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dustedmagazine · 8 years ago

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Dust, Volume 3, Number 6

(Graham Lambkin)

This edition of Dust dives deep into improv jazz, due to the stellar participation of Bill Meyer (five reviews!), but also makes time for Michigan post-punk, glowingly minimal electronics, an under-rated singer/songwriter and a wild and woolly one-man band. Contributors included Bill, Jennifer Kelly, Justin Cober-Lake and Mason Jones.

Mako Sica — Invocation (Feeding Tube)

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Mako Sica is based in Chicago, but the trio’s music evokes reveries of terrain that is far less flat and urban. The reverberant guitars and stark, effects-laden trumpet played by longtime members Przemyslaw Drazek and Brent Fuscaldo inspire visions of high canyon walls and rocky desert escarpments. The winding, episodic construction of the record’s three pieces brings to mind a road movie, one where the protagonists are less concerned with getting someplace than they are with soaking in the locations along the way. And Fuscaldo’s mostly wordless not-quite-yodels, which are the element most likely to separate those on board from those who want to disembark, move things into a much more shadowy realm, a place and time where of those choral voices on a Popol Vuh record decided to break ranks and call out the ghosts in the night’s far corners. The singing is the music’s most uninhibited element, but it’s nicely balanced by the unabashedly straightforward drumming of newcomer Chaetan Newell. There’s a moment six minutes into “Potomac Blues” where he doubles the time and mental images of far-off vistas fly out the window while you imagine another marvelous movie of the mind — the one where Charlie Watts takes over a Savage Republic rehearsal and says “lads, this is how it’s done.”

Bill Meyer.

The Suitcase Junket – Pile Driver (Signature Sounds)

Pile Driver by The Suitcase Junket

The most notable aspect to the Suitcase Junket's new album Pile Driver is how relatively normal it sounds. Which isn't to say average. The Suitcase Junket is Matt Lorenz performing as a one-man band, complicating the act by using found instruments and throat singing. The set-up sounds like a lead-in for a gimmick, but Lorenz's songs are carefully constructed pieces of rock and Americana. His fuzzy guitar, played in open tunings, drives the sound toward a Southern blues feel — “Swamp Chicken” being the most apt song title — but there are hints of other sounds in there, too. The found percussion (tucked into, of course, a suitcase, at least for the road) increases Lorenz's idiosyncracy, and enhances that atmosphere of songs like the spare “Evangeline,” where a boxing ring bell adds to the strange meeting between the singer and titular love interest. Lorenz's songs carry themselves, aside from backstory or unique sounds, relying on his storytelling and melodies. The fact that he's sonically inventive is just a bonus.

Justin Cober-Lake

Jeff Herriott—Stone Tapestry (New Focus Recordings)

Jeff Herriott: The Stone Tapestry by Jeff Herriott, Due East, Third Coast Percussion

Composer, multi-instrumentalist and music professor Jeff Herriott is based in Whitewater WI. One supposes that he makes the music he makes without regard for any particular scene, because where he lives there isn’t one. Stone Tapestry certainly doesn’t fall neatly into any category or school, and is probably better for it. Two groups, the flute duo Due East and the Third Coast Percussion Ensemble, play this hour-long, nine-part piece. While the word tapestry implies the presence of a narrative, it’s easy to ease back and enjoy its languorous progress from delicate, woodwind-lead melodies to bright bursts of metallophone color action to dreamy, ambient textures without getting preoccupied with representation. Sometimes, the right sound is more than enough.

Bill Meyer

Neil Nathan – Flowers on the Moon

Flowers on the Moon & Don't Forget Me A/B Side by Neil Nathan

Neil Nathan's biggest moment came when his mellow cover of Jeff Lynne's “Do Ya” attracted enough attention to make it onto the Californication soundtrack. Then he recorded an album driven by his power-pop roots, touching Big Star for its best moments, without giving up Nathan's songwriter's sensibility. Now, for his second proper album, Flowers on the Moon, he's calmed himself back down, pushing further into his folk influences and 1970s AM radio. The title track is a Bowie-esque sci-fi trip with touches of Cat Stevens. In stripping back, Nathan foregrounds his lyricism and proves himself at the mic. “Diamond in the Sky” makes for a perfect April release, with its tale of his dad and baseball. The California country sound makes for a smooth flow, and Nathan drops his guard without crossing over into treacle. The disc's steady mood makes for a coherent listen, but as Nathan lets more of his flexibility show (as in his traces of psychedelia), he reveals himself to be pushing beyond just a follow-up folk album.

