Show Download: 7.26.10 First Eurogroove Performance!

31 07 2010

Eurocrime: being a synonym for the word Poliziotteschi…which we discussed here.

Here’s an interesting one. This recording finds us in the early stages of a new show we’re working on, playing hard hitting Eurocrime covers mixed with music we recorded for the documentary Eurocrime. We play this music in front of scenes from Eurocrime films being projected on the wall behind us. The idea being to give an authentic 70’s Italian funk vibe that you can sometimes even dance to (whaaaa?)

For the projection, I had a DVD of Eurocrime movie trailers that ended up being slightly more extreme than I had intended. Tons of violence and sex. It added to the vibe, but the rape was unexpected. Glows is no fan of rape…so I’m gonna retool the footage for our next go round!

We got some good and interesting writeups, and over all the response was very positive. I can’t wait to get everything tighter and add more tunes.

We performed 2 extended suites of tunes. Here’s how they broke down:

Eurogroove #1=One Against Many (Glows), Mark il Poliziotto (S. Cipriani), Betrayal (Glows), La Via Della Droga (Goblin), Corsa Mortale (P. De Luca).

Eurogroove #2=Roma Violenta (De Angelis Brothers), J & B (Glows), Drug’s Theme (E. Simonetti, Goblin), Racket (Glows)

There will be more, and it will be glorious!

Also, check out Through a Glass Darkly in the second set. Scott Clark and I just started a duo and have been using our free section in this song to work out new ideas.

Enjoy.

7.26.10 Balliceaux, RVA

Set 1 (First Eurogroove Performance)

1) Eurogrooves 1

2) Eurogrooves 2

Set 2

1) Beach of the War Gods

2) Up and Down

3) Winterlight

4) Through a Glass Darkly

5) Manhunt

6) Revolver

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Live mp3 Download: 7.25.10 Commercial Taphouse

29 07 2010

The first of two recent shows finds us back at Commercial Taphouse, playing for a full house and all warmed up after a long rehearsal earlier in the day. ENJOY!!!

And stay tuned, our show the next night will be online soon enough!

7.25.10 Commercial Taphouse, RVA

Set 1

1) Gary Glitter

2) The Silence

3) Across the Roof > Revolver

4) Beach of the War Gods

5) Manhunt

6) One Armed Swordsman

Set 2

1) I Crudeli

2) Winterlight

3) Nero

4) Security Lock

5) Up and Down





Another one for the Archive! Free Free Jazz!

29 06 2010

Our return to Commercial Taphouse went great. It was good to see Sean behind the bar again, and have a packed house to play for. We tried melding songs together in a different way for our first number, and it went great. It’s always fun to imagine these songs flowing together, and then having no idea what that would sound like until you’re actually doing it. At this point, the group is so comfortable with the material, that it’s fun to add some creative challenge to the usual mix of song/improv. Nothing is perfect though, and in this case, we didn’t get the whole second set recorded, but what we did get came out sounding good. We even played a new tune called The Boss, inspired by the Fernando Di Leo movie of the same name, though only the first few minutes got recorded. Enjoy!

6.27.10 Commercial Taphouse, RVA

Set 1

1) Revolver>Across the Roof>The Silence

2) One Armed Swordsman>Halloween>One Armed Swordsman

3) Manhunt

4) Winterlight

5) Up and Down

Set 2

1) Beach of the War Gods

2) The Boss (incomplete)





More Live Recordings!

18 05 2010

Two shows added to the Archives!

The first is a set we played at The Camel back in December. At one point in the show, Reggie knocked over his stand, and in a crowd full of musicians, the reaction was amazing, as you’ll see in the bonus track.

The second show comes courtesy of A Blog Supreme‘s Patrick Jarenwattananon, who was testing out a new device and broke it in by documenting our first DC show of ’10. He also took some pictures which we’ve put on our Facebook. Special thanks to Ed Ricart for setting that show up, and playing!

