Rob Mazurek

Jason Ajemian | Tony Malaby | Rob Mazurek | Chad Taylor | A Way A Land Of Life | No Business Records

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Jason Ajemian, bassist, has developed a high profile in the improvised music scene over the years, performing with Rob Mazurek’s Mandarin Movie, Exploding Star Orchestra, and Chicago Underground Trio; Ken Vandermark’s Crisis Ensemble; and currently with Marc Ribot’s new group Sun Ship. Ajemian’s curiosity has ranged far and wide – he’s just as comfortable in the hushed, folksy setting of Born Heller, his duo with Josephine Foster, as he is in the breath-processed arrangements of his large ensemble Who Cares How Long You Sink. Given such a variety of musical interests, a detour like “From Beyond,” Ajemian’s backward version of Black Sabbath’s “Into the Void” for chamber ensemble, begins to seem like an obvious stop on his journey from the foothills of the Blue Ridge Mountains to Chicago and his current home in New York City. Continue reading →

Rob Mazurek Exploding Star Orchestra | Matter Anti-Matter | RogueArt Jazz

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Out of the 63 or 67 satellites around Jupiter, fifty or more of them were discovered since the year 2000 (since the “elections” of George W. Bush and Vladimir Putin, since the busting of the Internet bubble and the market launch of the first USB key: it’s all a question of scale, right?). We are told their orbits are far apart, eccentric, inclined and retrograde. That they do as they please, heads in the clouds, that they dance. It’s your turn to dance. You understand you are a moon in all its phases simultaneously. Let me say that again. Anybody can be the root, says Roscoe Mitchell. Everything is seed, says Novalis. Ascension Dream Phoenix, says Rob Mazurek. A feast. — Alexandre Pierrepont (translation Romain Tesler) Continue reading →

Alexandre Pierrepont | Mike Ladd | Maison Hantee | RogueArt Jazz

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On one level, both music and poetry are very much the same, that being sound – at least the spoken word would be. Here in “Haunted House” is a sound design or shape being put forth with multiple meanings psychoacoustically, linguistically, musically that I can only say very little about in terms of meaning, since ultimately it’s meaning will be with each individual who experiences this work. This rhythmic engagement between these two art forms create a third reality of sound gestures and events that collide and integrate. Yet knowing these facts it still does not allow me to analyze or describe exactly what “Haunted House” is. Hopefully this experience will be a catalyst at some level for good. — Henri Threadgill, excerpts from the liner notes Continue reading →