Justin Cober-Lake

Graham Lambkin—Two Points on the Angle (No Rent)

"Two Points on the Angle" (NRR44) by Graham Lambkin

Having confirmed his connections to humanity and song form on the recent double CD Community, Graham Lambkin looks both inward and into the virtual ether on Two Points on the Angle. While the sounds of family life and the neighbors’ cranked-up stereo register, the field recordings operate on the periphery of synthesized verbalizations. Are these Lambkin’s thoughts, lines from emails, or texts from webpages? The answer is probably yes to all, but if you look for a definite answer to anything you are missing the point. Words discomfit and confuse, sounds bore and delight, and the robot looms larger than people, environments, or music. Does this sound like a life that you’ve lived lately? Rappers and talk radio liars have been claiming for years that they’re keeping it real, but this is as real as it gets. Prepare to not know.

Bill Meyer

OUT — Swim Buddies (Comedy Minus One)

Swim Buddies by OUT

A brash, rough-housing, big-shouldered take on early 1990s post-punk, Swim Buddies blisters with crashing chords, rabble-rouses with shouted choruses. At the harder end,“Chain Fight” rattles rapid-fire bursts of guitar/drums/bass spasm riffs, pulling up short every so often, as if just for contrast. More lyrically, “Summer Tribute” weaves chain-saw guitars into languid nostalgia, bearing a whiff of Silkworm, even Red Red Meat in its ragged, rusty anthemry. “You took the punch,” goes one line in this latter track, and yes, there’s a blue-color stolidity to these songs, a sweaty, heavy-lifting persistence that might remind you of Boston’s Black Helicopter. Three of the four principals – Isaac Turner, Chafe Hensley and Mark Larmee — were in another much-loved Michigan band called Minutes, which judging from the bandcamp, was pretty awesome too.

Jennifer Kelly

Steve Swell/Gebhard Ullmann/Fred Lonberg-Holm/Michael Zerang—The Chicago Plan (Clean Feed)

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So what do you do when your old rhythm section, the one with the drummer (Barry Altschul) who has played on some of the great jazz sessions of the last four decades, is no longer available? If you are NY-based trombonist Steve Swell and Berlin-based poly-reedist Gebhard Ullmann, you don’t pack it in; you implement The Chicago Plan. It’s simple in concept. You call up cellist Fred Lonberg-Holm and percussionist Michael Zerang, whose 20+ year partnership has sharpened their ability to play just about anything, and make a new band. And while it’s simple in concept, it’s rich in execution and bounteous in results. The wide-ranging material composed by the two horn players makes ample use of their new associates’ fluidity and fluency as they shift from lyric expression to dissenting abrasion, packing a dense but lucidly organized amount of musical information into each track. The musicianship is frightfully high; “Rule #1: Make Sure You Can Play Your Own Tune” delivers a theme intricate enough to justify its title, and then starts peeling off pieces of it and playing them faster and harder. And the opener, “Variations On A Master Plan (Part 3),” is an intricately constructed variation on New Orleans second-line groove as refracted through a prism of Ornette Coleman-inspired emotional complexity. Hopefully there will be a second chance to hear this ensemble, no plan B required.

