Category Archives: improvisation

Goodbye 2023

classical, electroacoustic, electronic music, experimental music, Gone Gone Gone, improvisation, jazz, music, obituary, progessive rock, psychedelic music, vocal, , , , , ,
Jeff Beck

We lost another batch of big name musicians in 2023 including Jeff Beck, Burt Bacharach, Robbie Robertson, Gordon Lightfoot, Carla Bley, Charles Gayle, David Crosby, Ahmad Jamal, Tony McPhee, Shane MacGowan, Sinéad O’Connor, Tony Oxley, Kaija Saariaho and Tina Turner.

I was especially saddened to learn of the passing of a couple of people who used to send me their music to air on my radio programme over the course of my 25 years on the radio. Both Gloria Coates and Steve Roden have made their way onto the list this year.

Ed Ames (American actor and singer for Ames Brothers)
Katherine Anderson (American singer for The Marvelettes)
Stanley Appel (British television producer for Top of the Pops)
Kirk Arrington (American drummer for Metal Church)
Clarence Avant (American music executive and film producer, founder of Sussex Records)
Burt Bacharach (American Hall of Fame composer, six-time Grammy winner)
Robbie Bachman (Canadian hard rock drummer for Bachman-Turner Overdrive)
Tim Bachman (Canadian guitarist for Bachman-Turner Overdrive)
Ian Bairnson (Scottish musician for The Alan Parsons Project)
Philip Balsam (Canadian songwriter for Fraggle Rock)
Clarence Barlow (British composer)
Bruce Barthol (American bassist for Country Joe and the Fish)
Russell Batiste Jr (American drummer for The Meters)
Jeff Beck (British guitarist for The Yardbirds, The Jeff Beck Group)
Harry Belafonte (American Hall of Fame musician)
Tony Bennett (American singer)
Karl Berger (German jazz pianist, composer, and educator)
Jane Birkin (English-French singer and actress)
Jeff Blackburn (American songwriter and guitarist for Blackburn & Snow, Moby Grape)
Carla Bley (American jazz composer and musician for Jazz Composer’s Orchestra)
Peter Brötzmann (German jazz saxophonist)
Pete Brown (English poet, lyricist and singer)
Angelo Bruschini (English guitarist for Massive Attack)
Dennis Budimir (American jazz and rock guitarist for The Wrecking Crew)
Jimmy Buffett (American singer-songwriter)
Colin Burgess (Australian rock drummer The Masters Apprentices, AC/DC)
Bobby Caldwell (American singer and songwriter)
Ronnie Caryl (English guitarist for Flaming Youth, Phil Collins)
Paul Cattermole (English singer for S Club 7)
Monte Cazazza (American artist and composer)
Gloria Coates (American composer)
Tony Coe (English jazz musician)
Michael Cooper (Jamaican musician for Inner Circle)
David Crosby (American songwriter and singer for Crosby, Stills, Nash & Young)
John Cutler (American record producer and audio engineer for Grateful Dead)
Dean Daughtry (American keyboard player for Atlanta Rhythm Section)
Richard Davis (American jazz bassist)
Charlie Dominici (American singer for Dream Theater)
Bobby Eli (American guitarist for MFSB)
Simon Emmerson (English record producer, DJ, and musician for Afro Celt Sound System)
José Evangelista (Spanish composer)
Johnny Fean (Irish guitarist for Horslips)
John Fitzpatrick (Irish violinist for Nightnoise and Jeff Johnson)
Jeffrey Foskett (American singer and songwriter for Beach Boys)
Pete Garner (British bassist for The Stone Roses)
Charles Gayle (American jazz saxophonist and pianist)
Renée Geyer (Australian singer)
John Giblin (Scottish bass player for Kate Bush)
Astrud Gilberto (Brazilian samba and bossa nova singer)
Brian Godding (Welsh jazz rock guitarist for Blossom Toes, Centipede)
Myles Goodwyn (Canadian singer for April Wine)
Jim Gordon (American convicted murderer and musician for Eric Clapton, Derek and the Dominos)
John Gosling (English keyboardist for The Kinks)
Bruce Guthro (Canadian singer-songwriter and musician for Runrig)
Dickie Harrell (American Hall of Fame drummer for Gene Vincent and the Blue Caps)
Wee Willie Harris (English rock and roll singer)
Steve Harwell (American singer for Smash Mouth)
Fuzzy Haskins (American singer for Parliament-Funkadelic)
Redd Holt (American jazz drummer)
Brad Houser (American musician for Edie Brickell & New Bohemians)
Ron Howden (English drummer for Nektar)
Ralph Humphrey (American rock drummer for The Mothers of Invention)
Rudolph Isley (American songwriter and singer for The Isley Brothers)
Chuck Jackson (American R&B singer)
Ahmad Jamal (American jazz pianist)
Stu James aka Slater (British music executive and singer for The Mojos)
Bob Johnson (British guitarist, singer and songwriter for Steeleye Span)
Scott Johnson (American composer)
Howie Kane (American pop singer for Jay and the Americans)
Seán Keane (Irish fiddler for The Chieftains)
Scott Kempner (American guitarist for The Dictators)
Terry Kirkman (American songwriter and musician for The Association)
Jean Knight (American singer)
David LaFlamme (American singer and violinist for It’s a Beautiful Day)
Denny Laine (English musician for Wings and singer for Moody Blues)
Bill Lee (American jazz musician and film composer)
Rita Lee (Brazilian singer for Os Mutantes)
Mylon LeFevre (American Christian rock singer)
Linda Lewis (English singer-songwriter)
Gordon Lightfoot (Canadian Hall of Fame singer-songwriter)
David Lindley (American musician)
Lord Creator (Trinidadian-born Jamaican singer-songwriter)
Robin Lumley (British jazz keyboardist for Brand X)
Ralph Lundsten (Swedish composer)
Laura Lynch (American musician for Dixie Chicks)
Shane MacGowan (Irish singer for The Pogues)
Steve Mackey (English record producer and bassist for Pulp)
Bernie Marsden (English rock guitarist for Whitesnake)
Manny Martínez (American drummer for The Misfits)
Brian McBride (American musician for Stars of the Lid)
Les McCann (American jazz musician)
Tony McPhee (English guitarist for The Groundhogs)
Randy Meisner (American musician for Eagles)
Mendelson Joe ( Canadian singer-songwriter)
Butch Miles (American jazz drummer)
Essra Mohawk (American singer-songwriter)
Francis Monkman (English musician for Curved Air)
Napoleon XIV (American singer)
Peter Nero (American pianist and conductor for Philly Pops)
Chas Newby (British early bassist for The Beatles)
Sinéad O’Connor (Irish singer)
Blackie Onassis (American rock drummer for Urge Overkill)
Tony Oxley (English free improvising drummer, co-founder of Incus Records)
Jon Povey (British musician for Pretty Things)
Lisa Marie Presley (American singer-songwriter)
Alberto Radius (Italian guitarist and singer-songwriter for Formula 3)
Alan Rankine (Scottish musician for The Associates)
Lee Rauch (American drummer for Megadeth)
Lance Reddick (American actor and musician)
Otis Redding III (American singer for The Reddings)
Sheldon Reynolds (American guitarist for Earth, Wind & Fire)
Robbie Robertson (Canadian musician for The Band and film composer)
Sixto Rodriguez (American singer-songwriter)
Steve Roden (American contemporary artist and musician for Forms of Paper)
Bernt Rosengren (Swedish jazz tenor saxophonist)
Gary Rossington (American Hall of Fame guitarist for Lynyrd Skynyrd)
Andy Rourke (English bassist for The Smiths)
Kaija Saariaho (Finnish composer)
Ryuichi Sakamoto (Japanese musician for Yellow Magic Orchestra)
Renata Scotto (Italian operatic soprano for La Scala)
Don Sebesky (American composer, arranger, and conductor)
Bob Segarini (American-Canadian radio presenter and musician for The Wackers)
Jah Shaka (Jamaican dub and reggae sound system operator)
Sweet Charles Sherrell (American bassist for James Brown)
Wayne Shorter (American jazz saxophonist)
Ray Shulman (English musician for Gentle Giant)
Mick Slattery (British guitarist for Hawkwind)
Huey “Piano” Smith (American R&B pianist and songwriter)
Tom Smothers (American comedian, musician for Smothers Brothers)
Floyd Sneed (Canadian drummer for Three Dog Night)
Jack Sonni (American musician for Dire Straits)
Seymour Stein (American Hall of Fame music executive, founder of Sire Records)
Lester Sterling (Jamaican saxophonist for The Skatalites)
April Stevens (American singer)
Mark Stewart (English musician for The Pop Group)
Chris Strachwitz (American record company founder and executive for Arhoolie Records)
Barrett Strong (American singer and songwriter)
Yukihiro Takahashi (Japanese drummer and singer for Yellow Magic Orchestra)
Ted “Kingsize” Taylor (British singer and guitarist for Kingsize Taylor and the Dominoes)
Teresa Taylor (American drummer for Butthole Surfers)
Charlie Thomas (American Hall of Fame singer for The Drifters)
George Tickner (American rock guitarist for Journey)
Top Topham (English guitarist for The Yardbirds)
Ismaïla Touré (Senegalese musician for Touré Kunda)
Vivian Trimble (American musician for Luscious Jackson)
Trugoy the Dove (David Jude Jolicoeur) (American rapper for De La Soul)
Tina Turner (American-born Swiss Hall of Fame singer)
Dwight Twilley (American singer-songwriter)
Nancy Van de Vate (American composer)
Conny Van Dyke (American singer and actress)
Tom Verlaine (American musician for Television)
John Waddington (English guitarist for The Pop Group)
Geordie Walker (English guitarist for Killing Joke)
Lillian Walker (American singer for The Exciters)
Algy Ward (English heavy metal bassist for The Damned)
André Watts (American pianist and academic)
Cynthia Weil (American Hall of Fame songwriter)
Lasse Wellander (Swedish guitarist for ABBA)
George Winston (American pianist)
Fred White (American Hall of Fame drummer for Earth, Wind & Fire)
Roger Whittaker (British singer-songwriter)
Mars Williams (American saxophonist for The Waitresses, The Psychedelic Furs)
Gary Wright (American singer-songwriter and musician for Spooky Tooth)
Gary Young (American drummer for Pavement)

