#lina allemano

[chez-mimich]

LINA ALLEMANO: FLIP SIDE

È uscito lo scorso 4 ottobre il nuovo disco di Lina Allemano, trombettista, compositrice, improvvisatrice canadese-berlinese che vede nel CD, oltre che la sua adamantina tromba, Dan Peter Sundland al basso elettrico, Michael Griener, alla batteria e, talvolta ospite in alcuni brani, Andrea Parkins alla fisarmonica, oggetti ed elettronica. Lina e la sua tromba, pur avendo salde basi nel jazz, spaziano in territori liminari alla musica colta o cosiddetta tale. Ad aprire il magnifico lavoro del trio-quartetto “Lina Allemano’s Ohrenschmaus” (che significa smorfia), è il brano dal titolo “Sidetrack” che, in riferimento all’originalissimo nome della formazione, la prima smorfia la offre in apertura con una accattivante “intro” tutta rumorista, con qualche insufflazione di tromba, quasi a voler ingolosire l’ascoltatore su quanto successivamente lo aspetta. E in effetti il brano prosegue, dopo le fascinose titubanze iniziali, con la tromba della Allemano sempre più presente, anche se mai dominante, mentre le atmosfere restano inquiete; anche “Signal” si apre con rumori e percussioni, ma più decisi, come appare più certo e definito il ruolo della tromba. I toni sono rilassati e le parti sembrano più dialogiche, così come il “clima sonoro” in “Heartstrings” è pieno e ben definito, con la tromba che sembra aver preso decisamente il sopravvento o quantomeno, sembra tenere decisamente in pugno la situazione con un rumorismo delizioso, sia all’inizio che al termine del brano. Con “Sideswipe” (primo brano con l’intervento dell’elettronica di Andrea Parkins), il dialogo con la tromba diventa quasi un’invettiva dissacrante per un formidabile calando nelle parte finale dove spatole, carillon e ticchettii introducono l’ultimo lamento della tromba di Lina. Malinconico e lunare “Stricken” serba nel suo ventre un magnifico assolo al basso di Dan Peter Sundland che rende il brano quasi espressionista. “Flip Side”, che dà il titolo all’intero lavoro, è un pezzo sublime, di grandissimo spessore, notturno e solenne, dove le percussioni gravi e profonde sembrano dettare il tempo, un tempo di cupa sontuosità, con l’archetto del contrabbasso che diffonde rasoiate di vibrazioni rendendo ancora più drammatica l’atmosfera, ma sulla quale la tromba di Lina Allemano, ricama un disegno sonoro fatto di pacata leggerezza. È proprio in questo contrasto che vive “Flip Side”, ultimo brano dell’album edito dalla LUMO Records, etichetta della stessa compositrice, registrato dal vivo sul pavimento di una vecchia aula scolastica nel quartiere Schöneweide di Berlino, e non poteva essere altrimenti, poiché oltre ad essersi parzialmente stabilita a Berlino, Lina Allemano, pregna della cultura musicale della vecchia Europa, ha certamente assimilato la lezione della musica colta contemporanea della capitale tedesca, facendola rinascere a nuova vita, grazie allo straordinario sound della sua tromba, le cui radici sono saldamente piantate nella improvvisazione, nella ricerca e anche nel free jazz. Dopo una produzione discografica qualitativamente e quantitativamente notevolissima alla quale si aggiunge questa preziosa perla.

[dustedmagazine]

Lina Allemano — Canons (Lumo)

Photo by Manuel Meithe

A canon is a compositional technique involving the statement and restatement of a melody with controlled variations. Familiar examples include rounds such as “Row, Row, Row Your Boat” and Johann Pachelbel’s famous composition. In this recording, trumpeter and composer (and bandleader and label-runner) Lina Allemano experiments with the form in a set of small groups consisting of trumpet and one to three other voices, with cello by Peggy Lee, clarinet by Brodie West, bass by Rob Clutton, synth by Ryan Driver, guitar by Tim Postgate, trombone by Matthias Müller, and/or trumpet overdubs by Allemano herself; four other tracks include “live-processing/ effects” by Mike Smith. Allemano has worked with these collaborators before, and they commit fully to the project, which incorporates their improvisation into her compositions.

Especially given the variety in the instrumentation, each track has a distinctive feel. Opener “3 Trumpet Canon” begins with a classical-sounding flourish and ends in whispery breaths, while “Bobby’s Canon,” a lovely blend trumpet, cello, and clarinet, ebbs and flows through its variations. “Butterscones,” the first of the two tracks with Clutton, Driver, and Postgate, begins not unlike the opener but moves into atonal territory; the second, “Twinkle Tones,” begins in atonal territory and becomes more traditional-sounding near the end. Similarly, the sleek harmonies of the track with Müller are interrupted by a noisier middle section. The tracks with Smith represent an incarnation of BLOOP, his ongoing duo project with Allemano (Bill Meyer reviewed their 2021 release for Dusted). His real-time manipulation of her trumpet seems to stretch the canon form to its limits, with noise and effects serving to refract musical ideas often expressed in extended notes.

