All artists filed by last name under Q, R and S :
Paul Hubweber – trombone | Frank Paul Schubert – alto & soprano saxophone | Alexander von Schlippenbach – piano | Clayton Thomas – bass | Willi Kellers – drums, percussion … Continue reading
Stefan Keune – sopranino, alto-saxophone | John Russell – acoustic guitar Digital recording made in London by Martin Davidson 2002 October 21, exept 1, and 9, at the Red Rose … Continue reading
Stefan Keune & John Russell share an abiding interest in free improvisation. A music that relies on an appreciation of, and a willingness to adapt to, the circumstance of the moment. What, when or how to play was left to the musicians’ discretion at the time of making the music. The “Excerpts and Offerings” on this CD are presented chronologically and are essentially un-edited i.e. real time recordings of the improvisations. Titles are all cryptic allusions to events that took place between 15th – 21st of November 2000. Continue reading
Stefan Keune – sopranino, alto saxophone | Hans Schneider – double bass | Achim Krämer – drums, percussion Recorded February 16, 2007 by Tim Isfort at Duisburg-Baerl. Mastered March 3rd, … Continue reading
Not Two, 2015 | MW 924-2 | CD Mats Gustafsson – slide, tenor, baritone and bass saxes, electronics and piano mate | Ingebrigt Håker Flaten – bass | Jon Rune … Continue reading
Orchestra Berlin In January 2014, we had an unusually warm winter in Berlin. The exception was the three days that we had the concert and recording for this project. We could see the diamond dust that night and it showed how cold it was. Fujii, who’s been living in Berlin since 2011, started the orchestra project there after founding orchestras in four other cities: New York, Tokyo, Nagoya and Kobe. Fujii had written “Ichigo Ichie” to perform at the Chicago Jazz Festival and wanted to record it in Berlin with the musicians she’d met there. — Natsuki Tamura Continue reading
Art is one way of communicating truth and beauty. For those of us who are convinced that beauty can only come out of truth, the effort involved in shaping an artwork is an intense and deeply satisfying experience. Open Secrets was made in this spirit, with an honesty embedded in each note and each word; with a pulse woven through each verse; with the timeless essence of jazz and the influence of our ancestors as evoked through Celtic Folk music. The recordings on this disc are a sonorous and deeply articulated alchemy. The result illustrates how art is capable of opening the door to a new dimension by combining different disciplines and styles; music and poetry walking hand in hand towards an undefined place full of new discovery. This is a journey into endless landscapes and skies; each unique and special, depending on the emotions of each listener. — Josep Ramon Jove (artistic director) Continue reading
Aldo Clementi has been a central figure for the evolution of European New Music since the Fifties. A student of Alfredo Sangiorgi and Goffredo Petrassi, he began to build his own identity as a composer starting from post-Webem serialism coordinates, by elaborating the influence of both attending Darmstadt and acquiring technical skills thanks to the relationship with Bruno Madema. Deeply influenced by contemporary painting (especially by the “informal” art of Fautrier, Tapies, Tobey and Burri, but also by Perilli’s and Dorazio’s works), and by the relationship with John Cage (with whom he shared the passion for chess), Clementi has achieved, since the early Sixties, his own aesthetic, gradually shifting from the structuralist categories to a personal dimension and style. Since the Informel cycle, Clementi’s works feature complex and rigorous contrapuntal textures, resulting from graphic processes and designed to dissolve internal dialectics by saturating the sonic space. Continue reading
This is an epistolary book, a mode of writing quite popular in the 19th century, a form Dostoyevsky used for his first novel POOR PEOPLE, the book he wrote before he went to Jail for a decade. But it wasn’t POOR PEOPLE that got Dostoyevsky sent to Siberia; it was “conspiracy.” Though I doubt Ann or Kell will get thrown in the slammer because of this tome, it is conceivable that with a few changes in politics, along Reaganistic lines, they might be indicted for this conspiracy, this honesty & openness, and life-long iconoclasm that necessarily personifies a poet in these days & times. It is a fine day when one receives a dispatch from either of these two. Both are consummate letter writers. Annie’s most often are typed out in long narrative prose lines, laying on the page like a poem. Kell’s are also typed, and go on for 2 pages and sometimes 4-. Both dip into memories and present thoughts freely, rambling with untarnished sincerity. Both do their writing in the mornings, before work, sometimes before the sun comes up. — Mark Weber Continue reading
The way Dario Palermo deals with formal structures and different expressive grounds, complexity and a peculiar taste for a refined primitive touch is really remarkable. All three compositions here have been conceived as a multi-perspective field of artistic investigation: Dario Palermo RO-Premiére danse de la Lune, featuring a superb interpretation by percussionist Milo Tamez, is an astounding journey through the hybridization process of single percussive voices with electroacoustic treatments, emphasized frequencies, polyrhythmic mazes, generating a sonic organism in which ancestral and future sounds dance a beautiful interaction. Performed by the world-wide prized Arditti String Quartet and by brilliant mezzo-soprano Catherine Carter, the composition Difference Engine delivers a single movement in which several areas fluidly melt in a complex process of metamorphosis. Tasty subtleness, extremely accurate attention to detail, together with a skilled overall compositional vision, build up a macro-object that clearly reveal Palermo’s attitude to complexity and generative compositional method. A great piece. In TRANCE, biological and physical vocal characteristics, and pure singing vocal aspects, are subject-objects (material) of the work, paired in a constant fluctuant correspondence, which structure the shape and form of the work . The central role is played here by vocalist Jean-Michel Van Schouwburg whose journey in phonemes, polysyllables and physical vocal flexibilities find a perfect partner in real time electronic treatment. Continue reading