More announcements coming soon.

Enjoy!!!

12.7.09 The Camel, RVA

1) Gary Glitter > Turtle

2) Manhunt

3) Beach of the War Gods

4) Revolver

5) Through a Glass Darkly

6) Winterlight

Bonus: The Reggie Music Stand Reaction

5.5.10 Bossa, Washington, DC

Recorded by A Blog Supreme’s Patrick Jarenwattananon

1) Manhunt

2) Gary Glitter

3) One Armed Swordsman>Carpenter>One Armed Swordsman

4) Beach of the War Gods

5) Winterlight

6) John Carpenter Medley

7) Through a Glass Darkly





Ten Questions with Steven Bernstein

11 05 2010

Steven Bernstein is a composer/trumpeter that lives in NY. He leads the amazing bands Sex Mob and Millennial Territory Orchestra, and has played with many many many great musicians currently including Levon Helm and The Swell Season. I first met Steven when he visited Richmond to record with Fight the Big Bull—the sessions that would eventually become All is Gladness in the Kingdom, out now on CleanFeed Records. I took an arranging lesson with him, something that only Matt White had done up until that point. I didn’t know much about him, outside of his Diaspora work and Sex Mob, but I realized that he was a kindred spirit in his love of film and improvised music with direction. The lesson went great, and led to another one at his home in Nyack, NY where we ate pasta and listened to music all day, and I learned way too much! Bernstein’s interest in Richmond has really helped our scene immensely and we can’t thank him enough (though we constantly try)!

Be sure to check out his album with Fight the Big Bull and visit his site to find out when he’ll be in your area (or on Letterman).

1: What got you into creative/improvised music making, and what keeps you there?

I joined Peter Apfelbaum’s band at the end of 6th grade…in  the summer before 9th grade we started listening to the Art Ensemble of Chicago, and our practices started to involve  “free” improvisation…. this is what I do.

2: Breakthrough album(s) and Why?

What does this mean?

3: How do other art disciplines affect your work?

Everything affects my work…..

4: Favorite Film(s)?

I like all kinds of movies……its hard to pick a favorite……I don’t like films that are stupid. I also like the tv show Kojak, and Ernie Kovacs.

5: Favorite Film Score(s)?

It matters what day….today I am listening to the cd version of Taxi Driver, very different than the lp.

6: Favorite Fiction Reading?

I read fiction as road distraction…… mainly Elmore Leonard, Carl Hiasann, James Burke…..
I do love James Ellroy’s trilogy.

7: Favorite Non-Fiction Reading?

I read musician autobiography’s constantly, and biography’s…..also books about music… there is always a connection to be discovered. Recently reading bios of Hot Lips Page, Pee Wee Russell, Hollywood Film composers, and autobiography’s of Nelson Ridddle and George Martin.

8: Favorite Guilty Pleasure Music?

No music is a guilty pleasure.

9: Favorite Under Rated Musician(s)?

No musicians are rated….its not like anyone cares…the people that are rated are athletes and people on television
I would recommend listening to Jimmy Nottingham, Marcus Belgrave, David T. Walker, Billy May and Ray Lucas…all very successful musicians…but maybe you haven’t heard them.

10: Recommended Artist(s)/Shout Outs?

Dud Bascombe , Lester Young, Cornell Dupree, Defunkt, Ray Anderson, Jimmie Maxwell, Joe Mcphee, Jonathan Finlayson, Avishai Cohen.





Ten Questions with Matt White

3 05 2010

Matt White is a composer/guitarist based in our great city of Richmond, VA. He leads the band Fight the Big Bull, and they are just about ready to release their new collaboration with trumpeter Steven Bernstein All is Gladness in the Kingdom out May 11 on Cleanfeed Records. To honor this occasion, Matt has been kind enough to answer these questions, and next week you can look for the same questions answered by Steven Bernstein! Matt and I had worked together previously in the booking group Patchwork Collective, bringing some of the best improvisers to Richmond (including Ken Vandermark, Jandek, Tony Malaby, Tim Berne etc.), and giving them a new audience. That allowed us to form our own projects (who of course share many members) and put Richmond on the map. We’re still working on that last part…always! We also have a fantasy guitar duo playing nothing but 90’s music.

