeutscher Rundfunk nel corso di numerosi incontri tra musicisti locali e internazionali, laboratori musicali, sessioni didattiche, prove e concerti aperti anche al pubblico promossi fin dalla fine degli anni Cinquanta con il nome di NDR Jazzworkshop. Alcune registrazioni sono all'origine di importanti documenti ufficiali - Cuneiform Records ad esempio ne ha tratto preziosi materiali per album di John Surman e Soft Machine - mentre altre verranno certamente valorizzate e portate alla luce in futuro. A suo tempo Michael Frohne aveva cercato di tener nota delle principali sessioni occorse nei trent'anni dal 1958 al 1988, tempo nel quale la serie divenne anche televisiva: la sua lista, provvisoria, è in http://tinyurl.com/kmtv9hq.

In questi giorni Inconstant Sol recupera l'episodio n. 41, quello del 29 ottobre 1965, con registrazioni della Jazz Composer's Orchestra effettuate allo Studio 10 della Grosser Sendesaal des NDR Funkhauses ad Amburgo. Con i fondatori dell'Orchestra - Michael Mantler e Carla Bley - c'erano Steve Lacy, Prince Lasha, Hans Koller, Ronnie Ross, Attila Zoller, Paul Bley, Kent Carter e Barry Altschul, al lavoro su brani di Michael Mantler, Carla Bley e Annette Peacock.

The famous avantgarde composer Rolf Liebermann and Hans Gertberg started this serie in 1958 and tried a new setting as several days rehearsals for new arrangements of the musicans who took part and a final concert for radio and/or TV. The invited more or less famous jazz musicians were brought together with top rhythm groups from Europe. Special events like the Ruhrfestspiele Recklinghausen or the Funk- und Fernseh-ausstellung in Berlin and Frankfurt gave the opportunity for the public to get to know something about work inside radio. For seven years Vienna born tenor-saxophonist Hans Koller was the promoter for nowadays legendary meetings and after the death of Hans Gertberg the serie was produced by pianist Michael Naura.

http://de.wikipedia.org/wiki/NDR_Jazzworkshop
http://tinyurl.com/kmtv9hq
http://www.hans-bredow-institut.de/de/node/2283

http://inconstantsol.blogspot.com/2014/10/ndr-jazz-workshop-no41-carla-bley-jcoa.html

Bristol è a metà strada tra Canterbury e Swindon, stando alla mappa disegnata dagli Schnauser nel nuovo album Protein for Everyone, loro debutto per Esoteric Recordings. Merita controllare!

Protein for Everyone caustically details the nagging neuroses bubbling under the surface of everyday life and imagines a brave new world where you can sell parts of your anatomy to be processed into cheap tasty meat for easy cash. Occasionally melancholic and blackly humorous lyrics are wrapped in a musical blanket of odd time signatures; fizzing with lively energetic progressive arrangements that have a pop sensibility, luring you in with three part harmonies and earworm melodies before wigging out on an inappropriate glockenspiel and fuzz bass solo in 10/8.

http://www.schnauser.co.uk
https://www.facebook.com/SchnauserMusic
http://www.cherryred.co.uk/shopexd.asp?id=4808

Si tiene oggi all'Exploratorium di San Francisco una specialissima presentazione multimediale di uno dei capolavori assoluti dei Residents storici: Eskimo, con il supporto visivo e narrativo delle immagini create per la riedizione in dvd del 2002 e con il pieno utilizzo delle caratteristiche spaziali del Kanbar Forum e dell'effetto surround del suo leggendario impianto di amplificazione.

