By MARK CORROTO, Published: April 2, 2013
Jazz listeners travel some strange and beautiful paths. It might have all begun with collectors trying to find a legendary Edison cylinder that New Orleans trumpeter Buddy Bolden—some believe to be the very first jazz musician—may (or may not) have recorded in 1904. Fast forward to modern times, a quick scan of eBay and the exorbitant prices bid for long out-of-print Free Music Production (FMP) LPs or alternative releases. $150 for Peter Brötzmann's first solo recording and $175, for the Japanese release of the Lounge Lizards' Big Heart (Absord Music, 2004) (which contains three extra tracks) is what a collector is expected to pay.
Like the artist himself, spaceway travelers suffer for their passion. This passion is part fanatical "Albert Ayler is a God," part suffering "do I pay the phone bill or pick up that Art Pepper LP?," and part addiction "really, I can stop listening to Charlie Parker's alternative takes of "Marmaduke" anytime. I promise."
This zeal, while destructive were it to fall into the wrong hands, also preserves and, in a strange way, perpetuates the music.
At least, that's my story and I'm sticking with it.
In the same vein, I will shortly embark on an exciting and challenging listening experience. Next to my stereo is the complete boxed Instant Composers Pool catalog, 52 CDs and 2 DVDs, lovingly compiled with a huge book of Pieter Boersma's photographs, in a limited edition. The box documents 45 years of ICP, from drumme4r Han Bennink's solo performances to the large ensemble concerts. I'm certain this experience will deepen my appreciation of the New Dutch Swing, and my passion for creative music. Anyone else on this journey, email me and we can trade notes. Also, if you have a copy of that Lounge Lizards Japanese pressing of Big Heart and are bored with it, please feel free to send it my way.
Colin StetsonNew History Warfare Vol. 3: To See More Light
Constellation 2013
The final installment of saxophonist extraordinaire Colin Stetson's New History Warfare series, Vol. 3: To See More Light expands the inventiveness of his groundbreaking saxophone technique. Stetson commands his saxophones (usually a bass saxophone) using a combination of circular breathing, key tapping, over-blowing and vocalizations that are recorded with multiple microphones. That said, it remains almost incredible that he records in single takes without overdubbing. But, indeed he does.
While these solo recordings are heroic feats, he can also be heard with the pop groups Bon Iver and Arcade Fire, while he recorded a duo with fellow saxophonist Mats Gustafsson, Stones (Rune Grammofon, 2012).
What is overdubbed here are the vocal tracks by Bon Iver's Justin Vernon. He applies a heavy metal barking growl to "Brute," and some heavenly harmonizing "Who the Waves Are Roaring For (Hunted II)" and the opener "And In Truth."
The physicality of Stetson's efforts are apparent here. The longest track at 15 minutes, "To See More Light" is his crowning triumph. Stetson maintains the structure of the piece, building upon his circular breathing to create a hypnotic and trance-like state. About halfway through, he slows the proceedings to produce a heavier vocalization and thumping sound that crests into a zenith of growling energy.
Jack Wright/ Bob FaleschI'd Rather Be A Sparrow Spring Garden Music 2012
"You can't handle the truth! I have a greater responsibility than you can possibly fathom...You have the luxury of not knowing what I know... And my existence, while grotesque and incomprehensible to you, saves lives...You don't want the truth. Because deep down, in places you don't talk about at parties, you want me on that wall. You need me on that wall.... I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom I provide, then questions the manner in which I provide it! I'd rather you just said thank you and went on your way." Those are actor Jack Nicholson's lines, borrowed from the 1992 movie A Few Good Men. They could easily have been said by improvising saxophonist Jack Wright, a troubadour of jazz freedom for nearly forty years.
His catalogue and incessant touring have created many followers and a few detractors. That is because he plays music with intransigency and a belief that there is no middle ground to be had with improvisation. Each new disc he releases seems to be the definitive Jack Wright release.
Here, he partners with Chicagoan Bob Falesch, a composer and computer-electronics improviser. Their association dates back to 2000 and their previous disc Clang (Zeroeggzie, 2002) found Falesch on metapiano.
The pair recorded these eight tracks (72 minutes of music), not with Falesch processing Wright's saxophone, but improvising along with the great man. The process is similar to Evan Parker's duos with FURT -Richard Barrett and Paul Obermayer. Falesch creates these electronic flashes, something out of a sci-fi (sometimes horror) junkyard for Wright to react to. The pair neither smothers each other nor does it require crescendos. Wright's saxophone slays each and every electronic dragon conjured by Falesch.
Ich bin N!ntendo & Mats GustafssonIch bin N!ntendo & Mats Gustafsson
Va Fongool 2012
The Dead Kennedys (the band, not the political family) and other hardcore punk bands like Black Flag, Minutemen, and Hüsker Dü taught that its music could be either loved or absolutely hated, but irrespective, its passion and energy were to be admired. Its process over product made Hüsker Dü shows more memorable than its recorded output.
That sentiment might also be the point of the power trio Ich bin N!ntendo's live set with Swedish saxophonist Mats Gustafsson, recorded in Oslo in 2012. The guitar/bass/drums trio eschews jazz licks for a noisy tug-of-rope battle with Gustafsson's baritone. He gives as well as he gets, having honed his hardcore skills with his band The Thing, Merzbow, Cato Salsa Experiance, Zu, and David Grubbs. Mixed and mastered (also noted as "destroyed") by noise artist Lasse Marhaug, the dials are seemingly always turned up to max.
Read more: http://www.allaboutjazz.com/php/article.php?id=44260#.UVqeVb_hEhQ
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