Kaija Saariaho

Goodbye 2022

avant-garde, classical, electroacoustic, electronic music, experimental music, folk / folk-rock, Gone Gone Gone, improvisation, jazz, Krautrock, music, obituary, progessive rock, psychedelic music
Klaus Schulze

Once again, many big names have left us. From Christine McVie to Angelo Badalamenti. As a fan of electronic music coming out of Germany since the 1970s, the deaths of both Klaus Schulze and Manuel Göttsching hit particularly hard. Also the deaths of Indian musicians Shivkumar Sharma and Lata Mangaeshkar.

The following list is just a small representation of some of the people that we have lost over the past year.

Jerry Allison (drummer for The Crickets)
Bruce Anderson (American guitarist for MX-80)
Jon Appleton (American composer and educator)
Angelo Badalamenti (American film and television composer for Twin Peaks, Blue Velvet)
Chris Bailey (Kenyan-born Australian musician and songwriter for The Saints)
John Beckwith (Canadian composer, writer and pianist)
Thom Bell (Jamaican-born American songwriter, arranger and record producer)
Sir Harrison Birtwistle (English composert)
Jet Black (English drummer for The Stranglers)
Gary Brooker (English singer-songwriter and pianist for Procol Harum)
Boris Brott (Canadian conductor)
Mira Calix (South African-born British visual artist and musician)
Irene Cara (American singer and actress)
Aaron Carter (American singer)
Steve Broughton (British rock musician for Edgar Broughton Band)
Manny Charlton (Scottish rock guitarist for Nazareth)
Coolio (American rapper)
Julee Cruise (American singer, musician and actress)
George Crumb (American composer)
Betty Davis (American funk and soul singer)
Jerry Doucette (Canadian musician)
Norman Dolph (American songwriter and record producer)
Lamont Dozier (American Hall of Fame songwriter, record producer and singer)
Martin Duffy (English keyboardist for Primal Scream)
Judith Durham (Australian singer for The Seekers)
Shirley Eikhard (Canadian singer-songwriter)
Ralph Emery (American disc jockey and television host)
Anton Fier (American composer, producer, and drummer for The Feelies, The Golden Palominos)
Andy Fletcher (English Hall of Fame keyboardist for Depeche Mode)
Ricky Gardiner (Scottish composer and guitarist Beggars Opera)
Mickey Gilley (American country singer)
Robert Gordon (American rockabilly singer)
Manuel Göttsching (German musician for Ash Ra Tempel)
Guitar Shorty (American blues musician)
Terry Hall (English singer for The Specials)
Ronnie Hawkins (American-Canadian rock and roll singer-songwriter)
Taylor Hawkins (American musician for Foo Fighters)
Paavo Heininen (Finnish composer and pianist)
Judy Henske (American folk singer)
Jeff Howell (American rock bassist for Foghat)
Toshi Ichiyanagi (Japanese composer and pianist)
Susan Jacks (Canadian singer-songwriter for The Poppy Family)
Philip Jeck (English composer)
James Johnson (American blues guitarist for Slim Harpo)
Jimmy Johnson (American blues guitarist and singer)
Wilko Johnson (English guitarist for Dr. Feelgood)
Syl Johnson (American blues singer)
Naomi Judd (American country singer for The Judds)
Danny Kalb (American blues guitarist for The Blues Project)
William Kraft (American composer and conductor)
Mark Lanegan (American singer-songwriter and musician for Screaming Trees)
Michael Lang (American concert producer, co-creator of Woodstock)
Keith Levene (English guitarist for Public Image Ltd., The Clash)
Gord Lewis (Canadian guitarist for Teenage Head)
Jerry Lee Lewis (American Hall of Fame singer and pianist)
Ramsey Lewis (American jazz pianist, composer)
Radu Lupu (Romanian pianist)
Loretta Lynn (country singer-songwriter)
Lata Mangeshkar (Indian playback singer and composer)
Ingram Marshall (American composer)
Dan McCafferty (Scottish songwriter and singer for Nazareth)
C. W. McCall (American country singer)
Ian McDonald (English musician for King Crimson)
Christine McVie (Fleetwood Mac, Chicken Shack)
Meat Loaf (American singer)
Charnett Moffett (American jazz bassist)
Grachan Moncur III (American jazz trombonist)
Massimo Morante (Italian guitarist for Goblin)
James Mtume (American percussionist for Mtume)
Rachel Nagy (American singer for The Detroit Cobras)
Sandy Nelson (American drummer)
Olivia Newton-John (British-Australian singer)
Nichelle Nichols (American actress on Star Trek and singer)
Mo Ostin (American record executive for Warner Bros. Records)
Mimi Parker (American singer and drummer for Low)
Ric Parnell (English drummer for Spinal Tap)
Kelly Joe Phelps (American blues musician)
Paul Plimley (Canadian free jazz pianist and vibraphonist)
Ned Rorem (American composer)
Badal Roy (American tabla player, percussionist and recording artist)
Bobby Rydell (American singer and actor)
Paul Ryder (English bassist for Happy Mondays)
Pharoah Sanders (American jazz saxophonist)
Klaus Schulze (German electronic musician and composer for Tangerine Dream, Ash Ra Tempel)
Jim Schwall (American blues musician for Siegel–Schwall Band)
Alexander Scriabin (Russian musicologist and composer)
Jim Seals (American songwriter and musician for Seals and Crofts)
Burke Shelley (Welsh bassist and vocalist for Budgie)
Paul Siebel (American singer-songwriter)
Shivkumar Sharma (Indian composer and santoor player for Shiv–Hari)
Mark Shreeve (British electronic songwriter and composer)
Kim Simmonds (British rock guitarist for Savoy Brown)
Lucy Simon (American composer and folk singer for The Simon Sisters)
Ronnie Spector (American Hall of Fame singer for The Ronette
Fredy Studer (Swiss drummer)
Creed Taylor (American jazz trumpeter and record producer, founder of Impulse! Records and CTI Records)
R. Dean Taylor (Canadian singer-songwriter)
Nicky Tesco (British singer for The Members)
Barbara Thompson (English jazz saxophonist for Colosseum)
Nik Turner (English musician for Hawkwind)
Ian Tyson (Canadian singer for Ian & Sylvia)
Vangelis (Greek film composer and musician for Aphrodite’s Child)
Fred Van Hove (Belgian jazz musician)
Natty Wailer (Jamaican musician)
Norma Waterson (English musician for The Watersons)
Alan White (drummer for Yes)
Roland White (American bluegrass music artist)
Don Wilson (American guitarist for The Ventures)
Drummie Zeb (English reggae record producer and musician for Aswad)

