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Showing posts from April, 2017

Anza de L'Ader - Zabaya

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seabreeze skin

Her seabreeze skin her bucolic folds frees me again to states of unknown
the scraps of her hairs the shadows of her body moving though stares in meadows of holly
eyes too intense to bely the signs rinds in fence, blue tides of her mind
unkempt upkeep kept well in kelp sleep stepped stopped and stooped unfurled in dream speak
weight of her wilted on hands so unfiltered billboards off kiltered
lovers now, though once jilted

Tradition - Captain Ganja and the Space Patrol

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https://www.youtube.com/watch?v=Gwto7yfVlvs&list=PLuGaJJwiz-F49Zl6Gr5zbt_accniSGOPP&spfreload=1

Idyllia

The idyll life idealist wife calliope knows the poetry inside of me fecund ecstatic harmony
In terms of scattered categories connecting dots is flattery of landscaped minds designed in times of assault and battery
batter me into tatters see sparks feel good in Antarctic seas freeze dried belied the arms and legs of
maddened thieves

Virginia Genta - Rough Enough

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By JA Besche

If various internet sources are accurate, Virginia Genta has been playing music since she was a young child, always self-taught and in the vein of free improvisation. I heard her play not long after her most consistent group, Jooklo Duo, started releasing music in 2007 (to the best of my knowledge, it’s a little murky). Her playing, predominantly on tenor saxophone (though she plays almost all variations of the instrument and is as likely to sound like Peter Brotzmann as she is Yusef Lateef), has always bent towards free improv, cosmic exploration, and passion. Over these ten years or so, she has also picked up a lot of technique, lyricism, and overall virtuosity. 

So then, it comes at a perfect time for Holidays to release her first (not including a self-released lathe 7”) release of solo sax recordings. It’s brief, only a two sided single, but fits nicely into the great tradition of the solo jazz/improv record. In my estimation, the solo recording has always been about ma…

Synthesis - Sentiments

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https://youtu.be/eGNFIgeSjSI

Joe McPhee Survival Unit III - Barrow Street Blues

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By JA Besche

Joe McPhee is easily one of the most interesting stories in all of free jazz, not because he has some wild backstory or clichéd tortured artist modus operandi, but because of his incredible longevity, consistently interesting/progressive/talented playing, and willingness to constantly push his own boundaries.  He has proved a wonderful player in all types of ensembles and genres for decades, and belies some of the free jazz stereotypes we too often fetishize, such as struggles with mental illness, drug abuse, or dying young.  Simply put, he has proved that there is a career in playing jazz on your own terms, even when those terms challenge the status quo.  Perhaps this is because he didn’t even pick up the saxophone until he was 32, already aware of himself as a person, yet still carrying an immense fire in his belly that persists even into his 70’s.

…Which perhaps makes this live recording of his Survival Unit trio in memoriam of the recently departed Ornette Coleman so ap…

Pan American

Fiercely inhabiting a small frail body With a face like a chew toy and two arms ending in antithesis
Furrowed lungs heave against a cadaver soaked in air From dusty Iberian villages to forlorn American vistas Equatorial symmetry to the brothers and sisters of Africa and Asia
Those hands waging ideological war In the transformation of a landscape both human and ecological
A stumbling mind only made unique
through sincerity

Konstrukt & Alexander Hawkins - 10.08.15

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By JA Besche

Konstrukt and Café Oto are back with another release, this one being a live recording from 2015 featuring pianist Alexander Hawkins.  Readers of this blog will likely be familiar with Konstrukt already, as the Turkish jammers have been consistently releasing several albums a year (mostly live) over the recent past, straddling lines of fusion, free jazz/improv, rock, and ethnic music.  They are often in collaboration with another artist or two, and this time it’s Alexander Hawkins, a relatively young jazz pianist who has been cutting his teeth in the UK improv scene with the likes of Evan Parker and Louis Moholo, while also leading his own trio.

