#mia dyberg

[dustedmagazine]

Dust Volume 10, Number 2

Ballister

It’s a leap year, so we all get an extra 24 hours to listen to February music.  Why not try some of these selections from our endless piles of when-i-get-to-its?  We’ve got unhinged beatmakers and noise-addled Canadians, smashing, grabbing jazz men and psychedelic post-punk.  And really a lot more.  February always seems long.  This year it’s even more extended.  Use your time wisely.  Play records. 

This month’s contributors include Patrick Masterson, Ian Mathers, Bill Meyer, Bryon Hayes, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Jim Marks and Andrew Forell. 

8ruki — POURquoi!! (33 Recordz)

This ain’t your mother’s TTC. Bilingual Parisian 8ruki takes most of his cues from Atlanta, acting with a whole lotta Whole Lotta Red in mind and squeezing 22 songs into his third album — about right for contemporary hip-hop in this vein, which frequently abandons ideas after less than two minutes and leaves a trail of incomplete sketches in its wake; like others his age, 8ruki has evolved to consider this less a bug (especially for stans forever thirsty for the next “project”) than a feature, the default mode of working. I don’t know what good it would do to comment on a song called “Andrew Tate!!” or “Elon Musk!!” at this stage other than to suggest the guy’s just being (what the French call) a provocateur, but peek elsewhere and you’ll find an unexpected beat switch on “VAris//PIENna,” not to mention a world-shrinking reference to the Golden State Warriors; the high-pitched squeaks of “CA$h!!” and “GIVENCHY MARgiela!”; the string sample and rolling bass of “EDQuer!!”; and a whole lot more to enjoy. Ignore the annoying tendency to turn caps off halfway through a song title; this is a fun record with a lot going on that’s even better if you more than half understand it.

Patrick Masterson

ALL HANDS_MAKE LIGHT — “Darling The Dawn” (Constellation)

The credits for this duo’s second release are deceptively simple; Ariel Engle (La Force, Broken Social Scene) as just “voice” and Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt Zion) as just “noise.” But there are whole worlds contained in voice and noise, and there’s a sonic, emotional, and political complexity here that makes it feel much weightier and more elaborate than the work of any two people. (It also had one of the best song titles of last year in “We Live on a Fucking Planet and Baby That’s the Sun.”) There are distinct songs here, even some refrains, but the whole of “Darling The Dawn” also feels like one long ebbing and flowing movement, culminating in lovely, shattered grandeur with the closing one-two punch of “Anchor”/“Lie Down in Roses Dear.” Shoegaze without guitars (although not without occasional strings or drums, from Jessica Moss on violin and Liam O’Neill, respectively), emotional noise music, kosmiche played in a paupers’ graveyard; it’s hard to know what to call what ALL HANDS_MAKE LIGHT does, other than impressive. Maybe voice and noise is enough description after all.

Ian Mathers

Ballister — Smash And Grab (Aerophonic)

In Chicago, the smash and grab game is strong. People aren’t just breaking windows but driving vehicles through them. Ballister apply that spirit of aggressive enterprise to performance on this memento of saxophonist Dave Rempis, cellist Fred Lonberg-Holm and drummer Paal Nilssen-Love’s reunion at the Catalytic Sound Festival in Chicago in December, 2022. The reeds wail and probe, the strings splinter and scrape, the drums smash rhythm in the air and reshape them. And that’s just in the first few minutes. Over the course of the set, they find ways to apply that assertive spirit to quieter passages and slower passages, fashioning rough thickets and inconsolable laments from the same rough material. While Dusted does not recommend literal application of the album’s title when acquiring it, we confidently predict that you’ll find the record sticking to your fingers, obliging you to return it to the playback device for another go around.

