Jazz

THAT :: CONCERT CHAMPÊTRE
Unpopular Classics (Poulenc)
Live at QUEERING SOUND, 06 June 2021
Rhizome DC, Washington DC USA

THAT :: JS Adams + Christopher Mathews-Larsen
RECORDING :: Steve Sanford
MIX :: JS ADAMS

THAT :: CONCERT CHAMPÊTRE :: LIVE

Am7 CHORDS! MOTORIK BEATS! CICADAS! BUZZSAWS! KAZOOS!

LIVE @ QUEERING SOUND 2021 :: 13 JUNE 2021 :: RHIZOME DC :: WDC

CK BARLOW :: SAMPLER / ELECTRONICS
CHRISTOPHER MATHEWS-LARSEN :: GUITAR / DRUM PROGRAMMING / AZTEC DEATH WHISTLE
JS ADAMS :: PROCESSING + EFFECTS / FIELD RECORDINGS / LOOPS / AZTEC DEATH WHISTLE / AUDIO PLAYBACK
JEFF BARSKY :: GUITAR
JOSH MAXWELL :: BASS
+
AUDIENCE PARTICIPATION :: KAZOOS
AUDIENCE COORDINATOR :: CHRIS VIDELL

RECORDING :: STEVE SANDERS

ONE CHORD PONIES :: A LIFE OF INDETERMINATE REWARD

DECONSTRUCTION/RE-ADAPTATION OF LA VOIX HUMAINE (THE HUMAN VOICE), AN OPERA BY FRANCIS POULENC BASED ON THE ONE-ACT PLAY BY JEAN COCTEAU. HELLO? HELLO!

LIVE @ QUEERING SOUND 2021 :: 15 JUNE 2021 :: RHIZOME DC :: WDC

[ live performers ] 
CK BARLOW :: SAMPLER / ELECTRONICS
CHRISTOPHER MATHEWS-LARSEN :: GUITAR
JS ADAMS :: PROCESSING + EFFECTS / FIELD RECORDINGS + LOOPS / SAMPLES / CALIFONE + PREPARED VINYL / AUDIO PLAYBACK
JEFF BARSKY :: GUITAR
JOSH MAXWELL :: BASS

[ digital contributitors ]
BLEEDINGBLACKWOOD . {AN} EEL . JASSIE RIOS . ROSHI NASEHI . SARAH O’HALLORAN . KATIE MACYSHYN 

RECORDING :: STEVE SANDERS
MIX :: JS ADAMS

LA VOIX HUMAINE :: 13 JUNE 2021 :: LIVE

Buy it here
https://cuneiformrecords.bandcamp.com/album/other-worlds

Andrew Niven – drums, percussion, synth, sequencers
Eric Klerks – bass, 8-string guitar, synthbass
Max Kutner – electric and acoustic guitar

with
Mike Keneally ¬– keyboards, guitar, samples
Jonathan Sindelman – keyboards, organ
Daniel Rosenboom – trumpet
Jessica Lurie – baritone sax
Gregg Bendian ¬– vibes

Produced by Mike Keneally and Android Trio

Concentric Lines

ANDROID TRIO "Concentric Lines" from "Other Worlds" (Cuneiform Records)

Voted the #5 jazz group in the 59th annual DownBeat critic's poll. 

"They're still the finest retro-futurists around." 
– The Village Voice 

"...they remain one of New York's most distinctive and entertaining groups." 
– All About Jazz New York

"...splendid fun." – JazzTimes "...equal parts zaniness and braininess..."
– The New Yorker 

"...The charm of The Micros has always been their joyous, unself- conscious collage of different jazz styles. They are a kind of sleek swing band one moment, a Latin jazz group the next, a group of ‘60s avant-eek-onkers just a moment later. And it’s all played with the kind of zippity zest that keeps things entertaining."
– Will Layman

Originally active from 1980-1992 and hugely popular in their native New York City, although they never caught their big break, The Microscopic Septet are regarded as one of the most important and unique bands to come out of the New York scene of the 1980s. They entertained audiences with their combination of swing, energy and humour, as well as with their unique compositions and fine musicianship; Downbeat referred to them as "...one of jazz's tightest units...."

