30 novembre 2020

 

Viene presentato ufficialmente oggi pomeriggio nella rassegna di podcast Jazz South Spotlight il brano Says The Duke (remembering Duke Ellington) cui hanno lavorato nei mesi scorsi - in modalità da remoto - Kate Westbrook e la sua Granite Band, con Roz Harding, Jesse Molins, Matthew North, Billie Bottle, Coach York e naturalmente Mike Westbrook. Il brano, un blues eterodosso di una ventina di minuti circa, sarà accompagnato da una breve conversazione di Kate con il curatore della serie, Kevin Le Gendre, per essere poi disponibile integralmente tramite Bandcamp.

Scrivono Kate e Mike: "At a time of crisis, public or personal, a jazz musician will often turn to the blues. Duke Ellington once said, when asked how he dealt with the problem of racism “I write another blues”. The threat of Covid-19 led to the cancellation of all our performances, including a tribute to Ellington at Ronnie Scotts on his birthday, April 29th. In response to the situation, we were given by Jazz South the opportunity to write and record a new piece for the Granite Band. We decided to follow Duke’s example and ‘write another blues’. Says the Duke is not a blues in any conventional sense. It does not break down into the familiar 12 or 8 bar choruses. In fact the basic ‘chorus’ is 88 bars long. Yet it is faithful to the mood and spirit of the blues. The lyrics of Says the Duke evoke our memory of the Ellington Orchestra’s final concert in London, at the Rainbow in 1973. Cootie Williams, Paul Gonsalves and Harry Carney were still there and in great form. In our piece there are quotes from the Duke himself, references to his compositions and name-checks for his legendary musicians."

https://www.westbrookjazz.co.uk/katewestbrook/saystheduke.shtml
https://katewestbrook.bandcamp.com/says-the-duke
https://jazzsouth.org.uk/jazz-south-spotlight-a-podcast-series

29 novembre 2020

 

Una puntata di Battiti interamente dedicata a Keith Tippett: Mujician!

28 novembre 2020

 

Prima un ripasso generale - se ne incarica Ted Hayton - e poi un approfondimento specifico (Drizzle Cloaks): per il loro seminario a distanza Dave Stewart e Barbara Gaskin propongono questo mese una ripresa di Star Clocks, con un saluto di incoraggiamento ad allievi e studenti: "...hope you're keeping well and fending off the winter chill, germs, boredom, conspiracy theorists, mendacious politicians, alien invasions and other undesirable items...".

https://www.davebarb.com

27 novembre 2020

 

La pubblicazione dei video tratti dai concerti tenuti al Vortex londinese il 6 gennaio 2019 in omaggio al compianto Phil Miller giunge ormai a compimento presso il sito Phil Miller-The Legacy. Per comodità di consultazione i video rimangono tutti accessibili individualmente, ma ora li si trova anche organizzati in duplice sequenza: Miserable Man, Fools Meeting, God Song, Underdub, Nowadays A Silhouette, Calyx e Hatfield Medley nella prima playlist, Eastern Region, Second Sight, Delta Borderline, Folk Dance, The Fox, Truly Yours, Green And Purple, Your Root 2 e Nan True’s Hole nella seconda. A Life in Music. Yeah.

26 novembre 2020

 

Un paio d'ore con le musiche di Ennio Morricone in un omaggio poco convenzionale proposto da Christophe Petchanatz (cioè Klimperei) e realizzato con il contributo di una miriade di amici e collaboratori, vicini e lontani: Tributes.

https://klimperei.bandcamp.com/album/ennio-morricone-tributes

25 novembre 2020

 

