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 →]
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(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
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)
emanant swallowed by hir emanations
erotic flux emanations engulfing emanant
swallowed imaginary, imaginary ^ 2
doubled sources, originations, emissions
penetrating, inhabiting, hir hollowed body
hir polygons, hir smooth extrapolations
thus sex buries ontology, epistemology
for the favors of the imagined multiplicity
for the flavors (rasa) of the one and many
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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-
bucked and plowed he said
i’d be better off wed
fucked and bowed she said
i’d be better off dead
plucked and flowed he said
i’d be wetter in bed
bucked and bowed she said
i’d be better in bed
fucked and plowed he said
i’d be better when led
plucked and flowed she said
i’d be wetter when led
bucked and plowed they said
they’d be better when led
they’d be wetter when led
they’d be wetter when dead
they’d be better off dead
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( cura cumbus, plucked and bowed, two related pieces with complex scale
changes that almost don’t make it. again, recorded with older equipment
and modified into ‘field’ mode )
For thirty years Paul Dunmall has carved out a reputation for himself and is now widely recognised as one of the most uncompromising and talented reed players on the International jazz/improvised music scene.Whether playing in small groups or big bands his musical sensitivity and imagination combined with a powerful sound make him one of the most distinctive improvisers playing today.
Discography
Paul Dunmall – Soliloquy (Matchless, 1986)
Paul Dunmall – Quartet, Sextet, & Trio (Slam, 1993)
Paul Dunmall – Birmingham Concert (Rare Music, 1996)
Paul Dunmall – Elton (DUNS, 1997)
Paul Dunmall – Ghostly Thoughts (hatOLOGY, 1997)
Paul Dunmall – Solo Bagpipes (DUNS, 1999)
Paul Dunmall – East West North South (FMR, 2000)
Paul Dunmall – Utoma Trio (Emanem, 2000)
Paul Dunmall – Solo Bagpipes II (DUNS, 2001)
Paul Dunmall – Hit And Run (FMP, 2001)
Paul Dunmall – Kunikazu (DUNS, 2001)
Paul Dunmall – The Great Divide (Cuneiform Records, 2001)
Paul Dunmall – Out From The Cage (FMR, 2002)
Paul Dunmall – Rylickolum: For Your Pleasure – Paul Dunmall (CIMP, 2003)
Paul Dunmall – Awareness Response – Paul Dunmall (Emanem, 2004)
Paul Dunmall – Go Forth Duck – Paul Dunmall (CIMP, 2004)
Paul Dunmall – Cosmic Craftsmen – Paul Dunmall (FMR, 2005)
Paul Dunmall – Solo Soprano Saxophone – Paul Dunmall (FMR, 2005)
Paul Dunmall – Mahogany Rain – Paul Dunmall (DUNS, 2005)
Paul Dunmall – Vesuvius – Paul Dunmall (Slam Productions, 2005)
Paul Dunmall – Solo Tenor – Paul Dunmall (DUNS, 2006)
Paul Dunmall – Deep Whole – Paul Dunmall (FMR, 2006)
Paul Dunmall – Free Zone Appleby 2005 – Paul Dunmall (PSI, UK, 2006)
Paul Dunmall – The Golden Lake – Paul Dunmall (DUNS, 2007)
Lee Konitz is what we like to call a living legend of Jazz and a major proponent of the Cool Jazz movement, although he would most likely shrug off these labels in modesty and philosophy. Since the mid ’40’s, Konitz’s musical career has been prolific, and with every recording he keeps his sights forward. That he grows only more experimental with age and plays alongside much younger musicians of a new generation shows that Konitz is not one to rest on his laurels or turn to venerate the past in his later years. He keeps his aim simple, “Sound is the first thing that we tune into… labels don’t mean anything to me, I’m trying to play as passionately as I’m able to.”
