Matthew Shipp Trio "Harmonic Disorder"

Another brilliant installment in a growing and varied discography, Harmonic Disorder is a bracing interpretation of the classic piano trio and continuing proof of Shipp's abilities as a composer and improviser of the highest order.

Matthew Shipp
: piano
Joe Morris: bass
Whit Dickey: drums

There Will Never Be Another You
Harmonic Disorder
Someday My Prince Will Come
Mel Chi 2
Mr. JM
Mel Chi
Zo Number 2
Quantum Waves
When the Curtain Falls on the Jazz Theater.


Wadada Leo Smith Golden Quartet

Enlisting drummer Jack DeJohnette and bassist Malachi Favors, trumpeter Wadada Leo Smith had to have been tempted to make Golden Quartet explode with grooves--especially with the CD's opener, titled "DeJohnette." Instead, pianist Anthony Davis and Smith keep the harmonic and melodic gears pulled loose so the band jangles and gets steam and then explodes, only to reset, disperse, and go wild again. Smith's Golden Quartet has the bearings and chops of a supergroup, undoubtedly, and they use their collective power forcefully and to great result--heading into thickets of spread-open space with expansive patience. They go from free-time ruminations to a fittingly sly march cadence on "Celestial Sky and All the Magic: A Memorial for Lester Bowie," and make "The Healer's Voyage on the Sacred River" a terrific modal ballad. It's not until the last tune, "America's Third Century Spiritual Awakening," that the quartet launches off, with DeJohnette locking into a rhythmic rumble that takes Smith skyward in a slurry, bright, and fast show of genius. Here's a band of veterans jelling anew and never sacrificing the collective good for the benefit of an individual. --Andrew Bartlett


Elliot Sharp & Carbon "Tocsin"

1/ Raptor
2/ Good For Business
/ Wex
4/ Sockets
5/ Morphing
6/ Tox
7/ Contradiction In Terms
8/ My blood Is Boiling
9/ Ossuary
10/ Big Lie
11/ Chilly Necessity
12/ Running On Cafahol
13/ Highrise

Zeena Parkins : electric harp
Marc Sloan : electric bass
Joseph Trump : drums, percussion
David Weinstein : sampler
Elliott Sharp : doubleneck guitarbass, sampler, lapsteel, soprano, AC. guitar.

Tocsin, like several albums he released around this period, showcases Elliott Sharp's more rock-oriented side, featuring fairly short tracks with strutting rhythms and (for him) catchy hooks. The opener, "Raptor," as well as "My Blood Is Boiling," sound like something smuggled in from a Blind Idiot God session (BIG member Ted Epstein is, in fact, thanked in the notes accompanying the disc) with their surging bassline and over-the-top guitar work. Other tracks vary somewhat from the dark, malevolent strain that normally is part and parcel of a Sharp album; "Sockets" even gets into some P-Funk style grooves (!). Much of the rest is the sort of roiling, aggressive music Sharp fans were accustomed to, if a bit slicker than the earlier incarnations of Carbon (like I/S/M) where roughness and lack of sharp edges were valued. The leader displays considerable chops, especially on pieces like "Big Lie," where he shows himself the equal of any number of more celebrated pickers, but perhaps takes too much of the spotlight; one wishes to have heard more up-front contributions from the fine harpist Zeena Parkins, for example. Still, Tocsin is probably one of Sharp's most accessible projects, quite handsomely recorded and one that most rock fans would have little trouble enjoying. Listeners hoping for something on the more visceral level of his Larynx, for example, would be better served looking elsewhere.
Review by Brian Olewnick, All Music Guide

Kayo Dot "Dowsing Anemone With Copper Tongue"

1/ Gemini Becoming The Tripod (10:43)
2/ Immortelle And Paper Caravelle (9:42)
3/ Aura On An Asylum Wall (7:44)
4/ ___ On Limpid Form (18:00)
5/ Amaranth The Peddler (14:07)

Toby Driver (guitare, violoncelle, contrebasse, claviers, clochettes)
Greg Massi (guitare, chant)
Mia Matsumiya (violon, viola)
Ryan McGuire (basse, contrebasse, clavier)
Forbes Graham (trompette, guitare, euphonium)
D. Thomas Murray (samples)
John Carchia (guitare)
Tom Malone (batterie)

En cinq titres et une heure de musique, l'objet sent le progressif à plein nez et fait remonter à la surface tous les détestables clichés parfois inhérents au genre: branlettes de manches indigestes et autocomplaisance prônant la débauche d'effets techniques, le plus souvent inutiles. Chez Kayo Dot, rien de tout ça. Toby Driver, tête pensante de la formation, préfère choisir l'option d'un ténébreux voyage en montagnes russes savamment dosé, sans destination ni but précis.

