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Album Review

Susana Santos Silva, Fred Frith: Laying Demons To Rest

Read "Laying Demons To Rest" reviewed by Alberto Bazzurro


Un unico ampio brano di quasi quarantadue minuti copre questo album inciso dal vivo a Mulhouse a fine agosto 2021. Vi trova posto la più lapalissiana, eloquente, paradigmatica improvvisazione senza rete che sia lecito immaginarsi, del tutto consequenziale per quello che è il rito di questo tipo di pratica musicale. Nonostante i due musicisti siano divisi da trent'anni (esatti: il chitarrista inglese è del '49, la trombettista portoghese del '79) e di conseguenza, del tutto prevedibilmente, da esperienze largamente differenti, ...

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Album Review

Fred Frith - Susana Santos Silva: Laying Demons To Rest

Read "Laying Demons To Rest" reviewed by John Sharpe


It seems Portuguese trumpeter Susana Santos Silva is riding the crest of a wave, following acclaimed collaborations with the likes of saxophonists Anthony Braxton and Mats Gustafsson and pianist Kaja Draksler. It is a trajectory only likely to be reinforced by her alliance with British guitarist Fred Frith on Laying Demons To Rest. They've been playing together since at least 2018, with Silva an occasional guest with Frith's trio, as documented on Road (Intakt, 2021). But that in no way ...

Album Review

Fred Frith, Ikue Mori: A Mountain Doesn't Know It's Tall

Read "A Mountain Doesn't Know It's Tall" reviewed by Alberto Bazzurro


Elettronica a gogo in questo album inciso oltre sei anni fa, nel gennaio 2015, a Esslingen, sud-ovest tedesco, tra due degli improvvisatori più radicali (ma per altri versi anche sufficientemente versatili, visti i molteplici terreni toccati nelle loro ormai lunghe carriere) in circolazione, Fred Frith, classe 1949, da Heathfield, East Sussex, e Ikue Mori, classe 1953, da Tokio. Le coordinate del lavoro possono essere a questo punto anche piuttosto intuibili, e in effetti non ci si discosta ...

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Festivals Talking

Moers Festival Interviews: Fred Frith

Read "Moers Festival Interviews: Fred Frith" reviewed by Martin Longley


The Moers Festival in Germany celebrates its 50th anniversary during this year's edition, between 21st and 24th of May. The English guitarist Fred Frith was always a frequent player at this festival, particularly during the 1980s, whether with Massacre, Skeleton Crew or playing bass with John Zorn's Naked City. In comparatively more recent years, he appeared with the Scottish percussionist Evelyn Glennie (2013) and led his own Gravity Band (2014). Now it's time for a return, so Frith will be ...

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Interview

Ariele Monti: la filosofia inclusiva di Area Sismica

Read "Ariele Monti: la filosofia inclusiva di Area Sismica" reviewed by Libero Farnè


A Ravaldino in Monte, pochi chilometri a sud di Forlì, in una rustica e isolata casa di campagna ai piedi delle colline romagnole, per la precisione una Casa del Popolo costruita nel 1947, ha sede Area Sismica, uno dei locali più vivaci, autentici e accoglienti in cui ascoltare musica dal vivo con poche preclusioni di genere. Il circolo è gestito da un'Associazione di Promozione Sociale senza fini di lucro, attiva dal 1991 ma trasferitasi nel 2001 in questa sede, allestita ...

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Album Review

Davis - Frith - Greenlief: Lantskap Logic

Read "Lantskap Logic" reviewed by Glenn Astarita


Guitarist Fred Frith (Henry Cow, Massacre, Arte Quartett) is one the earth's greatest improvisers. He is joined on Lantskap Logic by a pair of attuned futurists--pipe organist, educator Evelyn Davis (Cheer Accident), and saxophonist/composer Phillip Greenlief (They Might Be Giants)--to record this album at the Mills College chapel, which houses the pipe organ, and seemed to be an ideal venue for this rather utopian electro-acoustic musical event. Soon after this recording, Frith retired from his position as Professor ...

Radio & Podcasts

Fred Frith Solo Live at BIMHUIS Amsterdam

Read "Fred Frith Solo Live at BIMHUIS Amsterdam" reviewed by BIMHUIS


Since the 1960s, composer and multi-instrumentalist Fred Frith has been blurring the borders between rock, folk, improvisation and contemporary music. His influence as an artist was already evident in the early seventies, first as a result of his work with the innovative British rock band Henry Cow and later with Brian Eno. He moved to New York at the end of that decade, and began collaborating with artists like John Zorn, Tom Cora and Bill Laswell. He has worked as ...


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