E' ancora al fantasmagorico Cuff Clout (Voiceprint, 2004) di Kate Westbrook che attinge la splendida serie settimanale del WestbrookJazz Moving Picture Show, con due dei momenti clou dello spettacolo rappresentati oggi da Toad's Washerwoman e One Cezanne Apple la prossima settimana. 

Dell'album scrisse all'epoca Frank-John Hadley per Downbeat: "British vocalist Kate Westbrook has a gift for music theater. Updating early 20th-century English music hall on Cuff Clout, Westbrook sets her witty and eccentric texts to bold and fascinating genre-crossing music composed by eight collaborators, including her husband Mike Westbrook, Chris Biscoe, Lindsay Cooper and Barbara Thompson. Maintaining a wicked edginess in her rich, limber voice, she skewers the memory of the millionaire inventor of barbed wire on "Glidden" and plumbs a gloomy, stately mood on the striking piano-and-voice ballad "My Lazy Goodheart," where her emotional timbre suggests blood ties to Marianne Faithfull. John Winfield is one hell of a lead singer, too, playing the part of a jailbird's confederate to the hilt in "Toad's Washerwoman" and wrenching cryptic meaning out of the words to "The Riddle." Together, Westbrook and Winfield embark on a cosmic journey singing the terrifically daft "Oceans, Straits, Currents & Seas" - think Edward Lear, Lewis Carroll, Lord Byron and private eye John Shaft sharing a pickle jar full of LSD. Kate's Skirmishers band performs with a deft touch, whether sounding like an old strip joint combo on "Toad's Washerwoman" or enshrouding "One Cezanne Apple" with a Third Stream funereal air. Getting comfortable with Westbrook's "neoteric music hall" may take some work but it's worth it."

https://www.westbrookjazz.co.uk/katewestbrook
https://www.westbrookjazz.co.uk/pictureshow
https://www.westbrookjazz.co.uk/katewestbrook/cuffclout

 

Gyan Riley è anche uno dei tre narratori di Parables, nuovo episodio tutto chitarristico per le musiche di John Zorn. Con Julian Lage e Bill Frisell.

This newest CD of Zorn compositions performed by the remarkable all-star guitar trio of Bill Frisell, Julian Lage and Gyan Riley is inspired by the ancient tradition of story telling as spiritual lesson. Drawing upon Sufic, Hebrew and secular traditions, Parables is a unique collection of compositional miniatures blending folk, classical, jazz, bluegrass, world music and more. Featuring seductive moods, driving rhythms and thought provoking twists and turns, this is a charming and adventurous program of music performed by three of the most distinctive guitarists around.

http://www.tzadik.com

 

E pieno di omaggi è il nuovo album di Gyan Riley - rivolti al papà Terry, a Zorn, ai maestri Julian Bream e David Tanenbaum tra gli altri - realizzato tra le mille difficoltà causate dalla pandemia, non senza però derivarne anche qualche aspetto positivo: "New experiences, lessons learned, skills acquired, creative solutions, and adaptation inspired by necessity." Silver Lining, su etichetta Tzadik.

http://gyanriley.com
https://gyanriley.bandcamp.com/album/silver-lining-2

 

Altro e ben più corposo omaggio a uno dei protagonisti (anche) di quella stagione è la due giorni tippettiana che si sta programmando sempre più in dettaglio per inizio ottobre a Bristol (Regno Unito): A Celebration of Keith Tippett.

A two day celebration of Keith's musical life will take place on Friday 1st and Saturday 2nd October in Bristol hosted by Bristol Beacon and St George's Bristol. This event will be celebrated by almost 60 musicians all connected with Keith is some way. His music will be played and musical tributes to this incredible man will be made. There is an amazing lineup as well as a special four-set Rare Music Club evening which was one of Keith's last wishes. The event has the full support, and has been organised in consultation and with the blessing of his immediate family. Please like and share this event and let's toast this Bristol treasure in the style that he deserves. 

Friday 1 October 2021
Starting off in Bristol Beacon’s foyer in homage to The Rare Music Club, the line features sets by Chris Wood, David Le Page & Philip Sheppard, Theo May and Paul Dunmall; a varied tapestry of talent that captures the diversity of the artists who inhabited the club over its various incarnations.