Bill Meyer

Cuneiform Tabs — Cuneiform Tabs (Sloth Mate)

The Sloth Mate label is the psychedelic tendril sprouting from the flourishing vine that is the modern Bay Area post-punk scene.  There’s certainly an affiliation with Famous Mammals, Children Maybe Later and others of that ilk, but there’s a tendency to stray from traditional idioms that is unique to the Sloth Mate catalog.  Violent Change, headed up by the imprint’s owner Matt Bleyle, is at the center of this sub-underground cabal, coming across like a garage punk band noisily banging out Face to Face-era Kinks jams after gobbling some mind-altering flora.  Sterling Mackinnon’s The False Berries on the other hand is a lo-fi ambient electronic project that recalls the early beat-inclusive work of Christian Fennesz.  Bleyle and Mackinnon collaborate remotely under the Cuneiform Tabs moniker (the latter musician is based in London, England).  The cross-pollination works incredibly well, with the most listenable aspects of each unit rising to the forefront.  When it appears, Mackinnon’s Dan Bejar-meets-Marc Bolan warble acts as a foil for Bleyle’s deeper crooning.  Similarly, the former’s atmospheric tendencies highlight the beautiful melodies hidden beneath the latter’s noise-baked tunesmithery.  Cuneiform Tabs’ psychoactive sonorities require work to decipher, but the endeavor is certainly worthwhile.       

Bryon Hayes

Mia Dyberg Trio — Timestretch (Clean Feed)

It’s tempting to take the title of Timestretch ironically, since this Scandinavian trio compacts a lot of action into 43.18.  There are 14 tracks, all but three composed by bandleader and alto saxophonist Dyberg. But more likely, it addresses this paradox; while the music never feels like it’s in a hurry, there’s a fair bit going on. Tonally, Dyberg shifts easily between slightly sour and just sweet enough, and her phrasing is mobile, but never busy. On a few unaccompanied tracks, she unburdens herself more directly, mourning for those laid low by conflict. Bassist Asger Thomsen anchors the music with stark, strategically placed notes, and adds dimension with occasional sparse, bowed comments.  But it’s drummer Simon Fochhammer who gives the music shape, sometimes with a quick rustle, other times by building an eventful structure around his partners.

Bill Meyer

Kali Malone — All Life Long (Ideologic Organ)

Swedish composer and organist Kali Malone takes a rigorous, structured approach to making music, crafting deliberately pared-back and laser-focused pieces that make the listener acutely aware of the shifting harmonic dynamics within thick layers of sound. This 78-minute album presents an intimidating edifice to a casual listener, but it is organized to allow curious immersion in more easily digestible sections. The longest tracks are organ pieces stretching to around 10 minutes in duration, aching with melancholy. However, there are also shorter vocal and brass pieces that deviate away from held drones into more spacious, overlapping progressions that are, on occasion, almost buoyant. All Life Long feels like music for a less easily distracted age; to be patient enough to bear witness to its full, solemn unfolding requires commitment, but how often do you hear music this awe-inspiringly pure?

Tim Clarke

 Michael Nau — Accompany (Karma Chief)

Accompany rides the line between cosmic country and garden variety indie pop, its gentle melancholy enlivened by radiant runs of twanging guitar. “It’s an impossible life to get over,” Michael Nau croons in “Painting a Wall,” sounding beaten down but not quite broken, grounded in the ordinary but yearning for transcendence. Nau, you might remember, fronted the indie chamber pop Page France in the early aughts and the slightly more countrified Cotton Jones in the late ones.  This fifth solo album hits its peak in plaintive “Shape-Shifting,” where an otherworldly echo sheathes both Nau’s voice and the rumble of piano, and a glow suffuses everything, making it more.