Bill Meyer

Delia Derbyshire Appreciation Society — Blue Filter (Six Degrees)

Blue Filter by Delia Derbyshire Appreciation Society

Lovely edgeless tones ripple and flow in the gentlest way possible, filling the sonic space to the edges with modest crescendos and faint imprints of melody. Blue Filter is the first album from electronicists Garry Hughes and Harvey Jones, who named their duo after the pioneering British composer Delia Derbyshire (who composed the theme to the Doctor Who show). Musical ideas bloom slowly in these seven cuts, taking shape in radiant arcs and shimmering pools of sound. The long tracks, particularly, have a motionless, eternal quality; it is hard to say, when you listen, whether you are near the beginning, at the end or cast adrift in an endless middle that laps like calm water under your becalmed vessel. And yet, there’s a light and a pleasure in being marooned here. These serene sonic landscapes stretch in variegated, pulsing abundance straight through to the horizon. You’ll hear bits of piano, suggestions of strings, unassuming threads of melody weaving through, but there’s no sense of journey or narrative. It is all right here, just now.

Jennifer Kelly

New Music Coop—Invisible Landscapes (New Music Co-op)

Good things come to those who wait, as well as those who did not know they were waiting. Back in 2010 the Austin New Music Co-op sponsored a concert of works by two composers who are counted as members of the Wandelweiser Collective. Just why it took six years to get from recording to release may be a secret buried in some board meeting minutes somewhere, but since this music embodies a deep respect for patience, let’s not complain. The Co-op’s ensemble comprises four string players and three percussionists; Pisaro also contributes electronics to his piece, “Ascending Series (7) (evaporation).” The Pisaro piece is a sequence of elongated whispers and slides that are played quietly enough that you could overwhelm them by using a cigarette lighter. This quietness is deceptive, though, because if you listen closely you will hear a richness of sound that suggests that the whole ensemble was playing as one. The Malfatti piece is fairly busy by comparison with what he has played in the 21st century, but that still leaves a lot of room for stillness. The strings come to the fore on this piece, charting slow arcs around which rustles and metallic sonorities hover like clouds of sunlight-dappled dust. The arcs are separated by silences that reinforce this music’s command that you stop and experience it. Listen while you can.

Bill Meyer

Orphx — Archive 1993/1994 (Mannequin Records/Hospital Productions)

Unearthed from cassettes recorded 25 years ago, these 20 pieces mine an array of industrial influences. In 1993 and 1994, the trio (Rich Oddie, Christina Sealey, and Aron West) would have been listening to Europeans like Asmus Tietchens, Lustmord, Kapotte Muziek, and Sigillum S.; Japanese artists such as Dissecting Table and Grim; and fellow Americans like Schloss Tegal and Controlled Bleeding. It was a fertile time for dark experimental sounds, and these tracks illustrate a particularly grimy, basement-aesthetic style. The sound is mostly dense, like metal stressed to its limit: the soundtrack for a slowly-collapsing bridge. The cavernous drones, metallic clanks, and ominous pounding sometimes gives way to vaguely dreamy synths, but it all reverberates in unsettling ways. One gets impressions of undersea assaults and deep-space encounters with hostile aliens, or the dread of being trapped in a cave, likely not alone but wishing you were. Impressively, while cloaked in a past aesthetic, this archive doesn't feel particularly dated. While more low-fi than current outfits, the release fits perfectly on Hospital Productions, and should find a number of new fans there.

Mason Jones

#dust #bill meyer #jennifer kelly #justin cober-lake #mako sica #the suitcase junket #jeff herriott #neil nathan #graham lambkin #OUT #steve swell #gebhard ullmann #fred lonberg-holm #michael zerang #delia derbyshire appreciation society #orphx #mason jones #new music coop

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diyeipetea · 5 years ago

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JazzX5#111. mikroPULS: Human Body Upgrade [Minipodcast]

Por Pachi Tapiz.

“Human Body Upgrade” mikroPULS (Potratz, Ullmann, Lüdemann, Schaefer): mikroPULS (Intuition Records) mikroPULS: Gebhard Ullmann, Hans Lüdemann, Oliver Potratz, Eric Schaefer

JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5están…

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#Eric Schaefer #Gebhard Ullmann #Hans Lüdemann #JazzX5 #mikroPULS #Oliver Potratz #Pachi Tapiz

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dovilesermokas · 6 years ago

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Das Kondensat - Oliver Potratz I Eric Schaefer I Gebhard Ullmann @WhyPlayJazz