Canons is, according to the liner notes, the product of a kind of compositional game, and that lightheartedness pervades the album, in contrast with the more somber, Covid-focused Pipe Dream released earlier this year (which I reviewed in May), and this year marks the twentieth anniversary of Lumo, the label that Allemano founded and runs to release her music. So, this is a good opportunity to recognize her contributions to the scenes in Toronto and Berlin in particular and modern jazz in general. By providing an alternative to the corporate music industry, the hard work of Allemano and other musician-entrepreneurs such as, to choose a random example from the world of jazz, Whit Dickey’s Tao Forms, helps to ensure that adventurous and uncompromising music continues to be made and those with diverse tastes such as the readers of Dusted continue to have access to it.

Jim Marks

[marcogiovenale]

online i numeri 35 e 36 di 'utsanga'

www.utsanga.it (utsanga.it) – online i numeri 35 e 36 (marzo/giugno 2023) con: Francesco Aprile, Cristiano Caggiula, Texas Fontanella, Michael Betancourt, Leah Singer, Silvio De Gracia, Ana Montenegro, Viviane Houle, James Falzone, Sylvain Darrifourcq, Lina Allemano, James Meger, Sissel Vera Pettersen, GAP – Global Art Project, Carl Heyward, Wellington Amancio, Gianluigi Balsebre, Fabio…

[nuovaletteratura]

utsanga.it: online i numeri 35 e 36

www.utsanga.it www.utsanga.it – online i numeri 35 e 36 (marzo/giugno 2023) con: Francesco Aprile, Cristiano Caggiula, Texas Fontanella, Michael Betancourt, Leah Singer, Silvio De Gracia, Ana Montenegro, Viviane Houle, James Falzone, Sylvain Darrifourcq, Lina Allemano, James Meger, Sissel Vera Pettersen, GAP – Global Art Project, Carl Heyward, Wellington Amancio Da Silva, Gianluigi Balsebre,…

[clubw71]

Lina Allemano (tr) - Uwe Oberg (p) - Matthias Bauer (db) - Rudi Fischerlehner (dr) im Club W71

Ein sympathisches Quartet, in dem jede:r weiß, wann er sich auch mal zurück nehmen kann. Ein Konzert, das wieder richtig Freude gemacht hat...

...findet

Schorle

[aporias]

Discos favoritos de 2021

Alastor: Onwards and Downwards

Alex Ward: Gated

Andrew Durkin & The Quadraphonnes: Five-Pointed Star

Anna Webber: Idiom

Ben Goldberg: Everything Happens To Be.

Brad Mehldau & Orpheus Chamber Orchestra: Variations on a Melancholy Theme

Bryce Dessner: Impermanence/Disintegration

Danny Elfman: Big Mess

Ethan Iverson: Bud Powell in the 21 st Century

Giant Claw: Mirror Guide

John Medeski: Crawlspace

John Zorn: Chaos Magick

John Zorn: New Masada Quartet

John Zorn: Nostradamus: The Death of Satan

King Buffalo: The Burden of Restlessness

Krokofant: Fifth

Lina Allemano: Vegetables

Mark Feldman: Sounding Point

Mdou Moctar: Afrique Victime

Motorpsycho: Kingdom of Oblivion

Pierre Vervloesem: 2020

Stöner: Stoners Rule

TEKE::TEKE: Shirushi

Throat: Smile Less

Thumbscrew: Never is Enough

Tim Berne, Chris Speed, Reid Anderson & Dave King: Broken Shadows

Yautia: The Lurch

[opsikpro]

Mark Segger Sextet - Lift Off (18th Note Records, 2020) ****½

Mark Segger Sextet – Lift Off (18th Note Records, 2020) ****½

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By Sammy Stein

The Mark Segger Sextet was formed in 2008 to play the music of drummer and leader Mark Segger. Currently a doctoral Killam scholar in composition at the University of Alberta in Edmonton, Canada, Mark Segger has performed with the likes of Allison Au, Lina Allemano, Jane Bunnett, Dave Burrell, Steve Swell, and Nate Wooley, among others. The title, Lift…

[podilatokafe]

Lina Allemano Four - Live At The Tranzac (2012)

Lina Allemano Four – Live At The Tranzac (2012)

[dustedmagazine]

Lina Allemano’s Ohrenschmaus — Flip Side (Lumo)

Photo by Jamie Croft

The German word ohrenschmaus means “feast for the ears” and is a fitting name for trumpeter Lina Allemano’s project with Dan Sundland on bass guitar and Michael Griener on drums. Flip Side is the follow-up to the 2020 debut Rats and Mice, and the trio expands to a quartet with the addition of Andrea Parkins on “accordion, objects & electronics” on three tracks. This feast also builds on the debut in terms of sheer chutzpah. The seven tracks find the sweet spot among 1970s Miles, crime jazz and free improvisation.

