PRESSESPIEGEL

KALEIDOPHON 2012 Ulrichsberger Kaleidophon 2012 - Pressespiegel frei S til -M agazin , W els Ulrichsberger Kaleidophon 2012 - Pressespiegel links: Tim Daisy(GüntherGröger/groxpress.at) oben: DDKern(K.Cetriolo) Fotos: frei S til -M agazin , W els Ulrichsberger Kaleidophon 2012 - Pressespiegel frei S til -M agazin , W els Ulrichsberger Kaleidophon 2012 - Pressespiegel frei S til -M agazin , W els FESTIVAL REPORT Ulrichsberger Kaleidophon FIMAV Moers Festival by Ken Waxman by Stuart Broomer by Andrey Henkin d . c o m . j a z w o r , w ( c ) S u s a n O ’ C o r P h o t b y M a r i n s e P h o t b y H e l m u B r n s John Butcher and John Edwards John Zorn Tanya Tagaq

London saxophonist John Butcher and Chicago Festival de Musique Actuelle de Victoriaville (FIMAV, One might wonder why a -based journalist drummer Tim Daisy were the MVPs during the or Victo as it’s known to frequent attendees) is a special would travel all the way to Germany for a festival with Ulrichsberger Kaleidophon (Apr. 27th-29th). To stretch event, a festival nestled in a bucolic Quebec hamlet a large number of acts that are based in and perform in the metaphor further, Butcher was doubly valuable, that, since 1983, has mixed free , avant-rock, the city. Well, besides the obvious (beer and sausage), since as a pinch-hitter he replaced Una Casa/ electronica, all manner of improvisation and theatrical there is the interest in seeing how these bands are Observatorio’s third member when its saxophonist crossovers under the very open French rubric of received overseas; despite protestations to the contrary, was unable to perform with Buenos Aires-based musique actuelle. Artistic Director Michel Levasseur European audiences are often better than American trumpeter Leonel Kaplan and Viennese computer has taken the unlikely and utopian notion of a radical ones, more enthusiastic and far less partisan. This falls manipulator Christof Kurzmann. If Butcher’s playing music festival in his hometown and somehow made it under the three major categorical reasons for any was sympathetically creative with that trio, his work. Part retreat and part full-immersion baptism, festival attendance: you hope the things you think you FESTIVAL REPORT improvising was equally spectacular with The FIMAV 28 (May 17th-20th) presented 19 concerts over will like, you like; the things you don’t think you will Apophonics, a new group with British bassist John a four-day period. like, you like better than you thought and that you’ll Edwards and Bay-area percussionist Gino Robair. This year’s opening event was a special occasion, discover something new and amazing that you might Meanwhile Daisy subtly paced the chamber-styled as some 30 local singers gathered for one of British never otherwise see. Ulrichsberger Kaleidophon FIMAVstring-and-horn quintet Wrack as well as added Moersvocalist Phil Minton’sFestival Feral Choirs. With three days of The Moers Festival (the word ‘jazz’ was removed rhythmic heft to saxophonist Dave Rempis’ Percussion intense workshops, Minton and the choir had reached several years ago to reflect a more open aesthetic) by Ken Waxman by4Tet, Stuart whose Broomer raucous free jazz closed the festival to byout Andrey to one another Henkin to find fresh potential in the human celebrated its 41st anniversary with its latest edition enthusiastic audience cheers. instrument, including a whistling procession to the (May 25th-28th), taking place under what is These were just four of the memorable stage and various massed whispers, conversations, purportedly Europe’s biggest circus tent, set up on the performances that took place during the 27th edition drones and chants that gradually assembled into a outskirts of the lovely Freizeitpark. One thing a visitor of the Kaleidophon, which annually animates this work of substantial and sustained impact. Minton should decide is whether sound quality or ventilation alpine village of fewer than 3,000 people, about 200 creates a community of free voices that combines both is their priority as the combination of warm early kilometers west of Vienna. What’s equally remarkable the known strengths and the new discoveries of the summer days and over 2,000 attendees makes for a is how artistic director Alois Fischer not only attracts group. perspirant listening experience.

