Wade Matthews and Javier Pedreira in the Museo de Bellas Artes de Valencia
22 June 2013.
Vídeo: Damià Jordà.
audiotalaia.net/offhz/acerca-de/
A place to support Independent Sound Art
Monday, September 30, 2013
Wade Mathews / Javier Pedreira
Wade Matthews and Javier Pedreira in the Museo de Bellas Artes de Valencia
22 June 2013.
Sunday, September 29, 2013
Raul Midón Slap Technique
Raúl Midón (born March 14, 1966) is a singer-songwriter and guitarist from New Mexico, based in New York City. He combines his distinct voice, strumming, beats, and vocal mouth trumpet sounds to create a one-man performance. His unique style shows influence of virtually every musical genre which came before him, including jazz, blues, R&B, and folk. Midón is blind from infancy.
Pinkdraft
"Pinkdraft is a quartet (Ricardo Jacinto cello / Nuno Torres alto sax / Nuno Morão objects / percussion / Travassos amplified objects, tapes, circuit bending) where Morão´s percussion and objects, and Travassos amplified objects, tapes, and circuit bending inventions, articulate their noisy and organic rhythm constructions with the language developed by Cacto (Nuno Torres and Ricardo Jacinto). A polyphonic approach to noise has made the quartet more aware of the representational landscape properties of the music they´ve been recording. Using graphic scores and open forms for improvisations along with presentations in non-conventional venues, have implied spatialization of musicians to better address the acoustic characters of the different spaces."
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Ricardo
Jacinto
Saturday, September 28, 2013
Filipe Felizardo
ƒ
Filipe Felizardo / Miguel Sa
Sabaduos
&
Filipe Felizardo
Live at Trem Azul
Free Music Archive
Foto: Paulo Gomes
13questions Sheryl Bailey
13 QUESTION METHOD: SHERYL BAILEY
Guitarist Sheryl Bailey is among the foremost bop-based guitarists to have emerged in the 1990’s. Jazz journalist Bill Milkowski described her this way: “a modernist burner with an abundance of Pat Martino-style chops, Bailey prefers angular lines, odd harmonies, and the occasional touch of dissonance as she sails up and down the fretboard with fluid abandon.” Her musical activities aren’t confined to the bop-based jazz tradition, however. She has toured and recorded with eclectic bassist Richard Bona, and is a member of David Krakauer’s Klezmer Madness.
One of her latest release is Bull’s Eye — with organist Gary Versace and drummer Ian Froman. The CD features nine new compositions and tightly woven trio improvisations. A track from the disc, “Old and Young Blues,” is featured in Master Anthology of Jazz solos, vol. IV, published by Mel Bay. Bailey is also working on a book for Mel Bay about modern approaches to jazz improvisation. Her last recording is A New Promise in Puremusic Records, with the Pittsburgh's excellent 16-piece Three Rivers Jazz Orchestra. She also teaches at Berklee, and at Stanford University's summer workshops.
1. Which was the first record you bought with your own money?
Peter Frampton — Frampton Comes Alive.
2. Which was the last record you bought with your own money?
John McLaughlin — Extrapolation.
3. What was the first solo you learned from a record — and can you still play it?
The first guitar solo was Alvin Lee [with Ten Years After] on “I’m Going Home,” from the Woodstock record. The first jazz solos I learned were saxophonist Paul Desmond on “Body and Soul” and an Oscar Moore solo from a Nat Cole Trio recording I had. I can’t play any of these solos note for note now, but they are all part of the stew.
4. Which recording of your own (or as a sideman) are you most proud of, and why?
The Power of 3, because it was done in just one day and we played our butts off! Also, David Krakauer’s Live in Krakow, because it was a fun recording situation — we recorded live shows for four nights straight. The audiences were so lively, the record is a nice souvenir of the event.
5. What’s the difference between playing live and playing in a studio?
Live, you have the influence of the audience’s energy. When you have a band that plays with a big dynamic range, you bounce it off of the listeners and it can get really intense. You could almost consider the audience another member of the band, because they contribute so much to the performance.
