ep1str0phy

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About ep1str0phy

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  1. Thanks for the support, all! It's taken forever to put this thing together, but it's going to be a joy. (I'm also happy to report that we have a studio album in the can...) To those who have ordered: ticketing confirmations are being sent out on a rolling basis. Thanks for your patience. Finally - I thought it might bring some amusement, so here's a quick sizzle reel I threw together:
  2. Hey, all- I'm very excited to share this project - long in the making and fraught with obstacles (this was supposed to premiere in 2020, and, well...). On Saturday, July 31, I'll be staging the online premiere of Apura, a work I initiated in 2018 as a way of exploring the bond between improvised music, a legacy of activism, and my Filipino American heritage. Joining me will be the extraordinary talents of the legendary Mr. Andrew Cyrille, Francis Wong, Lisa Mezzacappa, Rei Scampavia, and Patrick Wolff. (Lest it go unsaid, my endless thanks go to our own Alexander Hawkins + Louis Moholo-Moholo, both of whom were supposed to participate in this performance but could not attend.) Trust me when I say that if you're a fan of the classic Cecil Taylor Units, Francis Wong's work with the late Glenn Horiuchi, and the Apura recording with Messrs. Hawkins, Moholo-Moholo, and Trevor Watts, you will not be disappointed. Everyone came to play, and I've been humbled by the power and investment I've heard in this music. Tickets are available here: https://apura.brownpapertickets.com and a discount code you can use at checkout: @puraUS Details: Karl Evangelista's Apura with Special Guest Andrew Cyrille Saturday, July 31, 6pm PT/9pm PT *Video will be live for 2 days Streaming Online from Oaktown Jazz Workshops
  3. Bobby Bradford

    Absolutely! There was an interval when Purple Gums was a more or less regular sight up in the Bay. The trio itself was/is really strong, but their concerts provided an opportunity to spend time with Bobby. I haven't encountered many musicians of his stature who can make an audience Q&A sound and feel so conversational and intimate.
  4. Bobby Bradford

    I figure someone here may wish to see this - it's an interview conducted as part of the ongoing Purple Gums project (an improvising trio featuring Bobby, William Roper, and Francis Wong). Happy (belated) birthday, of course, to the man.
  5. NBA playoffs thread

    Unreal: https://twitter.com/wojespn/status/1410330506487492612 "There is no structural damage to Giannis Antetokounmpo's left knee after his awkward landing last night in Atlanta; ligaments are sound, sources tell @ZachLowe_NBA and me. Timetable to return is unclear."
  6. NBA playoffs thread

    Giannis's injury looked pretty grisly. As a number of folks have pointed out elsewhere, there are generally on-site tests that can be performed that can identify a severe ACL injury with reasonable certainty. If news has gotten out that the Bucks org fears the worst, odds are that they're just waiting on the MRI to confirm things. (It could be good news - Kawhi's injury wound up being "only" a knee sprain.) That being said, I've been watching all of the games since the second round, and I think it's fair to argue that (a) these Hawks are legit and (b) the Bucks have neither the coaching nor the consistency of performance to put the Hawks away easily, even with Giannis on the floor. Now that it's looking like a battle of non-superstars, my feeling is that the Hawks's depth and resilience will be enough to get to the Finals - especially if the Bucks continue to struggle with offensive production and their defensive adjustments.
  7. Poll: Legion of Super Pets

    In terms of throwback issues, there have been plenty of recent tonal homages to Silver Age hysterics in particular, though I don't think many of them have invoked classic art styles without at least a little bit of irony. In terms of capturing a Silver Age spirit, Grant Morrison's work with Superman in particular (e.g., All-Star Superman) is fantastic. The artists Morrison tends to work with are conscious of classic art styles, though the sometimes lean toward the hyper-stylized and grotesque. Maybe more up your alley would be the work of the late Darwyn Cooke, who (in addition to working on The Spirit) penned one of the best modern DC stories about the Silver Age of comic books: The New Frontier. Cooke, like Bruce Timm (whose art style was adapted into the lauded DC cartoons of the 1990s and early 2000s), favors clean, bold lines and streamlined character design. To me, this stuff is as wonderful to read as it is easy on the eyes. More recently, Tom King and Mitch Gerads have collaborated on some really interesting mashups of vivid, Jack Kirby-style art and modern, more realist storytelling. Some of this stuff is too self-conscious for its own good, but at its best (as it was through most of their Mister Miracle miniseries), it's really great pop art.
  8. Poll: Legion of Super Pets

    I'm voting for Krypto. As someone who follows the fiction quite closely, it's worth noting that while all of these characters have persevered to some degree, Krypto in particular seems immune to the Modern Age de-mystifying of superhero comics (I think Krypto's little moment in "Whatever Happened to the Man of Tomorrow?" is still one of the saddest moments in comic history).
  9. Burton Greene (1937-2021)