Christine McVie

Goodbye 2021 (another year to forget)

2021, avant-garde, classical, electroacoustic, electronic music, experimental music, folk / folk-rock, improvisation, jazz, music, obituary, progessive rock, psychedelic music
Jon Hassell

2021 was yet another year when Covid-19 dominated the news. I’m sure that we’re all glad to see the end of it. Let’s all hope for a better 2022.

The following list is just a small representation of some of the people that we have lost over the past year.

Louis Andriessen (Dutch composer for La Commedia)
Astro (British singer and musician for UB40)
Chris Barber (English jazz bandleader and trombonist)
Andy Barker (British musician for 808 State)
Byron Berline (American fiddler)
Jay Black (American singer for Jay and the Americans)
Tim Bogert (American rock bassist for Bogert & Appice)
Juini Booth (American jazz double-bassist for Sun Ra Arkestra)
Leslie Bricusse (British composer)
Gil Bridges (American musician for Rare Earth)
Ron Bushy (American drummer for Iron Butterfly)
Sylvano Bussotti (Italian composer, poet, and artistic director for Puccini Festival)
Alan Cartwright (English rock bassist for Procol Harum)
Malcolm Cecil (British musician for Tonto’s Expanding Head Band, Blues Incorporated and record producer for Stevie Wonder)
Joel Chadabe (American electronic music pioneer)
Emmett Chapman (American jazz musician, inventor of the Chapman Stick)
Michael Chapman (English singer-songwriter and guitarist)
Richard Cole (English music manager for Led Zeppelin)
Charles Connor (American drummer for Little Richard)
Billy Conway (American drummer for Morphine)
Gary Corbett (American rock keyboardist for KISS, Cinderella)
Chick Corea (American jazz keyboardist)
Paul Cotton (American musician for Poco)
DMX (American rapper)
John Drake (American singer for The Amboy Dukes)
Graeme Edge (English drummer for The Moody Blues)
Les Emmerson (Canadian singer for Five Man Electrical Band)
Sergio Esquivel (Mexican singer-songwriter)
Don Everly (American Hall of Fame singer for The Everly Brothers)
Bobby Few (American jazz pianist)
Pat Fish (English musician for The Jazz Butcher)
George Frayne IV (American country singer and keyboardist for Commander Cody and His Lost Planet Airmen)
Denny Freeman (American blues guitarist and keyboardist)
Curtis Fuller (American jazz trombonist)
Djivan Gasparyan (Armenian musician and composer)
James Mac Gaw (French guitarist for Magma)
John Goodsall (American-British rock guitarist for Atomic Rooster, Brand X)
Milford Graves (American jazz drummer for New York Art Quartet)
Burton Greene (American jazz pianist)
Nanci Griffith (American singer-songwriter)
Tom T. Hall (American singer-songwriter)
Jon Hassell (American trumpeter and composer)
Roger Hawkins (American drummer and recording studio owner for Muscle Shoals Sound Studio)
Dusty Hill (American songwriter and musician for ZZ Top)
John Hinch (British drummer for Judas Priest)
John Dee Holeman (American Piedmont blues guitarist, singer and songwriter)
Paul Humphrey (Canadian musician for Blue Peter)
Paul Jackson (American jazz bassist for The Headhunters)
Stonewall Jackson (American country singer)
Bob James (American rock singer-songwriter for Montrose)
Joey Jordison (American musician for Slipknot)
Richard H. Kirk (English electronic musician for Cabaret Voltaire)
Bob Koester (American music executive, founder of Delmark Records)
Alexi Laiho (Finnish death metal singer-songwriter and guitarist for Children of Bodom)
Rick Laird (Irish jazz fusion bassist for Mahavishnu Orchestra)
Alan Lancaster (English rock bassist for Status Quo)
Anita Lane (Australian singer-songwriter for Nick Cave and the Bad Seeds)
Bob Lanois (Canadian record producer and recording engineer)
David Lasley (American singer-songwriter)
John Lawton (English hard rock singer for Uriah Heep)
James Levine (American conductor and pianist for Metropolitan Opera)
Janice Long (English disc jockey for BBC Radio 1)
Alvin Lucier (American composer)
Kenny Malone (American drummer)
Junior Mance (American jazz pianist and educator)
Carlos Marín (Spanish singer for Il Divo)
Jon Mark (English singer-songwriter and guitarist)
Pat Martino (American jazz guitarist and composer)
Nobesuthu Mbadu (South African mbaqanga singer for Mahotella Queens)
Count M’Butu (American percussionist for The Derek Trucks Band)
Biz Markie (American rapper and actor)
Gerry Marsden (English musician for Gerry and the Pacemakers)
Barry Mason (English songwriter)
Marilyn McLeod (American singer-songwriter)
Les McKeown (Scottish singer for Bay City Rollers)
Mensi (English punk rock singer for Angelic Upstarts)
John Miles (British singer-songwriter and musician)
Mike Mitchell (American musician for The Kingsmen)
Paddy Moloney (Irish musician for The Chieftains)
Everett Morton (Kittitian-born British drummer for The Beat / The English Beat)
Juan Nelson (American bassist for Ben Harper and the Innocent Criminals)
Michael Nesmith (American musician for The Monkees)
Melvin Parker (American drummer for James Brown)
Anthony Payne (English composer)
Lee “Scratch” Perry (Jamaican reggae songwriter and musician for The Upsetters)
Ralph Peterson Jr (American jazz drummer for The Jazz Messengers)
Christopher Plummer (Canadian actor for The Sound of Music)
Dee Pop (American drummer for Bush Tetras, The Gun Club)
Lloyd Price (American R&B singer)
Peter Rehberg (Austrian-British electronic musician for KTL)
Mike Renzi (American composer and music director for Sesame Street)
Jimmie Rodgers (American pop singer)
Frederic Rzewski (American composer and pianist for The People United Will Never Be Defeated!)
Phil Schaap (American disc jockey and jazz historian)
Al Schmitt (American recording engineer)
Robbie Shakespeare (Jamaican bassist for Sly and Robbie)
Sonny Simmons (American jazz saxophonist)
Joe Simon (American soul and R&B singer)
Johnny Solinger (American singer-songwriter for Skid Row)
Stephen Sondheim (American composer and lyricist for West Side Story)
Phil Spector (American record producer)
Michael Stanley (American rock guitarist, singer and songwriter)
Pervis Staples (American Hall of Fame gospel singer for The Staple Singers)
Robby Steinhardt (American singer and violinist for Kansas)
Jim Steinman (American musician, composer and lyricist)
Dean Stockwell (American actor and recording artist)
Sylvain Sylvain (American guitarist for New York Dolls)
Gene Taylor (American pianist for Canned Heat, The Fabulous Thunderbirds)
B. J. Thomas (American singer)
Mikis Theodorakis (Greek composer)
Rosalie Trombley (Canadian music director for CKLW)
U-Roy (Jamaican reggae singer)
Hilton Valentine (English Hall of Fame guitarist for The Animals)
Leo van de Ketterij (Dutch guitarist for Shocking Blue)
Yoshi Wada (Japanese sound installation artist and musician)
Bunny Wailer (Jamaican reggae singer for Bob Marley and the Wailers)
Rusty Warren (American singer for Knockers Up!)
Charlie Watts (English drummer for The Rolling Stones)
George Wein (American festival promoter and jazz pianist for Newport Jazz Festival)
Chuck E. Weiss (American songwriter and vocalist)
Mary Wilson (American singer for The Supremes)
Rusty Young (American musician for Poco)
Wanda Young (American singer for The Marvelettes)