Jennifer Kelly

Note — Impressions of a Still Life EP (The North Quarter)

Manchester’s Note hasn’t been around all that long — the earliest traces of his Soundcloud only reach back to October of 2021 — but just within the last year, he’s demonstrated a knack for fusing airy, sultry R&B moods with the breaks n’ bass of UK dance music’s storied past. Late January’s Impressions of a Still Life EP out via The North Quarter imprint, helmed by Dutch producer Lenzman (himself a veteran of labels like Metalheadz, Nu-Directions and Fokus), is another fine example: Aside from the stirring “Vespertine” that debuted last summer and features poet and spoken word artist Aya Dia, plus “Cold Nights” that came in November, Note fills out the EP with three additional songs of varying speed and mood. The best might be “EVR,” which again features a vocalist, this time singer-songwriter Feeney. Employing deep bass, fluttering percussion and featherweight piano flourishes, the production here is top-notch Brit-inflected R&D&B. Watch this space.

Patrick Masterson

Plaza — Adult Panic (Self-Release)

The novelist and rock critic (and one-time Dusted writer) Michael Fournier spent the pandemic on Cape Cod with his wife Becca, he learning the bass and she the drums.  Adult Panic collects 11 spiked and minimalist cuts from this experiment, almost entirely instrumental (there’s a shouted refrain on “(The Real) Mr. Hotdog”) and rife with lockdown agitation. The drums are pretty basic, a skitter of high-hat with snare on the upbeats, but the bass parts wander and jitter intriguingly. The title track has a Slint-ish post-rock open-ended-ness, repeated riffs left to linger and shift in the air. “The Tomb of Santa Claus” moves faster and more insistently, letting surf-like bent notes flare from rickety architectures. The whole experience is rather dour and claustrophobic, right up until the end when “(The Real) Mr. Hotdog” clatters into earshot and the two Fourniers seem to be, finally, having some fun.

Jennifer Kelly

Caroline Polachek — Desire, I Want to Turn to You: Everasking Edition (Perpetual Novice)

I’m not gonna sit here and tell you all about how big Caroline Polachek’s 2023 was; if you were paying any attention to the conversation, you already know Desire, I Want to Turn to You was universally, justifiably acclaimed. The Everasking Edition tacks on seven additional songs, five fresh out the box, one an acoustic rendition of “I Believe” and one a cover. Regarding the latter: Anyone paying attention to the machinations of the modern music business will know the name Jaime Brooks, who was half of Elite Gymnastics and now works as Default Genders in addition to unflinching commentary on whatever the fuck is going on with Billboard charts and the ugly realities of how no one’s getting Spotify royalties. “Coma” was originally theirs from Main Pop Girl 2019, a beautiful, delicately skipping adrenaline rush of a love song. Polachek doesn’t radically reinvent what’s already great; instead, she leaves the music alone and takes ownership of the rendition with her lower pitch and breathy delivery. A heartfelt nightcap on an imperial year, you couldn’t have scripted that Valentine’s Day release any more perfectly.

Patrick Masterson

Proton Burst — La Nuit (I, Voidhanger)

When the wife of storied French comics artist Phillipe Druillet died in 1975, Druillet poured his grief and rage into an idiosyncratic graphic narrative, La Nuit (1976); it’s full of mutant biker gangs, Druillet’s signature fever-dream architectural forms and hair-raising violence. French thrash metal weirdos Proton Burst loved the book, and in 1994 they produced an album-length project, part response, part soundtrack to the comic’s maniacal intensities. I, Voidhanger has given that Proton Burst record a deluxe reissue, including the original music, an extended live performance of it from 1995 and a booklet including eye-popping images from Druillet’s comic and an essay. If you’re in this for the music, the real treat is the live set, which is nearly as unhinged as Druillet’s illustrations. The band rages, rants, foments and froths—and is that a harp? Who knows. Like the original graphic narrative, what matters here is the volatility of the feeling tone, more so than any sense-making (or sonic) throughway. Lose yourself in the violence of it. Maybe that feeling of dislocation gets closest to the irrational agony of loss Druillet drew La Nuit in the teeth of, some 50 years ago.