d . c o m high-quality players from Europe, Japan and the US to A strong idea of community was just as evident in Of the visiting Americans, Carla Bley’s trio with the Jazz Atelier, a 16th century former pig barn, during Wadada Leo Smith’s Golden Quartet/Quintet’s Steve Swallow and Andy Sheppard on the first day and the fest, but also programs innovative improvised presentation of Ten Freedom Summers, a 90-minute her commission for the Bohuslän Big Band and . j a z w o r music throughout the year. It’s a European phenomenon version excerpted from the three-evening work with Dortmund Choral Academy Boys Choir on the last that can make outsiders envious. chamber orchestra that debuted last October and which were the delicately beautiful side of her composing, , w Built around extrasensory sonic perception, The has just appeared as a four-CD set. Accompanied by a her usual wry humor replaced by wistful harmony. Apophonics’ strategy advanced amoeba-like, live-video stream by Jesse Gilbert that mingled shifting Saxist Ingrid Laubrock’s Anti-House group with Mary continuously melding and breaking apart timbres in abstract graphics with photos of Smith’s subjects Halvorson, Kris Davis, John Hébert and Tom Rainey - different configurations and with varied possibilities: (among them Malcolm X, Emmett Till and Martin mainstays of smaller rooms around - Edwards’ super-speedy wood and string smacking Luther King, Jr.), the invocation and commemoration made quite the impression on the Moers crowd;

( c ) S u s a n O ’ C o r P h o t b y M a r i n s e was sometimes appropriately violent; Butcher’s output P h o t b y H e l m u B r n s of the American Civil Rights Movement was the Laubrock is this year’s Artist-in-Residence and her John Butcher and John Edwards jumped from sonorousJ oglissandihn Zorn to staccato reed bites festival’s crowning achievement,Tanya Tagaq music (and sometimes percolating brand of Euro-meets-NYC modern jazz and Robair’s holistic approach sometimes seemed silence) of constant grace, focus and energy with was deceptively loose despite its underlying precision. ondon saxophonist John Butcher and Chicago estival de Musique Actuelle de Victoriaville (FIMAV, ne might wonder why a New York-based journalist L Fchild-like as he smacked his mallets on the stage floor, Otremendous performances by Smith and the band of Andrew D’Angelo’s DNA Big Band, filled with young drummer Tim Daisy were the MVPs during the or Victo as it’s known to frequent attendees) is a special would travel all the way to Germany for a festival with rubbed a violin bow on drum rims and literally blew pianist Anthony Davis, bassist John Lindberg and luminaries like Bill McHenry, Josh Roseman, Josh Ulrichsberger Kaleidophon (Apr. 27th-29th). To stretch event, a festival nestled in a bucolic Quebec hamlet a large number of acts that are based in and perform in on the drum skin. The saxophonist’s lines could be drummers Pheeroan akLaff and Susie Ibarra. Sinton and Dan Weiss, was actually two bands during the metaphor further, Butcher was doubly valuable, that, since 1983, has mixed free jazz, avant-rock, the city. Well, besides the obvious (beer and sausage), sonorously wispy or could consist of reed finger- John Zorn, perhaps FIMAV’s most frequent star, its set; it began and ended aggressively, with jump jazz since as a pinch-hitter he replaced Una Casa/ electronica, all manner of improvisation and theatrical there is the interest in seeing how these bands are tapping or using foot-pedal-controlled electronics to presented two projects this year. Nova Express had liberally mixing with industrial rock while the middle Observatorio’s third member when its saxophonist crossovers under the very open French rubric of received overseas; despite protestations to the contrary, pick up the feedback generated as he moved his tenor Zorn conducting a quartet with pianist John Medeski, was a poignant dedication to a sick friend of Ulrichsberger Kaleidophon 2012 - Pressespiegel Ulrichsberger Kaleidophon was unable to perform with Buenos Aires-based musique actuelle. Artistic Director Michel Levasseur European audiences are often better than American in different arcs without blowing into it. vibraphonist Kenny Wollesen, bassist Trevor Dunn and D’Angelo’s, wherein the audience was asked to chant trumpeter Leonel Kaplan and Viennese computer has taken the unlikely and utopian notion of a radical ones, more enthusiastic and far less partisan. This falls This technical versatility and familiarity with drummer Joey Baron in a suite inspired by the writings “Felicia”. The triumvirate of Jon Irabagon, Mike Pride manipulator Christof Kurzmann. If