In this one-time-only event, The Residents’ groundbreaking album Eskimo is presented as a multichannel, 3D sound spectacular accompanied by the equally innovative visuals of their companion Eskimo DVD. A prolific and pioneering avant-garde collective, the Residents have released over 60 albums and developed an extensive catalog of multimedia and performance art projects over the course of their 42-year career.
As a project The Residents' Eskimo has a curious and varied history. Since the primary interest of the group was the presentation of a highly mythological ethnic culture, they preferred to invent their own romanticized version of “primitive” music. In addition, the ultimate form they chose for the album was “music concrete,” using sound to tell stylized Inuit inspired stories. Consequently, it took The Residents four years of trial, error, serendipity and experimentation to complete the album, until, in 1979, the group was finally ready to release its epic sound recording.
Twenty years later, The Residents revisited the project using a different medium, releasing the Eskimo DVD in 2002. Ultimately considering Eskimo a sound-based work, the group felt its potential could be pushed even further, and approached the Exploratorium with the idea of presenting Eskimo in the Kanbar Forum. By digitizing the original, multi-track tapes and playing the album through the Forum’s 99-speaker Meyer Sound Constellation system, they knew it would be heard as never before. And it will. Accompanied by visuals originally created for the Eskimo DVD, The Residents’ most unique and innovative album will surround listeners with the swirling sounds of whales, whirling harpoons, dancing spirits, and chilling arctic winds. Bring a blanket. Please note: The Residents will not be performing in person at this event.

http://www.exploratorium.edu/visit/calendar/off-the-screen-october-16-2014
https://www.facebook.com/TheOfficialResidents
http://www.residents.com/historical4/classic/page15/page15.php

Opera tra le più classiche dei Magma, e momento particolarmente drammatico nelle vicende del pianeta Kobaïa e dei suoi abitanti, Rïah Sahïltaahk torna in circolazione in cd, vinile e formato digitale nell'efficace versione offerta dall'attuale ottetto, ripresa in studio così come riproposta nei concerti degli anni più recenti. In origine era sull’album 1001° Centigrades, il secondo del gruppo, inciso nel 1971 quando in formazione con Christian Vander c'erano Klaus Blasquiz, François Cahen, Francis Moze e i tre fiatisti Teddy Lasry, Yochk'o Seffer e Louis Toesca.

Rïah Sahïltaahk, ce kobaïen parti après les autres malgré leur désapprobation, s’estimait supérieur et pensait pouvoir convertir les ennemis de Kobaïa à l’esprit kobaïen. Il échoua, et partit seul vers Kobaïa. Sur la planète-étape symbolique, Malaria, il devra affronter les éléments en furie qu’il s’imagine pouvoir dominer. Son vaisseau pratiquement englouti, il devra finalement les implorer… en vain. Il disparaitra. Noyé, balayé par les éléments en transe. Après le bruit…le silence. A l'aube, seul subsiste l'océan enfin apaisé, qu'éclairent les doux rayons du soleil en ce jour nouveau.
La version originale de Rïah Sahïltaahk fut enregistrée en 1971 et figure sur l’album 1001° Centigrades. Christian Vander, le compositeur, ne s’estima pas, à l’époque, satisfait par l’arrangement écrit par le groupe. Cette nouvelle version totalement revisitée, adaptée à la formation d’aujourd’hui et à ses voix lyriques, est bien plus fidèle à l’esprit de la musique de Magma et à sa couleur inclassable!

http://www.seventhrecords.com/index.html

http://v2.seventhrecords.com/magma-19/1001-degres-centigrades-nouveau-livret-avec-texte-inedit-et-paroles-57.html

I sassofonisti Sylvain Rifflet e Jon Irabagon rincorrono lo spirito e le visioni musicali del poeta di strada Louis Thomas Hardin (cioè Moondog) con un progetto multimediale presentato da Jazz Village in doppia versione audio e video: Perpetual Motion.

Moondog, compositeur épris de musique médiévale, clochard céleste proche de Charlie Parker, pionnier des samples et du minimalisme, a fait partie des génies méconnus du XXe siècle. Ce Viking de la sixième avenue a hanté l’asphalte jungle new-yorkaise et les esprits de l’époque, transcendant les chapelles musicales: Arturo Toscanini, Leonard Bernstein, Janis Joplin, Allen Ginsberg, Philip Glass ou encore Terry Riley l’ont ainsi fréquenté. Si le surréaliste personnage a quitté le monde des vivants, son âme habite toujours nombre de musiciens. C’est sur ce terrain que se place Perpetual Motion, la création-événement conçue par Sylvain Rifflet avec son confrère saxophoniste américain Jon Irabagon, qui convie son brillant quartet Alphabet, la pianiste Eve Risser, et même deux chorales de collégiens de Bobigny. L’enjeu: réinvestir la musique de Moondog. Un pari passionnant et totalement abouti.

https://www.facebook.com/jazzvillagemusic/posts/789352181128053
http://www.discogs.com/artist/263532-Moondog-2

Una nuova edizione di Plectra and Percussion Dances, uno dei cicli musicali più ritmici e gioiosi nell'intera produzione di Harry Partch, ripristina parti sostanziali assenti nelle prime registrazioni, quelle di inizio anni Cinquanta, divenute punto di riferimento obbligato per ogni successiva interpretazione: la cura l'etichetta indipendente Bridge Records, specializzata in classica contemporanea. C'è anche un commento parlato dello stesso Partch, raccolto in occasione della prima diffusione radiofonica del lavoro, nel 1953.