Disponibile via Bandcamp in forma leggermente diversa - e con diverso titolo, 7 Compositions - vede la luce anche in cd il nuovo affascinante lavoro dei Remote Viewers, Let The City Sleep, concepito e realizzato in tempo di pandemia con modalità e risultati sorprendenti anche agli occhi degli autori stessi: "These compositions began life as pieces written by Petts for various instrumental combinations, mostly focussed around reed instruments and double bass; in normal times we would have rehearsed these pieces with the allotted instruments, maybe played some concerts and then recorded. But, circumstances this year meant there was no way to get musicians together for rehearsals, much less perform concerts. And so the idea arose for Edwards to take the original scores as a starting point, re-work them using computer and electronic based sounds and arrive at different musical conclusions." Con David Petts e John Edwards ci sono Caroline Kraabel, Sue Lynch e Adrian Northover.

http://www.theremoteviewers.com
https://tinyurl.com/y5bffm7d
https://johnedwards.bandcamp.com/album/7-compositions

24 novembre 2020

 

Il concerto di metà febbraio al Cafe Oto londinese - all'epoca in cui i concerti vi si potevano ancora svolgere - offrì al gruppo l'occasione per ricomporsi dopo oltre ventisette anni di strade separate e carriere parallele. Da quell'incontro è tratto Bean Soup and Bouquets, album della Eddie Prévost Band pubblicato da Matchless Recordings: con Prévost sono Geoff Hawkins, Gerry Gold e Marcio Mattos.

https://www.cafeoto.co.uk/events/eddie-prevost-band-reunion
https://matchlessrecordings.com/music/bean-soup-and-bouquets

23 novembre 2020

Sarà il Cafe Oto con la sua Otoroku a rimettere in circolazione in copia conforme il box antologico che Incus produsse oltre trent'anni fa radunando i primi quattro album in solo di Evan Parker pubblicati dall'etichetta (Saxophone Solos, The Snake Decides, Monoceros e Six of One) più una scelta di brani inediti e un libretto di Paul Haines. Anche stavolta la tiratura sarà limitata: Collected Solos.

https://www.cafeoto.co.uk/shop/evan-parker-collected-solos
http://www.efi.group.shef.ac.uk/labels/incus/parkcoll.html

22 novembre 2020

 

Carla Bley dirige la Liberation Music Orchestra di Charlie Haden in uno splendido medley realizzato in video a inizio anno - ma diffuso solo ora - con tutti i musicisti in isolamento e a distanza: Time/Life per Ruth Cameron, vedova del compianto bassista, e We Shall Overcome.

https://tinyurl.com/yxbazfmc

21 novembre 2020

 

In attesa di una ristampa in vinile, il suo primo album - rarissimo, uscito in poche copie per l'olandese Apollo Records nel 1987 - riappare provvisoriamente via Bandcamp, e la prima a esserne sorpresa (e felice) è lei stessa, Shelley Hirsch: "Hooray!! Cleek Schrey put Singing, my first mostly solo record, up on Bandcamp. This very limited edition album got wonderful reviews when it was released long ago, on the Apollohuis Label (Netherlands), was sold out and is currently out of print. Have thought of having it rereleased on vinyl, but here it is for now. Me multitrack vocals and duos with David J. Simons and Samm Bennett."

20 novembre 2020

 

Forzatamente assente dalle scene dal vivo almeno fino a giugno 2021 ('and who knows if that is realistic') Fred Frith non fa però mancare la sua presenza nelle uscite discografiche presso varie etichette: oltre alla riedizione per opera dell'austriaca Klanggalerie dello storico French Gigs in duo con il compianto Lol Coxhill - aumentata anche rispetto alla precedente ripresa in cd da parte di Ayaa - c'è in vinile per la canadese Tour de Bras Fanfarissimo, un duo con Benjamin Vergara, e per la francese Eux Saem un quartetto con Clara Weil, Tom Malmendier e Anil Eraslan, This or Here and That. Via Bandcamp c'è anche Lock Me Up, Lock Me Down, un fugace incontro in trio con Sudhu Tewari and Cenk Ergün recuperato a sorpresa da quest'ultimo - con attualissimo titolo - a dieci anni dall'evento.