Jonathan Shaw

Mariano Rodriguez — Exodo (self-released)

Mariano Rodriguez is an Argentinian guitarist in the Takoma school tradition with a large and high-quality back catalog. He often focuses on playing with a slide but is equally adept at playing without one and sometimes incorporates experiments with sound, as on Huesos Secos (2020), and fuller traditional instrumentation, as on Praise the Road (2017), into his recordings. Exodo, released late last year, is a set of mainly guitar soli. The playing is typically inspired, impressive without being flashy, and the compositions are tuneful and well-developed. Included is a 12-string anthem (“Lazaro”), Rodriguez’s signature slide work (such as on “The Desterrados”), bluesy 6-string meditations (“Diaspora”), and a couple of experiments with studio effects and overdubs (“The River and the Blind”) and drone (“Mother of the Road”). Over all, Exodo is a fine set of tunes that flows cohesively.

Jim Marks

Twin Tribes — Pendulum (Beso de Muerte Records)

Pendulum by Twin Tribes

It’s unclear precisely which tribes are twinned here, but if the music on Pendulum is any indication, it’s the deathrock freaks (with their long-standing romance of moldering, undead bodies) and the coldwave kids (who like to dance in place, furiously, disaffectedly, bodies frosty for entirely different reasons). Twin Tribes hails from the bastion of moody electronic music that is Brownville, TX, and somehow these Latinx fellows have managed to survive their local cultural climate long enough to release three LPs, a live tape and a whole bunch of singles and remixes. Pendulum refines the essential sonic template laid down in 2019’s Ceremony: tuneful, shimmery synths; snappy, brittle rhythm tracks; baritone vocals about zombies at the disco. If that sounds like fun, it surely is—but you’ll have a hard time convincing the kids in black eye makeup to crack anything like a smile. This reviewer can’t help it. The songs are too good, the vibes are way too goofily gravid. Dance, you flesh-eating misfits, dance.

Jonathan Shaw

Volksempfänger — Attack of Sound (Cardinal Fuzz / Feeding Tube)

Attack Of Sound by Volksempfänger

Attack of Sound’s swirling boy-girl harmonies instantly call to mind shoegaze luminaries Slowdive, but Volksempfänger’s noise-strewn guitar latticework is more aligned with The Jesus and Mary Chain.  Furthermore, the Dutch duo’s melodic flavor is as sweet as 1960s AM radio.  Ajay Saggar (Bhajan Bhoy) and Holly Habstritt combine these disparate sonic strands to create tidy noise pop gems, which they wrap in Phil Spector sonics.  The wall of sound approach imbues each song with a pulsating thrum.  This is the beating heart of their sound, underpinning the delightful vocal harmonies, shimmering guitar melodies, and waves of coruscating feedback.  The pair attains a balance between saccharine and savory aromas: dream pop wistfulness (“What the Girl Does” and “Your Gonna Lose Hard”) interchanges with propulsive garage rock (“How We Made It Seem” and “Damned & Drowned”).  The album closes out with the kaleidoscopic psychedelia of “You’ve Lost It,” introducing yet another aspect of Volksempfänger’s oeuvre.  This last-minute shift in mood adds a quirky sense of quietude to an otherwise exhilarating journey.   

Bryon Hayes

Ian Wellman — The Night the Stars Fell (Ash International)

The Night The Stars Fell by Ian Wellman

Recorded in the fire swept forests and deserts of Southern California, Ian Wellman’s The Night the Stars Fell plays like a Disintegration Loops for natural disasters. Wellman’s treated field recordings encourage the listener to subsume themselves in the natural rhythm of the wind that fanned the wildfires much like Basinski’s seminal work. While Disintegration Loops drew its potency from the association with 9/11, Wellman’s project is a more deliberate meditation on destruction. He coats his field recordings of deteriorating human structures — railcars, homes — and landscape ambience with short-wave radio static and decaying tape loops. There’s a concentration on both the violence of the destruction and the desolation of the aftermath. Huge swells of sound are interspersed with howls of wind, coruscating swathes of static and the creak and crank of burnt timber both natural and manufactured. The Night the Stars Fell is an absorbing evocation of nature’s power. 