#das kondensat #WhyPlayJazz #oliver potratz #eric schaefer #gebhard ullmann #berlin based #jazz #band #jazz music #jazz band #jazz scene berlin #photography #Musician Photography #artist portrait #artist

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clubw71 · 7 years ago

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Ullmann/Swell´s Chicago Plan

Die echte Alternative zum Faschingstreiben

#gebhard ullmann #steve swell #fred lonberg-holm #michael zerang

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hmgn3 · 3 years ago

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22-April 散財記録

04(mon) ・ホノベミナミ / トローチ (2022, LP) 07(thu) ・chanson sigeru / #1 DAD (2008, used CD) ・Bruce Haack & Esther Nelson / Listen Compute Rock Home (The Best of Dimension 5) (1999, used LP) ・Gebhard Ullmann, Andreas Willers, Hans-Dieter Lorenz & Nikolaus Schäuble / Out to Lunch (1985, used LP) ・The Carla Bley Band / Musique Mecanique (1979, used LP) ・Mike Gibbs & Gary Burton / In the Public Interest (1974, used LP) 09(sat) ・arauchi yu / Śisei (2021, LP) ・Antonio Neves / A Pegada Agora É Essa (The Sway Now) (2021, LP) ・Henri Salvador / Homme Studio (2021, LP) ・Jeff Parker & The New Breed / Suite for Max Brown (2020, LP) 14(thu) ・Carla Dal Forno / Look Up Sharp (2019, used LP) ・Deerhoof / Deerhoof vs. Evil (2011, used LP) ・Soul-Junk / 1952 (1995, used LP) ・Art Bears / All Hail (1982, used Flexi-disc) ・The Work / I Hate America (1982, used Flexi-disc) ・Frank Zappa / I Don't Wanna Get Drafted! (1980, used 7inch) 15(fri) ・Makaya McCraven / In the Moment (2015, used 3LP) 16(sat) ・三沢洋紀 / MISAWA HIROKI 2 (2022, cassette+CD-R) ・山二つ / 春のデモ 2022 (2022, CD-R) 18(mon) ・Charley Cuva / Putney Swope (2006, used LP) ・Marc Moulin / Organ (2002, used 12inch) ・Bar-Kays / Gotta Groove (1969, used LP) 21(thu) ・Populous / Queue for Love (2005, used LP) ・Jane Siberry / The Speckless Sky (1985, used LP) 22(fri) ・Lucrecia Dalt / Anticlines (2018, used LP) ・Nobukazu Takemura / Meteor (1999, used 12inch) ・Lovell Webb / I Want Some Singing (1993, used LP) ・宮本文昭 & 前田憲男 / Jazzy Wind (1983, used LP) ・Mary Lou Williams / Mary Lou Williams and Orchestra (1950, used LP) 23(sat) ・The Frightening Lights / Untitled (2014, used LP) ・Hybrid Kids / Claws (1980, used LP) ・John G. Perry / Sunset Wading (1976, used LP) 24(sun) ・Jerry Goldsmith / Coma (Original Motion Picture Soundtrack) (1978, used LP) 25(mon) ・Karma / 9 (2001, used 12inch) ・Jimmy Fontana & Gianni Morandi / Twist No. 9 & Go-Kart Twist (1963, used 7inch) 30(sat) ・Andy Summers & Robert Fripp / Bewitched (1984, used LP) ・The Golden Palominos / The Golden Palominos (1983, used LP) ・Richard Beirach / Elm (1979, used LP)

#disc

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riffsstrides · 3 years ago

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Scott Dubois - Winter Light (2016)

7/10

The journey from morning to night, from the dark and promising wintry dawn to the gelid day's goodbye, is one fraught with possibility. At least that's how guitarist Scott DuBois sees it. On Winter Light, Dubois tells the story of a single frigid day. It's as wondrous, chilling, atmospheric, and powerful as can be.

Scott DuBois: guitar; Gebhard Ullman: tenor saxophone, bass clarinet; Thomas Morgan: bass; Kresten Osgood: drums.