Lee’s first instrument was the clarinet at the age of 8, inspired by Benny Goodman and the Big Band radio he and his brother listened to regularly, and began improvising before even learning a single tune. In his early career, Konitz played with the Teddy Powell Band, among others, before he met Lennie Tristano. Tristano would shape his direction and lend his improvisations the extended melodic lines and polyrhythms that came to define his sound. In an era when Charlie Parker birthed a mass of imitators, Konitz was recognized for developing his own independent style that contrasted with Bird’s fiery approach, a style that came to be an influence on it’s own to players such as Paul Desmond and Art Pepper. Despite their contrasts and inevitable rumours of rivalry, Konitz and Parker were close friends.
The Birth of the Cool sessions are one of Konitz’s most celebrated collaborations, of course, and a landmark album of Cool Jazz. Around the same time Subconcious-Lee, his first solo debut, was released on Prestige Records. The following years brought recordings and tours with the Stan Kenton Orchestra, Elvin Jones, and the Lee Konitz Duets featuring often untraditional pairings of instruments. In his career Konitz has made music with Miles Davis, Dave Brubeck, Charles Mingus, Gerry Mulligan, Elvin Jones, as well as contemporary musicians not limited to Bill Frisell, Dave Holland, and Brad Melhdau.
Discography
Lee Konitz – Lee Konitz at Storyville (Storyville, 1954)
Lee Konitz – Lee Konitz in Harvard Square (Storyville, 1955)
Lee Konitz and Gerry Mulligan Quartet - Konitz Meets Mulligan (World Pacific, 1958)
Lee Konitz Meets Jimmy Giuffre - Lee Konitz Meets Jimmy Giuffre (Verve Records, 1959)
Lee Konitz - Motion (Verve Records, 1962)
Lee Konitz - Stereokonitz (RCA, 1968)
Lee Konitz - The Real Lee Konitz (Warner Pioneer Corporation, 1971)
Lee Konitz, Gary Bartz, Charlie Mariano, Jackie McClean – Altissimo (Philips, 1973)
Lee Konitz – Satori (Milestone Records, 1975)
Lee Konitz and Warne Marsh – Untitled – That’s Jazz 21 (Atlantic, 1976)
Lee Konitz, Attila Zoller, Albert Mangellsdorf – Zo-Ko-Ma (MPS Records, 1976)
Lee Konitz, Paul Bley, Bill Connors – Pyramid (Improvising Artists Inc., 1977)
Lee Konitz - Timespan (Wave, 1977)
Lee Konitz – Motion (Verve Records, 1981)
Lee Konitz, Miles Davis, Stan Getz – Conception (Prestige, 1982)
Lee Konitz, Bill Evans Trio, Warne Marsh - Crosscurrent (Fantasy, 1982)
Lee Konitz and Chet Baker – In Concert (India Navigation, 1982)
Lee Konitz and Albert Mangellsdorf – Art of the Duo (Enja Records, 1988)
Lee Konitz – Subconscious Lee (Prestige, 1991)
Lee Konitz – Palo Alto (Giants of Jazz, 1994)
Lee Konitz – Strings For Holiday; A Tribute For Billie Holiday (Enja Records, 1996)
Lee Konitz, Brad Mehldau, Charlie Haden – Alone Together (Blue Note, 1997)
Lee Konitz, Kenny Wheeler, Dave Holland and Bill Frisell – Angel Song (ECM Records, 1997)
Lee Konitz – Unaccompanied Live in Yokohama (P.S.F. Records, 1997)
Lee Konitz and Martial Solal - Star Eyes, Hamburg 1983 (hatOLOGY, 1998)
Lee Konitz - Another Shade of Blue (Blue Note, 1999)
Lee Konitz - The Real Lee Konitz (32 Jazz, 1999)
Lee Konitz, Don Friedman, Attilla Zoller - Thingin’ (hatOLOGY, 2000)
Lee Konitz - After Hours(Go Jazz Records, 2001)
Lee Konitz and Franz Koglmann - We Thought About Duke (hatOLOGY, 2002)