http://www.fredfrith.com

19 novembre 2020

 

Si tiene nella sola giornata di domani - in versione ridotta rispetto al progetto iniziale, e necessariamente in videoconferenza, dalle 9.00 alle 18.00 - l'atteso convegno sulla cosiddetta scena di Canterbury promosso presso l'Università di Strasburgo (Francia) con il titolo Soft Machine, Robert Wyatt et la scène de Canterbury: un regard différent sur le rock dans les années 1960 et 1970. Vi intervengono esperti e studiosi di varia età e nazionalità - tra questi Aymeric Leroy, Alberto Popolla, Marek Jezińsky, Vincenzo Caporaletti, Ruben Marzà, Jacopo Costa, e c'è anche John Greaves - impegnati a comporre in prospettiva multidisciplinare i diversi approcci musicologici, culturali, sociologici e letterari alla materia. Si può partecipare previa iscrizione tramite Zoom.

L'expression scène de Canterbury désigne un ensemble de groupes et de musiciens de rock, anglais pour la plupart, actifs à partir de la fin des années 1960 et pendant les années 1970. La ville de Canterbury, dans le Kent, fut le lieu où plusieurs des musiciens en question, encore adolescents, se rencontrèrent et commencèrent à collaborer; à partir de ce premier noyau, plusieurs groupes et projets musicaux se développèrent ici et là, tels que Soft Machine, Caravan, Gong, Matching Mole, Hatfield and The North, National Health, ou encore les premiers projets solistes de Robert Wyatt.

Du point de vue musical, la diversification stylistique des groupes de Canterbury est telle qu’il semble difficile de parler d'un véritable genre de musique unitaire: en effet, le rock ne représente qu'une koïné linguistique à partir de laquelle les artistes en question recherchent leurs propres langages, en passant par le psychédélisme et les montages sonores, en s'inspirant tantôt du free jazz, tantôt d'une écriture proche du minimalisme, ou encore en choisissant les chemins d'un songwriting pop teinté d'humour.

Les points communs de cette 'scène' (les guillemets s'imposent) sont à chercher plutôt en dehors des traits stylistiques proprement dits: tout d'abord dans l'existence d'un réseau de relations (humaines en premier lieu, puis professionnelles) entre ces musiciens, dont témoignent les nombreuses collaborations musicales transversales et qui a permis de les identifier comme un regroupement d'artistes plutôt unitaire. En second lieu, dans l'attitude des groupes et des musiciens de Canterbury généralement caractérisée par un understatement qu’on pourrait définir comme 'typiquement' britannique, qui les éloigne à la fois des postures flamboyantes des vedettes du rock, mais aussi de l'intellectualisme souvent affiché dans les contextes des musiques savantes 'contemporaines' et du jazz.

Ce colloque, dont les langues seront le français et l’anglais, se propose comme un moment de rencontre, de débat et d'approfondissement autour de cette scène de Canterbury. Les organisateurs envisagent de lui donner une dimension pluridisciplinaire qui permettra d’aborder autant les sujets proprement musicologiques ou musicaux que ceux relatifs aux aspects sociologiques, culturels, littéraires, voire économiques.

18 novembre 2020

 

Tali e tante le recenti novità acquisite sul fronte wyattiano - discografia, rassegna stampa, interviste, recensioni, materiali audio e video - che Jean-Paul Marillier ha voluto anticipare di qualche settimana l'aggiornamento periodico al suo meraviglioso sito web Une discographie de Robert Wyatt (anche tramite newsletter, la numero 50): http://www.disco-robertwyatt.com

17 novembre 2020

 

A festeggiare il compleanno di Alfreda Benge si è unita giorni fa anche l'Hypergallery di Henley-On-Thames (Regno Unito), facendo sapere di avere ancora a disposizione qualche speciale copia di Different Every Time autografata da Alfie assieme a Robert Wyatt. Sono rimasti anche alcuni esemplari delle stampe di Shleep, Dondestan, Comicopera e Alice in Wonderlands.