Zakarya "The true story concerning Martin Behaim"

« Je n’aime pas particulièrement le terme de ‘musique expérimentale’, mais, toutefois il y a un peu de ça dans Zakarya. On y trouve aussi l’empreinte de John Cage, un peu de rock, ainsi que des rythmes et des mélodies issus de la culture authentiquement Klezmer. Ce que nous faisons à présent, on peut le définir comme de la musique juive expérimentale et avant-gardiste. »

Parfois, il arrive que quelqu’un m’aborde en me racontant quel genre d’images se sont dessinées dans sa tête pendant qu’il écoutait notre musique. La plupart du temps, cela ne correspond pas vraiment à mes propres associations, mais ce n’est pas mal non plus. Avec notre musique, nous ne voulons pas raconter des histoires précises. »

Café Babel

One can always count on the French quartet Zakarya to come up with something out of the ordinary on their recordings. If you have followed this exceptional and unclassifiable group of musicians since its Tzadik debut in 2001, you already know that expectations when it comes to Zakarya are futile. Placed in the label's Radical Jewish Culture series, The True Story Concerning Martin Behaim is an imaginary soundtrack -- music written for a film that doesn't exist. It takes as its subject the converso astronomer, navigator, and cosmographer who is reported to be the very first person -- before Magellan -- to view (philosophically) and draw a map of the world as a sphere. Musically, it's difficult to say what one has to do with another, but it doesn't matter a whit. This meld of Jewish folk music from antiquity to the present with shifting rhythmic pulses -- from Latin to rock, improvisational jazz, tautly composed new music strategies, and heavy metal guitars -- is dizzying, utterly sophisticated, and challenging, yet full of heart. The group's accordionist, Yves Weyh, who fronts a conventional rock trio -- guitarist Alexandre Wimmer, bassist Vincent Posty, and drummer Pascal Gully -- composed ten of these 12 cuts; Posty and Wimmer composed one each. A typical example of Zakarya's genius lies in "Nakete Shtetl," where an accordion and bass pulse set the rather restrained frame of harmonic focus. As such, Gully's drums and percussion flutter around that rhythmic intention improvisationally and sparely. The melody enters via Wimmer's electric guitar. He uses flurries of arpeggios along an Eastern motif lyric frame that is not unlike Yiddish market music. As the accordion moves toward lower registers while keeping the same rhythm, Gully plays on contrapuntal accents and Wimmer pushes his own lines to the breaking point and starts harmonically deconstructing them, while building a new dynamic architecture. Where it ends up is, in some ways, the very place it began, but light years away. Elsewhere, rock pyrotechnics are channeled toward unknown quantities of improvisation, as on "Lafko." For all its technical acumen and adventurous composition, this ultimately exhilarating ride still contains humor, warmth, and enough reckless outsider musical vision to take the Radical Jewish Culture firebrand on Tzadik to a new level.
All Music


Aucun charter d'Afghans n'est parti mardi soir

3 Afghans reconduits par avion en Afghanistan

Rafle aux Restos du coeur à Rouen

« Les lieux où sont soignés, alimentés, hébergés les personnes en situation de détresse, ne sauraient être la cible d’une politique de contrôle et d’interpellation » - Allocution aux associations apportant une aide humanitaire aux étrangers en situation irrégulière de Monsieur Eric Besson, le 17 juillet 2009.

Le passant offre le timbre, pour écrire à Eric Besson.

EST (un peu d')

2007-05-22 (day one) (may 22, 2007)
Yoshi's Oakland, CA, USA

1. 800 Streets by Feet 9:33

2. The Rube Thing 12:33
3. Where we use to live 10:48

4. The Unstable Table & the Infamous Fable 13:33

5. (Esbjörn speaks) 1:53

6. I mean You 12:53

7. Sipping on the Solid Ground 4:44

8. The Second Page 9:05

9. Tide for Trepidation 8:02

10. Definition of a Dog 28:24

11. The Goldhearted Miner 6:49

12. Tuesday Wonderland 11:44

13. Fram Gagarin's Point of View 8:28

14. Dolores in a Shoestand 13:52

Tord Gustavsen Ensemble "Restored, Returned"

Message bloqué.... etc etc ... supprimé.


Thee, Stranded Horse "Churning Strides"

Pure folk (avec des parfums mandingues) de toute beauté !
Une pépite ! Un joyau !