Andrew Forell

Wharfer — Postboxing (Self-Release)

Postboxing by Wharfer

Wharfer’s Kyle Wall has long made the kind of shadowy, pared down indie-folk singer/songwriter music that elicits comparisons to Bill Callahan and Will Oldham. This time out, however, he ditches vocals and verse chorus structure entirely and enlists Chuck Johnson (pedal steel), Ian O’Hara (acoustic bass) and Duncan Wickel (violin) for a set of ambient, piano-forward reflections. These tracks are quietly riveting as, like “Wishing Well in White Noise,” the blend the chalky, elegiac tones of the piano’s upper registers with limpid pools of sustained pedal steel. Not quite ambient, the piece swirls and rounds to its own subtle rhythms, a faint thunk of bass ordering it forward. “Alto” brings the long, bowed vibrations of violin into the mix, then a sprightly sprinkle of pizzicato strings. And in the title track, a ritual voice flickers in and out of focus, but only as tone and texture. The piano carries the narrative, as string washes build and bass notes drop in and seagulls cry in the distance. It’s a subtle but powerful voice on its own, and you don’t miss the words one bit. 

Jennifer Kelly

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 2]

premierowa emisja 10 stycznia 2024 – 18:00 Graliśmy: Nowości wytwórni Clean Feed Records oraz Shhpuma z października 2023: Phillip Greenlief & Scott Amendola “Eloquent Turbulence” z albumu “Stay with it” Aruán Ortiz featuring Don Byron and Pheeroan akLaff “Autumn Of Freedom (Opening)” z albumu “Pastor’s Paradox” Ned Rothenberg “Sheets To The Wind” z albumu “Crossings Four” Nataniel Edelman…

[spektral-raumohr]

Outstanding trio improvisation concert

Dyberg | Almeida | Banner

Mia Dyberg - alto sax João Almeida - trumpet James Banner - double bass

[musicmakesyousmart]

Laura

Creative Sources

2018

[freethejazzblog]

Free The Jazz Special #02 - Best Of 2018

1 - Ben Vince / Valentina Magaletti / Cam Deas - Tower Of Cells (from "Assimilation", 2018 Where To Now?)

2 - Mia Dyberg Trio - Ticket! (from "Ticket!", 2018 Clean Feed)

3 - Sylvie Courvoisier Trio - Bourgeoiss Spider (for Louise Bourgeois) (from "D'Agala", 2018 Intakt)

4 - Maestro Turenne's Brass Band - Lot Bo Rivye A (from "Death In Haiti (Funeral Brass Bands & Sounds Of Port Au Prince)", 2018 Discrepant)

5 - Ramon Lopez / Percy Pursglove / Rafał Mazur - Three Musicians (from "Threefold", 2018 Not Two)

6 - Idris Ackamoor & The Pyramids - Land Of Ra (edit) (from "An Angel Fell", 2018 Strut)

7 - Peter Kuhn Trio - ChaWang (from "Intention", 2018 FMR)

8 - Sly & The Family Drone / Dead Neanderthals - Flesh Logics (from "Flesh Logics" single, 2018 God Unknown)

9 - Lotte Anker / Sylvie Courvoisier / Ikue Mori - Night Owl (from "Alien Huddle", 2018 Intakt)

10 - Sloth Racket - Octopus (edit) (from "A Glorious Monster", 2018 Luminous)

Hear it first on 8K Sundays 11amNZT (Saturdays 10pmGMT)

[womencreativemusic]

Mia Dyberg, Denmark

http://www.miadyberg.com

[lyssahumana]

[mirror-mirror-berlin]

Tracklist:

1. Tiere im Wald / Hui-Chun Lin - Tommaso Vespo

2. Blå / Kasper Tom / Jacob Anderskov

3. Solferino Violet / 2ND Outlet

4. Guitara Expansiva / Ivan Bringas

5. Pollux / Zubeneschamali

6. Random Logic / Juri Pukl

7. Dream Whispers - Evija Vebere

8. Hamal - Zubeneschamali

9. IV - Nicola Hein & Paul Lyton

10. When - Kamila Kovacs & Mia Dyberg

[burpenterprisejournal]