#Spotify

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jazzzzaj · 5 years ago

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031211 Parallel 3. - The Chicago Plan /US/ vs. Turul Blast /H/

ÚJ SOROZATUNK harmadik epizódja! "PARALLEL" Külföldi, ismert és kevésbé ismert zenekarokat mutatunk be a budapesti közönség számára jobban ismert hazai zenészekkel közös koncerteken. A The Chicago Plan formáció az amerikai Steve Swell és a német Gebhard Ullmann több, mint 10 éves együttműködésének legújabb állomása. A zenekar alapvetően a kettejük által komponált zenét játssza, de természetesen nagyon hangsúlyosan jelen van náluk az improvizáció is. Zenéjükben erősen dominálnak a jazz és a kortárs zene különböző hagyományai, de minden hagyományt és zenei tapasztalatot képesek a saját kifejezésmódjukhoz alakítani és saját nyelvükön előadni. Zenei tapasztalatból pedig nincs hiány számukra - elképesztően hosszú és improzáns az a lista, akikkel az évtizedek során kooperáltak. Cecil Taylor, Anthony Braxton, Hamid Drake, Joe McPhee, Peter Brötzmann, Lionel Hampton és még hosszan sorolhatnánk. Az ütőhangszeres Michael Zerang esetében különösen hosszú ez a lista, de tekintve, hogy több, mint 120 (!!) lemezen szerepel, annyira nem is meglepő... A quartet-ből amúgy mindkét komponista, Ullmann és Swell tanít is zenét. Gebhard Ullmann - tenorszaxofon, basszus klarinet, octaver Steve Swell - harsona Fred Lonberg-Holm - cselló, elektronika Michael Zerang - dob, ütőhangszerek A Chicago-i székhelyű zenekar előtt magyar részről a Turul Blast formáció játszik. A trió mindegyik tagja a budapesti szabadzenei/jazz szcéna kiemelkedő és kikerülhetetlen alkotója. Ez a felállásuk a póvertrió felállás hagyományait követi, igen széles spektrumú zenei forrásanyagra támaszkodva. A rock-os megszólalással ugyanúgy játszanak, mint a free-jazz hagyományai szerint, de közben burmai és kolumbiai tradicionális zenéket is beépítenek repertoárjukba - nyilván saját szájuk íze szerint előadva. Mindezt persze rengeteg improvizációval tarkítva. Cseke Dániel - tenorszaxofon Ajtai Péter - nagybőgő Porteleki Áron - dob Belépő: 2500 HUF (english) More than 10 years of partnership between American trombonist, composer Steve Swell and German tenor saxophonist, bass clarinetist and composer Gebhard Ullmann after their successful first collaboration, The Ullmann/Swell Quartet featuring bassist Hill Greene and drum legend Barry Altschul continues now with a new version of the quartet featuring renowned Chicagoans, Michael Zerang, drums, percussion and Fred Lonberg-Holm, cello. This ensemble is appropriately named The Chicago Plan. The plan of course is to integrate the leaders’ fresh written material to inspire and be in the service of groundbreaking areas of improvisation that include world rhythms, universal textures and other worldly sound experiences. All the accumulated experience of the members of The Chicago Plan forge a personal approach and vocabulary that is as natural as it is exhilarating. Their collective approach is loose and cool and is constantly full of life. That’s a good plan for any band whether the band is from Chicago or New York (Swell’s home), or Berlin (Ullmann’s home) or any other city in the world for that matter. Gebhard Ullmann - tenor saxophone, bass clarinet, octaver Steve Swell - trombone Fred Lonberg-Holm - cello, electronics Michael Zerang - drums, percussion