Eli Keszler is a composer/multi-instrumentalist based in Providence, Rhode Island. He primarily uses percussion, bowed crotales, guitar as well as invented instruments (his harps which use strings and motors) to create his sound that balances droning harmonics with shaterring acoustic sustain and fast, free rhythm, all working in balance with his integrated installations. In addition to his solo releases, installations, visual art and performances, Eli has performed, recorded or collaborated with artists such as Phill Niblock (performing on a new work of his for Crotales and soprano saxophone with Ashley Paul), Aki Onda, Loren Connors, Jandek (I.C.A Boston and at NYU), Roscoe Mitchell (Art Ensemble of Chicago), Anthony Coleman (recording Lapidation released by New World Records), Joe Morris, Greg Kelley (Nmperign), T Model Ford, Ran Blake, Bryan Eubanks, Ashley Paul and Steve Pyne (Redhorse). He performed in the United States premiere of Mauricio Kagel’s Der Schall at Merkin Hall in 2008 led by Anthony Coleman. He has toured internationally finishing a 6-week European tour in December of 2009, performing at Colour Out Of Space Festival in Brighton England as well as Sound-Body-Movement in Ostrave in the Czech Republic. In addition to performing over 25 other gigs in England, France, Spain, Italy, Slovenia, Switzerland, the Netherlands and Serbia. He has recently completed his second CD and his 7th release titled Tilt, which received a feature in Wire Magazine along with his duo ‘Aster’ LP with Ashley Paul (saxophone/clarinet/strings). In addition to his performing, his compositions have been performed at Jordan Hall, the 1st and 2nd Church of Boston, and Boston Conservatory. He also runs the label rel records, which releases hand-made art edition LP’s, CD’s and Cassette designs. Rel has received features in Wire Magazine, Arthur Magazine, The Boston Phoenix, Spex (Germany), The Sound Projector and Blow Up Magazine (Italy). It is distributed internationally by Metamkine, Art-Into-Life, and Volcanic Tongue and in the USA by Forced Exposure and Mimaroglu Music Sales. In the coming months his debut on ESP-DISK’ titled Oxtirn will be released.
Discography
Eli Keszler – R.L.K. (rel002, 2007)
Eli Keszler – Wolver (rel004, 2008)
Eli Keszler & Ashley Paul – 1-5 (rel006, 2008)
Eli Keszler – Clermont (Something on the Road, 2008)
Eli Keszler – Livingston (Rare Youth, 2008)
Red Horse – Red Horse (rel007, 2009)
Eli Keszler & Ashley Paul – Aster (rel008, 2009)
Eli Keszler – Mills (rel009, 2009)
Eli Keszler – Tilt (2010)
Eli Keszler – Endgrove (R.E.L. Records, 2010)
Tour
6/10/2010 Other Music Festival, Burlington, VT w/ Ashley Paul and Anthony Coleman
6/11/2010 Other Music Festival, Burlington, VT w/ Ashley Paul
9/3/2010 On Land Festival, San Francisco, CA w/ Ashley Paul
9/19/2010 Sonic Circuits, Washington DC
Art
In addition to Keszler’s musical exploits, he is also an accomplished visual artist. His work recalls the brain paintings of Harry Smith and the intricate line work of Ernesto Caivano as well as deriving influence from Adolf Wolffli’s art brut vision. His new album on ESP-Disk will feature all hand-screened artwork from Keszler himself but in the meantime you can check out some links of his work here.
Matthew Mottel is ISSUE Project Room’s Artist-In-Residence for April – June 2010. He is an internationally recognized musician and artist, performing most notably with Talibam! for the past seven years. He’s been hanging around NYC clubs since he was like 16, and dropping electric mind bombs with his synthesizer in those clubs nearly as long with folks like Cooper-Moore, Rhys Chatham, Karole Armitage, Awesome Color, Akron/Family, Jeffrey Lewis, Chris Taylor (Grizzly Bear), Kenny Wollesen, Chris Corsano, Ras Moshe, Cooper-Moore, Sean Meehan, and CSC Funk Band. [Read more →]