Yann Tambour, de son accent écorché, nous envoie directement dans nos nerfs des décharges d'émotions qu'il déclenche au son de ses cordes pincées.

Comment est-il possible, dans ce pays plus que navrant, qui glorifie la médiocrité à tous les niveaux, de ne pas promouvoir des artistes dont le talent et la sensibilité nous ouvrent des portes ?

De quoi nous couper le souffle, de beauté. Vivre en apnée, pour mieux respirer cette émotion particulière, émotion tellement rare.

(non, pas de liens - no links !, c'est chez Talitres, et donc courrez acheter cet alboume !!!)

Zeena Parkins "Isabelle"

Ikue MORI "One hundred aspects of the Moon"

he Moon and the Abandoned Old Woman

A Buddish Monk Recieves Cassia Seeds on a Moonlit Night
Monkey Music Moon
Musashi Plain Moon
How Noisy the Sound of Insects Calling in the Meadow as for Me, I Make
Moon of the Lonely House
Cloth-Beating Moon
Dawn Moon and Thumbling Moon
Joganden Shooting Moon
Received Back into Moon Palace
Like a Reflection in the Moon
Glimpse of the Moon
The Moon's Inner Vision
Mountain Moon After Rain

Ikue Mori Producer, Main Performer, Drum Machine, Design
Theo Bleckmann Vocals
Eyvind Kang Violin
Anthony Coleman Organ, Piano
Erik Friedlander Cello
Kato Hideki Bass, Engineer

Ikue Mori's One Hundred Aspects of the Moon (Tzadik, 2000) is a wonderful and multi-faceted modern chamber suite similar in nature to her film music, as opposed to, say, her work in Death Ambient. The work is named for Mori's inspiration in composing this music, a woodblock print series by Yoshitoshi, the last master of Japanese Ukiyoe. The pieces ranges from a section reminiscent of John Zorn's cartoon music, called "Monkey Music Moon," to the interim piece heard during "Like a Reflection in the Moon" to the disturbed and repetitive "Cloth-Beating Moon." Mori performs on her drum machines, joined by pianist and organist Anthony Coleman, violinist Eyvind Kang, cellist Erik Friedlander, bassist Kato Hideki, and the vocals (acrobatics, speaking, and singing) of Theo Bleckmann. ~ Joslyn Layne, All Music Guide.

Annelies Monsere "Helder" (à nouveau / encore)

MEPHISTA "Black Narcissus" & "Entomological Reflections"

1 The Children's Hour
2 Black Narcissus
3 Willow's Weep
4 Cabbalussa
5 Poison Ivy
6 Black Widow
7 Legend Of Pele
8 Leda And The Swan
9 Laughing Medusa

As such, listening to Black Narcissus can be a confusing and trying experience. Each sound suggests something new, and all three musicians are wont to follow that impulse as quickly as possible. It is liberating and beautiful, but also so hyper that it is impossible to listen to with anything but rapt attention. Unless one commits fully to the disc, it will probably sound like an experimental annoyance. If one is willing to surrender, though, there is a rich world waiting.

1 La Femme 100 Têtes
2 House
3 Drôle de Mots
4 Cardiogram
5 Void
6 Fractions
7 Entomological Souvenirs
8 La Château de Cène
9 Fringe
10 Procession
11 Beloukia
12 Air
13 Apartment
14 Sans Mots
15 Shifting Roll

The unhurried impressionistic approach of Entomological Reflections, as the name implies, is meant to be contemplative, to absorb fully the heightened interaction between improvisers.

De quelle "race" est Jean Sarkozy ?

Cet homme, monsieur Luc Chatel, qui parle de "race" comme dans s'en "prendre à sa race", pour défendre pitoyablement la résistible ascension du clan Sarkocescue, est quand même porte parole du gouvernement ET ministre de l'Education Nationale.

Après l'affaire Luc Chatel va au supermarché et ne se rend même pas compte qu'il s'y trouve comme par hasard des militants de l'UMP pour vanter des "baisses" de prix sur des fournitures scolaires de qualités plus que médiocres, voici maintenant le même, qui réintroduit, sur le devant de la scène ,la notion de "race", applicable au fils du Conducator, certainement en parlant de "race" des .... Seigneurs.


Travailler à en mourir

Veilleur de Jour

Vivre (?) sous Sarkocescue : Hourrah pour le Grand (petit) Conducător

Estrosi : des "manifestations de joie" à Gandrange
envoyé par Europe1fr. - L'info video en direct.