The group reformed with the original personnel in 2006. In 2010, the band released Friday The Thirteenth, their unique tribute to one of their original inspirations, Thelonious Monk, an album that sold very well, was widely reviewed and lauded and propelled them to the top of the jazz cognoscenti's consciousness. But fine as Friday The Thirteenth was, it was a very atypical release, because the Micros feature two of jazz's finest composers in co-leaders Joel Forrester and Phillip Johnston, both of whom contribute songs that feature "enough great melodies and ideas in each track to make an album" (DownBeat).

Featuring a lineup of a sax quartet (soprano, alto, tenor, baritone) and rhythm section (piano, bass, drums), the Micros have a sound unlike any other ensemble compositionally, ensemble-wise and also in terms of the breadth of their influences.

Manhattan Moonrise is their 3rd release since reforming and their 7th release overall. In the liner notes, Phillip reflects on the band's history and why there is still a Microscopic Septet, and in doing so, I think he reveals a lot of what makes this band so special.

"I think the initial impetus for the band was two-fold. First it was to express our love for the wonderful ensemble-driven jazz tradition exemplified by practitioners as diverse as Jelly Roll Morton, Duke Ellington, John Kirby, Raymond Scott, Charles Mingus, Sun Ra, and the Art Ensemble of Chicago. Second was to bring back the jazz-as- entertainment vibe of bands like those of Louis Jordan and Cab Calloway, while playing music that was resolutely “modern.” ... to me, the value of it speaks to the importance of uniqueness, individuality, quirk. Now every Hollywood movie pays lip service to this hoary ideal, even as corporate diversification and the commodification (and digitization) of every aspect of our lives runs rampant. But who’s your quirky daddy now?

Does the world need the music of Harry Partch, Raymond Scott, Joseph Spence, Captain Beefheart, Conlon Nancarrow, Van Dyke Parks, Charles Ives? Maybe it does, maybe it doesn’t. Maybe it does, but it thinks it doesn’t. Maybe most of the world doesn’t know it exists.... But to be part of something like that is not something I’ll give up without some serious thought. And when I came back to it in 2005, I thought this is just too good an opportunity to miss out on. I think I’ll follow it just a little longer and see where it goes."

The Microscopic Septet, "Let's Coolerate One" from 'Manhattan Moonrise' (Cuneiform Records)

From our upcoming release "Somnambulist" coming out on Cuneiform records January 20th! Preorder is available now here: https://cuneiformrecords.bandcamp.com/album/somnambulist

The Kandinsky Effect  - Somnambulist

X (Part 1)

Gyp The Blood

Nice Day for a Lynching-Kenneth Patchen

The bloodhounds look like sad old judges
In a strange court. They point their noses
At the Negro jerking in their noose;
His feet spread crowlike above these
Honorable men who laugh as he chokes.

I don’t know this black man.
I don’t know these white men.

But I know that one of my hands
Is black, and one white. I know that
One part of me is being strangled, 
While another part horribly laughs.

Until it changes, 
I shall be forever killing; and be killed.

Recorded by The Claudia Quintet +1 with Special Guest-Kurt Elling


The Bloodhounds

Teo Collori presents his new project Momento Cigano with all-acoustic, all-original gypsy swing compositions, inspired by the one and only Django Reinhard.

Out now on Lowtemp Records.

The band:
Teo Collori - guitar
Matija Krečič - violin
Matej Kužel - clarinet
Metod Bank - rhythm guitar
Jan Gregorka - bass

Follow https://soundcloud.com/teo-collori
https://facebook.com/momentocigano


Hot Club Piran

Luna

One Moon No Sun

Earnie

Tony Mitraglia

Chase

Recorded at Avatar Studios NYC May 2012 (Katherine Miller)
Mastered at Pinch Recording NYC May 2020 (E. Scott Lindner)

Personnel:
Matt Steckler - alto/soprano sax, flute
Curtis Hasselbring - trombone
Todd Neufeld - guitars
Dave Ambrosio - bass
Satoshi Takeishi - drums & percussion

01 Night Cravings - Master A 44

Cuneiform Records is an independent record label releasing adventurous, boundary-bursting music by artists from around the world. Founded in 1984.

The Microscopic Septet, "Let's Coolerate One" from 'Manhattan Moonrise' (Cuneiform Records)

Cuneiform Records

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