Funny Rat

[Д.Д.]

From FMR:

[gnhrtg]

Here's my order; I have not heard anything by Amalgam or John Law as a leader (but have been looking for a second-hand or on sale copy of Exploded on Impact), and thought here's a nice opportunity to check out some of Dunmall's output, which, given its size, I can only claim to be vaguely familiar with.

FMRCD123 888 Evan Parker,Phil Wachsmann,Eddie Prevost,Hugh Davis

FMRCD38 THE ONLIEST John Law Trio

FMRCD32 GIANT LEAVES John Law Trio

FMRCD87 IYOU Paul Dunmall, Tony Bianco

FMRCD119 INNOVATION Amalgam

FMRCD141 SHOOTERS HILL Paul Dunmall group

Already paid for the order so it's too late for me to make changes. Still, any thoughts on these discs?

[Guest Chaney]

Bassist Damon Smith posted what follows on a few boards:

New CD: BPALTD202 Domo Arigato Derek-Sensei! Henry Kaiser Solo/Duo/Trio

Henry Kaiser solo, duo and trio with Derek Bailey, Motoharu Yoshizwawa, Kiku Day, Toshinori Kondo, Henry Kuntz, Davey Williams, John Oswald, Sang-Won Park, Mototeru Tagakagi, Greg Goodman, Larry Ochs, Damon Smith, Charles K. Noyes & Andea Centazzo.

Includes a playing/talking book review of Ben Watson's "Derek Bailey and the Story of Free Improvisation"

you can hear an MP3 of the Kaiser/Smith duo here: http://myspace.com/smithdamon

all profits go to INCUS records.

If you would like a copy please send a paypal for $15pp worldwide to damon@balancepointacoustics.com

I wonder if they have all this talking all throughout the disc

Btw, nice man Damon Smith included a bonus CD with with 4 CDs I got form him on e-bay. Haven't listend to any of them yet.

Opinion of Gino Robair:

Spoken Word.

I was warned there was talking on the disc, but I wasn't prepared to be as

into it as I was. Of course it's totally in keeping with Derek's style to

speak while improvising. His audio letters are great, not to mention his

reading of the Henry Kaiser Guitar Player article...

I felt Henry's first interjection was leading down the dark path, but then

hearing Henry Kuntz start talking, reading, discussing, with Kaiser as

Kaiser played, was a treat. Not sure how many times I'll want to listen to

it, but I found it interesting the first and second times to hear Kuntz go

on about his Bailey reflections.

But what sold me was hearing Damon and Henry talk while improvising: it

eventually took their brains out of the playing path and resulted in

atypical playing, at times, on both of their parts. I don't mean that as a

slam to their improvising in general, but it felt like the playing sometimes

changed in a refreshing way as they tried to hold a conversation about the

first time they bought or heard a Bailey recording etc.

Kind of makes me want to hear others carry on a verbal conversation while

improvising a musical one. Maybe that's the next New Thing.

Perhaps an extension of that would be for a younger player to 'interview' a

player from another generation as they both play. Damn that would be

exciting! Trying to keep the music going, and interesting, while keeping the

questions and replies engaging -- whew.

Is this a topic for a new series at the ImprovGarage? Hmmm....

The other part that I like about the Kaiser tribute to Bailey is the

anecdotal aspect. It was interesting to hear the Metalanguage trio

remembering Derek in words ‹ they were responsible for bridging the Bay Area

scene and the English/Continental scenes, at least on record. And great

records they were, too.

It's not a bad idea to begin thinking about doing aural histories with the

first generation improvisers. It should happen before any more of them leave

the planet. (I'm thinking not only of Bailey, but also of John Stevens.)

It¹s so easy for us to take it for granted that great players will always be

around...

Oh...and the music: I like the duo with Noyes and Kaiser quite a bit. What a

wonderful timbral mix. I have more listening to do...

[clifford_thornton]

Nice update of the cover for Incus 2 on that one!

[Guest Chaney]

Check out the video (Download video: Xavier Charles, Robert Piotrowicz - 2006-03-17 Łódź - Take B) at the bottom of THIS page.

Kinda cool.

[.:.impossible]

Well, I didn't go back and pull out Tears today, but I did pull out tint (disc 2 from the Amplify02 set). I mentioned this duo before. Gunter Muller (ipod, minidisc, selected percussion, electronics) and Toshimaru Nakamura (no-input mixing board) improvising very pleasantly for about 50 minutes in Tokyo October 13, 2002.