« Les seules manifestations qu’il peut y avoir en Moselle, ce sont des manifestations de joie autour d’un gouvernement, autour d’un président de la République qui sait redonner de l’espérance » Christian ESTROSI

Finalement, mais ce n'est une surprise pour personne, nous sommes en plein délire du "Culte de la Personnalité". Les propos de ce ministre sont tellement ridicules et caricaturaux... imaginez ceci dans la bouche d'un ministre coréen (du Nord !). Ce serait "normal".

Notez soigneusement toutes les références admiratives (genre lèche bottes) de tous les ministres et sous-ministres.
Jusqu'à Besson (la figure emblématique du traître, doublée de celle qui instrumentalise la chasse à l'étranger) qui, non content de nettoyer la semelle du père, lustre celle du fils.

C'est qu'il faut se placer, et les traitres ont ceci de remarquable, c'est qu'ils en font des tonnes. Doivent assurer leurs arrières, doivent sans cesse donner des gages, doivent toujours être à la pointe.

Maintenant, celles et ceux qui, au sujet de cette loi pour travailler le dimanche, soi-disant imposée par tous les cons qui ne savent pas faire autre chose que consommer le dimanche, j'aimerais bien que ces cons connaissent le même sort que celui de cette caissière.

Renvoyée car elle devait choisir entre travailler le dimanche, ou voir son fils.
Je hais les humains qui ne savent pas se déplacer autrement qu'avec un chariot, dans des allées illuminées, où de la musique et des messages imbéciles les poussent à se vautrer dans ce qui est le dernier stade de l'Humain, le consommateur, dont la variété dominicale est la pire.

Le client est un con. C'est même à cela qu'on le reconnaît, car d'humilié dans sa vie de merde, il pense prendre une revanche en obligeant plus démunis que lui à se mettre à son "service".

Et le client de France-Télécom est un assassin, par procuration, par consommation. Client complice des chefaillons qui veulent par dessus tout assurer le service au " client", sombre crétin qui ne voit pas plus loin que le dernier téléphone portable à la mode.

Les vrais prédateurs sont les "clients" (la mentalité du client, la pire de toutes). Regardez les images des premiers jours de solde, comment ils se conduisent.

Lukas LIGETI "Afrikan Machinery"

Un oeuvre en devenir, où ce compositeur touche à tout (percussions, électronique) se promène géographiquement (l'Afrique) et musicalement dans des territoires qui ressemblent à des contrées baignées dans le ravissement le plus magique.

Mélange plus que surprenant de sons acoustiques (madi in Africa) et de samples, d'ambiance sonores uniques crées par des "mélanges" que ne renieraient pas des sorciers spécialistes en médecines douces, et utilisant un instrument unique - ici, le marimba lumina crée par Don Buchla, Lukas LIGETI nous enlève / élève loin, très loin dans ses paysages sonores lumineux.


Henry Cow Box Set "The Road - Bonus CD - A Cow Cabinet Of Curiosities" (à nouveau / again / encore)

1. "Pre Virgin Demo 1" (mostly Frith)
2. "Pre Virgin Demo 2" (mostly Hodgkinson)
3. "Unidentified Improvisation 1" (Cooper, Cutler, Frith, Greaves, Hodgkinson)
4. "Unidentified Improvisation 2" (Cooper, Cutler, Frith, Greaves, Hodgkinson, Krause)
5. "Unidentified late composition" (probably Cooper)
6. "Exploded Amygdala/Teen Introduction" (Cutler, Frith, Greaves, Hodgkinson, Leigh)
7. "Lovers of Gold" (Cooper, Cutler, Frith, Greaves, Hodgkinson, Krause)
8. "Hamburg 6" (Cooper, Cutler, Frith, Greaves, Hodgkinson, Krause)
9. "Ruins extract" (Cooper, Cutler, Frith, Greaves, Hodgkinson, Krause)
10. "Hamburg 7" (Cooper, Cutler, Frith, Greaves, Hodgkinson, Krause)
11. "Half the Sky" (Cooper)
12. "Extract from The Glove" (Cooper, Cutler, Frith, Greaves, Hodgkinson)

* Chris Cutler – all tracks, piano (track 10), voice (track 12)
* Fred Frith – all tracks, voice (track 12)
* Tim Hodgkinson – all tracks, voice (track 12)
* John Greaves – tracks 1-10,12, voice (track 12)
* Geoff Leigh – tracks 1,2,6, voice (track 1)
* Lindsay Cooper – tracks 3-5,7-12, voice (track 12)
* Dagmar Krause – tracks 4,8-10
* Peter Blegvad – clarinet (track 7)
* Anthony Moore – mounted and amplified tuning forks (track 7)