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informer82 · 4 years ago

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vimeo

Titel: Jorgo Schäfer / Vincent Chancey / Joe Fonda / Jeremy Carlstedt | Vision 24 Text: Jorgo Schäfer - visual art / Vincent Chancey - french horn / Joe Fonda - bass / Jeremy Carlstedt - drums German visual artist and longtime Vision Festival supporter Jorgo Schäfer collaborated with the Vincent Chancey Trio for a unique presentation of music and art at the 2019 festival. “Dance of the Comedians is an analog audio-visual performance named after a text from German philosopher Friedrich Nietzsche. Nietzsche wrote the text ‘Man, the Comedian of the World’ in 1886. It is a tongue-in-cheek statement about the arrogance of the human race in relationship to the universe. In my view nothing has changed fundamentally over the past one and a half centuries. The text is still relevant, particularly in these days of arrogant political behavior and neo-populism. ‘The angry white ant thinks it is the center of the wood!’” - Jorgo Schäfer Performed and recorded on June 16, 2019 at Arts for Art Vision Festival 24, Roulette, Brooklyn Support AFA! https://ift.tt/3695xMz Jorgo Schäfer is a painter, graphic artist, and cartoonist from Wuppertal, Germany. HIs work is heavily influenced by jazz music and improvisation, which he was introduced to by his friend, bassist Peter Kowald. He has been a constant presence as an artist, supporter, and audience member at the Vision Festival for many years. https://ift.tt/2Z5bF50 Vincent Chancey earned a respected place for himself in the world of jazz music with his remarkable ability on the French horn. He learned his polished skills while studying under Julius Watkins, but Chancey's talent and style are both inherent gifts. During his long career, which began in the '70s, Chancey has performed with the famous Sun Ra Arkestra, Lester Bowie's Brass Fantasy, the David Murray Big Band, the Carla Bley Big Band, the Beaver Harris French Horn Connection, and the Richard Abrams Orchestra. https://ift.tt/3fS7sZg Joe Fonda is a composer, bassist, recording artist, interdisciplinary performer, producer and educator. An accomplished international Jazz artist, Fonda has performed with his own ensembles throughout the United States, Canada, Europe and Asia. He has�� collaborated and performed with such artists as Anthony Braxton, Archie Shepp, Ken McIntyre, Lou Donaldson, Bill and Kenny Barron, Leo Smith, Perry Robinson, Dave Douglas, Curtis Fuller, Bill Dixon, Han Bennink, Bobby Naughton, Xu Fengia, Randy Weston, Gebhard Ullmann, Carla Bley, Carlo Zingaro, Barry Altschul, Billy Bang. http://joefonda.com/ New York City based drummer/songwriter/vocalist Jeremy Carlstedt, known for his dynamic style, organic feel on the drums and musical intuition, has performed with some of the most forward thinking artists in jazz, rock, electronic and world music. As a protege of the legendary Chico Hamilton, Jeremy has absorbed music history in the best possible classroom: on the bandstand as a member of Hamilton's group Euphoria as well as Vincent Chancey's Phat Chance, Brian Settles and Central Union and a new duet with Tim Motzer, which have put him on some of the world's most prestigious stages including, The Kennedy Center, Lincoln Center, Newport Jazz Festival, Syracuse Jazz Festival and Roulette. With more than a dozen releases to his credit, Jeremy's first solo recording, 'When I Wake Up’ an art-rock EP featuring his drumming, vocals and compositions, was released in October 2012 on 1k Recordings. His latest, 'Stars Are Far' was released in November 2015 and has received acclaim from many well known art music publications. https://ift.tt/3hUr68X Film production by Moon Lasso http://moonlasso.com/ Sound by Stephen Schmidt., Hochgeladen von: Arts for Art | Vision, https://ift.tt/3194ICT

#Vimeo

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donospl · 13 days ago

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MUZYCZNE ŚCIEŻKI JAZZ-FUN.DE: Philipp Gerschlauer, Gebhard Ullmann „Twelve + 1 Murals”

Between The Lines, 2024 Donos kulturalny wraz z magazynem jazz-fun.de, rozpoczął kolejny etap międzynarodowej współpracy. Pod hasłem „Muzyczne ścieżki” na stronie jazz-fun.de prezentowane będą nasze rekomendacje nagrań polskich zespołów. Jednocześnie Donos publikował będzie recenzje najciekawszych nagrań niemieckiej sceny jazzowej przygotowane przez jazz-fun.de. Zapraszamy do lektury…

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#Between The Lines #Franz-Josef Degenhardt #Gebhard Ullmann #Muzyczne ścieżki jazz-fun.de #Philipp Gerschlauer