6. What’s the difference between a good gig and a bad gig?
I think that is all in the mind, unless there are some bizarre technical problems. Performance wise, I’m always a harsh critic of my work. It’s funny — often times if a gig is recorded and I hear it after the fact, I’m surprised. If it didn’t feel so good during the gig, it usually sounds good later, and vice versa. If the audience is happy, and if I’m a side-person and the leader is happy, then I’m basically happy. So I try not to judge things, and go with the flow.
Jazz guitarist, Sheryl Bailey shares her musical motivations and inspirations with Bill Brower at Twins Jazz from Joseph A. Beasley Jr .
7. What’s the difference between a good guitar and a bad guitar?
A good or great guitar makes it effortless to express your ideas. A bad guitar could be bad because of it’s tonal qualities or set-up. Some guitars don’t have a voice, or they suck the tone back into themselves instead of singing out. A lot new guitars these days have so much glossy finish on them that sucks up the sound.
The set-up is really important. I like heavy strings and a fast action. I want all of the notes to speak evenly and quickly. I want the strings to feel a little stiff, so there’s some bounce for my right hand and room to dig in without getting an ugly, pingy sound.
8. You play electric and acoustic. Do you approach the two differently?
Actually, I rarely get called to play acoustic, so it sits in the closet. It would be fun to have some experiences to really learn about the difference.
9. Do you sound more like yourself on acoustic or electric?
N/A.
10. Do you sound like yourself on other people’s guitars?
Yes, because of the content of my ideas and the way I touch the instrument. There can be many factors that make the sonic quality different, but I’m sure you’d recognize my voice.
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11. Which living artist (music, or other arts) would you like to collaborate with?
David Bowie, or Laurie Anderson.
12. What dead artist would you like to have collaborated with?
Miles Davis.
13. What’s your latest project about (2011)?
I’ve had a trio with Gary Versace on Hammond B3 and Ian Froman on drums since 2001. I write music for the sound of organ trio, and for the vibe of those two players in mind. I was very influenced by the Grant Green/Larry Young/Elvin Jones trio, and I’ve played with several organists over the years, so I wanted to take something very traditional but approach it from a modern standpoint. There is a strong foundation of the post-bop tradition, but something contemporary about how we play. We can draw from so many influences.
I write a lot of music. We have a solid book of over 50 tunes. I write music that is simple and melodic, and most importantly, fun to blow on. The band is about the joy of improvising and, having worked together over the years, it has gone in directions that I couldn’t have imagined.
We’ve also developed a following, which has been very rewarding for me. When people come to shows and request tunes of mine that they know, I feel like they have been a guest at my house, because writing is the most intimate expression of my inner landscape. Even though there are no lyrics, the songs are all connected to places and faces. In the fall, we’ll record a live record. I am excited, because our live shows are off the hook. That’s where it gets the most intense.
2013 Isle of Klezbos and Sheryl Bailey Duo
Saturday, 28 September 2013, 08:00pm
Isle of Klezbos and Sheryl Bailey Duo play the Kleinert/James Center for the Arts, 36 Tinker Street, Woodstock.
For more information visit www.klezbos.com.
http://www.melbay.com/Products/21873CDVD/sheryl-bailey-3-live-in-nyc.aspx
http://www.amazon.com/Mel-Bay-presents-MBGU-Reharmonizing/dp/0786679360
http://www.sherylbailey.com/
13 Questions INDEX
Guitarist Sheryl Bailey is among the foremost bop-based guitarists to have emerged in the 1990’s. Jazz journalist Bill Milkowski described her this way: “a modernist burner with an abundance of Pat Martino-style chops, Bailey prefers angular lines, odd harmonies, and the occasional touch of dissonance as she sails up and down the fretboard with fluid abandon.” Her musical activities aren’t confined to the bop-based jazz tradition, however. She has toured and recorded with eclectic bassist Richard Bona, and is a member of David Krakauer’s Klezmer Madness.One of her latest release is Bull’s Eye — with organist Gary Versace and drummer Ian Froman. The CD features nine new compositions and tightly woven trio improvisations. A track from the disc, “Old and Young Blues,” is featured in Master Anthology of Jazz solos, vol. IV, published by Mel Bay. Bailey is also working on a book for Mel Bay about modern approaches to jazz improvisation. Her last recording is A New Promise in Puremusic Records, with the Pittsburgh's excellent 16-piece Three Rivers Jazz Orchestra. She also teaches at Berklee, and at Stanford University's summer workshops.
