Karlheinz Stockhausen - Stockhausen Day
Royal Albert Hall, London
Saturday 2nd August, 2008
BBC Prom 20
Details from: http://www.bbc.co.uk/proms/2008/whatson/0208.shtml#prom20
One of the most influential composers of the 20th and 21st centuries, Karlheinz Stockhausen would have turned 80 this year.
Aside from the performance of Punkte ('Points') by the Gürzenich Orchestra under Markus Stenz on the actual day that would have been the composer's 80th birthday (Prom 48), this Stockhausen Day offers a fuller immersion into the work of this uniquely uncompromising creative force. This early-evening Prom contrasts a pair of Stockhausen's early works - Gruppen ('Groups'), which passes ideas between three spatially separated ensembles, and Kontakte, referring to 'contacts' between instrumental and electronic sounds - with two recent works - both of them excerpts from Klang, the large-scale sequence on which Stockhausen was working at the time of his death last December.
24.36 Stockhausen Gruppen
32.04 Stockhausen Klang, 13th hour - Cosmic Pulses (for electronics) (UK premiere)
16.10 Stockhausen Klang, 5th hour - Harmonies for solo trumpet (world premiere) (BBC commission)
34.58 Stockhausen Kontakte
14.07 Announcer > Stockhausen interview
24.45 Stockhausen Gruppen (repeat performance)
Marco Blaauw trumpet
Nicolas Hodges piano
Colin Currie percussion
BBC Symphony Orchestra
David Robertson, conductor
Martyn Brabbins, conductor
Pascal Rophé, conductor
BBC Prom 21
Details from: http://www.bbc.co.uk/proms/2008/whatson/0208.shtml#prom21
In this Late Night Prom comes Stimmung for six amplified voices - the first work of Western music to be based on the harmonics, or overtones, that make up the sound-spectrum of a single note. Stimmung is a hypnotic piece for 'six singers and six microphones' that takes on a unique
atmosphere in live performance. Among the many influences which Stockhausen acknowledged when composing the work was a month spent wandering among the ruins in Mexico.
The Theatre of Voices - as adept in music of the Middle Ages as in new music - have made
something of a speciality of Stimmung, and Hillier's long association with the piece includes his
participation as one of the singers at a Proms performance 30 years ago.
71.54 Stockhausen Stimmung
Theatre of Voices
Paul Hillier, director
30 September 2008
21 September 2008
Heres something in the spirit of the recent Aki takase and crew playing Fats Waller.
another bunch of free improvisers paying tribute with tongue firmly in cheek.
phil minton singing..i dont live today is something to hear!!
heres a an amusing and entertaining amazon fan's review
"I can understand why this album earns the hatred of those unfamiliar with the names of the musicians & who thus buy it on the strength of Hendrix's name without knowing what they're getting into. The band is an odd mixture of players from several countries & from a variety of backgrounds. The guitarist Christy Doran is a fine jazz-rock guitarist, born in Ireland but living most of his life in Switzerland. He recorded a lot of albums for Hat Art: I'm especially fond of a trio with Han Bennink & Ray Anderson which recorded _Cheer Up_ & _Azurety_, the latter album a perfect combination of delicate free improvisation, heavy rock workouts, a blues tribute & Ellingtonia. The drummer Fredy Studer is a frequent companion of Doran's, with a wide experience of rock, jazz & free-improv musics but basically a rock drummer. Keyboardist & occasional horn player Django Bates is best known for his work with the English group Loose Tubes. Electric bassist Amin Ali is the brother of Coltrane's drummer Rashied Ali; he's done brilliant work with James Blood Ulmer's Music Revelation Ensemble. Phil Minton is the oddest inclusion here: he's an English vocalist (& also a trumpeter, though he doesn't essay any playing here) whose work tends to split into two kinds. First, the rather "literary", lyrics-based work he's done with Mike Westbrook (e.g. his performance of William Blake poems on _Bright as Fire_) & Lindsay Cooper (_Oh Moscow!_) & in some of his own projects (the _Finnegans Wake_ performances on _mouthfull of ecstasy_). Secondly: free-form vocal performances which often contain as much "noise" (burps, gurgles, shouts, gargles, clicks, groans...) as pitched notes--a good example is his work on _dada da_ with Roger Turner. He is truly an astonishing vocalist--besides using throat-singing techniques, he also can distort his vocal cords in order to produce two notes at once. Still, I tend to mentally class him with Eugene Chadbourne & Han Bennink as one of those musicians who inspires a rabid cult following about some people (the Ben Watsons of this world) while to my mind his effectiveness can greatly vary depending on the musical situation. Sometimes he's just a trickster figure, verging on the annoying--on other occasions, as in _mouthfull of ecstacy_, I think he's done something truly remarkable.