Be sure to join FTBB’s facebook group and keep up with them on their site and on myspace.

They’ve got some great collaborations in the works, including one with singer/musician David Karsten Daniels out in June on Fatcat Records!

1: What got you into creative/improvised music making, and what keeps you there?

My buddy’s mixtape that had Phish, the Allman Bros and Brooklyn Funkessentials on it….. from there Medeski Martin and Wood. They kind of opened up the whole world of improvised music to me.

I’m not sure what keeps me here other than an internal necessity to make music and for whatever reason my interests trend towards creative/improvised things.

2: Breakthrough album(s) and Why?

Charlie Haden’s Liberation Music Orchetra. Carla Bley is the best.

Steven Bernstein’s Diaspora Hollywood. Beautiful arranging, incredibly focused but very loose and organic. Enjoyable mentally physically and emotionally.

The Band’s Rock of Ages. So many things at work here. Allen Toussaint arranges music for The Band featuring Snooky Young and Howard Johnson among others.

Ken Vandermark’s Elements of Surprise. KV’s bold embrace of line over harmony was/is inspiring as well as the piano/guitar-less format. Ken also embraces history and tradition in a deep way that is very apparent in all of his recordings.

3: How do other art disciplines affect your work?

I’m inspired by excellence, work ethic, boundary pushing, creative organizing,  and individual voices everywhere – art disciplines and otherwise.

4: Favorite Film(s)?

I don’t really watch movies? Is that ok? I’m entertained so easily by movies on big screens its almost embarrassing. I loved Rockers.

5: Favorite Film Score(s)?

Don’t really do a lot of checking out film scores out but I did get really into Max Steiner’s King Kong score. I also enjoyed the score from Shutter Island which was really a 20th century classical music mixtape by Robbie Robertson which is kinda wild. I checked out a lot of James Bond scores because Steven Bernstein is way into those and also a lot of the early early Hollywood composers (Max Steiner, Alfred Newman, Franz Waxman) for the same reason.

6: Favorite Fiction Reading?

I only read Jules Verne.

7: Favorite Non-Fiction Reading?

Unfortunately, I only really read nerdy music books…

(in nor particular order)

The Rest is Noise

Reggae Music (first editions known as Bass Culture)

Early Jazz

Steve Lacy Conversations

The Jazzology Press New Orleans books

Space is the Place

Dr. John’s autobiography Under a Hoodoo Moon

I also just read Inside the Third Reich by Albert Speer and that was awesome.

8: Favorite Guilty Pleasure Music?

Lil’ Mama, …but I don’t feel that guilty about it.

9: Favorite Under Rated Musician(s)?

Karl Blau

Carla Bley

Pinson Chanselle

10: Recommended Artist(s)/Shout Outs?

I recommend folks come to Richmond and check out the kinda unbelievable scene here. I also recommend everyone check out early Carla Bley records… try Tropic Appetites, so far ahead of its time.





Ten Questions with Ken Vandermark

27 04 2010

Ken Vandermark is an experimental composer/reeds player living in Chicago, Il. His credits are too numerous to mention, but my favorites include his group the Vandermark 5, his work with Peter Brotzmann in Brotzmann’s Tentet, Territory Band, Powerhouse Sound (with fellow TQ alum Jeff Parker). He’s always on tour and always pushing his music in bold new directions. Truly one of my favorite musicians to follow (almost in a Grateful Dead kind of way). What started out as a great idea:

Me: “Hey Ken, we should do the interview on Twitter!”