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freethejazzblog · 8 years ago

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Free The Jazz #09 [for Jane Espenson]

1 - Indigo Mist - Duke (from "That The Days Go By and Never Come Again", 2014 RareNoise)

2 - Steve Swell / Gebhard Ullmann / Fred Lonberg-Holm / Michael Zerang - Déjà Vu (from "The Chicago Plan", 2016 Clean Feed)

3 - Roger Manins - Hip Flask (from "Trio", 2010 Rattle Jazz)

4 - Bill Dixon - In Search Of A Sound (from "17 Musicians in Search of a Sound: Darfur", 2008 Aum Fidelity)

5 - Tim Berne's Snakeoil - Lamé 3 (from "Anguis Oleum", 2016 Screwgun)

6 - Colin Stetson & Mats Gustafsson - Stones That Can Only Be (from "Stones", 2012 Rune Grammofon)

7 - Tigers Milk - Stillness Among Mercury Trees (from "Android Love Cry", 2007 Family Vineyard)

8 - David S. Ware - Mikuro's Blues (from "Go See The World", 1998 Columbia)

9 - Taylor Ho Bynum - That Which Only...Never Before (from "Enter the PlusTet", 2016 Firehouse 12)

10 - Starlite Hotel - A Thousand Thousandths (from "Awosting Falls", 2016 Clean Feed)

Listen to a new show each week on 8K, and find previous shows over at Mixcloud.

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klara-radio · 8 years ago

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tracklist:

Reinbert De Leeuw: Prélude nr. 2, "Prélude d'Eginhard" (1893) (Comp. Erik Satie) - Satie: Early Piano Works - Philips Classics - 462 161-2 - [0:02:21]

The Camarata Contemporary Chamber Orchestra: Sports & Amusements (Comp. Erik Satie) - The Electronic Spirit of Erik Satie - London Records ? XDES 18066 - [0:06:37]

Adria Mortari; Maurizio Carnelli: La Comédie Italienne uit Sports et Divertissements (Comp. Erik Satie) - Le Chant Masqué - Niccolo NIC 1015 - [0:00:31]

Adria Mortari; Maurizio Carnelli: La pêche uit Sports et Divertissements (Comp. Erik Satie) - Le Chant Masqué - Niccolo NIC 1015 - [0:00:46]

Pago Libre: Le Tango d'E.S. (Comp. Erik Satie; John Wolf Brennan) - Cinémagique - TCB Music 01112 - [0:02:30]

Catherine Bott, David Owen Norris: Wimbledon Idyll (Comp. Kit and the Widow (Kit Hesketh-Harvey; Richard Sisson)) - London Pride (A Celebration of London in Song) - Hyperion CDA 67457 - [0:04:26]

Javier Perianes: Canción (1900) (Comp. Manuel De Falla) - Manuel de Falla: Noches en los jardines de Espana - Harmonia Mundi 902099 - [0:02:20]

Claude Coppens: Gnossienne nr 4 (Comp. Erik Satie) - Concertopname vanuit de Jezuïtenkerk in Aalst (Radio 3 701.849) - [0:02:47]

Reinbert De Leeuw: Pièces Froides 2 (Danses De Travers) - 1. En Y Regardant Par Deux Fois (1897) (Comp. Erik Satie) - Satie: Early Piano Works - Philips Classics - 462 161-2 - [0:01:44]

Michael Gees: Danses De Travers, no. 2 (Comp. Erik Satie) - ImproviSatie - Challenge Classics CC72512 - [0:02:15]

Michael Gees: 1ère Gymnopédie (Comp. Erik Satie) - ImproviSatie - Challenge Classics CC72512 - [0:07:29]

Pascal Comelade: The Grey Velvet Gentleman (Comp. Erik Satie; Pascal Comelade) - My Degeneration: Electronics 1974-1983, LP2: Sentimientos - Vinyl-On-Demand ?VOD130 - [0:01:24]

Clarinet Trio Two: Variations on a Theme by Erik Satie (Comp. Jürgen Kupke; Theo Nabicht; Gebhard Ullmann) - Translucent Tones - Leo LR-339 - [0:04:21]