The Plectra and Percussion Dances (1952) are the first of Partch's major works to be wholly instrumental in conception. They stand in relation to Oedipus as a satyr play in relation to a Greek tragedy-hence the work's subtitle, Satyr-Play Music for Dance Theater. He felt that after the prolonged period of composition and production of Oedipus it was "almost a necessity to give vent to feelings and ideas, whims and caprices, even nonsense, that seem to have no place in tragedy." These pieces are in a sense all-rhythm and tend toward a swinging, percussive approach that makes the music's unusual harmonic properties easy to digest. Castor and Pollux were later re-recorded for CBS and are among Partch's signature pieces; Ring Around the Moon, Even Wild Horses, and Ulysses at the Edge (written for Chet Baker, but never played by him) are considerably more obscure and appear complete for the first time, having been edited somewhat for the original Gate 5 LP releases.

http://www.bridgerecords.com/products/harry-partch-plectra-and-percussion-dances

Risale a cinque anni fa ma esce solo ora dagli studi di registrazione The Natural Order, primo discorso a quattr'occhi tra Fred Frith e John Butcher, riportato nell'ordine del suo svolgersi. Lo diffonde l'etichetta indipendente Northern Spy, erede a Brooklyn dell'ESP-Disk.

Guitarist Fred Frith and saxophonist John Butcher are titans within the world of improvised music. Over the last four decades, each of these two men has permanently altered the way in which his instrument is heard: Frith with his (at times literal) deconstruction of the electric guitar, and Butcher with his exploration of the physical properties of sound and extended playing techniques. Though they’ve played live together a few times, The Natural Order, recorded in 2009 and mixed in 2012, documents Frith and Butcher’s first head-to-head encounter in a recording studio. The album is as pure a document as possible: recorded in a single stretch, with no overdubbing, the 10 tracks appear here in the order of their creation. It captures a single hour of unmediated interaction between two restless, creative spirits determined to make every moment with their respective instruments count. It’s not jazz, it’s not rock, it’s not noise: it’s pure music, the product of two men in one place at one time, unique and unrepeatable.

Northern Spy is a Brooklyn-based independent record label formed by former staff of the legendary ESP-Disk’ imprint. As an artist-run label, Northern Spy shines the light on musicians who are tenacious, forward-thinking and making devil-be-damned fine music, while finding substance in the disparate worlds of free improvisation and popular music.

http://www.fredfrith.com

http://www.johnbutcher.org.uk
http://northernspyrecords.com/music/the-natural-order
http://blurtonline.com/news/fred-frith-john-butcher-team-natural-order

Si è tenuta lo scorso luglio a Vinhais (Portogallo) la prima edizione di una biennale artistica dedicata alla memoria di Jorge Lima Barreto, pianista, musicologo e compositore di spicco dell'avanguardia concettuale portoghese, scomparso tre anni fa; fu animatore e fondatore di Anar Band, Associação Conceptual de Musica, Zul Zelub e Telectu, quest'ultimo il suo gruppo probabilmente più noto - anche sulla scena della musica di improvvisazione - grazie alle frequenti collaborazioni internazionali, per esempio con Elliott Sharp, Chris Cutler, Sunny Murray, Jac Berrocal e Carlos Zíngaro. Ai tre giorni di musica, conferenze, mostre e presentazioni è intervenuto tra gli altri anche Cutler, con un concerto in trio con Vitor Lua, partner di Barreto in Telectu, e Jonas Runa: ve n' è testimonianza su YouTube.