Butcher’s playing music festival in his hometown and somehow made it under the three major categorical reasons for any electronics also served as entrée to Una Casa/ of William S. Burroughs, which matched elements of and metal demi-god Mick Barr was a festival highlight. was sympathetically creative with that trio, his work. Part retreat and part full-immersion baptism, festival attendance: you hope the things you think you Observatorio’s gameplan. As quivering, synthesized ’50s period jazz (from the Modern Jazz Quartet and Cal This correspondent actually saw their debut gig in the improvising was equally spectacular with The FIMAV 28 (May 17th-20th) presented 19 concerts over will like, you like; the things you don’t think you will static produced by Kurzmann’s “ppooll” interface Tjader to early ) with sudden expressionist mellow confines of The Stone and something was Apophonics, a new group with British bassist John a four-day period. like, you like better than you thought and that you’ll underlined the performance, Butcher used key explosions. Zorn’s second project, The Hidden - with missing; it turns out to be ear-splitting volume and an Edwards and Bay-area percussionist Gino Robair. This year’s opening event was a special occasion, discover something new and amazing that you might percussion, gurgles and expelled unaccented air to texts and illustrations selected from mystic traditions arena-style light show, fulfilling the group’s destructive Meanwhile Daisy subtly paced the chamber-styled as some 30 local singers gathered for one of British never otherwise see. make common cause with Kaplan’s multiphonic - was a profound trip through Masada territory with promise. Erik Friedlander played solo, presenting his string-and-horn quintet Wrack as well as added vocalist Phil Minton’s Feral Choirs. With three days of The Moers Festival (the word ‘jazz’ was removed wheezes. The trumpeter not only inflated his cheeks à the previous quartet augmented by violinist Mark Block Ice & Propane project: songs written about rhythmic heft to saxophonist Dave Rempis’ Percussion intense workshops, Minton and the choir had reached several years ago to reflect a more open aesthetic) la Dizzy Gillespie to force air out of his horn, but at Feldman and cellist Erik Friedlander. The lyrical music travelling with his father, photographer Lee 4Tet, whose raucous free jazz closed the festival to out to one another to find fresh potential in the human celebrated its 41st anniversary with its latest edition points held his horn horizontally to blow into included virtuoso flights into Sephardic modes by the Friedlander and accompanied by some of the latter’s enthusiastic audience cheers. instrument, including a whistling procession to the (May 25th-28th), taking place under what is

These were just four of the memorable stage and various massed(CONTINUED whispers, conversations, ON PAGE 38) purportedly Europe’s biggest(CONTINUED circus tent, ONset upPAGE on the38) (CONTINUED ON PAGE 38) performances that took place during the 27th edition drones and chants that gradually assembled into a outskirts of the lovely Freizeitpark. One thing a visitor of the Kaleidophon, which annuallyJazzWord.com/Toronto animates this work und of substantial The New York and City sustained Jazz Record/New impact. Minton York should decide is whether sound quality or ventilationTHE NEW YORK CITY JAZZ RECORD | July 2012 13 alpine village of fewer than 3,000 people, about 200 creates a community of free voices that combines both is their priority as the combination of warm early kilometers west of Vienna. What’s equally remarkable the known strengths and the new discoveries of the summer days and over 2,000 attendees makes for a is how artistic director Alois Fischer not only attracts group. perspirant listening experience. high-quality players from Europe, Japan and the US to A strong idea of community was just as evident in Of the visiting Americans, Carla Bley’s trio with the Jazz Atelier, a 16th century former pig barn, during Wadada Leo Smith’s Golden Quartet/Quintet’s Steve Swallow and Andy Sheppard on the first day and the fest, but also programs innovative improvised presentation of Ten Freedom Summers, a 90-minute her commission for the Bohuslän Big Band and music throughout the year. It’s a European phenomenon version excerpted from the three-evening work with Dortmund Choral Academy Boys Choir on the last that can make outsiders envious. chamber orchestra that debuted last October and which were the delicately beautiful side of her composing, Built around extrasensory sonic perception, The has just appeared as a four-CD set. Accompanied