https://hypergallery.com/collections/alfreda-benge
https://hypergallery.com/blogs/profiles/alfreda-benge

16 novembre 2020

 

Altro celebre lavoro di Steve Reich di cui Boosey & Hawkes detiene la partitura è Variations for Winds, Strings and Keyboards (1979), indicato da Dale Berning Sawa - all'interno di un suo articolo per The Quietus sulle musiche ritenute più adatte per il lavoro da casa, anche in tempi di pandemia - come uno dei preferiti da Jonathan Coe: "The British satirist Jonathan Coe used to listen to music all the time while writing – unobtrusive early 20th century classical; ECM-style chamber jazz – but has recently found the quiet more conducive. "The perfect place to write," he said in an email, "is a train. I love the way the landscape rolls by outside the window, changing in ways which are subtle and slow but not too compelling. Something to look at if you need to, but which can also be ignored." The musical equivalent, and his all-time favourite piece to work to, is Steve Reich’s Variations for Winds, Strings and Keyboards."

15 novembre 2020

 

La partitura completa di uno dei lavori più celebri e più amati di Steve Reich, Tehillim (1981): l'ha pubblicata qualche settimana fa a scopo didattico Boosey & Hawkes, in occasione del compleanno del Maestro.

https://youtu.be/hf2qDuMyWHg

14 novembre 2020

 

Pensato e realizzato all'epoca di True False, e con esso in perfetta continuità, esce il nuovo eccellente Negativland, se possibile ancor più denso di interrogativi: The World Will Decide.

The mirror image sequel to last year’s True False, The World Will Decide turns the focus away from our very human inability to accurately define reality, and towards the technologies attempting to do a better job at it. But if sorting true from false seemed like a full time job back when all we had to keep track of was our own minds, life alongside the machines built to connect us only seems to multiply the uncertainties. On this album those uncertainties are made almost deliriously danceable: a netweb of densely sampled voices melting speech back down into music and back again, into what we can all agree are the real questions. Did that firefly really land on your finger? Is your food online? Does this app connect you to people, or replace them? Who owns your replica, and why are humans the ones now failing the Turing test? What’s entertaining about survival?

https://negativland.com/the-world-will-decide

13 novembre 2020

 

Ora che Kato Hideki li ha messi assieme - con un paio di aggiunte - sembrano quasi un album: sono i Singles in Mono di Plastic Spoon pubblicati uno al mese nell'arco dell'ultimo anno, in intesa con Karen Mantler, Doug Wieselman e Shahzad Ismailey.

https://katohideki.bandcamp.com/plastic-spoon-singles-in-mono

12 novembre 2020

 

Nel quinto volume di Vulneraries David Garland e il figlio Kenji incontrano Pamela Sitckney, accogliendo le aeree sonorità del suo theremin nelle cangianti trame prodotte dal loro sistema domestico - sintetizzatore modulare e chitarra a dodici corde - a beneficio della cara Anne: "Pamelia happened to be near my home in the Hudson Valley of New York State in June, 2019, during my wife Anne’s cancer treatments. As we’ve documented in the other volumes of Vulneraries, my son Kenji and I made music together during that period to help Anne and ourselves cope with what she was going through. While Anne rested and listened upstairs, Pamelia plugged her theremin into the connection between my modified 12-string guitar and Kenji’s modular synthesizer array so that both she and Kenji could resonate my strings, Kenji could influence and extend the guitar and theremin sounds, I could help color the timbres, and a unique musical interaction among the three of us became possible."

11 novembre 2020

 

La casa è grande e c'è posto anche per diversi ospiti: tra i primi Raoul Vignal, Caroline Gabard, Marc A. Huyghens e Laura Etchegoyhen.

https://cabanemusic.bandcamp.com

10 novembre 2020

 

In audiocassetta, limitatamente a cinquanta esemplari, è anche l'ultimo lavoro di Christophe Petchanatz consegnato a Tribe Tapes come KlimpereiPresque fini.