O município de Vinhais promove a primeira bienal Jorge Lima Barreto, em homenagem ao músico natural do concelho transmontano com concertos, conferências, exposições e a presença de artistas que acompanharam o seu percurso. Jorge Lima Barreto morreu em 2011 aos 61 anos e foi fundador dos Anar Band, com Rui Reininho, Associação Conceptual de Musica e o Anar Jazz Trio, com Carlos Zíngaro e António Pinho Vargas, o Telectu, com Vítor Rua, e Zul Zelub, com Jonas Runa. Destacou-se, também, pelas correntes musicais desenvolvidas em torno da música minimal repetitiva, experimental e eletrónica, como conferencista, jornalista e pela vasta obra discográfica e bibliográfica publicada, como recorda o município transmontano. Com o lema “Arte é vida e vida é arte”, durante três dias, a pequena vila do Distrito de Bragança vai assistir, no Centro Cultural Solar dos Condes de Vinhais, a conferências, concertos/performances e workshops, com músicos e performers nacionais e internacionais que acompanharam Jorge Lima Barreto ao longo do seu percurso musical nas várias digressões mundiais. Entre as presenças anunciadas encontram-se Vitor Rua, Jonas Runa, Luís San Payo, Chris Cutler, Dwart, Kersten Glandien, Ilsa d’Orzac, Manoel Barbosa, Ana Borralho e João Galante.

http://www.discogs.com/artist/507682-Jorge-Lima-Barreto
http://www.publico.pt/culturaipsilon/noticia/morreu-o-musico-jorge-lima-barreto-1502125
http://jazz.pt/breves/2014/06/29/jorge-lima-barreto-recordado-em-vinhais
https://www.youtube.com/user/MrAcusticologia/videos
https://www.facebook.com/telectu

Alla pagina YouTube di radiosjohn ci sono alcuni brani tratti dalla conversazione di Robert Wyatt e Marcus O'Dair tenuta a Bristol (Regno Unito) lo scorso 26 settembre per la serata inaugurale di Off the Page. I due saranno nuovamente insieme il prossimo 23 novembre a Londra, alla Queen Elizabeth Hall, per una presentazione pubblica del libro Different Every Time.

https://www.youtube.com/user/radiosjohn/search?query=arnolfini
http://www.southbankcentre.co.uk/whatson/an-evening-with-robert-wyatt-87546

Stampe delle due celebri immagini di copertina create da Alfreda Benge per gli album di Robert Wyatt Rock Bottom e Ruth is Stranger than Richard saranno prodotte e distribuite il mese prossimo in una speciale edizione di soli cento esemplari autografate entrambe da Alfie e Robert. Hypergallery a Henley-on-Thames, nell'Oxfordshire (Regno Unito), ne offre già qualche copia in anticipo e a prezzo, ehm, amichevole: informazioni in http://www.hypergallery.com.

http://www.hypergallery.com
http://www.hypergallery.com/product/show/568/Rock%20Bottom
http://www.hypergallery.com/product/show/569/Ruth%20Is%20Stranger

Il plenilunio stanotte segna una pausa nelle pubblicazioni presso Canterbury sans frontières. Lo annuncia l'autore, Matthew Watkins, presentando il ventesimo - e per ora ultimo - episodio della serie: "This will be the last episode for a while (hopefully the series will be back at some point in 2015). Featuring some classic live Soft Machine (and Soft Head), an hour of selections from Brian Eno's "Ambient" album series, various ex-Kent University students making splendid sounds, Ivor Cutler, Lindsay Cooper, Caravan, Gong, King Crimson, Syd Barrett and two Archbishops of Canterbury (one in a musical encounter with Robert Wyatt!)."
Rimangono fortunatamente disponibili in archivio anche i ventotto episodi della serie precedente, Canterbury Soundwaves, sempre curata da Watkins.

http://canterburywithoutborders.blogspot.co.uk
http://canterburysoundwaves.blogspot.co.uk

Philip Corner legge Satie prendendosi tutto il tempo del mondo. E fa benissimo! Satie Slowly, 2cd per Unseen Worlds.