1. Which was the first record you bought with your own money?
Peter Frampton — Frampton Comes Alive.
2. Which was the last record you bought with your own money?
John McLaughlin — Extrapolation.
3. What was the first solo you learned from a record — and can you still play it?
The first guitar solo was Alvin Lee [with Ten Years After] on “I’m Going Home,” from the Woodstock record. The first jazz solos I learned were saxophonist Paul Desmond on “Body and Soul” and an Oscar Moore solo from a Nat Cole Trio recording I had. I can’t play any of these solos note for note now, but they are all part of the stew.
4. Which recording of your own (or as a sideman) are you most proud of, and why?
The Power of 3, because it was done in just one day and we played our butts off! Also, David Krakauer’s Live in Krakow, because it was a fun recording situation — we recorded live shows for four nights straight. The audiences were so lively, the record is a nice souvenir of the event.
5. What’s the difference between playing live and playing in a studio?
Live, you have the influence of the audience’s energy. When you have a band that plays with a big dynamic range, you bounce it off of the listeners and it can get really intense. You could almost consider the audience another member of the band, because they contribute so much to the performance.
6. What’s the difference between a good gig and a bad gig?
I think that is all in the mind, unless there are some bizarre technical problems. Performance wise, I’m always a harsh critic of my work. It’s funny — often times if a gig is recorded and I hear it after the fact, I’m surprised. If it didn’t feel so good during the gig, it usually sounds good later, and vice versa. If the audience is happy, and if I’m a side-person and the leader is happy, then I’m basically happy. So I try not to judge things, and go with the flow.
Jazz guitarist, Sheryl Bailey shares her musical motivations and inspirations with Bill Brower at Twins Jazz from Joseph A. Beasley Jr .
7. What’s the difference between a good guitar and a bad guitar?
A good or great guitar makes it effortless to express your ideas. A bad guitar could be bad because of it’s tonal qualities or set-up. Some guitars don’t have a voice, or they suck the tone back into themselves instead of singing out. A lot new guitars these days have so much glossy finish on them that sucks up the sound.
The set-up is really important. I like heavy strings and a fast action. I want all of the notes to speak evenly and quickly. I want the strings to feel a little stiff, so there’s some bounce for my right hand and room to dig in without getting an ugly, pingy sound.
8. You play electric and acoustic. Do you approach the two differently?
Actually, I rarely get called to play acoustic, so it sits in the closet. It would be fun to have some experiences to really learn about the difference.
m
9. Do you sound more like yourself on acoustic or electric?
N/A.
10. Do you sound like yourself on other people’s guitars?
Yes, because of the content of my ideas and the way I touch the instrument. There can be many factors that make the sonic quality different, but I’m sure you’d recognize my voice.
11. Which living artist (music, or other arts) would you like to collaborate with?
David Bowie, or Laurie Anderson.
12. What dead artist would you like to have collaborated with?
Miles Davis.
13. What’s your latest project about (2011)?
I’ve had a trio with Gary Versace on Hammond B3 and Ian Froman on drums since 2001. I write music for the sound of organ trio, and for the vibe of those two players in mind. I was very influenced by the Grant Green/Larry Young/Elvin Jones trio, and I’ve played with several organists over the years, so I wanted to take something very traditional but approach it from a modern standpoint. There is a strong foundation of the post-bop tradition, but something contemporary about how we play. We can draw from so many influences.
I write a lot of music. We have a solid book of over 50 tunes. I write music that is simple and melodic, and most importantly, fun to blow on. The band is about the joy of improvising and, having worked together over the years, it has gone in directions that I couldn’t have imagined.
We’ve also developed a following, which has been very rewarding for me. When people come to shows and request tunes of mine that they know, I feel like they have been a guest at my house, because writing is the most intimate expression of my inner landscape. Even though there are no lyrics, the songs are all connected to places and faces. In the fall, we’ll record a live record. I am excited, because our live shows are off the hook. That’s where it gets the most intense.