Saturday 2 October 2021
A packed programme on Saturday takes over St George’s from midday to late night. Starting with a duo double bill of Matthew Bourne & Glen Leach (the Tippett-Bourne 2019 tour was to be Keith’s last) plus Julie Tippetts & Maggie Nicols. The afternoon concert features Granite to Wind Septet with a stellar line up including Ben Waghorn, James Gardiner-Bateman, and Kevin Figes - all of whom played on the 2011 recording. Keith had been busy recruiting this line-up, with him as pianist, for a gig that was to be scheduled to play a benefit for Louis Moholo in Bath on 14 June 2020 - sadly to be the day on which he died. Paired with Dreamtime the concert reflects Keith’s strong international connections, not least with exiled musicians from South Africa. The closing concert opens with Keith’s long term Mujician collaborators; Paul Dunmall and Paul Rogers, and culminates in an extremely special tribute, The Keith Tippett Celebration Orchestra.

https://www.facebook.com/A-Celebration-Of-Keith-Tippett

 

Ci sono anche Feza, Moholo, Pukwana, McGregor e la stagione della Brotherhood of Breath citati nell'omaggio affettuoso e militante insieme di Lesego Rampolokeng a Johnny Dyani - con la rievocazione del suo brano forse più celebre, Wish You Sunshine - nel nuovo capitolo dell'alleanza con Kalahari Surfers, Babylon Mission Report. Breathing the art of life beyond existence...

https://kalaharisurfer.bandcamp.com/babylon-mission-report

 

Non che finora gliene sia mancata l'occasione, ma la storia che lo riguarda la vuole raccontare lui e a modo suo: ecco allora che David Thomas si ritaglia finalmente uno spazio web personale - a fianco, ma non distante, dall'Ubu Projex - rispolverando l'antico nome di battaglia ('Crocus Behemoth') e andando a metter ordine e semplificazione in una selva di date e annotazioni storiche circa le attività in proprio e i concerti, le interviste e le pubblicazioni, le innumerevoli formazioni e le collaborazioni senza Rocket From The Tombs e senza Pere Ubu (ma ovviamente senza ignorarli). Molte le sezioni ancora in progress, molte le notizie utili, i materiali audio e video e le curiosità: su tutte, l'ammissione che Winter Comes Home esiste (all'epoca di Monster chi lo dichiarava era giudicato piantagrane e millantatore - pur potendone esibire una copia - passibile di denuncia presso la Grocery Police, locale e internazionale).

"I am one of the few band members to not have my own website, so it was time to correct that - to tell MY story in MY way as Ubu Projex comes under threat of normal daily activity by inside aggressors. I will say what I want, when I want. It is called crocusbehemoth.com".

http://crocusbehemoth.com

 

Dagli archivi del Cremona Jazz Festival esce la registrazione, finora conservata in audiocassetta, del concerto del compianto Lol Coxhill in quartetto con Paul Rutherford, Nick Stephens e Roger Turner il 9 marzo 1991. Enzo Rocco, che con Coxhill ha spesso suonato e molto appreso nel corso degli anni, la trasferisce in digitale con qualche minima correzione e la rende disponibile a tutti seguendo il suggerimento della vedova, Ulrike Gertrud Scholz: Cremona 1991.

https://enzorocco.bandcamp.com/album/lol-coxhill-cremona-1991

 

Glielo avesse chiesto - per la serie 'piccoli segreti confessati dai grandi chitarristi' di Guitar Talk - a Joel Harrison Chadbourne lo avrebbe sicuramente detto: è perché fu lui il primo musicista americano ad entrare in Romania dopo la caduta di Ceaușescu che lo Stato ha dato a un suo popolare biscotto alla crema il nome Eugenia. Original, ovviamente.

https://eugenechadbourne.com

 

Anche Terra Nova Press pubblica un bel volume di interviste, Guitar Talk: Conversations with Visionary Players. Le ha condotte Joel Harrison, chitarrista egli stesso, conversando con alcuni dei più importanti maestri e innovatori della chitarra del nostro tempo - tra questi Nels Cline, Fred Frith, Bill Frisell, Elliott Sharp, Henry Kaiser, Vernon Reid, Mary Halvorson, Ava Mendoza, Wolfgang Muthspiel e Ralph Towner - evidenziandone gli insegnamenti e le tecniche, le esperienze personali e le visioni per il futuro. Gliene rende merito uno degli intervistati più celebri, Pat Metheny: "The work that Joel Harrison has done to showcase the development of the guitar and the expanded role that it has taken in music is a testament to the almost unlimited sonic dimensions the word 'guitar' can invoke in the imagination of musicians and fans alike."