by a her usual wry humor replaced by wistful harmony. Apophonics’ strategy advanced amoeba-like, live-video stream by Jesse Gilbert that mingled shifting Saxist Ingrid Laubrock’s Anti-House group with Mary continuously melding and breaking apart timbres in abstract graphics with photos of Smith’s subjects Halvorson, Kris Davis, John Hébert and Tom Rainey - different configurations and with varied possibilities: (among them Malcolm X, Emmett Till and Martin mainstays of smaller rooms around New York City - Edwards’ super-speedy wood and string smacking Luther King, Jr.), the invocation and commemoration made quite the impression on the Moers crowd; was sometimes appropriately violent; Butcher’s output of the American Civil Rights Movement was the Laubrock is this year’s Artist-in-Residence and her jumped from sonorous glissandi to staccato reed bites festival’s crowning achievement, music (and sometimes percolating brand of Euro-meets-NYC modern jazz and Robair’s holistic approach sometimes seemed silence) of constant grace, focus and energy with was deceptively loose despite its underlying precision. child-like as he smacked his mallets on the stage floor, tremendous performances by Smith and the band of Andrew D’Angelo’s DNA Big Band, filled with young rubbed a violin bow on drum rims and literally blew pianist Anthony Davis, bassist John Lindberg and luminaries like Bill McHenry, Josh Roseman, Josh on the drum skin. The saxophonist’s lines could be drummers Pheeroan akLaff and Susie Ibarra. Sinton and Dan Weiss, was actually two bands during sonorously wispy or could consist of reed finger- John Zorn, perhaps FIMAV’s most frequent star, its set; it began and ended aggressively, with jump jazz tapping or using foot-pedal-controlled electronics to presented two projects this year. Nova Express had liberally mixing with industrial rock while the middle pick up the feedback generated as he moved his tenor Zorn conducting a quartet with pianist John Medeski, was a poignant dedication to a sick friend of in different arcs without blowing into it. vibraphonist Kenny Wollesen, bassist Trevor Dunn and D’Angelo’s, wherein the audience was asked to chant This technical versatility and familiarity with drummer Joey Baron in a suite inspired by the writings “Felicia”. The triumvirate of Jon Irabagon, Mike Pride electronics also served as entrée to Una Casa/ of William S. Burroughs, which matched elements of and metal demi-god Mick Barr was a festival highlight. Observatorio’s gameplan. As quivering, synthesized ’50s period jazz (from the Modern Jazz Quartet and Cal This correspondent actually saw their debut gig in the static produced by Kurzmann’s “ppooll” interface Tjader to early Cecil Taylor) with sudden expressionist mellow confines of The Stone and something was underlined the performance, Butcher used key explosions. Zorn’s second project, The Hidden - with missing; it turns out to be ear-splitting volume and an percussion, gurgles and expelled unaccented air to texts and illustrations selected from mystic traditions arena-style light show, fulfilling the group’s destructive make common cause with Kaplan’s multiphonic - was a profound trip through Masada territory with promise. Erik Friedlander played solo, presenting his wheezes. The trumpeter not only inflated his cheeks à the previous quartet augmented by violinist Mark Block Ice & Propane project: songs written about la Dizzy Gillespie to force air out of his horn, but at Feldman and cellist Erik Friedlander. The lyrical music travelling with his father, photographer Lee points held his horn horizontally to blow into included virtuoso flights into Sephardic modes by the Friedlander and accompanied by some of the latter’s (CONTINUED ON PAGE 38) (CONTINUED ON PAGE 38) (CONTINUED ON PAGE 38)

THE NEW YORK CITY JAZZ RECORD | July 2012 13 (ULRICHSBERGER CONTINUED FROM PAGE 13) (FIMAV CONTINUED FROM PAGE 13) (MOERS CONTINUED FROM PAGE 13)

individual valves. Key to the interaction was a buzzing trio of strings while Friedlander played a brilliant images. This may have been the loveliest set of the timbral exchange that occurred between the horns. unaccompanied piece that mined Flamenco and its festival, Friedlander’s virtuosity making everyone Another instance of electronic interface came from middle-Eastern roots. nostalgic for their own long-forgotten trips. And the No Business for Dogs trio, which used graphic While Friedlander invoked an older guitar music, finally, trumpeter Peter Evans showed off a new group scores plus processing to link Juun’s harp with Joe Morris embodied a furious contemporary form, with Evan Parker and Craig Taborn, the