What Avant-garde music or Free Improvisation Are You Currently Listening To?

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LesterSleepsIn

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LesterSleepsIn

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And so it continues ...

Tim Berne, Jim Black and Nels Cline.

The Veil



Everyone is off the leash and in fine voice.



LesterSleepsIn

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The Sevens
Tim Berne, Marc Ducret, David Torn

Phew! ... dancing about architecture ...

“The Sevens is Tim Berne’s most explicitly "compositional" statement in some time. The album’s core, a pair of through-composed movements performed by the ARTE saxophone quartet, could serve as an apotheosis of Tim Berne’s chamber writing. "Repulsion" features four melodies (or is it one melody in four voices?), variously in dialogue or in chorus. Moving through a range of tonal colors, the piece reflects both Berne’s fondness for friction and his less-celebrated sensitivity. In fact, certain sections sound almost wistful, as Berne cloaks his dissonances in subtle shadows.

In "Quicksand," the centerpiece of the album, the ARTE Quartett is joined by Berne and Marc Ducret, both of whom provide improvised commentary above and around what’s on the page. Here, in one piece, is a fulfillment of the yin-yang ethos inherent in Berne’s work, the tensile balance between composition and improvisation.

On The Sevens, the process of interpretation assumes several different shapes. First, there’s the conventional notion of improvisation on a theme. Then there’s the subtler way in which Ducret personalizes the solo miniatures "Sequel Why" and "Sequel Ex"—two fairly divergent takes of the same hauntingly pretty song. Finally, there’s the more radical manner of interpretation seen in "Reversion" and "Tonguefarmer"—both of which are the product of studio manipulation at the hands of guitarist/programmer David Torn. This last procedure, a collaborative effort, stretches the bounds of "composition" in clearly contemporary ways. "Reversion," the first of these pieces, is essentially a remix of "Repulsion," with significant modifications. "Tonguefarmer," the second of Torn’s remixes, is essentially a palimpsest consisting of successive layers of exposition.

For Berne, The Sevens, with its various interpretive assignations, was "probably the hardest one to make, of records I’ve made, in a long time." For an artist steeped in self-jurisdiction, surrendering even a portion of the product can be a terrifying prospect. Which is exactly why he did it. "Whatever the thing is that I’m least secure with, I tend to want to expose that and face it, in a way." Accordingly, The Sevens ultimately resembles neither his eighties albums nor the live recordings of the nineties—instead defining a new Tim Berne paradigm, an uncertain but surprisingly smooth continuum expressing what the composer calls "unity through contrast."

timind



As close as I get

LesterSleepsIn

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As close as I get

Yeah! Such a great album. Azar Lawerence really shines here. His early work with Tyner was supposed to launch him into the stratosphere of the greats but that didn’t happen, he moved into a different direction.
Still a great player but more mainstream.

LesterSleepsIn

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Big Satan
Marc Ducret Tom Rainey Tim Berne

andolink


2002 - Chris Burn's Ensemble
Musica Genera MG006

Chris Burn: piano
John Butcher: tenor or soprano saxophone
Matchew Hutchinson: synth
Rhodri Davies: harph
Nikos Veliotis: cello
Xavier Charles: clarinet

beeah

Lester - your recent posts are all in my wheelhouse!  I've seen Snakeoil a couple times.

Anyhow...  Last night:


Currently in the car CD player:

LesterSleepsIn

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cheers beeah! Yup, I’ve seen him a whole buncha times and it would be very hard to choose a favorite grouping live but perhaps it was
Bloodcount (Berne, Ducret, Speed, Formanek and Jim Black! ... good lord.) Looking forward to seeing Snakeoil.

Take care.

LesterSleepsin




PoisonedMinds: The Paris Concert
Tim Berne’s Bloodcount



LesterSleepsIn

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Tim Berne/Bloodcount: Unwound

Tim Berne and friends play way way outside the lines with Jim Black as a 3 armed drummer thrashing about as if one arm is broken. Most exciting.

https://www.discogs.com/Bloodcount-Unwound/release/1222038?ev=rr

LesterSleepsIn

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andolink

AMM: The Inexhaustible Document

Eddie Prévost / percussion
Keith Rowe / guitar, electronics
John Tilbury / piano
Rohan de Saram / cello

Recorded at the Union Chapel, Islington, London by Ray Beckett on 10th January 1987. Front cover artwork: ‘Rousillon - The Other One’ by Malcolm LeGrice.


LesterSleepsIn

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andolink

The perfect recording for integrating a new sub into your system as I’m doing this morning. Lots of different creative uses of infra-sonic sounds in these tracks

John Wall: Constructions I-IV
1999. Compositions by John Wall using sounds from John Edwards, double bass; Mark Sanders, percussion; Andrew Sparling, clarinet; Mark Wastell, cello; Axel Dörner, trumpet.




Larkston Zinaspic

Stomu Yamash'ta & Masahiko Satō - Metempsychosis


https://www.dailymotion.com/video/x25egte

andolink

Keith Rowe: tabletop guitar, electronics
Thomas Lehn: analogue synthesizer
Marcus Schmickler: digital synthesizer, computer

recorded at Peithopraxis Tonstudio, Cologne on 19/20 June 2002


andolink

Richard Barrett / electronics

Paul Obermayer / electronics


andolink

Michael Renkel-electric guitar fx processor and laptop


andolink

Asmus Tietchens + Thomas Köner

First in a series of live recordings by Kontakt der Jünglinge. This one features their very first performance which took place in the ‘Lagerhaus’ Bremen/Germany on the 17th December 1999.


andolink

Zirkadia:
Dieb 13 > laptop
Tomas Korber > guitar, electronics
Jason Kahn > laptop
Recorded April 14, 2004 at Werkstatt für Improvisierte Musik, Zürich, Switzerland.



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