Jean-Claude Elloire: Gnossienne nr 1 (bewerking voor beiaard) (Comp. Erik Satie) - Le grand carillon de Chambéry - Calliope CAL-9510 - [0:03:30]

Van-Anh Vo: 3 Gnossiennes: Gnossiennes No. 3 (Comp. Erik Satie) - Three-Mountain Pass - Innova 866 - [0:04:49]

Teodoro Anzellotti : Gnossienne nr. 5 (Comp. Erik Satie) - Erik Satie - Winter & Winter 910 031-2 - [0:03:09]

Aurélie Dorzée; Stephan Pougin; Tom Theuns : Gnossienne (Comp. Erik Satie) - Festina Lente - Homerecords.be 4446007 - [0:05:40]

Vladimir Ivanoff; Sarband: Chanson Médiévale (3 Autres Melodies, 1886) (Comp. Erik Satie; Catulle Mendès) - Danse Gothique. Erik Satie & Guillaume de Machaut - Jaro 4229-2 - [0:03:11]

Marjanne Kweksilber; Reinbert De Leeuw: 3 Autres Melodies - III. Les fleurs (1886) (Comp. Erik Satie; J.P. Contamine De Latour) - Piano Music & Melodies - Philips ?475 7706 - [0:02:14]

Norma Winstone: Ciant (Petite ouverture à danser) (Comp. Erik Satie; Pier Paolo Pasolini; Glauco Venier) - Distances - ECM 2028 - [0:05:17]

Juliette Gréco: Daphénéo (uit Trois Mélodies, 1916) (Comp. Erik Satie; Mimi Godebska) - L'Éternel Féminin - Mercury 980 042-6 - [0:01:27]

Steve Beresford, Yves Robert, Michel Godard, Steve Arguelles: Entr'acte (Comp. Erik Satie) - Les Films de ma Ville - Nato 112 033 - [0:05:32]

Enrico Rava, Stefano Bollani; Paul Motian: Birdsong (Comp. Paul Motian) - Tati - ECM 1921 - [0:02:19]

Jun Miyake: The Locked Room (Comp. Jun Miyake) - Lost Memory Theatre - act-2 - Yellow Bird Records 7746 - [0:02:50]

Hector Zazou; Joseph Racaille; David Rueff: Le Fils du Grand Compositeur (Comp. Hector Zazou) - 1977-1990 - Tonk 2311 - [0:02:14]

Reinbert De Leeuw : Prière (1895) (Comp. Erik Satie) - Satie: Early Piano Works - Philips Classics - 462 161-2 - [0:01:43]

Eric Thielemans; Ensemble Artists Repertoire Research ( Jozef Dumoulin; Hilary Jeffery):Prie`re (Comp. Erik Satie) - EARR Plays A Snare Is A Bell - Sub Rosa 339 - [0:01:55]

Dre Pallemaerts; Mark Turner; Bill Carrothers; Jozef Dumoulin: Première Pensée Rose + Croix (Comp. Erik Satie) - Coutances - 52c-CD004 - [0:07:14]

Michael Gees: Descriptions Automatiques: Sur Une Lanterne (+ impro) (Comp. Erik Satie) - ImproviSatie - Challenge Classics CC72512 - [0:04:56]

Lee Konitz & The Axis Quarte: Sur un lanterne (uit Descriptions automatiques ) (Comp. Erik Satie; Ohad Talmor ( bewerker)) - Lee Konitz & The Axis Quartet Play French Impressionist Music from the 20th Century - Palmetto Records PM-2064 - [0:03:41]

Melonious Quartet: Embryons desseches (Comp. Erik Satie) - Concert vanuit het Auditorium Fortis te Brussel - Radio 3 7783 - [0:06:49]

Alexei Lubimov: In a Landscape (1948) (Comp. John Cage) - Der Bote - ECM 1771 - [0:08:52]

#erik satie #Bart Vanhoudt #Valckenaers & Vanhoudt #klara radio #Valckenaers Vanhoudt

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