Yarn/Wire‘s ambitious Stone residency included some experiments worthy of the designation “experimental” to be sure, and Popebama was no exception. On one of the coldest days I’ve experienced here in New York City, January 30th, I walked from Tribeca to the Stone at the New School in the Glass Box Theater. I had been there
Jones Jones – A Jones in Time Saves Nine (No Business, 2018) Andrew Barker & Daniel Carter – Polyhedron (Astral Spirits, 2018) [cassette] Ingrid Laubrock & Tom Rainey – Utter (Relative Pitch, 2018) Cecil Taylor (Orchestra of Two Continents) – Winged Serpent (Sliding Quadrants) (Soul Note, 1985) [vinyl] Cecil Taylor – Calling It the 8th (Hat Hut, 1983) [vinyl] William
Tenor saxophonist Sam Weinberg releases his debut record as a leader, Drolleries, with his band BLOOR on the Astral Spirits label. I had the chance to talk with Mr. Weinberg about the record. See below for streaming of two exclusive tracks. The record drops tomorrow in both CD and cassette formats. The record release show is
From the first track to the last, Air Ceremony is what the title would suggest. A constantly stimulating experience, the album does not disappoint with it’s abrupt shifts and turns throughout the music, focusing on the temporality of it all. The group is comprised of Dustin Carlson (guitar), Nathaniel Morgan (alto saxophone), Eric Trudel (baritone saxophone),
Bonds. We all have them, yet some are stronger than others. Then, there is the fascinating way that every generation sustains them and creates new bonds while exploring existing ones. Since reviewing Patrick Shiroishi’s Tulean Dispatch in 2018, I’ve learned that he and I have quite a bit in common. Two of the main things that
Beginning tomorrow, the 4th New Ear Festival begins at the Fridman Gallery with an exciting lineup. All performances 8 pm. Admission $20/$15 students. Buy Tickets Wednesday, January 9 Mary Lucier (slide projectors/stopwatches) Luke Stewart (bass/electronics), Miriam Parker (dance), Patrick Cain (video) Bob Bellerue (amplified & acoustic percussion, feedback) Thursday, January 10 Leila Bordreuil (cello) David
John McCowen – 4 Chairs in Three Dimensions (Astral Spirits, 2018) [cassette] Donald Byrd – Free Form (Blue Note, 1966) [vinyl] Freddie Hubbard – Breaking Point (Blue Note, 1964) [vinyl] Tomeka Reid, Kyoko Kitamura, Taylor Ho Bynum, Joe Morris – Geometry of Caves (Relative Pitch, 2018) Ana Lopez Reyes’s Nnux – Distancia (Nnux Music, 2018) Tiger Hatchery – Breathing in the
There honestly aren’t too many unique ways to say that the end of the year has dawned on us. For Feminist Jazz Review, this “End of the Year” list is cause for new beginnings. It’s also the perfect opportunity to look back and sum up the synthesis that I truly believe that women composers are
Wendy Eisenberg’s Its Shape Is Your Touch, released in late October, opens with a a confident, open exploration of tones and technique. She uses the guitar to create sound that, at times, does not even resemble that of a guitar. Her touch is gentle. As the opening track concludes, I am reminded of an instrumental lullaby album
Guitarist Sandy Ewen’s move from Houston to Brooklyn in early 2018 has no doubt had a transformative impact upon the improvised music scene here. Her unique, abrasion-focused way of playing her guitar, vertically situated in her lap, has provided her some significant and innovative musical techniques that she has employed to great purpose. Ewen is