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Alvin Lucier
Richard H. Kirk

Keith Rowe: The Room Extended

avant-garde, electroacoustic, experimental music, improvisation, , , , , ,

Keith Rowe: The Room Extended by Brian Olewnick (powerHouse Books)

The first time that I saw a reference to the British improvising ensemble AMM was probably in Op magazine in the late ’70s or early ’80s. I’m sure that their name popped up again in issues of Option and The Wire, too. But, it really wasn’t until into the 1990s that I was able to access CDs and finally discover their music for myself.

At that time, I had already been involved with creating improvised electroacoustic soundscapes and their sounds appealed to me in much the same way as Cage, Stockhausen or Feldman. It also helped to reinforce my own sonic ideas and provided added inspiration.

In this extremely well researched book, Brian Olewnick traces the path of one of the original members of the group and succeeds in connecting many dots within their historical picture.

After covering Keith Rowe’s earliest years growing up and subsequently becoming a member of Mike Westbrook’s ensemble, the real meat of the story begins to unfold.

Rowe eventually connected with percussionist Eddie Prevost and the ideas for a new form of group improvisation started to develop. Into the picture, Lou Gare (a saxophonist Rowe had worked with in Westbrook’s group) joined the duo. Bassist Lawrence Sheaff was also recruited, as well. And in 1965 a group with no name began to create unique sounds. Around this time, composer and pianist Cornelius Cardew also began to get involved, too.

For Rowe’s part, he envisioned the guitar as a tool with which he could produce raw sound. He was not interested in notes or riffs. He put the guitar on a table and proceeded to shove objects between the strings in an effort to create a new sonic vocabulary for the instrument.

It wasn’t until 1966 that the moniker AMM was stamped upon the ensemble. At this point, the group was invited to make their debut recording for the Elektra record label. Subsequent recordings from the 1960s (like the The Crypt, 1968) would not wind up  seeing release until the end of the 1980s with the formation of the Matchless record label.

While the members of the group continued to work together, some of them got involved with other musical projects including the Scratch Orchestra. Over the years, the lineup of the group was somewhat fluid with Sheaff leaving and others such as Christopher Hobbs joining.
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As time passed, there were many states of flux and upheaval. Rowe and Cardew became well entrenched in their political ventures and friction was caused amongst others. This lead to an eventual split of the group and various iterations of the group starting to appear.

The story of AMM is one that has been going on for over fifty years. In this book, Olewnick manages to search every available dark and dusty corner to present a thorough and cohesive picture of the events which lead to the various stages of that lengthy career.

Of course, Keith Rowe is the main focus of this tome although it could just as easily been labeled as a history of AMM. But, the concentration on Rowe’s later solo and collaborative works does in fact make it more of his story.

In the long run, this is a long and winding tale which involves artistic ideas, disagreements, outright battles and eventual reunions. It is a fascinating story which was long overdue in its telling.

The inclusion of a well-detailed discography at the end of the book is icing on the cake. Collectors of their music (like yours truly) will likely wind up cursing the investment in future purchases as their wallets get progressively lighter. But, it’s the price that one pays to get exposed to such wonderfully creative sounds.

In the meantime, anybody who has an interest in AMM or creative sounds in general would be well advised to read this essential volume.

 

 

All Gates Open by Rob Young & Irmin Schmidt

avant-garde, books, experimental music, improvisation, Krautrock, progessive rock, psychedelic music, , , , , , , , , , , ,

Rob Young & Irmin Schmidt – All Gates Open (Faber & Faber, 2018)

When the FM airwaves started to emit the sounds of “underground radio” in the late 1960s, a whole new world of music began to open. WABX was the first such station to enter this area in Detroit in 1968. A short while later, CJOM hit the airwaves on my side of the border in Windsor, Ontario.

One of the most interesting things to appear were programmes which features “import” records. Suddenly, people were able to hear music which was not even available on domestic labels. These LPs often never got released in North America.

It was on one episode of these broadcasts that I first experienced the music of Can. It was 1970 and Monster Movie had just been issued in Germany (and the UK). The disc jockey talked about the band and even before he started playing the record, you knew that you were in for something special. I vividly recall his playing Father Cannot Yell and Outside My Door followed by the side-long epic Yoo Doo Right. From that moment, I knew that I would be a fan of this band.

Unfortunately, import records were few and far between at my local shops and it would be a while before I had my own copy of this record. My first purchase was their album Ege Bamyasi which was closely followed by Future Days. At that point, import LPs were starting to become easier to obtain and I was able to get copies of Monster Movie, Soundtracks and Tago Mago.

I kept following their work through articles in magazines like Melody Maker and  was able to keep up with their LP releases from that point.

Over the years, there have been a couple of books published about the band. The Can Book by Pacal Bussy and Andy Hall was an essential purchase for any self -respecting Can fan. There was also another book which was available as part of the Can Box (book, VHS video and 2 CD set of live recordings). Those, however, were mainly a mild warm-for this new volume.

All Gates Open is actually two books in one. The first two thirds feature Rob Young’s details of the individual members’ lives and their subsequent collaboration in one of Germany’s most revered and respected bands.

The final portion of the book belongs to found member Irmin Schmidt. This section is decidedly different to Rob Young’s writings.

From Young, we get a flavour of the times in Europe when the various members of the band were growing up. The four core members of the group all came from quite diverse backgrounds. Irmin Schmidt was making his name as an orchestra conductor. Holger Czukay was fascinated with all things electric including radios. Jaki Leibeziet was a jazz drummer who had worked his way into free jazz with Manfred Schoof. Michael Karoli was some ten years younger than the others with a more rock vision in his guitar playing.

The only things that any of the members really had in common was that both Schmidt and Czukay had both studied with the legendary German composer Karlheinz Stockhausen.
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It’s this diversity of talent and vision which was soon to give Can its unique approach to producing inventive and original sounds.

Vocalists also made an appearance in the group. This started with Malcolm Mooney and continued with a Japanese busker in the form of Damo Suzuki.