An enormous range of approaches and sounds exist in the modern guitar. The instrument can howl, scrape, scratch, scream, sing, pluck, and soothe. What stands out in this book is not so much the instrument itself, rather the wonderful and idiosyncratic personalities of these bold souls, their sometimes wild, often zigzagging, and ultimately profound journeys toward beauty, meaning, and excellence in their work. We find out that jazz icon Bill Frisell won a high school band contest  playing R&B tunes, beating out future members of Earth Wind and Fire. We learn which of Nels Cline's compositions he wishes to have played at his funeral. Michael Gregory Jackson recounts painful episodes  of racism as he stretched between the chasm of avant jazz, rock, and blues in the 1980s. Many more revelations, amusements, and philosophies abound.

https://www.terranovapress.com/guitar-talk-conversations-with-visionary-players

 

Blank Forms pubblica un'ampia selezione di interviste realizzate da Alan Licht a partire dal 1995 fino allo scorso anno: Common Tones-Selected Interviews with Artists and Musicians 1995–2020. Tra i nomi di spicco ci sono Glenn Branca, Rhys Chatham, Tony Conrad, Henry Flynt, Milford Graves, Christian Marclay, Phill Niblock, Lou Reed, Michael Snow e Ira Kaplan. 

For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York’s art and music scenes. His dry wit, deep erudition, and unique perspective—informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock—have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht’s groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public and private exchanges, and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed.

https://blankforms.org/alan-licht-common-tones
https://blankforms.org/Sanders-Introduction-to-Alan-Licht-Common-Tones

 

Michael Mantler è titolare in questo periodo anche di un'importante iniziativa editoriale, che vede la pubblicazione delle partiture complete di sue opere scelte nell'arco di un'intera carriera. Tre finora gli eleganti volumi prodotti, disponibili presso Ecm, tutti introdotti da Richard Williams: The Jazz Composer's Orchestra And Its Updates, Voices And Words, Concertos And Suites.

EDITIONS - Volume One - THE JAZZ COMPOSER'S ORCHESTRA AND ITS UPDATES (256 pages), includes engraved scores of all compositions contained on the two corresponding recordings, The Jazz Composer's Orchestra (1968 / JCOA 1001/2) and The Jazz Composer's Orchestra Update (2013 / ECM 2391), as well as facsimile scans of the original scores that were used during the iconic 1968 recording sessions.

EDITIONS - Volume Two - VOICES AND WORDS (280 pages) includes engraved scores for the music contained on Many Have No Speech (1988 / WATT/19), Cerco Un Paese Innocente (1995 / ECM 1556) and Hide and Seek (2001 / ECM 1738), a selection of Mantler's extensive work with the very special voices of Jack Bruce, Robert Wyatt, Marianne Faithfull, Mona Larsen and Susi Hyldgaard, interpreting texts by Samuel Beckett, Ernst Meister, Philippe Soupault, Giuseppe Ungaretti and Paul Auster, all in orchestral contexts.

EDITIONS - Volume Three - CONCERTOS AND SUITES (272 pages) includes engraved scores for purely orchestral works from Concertos (2008 / ECM 2054) and CODA / Orchestra Suites (2021 / ECM 2697).

http://www.mantlermusic.com
https://ecmrecords.com/michael+mantler

 

Michael Mantler riprende alcune delle musiche a lui più care - da 13 and 3/4, Cerco un paese innocente, Alien, Folly Seeing All This, For Two e Hide And Seek - e le ricompone in forma di brevi suite per orchestra: Coda-Orchestra Suites, per Ecm, registrato a Vienna al Porgy & Bess dove a settembre tornerà dal vivo per presentare Concertos.

