G – H – I

All artists filed by last name under G, H and I :

Misha Feigin | Both Kinds Of Music

Posted by

0

If you’ve never heard a free-style jazz duet between a balalaika and a dobro, and you have a desire to do so, this CD should appeal to you. Actually, this is much more than a novelty album, as Feigin strums his guitar-like balalaika and classical guitar through seven jazz duets with Elliot Sharp (dobro), Davey Williams (electric guitar), Craig Hultgren (cello), LaDonna Smith (violin), and Eugene Chadbourne (banjo and guitar). The star billing is entirely appropriate, as each track is a stunning display of string improvisation. There is lots of variety as not only do the instruments and players alternate, but so do the free improvisations. Surprisingly accessible and at times even soothing, there is plenty of stridency, too. The duel with Hultgren is a particular highlight, as the violinist dances gingerly, without missing a step. Feigin (no relation to Leo Feigin, the producer) is strong throughout and a perfect partner. — Steve Loewy Continue reading →

Misha Feigin | Only One Road Revisited

Posted by

0

Misha Feigin – classical guitar, voice 1-17 / balalaika 17 | Marc Vainrot – viola de gamba 3,4 | Segei Proshutinsky – medieval flutes, crumhorn 2,3,4 | Sergei Kopchenkov – piano, harpsichord 7,11 | Alexander Ivanov – keyboard 6,11 | Sergei Gurgbeloshvili – saxophone 7 | Mark Pekarsky – percussions 9 | Mihail Utkin – cello 9 | Lliya Lungin – flute 10 | Moscow String Quartet 9 | Mark Hamilton – electric guitars, electronics 12-17 | Dannie Kely – bass 12-17 | Hussam Al-Aydi – oud, keyboards, voice 14. Cover photo by LaDonna Smith. Insert photo by Misha Feigin. Back cover photo by Valentin Mitskevich Continue reading →

A Spirale | Agaspastik | fratto 9

Posted by

0

Try to imagine Kevin Drumm and Bhob Rainey playing rock together, with a drummer that deviate their already deviant music playing something coming from the sixties. The aim is to make music “not playing” (barbarous music, quoting Cornelius Cardew), a torn body that spits blood, whose only movement is generated by spastic contractions due to injuries. Agaspastik represents the “step beyond” of A Spirale, that from electroacoustic destructuration of “Porosità” (cd-r) and “Gariga” (SM – 1360) expand their range of possibility and control over the sound matter, losing themselves in the languages of radical improvisation, of power noise, of punk… Very dark and violent music, with bewildering moments of melody… Continue reading →

Aspec(t) | Waspnest | fratto 9

Posted by

0

Aspec(t) are SEC_ and Mario Gabola from Naples, Italy. SEC_ plays electronics through laptop. processed tapes, and analog synthesizer. Mario plays saxophone and feedbacks through a System of resonant dru m s and small speakers. Their music shares the timbrical research and the execution control typical of some radical irapro music (Pateras/Baxter/Brown, John Butcher, Jim Denley, Bruce Russell,..), but meets the visceral intensity and the obscure poetic of thé new aktionsm and of noise music (Rudolf Eb.er, Dave Phillips, Joke Lanz) as well as the research on analog devices and concrete sound materials of the sonic poetry (Lionel Marchetti, Jérôme Noetinger). The resuit is a fascinating and inextricable forest of sounds: frenetic structures, noise explosions, ancestral cries, an unceasing perversion of the soundscape and the time stream. Continue reading →

Mark Hartenbach | The Sound of Music | Hcolom Press

Posted by

0

Two poets stand out in my mind as carrying a tradition that took root in the Sixties through subsequent decades and into the new millennium. Some call it Meat, some Confessional, but those labels are not big enough to cover this breed of poetry, and so I’ll leave it nameless. It’s a poetry that connects more with the Beats than the Sixties, but stripped of the baggage of ideology and formalized spiritual quest that saddles much of Beat poetry; its language is lean and sharp and drills into everyday life, surfacing with nuggets of uncut truth that melt away if you try to incorporate them into something “bigger”. The Mimeo Revolution was the vehicle that carried this poetry through the Sixties and early Seventies; after that, it was pretty much on its own. The poets I’m talking about are Albert Huffstickler, who died in February of 2002, and Mark Hartenbach, who carries on. — John Bennett Continue reading →

Eric Greinke | The Art of Natural Fishing | Gazelle Books

Posted by

0

In this insightful, humorous and inspiring book Master Angler Eric Greinke examines the moral, ethical and social values of fishing. He criticises our dependency on technology and advocates practising a more natural and artistic approach to both angling and living. The story of his relationship with an old fisherman runs through the narrative, providing many poignant and funny moments. “The Art of Natural Fishing” is an instant classic that connects how we fish to how we live, a good read for fishermen and non-fishermen alike. Continue reading →

Joe Holiday | Somebody Else’s Nightmare | Strength and Kindness

Posted by

5

As the bandleader my job is to develop a musical style, compose in that style and guide the interpretation of the compositions. The goal for this project was to perform music that was both written in “parts” and also meant for improvisation. “Parts” music is played by reading notes on a page; this can sometimes be complex and can require much concentration. It is found in many types of music including classical, pop, musical theater, big band and more. The challenge is to make the music sound alive and fresh every performance even though the musician has performed it the say way hundreds of times. With Somebody Else’s Nightmare, some of the “parts” change from performance to performance – for example, some compositions demand that the musicians improvise their own melody. To do this, they must listen closely to what the others are doing, and adjust. During performance, chord patterns might change. Also, I might cue in new sections while the piece is evolving, much like an audible called from the quarterback in football. In my mind, this is musical fun for both player and listener. — Joe Holiday Continue reading →