The Resonance Ensemble | Double Arc | Not Two Records

The work of composing rehearsing, and performing Double Arc took place in November, 2013. Now, more than a year and a half later, I am writing the liner notes to complete the last aspect of the project. The extended distance in time between the recording and mixing/mastering of the musi gave me a different perspective toward the material than I have for most albums. Working on now — 19 months after the performance was documented at the Manggha Culture Center in Krakow — what strikes me most is that this piece seems to be my Pierrot le Fou. No insult intende toward Jean-Luc Godard by comparing his work to mine but, as that film can be seen as a such motion of ideas and filmic strategies that he had developed up until that point, Double Arc can be heard as taking similar place within my own creative development. — Ken Vandermark Continue reading

Nicole Guazzaloca | Tecniche Arcaiche / Live at Angelica | Amirani Records

We already knew the inventive freshness of this musician, but didn’t get yet the opportunity to listen him performing his solo masterpiece live. The visible secret of his music is the perfect balance between delicacy and impetus driven through a conscious journey on/outside/inside the piano. Deeply investigated in a breath-taking, brilliant live concert at Angelica Festival, the sound-elements dance is developed with un-orthodox exploration of the instrument, crystal clear storming note cascades, gentle sudden melodic flashes and textured sketches. A tasty musician, here delivering grace moments of thrilling sequences, complex designs and simple light edgy notes, that give us the idea of a marvellous sense of narration. Another great album from Nicola proudly co-produced with Aut Records. Continue reading

Dan Clucas | Mark Weaver | Dave Wayne | Hotend | Do Tell play the music of Julius Hemphill | Amirani Records

Julius Hemphill’s music is about digging under the facts, pulling out the stops, revealing the insides, telling the truth. His groove-oriented pieces (Steppin’, The Hard Blues, Otis Groove) seem to be a function of his having internalized the essence of the blues, so that the feeling, the ache of that music, is imbedded in the soul of these songs. Contrarily, his more compositional side is less about rhythm and more about sound, timbre, and tone. But always, his compositions value improvisation; even his most thoroughly notated works call for the musicians to collectively improvise within the parameters of that piece and there again lies the spirit of the blues in Julius Hemphill’s music, which is perhaps the most revealing truth of all. Continue reading

Misha Feigin & Susan Alcorn | The Crossing

“What I’ve done with the piece is to use the sequence of numbers corresponding to the elevation of the terrain in a straight line going from the east coast to the west coast of the United States at the latitude of Louisville, Kentucky as an impulse response which I convolved audio editing with the piece. Convolution is the process of multiplying the values of one linear sequence of numbers by every other member of a 2nd linear sequence of numbers. Convolution Reverb is used widely to apply a “space” to a recorded sound.” — Steve Good Continue reading

Henry Kuntz & Paul V. Kuntz | DOUBLE VISION | HBD 03

On Double Vision, Paul and I began with the concept of “festival form” as showcased by the Envision Ensemble Live at Berkeley Arts Festival. At Paul’s suggestion, we expanded the bounds of the sonic fairgrounds to include: on Bluebonnet Poppies solo music of mine from the LP Ancient of Days, Light of Glory; on Redwood Oaks duo music by myself and John Kuntz from the cassette New World Music; and on Sagebrush Tumbleweeds generic crowd noise which is always an integral part of any festival sound field. — Henry Kuntz Continue reading

Howard Riley | 10.11.12 | No Business Records

John Howard Riley (born 16 February 1943) is an English jazz pianist and composer. Riley was born in Huddersfield. He began learning the piano at the age of six, and began playing jazz as early as the age of 13. He studied at the University of Wales (1961–66), Indiana University in America under Dave Baker (1966–67), and then at York University (1967–70). Alongside his studies he played jazz professionally, with Evan Parker (1966) and then with his own trio (1967–76), with Barry Guy on bass and Alan Jackson, Jon Hiseman, and Tony Oxley for periods on drums. Additionally he worked with John McLaughlin (1968), the London Jazz Composers Orchestra (1970-1980s), and with Oxley’s ensemble (1972–81). He and Guy worked in a trio with Phil Wachsmann from 1976 well into the 1980s, and played solo piano throughout North America and Europe. From 1978 to 1981 he played in a quartet with Guy, Trevor Watts, and John Stevens; in the early 1980s he did duo work with Keith Tippett, with Jaki Byard, and with Elton Dean. From 1985 he worked in a trio setting with Jeff Clyne and Tony Levin. Riley has taught at the Guildhall School of Music and Drama and currently teaches at Goldsmiths, University of London, where he has taught continuously since the 1970s. Continue reading

The Convergence Quartet | Owl Jacket | No Business Records

The Convergence Quartet Taylor Ho Bynum (cornet), Harris Eisenstadt (drums), Alexander Hawkins (piano), and Dominic Lash (double bass) brings together four leaders of a generation of composer improvisers who draw on a deep range of influences and traditions in their music. All established bandleaders in their own right, the band’s credits also include work, both live and on record, with many seminal names in contemporary jazz: Anthony Braxton, John Butcher, Joe McPhee, Louis Moholo Moholo, Evan Parker, Mulatu Astatke, Sam Rivers, and Cecil Taylor, to name only a few. Through many hours on the road and in rehearsal, the group have forged their many and varied musical experiences into a uniquely innovative and coherent language, offering as a result a ‘powerful example of 21st-century musical catholicity’ (John Fordham, The Guardian) and ‘moments of magical innovation’ (Paul Medley, The Oxford Times). Continue reading