Alvin Fiedler Anthony Braxton Barbara Dane Bobby Zankel Cecil Taylor Leon Russell
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THE INDEPENDENT JOURNAL OF CREATIVE IMPROVISED MUSIC BARB BFFFFFFFF ANA ALVIN FIEDLER ANTHONY BRAXTON BARBARA DANE BOBBY ZANKEL CECIL TAYLOR LEON RUSSELL Jazz in South Africa Top Ten Critics Picks of 2016 International Jazz News CD Reviews Book Reviews DVD Reviews Obituaries Volume 43 Number 1 Jan Feb March 2017 HANS LÜDEMANN DAS REALE KLAVIER „There are musicians that are more real Hans Lüdemann – piano & virtual piano than others, real in the sense that they carry more truth in them as others... because the musician devotes himself without doubt completely to the music, lets himself be reached by the origin of what he wants to say without anything coming from elsewhere, neither an outer world or another source. This is what pianist Hans Lüdemann does on a CD entitled „das reale Klavier“ – in an incredible way, never heard new solo album and rarely with such on BMC records/MVD intensity“. nominated for „Deutscher notes des jazz/France, Schallplattenpreis 2016“ Michel Arcens, 2015 CD of the month – piano news 3/4 -2016 www.HansLuedemann.de vision of sound "Vincent has written some lovely tunes and plays them with a Debussy- like tension. More please, this is a fine mainstream pianist." Robert D. Rusch Cadence Magazine Future/memory jazz full of dynamism, melody and groove. Masterful composi- tions intimately performed. Beautiful music. Nick Luscombe, BBC Radio 3 Late Junction/FlomotionRadio Dynamic, sublime, refreshing. Occasionally too much of a good thing can be wonderful. Peter Wockner, Jazz and Beyond Captivating, vast shimmering piano impressionism with a unique sensitivity for sound. Robert Ratajczak, Longplay Available now on Vision Of Sound Records. www.simon-vincent.com 4.13.90 Easter Eve Easter 4.13.90 Guitar: Norm Zocher Norm Guitar: Design: Andrew Hurlbut Andrew Design: For fifteen years, so patiently. so years, fifteen For Percussion: Ricardo Monzon Ricardo Percussion: Photography: Paula Tatarunis Paula Photography: 2.6.2013 For fifteen years, I’ve waited patiently. waited I’ve years, fifteen For Drums: Pablo Bencid Pablo Drums: Mastering by by Mastering just as you are, embraced, and then released. then and embraced, are, you as just And so, when they make the movie of your life, Simone, I’ll be ready. ready. be I’ll Simone, life, your of movie the make they when so, And Bass: Alex Smith Smith Alex Bass: Mixing and editing: Antonio Oliart Antonio editing: and Mixing if only for a moment, to be seen be to moment, a for only if quicker than hunger. hunger. than quicker Vibes: Winnie Dahlgren Winnie Vibes: for The Arts, Watertown MA by Hiro Honshuku Hiro by MA Watertown Arts, The for all of you, guests of the big screen, worthy, screen, big the of guests you, of all it was the sweetness of the self melting through the fingers, fingers, the through melting self the of sweetness the was it Piano: Carmen Staaf Carmen Piano: 12, recorded April 13, 2008, at the Arsenal Center Center Arsenal the at 2008, 13, April recorded 12, Yet, like most desire, desire, most like Yet, Tuba: Bill Lowe Bill Tuba: Theatre, Cambridge, MA, by Hiro Honshuku and and Honshuku Hiro by MA, Cambridge, Theatre, astonishes: how beautiful you are, you beautiful how astonishes: Trombones: David Harris, Bob Pilkington Bob Harris, David Trombones: 11, recorded October 18, 2105 at the YMCA YMCA the at 2105 18, October recorded 11, crimsons your cheeks, your smile illuminates, smile your cheeks, your crimsons of her mind was disturbed. was mind her of French Horn: Jim Mosher Jim Horn: French Brandon Unpingco Brandon its temporary apple; a flush of joy of flush a apple; temporary its face to face with the hard blues. hard the with face to face by refusing to eat whilst the balance balance the whilst eat to refusing by Bill Fanning, Mike Peipman Mike Fanning, Bill Assistant engineers; Gonzalo Perez, Perez, Gonzalo engineers; Assistant I watch it watching you as you watch back, watch you as you watching it watch I blues, hard the with mouth to mouth The deceased did kill and slay herself herself slay and kill did deceased The Trumpets: Gary Bonhan, Bonhan, Gary Trumpets: Recording engineer; Leanne Ungar; Ungar; Leanne engineer; Recording elect in that big eye, all four facets ! facets four all eye, big that in elect push the last breath through, through through through, breath last the push Baritone Sax: Melanie Howell Melanie Sax: Baritone Berklee College of Music of College Berklee But look -- no, look ! -- it’s you and you and you and you and you it’s -- ! look no, -- look But light, red under sweat red like what the coroner wrote: coroner the what like Tenor Sax: Phil Scarff Phil Sax: Tenor 1-10 Recorded at The Ark Studio, Studio, Ark The at Recorded 1-10 time, of crest sinewave the on balance a my own versions of self-distaste, of versions own my Alec