Throughout his portion of the book, Young paints a vivid picture of the environment in which Can existed. His presents details about their recording process, live performances and track by track analysis of their albums. This is the kind of material that any hardcore fan of the band will relish as they make their way through the pages of the book.

Irmin Schmidt’s portion of the book is a totally different affair. He edits together conversations with a host of interesting people from music, art and film.

Featured in the conversations are Mark E. Smith (The Fall), Geoff Barrow (Portishead), Bobby Gillespie (Primal Scream), Hans-Joachim Irmler (Faust), Peter Saville, Wim Wenders, Duncan Fallowell, Nick Kent, John Maokovich and many others.

These vignettes open up the conversation to many aspects of music and all types of artistic communication. It’s a fascinating glimpse into creativity.

Schmidt also relates many entries from his diary which also give a look into his creative life.

Overall, this is probably the book that all fans of Can have been waiting for over the years. It’s a detailed look at the band from the inside and the outside. A compelling read for those who have listened to the intriguing and original sounds of one of the most compelling bands to ever put sound onto recording tape.

 

 

Recent Arrivals: Discus & Leo Records

improvisation, Krautrock, music, Recent Arrivals, , , ,

Martin Archer – Storytellers (Discus): Over the years, Sheffield-based musician and composer Martin Archer has issued several albums of music with various groups of musicians but, it’s a rarity to see something come out under his own name. This recent project is certainly a fine time to toot his own horn (so to say) as it’s another one of his excellent offerings.

Over the course of two CDs spanning nearly 2 1/2 hours, six “books” are related in suite form. Each book revolves around movements around a common theme. They feature performance by the full band as well as sections designed to highlight specific soloists.

Each book weaves its own tale which winds its way from start to finish with sparkling dexterity among the musicians. What seems to make this music really gain an extra dimension of life is the fact that almost all of it was recorded live in the studio by the group. There is very little done in the way of subsequent overdubbing of parts. This process has resulted in a sound which harks back to some of the best recorded jazz works from the past. Top marks, indeed!

Sergey Kuryokhin – The Spirit Lives (Leo): As mentioned in the liner notes of this set, Leo Records was the first record company to issue the music of Russian composer/musician Sergey Kuryokhin which was smuggled out of the Soviet Union. It seems only fitting that they have decided to issue this recording of a live performance celebrating the twentieth anniversary of his passing.
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Recorded in July 2015, this set contains both an audio CD and DVD. The works are performed by Alexei Aigui & Ensemble 4’33”. The sixteen works contained in this performance show the breadth and scope of Kuryokhin’s catalogue of work.

The arrangements by Aigui which incorporate jazz and classical players brings the music a powerful scope. The strings build and sweep to propel the music to wonderful sonic heights as the jazz ensemble bob and weave a tapestry of sound.

There are even moments when the music rocks out with near Status Quo guitar riffery in pieces like Tragedy, Rock Style.

This is an essential document which truly does justice to the legacy and memory of the late Sergey Kuryokhnin.

 

Recent Arrivals – MoonJune

improvisation, jazz, music, progessive rock, , , , , , , ,

2016 marks the 15th anniversary of the MoonJune Records label. Over the course of its history, the label has released an impressive array of sounds spanning jazz rock, prog and world fusion recordings. Here are a few of the most recent…

“Zhongyu” Is Chinese for “Finally” is the self explanatory title of the CD by Zhongyu. The group explores many different areas which encompass relationships between different genres of music.

From the initial sounds of some electronic experimentation, the group slips into a prog rock mode with Crimson-esque guitar riffs and violin reminiscent of the Lark’s Tongue in Aspic era.

The use of the Chinese zither known as the guzheng brings an oriental feel to many of the works. It is used on its own as well as being blended with more modern electric sounds to interesting effect.

Overall, the mix of themes and instrumentation forms a nice balance for an album of interesting sounds.

So Far So Close by keyboardist Dwiki Dharmawan seems like a real blast from the past. If somebody had told me that an unreleased 1970s album by Return to Forever had recently been unearthed, I’d have been hard-pressed to argue. So far from the ’70s, so close to the sound.

Since I have been listening to RTF a fair amount lately, this disc seems to fit right into that mode. Even Mahavishnu Orchestra’s Jerry Goodman has been brought into the mix to feature on the album’s first track.
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Sometimes it is hard to ascertain whether an artist is making a nod to the past with their sound or simply stuck in the era. Either way, if this type of jazz fusion is your cup of tea, you’ll probably find it quite entertaining.

For many of us of a certain age, the release of Pink Floyd’s Dark Side of the Moon seemed like a watershed moment in musical time back in March of 1973. Since then, a couple of generations had been around to absorb its ever-present sonic vibrations. Over the years, there have been countless tributes and covers spanning all manner of disparate musical genres.

The Great Gig in the Sky is another such tribute by the trio of Boris Savoldelli, Raffaele Casarano and Marco Bardoscia. After the obligatory heartbeats and spooky voices, an acoustic bass brings the listener into Breathe.

Throughout the tracks, the sounds of jazz are mixed with electronic sounds which sometimes develop into pseudo electro dance beats.

The interpretations are interesting with accomplished musicianship.  The only drawback for me are the vocal contributions. While Boris Savoldelli has a distinctive vocal style, the often pained, dark approach seems to be more of a distraction within the context of the rest of the music.

MoonJune Records website

 

 

Keith Tippett on Discus

improvisation, jazz, music, Recent Arrivals, ,

A while back, I posted about a recent Kickstarter campaign to fund a new Keith Tippett release on the Discus label. It was a quick success and now the CD is available for all to hear.

Keith Tippett has been active on the British jazz scene for over 45 years. His discography (under his own name as as a player with others) spans dozens and dozens of releases over those years.

My own introduction to his work came in the form of his sprawling double LP set called Septober Energy by the ensemble of fifty musicians that he assembled known as Centipede. This set released in 1971 (1974 on this side of the pond) was an amazing and sometimes confounding work of a massive scale. It certainly made my teenage ears perk up and listen.

Over the years, Tippett has continued to produce many works deemed important in the annals of British jazz. His latest work certainly does not veer from that standard.

The Nine Dances of Patrick O’Gonogon spans over the course of a series of nine (natch!) compositions… with an additional two works appended as codas.
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Scored for his octet, the introductory work often feels like there are often twice as many players at work. The band could be as big as any Ellington or Basie ensemble at work. The piece swings but with a series of jagged edges stabbing within and around rapid-fire themes.

The second piece makes you feel like you have come out of the blistering sunlight and into the shade of a familiar tree. You can now wipe the sweat from your brow and feel some relief from the heat.

Three of the works – The Dance of the Walk with the Sun on his Back, The Dance of the Bike Ride from Shinanagh Bridge with the Wind at his Back and The Dance of the Wily Old Fox of the Ballyhoura Mountains – give off a cinematic air. These ears want to hear the sounds coming from a black and white detective film from the 1950s. They evoke a contemporary sound which harks to a monochrome age.

Following the Nine Dances are two codas. The first is a ballad sung by Julie Tippetts which seems to come out of nowhere to bring a tear to the eye like so many Irish folk songs are wont to do. It is followed by an arrangement of the traditional Irish song The Last Rose of Summer which neatly ties the whole package with a big shiny bow.

Tick the box for one more impressive addition to the discography of Keith Tippett.

Keith Tippet at Discus Music

Silent Records Lives Again

avant-garde, electroacoustic, electronic music, experimental music, improvisation, music, , , , , ,

Silent Records was the brainchild of label founder Kim Cascone. Throughout the 1980s and ’90s, Silent issued many recordings of interesting music spanning several genres including ambient, industrial and beat-oriented sounds.