"I have always considered myself an orchestral composer, even when, mostly economical, circumstances dictated smaller ensembles, at times even down-sized to the absolute minimum, such as the duets of Alien and For Two. This time I did not retain the original instrumentations, but settled on what seems to be my current favorite - a chamber orchestra consisting of flute, oboe, clarinet, bass clarinet, trumpet, french horn, trombone, tuba, guitar, piano, marimba / vibraphone, plus a string section, normally a string quintet, as used on my previous album Comment C'est, but this time enlarged to 16 players. Unlike the Big Band used for the Jazz Composer's Orchestra Update, very much a jazz-based ensemble with a more or less traditional rhythm section, the orchestra used for the current suites consists mostly of classical musicians with a smaller number of jazz musicians/soloists included, which still anchors the music in an environment clearly coming from jazz."

https://www.ecmrecords.com/coda-orchestra-suites

 

Jonathan Coe con l'Artchipel Orchestra, il meglio di due mondi. Insieme questa sera a Milano, al Castello Sforzesco.

https://www.facebook.com/AhumXII

 

A suo tempo si erano fatti passare per Claudine Coule e Gemini Forque, due sventurate francesine - però finemente abbigliate - accomunate da tragiche vicende personali. Oggi si ripropongono all'occhio del pubblico confidando, quarant'anni dopo, in un immutato potere di seduzione: Deux Filles, cioè Simon Fisher Turner e Colin Lloyd Tucker, con il singolo Take It Easy e l'album Shadow Farming.

https://glassmodern.bandcamp.com/album/take-it-easy
https://glassmodern.bandcamp.com/album/shadow-farming

 

Dopo numerosi rinvii vede oggi la luce Broken Gargoyles, progetto di Diamanda Galás ideato assieme a Daniel Neumann l'anno scorso, nei mesi più tremendi dell'inizio pandemia: viene presentato in pubblico in forma di installazione sonora, senza la presenza di Diamanda, questa sera ad Hannover (Germania) nella storica - ed emblematica - Nikolaikapelle.

Broken Gargoyles is a sound installation by the American singer, composer, and pianist Diamanda Galás, which she composed in 2020 during the beginning of the Covid-19 pandemic. She worked with the artist and sound designer Daniel Neumann, both remaining in isolation in separate places due to the pandemic - Galás in San Diego and Neumann in New York.

Based on two poems from 1911 by the German poet Georg Heym, "Das Fieberspital" and "Die Dämonen der Stadt", the work consists of natural and heavily processed voices, manipulated piano, and various other sound sources. In addition, parts of Galás’s 2020 album De-Formation: Piano Variations, A Work for Solo Piano were added, as well as excerpts from verses from "Das Fieberspital" performed by the artist Robert Knoke.

Broken Gargoyles is being presented in the ruins of the Nikolaikapelle, built around 1250 in Hannover, which was located outside the city wall at the time and served as a quarantine for those who suffered from the plague and leprosy in the Middle Ages. Diamanda Galás will not be present due to the Covid-19 pandemic.

https://www.instagram.com/thediamandagalas

 

Mezzoretta di MDK servita da Arte Concert in versione apericena con i Magma dal vivo al Ground Control parigino lo scorso 22 giugno. Il resto a settembre (forse).

https://www.arte.tv/magma-dans-ground-control

... e magari una birretta?

 

Farsi un panino?...

 

Hugh Hopper torna di stretta attualità in questi giorni anche per la pubblicazione di un inedito del gruppo Ndio - Cuneiform ne pubblicò l'esordio, Airback, nel 2005 - tratto in gran parte dal loro primo concerto dal vivo, all'Opmaat Festival di Breda nel 2003: si intitola Zenith ed esce in cd e doppio vinile per lodevole iniziativa del sassofonista Frank van der Kooij.

http://frankvanderkooij.nl/ndio-band
http://frankvanderkooij.nl/zenit-sleeve-notes

 

Le musiche di Wyatt e di Hopper approdano a Umbria Jazz domani sera, al teatro Morlacchi di Perugia. E chi se non l'Artchipel Orchestra?

https://www.facebook.com/ArtchipelOrchestra

Ora si può dirlo, il primo cd in lingua molkayana della storia esiste davvero: F.I.T. - Found In Translation. E chi se non Massimo Giuntoli?

https://massimogiuntoli.bandcamp.com/f-i-t-found-in-translation

 

Notturno aggiunge un nuovo capitolo all'affascinante ricerca di Roberto Dani nell'ambito del linguaggio espressivo delle percussioni, invitando a percepirne ad ogni gesto le più minute risonanze, le dissolvenze, finanche il respiro. Coproduce l'album Marco Pandin per Stella Nera.

http://store.silentes.it/catalogue/sn202103.html

 

Le percussioni di Kuljit Bhamra, Evelyn Glennie e Charles Hayward si incontrano per la prima volta in un sorprendente concerto al Cafe Oto londinese organizzato in alleanza con Trestle Records, promotrice della bella serie One Day Band: 24.8.19.