    My condolences, CA. I never interacted with Burton Greene nearly as much as I would like to have, but he seemed a real one. Regardless, his own work had a kind of vision and conceptual coherence that I find really admirable. The ESP is stellar, and I'm also very fond of Aquariana and Presenting Burton Greene (though I'm due for a re-listen on all counts). I also really enjoy the 1978 record European Heritage, which I obtained as a blind buy several years ago - it presents a blend of European folk and concert music and free jazz inflections that is pretty singular. Despite the fact that analogous experiments were pretty common at the time, I can't really identify a suitable point of comparison. I do need to dig deeper into that trio with Damon, too - what I have heard from that album is fantastic.
  10. Milford Graves RIP

    Hello, all- Breaking a moment of silence as I have received numerous notices that the great Milford Graves has passed away. He and I were friends. Part of my intention in beginning this thread is to see if other intimates may have some knowledge to impart that I do not - but from what I can gather in my state, we have confirmation. (The most "official" source, since it's NPR sanctioned: https://twitter.com/totalvibration/status/1360365557778960384) There's a lot to unpack here, but let me just say that the music world is tremendously fortunate to have had Professor Graves doing what he did - for so long - and so well. I consider myself spectacularly fortunate to have known his company for the past couple of years. Not to get too maudlin, but I had just sent him a belated holiday card. As in it was in the mail this morning. As Milford once said to me, "Spend time with people." Love to all folk, musical and otherwise, K
  11. Great discussion, folks. Chiming in far too late just to articulate this point, since I've had to work with a lot of Jones/Baraka in recent days- It's been noted both here and elsewhere, but "jazz criticism" is i process unnatural to, if deeply intertwined with, the production of The Music. In a very broad (i.e., reductionist) sense, art criticism is itself a Western-coded construct, and I think it's fair to argue that for a very significant interval of jazz's lifespan, criticism existed as entity separate from the centers of Black cultural production in which the music was made. A significant change I see with the onset of the postwar period, and especially into the 1960s - in my admittedly limited perspective on the situation - is a weakening of the boundaries between criticism and music as a criticism-adjacent social process. "Black Dada Nihilismus" alone fundamentally alters Baraka's place in the early 1960s. He's not only commenting on or interacting with the musicians he's writing about - he's issuing one of the signature pieces of early free jazz, in a way defining the role of spoken word in the idiom for decades to come. For me, it's impossible to read Blues People or Black Music as anything other than the words of someone who had an intimate knowledge of not just the value but also the processes intrinsic to the music he was commenting on. This goes for his later preoccupation with R&B and soul music, too - on the New York Art Quartet's 35th Reunion Album - on which Baraka is a main voice - you can hear him singing the chorus to "Dancing In the Streets" - it's music that Baraka heard and read, yes, but it's also music that was felt and refracted back into the communities he was writing about. You can go on and on about this - not just with regard to Baraka, but also people like Stanley Crouch and Greg Tate, whose opinions are irreversibly tied to their personal experiences inside of the music. If you really want to complicate things, consider Downbeat running Kenny Dorham's excoriating reviews of Albert Ayler, or the fact that - as has come up on this board on numerous occasions - Downbeat has run a number of articles, interviews, and testimonials that are, I would argue, important parts of understanding certain artists (e.g., Larry Kart's epochal Wayne Shorter interview). There are specific academic and philosophical reasons why it is convenient to trace the arc of jazz in a straight line from plantation music, blues, ragtime, etc. to free jazz, but also keep in mind that in that free jazz resonated quite explicitly with both African American freedom struggles and leftist political movements in the 1960s. If free jazz got extra airtime, irrespective of the place that soul jazz had in actual African American communities and social spaces, it is in part because (a) again, jazz criticism is an unreliable narrator with its own biases and convictions, and (b) free jazz had embedded in its process something that was easy, if not simple, to write about. The other thing I'd stress is that it's not as if free jazz won some kind of long game here. Its visible dominance in academic narratives of the music - and its continued relevance to institutions like the NEA and the MacArthur Foundation - is something that we, as initiates of the music, are attuned to - but you'll still very rarely encounter earnest discussion of Bill Dixon or Archie Shepp in institutions of higher learning, and you're more than likely to run into Gene Ammons or Cannonball in jazz school vs. Marion Brown or, in certain circles, Ornette. Out in the "real world", this stuff is just words and, sometimes, cash.
  12. Hello, all- Sorry for the tragically long thread title - this is Karl / ep1str0phy. In summary, my avant duo Grex is hosting Lockdown 3, a livestream music festival commemorating the release of our new record. The festival itself has a crackling bill, featuring the great DC bassist Luke Stewart, Asian Improv aRts co-founder/personal hero Francis Wong, Jordan Glenn (of Fred Frith Trio fame), the great young poet Tongo Eisen-Martin, and a really eclectic mix of cutting-edge Bay Area improv, beat music, rock, and so on. Our music has a theme of protest baked into it, meant to address inequitable living conditions in Oakland and the Philippines. In light of recent events, we thought it appropriate to put the music to some practical use. All proceeds from the sale of our record, and all donations collected at this festival, will be directed to the ACLU and to support the continued work of percussionist, educator, and researcher Milford Graves (ailing, as of late). Lockdown Festival 3 / Saturday, September 5, 4-9pm PT If you're interested in tuning in, the event is entirely on Youtube, but we're collating details + streaming links here: https://www.facebook.com/events/645326159422827 And for the righteous anti-FB crowd, here's a direct link to Grex's set, which will be updated with streaming links to the other sets: https://youtu.be/eKsjAPImWcM Finally: here's the Bandcamp page for the new record. All sales here for the foreseeable future (including limited t-shirt sales) will be directed to the aforementioned causes: https://grex.bandcamp.com/album/everything-you-said-was-wrong All the best to you all. K
  13. Archie Shepp photo