In 1996, Kim invited me to issue something on his label after becoming familiar with my work on the FAX label from Germany. So, twenty years ago(!) my album Distant Rituals was released on Silent Records.

It was around this time that Kim left the label and sold it to an employee. Unfortunately, this change of hands did not work out well and the label folded in 1997. So, for nearly 20 years many great recordings have remained out of print.

Fast forward to 2016 and Kim has decided to re-boot Silent Records. In recent months, he has managed to track down most of the core artists who are still living and active. That includes me.

In the coming months, many of the long out of print recordings will start to make a reappearance via various media platforms. In addition to this, he has also managed to create a brand new compilation release entitled From Here to Tranquility 6. This latest installment in the series includes recent recordings by many of those core artists from years gone by. My work entitled Onlooker will be featured on the set. It will be available for download or as a limited edition CD release.
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There will also be a second volume of this set which features artists which have some relationship with the label (but, not as a core artist). This release will be made available as a download-only item.

In addition to re-issuing Distant Rituals, Kim has inquired about the re-release of some of my other long out of print material. Stay tuned as there will be more information coming in the future.

At the present time, Silent Records now has its own devoted streaming channel via SomaFM. Please visit the site to hear some wonderful ambient sounds from the past. This is just the beginning to the channel. Musical content will soon be expanding.

It’s all very exciting news and I wish Kim Cascone the best for his venture in the future!

The Silent Channel on SomaFM

Exposure for Canadian contemporary music (or lack thereof)

avant-garde, classical, electroacoustic, electronic music, experimental music, improvisation, jazz, music, , , , , ,

During my 25 years on the radio, I always took great pleasure in featuring the music of countless Canadian composers and musicians. These included works from the world of contemporary classical, electroacoustic and out jazz music. While it was great to share this material with the audience of a community radio station, it was not quite the audience that this music could have been receiving from a national broadcaster.

Over the years, the CBC (Canada’s national broadcasting service) has gone through many changes and these have often resulted in these types of music getting even more marginalized.

Canadian composer Paul Steenhuisen recently put together a letter to send to the Canadian League of Composer which addressed the situation of contemporary music and its status on the CBC. Paul has graciously given me permission to re-post his letter here.

Please read this letter in order to gain a greater understanding of the challenges that people like me (an electroacoustic composer) face when trying to get our music exposed to more people.

From Paul Steenhuisen to the Canadian League of Composers:
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Following up on my recent FB post, I’ve written a letter to the Canadian League of Composers. I include the letter here in order that others can read it, and perhaps add their comments. The letter was addressed to CLC President Brian Harman and the Head of the Advocacy Committee, Ian Crutchley. Others cited in my original FB post were Christien Ledroit, David Pay, and David Jaeger. Hopefully good things will happen.

“As a former longtime Canadian League of Composers Council Member, past ISCM Canadian Section President, composer, and contemporary music and public broadcasting advocate, I am requesting that the CLC, in its role as representative of Canadian composers, direct resources toward renewing its working relationship with the Canadian Broadcasting Corporation, for the benefit of the status of the artist in Canada.

The past decade has seen the removal of the CBC’s composer commissioning program, the demise of the CBC Vancouver Radio Orchestra, the cancellation of Two New Hours (the primary broadcast venue), the abandonment of recording of Canadian contemporary music, the end of the Young Composers Competition, and removal of other Classical Music radio programming. The accumulation of these actions amounts to the decimation of all resources previously, historically, and successfully devoted to Canadian contemporary music by the CBC, and the severance of the relationship between our flourishing field and the public broadcaster. While in some areas the CBC has diversified its programming, with the absence of Canadian composers and Classical music programming, it has moved toward significantly more commercial programming, at the expense of its responsibilities to the 1991 Broadcast Act. The Broadcast Act states that the CBC is mandated to provide programming that is “distinctively Canadian,” “actively contribute(s) to the flow and exchange of cultural expression,” to “make maximum use of Canadian creative and other resources in the creation and presentation of programming,” to “safeguard, enrich and strengthen the cultural, political, social and economic fabric of Canada,” and serve as “a public service essential to the maintenance and enhancement of national identity and cultural sovereignty.” Over the course of just over a decade, the CBC has perpetrated significant, quantifiable cultural and economic damage to the fields of Contemporary and Classical music in Canada.

In addition to developing and maintaining regular dialogue with the CBC to regenerate their investment in Canadian contemporary music through recordings, broadcasts, and commissions, etc., it would be prudent to determine the formal process for how new programs are proposed and developed, create a list of producers amenable to new programming initiatives, determine ways in which composers work could be included in current programming, and compile a set of resources that would assist CLC constituents in establishing meaningful communication with the CBC regarding our shared musical interests. More specifically, I am also requesting that the CLC, in combination with the organizers of the ISCM World New Music Days (Vancouver 2017), work towards securing national broadcast commitments by the CBC. The ISCM World New Music Days is an important international festival that will showcase top-level music, performers, and composers, and is an ideal opportunity for the CBC to be reminded of the quality, interest, and value of artists and individuals contributing to this wide-ranging field of creative music. While various other new media is available for making concerts available, nothing can currently match the awareness and exposure that can be obtained through the radio and television resources of Canada’s longstanding public broadcaster.

Please note that in discussion with the CBC, some individuals are inclined to distort and manipulate important terminology required for the presentation and understanding of accurate broadcast statistics. While demonizing art music as elitist, they have simultaneously sought to co-opt the term composer to apply to singer-songwriters and anyone who makes music. They have also attempted to transform the terms contemporary music and new music to mean anything recent, and inclusive of anything, such as commercial, pop, rock, hip-hop, electronica, and other forms of musical expression. By doing so, they will argue that they play more contemporary music by Canadian composers than they ever have, while knowing that this is untrue based on historically accepted definitions of the terms. Meanwhile, the CBC’s inclusion of composers associated with the Canadian Music Centre, including electroacoustic music, is near zero. The CBC is mandated to be an alternative to commercial interests, driven by cultural responsibilities rather than commercial ones.

With a new government that has stated its commitment to restoring the CBC, and new funds being promised to the public broadcaster, it is critical for the Canadian League of Composers to devote significant and ongoing resources to forging a meaningful role for Canadian art music at the CBC. There is a wealth of wonderful music being made and performed by artists of the highest level in Canada, and the field has expanded and changed – it is a cultural loss to Canadians that the CBC is currently not part of it. My hope is that with the advocacy of the CLC (perhaps in combination with the Canadian New Music Network), the current circumstance will change and our collective, active role in Canadian culture will once again be reflected by our public broadcaster.”

Patty Waters – In Concert 2015

improvisation, jazz, music, vocal, , , , , , , , ,

If you read my earlier blog post about Patty Waters (or know me in real life), you’ll be aware of my affection for her ESP label debut LP. Well, this month marks the 50th anniversary of the recording of that album (December 19, 1965). So, it seems fitting to make another post about Patty at this time.

Last month, Patty gave a rare concert appearance at the Jazzhouse in Copenhagen, Denmark. Luckily, quite a bit of the performance was captured on video on that night of November 8th.

Here are clips from that show featuring Burton Greene (piano), Barry Altshul (drums) and Tjitze Vogel (bass). Enjoy!


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Recent Arrivals – Leo Records

improvisation, jazz, music, Recent Arrivals, vocal, , , ,

Pianist Uwe Oberg’s latest release – Twice, At Least – is a solo outing recorded at concerts in Germany in 2012 and 2015. In addition to the self-penned compositions, he also plays works from Annette Peacock, Steve Lacy, Carla Bley and Thelonious Monk.