OK: so what about this disc? There's a long tradition of jazz musicians paying homage to Hendrix, going back to Gil Evans & Miles Davis in the 1960s & 1970s. This tribute is not radically revisionary--the treatments are floridly psychedelic rock renditions of the tunes, though with the odd disruption (notably the bizarre, hilarious acapella Minton solo in "Manic Depression"). The treatments are fresh ("Manic Depression" kicks off with a nice new guitar riff, while "Hey Joe" is one of the album's high points in its slow, cooled-down arrangement), while not radically departing from the originals--that's to be expected, I suppose, given that the instrumention isn't too far from that of the original Experience albums, except for the keyboards. That said, the album's take on psychedelia is deliberately campy, especially in Minton's completely over-the-top renditions of the lyrics & in Bates's cheesy keyboards.
The main problem here is that the album doesn't seem to be able to make up its mind about how seriously it wants to interrogate the Hendrix canon. It would really have benefitted from more unconventional instrumentation & arrangements (cf. the fashion for Hendrix arranged for string quartet, e.g.); instead, Minton sticks out like a sore thumb because of his parodically overwrought vocals, while Christy Doran plays things absolutely straight. Too much of the album is simply self-indulgent--virtually every track is in the 7-8 minute range, rather than keeping to the pithiness of the original versions. That said, it's nice to hear Doran's take on Hendrix, & the album is at least memorably odd. It'll appeal to those with a strange sense of humour--probably more Zappa fans than Hendrix fans will like this. "
N. Dorward "obsessive reviewer"
pretty sure this has appeared elsewhere in mp3's
i love this record and thought someone might like it lossless.
however if theres demand i'll rip it to mp3 too
Regular readers of this blog may recall that we posted two albums by Kahil El'Zabar back in August, both of them released on the Sound Aspects label. They may also recall that due to an intervention by the label proprietor, the links to the files of these recordings disappeared.
Kahil El'Zabar made at least one more album for Sound Aspects called "Sacred Love" which featured Malachi Favors (who was also on the album with Billy Bang) and Lester Bowie. I do have the album, but since we're under restrictions, I'm not going to post it. The pictures appended to this post are from the back sleeve of the album, though.
Instead I propose to post something even better, a live recording from the Saalfelden jazz festival in 1987 with the same line-up. Here you'll get 20 minutes of extra music as compared to the album.
Those familiar with the other recordings will know the basic structure by now. El'Zabar starts out on earth drum, switches later to a regular drum set and finally settles in on the thumb piano. Malachi Favors stays close to El'Zabar, using the bass as a second rhythmic-percussive instrument, leaving Lester Bowie free to extrapolate on the top. The African rootedness of this set is strongly present throughout.
Two-thirds of the trio are no longer with us, but El'Zabar is still active, releasing records on the Chicago-based Delmark label. He's a long-time member of Chicago's AACM and was voted Chicagoan of the year in 2004 by the Chicago Tribune, also thereby crediting his wider work as an educator and community leader.
KAHIL EL'ZABAR perc,voc
LESTER BOWIE tp
MALACHI FAVORS MAGHOSTUT b,perc
Saalfelden Jazz Festival, Saalfelden, Austria
Aug 28, 1987
01 part one 45:37
02 part two 14:57
03 encore 07:37
Three pieces somewhat artificially separated, but in reality one contiguous piece with an encore at the end.
Most likely recorded from radio. There is a noticeable hiss in the quieter passages.
Another Dime, no longer on the tracker, so I've no idea who recorded/upped this one, but in any case, a tip of the hat for making this available.
ADDENDUM: It has been brought to my notice that there is another posting of this set here: http://ubu-space.blogspot.com/2008/06/kahil-elzabar-lester-bowie-malachi.html. These were posted as flacs. To save server space, I'll delete the flacs from this post, but keep the mp3 file. Those wanting the flacs are advised to seek out the other posting.
Mp3 file here:
20 September 2008
17 September 2008
Continuing with the bass clarinetists, the time has come to have a listen to Rudi Mahall. Actually, he's a sideman for this project, which is headed by brilliant Japanese pianist Aki Takase.
This is a delightful way to appropriate the jazz tradition, in this case Fats Waller. One might think that this group of Berlin avantguardists might not be the right people to do so, but thinking it over, there is a legacy of collective improvisation linking the early practitioners to today's free jazzers so if this project might sound odd on paper, in practice it comes off very well.
A motley crew on this one:
All in all, Fats' Boys (well, almost). The added outsider chap to this crew of Berlin residents is of course lovable eccentric Eugene Chadbourne who gets to do the vocals on a couple of tracks and proves that the banjo is perfectly OK in this setting.
1 Lookin' Good, But Feelin' Bad 5:56
2 Handful Of Keys / Announcement AT 7:39
3 Jitterbug Waltz / Hold Tight (Want Some Seafood Mama) 7:53
4 Viper's Drag 8:55
5 Medley: Ain't Misbehavin' / Way Down South Where The Blues Began (W.C.Handy,comp) / Honeysuckle Rose / Announcement AT 14:50
6 Announcement Speaker 1:08
7 Two Sleepy People (HoagyCarmichael,comp) / Lookin' Good, But Feelin' Bad 2:27
Recorded live on February-21, 008 in Hamburg, Germany, at NDR, Rolf-Liebermann-Studio,
2008. Top sound from FM radio.
The cd version received the German jazz critics' award in 2004.