2013 Isle of Klezbos and Sheryl Bailey Duo
Saturday, 28 September 2013, 08:00pm
Isle of Klezbos and Sheryl Bailey Duo play the Kleinert/James Center for the Arts, 36 Tinker Street, Woodstock.
For more information visit www.klezbos.com.
http://www.melbay.com/Products/21873CDVD/sheryl-bailey-3-live-in-nyc.aspx
http://www.amazon.com/Mel-Bay-presents-MBGU-Reharmonizing/dp/0786679360
http://www.sherylbailey.com/
13 Questions INDEX
Adam Levy
Border Music: David Hidalgo & Marc Ribot
David Hidalgo is the driving vocal and guitar force of East LA’s Los Lobos and Latin Playboys, the former of which took border-hopping cultural collisions onto the world stage with a series of chart-topping songs and albums.
Marc Ribot (ex Tom Waits ex Lounge Lizards and just plain excellent guitarist) is the ex leader of downtown NY’s “The Prosthetic Cubans” (Los Cubanos Postizos).
Their musical excursions across the borders between cultures, styles and genres were the perfect preparation for this ambitious new project. West Coast meet East Coast, Real meets Prosthetic, and guitar meets guitar in a rocking post roots pan Latin rave up/descarga. Together they have forged a unique partnership where immigrant neighborhoods meet intellectual nuance – creating truly new music to stir your heart, challenge your head and move your body. They’re accompanied by original Cubanos Postizos cohorts Brad Jones (bass), Anthony “The Professor” Coleman (keyboards), EJ Rodriguez (perc), and drummer Cougar Estrada of Los Lobos.
“At times Ribot played with the wasp-like sting of the young, Bluesbreakers-era Eric Clapton, Hidalgo replying with legato lines rich in lyricism. At other times they reversed these roles or mixed them up. The result: a profoundly memorable evening.” - The Australian review at Sydney Opera House
"Choserita Plena" - Live at Sydney Opera House
"Chinese Surprize" - Live at Sydney Opera House
“David Hidalgo & Marc Ribot duo at Cactus Café (Austin)”
David Hidalgo and Marc Ribot perform Merle Haggard's The Running Kind
David Hidalgo and Marc Ribot, The Neighborhood
Photos:
Press:
Austin 360’s preview of Border Music (Link | PDF)
Border Music Australian Review (Link | PDF)
Performance History:
Click on Tours and Events for current and future dates
1/26/2013 - Hidalgo and Ribot in DUO - Flynn Center of the Performing Arts - Burlington, VT
10/24/2012 – SFJazz Festival
10/23/2012 – Hidalgo and Ribot in DUO - L2 Arts & Culture Center - Denver, CO
Border Music in Residency presented by Texas Performing Arts:
11/28/11: Center for Mexican-American Studies (UT Austin). David & Marc discuss Border Music.
11/28/11: Guitar Workshop w/ Marc Ribot
11/29/11: Cactus Café (Austin): David and Marc discuss Border Music w/ Jody Denberg for KUT’s “Views and Brews”
11/30/11: (US Premiere) Texas Performing Arts at University of Texas at Austin – Bass Hall
8/22/11: Strad Blu Festival (Faenza, Italy). David Hidalgo & Marc Ribot Duo
6/2/10: VividLive Festival at Sydney Opera House. Curated by Laurie Anderson & Lou Reed
10/10 & 10/11/09: (Premiere) Century of Song Festival – RuhrTriennale (Germany). Curator and musical director Marc Ribot
source: http://www.marcribot.com/bordermusic.html
Friday, September 27, 2013
Steve Eliovson
South-African jazz guitarist, having recorded his critically acclaimed debut Dawn Dance in 1981, Eliovson completely disappeared from the music industry for reasons as of yet unknown.