Throughout the performances, Oberg expands the sound of the piano by often simultaneously playing the keyboard while also reaching inside to pluck the strings. This practice adds an extra layer of detail and expressiveness to the works which are already detailed and dynamic.

Hearing these live recordings makes the listener wish that there they were in the audience to see the performance first-hand. An excellent collection of works which excite the ears with their dynamic variations.

VocColours is a quartet of poetic vocalizers who have teamed up with musician Eberhard Kranemann to produce a unique blend of voices along with double bass and electronics. Throughout their CD entitled Luxatio, the ensemble bobs and weaves through a tapestry of vocalizations with sympathetic sonic accompaniment by Kranemann.

The result is a quilt of sound full of abstract sonic imagery and highly interesting blending dynamics.

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The other two most recent releases in this latest batch from Leo Records share many similar sonic traits.

14 rue Paul Fort, Paris features the trio of Joelle Leandre (bass), Benoit Delbecq (piano) and Francois Houle (clarinets). Ramble is by the quintet known as SWQ and features Sandra Weiss (sax, bassoon), Jonathan Moritz (sax), Kenny Warren (trumpet), Sean Ali (double bass) and Carlo Costa (drums).

On both recordings, the ensemble players are seeking to create a flowing and abstract sound picture. The musicians listen to the sounds emanating from around them and spontaneously react to the situation at hand. It feels more like an improvisation of sound clouds than a a musical progression.

These clouds bend and blend to create a wonderful distortion of musical reality. Two sonic excursions which provide an aural palette of curious abstract imagery.

Leo Records website 

 

Recent Arrivals – Discus

electroacoustic, experimental music, improvisation, jazz, music, progessive rock, Recent Arrivals, vocal, , , , , , , ,

If there is one thing that you can anticipate from the releases on the Discus label, it’s to expect the unexpected. This is a case in point.

frostlake is Sheffield-based singer, musician Jan Todd. On this debut release (White Moon, Black Moon), she creates layers of her voice and multiple instruments alongside contributions from other fine folks from the area including Martin Archer, Charlie Collins, Terry Todd and others.

The first thing that strikes you is the reverb-drenched near-whisper vocals. These are combined with layers of dreamy instrumentation that evokes a folky, psychedelic, progressive soundscape. It almost feels like one of those unearthed rarities of what is now termed “acid folk” recorded in the late ’60s or early ’70s.

However, the sound is brought up to date with one foot in the past and another with a hold on the present and future. The music is dreamy yet never slipping into a maudlin melancholy. There is always something going on to keep the listener engaged as the background sounds blend seamlessly with the often haunting layered vocals in the foreground. Definitely an album inviting repeated late-night listens.

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Martin Archer’s latest release – Echoic Enchantment – is a collaboration with poet Bo Meson. Martin goes into some detail about the project’s genesis in the liner notes of the CD.

Inspired by a performance by Bo’s poetry group, Martin was inspired to create a work written around the text. The musical portion of the disc-length range from sparse basslines to haunting string sections evoking an atmosphere not unlike Ligeti or Pendereski. These sections are juxtaposed with others based on “directed improvisation” which have been edited and collaged featuring percussion, piano etc… which incorporate text which weaves its way into the soundscape.

The work flows and glides in several directions often creating a haunting and evocative atmosphere. A lengthy sonic journey that provides multi-layered scenery for the ears.

Discus website

 

Recent Arrivals – Drip Audio and Ambiances Magnetique

experimental music, improvisation, jazz, music, , , , , , , ,

It’s always nice to receive some wonderful sounds from right here in Canada. These recent arrivals come from opposite sides of the country.

Joyful Talk is Jay Crocker. A Nova Scotian who found himself embedded in the heart of the Calgary experimental scene. His latest offering – MUUIXX  – consists of a series of self-recorded works which feature a number of his own homemade instruments. With these instruments, he creates soundscapes which range from repeating percussion lines, loops of electronic sounds and some obscured voices to haunt the mix.

Despite the percussive feel, the sounds don’t make their way into a realm of dance-ability. The rhythms are often broken or fractured evoking a picture sometimes reminding one of Autechre or Aphex Twin.

There are many twists and turns over the duration of the material and it’s always a pleasant surprise to hear where things proceed.

Guitarist Tony Wilson’s latest release features him in the context of an ensemble which is well suited to his wide range of performing. Many of the works present an atmosphere of hazy, laid-back sounds. His guitar mixes well with the violin of Jesse Zubot and trumpet of J.P. Carter. Cellist Peggy Lee, bassist Russell Sholberg and drummer Skye Brooks flesh out the picture to create a highly polished sound.
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The hazy works are complimented buy other tracks which evoke the quirkiness of a Zappa-esque feel.  Even some King Crimson Lark’s Tongue in Aspic inspiration makes its way into the mix at times. A very diverse and successful recording.

With Musiques de Chambres 1992 – 2012, Jean Derome presents works different to the usual jazz-based releases that we’ve heard over the years. In this context, he presents several works in a more classical style but featuring instrumentation more associated with jazz.

Four of the compositions feature ensembles of four to eight players. Of those, one features eight flutes and another four saxophones. One work features Lori Freedman on solo bass clarinet and another is a duo with Derome on bass flute and alto saxophone along with Lori Freedman on clarinet and bass clarinet.

All of the works feature top-notch arrangements featuring stellar musicianship. While these pieces may not be what you would generally associate with Jean Derome, they should be considered an essential listen if you are a fan of his past work.

Drip Audio website

Ambiences Magnetique website

Brian Eno – An Interesting Interview

electroacoustic, electronic music, experimental music, improvisation, music, progessive rock, , , ,

Anybody who has known me for the past 40 odd years will probably recall that one of my favourite artists back in the ’70s was Roxy Music. They formed an interesting hybrid of both musical and visual styles which I found immensely unique and intriguing.

In 1973, band member Brian Eno left the group and started his own musical career. His path was even more interesting to me as it spanned rock music and electronic sounds. I was also very lucky to be able to sit in on a live radio interview that he did on CJOM-FM in Windsor, Ontario back in July 1974. It was there that I discovered a common interest in German bands of the day such as Can, Neu!, Cluster and Kraftwerk.

Eno’s experiments with sound – ambient, long-duration works etc… – eventually became an integral touchstone for the music which I would begin to create a few years down the road.

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Dieter Moebius (Cluster): 1944 – 2015

electroacoustic, electronic music, experimental music, Gone Gone Gone, improvisation, Krautrock, music, vinyl, , , , ,

Dieter Moebius was one of the founding members of the avant-garde experimental trio known as Kluster who formed in Berlin in the late ’60s. Along side fellow artists Hans-Joachim Roedelius and Conrad Schnitzler, they produced a trio of records which were abstract sound collages.

After the departure of Schnitzler (who was also a founding member of Tangerine Dream), the remaining duo re-branded themselves as Cluster. In this incarnation, the duo produced several recordings of wonderful minimalist electronic soundscapes.

In the early 1970s, new music from German began filtering into the UK. The sounds of Cluster along with Can, Amon Duul II, Tangerine Dream, Neu! and Kraftwerk began to make inroads outside of their native land.

One person whose ears were opened to these sounds was Brian Eno. He subsequently recorded albums in collaboration with the Cluster duo.
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Both Moebius and Roedelius recorded many solo albums over the years. They also continued to work together as well as joining Neu! guitarist Michael Rother as a trio called Harmonia.

The sounds made by Moebius and Roedelius not only made an impact on a new generation of electronic music artists in the 1970s but, continue to be felt to this day.

In the early 1980s, I was half of an electronic music duo called M104 along with Werner Albert. The greatest compliment that we received about our music was that we were the Canadian version of Cluster. Enough said.