    It's Mbizo. If it's the Actuel Festival, Dyani being there squares out. Louis was there, too. Check the photo here:
  14. Eddie Gale (1941-2020)

    Thanks for reading all that! There are a handful of studio recordings, yes - though (speaking only for myself) they don't really reflect the sound of this band on stage. Our big endeavor during my tenure in the band was remaking the Blue Note material, and I sense that Eddie was looking for polished work rather than fiery extrapolation. This track is kind of in the middle: Whatever may or may not have survived the 2010s, I know that Eddie often had a camera running at shows. There were a handful of performances, many of them in front of actual crowds, that were unreal. In my admittedly incomplete knowledge of Eddie, these performances might be considered too rough or aggressive to issue, but were they to get out, they might offer a more "honest" perspective on the way that this music communicated to both its audiences and its participants. There were things that Eddie allowed (or wanted) us to do on stage that never made it to record, and those are the moments that I'll always remember the most fondly. As an aside, Damon Smith recently posted about a Bay Area show that featured Eddie, Damon, Brotzmann, and Jackson Krall. They were performing for a group of school children. I feel as if Eddie was up to this kind of activity all the time, and as a player, he had a remarkable penchant for making himself heard (in the best way possible) in contexts where brevity or restraint were encouraged. I wish that more of this music had survived for posterity.
  15. Eddie Gale (1941-2020)

    First off, thanks to everyone for the kind words and remembrances. Not to speak on his behalf, but I sense that Eddie would have enjoyed being remembered in this way. Second - and with the intention of demythologizing a little bit - Eddie did these kinds of gigs all the time. This was actually one of the things that caused friction - it was impossible to tell when Eddie had booked a "public rehearsal" vs. a "real gig" (his distinction). I'll never forget this one time when I barreled from Richmond out to San Jose in rush hour traffic, only to arrive at an empty bistro with six, seven band members on stage. I cut my hand open while setting up, which resulted in the hilarious image of the guitar player frantically searching for unbloodied paper towels, hardcore freebop blasting out at an audience of no one. To speak more analytically - over time, I had a deepening feeling that this weird quirk of Eddie's performance practice was generational in nature. He came up at a time when the notion of live casual performance had different implications, and despite the passage of time and the changing topography of the music business, I still think that this is where his head was at most of the time. But - and this is an object lesson in what it takes to survive at the fringes of this music for, what, half a century or more - Eddie was very big into the business aspects of the music. There was an entrepreneurial charisma to him that forgave some of the wobblier musical and bureaucratic decisions - you just couldn't bring yourself to be upset at anything for too long, because everything he did was just so audacious. We'd play two, three shows to middling audiences, and then out of nowhere, we'd be playing a concert hall (in the middle of nowhere) to hundreds of strangers. Sometimes the "company" would be a little questionable - we'd grumble about it for a bit - and two gigs later, this shredding drummer will have come out of nowhere. Then there was this one time that we played a benefit at Yoshi's - really difficult gig - in the company of John Handy, George Cables, Bobby Hutcherson, Steve Turre, and countless others. I got to hang out with those guys thanks to Eddie, and, again, I was pretty young. It still blows my mind when I think about it. To put it a different way, late last year, I was at a gig under the leadership of a different "Great Free Jazz" musician (who I'll refrain from naming, if only because the anecdote is kind of bullshit) - not long after the gig, I heard a guy in the corner say - in the loudest, most obnoxious voice possible - "Wow. A lot of people came out here for Musician X. The last time I saw him there was absolutely no one there." Musician X was and is a superstar. What troubled me is that obnoxious voice guy clearly said it in order to convey his own cultural cache. Obviously this isn't what you're doing, duaneiac (or anyone else where, for that matter) - I only remain troubled at this notion that the suffering in this music equates in some way to value. I think that we as acolytes and, if we're lucky, participants in this music are trained to fetishize its marginality. For me, the valuable takeaway in music like Eddie's is its ability to survive and thrive at any cost, which is as beautifully (and quaintly) American a thing as you can enjoy at a time as dark as this.