July 12th, 2010
violin in cathedral in violent windstorm with noise suppression
with hint of subdued ornithological meanderings
tonepoem with compressed romantic anguish
agony of flight against unconquerable odds
subaltern’s romanticism’s astonishing affects
mournful differance of deconstruction’s resurrected death
http://espdisk.com/alansondheim/stormviol.mp3
July 9th, 2010
melodies
I spoke to a friend of mine who commented he preferred the plucked piece
and then I thought of Steve Lacy and his comments about the soprano sax
and then took control more or less – more – of the violin – to the extent
that – you might want to throw out the other pieces – except for pizzicato
- if it’s that – hardly a light plucking sound – anyway except for the
pizzicato accompanying the rainstorm – which turned into hail as you can
plainly hear – like the cannons in the background of Wanda Landowska -
anyway – let these replace the others – the work of a mature musician -
I’d even say mature thinking – extraordinary thinker with fingers and bow
- and then the last piece – it touches my heart – our hearts – pure bird
song with noise reduction – red-wing blackbirds, meadowlarks, many others
- noise reduction lending its own kind chirping, the marvelous and magical
mixture of analog and digital – what beauty there! – and in all the other
pieces as well – wonderful themes of parallel fourths and fifths with
somewhat minor seconds – my favorites of course -
violin plucked and bowed,
http://espdisk.com/alansondheim/melody1.mp3
violin more or less bowed and then some
http://espdisk.com/alansondheim/melody2.mp3
violin lucked,
http://espdisk.com/alansondheim/melody3.mp3
bird song with noise reduction,
http://espdisk.com/alansondheim/melody4.mp3
July 6th, 2010
(video) playing violin/kamanche in Colorado
for Foofwa, Azure, Kimberly, and Monika
(wanted to see what my fingers were doing)
(wanted my fingers to admire me)
(my fingers calling me)
(hello, we are your fingers)
(we are very happy you move us nicely)
(and you move us nicely and you make us happy)
http://www.alansondheim.org/colorl.mov
http://www.alansondheim.org/colorll.mov
(video) violin coming into its own
(violin wanting to see what julu was doing)
(wanted julu to admire it)
(julu calling it violin)
(hello, i am julu)
(i am very happy to hear you)
(and you move me nicely and you make me happy)
http://www.alansondheim.org/intoitsown.mp4
July 6th, 2010
June 29th, 2010
INTERVIEW WITH PAUL BLEY by Arrigo Cappelletti
The author interviewed Paul Bley, and briefly, Carol Goss, by e-mail, December 27, 2002.
AC: In spite of the free and unpredictable nature of your music, you are still very attached to certain patterns and typical phrases. How do you combine this with the idea of total improvisation having an obvious charm over you?
BLEY: Well, total improvisation just simply means that you’re not going to quote any known references. But, as for unknown references, you may quote all you like. It’s okay to steal, but only from oneself.
AC: The profound freedom of your music means also the freedom to sometimes prefer tradition to the avant-garde at all costs. My impression is that your relationship with tradition, especially with blues, is not at all ironic or purely instrumental, but really loving, a bit like that of Archie Shepp, for example. Could you comment on this somehow?
BLEY: Well, the blues is a very good point of departure to be able to play all forms of jazz. So when you play blues-oriented phrases you’re pretty certain that you will be on the jazz track. It helps if you spent the first part of your life in great pain and suffering. When I was very young I got a chance to play with Al Cowen’s Tramp Band, in which the musicians were from New York and were former sidemen with Duke Ellington and so forth. They came up to Montreal and did an act, a show business act, and I got to sit in with them before I knew how to play. Everything was blues for them.
[Read more →]
June 28th, 2010
Jacques Coursil. Photo by Ramez Elias.