Yesterday, I decided to pull out Tears Cosmos and listen to it at the house. I really tried to find something that I liked about it. Toward the beginning, there are some very heavy motions that I found to be bold and ballsy. Soon, though, those bold motions are left to recent memory. As the disc continued, I found my self conflicted. I really tried to find somenthing I liked about it, but I truly felt like a fool for listening. The sine waves are almost torturous in contrast to the sounds that Ami Yoshida is making with her lips, mouth, and throat. Most of the sounds she makes are small things many kids learn to do early on and forget about. Chances are you are still capable of making these sounds by closing your throat and pushing from your diaphram. Tiny sounds, squeeks, miniscule screams, screeches, gurgles, etc. I never would have thought to present this as performance though. As the sounds became closer and closer to bodily functions somewhere into the second track, I had to hit stop. Sometimes it sounded like a kid imitating death after being shot by her friend's finger. Those final seconds before laying still on the ground, counting to five, and getting back up to get back into the game. In conjunction with the relentless sine waves, and really not much else, I just can't hear how this can be considered an effective performance.

I would be interested to learn more about the objective of this collaboration though. I personally don't get it.

[jon abbey]

I would be interested to learn more about the objective of this collaboration though. I personally don't get it.

here's a good review, this might help:

http://www.stylusmagazine.com/reviews/cosmos/tears.htm

[.:.impossible]

Thanks Jon. I'll try again another time. What is your take on the recording?

[jon abbey]

What is your take on the recording?

my "take on the recording", honestly, is that it's right up there with the strongest single discs of free improv ever. free improv vocalists are very tough, because everyone has their own connotations with the voice, since we've all got one and we're surrounded by them all day long. Ami transcends all that to my ears, she's quite good at reducing the voice to pure sound. but obviously, for you it didn't/doesn't work, that's cool.

I produced Tears, including selecting, ordering and helping edit the material, so you'd probably be better off with other perspectives than mine, which is why I linked the Panzner review.

[.:.impossible]

What is your take on the recording?

free improv vocalists are very tough, because everyone has their own connotations with the voice, since we've all got one and we're surrounded by them all day long.

That is an interesting observation. To be honest, I am not very familiar with free improv vocals, so I really have nothing to compare Tears to in that regard.

I guess I'm not really looking for a "review" per se. I think a lot of the sounds that you have been involved in recording transcend "review". I'm honestly just looking for gut reaction. The link didn't give me any further insight into the creative process of these two artists. I just kept asking myself "Why am I listening to this?"

Anyway, I'm not trying to harp on this one recording. I am sincerely curious.

[.:.impossible]

I walked into a new store today here in town and grabbed a few things as an early birthday present to myself! Is anyone familiar with Environment for Sextet? I know pretty much nothing about it, and haven't heard much of the Ictus label at all, but it sort of stuck out so I picked it up. It is the Italian CD re-issue from the nineties, though I just read that the catalog is not being reissued again? Any thoughts on this recording, or the label itself?

[Д.Д.]

I walked into a new store today here in town and grabbed a few things as an early birthday present to myself! Is anyone familiar with Environment for Sextet? I know pretty much nothing about it, and haven't heard much of the Ictus label at all, but it sort of stuck out so I picked it up. It is the Italian CD re-issue from the nineties, though I just read that the catalog is not being reissued again? Any thoughts on this recording, or the label itself?

I have it, but have never listened to it. Will check listen to it soon and report here.

[Guest Chaney]

I don't have Environment for Sextet or any other Ictus releases. I do have on order though the Ictus box set, which has been delayed:

April 8, 2006:

We have been advised by the label that the Ictus box has been delayed due to production issues. According to the label, they gave the artist full artistic freedom and he not only went over budget in the packaging, he took longer than expected. The label says that the wait is well worth it as it turned out to be a beautiful set.

I do apologize for the delay as I'm as anxious to get my copy as you are for yours. I'm trying to get some samplers that I can send out to hold everyone over until it is finally released. It is in transit from Europe now. We expect to ship the set out no later than April 30th.

Thanks for your patience.

Best wishes,

Alan Lawrence

The Jazz Loft

[Д.Д.]