MORPH! AND DJ MAT POGO AT LOOPHOLE

2019/05/22 BUSATO / MÜLLER / RICHARDS MORPH! KASIA JUSTKA DJ - MAt POGO  Loophole Berlin - DE

BUSATO / MÜLLER / RICHARDS Marcello S. Busato - Drums, Percussion Matthias Müller - Trombone Stevie Richards - Alto Sax, Electronics http://marcellosilviobusato.tumblr.com/ https://matthiasmueller.net/ https://soundcloud.com/stevierichards + MORPH! Mia Dyberg - Alt-Sax Roberta Wjm Andreucci - Electronics, CDjs http://www.miadyberg.com/morph/ http://www.burpenterprise.com/burp/units/wj-meatball/ + KASIA JUSTKA - Solo Electronics https://www.youtube.com/watch?v=cG55q66xkuE&t=203s + Sofa DJ - Mat Pogo https://www.mixcloud.com/matpogo1/stream/

start at 20.30

fb event

[sensemovecreate]

Photo: @ghostyoga​

Yogi: Mia Dyberg 

Challenge: #sensemovecreate333

[dustedmagazine]

Listed: Jeb Bishop

Photo by Peter Gannushkin

Trombonist Jeb Bishop lives in Boston, where he is an essential contributor to the local improvising music community. But he has been active, locally and internationally, on various scenes since the 1980s, when he played various instruments for a handful of rock bands in North Carolina. Between 1992 and 2012, he was an essential participant in Chicago’s revenant improvisational music community, during which time he established enduring relationships with Weasel Walter, Fred Lonberg-Holm and Ken Vandermark. After a few years back in North Carolina, he relocated to Boston, but since the 1990s he has also spent considerable time playing with European musicians. Jeb Bishop Centrifugal Trio (Astral Spirits), his most recording as a leader, is a completely improvised session with a German rhythm section of which Bill Meyer wrote, “The trio’s music is freely improvised, but their shared commitment to linear development and bold expression makes it sound like one very solid set of composed tunes.” Bishop has also made great records in the past year with Clucas / Bishop / Smith / Crane, Blonk / Bishop / Smith / Walter, and Cutout.

Here’s a selection of things I’ve been paying attention to, or returning to, since the beginning of the COVID era:

Buddhist Chant: A Recorded Survey Of Actual Temple Rituals — (Lyrichord LLST 7118)

Two-LP set of recordings of chants from Buddhist temple services in Kyoto. Beautiful graphic design. I’m not sure what it means for me, in my living room in Boston, to listen to something like this so removed from its functional role in a completely different cultural setting. But I like to put the track “Chanting of Morning Services” on in the morning while having tea. The accelerating bell ringing at the beginning of that track always reminds me of the guitar at the beginning of “Liars Beware” by Richard Hell and the Voidoids.

Sonny Rollins/Don Cherry/Bob Cranshaw/Billy Higgins — Complete Live at the Village Gate 1962 (Solar)

Music from the year I was born — a minor fixation of mine. In a certain mood, I feel like you could raise the same question (see #1) about this. A project for the upcoming winter is to do some detailed side-by-side listening to this and the Miles Davis Live at the Plugged Nickel box. My sense right now is that the dramatic contrasts in this are more pronounced than in the Miles box. There’s something about both of them that makes me think of the musicians as dramatis personae and the music as a constantly unfolding stage production. For years I’ve been trying to find the key to emulating Don Cherry’s approach to soloing in this kind of context, but I don’t feel any closer to figuring it out. As Steve Lacy says about Cherry in Derek Bailey’s book Improvisation: “His playing was really free.”