Trestle Records is a London based label dedicated to new instrumental music. Alongside a programme of new LP releases the label also hosts the One Day Band sessions. Musicians are invited to a fully engineered studio to make a record in a day. A multitude of artists have been invited to participate from a variety of backgrounds and genres of music. The participants are either selected by the label or a musician is invited to curate the session themselves. The idea is to facilitate an environment for musicians to meet and collaborate on an improvised endeavour. The results are then hosted on the Trestle Records website to be listened to in a developing archive reflecting and celebrating the concept. The musicians involved are sent the mixed edits of the days recordings to comment upon before we eventually post them on line. It's an incredibly collaborative and respectful process where the musicians invited are often playing together and meeting for the first time.

https://www.cafeoto.co.uk/kuljit-bhamra-evelyn-glennie-charles-hayward
https://www.trestlerec.com/onedaybands.html
https://youtu.be/QPLdLyyrCGQ

 

Esce per l'etichetta Esp-Disk A Civil Right, nuovo album di Larry Ochs e Don Robinson a sei anni da The Throne, finora loro unico episodio discografico in duo dopo anni di concerti insieme e numerose collaborazioni in varie altre formazioni. Con grande soddisfazione di Ochs: "Our playing together has gotten to a really special place, I think. We’re definitely coming out of the tradition of horn-drum duos from John Coltrane & Rashied Ali to Wadada Leo Smith & Louis Moholo-Moholo, but we’ve found our own space in that Galaxy after a long stretch of shows together. The CD includes some high-energy playing and moments that are more spatial, as well as some homages to more popular music. In a duo setting like this, the music hits a listener right away – nothing is obscured, everything is clear."

https://larryochs.bandcamp.com/album/a-civil-right
https://youtu.be/vzahoj7qkbI

 

Dopo l'album con il gruppo Sunwatchers pubblicato tre anni fa - il graffiante 3 Characters - Jim McHugh incontra nuovamente Eugene Chadbourne, stavolta a tu per tu a casa sua a Greensboro, per un altro excursus intergenerazionale nella canzone d'autore e di protesta, recuperando variamente Shockabilly, Woody Guthrie, Nick Drake, un celebre inno degli Industrial Workers of The World, Little Feat e addirittura Ten Years After. E a sorpresa salta fuori anche Jimmy Carl Black: Bad Scene.

'Bad Scene' is a blistering set of freeform improv and overdriven songcraft from Sunwatchers main man McHugh and veteran improviser Chadbourne, who's played alongside Keiji Haino, Derek Bailey, Sun City Girls and others. Recorded early last year, McHugh captured the jams in single takes on a portable rig, overdubbing where necessary to create "full-band vibes". The result is a surprisingly timely set of angry protest jams, singing across boundaries to multiple generations of Americans. By torching the boundaries of rock 'n roll, jazz, blues and country, they make a racket that sounds surprisingly timely, and very much on point.

http://postpresentmedium.com/ppm70.html
https://postpresentmedium.bandcamp.com/album/bad-scene

 

Una collezione di vari brani in duo o in trio con protagonista Duck Baker e di volta in volta Derek Bailey, Steve Beresford, John Butcher, Mark Dresser, John Edwards, Michael Moore, Steve Noble, Roswell Rudd, Alex Ward e Joe Williamson: Confabulations.