Obituary at The Guardian website.

 

Recent Arrivals – Leo Records

improvisation, jazz, Recent Arrivals, , , ,

The latest quartet of releases from Leo Records contains work from two saxophonists whose work has been very well documented by the label over the years – Ivo Perelman and Carlos Actis Dato.

Three of the four new discs feature Perelman in both duo and trio settings. Tenorhood with drummer Whit Dickey, Callas with pianist Matthew Shipp and Counterpoint with violinist Matt Maneri and guitarist Joe Morris.

All three recordings show Perelman in his element. In Tenorhood, he locks in with Dickey as they bob and weave to produce a tapestry of propulsive, percussive works.

With Matthew Shipp (on Callas), he produces a series of pieces (over two CDs) which have been inspired by the late, great opera singer Maria Callas. Each of the improvised works were subsequently named after one of the famous parts which Callas played (Aida, Norma etc…). While not specifically designed to mimic the music of any of these works, the inspiration of the serves to unify the theme in the minds of the players.
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On Counterpoint, the trio which includes Morris and Maneri pull out all the proverbial stops to create an air of sonic surprises. The proceedings twist, turn and melt together to produce a cohesive picture of expansive proportions.

The Actis Dato Quartet include second sax player Beppe Di Filippo, bassist Matteo Ravizza and drummer Daniele Bertone. The context on the CD Earth is the Place focuses on compositions as opposed to improvisation. The works are up-beat and joyous in their presentation. It’s an uplifting atmosphere of a quartet locked in the moment and enjoying themselves as much as the listener.

Photos: Ivo Perelman (top), Carlo Actis Dato (bottom)

Leo Records website. 

Remembering Ornette Coleman 1930 – 2015

Gone Gone Gone, improvisation, jazz, music, , ,

Ornette Coleman passed away on June 11th at the age of 85. He was a jazz legend who ranks among the greats such as John Coltrane and Miles Davis. While he probably sold less records than those two other artists, his influence on music certainly rivaled them.

Coleman’s 1958 debut album called Something Else!!!! in 1958 caused a stir in the jazz world that would continue to divide listeners and critics for years to come. His approach to melody, harmony and rhythm was part of his own view of what he called “harmolodics”.

His music was unique, inspired and inspiring. As with Davis and Coltrane, his sidemen over the years reads like a Who’s Who of jazz innovators. People like Don Cherry, Charlie Haden, Ed Blackwell and Billy Higgins all traveled though his groups.

Also remember the fact that when men are suffering from andropause, they become more motherly than fatherly. cute-n-tiny.com purchase viagra After seeing the results, you are going out of state for, think long and hard erection is one of the levitra uk most important requirements for pleasurable sexual activity in the bed. http://cute-n-tiny.com/page/35/ discount levitra This includes the circulation systems of men that give out the best a portion of the component, which is accounted to be the great medicine which helps completely to bring great erection. The product is for men sildenafil españa and women both. I first heard Coleman’s music at some point in the 1970s. It wasn’t until some years later that I started adding his music to my collection. The advent of the CD era seemed to make it easier to find his recordings. These often included extra tracks recorded at the same sessions.

I also tried to track down copies of his albums on vinyl whenever possible. In the end, I managed to amass quite a large selection of his work in both formats (sometimes with duplication).

As my friend David Lee (jazz writer and former editor of Coda magazine) has mentioned, Coleman’s death is not a time for sadness. He was around producing his own personal style of music for decades. So, it is more a time to celebrate the work that he left us over so many years.

Luckily for us, Ornette Coleman did not die at an early age like Jimi Hendrix. In the latter’s case, we can only be left to speculate on what he would have done had he lived beyond the age of 27. In Coleman’s case, we were truly blessed to have heard his world of sound evolve over many years.

Ornette Coleman’s obituary from The Guardian

Recent Arrivals – Discus

electroacoustic, electronic music, experimental music, improvisation, jazz, music, Recent Arrivals, vocal, , , , , , , , ,

DiscusCDs-Tippetts&Archeretc...-flat

One of the best things about doing a radio programme featuring non-mainstream music for many years was receiving music from like-minded folks from around the globe. Such was the case back in the ’90s when I received a package of CDs from Martin Archer on his Discus label.

Martin continued to send me music and I continued to feature it on the airwaves. We also corresponded quite frequently and a musical relationship built up. In the ensuing years, we have played together live many times on my visits to the UK and we’ve also contributed to each other’s recordings.

When I visited Martin in Sheffield last June, he was in the midst of about a dozen different recording and performance ventures. At that time, he played me a number of recordings that he was working on. Many of these are now available on this latest trio of double-CD releases.

Vestigium is the latest collaboration between Martin and vocalist Julie Tippetts. Every release in their series of works seems to magically rise above the previous  set. This is no mean feat as each of their projects are quite wonderful affairs.

This latest set is no exception as the individual works often vary drastically in their sound but manage to create a bigger picture which holds all of them together. Sonic backdrops can be minimal and shimmering with the vocal lines drifting through the landscape. Other times, a steady bassline and percussion beat bring the funk to the fore.

Listening to these works, it seems like both Martin and Julie were destined to lock their creative energies together. Julie’s dexterous vocalizations meld perfectly with the music. Martin’s ear for detail and the ability to create subtle layers for the vocals makes for a tapestry of aural delights. The final work in the set – Stalking the Vision – is a fine example of this sonic synergy in action.

Some men experience the condition for a few days, with no awkward levitra for sale online conversations at all. They are just not satisfied with the type of educational content material that is needed, you might discover this capsule as a harmless http://appalachianmagazine.com/2018/1/page/2/ viagra generika drug. The essential fatty acids also aid in the absorbency of necessary vitamins buy sildenafil online like Vitamin A, D, E, and K. 9. Heart failure is even known as congestive heart on sale here levitra 10 mg failure. Bad Tidings from Slackwater Drag is by Martin’s ten-piece big band called Engine Room Favourites. From the introductory tune – Song for Alice Coltrane – you know that you are in for a good ride. Tracks range from dense and frenetic to minimal improvised structures.

At times, I was put in the mind of Soft Machine and also was reminded of Julius Hemphill’s Big Band. The latter thought was confirmed as the concluding number of the set is a cover version of Hemphill’s classic track The Hard Blues. And ERF do a most admirable job in their performance.

Inclusion Principle’s Third Opening shows even more diversity for Martin and his cohorts. This is a trio which also includes Herve Perez and Peter Fairclough.

On this set, the sounds range from environmental field recordings, computer-generated sounds, saxophones, piano and percussion. From minimal soundscapes to wild hyper-rhythms, the pieces blend and weave their way through two CDs of diverse sonic contexts.

Definitely three more highlights for the ever-expanding Discus catalogue.

Discus Music website

 

 

Future Days by David Stubbs

books, electronic music, experimental music, improvisation, Krautrock, music, vinyl, , , , , ,

FutureDays-book

Subtitled “Krautrock and the Building of Modern Germany” this book takes the reader on a journey through the heady days of the German experimental music scene from the late sixties into the seventies.

Stubbs begins with a lengthy prologue which traces the social developments of the country through the 20th century. This is done to provide a perspective on what was to come after the Second World War.

After he has established the state of the minds of the German youth through the sixties, he then relates the stories behind the major groups who began creating experimental music.

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He finishes by discussing newer music as well as the influence of the German music on specific musicians (David Bowie) and musical scenes (post punk).

For those not intimately familiar with this music, it may serve as a good introduction to stir up some curiosity. For those of us who are already quite well-versed in the genre, there are still some facts that are revealed that may be new to us.