Mia Dyberg Trio — “Ticket!” (Clean Feed)

Mia Dyberg and I played together as part of a group during an evening of improvisation in Berlin in late September 2019. I got this CD from her then and have been listening to it on and off since. I like it when people find a way to make shorter, focused tracks in this music (this one has 14 tracks), maybe because I am not good at that. I also like the sense of development over the course of this CD.

Assata Shakur — Assata: An Autobiography(Lawrence Hill Books)

The cops and FBI tried to do to Assata Shakur what they did to Fred Hampton: murder her for being a radical Black political activist. Fortunately they didn’t succeed. But this book is about much more than that – it’s a wonderfully written story of an American life from early childhood on. There’s focused, justified rage at the injustice of our racist society, but there is also a sense of hope, beauty, and even humor.

Rainer Werner Fassbinder — Berlin Alexanderplatz

A lockdown winter is a great time to catch up on Rainer Werner Fassbinder’s 14-part made-for-TV epic. The last episode is a mind-bending feature film all by itself.

Farida Amadou — 00:29:10:02 (19 mars productions)

00:29:10:02 by Farida Amadou

I got to see Belgian bass guitarist Farida Amadou play several sets in September 2019, at festivals in Antwerp and Mulhouse. Her recent solo release is raw and fascinating.

Tashi Dorji — Stateless (Drag City)

Stateless by Tashi Dorji

This is every bit as great as everyone is saying. If you’ll excuse the humblebrag, I’m proud to have helped put together the program of Dorji playing solo, followed by Paal Nilssen-Love’s Large Unit, for a show at King’s in Raleigh NC, when we were living down there a few years ago.

Werner Herzog — Herzog on Herzog: Conversations with Paul Cronin (Faber and Faber)

300 pages of interviews with the director. Some amazing stories and provocative thoughts about his craft (he dislikes being called an artist)

Eliot Cardinaux / Our Hearts as Thieves — “What the Wildflower Witnessed”

I met pianist/poet Eliot Cardinaux not long after moving to Boston. We did some playing together and, since he was living around the corner at the time, some good listening/talking sessions. I’ll confess that combining poetry and improvised music usually raises a red flag for me, which makes me admire all the more the strength of the solutions Eliot has found. I think his success at it comes down to the fact that his sense of how and when to deploy poetry in a musical situation is governed by his improviser’s sense of form, timing, and timbre. (His liner notes to Our Hearts as Thieves also address the question.)

Anyway, these two CDs and Around the Faded Sun, a collection of poetry (some of which shows up on the CDs,) are, taken together, a wonderful showcase for his work, or introduction to it. Our Hearts as Thieves is a really distinctive set of free improvisation, while A Living Past features his compositions, looking back in a way to his previous involvement with some part of the NYC jazz community. These recordings feature bassist Asger Thomsen, who also appears on the Mia Dyberg Trio CD.

[utkutavil]

Taking a break soon!

Mid August updates, last Berlin appearences for some time: 13.08 Recording Sessions at Villa Kuriosum w/ BNSU (duo with Kazehito Seki) and in trio with Thiebault Imm (gtr) and Mia Dyberg (sax) 14.08 Recording Session at Villa Kuriosum, in trio w/ Dirar Kalash(elc) and Joke Lanz (voc) and playing w/ WOW (duo with Morten Minothi Kristiansen) feat. Dr. Nexus at Hangar 49 17.08 playing with BNSU at Villa Kuriosum at Multiversal #85 18.08 DJing under the moniker Blaster Pinky Fraction at Praxis Record Shop 21.08 Playing as BEEATSZ v4.0 at The Workshop on Forsterstr 25.08 w/ TS:PS (first time collaboration with Alex Macia) at A t m o _ s p h ä r e # 8 & Klangkunst LAB at modular+ space 01.09 w/ VVRNGDNG at Arschcholio in Neubrandenburg --- 20.09 BEEATSZ v4.0 at Radio Blackout House, Turin 21.09 w Guajo Eterno (duo w/ Mario Gabola) at 76A, Naples 22.09 w Guajo Eterno at O.P. Jolly Roger, Civitanova 23.09 w Guajo Eterno at Mikasa, Bologna ---- 19-22 Nov Residency with GNOD R&D on board MS Stubniz, Hamburg

[spektral-raumohr]

Experimental electroacoustic improvised music. We are 2.9 Odd Goats. We are not alpacas.