Konstrukt typically operate as a quartet with some of them taking on multiple instruments, but the typical set up is drums, electric bass, reeds, and electric guitar.  Having a pianist like Hawkins adds a lot, then, and this recording offers a different type of sound than I am used to with Konstrukt releases.
As a group that is often …

Party All The Time

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https://youtu.be/iWa-6g-TbgI

Lula Cortes & Ze Ramalho - Paeribu

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https://youtu.be/uUyvtwSV6A8

Posh Desolation

Posh desolation

absent ornamentation

For the last time
Before time
Became TIME
And wasn’t simply
the flow of things

Prior Encroachment

Foiled manifest becomes inert and
returns,
Completes its revolution

Never ceasing
to rise again
Before disintegrating
and filling an apathetic sky
With its ghosts and dreams

again

Here it goes 
again
the same feeling
again

Here we are
and there we’ve been
over and over and
again

Finding nothing 
to transcend
except the mind
in fantasy
again

Keeps us alive
to try
again

Freedom burned alive
the cost
too high
again

The lives 
of them
interned
again

Swept away

The Out Louds - S/T

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The Out Louds are the trio of Mary Halvorson (guitar), Tomas Fujiwara (drums), and Ben Goldberg (Clarinet), this eponymous release being their first album as a group, though Halvorson and Fujiwara played together as part of a trio in Thumbscrew.  The trio here represents some of the brightest and most versatile talents in jazz today.  Halvorson has an impressively idiosyncratic voice on the guitar, playing on recordings that range from straightforward jazz, to rock, to more harsh post-music, and abstract ideas of freer improvisation.  Fujiwara has led a multitude of bands and kept rhythm for an incredibly diverse and wide ranging set of composers and other band leaders.  Ben Goldberg was one of the first jazz musicians experimenting with forms of traditional/ethnic Jewish music, and his playing usually blends between the lyrical, the rhythmic, and the exploratory.

On the album at hand, these players are settled into a much nuanced style.  They are not loud, more out, though with a touc…

2017 Reissues

Check out @pete_swans's Tweet: https://twitter.com/pete_swans/status/849457909553561600?s=09

OJO SEMBRONO - JATHILAN / JARANAN VOL. 1

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The goods

An entirely accurate RYM review:
" HOLY FUCKING GODDAMN SHIT MASSIVE BANGERS EVERYWHERE I recommend this to literally every single person on RYM because it's probably the southeast Asian traditional music that I can imagine resonating the most with people into Good Rock Music, because it basically sounds like Can circa 1973 and Talking Heads circa 1980 fell together into a k-hole in Java with centaurs and had to improvise instruments, and it's basically the album Gang Gang Dance always wanted to make but were too white to pull off. it's about as fucking repetitive as they come and it's tighter than a mosquito's twitter and BONKAZ. " -the horbgorbler

Anemone - A Wing Dissolved In Light

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The digital diaspora

the sexual vestibule
of the intestinal terrestrial
a Pragmatic incestual
dogmatic and celestial

A digital diaspora
embalmed in absentia
scattered ataraxia
currencies of dementia

Knees lungs free from freedom
skin and fingers and lips and hair
inflamed it lingers
equips and compares
fantasies of a daily breeze
to diseased insanities

An edible leaden hell
bedded instead of gel
its redundant feathers compel
sleds led under gardens of snow

Dust on the box of the things that have changed
Melancholy stares
scars that remain
bodies cold
assailed by the rain

                                   In
the

DEUS E O DIABO NA TERRA DO SOL

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Mac Demarco - Salad Days

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She

Brown leaves
displaced in the seas 
of heavy cream
and the heaving scream
of her pert breasts
their mess flirt
and move from 
man to man
not discouraged
from the nourishment
she needs to be filled

The filler unimportant
their scars burnt in
to drilled obsequiousness 
Filled to the brim
and all she’ll need
in the end is he

He being
freed and fleeing
her being
filled and needing

Though never needing
his needs or knees
buckled under 
a pressure 
wait