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The Claudia Quintet + 1 featuring Kurt Elling and Theo Bleckmann: What Is the Beautiful?
by Troy Collins
Jazz and poetry have a longstanding relationship that precedes the postwar experiments of the Beats, dating back to the Harlem Renaissance. As with any artistic collaboration, the cooperative efforts of improvising musicians and poets have yielded mixed results over the years. One of the first artists to successfully explore this territory (with John Cage and Charles ...
Bones & Tones: Bones & Tones
by Dan Bilawsky
Percussion might very well be the oldest form of communication known to man, but practitioners of the percussive arts are often relegated to supporting roles in the majority of today's music. When percussionist Lloyd Haber received an invitation to form a group for the 2009 Long Beach Jazz Festival, he fought this notion and put together ...
Fred Frith: Mapping the Further Reaches
by Nic Jones
Multi-instrumentalist/composer Fred Frith occupies a unique niche. As a charter member of Henry Cow, a band for which improvisation was always an integral part of musical expression, he was partly responsible for some of the most radical music ever to have emerged from beneath the rock umbrella.So much so, in fact, that ...
Mary Halvorson & Jessica Pavone: Thin Air
by Farrell Lowe
The music of guitarist Mary Halvorson and violist Jessica Pavone is immediately galvanizing but comfortable, unpredictable yet composed, powerful yet subtle, vulnerable and courageous. In the rarified air of duet recordings where there are few places to hide, the music's context becomes a powerful resonator for artistic values. Thin Air is the third release by the ...
Harry Partch Salute Review
MUSIC REVIEW Things Get Silly at Salute to a Maverick In a magical night, Partch the ensemble performs works by Partch the musician. Things get silly -- and wonderful. Harry Partch invented and built his own weird (and beautiful) instruments. He developed his own weird (and beautiful) micro-tonal musical scale, adding an ...
Harry Partch: Plectra and Recussion Dances
This three-part work, which Harry Partch called a “satyr play," is eccentric even by the standards of the maverick Californian. Performed for the first time since 1953 John Schneider directs the ensemble in Harry Partch's complete score of Plectra and Percussion Dances: Satyr-Play Music for Dance Theater. Performing with the composer's custom-designed microtonal instruments. It begins ...