Eyvind Kang "Virginal Co-ordinates"

1 Go in a Good Way to a Better Place
2 I am the Dead
3 Doorway to the Sun
4 Occultum Lapidem
5 Harbour of the NADE
6 Taksim
7 Sidi Bou Said
8 Virginal Co-ordinates
9 Innocent Eye, Crystal See
10 Marriage of Days

Music composed by Eyvind Kang

Eyvind Kang - Violin
Michael White - Violin
Mike Patton - Voice, Electronics
Tim Young - Guitar
Tucker Martine - Live Sound Processing
Evan Schiller - Sound Movements

Playground Ensemble

Stefano Zorzanello - Flute, Soprano Sax
Maurizio Costanzo - Oboe
Ulrich Krieger - Clarinet, Alto Sax
Andrea Racheli - Bassoon
Mario Gigliotti - Trumpet
Luigi Zardi - Trumpet
Marc Stutz-Boukouya - Trombone
Alessandro Bonetti - Violin
Dimitri Sillato - Violin
Johannes Platz - Viola
Sebastiano Severi - Cello
Pierangelo Galantino - Contrabbass
Walter Zanetti - Acoustic Guitar, Electric Guitar
Marco Dalpane - Keyboard, Accordion
Stefano Bussoli - Percussion
Pierpaolo De Gregorio - Drums, Percussion


Mary Halvorson & Jessica Pavone "Prairies"

Musique de chambre d'avant-garde ?

Exercice de" style" fluide et naturel, sensuel, né de la rencontre de ces deux jeunes femmes qui ont, toutes les 2, jouées avec... Anthony Braxton, ce "prairies" porte bien sont titre. Quand on tente de voir ces prairies, il faut aussi imaginer toutes les nuances des lumières qui peuvent les éclairer (ou les assombrir, ce qui est pareil).
Il y a des références, de lointains cousinages, mais l'essentiel est déjà en place, pour ce premier alboume du duo : une musique singulière et terriblement séduisante.


Mary Halvorson Trio "Dragon's Head" & "Live at WFMU"

01 : Old Nine Two Six Two Four Dies (No. 10)
02 : Momentary Lapse (No. 1)
03 : Screws Loose (No. 8)
04 : Scant Frame (No. 2)
05 : Sweeter Than You (No 4)
06 : Sank Silver Purple White (No. 5)
07 : Too Many Ties (No. 6)
08 : Totally Opaque (No. 7)
09 : Dragon's Head (No. 9)
10 : April April May (No. 3).

Mary Halvorson : guitar ; John Hebert : bass ; Ches Smith : drums.

Dragon's Head is guitarist Halvorson's debut as a leader, and there's every reason to hope it'll be the first of many. In the past, she's worked in duos with both violist Jessica Pavone and drummer Kevin Shea, as well as in Anthony Braxton's ensemble. It's clear that she's bringing that wealth of experience to bear on this effort too. The program consists entirely of original compositions, and it's abundantly obvious that they were written with this particular trio in mind. All three musicians bring not only their knowledge of matters technical to the music, but also their individual and collective sympathies. The result is a body of highly individualistic music shot through with the singular energy that only comes from musicians improvising together.
[...] AAJ

Dragon's Head is not Halvorson's first recording, yet it is the first that truly represents her full capacity as both a composer and an improviser; light years ahead of her peers, she is the most impressive guitarist of her generation. The future of jazz guitar starts here.
[...] AAJ

Live at WFMU :

01 : Too Many Ties (n°6)
02 : Momentary Lapse (n°1)
03 : Dragon's Head (n°9)
04 : n° 11

William Parker "Double Sunrise Over Neptune"

One of Parker's most fully realized large ensemble recordings, Double Sunrise Over Neptune is cosmic groove music with a global flair—a seamless merger of Eastern and Western traditions conveyed with passionate conviction.

William Parker: double reeds, doson'ngoni, conductor; Lewis Barnes: trumpet; Rob Brown: alto sax; Bill Cole: double reeds; Sabir Mateen: tenor sax, clarinet; Dave Sewelson: baritone sax; Jason Kao Hwang: violin; Mazz Swift: violin; Jessica Pavone: viola; Shiau-Shu Yu: cello; Joe Morris: guitar, banjo; Brahim Frigbane: oud; Sangeeta Bandyopadhyay: voice; Shayna Dulberger: bass; Gerald Cleaver: drums; Hamid Drake: drums.


Maryanne Amacher "Sound Characters 1 / Making The Third Ear" & "Sound Characters 2 / Making Sonic Spaces"