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The answer to the musical question: where does improvised music thrive? Everywhere. Have you heard Lebanese trumpeter Mazen Kerbaj's recordings on Al Maslakh Records or free jazz from the Istanbul based unit Konstrukt? All that is required for improvised music to thrive are seeds planted by visiting musicians, or access to a radio. Actually, it is much easier to spread the gospel of free improvisation and free jazz with access to the internet. Consider how difficult it was for Vyacheslav Ganelin's trio performing under the Soviet system of the 1960s, 70s, and 80s. Whether it was the samizdat movement in Russia or Fluxus in Amsterdam, creation and performance thrives.
Here we have a taste of improvised music from Argentina. Like the places described above, creative artists cannot help themselves but to create. The liner notes by Jason Weiss of The Wire describe a concert tour Steve Lacy's quartet in 1966 as the inception of free jazz in Buenos Aires. We also can't forget Rosario-born Gato Barbieri's contribution to Argentina's free jazz development. Under harsh regimes the music has remained vital and sustained itself with regional or national government assistance.
These fourteen tracks are both a great introduction to artists you may not have heard and more important, a call for additional investigation of the Buenos Aires new improvised music scene. Highlights here are many, visits by Catalonian pianist Agusti Fernandez performing a chamber jazz piece with saxophonist Pablo Ledesma and bassit Mono Hurtado and Austria Christof Kurzmann in duo with trumpeter Leonel Kaplan. Kaplan is an interesting find, he can skate the minimalist sound and work a kind of Steve Lacy tribute in trio "Plaza y la vía" with Pablo Ledesma on soprano saxophone and Mono Hurtado at the double bass. The sounds shift often, like the monster free jazz piece "Improvisation 0681" that can melt snow by saxophonist Miguel Crozzoli, bassist Juan Bayon, and drummer Pablo Díaz and the electric guitar freakout "Primer Jugo Bovino" by Ramiro Molina and bass saxophonist Luis Conde. Conde is a sort of mashup between Mats Gustafsson and Colin Stetson. Conde's partner, pianist Fabiana Galante is heard on three tracks with her stunning prepared piano attack. There is much to explore and expand your tastes with here. New music and musicians, plus possibly the first free improvisation bandoneón recording "Fulgor al bies" on included.
Improvisation On Graphic Score; Primer Jugo Bovino; Amable Amanecer; Relámpagos I; Che”;
Relámpagos II" Duquesa; La Playa Pequeña; Solo Piano Improvisation; 18:18”; Relámpagos III"
Duquesa; La Puerta R; Improvisation 0681; Plaza y la vía; Transición.
Pablo Díaz Quinteto: Enrique Norris: cornet; Pablo Moser: tenor saxophone; Paula Shocron: piano;
Germán Lamonega: double bass; Pablo Díaz: drums; Ramiro/Molina Duo: Luis Conde: bass
saxophone, loops; Ramiro Molina: electric guitar, processing, live electronics; Agustí
Fernández/Pablo Ledesma/Mono Hurtado: Agustí Fernández: piano; Pablo Ledesma: soprano
saxophone; Mono Hurtado: double bass; Duquesa: Fabiana Galante: piano, prepared piano; Luis
Conde: alto saxophone, clarinet, bass clarinet; Leonel Kaplan/Christof Kurzmann: Leonel Kaplan:
trumpet; Christof Kurzmann: lloop; Norris Trio; Enrique Norris: cornet percussion; Maximiliano
Kirszner: double bass; Pablo Díaz: drums, percussion; Paula Shocron: piano; Data Peluda: Jorge
Chikiar: piccolo clarinet, synthesizers, ARS electronics; Luis Conde: bass saxophone, clarinet, loops;
Enrique Norris/Paula Shocron: Enrique Norris: cornet, piano; Paula Shocron: piano percussion;
Cinética: Miguel Crozzoli: tenor saxophone; Juan Bayon: double bass; Pablo Díaz: drums; Leonel
Kaplan/Pablo Ledesma/Mono Hurtado: Leonel Kaplan: trumpet; Pablo Ledesma: soprano
saxophone; Mono Hurtado: double bass; Fulgor al bies: Eliseo Tapia: bandoneón; José Maria
D’Angelo: flute; Luis Conde: bass saxophone.
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