<< João Almeida | Inês Pereira | João Carlos Pinto | Pedro Melo Alves >> February 2020 17 Bar 21 20 ACUD Theater w/ Mia Dyberg + Chris Hill solo 21 Spektral-Raumohr w/ Elisabetta Lanfredini 24 Madame Claude Berlin 25 Loophole Berlin (Starling Murmuration Series) w/ Guilherme Rodrigues Thanks to Pedro Almiro, Chris Hill, Multiversal, Christian Pfleger, Marcello S. Busato and Marina Džukljev for the support in putting this tour together.

https://pedromeloalves.com/

[korhanerel]

Trailer Klub Demboh from léa lanoë on Vimeo.

A film by Léa Lanoë Filmed during the Demboh Fest in Berlin, September 4-7 2019.

With Pierre Borel - saxophone Antonio Borghini - bass Mia Dyberg - saxophone Axel Dörner trumpet Korhan Erel - electronics Michael Griener - percussion Joel Grip - bass Tristan Honsinger - cello Carina Khorkhordina - trumpet Frauke Nowak - movements Marie Takahashi - viola

But also: Alexis Baskind Marc Fevre Greta Lou Grip Esmé Dag Grip Franziska Hoffmann

Camera, montage: Léa Lanoë Sound recording and mix: Alexis Baskind

Produced, realized and organised collectively within the frame of Klub Demboh and the Demboh Fest 2019 (which enjoyed the support from Berlin Senat) and by Joel Grip and Frauke Nowak.

Thanks to Petersburg Art Space Sasha Markvart Lucas Maia Franziska Hoffmann Pierre Borel Marc Fèvre Anil Eraslan

klubdemboh.com

[freethejazzblog]

Free The Jazz #82 [for Tomasz Stańko]

1 - Mia Dyberg Trio - Ticket! (from "Ticket!", 2018 Clean Feed)

2 - Khan Jamal Creative Art Ensemble - Drum Dance To The Motherland (edit) - (from "Drum Dance To The Motherland", 1973 Dogtown)

3 - Daniel Humair / André Jaume - Pic Et Fouet (from "Pépites", 1987 CELP)

4 - Dystil - Obligatory Post-Neverdom (from "Dystil", 2018 Clean Feed)

5 - Jan Garbarek Quartet - Freedon Jazz Dance (edit) (from "Til Vigdis", 1967 Norsk Jazzforbund)

6 - The Lightmen - Free As You Wanna Be (from "Free As You Wanna Be", 1970 Judnell)

7 - Satoko Fujii /  Joe Fonda / Gianni Mimmo - No More Bugs - (from "Triad", 2018 Long Song)

8 - John Dikeman - Paling (from "The Double Trio”, 2014 Astral Spirits)

9 - Tomasz Stańko Quintet - Cry (from "Musik For K", 1970 Polskie Nagrania Muza)

10 - Sloth Racket - Endgame (edit) (from "Triptych", 2016 Luminous)

Hear it first on 8K Sundays 11amNZT (Saturdays 11pmGMT)

[gerralk]

Live Music 🎸

Mia Dyberg Trio + Kovacs

Kafé De Luxe (Växjö) – fredag 1 december 2017

http://gigguide.se/event/406516/

Martin Olsson

Sankta Ragnhilds Kyrka (Södertälje) – fredag 1 december 2017

http://gigguide.se/event/407601/

Pagan Rites

The Abyss (Göteborg) – fredag 1 december 2017

http://gigguide.se/event/406468/

Junkie Thrown

S:t Johanneskyrkan (Göteborg) – fredag 1 december 2017

http://gigguide.se/event/4…