Spiegelman, Oliver Lake Oliver Spiegelman, Alec devour on our behalf. (Behold ! Be whole !) whole Be ! (Behold behalf. our on devour Rising up, from the depth depth the from up, Rising reading in you only you in reading Alto Sax: Jim Hobbs, Hobbs, Jim Sax: Alto whatever -- fish, flesh, flash -- its roving eyes roving its -- flash flesh, fish, -- whatever copy of you, Simone, as for a long time that’s all I wanted, too, too, wanted, I all that’s time long a for as Simone, you, of copy Flute & EWI: Hiro Honshuku Hiro EWI: & Flute melting through the fingers, the through melting the Jumbotron, panoptical, shilling panoptical, Jumbotron, the Every note an arrival, every tear a song. a tear every arrival, an note Every mirror.For, after all, they’ll only want a reasonable a want only they’ll all, after mirror.For, Voice: Rebecca Shrimpton Rebecca Voice: the sweetness of the self the of sweetness the (in ages past) hung helpless, now there hangs there now helpless, hung past) ages (in extravagant, optimistic, new life. new optimistic, extravagant, JCA Orchestra: JCA your shy, sweet, sidelong smile through my horn rims in the the in rims horn my through smile sidelong sweet, shy, your Yet, like most desire, it was it desire, most like Yet, for me or thee, but overhead where God where overhead but thee, or me for His music was a going forth in song, song, in forth going a was music His Helen Sherrah-Davies: Violin Sherrah-Davies: Helen We wish we knew. This twilight doesn’t gleam doesn’t twilight This knew. we wish We of the body in it’s moment of departure. of moment it’s in body the of having all these years been practicing practicing been years these all having Bill Lowe: Tuba Lowe: Bill bloodying my nose against the mirror -- mirror the against nose my bloodying are fogging over with desire. For what ? what For desire. with over fogging are Life became a blue vision vision blue a became Life to star. And of course I will graciously accept, accept, graciously will I course of And star. to Bass Clarinet Bass a dream to waken from, from, waken to dream a game, countdown to the show, our spectacles our show, the to countdown game, The knock will come. They will beg me me beg will They come. will knock The Melanie Howell Brooks: Brooks: Howell Melanie Oh, it would have been have would it Oh, Watch, damn you, listen, look, it’s Advent, pre- Advent, it’s look, listen, you, damn Watch, doctors’ bags a new ax, hauled gig to gig. gig. to gig hauled ax, new a bags doctors’ Phil Scarf: Sopranino Sax Sopranino Scarf: Phil blue noses and blue teeth clamped to each ear. each to clamped teeth blue and noses blue sound-- the in swallowed I’ll be ready. For fifteen years I’ve waited patiently. patiently. waited I’ve years fifteen For ready. be I’ll Hiro Honshuku: Flute Honshuku: Hiro itself defies imagining. defies itself Our fingers freeze. December, the North End, North the December, freeze. fingers Our that melody was drowned out, out, drowned was melody that when they make the movie of your life, Simone, life, your of movie the make they when Rebecca Shrimpton: Voice Shrimpton: Rebecca and the self that imagined you imagined that self the and so long, long, so JCA Winds and Strings: and Winds JCA quicker than hunger. And so so And hunger. than quicker But there’s gone, now, now, gone, there’s But just numbers in a stall. A good time ? Dial. ? time good A stall. a in numbers just had wound it’s thick song through him him through song thick it’s wound had Vessela Stoyanova: Marimba & Vibraphone & Marimba Stoyanova: Vessela goatery without ransom or rebirth, or ransom without goatery A dark red, honeyed stream, stream, honeyed red, dark A Helen Sherrah-Davies: Violin Sherrah-Davies: Helen out of your gray space. ) space. gray your of out and-heaven, locked in death-grip and in scape- in and death-grip in locked and-heaven, Melanie Howell Brooks: Baritone Saxophone Baritone Brooks: Howell Melanie Astor Piazzola, arranged by Helen Sherrah-Davies Sherrah-Davies Helen by arranged Piazzola, Astor I could have willed you there you willed have could I the nouveaux Manichees, gnostic as hell- as gnostic Manichees, nouveaux the white gardenias, edged in black. in edged gardenias, white Saxophones Sopranino & Soprano Tenor, Scarf: Phil Rebecca Shrimpton, Vessela Stoyanova, and 6, by by 6, and Stoyanova, Vessela Shrimpton, Rebecca (as if by sheer longing sheer by if (as We look. The armies gather, good and bad, and good gather, armies The look. We blooming on his back -- back his on blooming Rick Stone: Alto Saxophone Alto Stone: Rick Melanie Howell Brooks, Darrell Katz, Phil Scarff, Scarff, Phil Katz, Darrell Brooks, Howell Melanie a counterpoint of flowers, flowers, of counterpoint a Jim Hobbs: Alto Saxophone Alto Hobbs: Jim except 1, by Helen Sherrah-Davies, Jim Hobbs, Hobbs, Jim Sherrah-Davies, Helen by 1, except toward me as I’d wished -- -- wished I’d as me toward toward court and Christmas.