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Arian Bagheri Pour Fallah's Best Releases Of 2019
by Arian Bagheri Pour Fallah
As years continue to be shelved and stacked and tallied and turned and re'turned, the circular contours of CDs, LPs, tapes and file-types involved find too effigies in testimonial lines and accolades that no matter how exorbitant and sought-after serve as ropes above else given to the artist in proportion to his plight, albeit never enough ...
An Urban Myth: Chris Potter Circuits Quartet feat. Craig Taborn at Porto's Casa da Música
by Arian Bagheri Pour Fallah
Circuits the Record, Circuits the Quartet.The record Circuits (Edition, 2019) makes use of production as a means to architecturally bring to bay today's average, one may say alienated jazz listener, the “grooveland" referenced by Potter merely an excuse and hardly the verdict in this trial. It is a covered walk 'round new-fashioned, urban currents—skintight, ...
Elder Ones, "From Untruth," and a Threat Called New York: An Essay
by Arian Bagheri Pour Fallah
If what we witness today; rabid expansion of capital and with it, growing class difference, and a renewed interest in Marx; if these were testimony to one thing, it would be Derrida's spook of a wager from his seminal Specters de Marx. Indeed, neo-liberal/conservative sham thinkers such as Fukuyama today find shelter no longer in Hegel, ...
Those from the Norte: pLoo at Café Casa da Música
by Arian Bagheri Pour Fallah
Jazz and its many conformations rarely denote the multiplicity of sub-genres as such. Paulo Alexandre Pereira da Costa's pLoo attests this sharply enough to warrant its listeners a view entire and aggregate, and in the same extent, select and irregular, of jazz and its current praxis in Northern Portugal. The quintet, made up of wind and ...
Provenance, Mal de mer, Duration: Evan Parker and Peter Evans at Solilóquios in Porto
by Arian Bagheri Pour Fallah
Provenance Evan Parker needs little introduction. To the listener and to the critic, clearly, but above all to the formation of musical matter. The rudiments of his making are well obscured twenty seconds in after he enkindles the first note. He plays the saxophone durably--static, in deathlike stillness. It is easy, in fact, to mistake his ...
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