Ken: “Sounds great!”

quickly collapsed when the realization hit that other people follow both of us, and the process was making the interview take longer and providing less information. I might try the Twitter thing again, but if so, limit it to a one day thing! Anyway, enjoy the interview and check out Ken’s Discography for some great new material, including releases with The Ex, The Frame Quartet, and a new duo album with Tim Daisy.

1: What got you into creative/improvised music making, and what keeps you there?

kenvandermark@glowsinthedark #1: I got into Jazz and Improvised Music by seeing it live all the time as a kid, my father took me to shows since I was 10.

kenvandermark@glowsinthedark #2: As I got older I wanted to hear more avant garde sounds- Joe Morris, Joe McPhee, Ayler, Cecil Taylor, Brotzmann, Kowald.

kenvandermark@glowsinthedark #3: Getting to work with some of the people who inspired me to play is a major force, keeping me driven to develop new work.

2: Breakthrough album(s) and Why?

kenvandermark@glowsinthedark I’d say that the 1st Vandermark Quartet album, Big Head Eddie was important, it made people outside of Chicago aware of us.

kenvandermark@glowsinthedark Meeting In Chicago w/Joe McPhee and Kent Kessler was significant, it was my 1st chance to work w/ an artist who shaped me.

kenvandermark@glowsinthedark Transatlantic Bridge by Territory Band-1 integrated my interests in American and European developments in Improvised Music.

3: How do other art disciplines affect your work?

I’d break the other arts and their influence on me into 3 main categories- film, painting, and Beckett.

Film has suggested ways to organize music with methods of cutting, montage, cross fades, etc.; building structures

that are not based on musical “conventions.” Painting, particularly by artists associated with the “New York School,”

has also suggested different ways to deal with form and content; in addition the discipline of these artists as they

faced ignorance and indifference has kept me focused on what I feel I need to do creatively, despite other people’s

opinions. And Beckett is about as focused as an artist can get. Plus, his editing process, getting to the crux of

communication, eliminating everything unnecessary, is something I need to keep learning from.

4: Favorite Film(s)?

“The Battleship Potemkin,” [Eisenstein]: Odessa Steps set the “rules” of editing, action, and visual organization for film.

“A Touch Of Evil,” [Welles]: hard to choose this over “Citizen Kane” (the other major film language “source”), but Welles’ use of sound and the camera in motion is still radical.

“A Clockwork Orange” [Kubrick]: perhaps my favorite director, his adaptation of Burgess’ novel is truly perfect.

“8 1/2” [Fellini]: film within a film structure about the creative act married to a Nina Rota score, bloody incredible.

“Seven Samurai” [Kurosawa]: hard to choose between so many great Kurosawa films, but this defines “kinetic.”

“The Good, The Bad & The Ugly” [Leone]: this covers all bases- story, cinematography, soundtrack, acting, genre study.

5: Favorite Film Score(s)?

5 favorite scores: 1. “The Good, The Bad And The Ugly” (Morricone); 2. “Duck You Sucker,” (Morricone); 3. “8 1/2,” (Rota); 4. “A Clockwork Orange,” (Carlos); 5. Carl Stalling’s music for the Warner Brothers cartoons.

6: Favorite Fiction Reading?

(sorry it’s taken a while): Favorite fiction writers are Beckett, Borges, Burroughs, Faulkner, Ellroy, JDenis Johnson.

7: Favorite Non-Fiction Reading?

Artists biographies and monographs: painters, musicians, filmmakers, photographers, writers.

8: Favorite Guilty Pleasure Music?

Funk and Reggae.

9: Favorite Under Rated Musician(s)?

Living: Ab Baars

Dead: Pee Wee Russell

10: Recommended Artist(s)/Shout Outs?

John Carter, Jimmy Giuffre, Don Cherry, Fredrik Ljungkvist, Magnus Broo, Paal Nilssen-Love, Håvard Wiik, Tim Daisy, Joe McPhee… How many would you like?