A native of Paris, from a Martinican family, trumpeter Jacques Coursil came to New York in the mid-1960s and plunged into the free jazz scene. He recorded on dates led by drummer Sunny Murray as well as saxophonist Frank Wright, both for ESP, and even made a record of his own for the label in 1967, which went unreleased. Visiting Paris in 1969, he made two records as a leader (one with Anthony Braxton) and appeared on a Burton Greene date, all for the BYG label. Among other projects in New York, where he remained for the next several years, in 1969–70 he played alongside Sam Rivers in the city-funded Afro-American Singing Theatre, featuring operatically-trained singers in such works as “The Black Cowboys” (music by Rivers), performed all over the city. Then, for the next three decades, he left his music career to the side and became a university professor, teaching literature and linguistics. In 2004, he made a solo record, Minimal Brass, for John Zorn’s Tzadik label, followed by Clameurs (2007), recorded in Martinique for Universal France. On his new album, Trails of Tears (Universal, 2010)—an oratorio that commemorates the forced deportation in 1838 of the Cherokee nation from their native Georgia to reservations in Oklahoma—he employs two ensembles, one recorded in Martinique and the other in New York and Paris which reunites him with some old free jazz associates, including Sunny Murray, Alan Silva, and Perry Robinson. Since retiring from teaching, he has been living in Aachen, Germany. [Read more →]
June 28th, 2010
audio for - http://espdisk.com/alansondheim/violin.mp3
(first violin session, no excuses)
introduction – vocabulary -
explore beta point the are to main hold name environments in fundamental
most differentiated viola violin use performer types difference theories
music develop more will this note vicinity sense negotiated work even
features a type its play viewer than appearing and lost time what
performance also continue able want inconceivable should space demand
objects just former words that contradiction only differences as important
be for audio modes not theory impossible at ‘alien’ from odd one
text -
explore beta point the are to main hold name environments in fundamental
most differentiated viola violin use performer types difference theories
music develop more will this note vicinity sense negotiated work even
features a type its play viewer than appearing and lost time what
performance also continue able want inconceivable should space demand
objects just former words that contradiction only differences as important
be for audio modes not theory impossible at ‘alien’ from odd one
June 23rd, 2010
Stephane Furic-Leibovici
Bio
Stephane Furic-Leibovici is an independent new music composer who first came to be known in the 1990s with his avant-garde improvisers groups, performances and recordings, featuring at its core Chris Cheek, Patrick Goraguer and Jim Black. Furic Leibovici led the performance of these works from his double-bass.
Discography
Stephane Furic – Crossing Brooklyn Ferry (Soul Note, 1996)
Chris Speed, Chris Cheek, Stephane Furic-Leibovici – Jugendstil (ESP-Disk, 2008)
Chris Speed, Chris Cheek, Stephane Furic-Leibovici – Jugendstil II (ESP-Disk, 2010)
June 23rd, 2010
June 17th, 2010
http://espdisk.com/alansondheim/unit.mp3 free jazz new music
burnt i was acting as official photographer for my unit at the time
add by your units cavedog your units your increase and limit, increase
add by your units cavedog your units your increase and limit, increase
drain unbelievably small – the unit would run for 16 hours when new, with
digital, the unit becomes tight, compact, although as always, still hack-
toggle; i needed the radio to inform me if it was ready i listened
pulsing; the unit is all of radio-frequency, the screen refresh rate a
volunteers host parties in the unit to celebrate holidays & patients &
the unit at any time’ pnapre feeding the cancer, nourishing the cancer
the ground (the unit goes to earth of course) is transformed by pressure
digital, the unit becomes tight, compact, although as always, still hack-
read error on the hard-drive) are excellent i’m trying to get the unit
and they fixed the video plug i called compaq and they told me the unit
customer services i took the unit home and the hard drive gave out i
paq i called and left messages with compaq i brought the unit home from
so i have to bring the unit back to y, sue or threaten to sue x, call
americans, the title of the unit was changed to psychological warfare
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
digital, the unit becomes tight, compact, although as always, still hack-