“I just got back from Cape Town, S Africa … I spent a week and a 1/2 making a nuisance of myself at various gigs/jams. I got to sit in with Bensonphile, Richard Caesar, Wes-o-phile, Alvin Dyers and other sundry bands/guys. So on saturday I was invited to a party at great pianist Robert Payne’s pad. There were a few people there, and one guy was introduced as “Steve”. About 1/2 way thru the nite I heard “Steve” mention recording in Germany. I tentatively asked him for his last name, and his response FLOORED me: Eliovson. This was the legendary Steve Eliovson who recorded on ECM in ’80 and promptly vanished. He is a legend amongst SA gtr players, and here he was in front of me alive and well !!!!! He told me lots of stories of hanging with Towner and Abercrombie et al, and how the exigencies of survival forced him to abandon his gtrs in NY storage NEVER to return to music – sad freaking story … Anyway I pulled out my gtr and he played a bit. Rusty, but with glimpses of a Mclaughlin style … He told me he was in Europe to record his 2nd ECM date and the weekend before recording commenced he broke a leg ski-ing in the Alps. It all began to fall apart for him after that. They postponed the rec. date, and Steve went back to NYC where he was living at the time. He said he couldn’t really play gigs or get around with a cast up to his hip in NY and he was living on someone’s couch. He decided to store his belongings and head back to SA to regroup. He never got back … and it seems he lost momentum … I could sense the sad regret/loss behind his eyes … He mentioned hanging with Richie Bierach in those days, and that Richie was living in a literal “shoebox”: one room with barely space to move. He also recalled jams with Towner and Abercrombie where they all got so stoned that guys were literally falling over while playing … His sad story reconfirmed to me that if you can simply find a way to keep playing music in your life (never mind being a “star” or “famous”) you can count yourself lucky …”
(Tom Marcello)
Charlotte Moorman
Famously described by composer Edgar Varese as "the Jeanne d'Arc of new music", Charlotte Moorman was a central figure of the New York avant garde of the 1960s and'70s. Both as a performer of new music and an organizer of exhibitions, she became one of the iconic figures of the period.
Charlotte Moorman was born in 1933 in Little Rock, Arkansas. She began a traditional concert hall career (she studied classical cello at Julliard and was for several years a member of American Symphony Orchestra under Leopold Stokowski) but was soon drawn into the active mixed-media performance art scene of the 1960s. She became a close associate and collaborator of Korean avant-garde artist Nam June Paik, with whom she toured widely.
Paik created some of his best-known pieces for her, including TV Bra for Living Sculpture (1969), TV-Cello (1971)with two small television receivers attached to her breasts, Charlotte Moorman with Human Cello and she was featured in many of his classic performances and videotapes, including Global Groove (1973).
Charlotte Moorman with Human Cello.
In this piece Paik would hold a cello string
behind his bare back and Moorman would play cello on the human body.
Charlotte Moorman as well as being a star performer of avant-garde pieces, she was an effective spokesperson and negotiator for advanced art, charming the bureaucracies of New York and other major cities into co-operating and providing facilities for controversial and challenging performances. The years of the Avant Garde Festival marked a period of unparalleled understanding and good relations between advanced artists and local authorities.
Cut pieces by Yoko Ono
Charlotte Moorman performed this version of Yoko Ono's "Cut Piece" at
the ORF Television Studios in Linz, Austria, for the Sky Art
Conference/Ars Electronica in 1982. This is one of a series of
performances by Charlotte Moorman and Nam June Paik that took place for
this event. Charlotte Moorman was involved with the Fluxus movement of avant-garde and performance art and was a friend and associate of many well-known artists of the late twentieth century, including Wolf Vostell, John Cage, Joseph Byrd, Yoko Ono, Jim McWilliams and others. In 1966 artist Joseph Beuys created his work Infiltration Homogen für Cello, a felt-covered violoncello, in her honor.
The Joseph Beuys felt-covered cello
Another memorable piece was her performance of Jim McWilliams' Sky Kiss in many locations including New York and Sydney, Australia, which involved her hanging suspended from helium-filled weather balloons or the brightly colored inflatable sculptures of Otto Piene.
Sky Kiss. Otto Piene brought Charlotte Moorman to the Sky Art Conference/Ars Electronica in Linz, Austria in 1982 to perform "Sky Kiss". With the assistance of many volunteers, an array of helium-filled tubes was gathered together, and Charlotte and her cello were lifted off the ground in the vicinity of the Danube River. The video begins with an interviewof Charlotte on the roof top of her New York studio in 1982, just prior to the performance in Austria.
