It is currently Fri Sep 04, 2026 3:41 pm
FWIW, I'm not sure that Kobuku Senju is improvised (their concerts in the US last year mostly weren't), and I sure hope not.lukaz wrote:"Koboku Senjû is by far my favorite release of this year. Purely improvised, edgy 21 century jazz"- agreed on the last part. is jazz making it's comeback into EAI/post EAI?
ananas wrote:few of many releases which I liked this year - no special order
DVA - HU (Indies records)
I actually asked Martin Taxt the very question. Can't find his reply right now (I thought I had kept it). He said they had agreed on some loose guideline for the first and last tracks, like on the first we'll be mean and on the last really mean (or something along these lines), but the music was totally improvised.jon abbey wrote:FWIW, I'm not sure that Kobuku Senju is improvised (their concerts in the US last year mostly weren't), and I sure hope not.lukaz wrote:"Koboku Senjû is by far my favorite release of this year. Purely improvised, edgy 21 century jazz"- agreed on the last part. is jazz making it's comeback into EAI/post EAI?
thank you, I'm happy to read this!:)tadk wrote:ananas wrote:few of many releases which I liked this year - no special order
DVA - HU (Indies records)
Nice to see DVA here, HU is one of my 2010 favorites.
not an old-timer myself (relatively speaking), but I do agree with your assessment. Both on the effects of "this" music, and on "2 seconds". I rarely listen to other music these days, except in the presence of others.vamos wrote:i know i'm very ignorant to post about this music but the Pisaro/Sugimoto 2 Seconds piece has been quite eye opening for me. actually so much this year has been musically eye opening. on one hand i fear that by accepting this form into my life i risk "killing" much of the other music i listen to, and in a way I could be destroying more than just the music.
this is just a thought, i'm new here and i tend to be very Weeeirdd so bear with me.
2 Seconds
This piece has been something to get inside of most of the times I've listened to it. Right now I hear it a bit differently, I could be off the hook here but it sounds emotional even. It's warm, well for a minute there it was comforting even. Maybe someday I'll understand how one would be able to listen to that^ many albums of this throughout the year. As of right now I feel like I'm still clinging to something else, but there is definitely something hear I feel drawn to.
I think you're talking about track 2 ('b minor'), and vamos is talking about track 1 ('2 seconds').bedouin wrote:"2 seconds", been so eminently in a minor key makes it feel emotional, and comforting too as it switches to a major key towards the end of the piece.
hmm. it's funny, I think that description might apply to the other two 2010 Ersts at least as much. from my perspective, Erst continues to work in multiple directions, and time will tell how much each of them are explored.This disc feels like a substantial change in direction for Erstwhile, as big as the difference between the first (VHF) and the ones that followed it. not sure if it is a view of things to come.
i would say that it was a disappointing year for *recorded* improv, but a good year for improv as a whole. i think we're experiencing a 'changing of the guards' right now--the old guard's output is slowing, and the younger generation hasn't quite gotten their chops up.leroysghost wrote:a disappointing year for improv maybe, but a solid one overall.
well of course "recorded", it would be impossible to say otherwise with any real authority.p_ano wrote:i would say that it was a disappointing year for *recorded* improv, but a good year for improv as a whole.leroysghost wrote:a disappointing year for improv maybe, but a solid one overall.
i came into motubachii w/no knowledge/experience listening to annette krebs or taku unami, and i find most (aside from the first track) of the cd to be too dry and un-engaging. my dislike for the disc is partly because the material feels cut-up (post-assembled), and some of the sound "patterns" feel too arbitrary. i wonder what of the sounds/actions occurred live/unedited. also it's very clean, and the sounds feel too consistent. i suppose part of the appeal is figuring out what the sounds are? i've put it on a lot, and usually become annoyed or disinterested by the (seeming) repetitiousness of the limited sound palette. i really hate the moment where there's a bit of carnival-like music, sort of winding up and then cut short by one of those suitcase/door slamming sounds. it's aggravating! it feels smug! it's boring! (that instance) ..i like the album art.p_ano wrote: Annette Krebs + Taku Unami - motubachii [Erstwhile]
i had a stack of new releases on my desk but for some reason i kept listening to this disc. i love the way it was recorded--i love jon's production and sequencing (even the mischievous duplicate track). each track really feels 'on location' and the music really jumps out of the speakers for me. this, of course, is a signature of annette krebs and her use of highly amplified sounds.. hearing her approach had a major impact on my own music making: i started seeing the entire table of gear as an instrument, not just the individual pieces of equipment on the table. i have always appreciated a room mic to capture the sound of flipping tapes, and pressing buttons, and such, but now i've turned the gain on that room mic way up so that these sounds become very present in the mix. the normally faint sound of stopping a tape becomes a thunderous event, thus encouraging me to choose my actions wisely. i suppose this seems like an obvious thing to many improvisors, but i'm still an infant improvisor and there are so many lessons left to learn.. anyways, that's why i chose this record as my favorite of 2010.. it's been an enjoyable listen, and it's been educational. thanks again to Jon Abbey for consistently releasing quality improvised music. when every other record makes me cringe, i can always safely put on an erst release and expect it to deliver.
jon abbey wrote:I think you're talking about track 2 ('b minor'), and vamos is talking about track 1 ('2 seconds').bedouin wrote:"2 seconds", been so eminently in a minor key makes it feel emotional, and comforting too as it switches to a major key towards the end of the piece.