Another golden Dime. It has dropped off the tracker, so I've no idea who taped/uploaded this one.
They played here two years ago, but I wasn't there. I keep wondering where my head was at at the time.
If this one catches on, we do have some more Aki Takase up our sleeve.
Fun is guaranteed for all!
SLAMMIN' THE INFINITE
Steve Swell: trombone, composition
Sabir Mateen: reeds
Matthew Heyner: bass
Michael Wimberly: drums
The Living Theatre
21 Clinton Street
New York NY
Perhaps not a household name, but Steve Swell has played with many of the greats such as Braxton, Cecil Taylor, William Parker and particularly with his influencer Roswell Rudd. Veteran multi-instumentalist Sabir Mateen needs no introduction from me. Steve has played previously in his bands.
Very good quality audience recording. My thanks to taper and uploader.
16 September 2008
for tantris who posted a great live MEV show some months back.
Heres the 2nd MEV,album from 1968..theres nothing quite like this in the free improvised canon..early AMM is about the only plausible comparison.
this is magnificently raw..the sort of thing that fumblers like sonic youth..do in their spare time when they aren't making lame ass corporate rock albums.
the galling thing is that they have become famous for feedback /noise noodling..and can get highly paid gigs at noise and improv festivals.
while thoughtful and amazing records like this languish in obscurity.
Cello [Amplified] - Jon Phetteplace (tracks: 1 to 4)
Percussion [Amplified], Vocals - Frederick Rzewski* (tracks: 1 to 4)
Synthesizer [Portable] - Allan Bryant
Trumpet, Percussion - Alvin Curran (tracks: 1 to 4)
Notes: Track 1 to 4 recorded live in London in 1968.
1 MEV* Part I (11:23)
2 MEV* Part II (5:40)
3 MEV* Part III (9:05)
4 MEV* Part IV (15:15)
5 Allan Bryant Bug Get Tgethr, Stomp N Flash Dans (11:49)
the last track is a synth solo.
not much evidence of this online ..save for a few second hand copies.
please note , our friend Volkan ..has provided rome cansrt ,from the same year check the comments.
thank you Volkan
12 September 2008
11 September 2008
10 September 2008
9 September 2008
8 September 2008
5 September 2008
When I bought this LP, thirty odd years ago, I'd never heard of Ray Russell. I bought it primarily because it featured Harry Beckett, who was, and still is, a big favourite of mine. Funnily enough, all these years later, I've still heard little of him, though apparently he is a cult figure in some quarters, and has made numerous recordings. His style on this recording is akin to that of John McLaughlin at the time, and is accompanied my some stalwarts of the British 70s jazz scene. Runswick is also a bit of an enigma to me. This is the only example of his work I've heard, but he really is excellent on both accoustic and electric bass.
I've included quite a lengthy resume of Russell's career in the rip for those people who can be bothered to read such stuff. Somewhat surprisingly, he's composed and recorded a number of TV theme tunes, including one which will be familiar to Brits - "Bergerac", the 80s detective series set in Jersey, that hotbed of crime, starring John (Barnaby) Nettles.
Ray Russell - gt
Tony Roberts - reeds
Harry Beckett - flg
Nick Evans - tb
Daryl Runswick - bass
Alan Rushton - dr
Rites and Rituals
Recorded De Lane Lea Studios August 1970
Relased on CBS 64271
MP3 and Flac links in comments. Sorry no covers, no scanner at the moment.
2 September 2008
There's been an encouraging spate of Chris McGregor and Brotherhood rereleases lately, some of which has been featured on this blog before. Just around the corner is a Blue Notes box set containing all of their four releases on the Ogun label. One of them has also been posted here previously.
But what's on offer here and now has not been officially released yet at any rate. It's an excerpt from a concert inside Balver Höhle in Germany in 1972.
The info given is as follows:
Think Of Something 14:19
Track 4 4:14
The first three pieces are announced as such by the radio presenter, but "Call" sounds uncannily like "Ismite is Might" off the Willisau album and features most likely Nick Evans on the trombone. The second piece is "Mra" leading into "Andromeda". The third piece is "Do It" leading into "Think of Something", the latter featuring Mike Osborne on alto, Gary Windo on tenor and either Mark Charig or Harry Beckett on trumpet. The last piece is quite clearly "The Serpent's Kindly Eye", also on the Willisau album (which was the first ever release on the Ogun label).
The sound's fair on the first three, but a bit grimy on the last, though. The band is at its ramshackle best as ever. Some may find the BoB cacophonous at times, but to these ears it's beautiful cacophony.
Mp3 and flac versions in the comments section. Another golden dime.