trio aided and the unison pressure from the drums of Bernhard Breuer combining runs of unthinkable velocity and walls of abetted by the electronics of Sam Pluta. Parker and and Steven Hess. Although excitement was engendered distortion in the ear-bleed volume of Spanish Donkey Evans are two of improvised music’s most unique by lockstep cymbal clacks and bass-drum smacks, with keyboardist Jamie Saft and drummer Mike Pride, voices yet seem made for each other. temple-bell-like or marimba-approximating inferences an oddly medieval variation of the organ trio that Each evening ended with what might be called a from the piano strings ensured there was an overlay of never deviated from its tortuous motto in an hour-long ‘party set’: Juan de Marcos Afro Cuban All Stars from delicacy as well. More chamber music-like were a improvisation. Cuba; guitarist James “Blood” Ulmer with Joe Bowie’s series of miniatures performed by Munich-based For sheer collective spirit and invention, Mary Defunkt n’EU Soul and Lakecia Benjamin’s Soul Squad. soprano saxophonist/bass clarinetist Udo Schindler, Halvorson’s quintet had few peers, her edgy, Whatever late evening coolness had pervaded the tent cellist Margarita Holzbauer and tabletop guitarist sometimes-pitch-twisting guitar pressing the more was quickly replaced by the heat of very loud, very Harald Lillmeyer. Low-key and elegant, concerned traditional timbres of Jon Irabagon’s and funky, very exuberant music that drew the festival’s with subtle tonal shifts as well as extended techniques, Jonathan Finlayson’s trumpet into uneasy heterodox biggest crowds (apart from Bley’s two performances). there were points at which pauses were too elongated textures. Bassist Miles Perkin, originally from Some sets were underwhelming. German big band and solos too minimalist. Manitoba, led an international quartet with British The Dorf was just too loud, obscuring any possible On the other hand Wrack’s tactics uniquely trumpeter Tom Arthurs, French pianist Benoît Delbecq detail and the novelty of the 30-piece group (Zappa mingled the qualities of so-called classical music and and Montreal drummer Thom Gossage. Perkin’s writing for the Globe Unity Orchestra) wore off rather jazz improv. Oboist/English hornist Kyle Bruckmann compositions created a continuous stream of melody quickly. The 10-piece Radiation 10, led by electric and violist Jen Clare Paulson provided the airy sonority that passed from the written heads throughout the piano and vibes, exemplified jam band aimlessness - somewhat leavened when Bruckmann wrenched his solos in a smooth continuum. If the festival seemed at with cups of noodling solos. The trio of keyboardist straight horns’ tone into narrowed shrillness - while times to be a tale of two cities, Montreal and Chicago, Jozef Dumoulin, featuring visiting bassist Trevor bassist Anton Hatwich and Daisy maintained jazz saxophonist Matana Roberts brought them together in Dunn, was just too gauzy and lacking in any real rhythms. Meanwhile the slurs, cries and honks “Gens de couleur libres”, a work inspired by African- melodic content to be interesting, the musical masticated from bass clarinetist Jason Stein’s reed American history and performed by an ensemble she equivalent of too much cotton candy. Myanmar Meets created the taut friction that epitomized free-form calls her “Montreal 10”, which found fresh ways to Europe (traditional instrumentalists accompanied by improv. combine text and improvisation. European jazzers) had lots of cultural interest but Rempis’ Percussion 4Tet also offered an updated There is always strong representation of Quebecois never really gelled as an ensemble, seeming overly (ULRICHSBERGER CONTINUED FROM PAGE 13) (FIMAVvariant ofCONTINUED energy music: FROM the PAGE leader’s 13) alto and tenor (MOERSmusic at CONTINUEDFIMAV and this FROM year PAGE was no 13) exception. The stitched together. The German trumpet-drum duo saxophone lines often came across as if played by a Maïkotron Unit, the long-standing trio that combines Dus-Ti, liberally frosted with electronics, would have individual valves. Key to the interaction was a buzzing triocombination of strings of while Charles Friedlander Gayle and played Big Jay a McNeely; brilliant images.modal and This free may jazz have improvisation been the loveliest with reed-player set of the been better if something other than tedious breakbeats timbral exchange that occurred between the horns. unaccompaniedIngebrigt Håker piece Flaten that rigidly mined pulled Flamenco and and thickly its festival,Michel Côté’s Friedlander’s “maïkotrons” virtuosity (homemade making combinations everyone were