Tribe Tapes is honored to issue Klimperei's latest cassette, Presque fini. For over 30 years, Christophe Petchanatz (France) has used the alias of Klimperei to produce intricate, charming music that defies the conventions of genre. Avant-folk, minimalism, and toy-box music are all brought into the bigger picture. Presque fini was produced under the effects of quarantine and is a product of our times. Though the subject matter is serious, the music is never cynical. In the face of social isolation, Christophe has produced an incredibly human work. We hope too that the compositions on this tape bring you the same joy and optimism that they've brought us.

http://klimperei.free.fr
https://tribetapes.bandcamp.com/album/presque-fini

09 novembre 2020

 

Gunge al terzo volume la serie Truc di pubblicazioni tematiche in audiocassetta dedicata da MonsterK7 e InPolySons alle musiche più curiose, uniche e improbabili di questo mondo (e dell'altro). A curarlo è Pierre Bastien, con il titolo Instruments imaginaires

Pierre Bastien a construit son instrumentarium sous l’influence des imaginaires de Raymond Roussel et de ses Impressions d’Afrique. Pour Truc il a accepté de bâtir cette compilation sur les Instruments imaginaires, en se basant sur des descriptions de sons, de dispositifs sonores, voire d’instruments, imaginés par des écrivains. Il a ensuite invité des musiciennes et musiciens à imaginer à leur tour les sons produits par ces dispositifs inventés mais jamais réalisés.

http://inpolysons.free.fr/en/truc.html
http://inpolysons.free.fr/en/truc-10-bastien.html
https://compilationstruc.bandcamp.com/album/instruments-imaginaires

08 novembre 2020

 

A quarant'anni dal primo splendido Miniatures - e a venti dal secondo - esce tra pochi giorni un esteso omaggio a quella storica iniziativa di Morgan Fisher, con sua approvazione: oltre due ore di contributi, con un centinaio di musicisti coinvolti, molti dei quali presenti già nella prima raccolta. Un video promozionale - della durata anch'esso di un minuto - ne anticipa alcuni nomi, ma il curatore Barry Lamb ancora non si sbilancia: "I am so proud of everyone involved. This is a really engaging and compelling listen. That's a major accomplishment given the affection toward and cultural significance of the original album. It clocks in at what some us would remember in the old days as a triple album with over 100 musicians delivering 124 tracks of one minute (or thereabouts) each. So it's no mean feat to listen end to end in one sitting and be left wanting to hear more. Miniatures 2020 features a number of artists that were on the original and the much loved sequel along with many underground legends and celebrated cult figures. It is an eclectic collection of musical adventures with a heartbeat. There are moments of incredible beauty, stirring passion, heartfelt reflection, bizarre absurdity and plenty of quirkiness. Special mentions to Big Al Davies for instigating the project, William Hayter who has done a really outstanding job of sequencing the tracks in such a way that it almost tells a story very current and relevent to what is happening in our world, Chris Cutler for making it all possible through his excellent label RēR and of course... Morgan Fisher for allowing us and even urging us to run away with a significant piece of his musical legacy."

http://www.morgan-fisher.com/miniatures
https://youtu.be/2moh5nRlfnM

07 novembre 2020

 

Pienamente disponibile presso ReR, dopo l'incidente iniziale, il libro di Chris Cutler Not as We Choose: Music, Memory and Technology. Un gioiello.