"Perhaps the time for Erik Satie has really come at last. Even decades ago his music was part of a coffee commercial, there were synthesizer arrangements, new age versions, he was loved especially for his lyric wonder, the first of the "Gymnopedies". But in the deepest caverns of the canon-creating machine he was an important precursor of the impressionists more than a force in his own right. All that changed, slowly. John Cage's "Cheap Imitation" and his championing of Satie in general certainly helped. The marathon performances of the potentially endless "Vexations" and the recognition of that and his "Furniture Music" as the first minimalist works perhaps did as much or more. And now in a world where post-modernism and radical tonality seem to connect often enough to Satie's original sense of untraditional tonal works, all that seems to have brought him even further to the front as a father of the music of today. His fabulously eccentric music turns out to be much more avant garde than we realized, even if it has taken 100 years for us to get there.  Philip Corner's two-CD set of Satie's piano music, Satie Slowly (Unseen Worlds UW 12) brings us further revelations. Maestro Corner has chosen some of the very familiar pieces but also some traditionally seen as a bit more "problematic". He takes them all at a crawl, very slowly, and it turns out we hear the music anew." [Gapplegate Classical-Modern]

http://www.unseenworlds.net/releases/satie-slowly
http://composers21.com/compdocs/cornerp.htm

Ne hanno rinviato l'uscita tante di quelle volte che quasi non par vero: sarà pronto tra qualche settimana l'album dei Testbild! dedicato alle eroiche cagnette cosmonaute Belka e Strelka, quelle che trascorsero una giornata nello spazio a bordo dello Sputnik per tornarsene sane e salve sulla Terra a fine missione. Era il 19 agosto 1960: "The 19th of August 1960 two Russian stray dogs were sent up in space. Less than 24 hours later they became the first Earth-born creatures to go into orbit and return alive, hailed as radiant animal super heroes. Their names were Belka and Strelka."
Nell'attesa, per Freccia e Scoiattolo c'è un brano in anteprima su SoundCloud: No More Rainy Days. Дамы и Господа!

http://www.testbild.org
https://soundcloud.com/kalligrammofon/testbild-no-more-rainy-days-in-outer-space

E se a metter mano alla collezione di dischi di John Peel cominciasse per primo Joe Boyd?

The John Peel Archive is to begin exploring the cultural context of what lies on the shelves, as we delve deeper into John’s treasure trove with the help of key figures involved with the music. The Record Box format will allow their musical selections to be heard and stories told - like a kind of Super Mixtape with the curator’s scribbles splashed around the casing of our virtual D90s.

These Record Boxes form the foundation of our vision to create 1,000s of interrelated Record Boxes - openly compilable by anyone - spanning the knowledge and everyday experiences of the diverse musical history that has come to define a nation’s counter-cultural identity.
John Peel introduced the world to a huge diversity of music at a time when few DJs had the freedom to play their own records. His choices can be heard in the enduring popularity of the once left-field artists he championed (Pink Floyd, David Bowie, The Specials, Kraftwerk, The Smiths, Pulp, etc, etc) in a career spanning nearly 40 years. Few knew that the pieces of plastic which brought revolution to the ears of a nation were being meticulously kept by John himself, amassing an incredible collection covering genre redefining LPs and moments of mass enlightenment - such as his controversial playing of Hip Hop and introduction of Reggae & Punk to UK audiences - or introducing electronica to the virgin ears of the 1970s public. The influence these records had is doubly so when hearing of later artists citing John’s show as the foundation of their own creative journeys. Hopefully by opening up the collection the general public can once again discover some amazing gems that fire their own creative spark.

The first of the 6 Record Boxes commissioned by The Space will be compiled by Joe Boyd.

http://www.johnpeelarchive.com
http://www.johnpeelarchive.com/boxes.html
http://www.joeboyd.co.uk

Questa sera a Roma negli spazi di Blutopia (via del Pigneto 116) Pino Saulo e Antonia Tessitore di Battiti guidano una conversazione con Hazel Miller e Riccardo Bergerone in occasione del quarantesimo anniversario della Ogun Records, etichetta discografica fondata dal contrabbassista sudafricano Harry Miller con Hazel, sua compagna, allo scopo di documentare la musica prodotta dall’incontro tra il jazz sudafricano esiliato a Londra nei primi anni settanta e la crema del jazz d’avanguardia britannico. A tanti anni di distanza, grazie al lavoro della Miller e nonostante la scomparsa di molti dei musicisti di riferimento, la Ogun continua la sua impresa di documentazione e diffusione dell’opera di una grande comunità musicale e sociale.
Completano la presentazione - dal titolo Union Special - una mostra del catalogo Ogun curata da Roberto Corinaldesi e Fabrizio Spera, un'antologia video, foto inedite e selezioni musicali. Inizio alle ore 19.30.