propelling the electric-Miles-era trumpet. And Another instance of electronic interface came from middle-Easternstroked his bass roots. strings while Daisy and Frank Rosaly nostalgicof brass and for reed their instruments own long-forgotten that burble trips.with a Andhost the Pan-European Phalle Fatale, featuring two singers, the No Business for Dogs trio, which used graphic pummeledWhile Friedlander ruffs, claps andinvoked bangs an from older dual guitar drum music, kits. finally,of unrelated trumpeter sounds), Peter Evans played showed a fascinating off a new set group with two bassists and drums was a bit too much of pop- scores plus processing to link Juun’s piano harp with JoeSurprisingly, Morris embodied when not a wedded furious to contemporary the backbeat, form, both withtrumpeter Evan Parker Stephen and Craig Haynes Taborn, as the guest. trio aided Ensemble and hiphop-jazz mishmosh to be successful. the unison pressure from the drums of Bernhard Breuer combiningpercussionists runs produced of unthinkable subtle rhythms velocity as and well: walls Rosaly of abettedSupermusique by the electronics assembled of leading Sam Pluta. Montreal Parker figures and Which leaves only the revelatory sets. Gunter and Steven Hess. Although excitement was engendered distortionwith graceful in the tap-dance-like ear-bleed volume strokes of Spanish and Daisy Donkey with Evanslike saxophonists are two of Jean improvised Derome music’s and Joane most Hétu unique and Hampel is a known commodity to this reporter but it by lockstep cymbal clacks and bass-drum smacks, withclean keyboardist pops. Jamie Saft and drummer Mike Pride, voicesturntablist yet seem Martin made Tétreault for each other. in an electro-acoustic was nice to see the German legend - one of the fathers temple-bell-like or marimba-approximating inferences an oddlyTaking medieval Rempis’ variation go-for-broke of the brutality organ trioone that step nonetEach that evening playfully ended mixed with and what mangled might genres be called at an a of his country’s jazz scene - play for more than a from the piano strings ensured there was an overlay of neverfurther, deviated trombonist from its Matthias tortuous Müller,motto in guitarist an hour-long Olaf ‘partyaccelerated set’: Juan pace, de eventuallyMarcos Afro launching Cuban All an Stars extended from handful of disaffected New Yorkers; while the vocals delicacy as well. More chamber music-like were a improvisation.Rupp and drummer Rudi Fischerlehner - all based in Cuba;percussion guitarist piece James that “Blood”seemed toUlmer turn with the entireJoe Bowie’s group of daughter Cavana Lee Hampel were somewhat series of miniatures performed by Munich-based BerlinFor sheer- reconfigured collective spirit a heavy and invention, metal Mary trio’s Defunkt- electronics n’EU andSoul stringsand Lakecia included Benjamin’s - into Soul a brilliantly Squad. dubious, the hookup between Hampel Senior and soprano saxophonist/bass clarinetist Udo Schindler, Halvorson’sinstrumentation quintet for improvised had few music, peers, with her Müller edgy, Whateverunified drum-kit. late evening The coolness Victoriaville-based had pervaded violist the tent Jean saxist Johannes Schleiermacher was delicious. The cellist Margarita Holzbauer and tabletop guitarist sometimes-pitch-twistingand Rupp as the two lead guitar voices. pressing Often cradling the more his wasRené quickly led a particularlyreplaced by thoughtfulthe heat of project, very loud, a quartet very bass-drum duo of Robert Landfermann and Jonas Harald Lillmeyer. Low-key and elegant, concerned traditionalinstrument timbres vertically, of Jon Rupp’s Irabagon’s distorted saxophone fingering and or funky,that revived very exuberant pieces music from that numerous drew the festival’s Montreal Burgwinkel was a remarkable 30 minutes of with subtle tonal shifts as well as extended techniques, Jonathansingle-line Finlayson’s picking united trumpet with into Fischerlehner’s uneasy heterodox hard biggestexperimentalists crowds (apart (like Derome)from Bley’s in a two too-rare performances). exploration improvisation that didn’t grow stale and always had there were points at which pauses were too elongated textures.smacks and Bassist press Milesrolls to Perkin, drive the originally tunes forward. from of existingSome sets repertoire. were underwhelming. German big band exploratory forward momentum, never begging for a and solos too minimalist. Manitoba,Meanwhile led the ansubstitution international of Müller’s quartet horn with for British a rock The DorfThe festival was just ended too loud, as strongly obscuring as it any had possible begun, missing ‘frontline’. But