In his five-decade career, finger-style acoustic guitarist Duck Baker has played in lots of styles, from folk (real folk, such as Scottish and Irish fiddle tunes) to blues to jazz, in the latter genre particularly focusing on bebop greats, with whole albums devoted to the music of Thelonious Monk and Herbie Nichols. But he has flashed an avant-garde side as well, and of course ESP-Disk was interested in exposing more of the latter work. This album of duos and trios with an all-star roster of players, mostly British, collects recordings ranging from 1994 through 2017.

https://duckbakeresp.bandcamp.com

 

The Only One
Louis Andriessen (1939-2021)

 

Phil Minton dirige virtualmente da casa sua a Bath il gruppo vocale Polyfolie in un concerto in presenza in programma stasera a Bonn presso la Kreuzung an St. Helena. Sarà trasmesso in streaming su YT, con inizio alle ore 20.00. "My recent experience of working with singers, many of whom think they cannot sing, has strengthened my conviction that the human voice is capable of so much more than is generally understood - dice Minton a proposito della serie per cantanti debuttanti e principianti Feral Choir da lui inaugurata oltre trent'anni fa - and in the workshops I have encouraged participants to realise that anyone who can breathe, is capable of producing sounds that give a positive aesthetic contribution to the human condition and many of these contributions are without any cultural influences or references."

Phil Minton (geboren 1940 in Torquay, Devon, UK) ist ein Jazztrompeter, der 1962 nach London kam, und sich in Mike Westbrook's Orchestra immer weiter einen eigenen unverwechselbaren Vokalstil erarbeitete, bis er 1988 von der Zeitschrift Jazzforum als bester männlicher Sänger Europas genannt wurde. Er hat mit dem who is who der improvisierten Musik und des Freejazz gespielt, darunter John Russell, Roger Turner, John Zorn, Axel Dörner, Veryan Weston und Audrey Chen. Seit längerem leitet Minton überall auf der Welt sogenannte Feral Choirs (wilde Chöre), für die er mit dem Satz 'Wer atmen kann, kann auch singen!' wirbt. Aus dem dreitägigen Kölner Feral Choir von 2011 mit 150 Teilnehmern entstand nach und nach der gemischte, frei improvisierende Chor Polyfolie mit um die 15 TeilnehmerInnen, mit bisher den meisten Konzerten in Düsseldorf, jetzt endlich in Bonn zu elft.

http://www.in-situ-art-society.de
https://www.facebook.com/events/2825874514391218
https://www.youtube.com/watch?v=o3vPtnUempE

Mike Westbrook porge un commosso saluto allo scomparso Stuart Brooks (1957-2021), trombettista di talento molto apprezzato anche (o soprattutto) in ambito extra-jazzistico e membro dell'Orchestra in diverse stagioni, quella di On Duke's Birthday e Smith's Academy, quella di Chanson Irresponsable e quella assai più recente dei concerti in Italia e a Londra con la Uncommon: "Stuart was one of the finest trumpet players around and the leader of choice for many bands. I was fortunate to work with him often. He first set his stamp on our music with On Duke’s Birthday in 1984. Our most recent collaboration was with the Uncommon Orchestra and we had gigs together in Italy in 2018 and at Ronnie’s in 2019 which were a high point for all of those involved. I know many will agree that it was a major asset to have Stuart in your band. As a composer I have always been grateful for his formidable musicianship, for his humour and generosity of spirit. His positive attitude never deserted him even when things got bad towards the end. Kate and I and all Stuart’s musician friends salute a truly great musician. We have lost a star." 

https://londonjazznews.com/stuart-brooks-a-tribute-by-mike-westbrook
https://www.facebook.com/stuart.brooks.712

 

Billie Bottle parla per due ore con Markus Reuter. Di tutto, di più, e di altro ancora: Mike Westbrook, David Bedford, Richard Sinclair, Robert Wyatt e la scena di Canterbury. E ovviamente di Val 'hello there' Doonican: As Nature Intended.

https://youtu.be/zPkLsOTUeFA
https://markusreuterpodcast.bandcamp.com/billie-bottle

 

Le immagini della serie Diana and Actæon create al carboncino da Kate Westbrook nel periodo di isolamento imposto dalla pandemia tornano in un nuovo montaggio curato da Chris Topley per il WestbrookJazz Moving Picture Show: Lockdown Charcoals. Mike accompagna al piano con una inedita rilettura di uno dei temi a lui più cari, quel Death Letter Blues di Jimmy Yancey che già gli diede ispirazione per lo struggente Blues for Terenzi.

https://www.westbrookjazz.co.uk/lockdown