I don't have Environment for Sextet or any other Ictus releases. I do have on order though the Ictus box set, which has been delayed:

Tony, I have 4-5 of the older Ictus editions, and my recollection is that it is all quite mediocre stuff, rather badly recorded as well. Edited April 30, 2006 by Д.Д.

[Guest Chaney]

Thanks for the input, David.

I was a bit (read: very) hesitant in ordering this set but after listening to the sound samples, felt it worthwhile. We'll see how it goes. Funny thing is that Jazz Loft already took my money, before the set was even ready to ship. Very odd and not at all appreciated; almost cancelled my order over that bad behavior.

[Д.Д.]

Not yet residents of OOPLand and looking good are the four titles offered by Hi4Head Records.

Got the solo Trevor Watts CD on Hi4Head - "World Sonic", and it is fantastic. Solo alto, very melodic, with a lot of stunnig circular breathing. Reminded me quite a bit of Gebbia's "Arcana major" - also references to folk themes (more Scottish jigs-type, than Sardinian dances - but they are related anyway), but Watts has a different sound, of course - more bluesy, lower and with much wider vibrato.

18 short tracks, each quite different. Sound quality is excellent. Higly recommended.

Together with FMR releases, this is the ugliest digipack packaging I've seen yet.

[gnhrtg]

You make that solo Watts disc sound good, David. Added to the list.

[Д.Д.]

You make that solo Watts disc sound good, David. Added to the list.

I can hardly imagine you being disappointed. Edited April 30, 2006 by Д.Д.

[Guest akanalog]

FMRCD119 INNOVATION Amalgam

Already paid for the order so it's too late for me to make changes. Still, any thoughts on these discs?

i really like that amalgam disc. it might be too prosaic for a funny ratt-er? it is weird. i don't know too much tippett, but i would imagine this is one of his most straight performances. but it is isn't a straight set. just sort of rhythmically um plodding?

on FMR by amalgam i would also recommend samanna (more fusion-ey in a prime time sort of way) and prayer for peace (the most out and the earliest of the bunch thought not really out at all-just looser as it is a sax trio). not so much on another time, where i find the longest track sort of repetitive. this album is also in the prime time vein.

for more straighter sort of british jazz on FM you could also check out john taylor's pause and think again with surman, wheeler, levin, slutsman, etc... which if you enjoyed the recent taylor MPS reissue, you will definitely enjoy.

and john surman's morning glory is also a great one with rypdal, marshall, griffiths, etc.

[Д.Д.]

I think I also need more Tilbury. Amazon.de has this little thingy:

Feldman. Tilbury. That's a 4-CD set, mind you. Any thoughts?

that Feldman Tilbury box is among the most essential items in my collection, the last two CDs are as good as music gets. I doubt Amazon.de actually has one, they're hard to find these days, although I believe you can still get them from Matchless directly.

Don't have the reputation to be the best interpretation of MORTON FEDMAN piano music mostly because the quality of the piano.

Got the set from amazon.de (amazon.de rules - marked difference to more than a bit ureliable amazon.fr and truly fuck-up of a service amazon.co.uk. In my 3-year history of purchasing from amazon.de (= many, many CDs), there was only one CD that they did not manage to deliver - and I got a €5 credit!; decided this was my Eldorado and ordered the same CD again - only to receive it one week later).

Looking forward to listening to it. But so far, gonna finish this one:

[Д.Д.]

FMRCD119 INNOVATION Amalgam

Already paid for the order so it's too late for me to make changes. Still, any thoughts on these discs?

i really like that amalgam disc. it might be too prosaic for a funny ratt-er? it is weird. i don't know too much tippett, but i would imagine this is one of his most straight performances. but it is isn't a straight set. just sort of rhythmically um plodding?

on FMR by amalgam i would also recommend samanna (more fusion-ey in a prime time sort of way) and prayer for peace (the most out and the earliest of the bunch thought not really out at all-just looser as it is a sax trio). not so much on another time, where i find the longest track sort of repetitive. this album is also in the prime time vein.

for more straighter sort of british jazz on FM you could also check out john taylor's pause and think again with surman, wheeler, levin, slutsman, etc... which if you enjoyed the recent taylor MPS reissue, you will definitely enjoy.

and john surman's morning glory is also a great one with rypdal, marshall, griffiths, etc.

I have one of the FMR Amalgam reissues: "Another Time" - need to get to finally listen to it (particualrly after being so impressed by Watts' solo disc).

