domingo, agosto 21, 2011

Porque me siento rara vol.30 - Kiku Day & Henry Kaiser


Berkeley-based experimental guitarist Henry Kaiser has gained a justified reputation for his eclectic tastes and the way that he fuses his influences into an idiosyncratic guitar style. He began playing the guitar after listening to seminal free-improv guitarist Derek Bailey and has a deep knowledge of the Grateful Dead's musical journeys, as well as the 1970s electric-era of Miles Davis, as documented in the three volumes of his Yo Miles! band with trumpeter Wadada Leo Smith. He also has a keen interest in musical traditions from around the world, as his musical tours to Madagascar and Norway with fellow-guitarist David Lindley testify. Tokyo-born and Copenhagen-based, Kiku Day studied the ji-nashi shakuhachi—the bamboo flute that is so identified with Zen Buddhism in Japan---and later improvisation with Joëlle Léandre and Fred Frith, with whom she recorded his dance piece The Happy End Problem (Fred Records, 2007). She first collaborated with Kaiser on Domo Arigato Derek-Sensei! (Balance Point Acoustics, 2006), his heartfelt tribute to the late Bailey. [...]



martes, agosto 16, 2011

Esto lo estoy tocando mañana #16 - John Zorn (1983)

This captures over an hour's worth of John Zorn's search for the improvised song form. Several lineups from 1983 are documented here. The first eight tracks feature Zorn with Christian Marclay spinning and Peter Blegvad speaking. The text is unremarkable (for example, Honey-Cab's "...tell her everything I know/ In ink as black as carbon/ On paper white as snow"), but Blegvad's sonorous delivery works well with the chaos that the other two musicians spit and spin out, combining into tides of noisy mischief. Tracks 9-15 find Zorn with Arto Lindsay providing lyrics and guitar, and Anton Fier on drums. Zorn squawks and spurts an array of sounds, from birdcall to babydoll. M.E. Miller replaces Fier on drums for the next set, which features a driving rock beat. This is followed by eight pieces from Zorn, Wayne Horvitz, and Ikue Mori. The final fifth of the album captures the walloping interplay of Zorn, Miller, and turntablist Whiz Kid. Overall, an album of short, angular, experimental energy tracks.

Joslyn Layne


lunes, agosto 08, 2011

Rectum - die meer der tränen (2011)

Noise / Drone / Abstract