The tracks with Parkins serve as a framework, appearing at the beginning, middle and end of Flip Side and featuring the theme of “side” in the titles. Opener “Sidetrack” develops from seemingly random tapping and metallic rustling into something like a small-scale gamelan orchestra. Accordion bleats and a martial percussion breakdown drive “Sideswipe,” and “Sidespin” wraps things up with upper-register trumpet floating over waves of percussion.

The other tracks seem a bit more composed. “Signal” features tight interplay between bass and percussion through which the trumpet percolates. Chimes introduce “Heartstrings,” one of the more straightforward jazz pieces here, after which Allemano delivers a breathtaking solo that evokes not only Miles but Don Cherry and Wadada Leo Smith and even a little bit of Louis Armstrong. “Stricken” begins as a languorous march that gives way at the halfway point to an impressive extended arco solo (which Sundland manages on an apparently unmodified electric bass, as a video of a live performance of “Heartstrings” shows) and is tied together by the return of the trumpet at the end. Griener really shines on “The Line,” constantly introducing new rhythms and sounds.

Like the debut, this is a collaborative effort rather than a trumpet-led trio. The tracks are credited to one or more members of the band, and each player constantly listens and responds to the others. Being through-composed, these tunes can seem a bit challenging at first, but attentive listening reveals countless intriguing combinations of sounds and the virtuosity of the players.

Jim Marks

[marcogiovenale]

online i numeri 35 e 36 di 'utsanga'

www.utsanga.it (utsanga.it) – online i numeri 35 e 36 (marzo/giugno 2023) con: Francesco Aprile, Cristiano Caggiula, Texas Fontanella, Michael Betancourt, Leah Singer, Silvio De Gracia, Ana Montenegro, Viviane Houle, James Falzone, Sylvain Darrifourcq, Lina Allemano, James Meger, Sissel Vera Pettersen, GAP – Global Art Project, Carl Heyward, Wellington Amancio, Gianluigi Balsebre, Fabio…

[sissifm-radio-f]

SissiFM #93 :  Did we do our homework or what are we doing here? Over the course of the last two months, we’ve been wondering how to approach the history of jazz.  Not only the history of jazz, but the contexts in which it is played, learned, heard and (re)shaped in todays world, or let’s say, todays world inside of northern Europe.  During the festival re-shaping jazz to come, an almost all- but not exclusivelywhite female line-up interprets pieces of old and mostly iconic figures of jazz taking place in ausland-berlin, one has to ask themselves:  who has the right to play jazz and in which contexts? SissiFM was, just the same, confronted with a similar question:  who has the right to play jazz and why is it taking place in such contexts? (re)shaping implies that something should be shaped again or turned into a different form.   How can we re-shape a genre to come without deleting some of the more important attributes of its social and political connotations? the music you are hearing tonight has two points of entry:  both new and old editions to the following compositions played, heard and re-shaped in one way or another.  Andrea Parkins (piano, electronic accordion, objects and electronics) stands in dialogue with artist Albert Ayler and his compositions Bessl and Ghosts from 1964 and 1965.  Liz Kosack (piano synthesizer) and Lan Cao (piano) visited and reacted to the work and performance of Charlie Parker and Dizze Gillespie’s Bird & Diz album from 1951.  The trio, consisting of Els Vandeweyer (vibraphone) + Lina Allemano (trumpet) + Ute Wasserman (voice, objects) found their way to re-play and re-make 6 of the 12 compositions from Mary Lou Williams’s Zodiac Suite.

Sissi FM @ re-shaping Jazz to come plays recordings which are put into dialogue as part of the festival as well as recordings which are not, ponders about who re-shapes jazz and who doesn´t, follows and meanders on pathways of it´s own and visits some of the artists on their journey through jazz history up to the present. The Re-shaping Jazz festival program you find at: http://ausland-berlin.de/reshaping-jazz-come-dialogues-recordings-musics-pa

[diyeipetea]

HDO 362. Carrier - Lambert, Titanium Riot, Lina Allemano Four (Canajazz 2017 II) [Podcast]

HDO 362. Carrier – Lambert, Titanium Riot, Lina Allemano Four (Canajazz 2017 II) [Podcast]

Tres propuestas en la entrega 362 de HDO que se mueven por los terrenos del free y de la improvisación y que vienen de la escena canadiense: Out Of Silence (François Carrier – Michel Lambert); Squish It! (del cuarteto Titanium Riot); Sometimes Y (Lina Allemano Four).

Tomajazz: © Pachi Tapiz, 2018

HDO es un podcast editado, presentado y producido por Pachi Tapiz.

[showsme-blog]

[opsikpro]

Lina Allemano - Glimmer Glammer - Solo Trumpet (Lumo Records, 2020)

Lina Allemano – Glimmer Glammer – Solo Trumpet (Lumo Records, 2020)

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By Stef

Canadian trumpeter Lina Allemano’s first solo album was long awaited. At first listen, I was surprised and then I wasn’t. To start with the latter: her music is inherently playful, full of the joy of creation, with rhythmic patterns and phrases on the first track inviting her to play around with, expanding them, as if she were a one man orchestra. There are moments of fun and…