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Extrema Ratio: A Dangerous Method
by Mark Corroto
In 1989, John Zorn, in the liner notes of Spy Vs Spy (Elektra), a cover album of Ornette Coleman compositions, thanked (among many) the bands Napalm Death, Blind Idiot God, and The Accused, before finishing with “Fucking hardcore rules. Smash racism." Zorn's music comes slamming back to mind with A Dangerous Method from Extrema Ratio, because ...
Moers Festival Interviews: Fred Frith
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 ...
Wadada Leo Smith with Milford Graves and Bill Laswell: Sacred Ceremonies
by Karl Ackermann
As he approached his eightieth birthday, Wadada Leo Smith could have been content to sit out the year of nothingness that Covid-19 brought in 2020 and beyond. With his 2013 Pulitzer Prize nomination, a 2016 Doris Duke Award, and nearly one-hundred recording credits, the trumpeter & multi-instrumentalist has landed at the top of countless polls throughout ...
Ben Sidran, There Was A Fire
by Angelo Leonardi
There Was a Fire-Jews Musica and the American Dream [Nuova edizione] Ben Sidran 404 pagine ISBN: # 978-0-578-77359-9 Nardis Books 2021 Esce in queste settimane negli Stati Uniti la nuova edizione—revisionata e aggiornata a tutto il 2020—del fondamentale volume di Ben Sidran del 2012, che delinea il contributo ...
Shelley Hirsch: Back with a Vengeance
by John Pietaro
It took Brooklyn's Roulette performance space to break COVID-19's hold on Shelley Hirsch. Now, it seems there'll be no stopping her. The vocal acrobat, poet and performance artist was a new music original long before “downtown" moved across the East River. An original member of the avant rock band The Public Servants, Hirsch also ...
Ignaz Schick / Oliver Steidle: ILOG2
by Mark Corroto
The combination of Berlin based musicians Ignaz Schick and Oliver Steidle, known as ILOG, expands on the concepts of free improvisation with ILOG2 to include, for the lack of a better term, mania. Their frantic, often feverish, improvisations bring to mind both John Zorn's Naked City and William Burroughs' cut-ups. The opening piece, “There Is No ...
Instrumental Duos
by Karl Ackermann
The early days of jazz were not always harmonious. Converted dance orchestras often sounded like unbalanced acoustic junkyards; a single violin, cornet, trombone, clarinet, tuba, drums, banjo, and piano, all fighting for attention. The piano was meant to be the glue holding the shrill and boisterous elements together. In 1921 a prodigy pianist named Zez Confrey ...
Sana Nagano, John Zorn, Sam Gendel, Zane Carney & More New Releases
by Ludovico Granvassu
We kick off this episode of Mondo Jazz with another gem from Georgia Anne Muldrow and land with John Zorn and the first (of what will certainly be many) box set dedicated to his delightful Bagatelles. In the middle, a mini-section on the Palladino bass-dynasty which acts as a bridge between two of the hot scenes ...
The Bill Frisell Songbook: Part 2
by Ludovico Granvassu
Bill Frisell's instrumental voice is instantly recognizable, whether displaying its skronky side in John Zorn's Naked City or his sublime and delicate voicings infused of high-end Americana. Equally distinctive are his compositions which more and more of his peers have been incorporating into their repertoires, in a process of metabolization that goes back to the 1990s ...
EUPHORIUM_freakestra: soundz offfe drzk wähuh
by Mark Corroto
The funny thing about DNA is that just when scientists believe it to be the identifiable signature of all living things, along comes CRISPR gene editing. This technology allows an operator to edit the basic genetic material of an organism, much like the music of Oliver Schwerdt's EUPHORIUM_freakestra. We're not talking science fiction here, more like ...