In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality ,which overturned the certainties that had formerly underpinned the world of art music, and the invention of a revolutionary new form of memory - sound recording – which redefined musical practice in general and greatly empowered the world of popular music, in particular. These eight essays examine the impact of the new mnemonic system on musical production and perception, and investigate the continuing reconfiguration of our understanding of what music is, could be and is not as genres predicated on indeterminacy, or quasi-autonomous technologies - and novel forms such as sound-art, plunderphonics and soundscape - challenge and undermine our inherited paradigms. They also address the currently ambiguous status of intentionality, the reconfiguration of our understandings of locality and scale, the existential dangers of the loop, the obsolescence of the avant-garde, the ambiguity of plunderphonics and the role that evolutionary and ecological processes play in the morphogenesis of musical and post-musical sonic cultures.

05 novembre 2020

 

Altra interessante conversazione da seguire è quella di Louis Philippe con i curatori di Performative, diffusa in podcast la scorsa settimana. Si parla ovviamente anche del nuovo album Thunderclouds, realizzato con The Night Mail e in uscita tra pochi giorni per Tapete Records: "I have never done a record quite like this before, with a live band in the studio, though I had always wanted to do it."

Each episode we chat with a variety of performers and artists about their experiences, interests and thoughts on the industry that they work in. This week we chat to French singer, songwriter and journalist Philippe Auclair, known musically as Louis Philippe. Philippe is a regular contributor to the worlds biggest football podcast, The Guardian Football Weekly, but also an accomplished musician with a high profile career spanning several decades. We talked to Philippe about his upcoming album Thunderclouds, the magic of vinyl records, his dual careers as a musician and prominent sports journalist and the future of popular music. 

https://performativepod.buzzsprout.com/philippe-auclair-aka-louis-philippe

04 novembre 2020


Per saperne di più sull'amato Steve Beresford sarà utile e prezioso leggere le conversazioni tenute nel tempo con Andy Hamilton, ora raccolte in un corposo volume in via di pubblicazione presso Bloomsbury. Il titolo, Pianos, Toys, Music and Noise, non nasconde l'affinità con la festosa iniziativa che Unpredictable mise in cantiere lo scorso marzo al Cafe Oto, in occasione del settantesimo compleanno del Nostro. Che anche lì tenne una bella chiacchierata in pubblico, assieme a un'entusiasta Robert Worby: "Steve Beresford is a wonderfully imaginative and versatile improviser, composer and all-round musician. He has outstanding talent and skill that he has effortlessly employed in the myriad of musical situations in which he has found himself over the last few decades. He also has a wonderful way with words and his knowledge, about music in particular, reaches deep into unexplored corners."

https://www.bloomsbury.com/uk/pianos-toys-music-and-noise

03 novembre 2020

 

Quel che c'è da sapere per ora sul nuovo e ormai imminente album di Bob Drake, Planets and Animals, lo anticipa lui stesso: "Writing for this album started in Summer 2019, recording began in early January 2020. Aiming for a garage-ey, rockin' sort of album, energetic, scintillating, and uplfiting, I think it worked! A few friends who have heard it and commented upon it used the word "psychedelic", which is fine by me, because: psyche = "the soul or spirit", delos = "to become clear or visible". That sounds like "music" to me! Recording began before the covid pandemic, and as the madness of current events accelerated throughout the Summer, especially in the USA, it all made me even more determined to try to make an energetic, uplifting album, and I sincerely hope that after Nov 3, things will begin to take a turn for the better, and, that in any case, the music will help bring some happiness and joy, and a touch of the wild mysterious Universe we're part of."

02 novembre 2020

 

Tutto quello che c'è da sapere sulle sfide compositive ed esecutive di New Jerusalem - uno dei tanti capolavori della premiata coppia Stewart-Gaskin, in origine su The Big Idea (1990) - è rivelato in due recenti episodi dell'impagabile serie Inside the Music. Con dovizia di esempi, dimostrazioni e, per l'appunto, grandi idee.

https://www.davebarb.com/dsbgnewj01.html
https://www.davebarb.com/dsbgnewj02-a.html

01 novembre 2020

 

E dal cubo al box il passo è breve...