Upset the Rhythm presents: BRIGID MAE POWER + AOIFE NESSA FRANCES
The bold voice of James Brandon-Lewis meets one of the UK's fiercest rhythm sections. A relatively new, young player, Lewis' credentials include having studied with with Charlie Haden and Wadada Leo Smith at Cal Arts and recorded top records with Jamie Branch and Chad Taylor. His playing is characterised by a strong attack but has a wicked way of threading a fine melody from a chunky chord. When Edwards matches him on a tone and the pair find themselves locking into Sander's smouldering, skittish groove it's magic - proper mid-air, heady free jazz. Solo sections from Sanders and Edwards testify to the fun had in our hot little room. We look forward to a reunion.
James Brandon-Lewis / tenor saxophone
John Edwards / double bass
Mark Sanders / drums
Recorded live at Cafe OTO by Shaun Crook on the 4th February 2019. Mixed and mastered by James Dunn.
James Brandon Lewis / John Edwards / Mark Sanders - 4.2.19
Glorias Navales are five member ensemble based in Santiago, Chile. Their jam is somewhere between Chilean folk music (ala Violeta Parra) and ramshackle post-Velvets psychedelia. Crafted on acoustic guitars, rabel and bombo chino (drum), this recording teases out lines from their stunning debut LP 'Cofradia Nautica' on Graham Lambkin's KYE, taking new, fuzzed out trips along the way. This particular show made Clive Bell's end of year list. ---
1. 12.4.17 - 41:19
Recorded live at Cafe OTO by Shaun Crook on Wednesday 4th April 2017. Mixed and mastered by Jimmy Dunn good again.
12.4.17 - Glorias Navales
Both the 1970 Hope College premiere, performed by a 14-piece ensemble, and a 1977 recording from Wesleyan University, performed by a 43-piece orchestra. The first commercially available release of this eerie, beautiful, and important Oliveros work. “Shortly after it was published in 1968 the SCUM Manifesto by Valerie Solanas fell into my hands. Intrigued by the egalitarian feminist principles set forth in the Manifesto, I wanted to incorporate them in the structure of a new piece that I was composing. The women’s movement was surfacing and I felt the need to express my resonance with this energy. Marilyn Monroe had taken her own life. Valerie Solanas had attempted to take the life of Andy Warhol. Both women seemed to be desperate and caught in the traps of inequality: Monroe needed to be recognized for her talent as an actress. Solanas wished to be supported for her own creative work. Commissioned by the Music Department of Hope College, Holland Michigan, To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation had its premiere in 1970. Though everyone knew Marilyn Monroe hardly anyone recognized Valerie Solanas or took her Manifesto seriously. I brought the names of these two women together in the title of the piece to draw attention to their inequality and to dedicate the piece.” – Pauline Oliveros.
“Much of Oliveros’s aesthetic is best understood as environment, areas of aural doldrums providing momentary and slightly queasy resting points, like the requisite standing back from a massive architectural work to take in the whole before venturing back in. In To Valerie Solanas and Marilyn Monroe, the hallmarks of Oliveros’s later philosophy and aesthetic are brought into direct play with politically-charged expressionism. Kudos to Minneapolis-based Roaratorio Records for uncovering such a significant work, a piece of music that will probably scare the living shit out of you. Valerie Solanas would be proud.” – Clifford Allen, Paris Transatlantic
“…it’s beautiful and strange, emotionally articulate, and I also believe it succeeds as a much less stilted approach to open composition than Cardew, Cage or Stockhausen. It is truly natural and unforced organic music, semi-scored and collaborative, making efficient use of the energy of the musicians she works with.” – Ed Pinsent, The Sound Projector
**** 4 stars : “Oliveros’ magnum feminist opus has a protracted tonal structure comparable to the work of Giacinto Scelsi. Its tenebrous expressivity is beautifully matched by the cover art…” - All Music Guide
To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation: for any group or groups of instrumentalists (6 to large orchestra), Smith Publications, c1977.
1970 Performance: at Wichers Hall, Hope College, Hope, Michigan; 6 October 1970. 1977 Performance: at Crowell Concert Hall, Wesleyan University, Middletown, Connecticut; 7 April 1977.
Pauline Oliveros - To Valerie Solanas And Marilyn Monroe In Recognition Of Their Desperation
"Gorgeously psychedelic debut by this new guitar/violin duo, created by two of the form's great maestros. Samara Lubelski and Bill Nace are both veterans of the American sub-underground. Between them they have many projects under many names on many labels. Most recently, however, the two have been focused on string-based duo aktion, Samara in cahoots with Marcia Bassett, and Bill with Kim Gordon in Body/Head. These two ensembles explore different expanses of the genre. The Lubelski/Bassett Duo focus on the powerful beauty of drone rainbow landscapes, while Body/Head venture into dialogues dealing with subconscious dream language. On this album Bill and Samara create a hybrid between these approaches, offering textual interactions that blaze like fire. On the five tracks of their eponymous LP, Samara's violin creates a base of long form string distention, against which Bill's amp-shudder creates event surges that fill your brain with frozen images of walls caught in mid-collapse, and continents sinking into a sea. Their motion has tectonic implications. About all I can compare it to is momentary flashes of A Handful of Dust (the Bruce Russell/Alastair Galbraith unit), but the intent here seems quite different, and as mentioned before, the results feel bracingly psychedelic. Have not had a chance to spin this after an acid drop yet. Will wait for the actual LP to do that, but I'm thinking it will make for a most excellent pairing. I suggest you consider the same. Tout de suite." - Byron Coley
Samara Lubelski / violin
Bill Nace / guitar
Cover art Spencer HerbstScreened on Stoughton Tip On Covers by Alan Sherry
Samara Lubelski / Bill Nace – Samara Lubelski / Bill Nace
Sold out as a CD, we're pleased to add this classic duo's second release to the shop. Dada-da follows the debut vinyl release (also on Leo) Ammo, and was recorded in London by Emanem's Martin Davidson.
Phil Minton / vocals
Roger Turner / percussion
1. Ah Ha - 2:192. Wa Wa - 3:503. Lala La La La - 5:184. Car - 4:475. Za Za - 10:386. Chacha Cha - 13:197. Ba Ba - 3:588. La Du Da - 5:369 . Dee Da - 4:3310. Da Da - 0:35
Recorded at the Singapore Pedang, London, 18 January, 1993 by Martin Davidson. Artwork by L. Denis. Remastered by D. Bernez.
Phil Minton and Roger Turner - Dada da
Brotzmann's mighty Tentet with Joe McPhee, Mats Gustafsson, Ken Vandermark, Paal Nilssen-Love, &c. live at Molde, Norway in 2007.
"Three compositions showing all the expressive force and spontaneity of these free improvisers. At Molde 2007 is a recording that could narrate all the accumulated experience and the communicative capability of this ensemble; a decade of genuine artistic effort by the Tentet from Chicago."
Peter Brötzmann / reedsJohannes Bauer / tromboneMats Gustafsson / saxophonesPer-Ake Holmlander / tubaKent Kessler / bassFred Lonberg-Holm / celloJoe McPhee / trumpetPaal Nilssen-Love / drumsKen Vandermark / reedsMichael Zerang / drums
Chicago Tentet - At Molde 2007