Body artist Carolee Schneemann maintains a memorial page for Moorman on the Web.
Charlotte Moorman (1933-1991)
Originally broadcast December 12 & 17, 1964. A Recording of the Annual Avant Garde Festival Program of August 30, 1964.
From an original announcement card: Avant Garde Concert III. Third in a
series of concerts recorded by WBAI this fall at Judson Hall. Cellist
Charlotte Moorman is assisted by pianist Nam June Paik and soprano
saxophonist Terry Jennings. In the Cage opus she utilizes not only her
cello but additional whistles, chains, balloons (for breaking), etc.
with recorded supplements such as the Queen Mary's departure blast and
sounds from Big Ben. In Stockhausen's 'Plus-Minus', Miss Moorman is
assisted by a full-size robot named Robot Opera, built by Nam June Paik.
Charlotte Moorman interviewed by Harvey Matusow
Interviewed at BBC New York Studios, NYC October 1969.
Subject: Avant Garde Arts in NY
7.
Part 1
8.Part 2
Interviewed at BBC New York Studios, NYC October 1969.
Subject: Avant Garde Arts in NY
7.
Part 1 8.
Part 2 
Charlotte's Answering Machine
9.Answering Machine: Labeled "Lennon, Cage, Yoko, Thanksgiving, Paik. November 24-December 6th"
9.
Answering Machine: Labeled "Lennon, Cage, Yoko, Thanksgiving, Paik. November 24-December 6th" 
Duet II by Toshi Ichiyanagi
10.Duet II by Toshi Ichiyanagi [Charlotte Moorman, cello. Nam June Paik, piano (rehearsal)]
10.
Duet II by Toshi Ichiyanagi [Charlotte Moorman, cello. Nam June Paik, piano (rehearsal)] 
Charlotte Moorman performance: TV Cello with Nam June Paik (Reflection Press)
11. TV Cello with Nam June Paik: Part 1
12. TTV Cello with Nam June Paik: Part 2
11.
TV Cello with Nam June Paik: Part 1
12.
TTV Cello with Nam June Paik: Part 2
Concert for TV Cello and Videotapes, Nam June Paik with Charlotte Moorman, Museum of Contemporary Art, Chicago, 9/82
Performed by Charlotte Moorman with Paul Garrin.
13. Concert for TV Cello and Videotapes: Part 1
14. Concert for TV Cello and Videotapes: Part 2
15. Concert for TV Cello and Videotapes: Part 3
Performed by Charlotte Moorman with Paul Garrin.
13.
Concert for TV Cello and Videotapes: Part 1
14.
Concert for TV Cello and Videotapes: Part 2
15.
Concert for TV Cello and Videotapes: Part 3
The Long Hot Summer by Jackson Mac Low
From the 3rd Annual Avant Garde Festival of New York, Judson Hall 1966. Performers included Yoko Ono and Takehisa Kosugi, amongst others.
16. The Long Hot Summer
From the 3rd Annual Avant Garde Festival of New York, Judson Hall 1966. Performers included Yoko Ono and Takehisa Kosugi, amongst others.
16.
The Long Hot Summer
Waiting for Commercial by Nam June Paik
Performed by David Behrman and Charlotte Moorman
17. Waiting for Commercial
Performed by David Behrman and Charlotte Moorman
17.
Waiting for Commercial
26'1.1499" For a String Player by John Cage
Short version from unique lacquer disc.
18. 26'1.1499" For a String Player
Short version from unique lacquer disc.
18.
26'1.1499" For a String Player
Charlotte Moorman Live at Mills College 3/8/74
Variations on a Theme by Saint-Saens, Nam June Paik
19. Variations on a Theme by Saint-Saens
Variations on a Theme by Saint-Saens, Nam June Paik
19.
Variations on a Theme by Saint-Saens
So Langweilig Wei Moglich, Nam June Paik, Charlotte Moorman, July 25, 1966, Aachen, Germany
Assembly and mastering by Stephen Vitello.
Courtesy Barbara Moore/Bound & Unbound & Andrew Gurian, © Estate of Frank Pileggi.
sources: http://www.ubu.com/sound/moorman.html