the finest moment of the Moers On the other hand Wrack’s tactics uniquely trumpeterband’s electric Tom Arthurs,bass added French taste pianist to the Benoît trio’s Delbecqforceful detailwith andthe thetrio novelty of pianist of the Muhal 30-piece Richard group Abrams, (Zappa Festival was the transcendent North Canadian duo of mingled the qualities of so-called classical music and andinterpretations. Montreal drummer The trombonist’s Thom Gossage. facility Perkin’s with a writingtrombonist for the George Globe LewisUnity Orchestra) and multi-reedist wore off Roscoerather vocalist Tanya Tagaq and violinist Jesse Zubot. jazz improv. Oboist/English hornist Kyle Bruckmann compositionsplunger, hand created mutes anda continuous slide positions stream meant of melody that his quickly.Mitchell, Thewho 10-piecebring a tremendous Radiation collective 10, led by wisdom electric to Employing a remarkably far-ranging type of throat and violist Jen Clare Paulson provided the airy sonority thattongue passed jujitsu from and thestaccato written braying heads brought throughout passion the as pianoimprovisation. and vibes, At exemplified the outset theyjam band moved aimlessness from one singing (everything from coital groans to demonic - somewhat leavened when Bruckmann wrenched his soloswell asin powera smooth to the continuum. forefront. If the festival seemed at withisolated cups long of tonenoodling to another; solos. byThe the trio end of it keyboardisthad become growls to manic giggles), Tagaq mesmerized her straight horns’ tone into narrowed shrillness - while times With to be other a tale sets of showcasingtwo cities, Montreal everything and from Chicago, a solo Jozefan extended Dumoulin, sonic tapestry, featuring from visiting intense bassist oration Trevor to the audience, exuding sensuality with her movements bassist Anton Hatwich and Daisy maintained jazz saxophonistviolin recital Matana of contemporary Roberts brought notated them music together to a site- in Dunn,fun-house was mirrors just too of Lewis’ gauzy electronics. and lacking in any real while creating multilayered soundscapes buoyed by rhythms. Meanwhile the slurs, cries and honks “Gensspecific de happening couleur libres”, encompassing a work inspired schuhplatten, by African- drone melodic Ultimately content this to year’s be FIMAV interesting, was a thepolystylistic, musical Zubot’s processed instrument. This correspondent had masticated from bass clarinetist Jason Stein’s reed Americanguitars, action history painting and performed and free samplesby an ensemble of luncheon she equivalentmulti-cultural of too and much multi-generational cotton candy. Myanmar festival Meets of never seen or heard anything like it and reinforced in created the taut friction that epitomized free-form callsmeat, her the “MontrealKaleidophon 10”, truly which lived found up to freshits designation ways to Europeradical music, (traditional a celebration instrumentalists of the music’s accompanied potential by to just over 30 minutes why festival attendance is so improv. combineas a festival text for and all improvisation. types of advanced music. v Europeanrenew itself jazzers) and to refresh had lots the of spirits cultural of its interest listeners. but v mandatory. v Rempis’ Percussion 4Tet also offered an updated There is always strong representation of Quebecois never really gelled as an ensemble, seeming overly variant of energy music: the leader’s alto and tenor musicMore information at FIMAV visit,and this jazzatelier.at/kal_e.htm year was no exception. The stitchedFor more information, together. The visit German fimav.qc.ca trumpet-drum duo For more information, visit moers-festival.de Ulrichsberger Kaleidophon 2012 - Pressespiegel Ulrichsberger Kaleidophon saxophone lines often came across as if played by a Maïkotron Unit, the long-standing trio that combines Dus-Ti, liberally frosted with electronics, would have combination of Charles Gayle and Big Jay McNeely; modal and free jazz improvisation with reed-player been better if something other than tedious breakbeats Ingebrigt Håker Flaten rigidly pulled and thickly Michel Côté’s “maïkotrons” (homemade combinations were propelling the electric-Miles-era trumpet. And stroked his bass strings while Daisy and Frank Rosaly of brass and reed instruments that burble with a host the Pan-European Phalle Fatale, featuring two singers, pummeled ruffs, claps and bangs from dual drum kits. of unrelated sounds), played a fascinating set with two bassists and drums was a bit tooNEW much YORK’S of pop- ONLY HOMEGROWN JAZZ GAZETTE! Surprisingly, when not wedded to the backbeat, both trumpeter Stephen Haynes