[.:.impossible]

I walked into a new store today here in town and grabbed a few things as an early birthday present to myself! Is anyone familiar with Environment for Sextet? I know pretty much nothing about it, and haven't heard much of the Ictus label at all, but it sort of stuck out so I picked it up. It is the Italian CD re-issue from the nineties, though I just read that the catalog is not being reissued again? Any thoughts on this recording, or the label itself?

I have it, but have never listened to it. Will check listen to it soon and report here.

I gave it a listen today in the car. The recording is not very dynamic, in that there doesn't seem to be any separation between the instruments. I'm not sure about audiophile terminology, so you'll have to bear with me. I will say this, when the music is cluttered, its cluttered, when its sparse, its sparse. I probably won't be listening to this too much. It was running a little long into the third track and lost my attention.

[Guest akanalog]

i.

I have one of the FMR Amalgam reissues: "Another Time" - need to get to finally listen to it (particualrly after being so impressed by Watts' solo disc).

well i found that amalgam to be my least favorite, DD, but i think you have a more regal ear than i do. see what you think. one of the longer songs is just so annoying with it's repetitive bassline.

[Guest Chaney]

Updated for May, PARIS Transatlantic Magazine and the What's New section of the European Free Improvisation Pages.

[king ubu]

Am I allowed in here for a second? You've all been too far out for me, of late... having spent quite some money and time on much more conventional, jazz-leaning stuff, there haven't been many occasions for me to join in here.

Here's a disc I just got from the 5$ sales at CDbaby's:

grand mal

Kyle Bruckmann (oboe, english horn, suana)

Ernesto Diaz-Infante (acoustic guitar)

John Shiurba (electric guitar)

Karen Stackpole (percussion)

barely auditable records 1234 / pax recordings

I'm halfway into this, and it's quite good so far. Here's the AMG review:

This album (which bears no filiation with the Amsterdam improv trio Grand Mal) is a beautiful meeting between East Coast and West Coast free improvisers. Technically a first meeting, it is backed by a complex network of previous experiences between all four musicians. The music sounds fresh, exciting, and genre-pushing, and has been beautifully captured by engineer Myles Boisen. The defining personality of the session is Chicagoan Kyle Bruckmann. His double-reed instruments (oboe, English horn, and suona) unfold unusual sounds and he twists them around the other players, drawing a path through the maze of the music. Using circular breathing, he produces long shimmering drones. He occasionally takes a lot of space, eclipsing the other players (in "Shaking Palsy" in particular), but not to the point of disturbing the force. Ernesto Diaz-Infante and John Shiurba entangle their strings (acoustic and electric, respectively). Diaz-Infante provides mostly textures, his quiet playing involving guitar preparations and the use of a small fan at some point. Shiurba is more lively, throwing muffled chords like bumps on the ride or strident cries. Percussionist Karen Stackpole (a member of the Left Coast Improv Group, with Diaz-Infante) plays a delicate role. Sticking to hand-held instruments and cymbals, she flutters around the others, shaking, rubbing, rarely striking something loudly. Her sense of time and place is mostly impeccable — Grand Mal could be her best session yet. The music sits comfortably on a tension line between maximalist and minimalist improv. Recommended.

by François Couturier

Just had to google what a "suona" is, seems to be a traditional Chinese double-reed instrument (prob. similar to the shenai and the nagaswaram in India):

The suona is one of the most wide-spread wind instruments, found in all ethnic groups in China. A "shawm" of Central Asia (a region was formerly known as Persia and Arabia) origin, its name was originally a transliteration of a foreign term, surna. It was introduced into China in the Jin and Yuan period, at first to inspire the soldiery. Later it came to be commonly used by the people for all entertainment and social functions. It was recorded in Sancai tuhui by Wong Qi of the Ming Dynasty that "the suona has the shape of a trumpet as for when it came about, it was unknown. Presumably it was for the soldiery, but now it is used by the common people."

Three types of suona now exist: the bass suona is solemn and deep, the alto suona is vigorous and sonorous, and the soprano suona, strident to the point of piercing.

It is used in festive celebrations, on happy occasions, weddings, funerals, and for religious functions. In the context of the Chinese orchestra, it has been constantly reformed and improved, and today, there are keyed soprano, keyed alto, keyed tenor and keyed bass versions. The variety adds to the versatility of the instrument and expand their range of expressiveness.

source: http://www.hkjycco.org.hk/English/inst_info/eng_wind.html