http://www.blutopia.it/2014/09/blutopia-incontri-celebrazioni-hazel-miller-40-anni-di-ogun-records

Nel ricordare Jacques Thollot - "poète des drums", a detta di Maurice 'Siné' Sinet, il disegnatore più sexy al mondo - a pochi giorni dalla scomparsa, il blog della nato Le Glob riprende un'estesa conversazione tenuta dal batterista vari anni fa con Jean-Jacques Birgé et Raymond Vurluz e apparsa su un antico numero di Les Allumés du Jazz: "Héros du free jazz malgré lui, batteur chantant, compositeur la tête dans les étoiles, Jacques Thollot joue sur tous les temps, les marques et les démarques. Le dessinateur Siné disait de lui qu’il était le "poète des drums". Éclipses et résurgences s’enlacent, s’embrassent et s’embrouillent dans le parcours unique d’un musicien sans pareil. Il projette les mille éclats d’un chant en quête d’infini, une musique impressionniste qui cherche à voir, sentir, rêver, comprendre."

http://fr.wikipedia.org/wiki/Jacques_Thollot
http://www.nato-glob.blogspot.it/2014/10/jacques-thollot-lart-de-la-fugue-in-les.html
http://culturebox.francetvinfo.fr/musique/jazz-blues/deces-du-batteur-jacques-thollot-191519
http://www.natomusic.fr/artisans/jazz/artisans-detail.php?id=80
http://drame.org/blog/index.php?2014/10/03/2943-disparition_jacques_thollot

L'etichetta Sub Rosa ripubblica - in un'edizione a tiratura limitata, in doppio vinile multicolore - l'antologico Relaps compilato su cd nel 2009 dalla Cuneiform Records visitando gli archivi live degli Univers Zero degli anni 1984-1986, grosso modo tra Uzed e Heatwave. L'epoca è quella immediatamente precedente la lunga interruzione delle attività del gruppo belga, protrattasi da metà anni Ottanta fin quasi al termine degli anni Novanta.

First limited edition on solid blue, black and clear mixed vinyl. Founding members of the original 'Rock In Opposition' [R.I.O.] movement and the inventors of 'Chamber Rock', mythic Belgian band Univers Zero have continued to change and grow and develop over their entire career, while still keeping a ensemble sound and spirit that is easily recognizable. These recordings were unavailable before as LP format. Longstanding Belgian chamber rockers and avant-garde pioneers led by drummer/composer Daniel Denis, Univers Zero was formed in 1974 with co-composer and guitarist Roger Trigaux (who left
the band in 1980). This double-LP documents the final 1980s line-ups before the band's long sabbatical from recording and touring. Despite many line-up changes over the years, their overall sound remained fairly consistent.

http://www.univers-zero.com/albums/relaps2009.htm

http://www.subrosa.net/en/catalogue/soundworks/univers-zero-relaps.html

http://www.cuneiformrecords.com/bandshtml/Univers.html

Prosegue presso l'emittente catalana non-profit Ràdio Web Macba, emanazione del Museu d'Art Contemporani di Barcellona, la pubblicazione dell'eccellente serie Probes, un'acuta indagine nei linguaggi della musica contemporanea curata e prodotta da Chris Cutler. Proposti all'ascolto nel più recente episodio - il nono, dedicato principalmente a fiati e percussioni - ci sono esempi dal lavoro di Evan Parker, Roscoe Mitchell, Luciano Berio, George Crumb, Alvin Lucier, Rahsaan Roland Kirk, Pharoah Sanders, Sun Ra Arkestra, John Zorn, John Butcher, Bob Drake, Tim Hodgkinson e molti molti altri.

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. Probes #9 looks at some of the more oblique and extreme performance techniques applied to wind instruments and percussion.

http://rwm.macba.cat/en/curatorial/probes-9-1-chris-cutler/capsula
http://rwm.macba.cat/uploads/20140930/Probes9_eng.pdf