as guest. Ensemble hiphop-jazz mishmosh to be successful. percussionists produced subtle rhythms as well: Rosaly Supermusique assembled leading Montreal figures Which leaves only the revelatory• EXCLUSIVE sets. Gunter CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY with graceful tap-dance-like strokes and Daisy with like saxophonists Jean Derome and Joane Hétu and Hampel is a known commodity to this• COMPETITIVE reporter but & itEFFECTIVE ADVERTISING: [email protected] clean pops. turntablist Martin Tétreault in an electro-acoustic was nice to see the German legend - one of• the SUBSCRIPTIONS fathers AND GENERAL INFO: [email protected] Taking Rempis’ go-for-broke brutality one step nonet that playfully mixed and mangled genres at an of his country’s jazz scene - play for more than a further, trombonist Matthias Müller, guitarist Olaf accelerated pace, eventually launching an extended handful of disaffected New Yorkers; while the vocalsFOLLOW US ON TWITTER: @NYCJAZZRECORD Rupp and drummer Rudi Fischerlehner - all based in percussion piece that seemed to turn the entire group of daughter Cavana Lee Hampel were somewhat Berlin - reconfigured a heavy metal trio’s - electronics and strings included - into a brilliantly dubious, the hookup between Hampel Senior andWWW.NYCJAZZRECORD.COM instrumentation for improvised music,JazzWord.com/Toronto with Müller unified und drum-kit. The New The York Victoriaville-based City Jazz Record/New violist JeanYork saxist Johannes Schleiermacher was delicious. The and Rupp as the two lead voices. Often cradling his René led a particularly thoughtful project, a quartet bass-drum duo of Robert Landfermann and Jonas instrument vertically, Rupp’s distorted fingering or that38 July revived 2012 pieces| THE fromNEW numerousYORK CITY Montreal JAZZ RECORDBurgwinkel was a remarkable 30 minutes of single-line picking united with Fischerlehner’s hard experimentalists (like Derome) in a too-rare exploration improvisation that didn’t grow stale and always had smacks and press rolls to drive the tunes forward. of existing repertoire. exploratory forward momentum, never begging for a Meanwhile the substitution of Müller’s horn for a rock The festival ended as strongly as it had begun, missing ‘frontline’. But the finest moment of the Moers band’s electric bass added taste to the trio’s forceful with the trio of pianist Muhal Richard Abrams, Festival was the transcendent North Canadian duo of interpretations. The trombonist’s facility with a trombonist George Lewis and multi-reedist Roscoe vocalist Tanya Tagaq and violinist Jesse Zubot. plunger, hand mutes and slide positions meant that his Mitchell, who bring a tremendous collective wisdom to Employing a remarkably far-ranging type of throat tongue jujitsu and staccato braying brought passion as improvisation. At the outset they moved from one singing (everything from coital groans to demonic well as power to the forefront. isolated long tone to another; by the end it had become growls to manic giggles), Tagaq mesmerized her With other sets showcasing everything from a solo an extended sonic tapestry, from intense oration to the audience, exuding sensuality with her movements violin recital of contemporary notated music to a site- fun-house mirrors of Lewis’ electronics. while creating multilayered soundscapes buoyed by specific happening encompassing schuhplatten, drone Ultimately this year’s FIMAV was a polystylistic, Zubot’s processed instrument. This correspondent had guitars, action painting and free samples of luncheon multi-cultural and multi-generational festival of never seen or heard anything like it and reinforced in meat, the Kaleidophon truly lived up to its designation radical music, a celebration of the music’s potential to just over 30 minutes why festival attendance is so as a festival for all types of advanced music. v renew itself and to refresh the spirits of its listeners. v mandatory. v

More information visit, jazzatelier.at/kal_e.htm For more information, visit fimav.qc.ca For more information, visit moers-festival.de

NEW YORK’S ONLY HOMEGROWN JAZZ GAZETTE! • EXCLUSIVE CONTENT ON JAZZ AND IMPROVISED MUSIC IN NEW YORK CITY • COMPETITIVE & EFFECTIVE ADVERTISING: [email protected] • SUBSCRIPTIONS AND GENERAL INFO: [email protected] FOLLOW US ON TWITTER: @NYCJAZZRECORD WWW.NYCJAZZRECORD.COM

38 July 2012 | THE NEW YORK CITY JAZZ RECORD Ulrichsberger Kaleidophon 2012 - Pressespiegel OÖ-N achrichten , L inz Ulrichsberger Kaleidophon 2012 - Pressespiegel OÖ-N achrichten , L inz Ulrichsberger Kaleidophon 2012 - Pressespiegel Ulrichsberger Kaleidophon

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