archive-com.com » COM » C » CREATIVESOURCESREC.COM

Total: 913

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • reviews_cs028
    recall Threadgill s hubkaphone or the early improvisations of the Creative Construction Company albeit with different musical sensibilities Like a door which opens slowly to reveal the room within the two long improvisations from June 2004 reveal themselves cautiously one fragment at a time as metals and tubes establish the space within which Kinoshita can roughly press his bow on the bridge Okura and Ezaki can wheeze and spit and hiss The first track is mostly percussive scrapings clicks and pops that bring the music to boil occasionally letting off steam The second is slightly more active both in terms of density and the occasional tonality that creeps in I was reminded of early Partch studies somehow An unpredictable satisfying disc Taken together this septet of discs is worthy not just for their quality but also for their documentation of this music and some of its lesser known players Rodrigues already has a new batch out In the meantime however don t miss out on some of these gems Jason Bivins Bagatellen The second trio is all Japanese affair Kazushige Kinoshita violin Masahiko Okura alto saxophone and tubes and Masafumi Ezaki trumpet and metals These tracks were recorded a year in a place called Tanker without any reference to city or country but I assume Japan All three improvisers are unknown to me but their two pieces are most definitely very Japanese on the edge of silence and sound there is an occasional tick a scraping or a blow here and there Maybe unfair because there is more happening here than on say the average Taku Sugimoto disc but this is all delicate and careful playing Listening to these thirty two minutes is an intense affair and leaves the listener quite tired behind Certainly not easy going music Frans de Waard Vital Le silence occupe une place toute particulière dans le travail de l équipe toute japonaise de Kenon Kazushige Kinoshita au violon Masahiko Okura au saxophone alto et aux tubes et Masafumi Ezaki à la trompette et aux métaux Leur concept est évoqué par le graphisme sobre et elliptique de la pochette Masafumi Ezaki fait partie de cette génération de trompettistes plombiers tels que Franz Hautzinger Axel Dörner Matt Davis Rajesh Mehta et Greg Kelley Ces musiciens ont complètement révolutionné l utilisation de la trompette dans la musique improvisée depuis quelques années Ils ont en commun la découverte et l exploitation d effets de timbres et de souffles en évitant de faire vibrer la colonne d air dans le pavillon Dans ce contexte l écoute de Kenon est intéressante On retrouve les effets sonores du cédé solo sur Hibari et on est étonné d entendre ce trio dialoguer ensemble dans cette démarche Chacun des trois instrumentistes a mis au point une attaque sur son instrument respectif trompette sax et violon dont le résultat sonore évoque celles de leurs camarades Comment ils y parviennent est mystérieux Le silence y est tout aussi omniprésent que dans Vasistas mais il intervient de

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_028.html (2016-02-11)
    Open archived version from archive

  • linernotes_cs029
    while Klaus uses a laptop with material based on sine waves which he can organize and manipulate in various ways The conjoined sound of the clarinet and sine waves result in a rich spectrum of difference tones and beat frequencies which is a basic focus of the duo besides of a wide range of dynamics and pitches The duo sound includes very transparent and quiet noise sections droning clusters beauteous

    Original URL path: http://www.creativesourcesrec.com/catalog/liner_notes/linernotes_029.html (2016-02-11)
    Open archived version from archive

  • reviews_cs029
    in der experimentellen Musik kurz nach der Jahrtausendwende nach all den vorangegangenen Noise Eruptionen der Untersuchung der Stille der Abwesenheit von Lärm des Leisen so viel Aufmerksamkeit geschenkt wurde Dann könnte auch diese CD als Studienobjekt herhalten Man hört die Klappen an Fagaschinskis Klarinette klappern die dezenten drones aus Klaus Filips Sinusgenerator fügen zarte Tupfen hinzu Erst im Mittelteil des zweiten fast halbstündigen Stücks wird s etwas heftiger Und das wirklich Erstaunliche ist dass daraus kein akademischer Mumpitz sondern extrem spannende Musik resultiert Karsten Zimalla Westzeit Don t be fooled by the name and by the lush landscape on the cover Kai Fagaschinski clarinet and Klaus Filip sine waves have recorded three tracks of sludgy and eventually quite anguishing minimalism Lucier came to mind again Always moving at molasses speed they let the sound ebb and flow from distant bleeps and rarefied hisses to painful metallic squeals as in the lengthy History of the animals As with all good doom music which is all the same yet full of power and details at first you have to survive a few listening sessions and a certain dose of physical stress or even boredom then you re swallowed by the quicksands Eugenio Maggi Chain DLK Sadze ze Stand Clear to plyta ktora powinien znac kazdy szanujacy sie milosnik muzyki improwizowanej To p yta wazna Wazna z co najmniej dwoch powodow Po pierwsze jako jeden z niewielu modelowych przyk adów owocnego wspoldzialania instrumentow tradycyjnych oraz elektronicznych To wlasnie tutaj reprezentant kazdej grupy pozostajac soba staje sie jednoczesnie elementem jakiegos nowego tworu niezwyklej ponadczasowej syntezy brzmien starych i nowych Klarnet pozostaje klarnetem i wiedzie swoja piesc jednocze nie w nad obok przed i za chmura sine waves pochodzacych z komputera Owe dzwiekowe fale z kolei to go holubia to znow si z nim przekomarzaja raz otaczaja puchow koldra dzwieku to znow z lekka tylko owiewaja podmuchem sonicznego wiatru Nie zatracajac odrebnosci i swego charakteru kazdy z instrumentów przemawia donosnie wlasnym glosem tak ze nie sposob jest go z drugim pomylic A jednak w jakis niezwykly wrecz magiczny sposob dwa glosy lacza sie w jeden Niezwykly dostojny przejmujacy szlachetny a przy tym jakze swobodny i lekki Stand Clear wazna jest tez z innego powodu stanowi bowiem material dosc latwo przyswajalny nawet przez tych sluchaczy ktorym wspolczesna muzyka improwizowana kojarzy sie wylacznie z chaotyczna kakofonia Trzy utwory zawarte na tej plycie posiadaja precyzyjna forma a partie instrumentalne przewaznie sa przyjazne uszom Muzycy nie epatuja dziwacznymi brzmieniami i jesli nawet Fagaschinski uzywa jakichs nietypowych technik artykulacyjnych to robi to w sposob tak delikatny i stonowany ze wszystkie dzwieki sprawiaja wrazenie nadzwyczaj cieplych i melodyjnych Podobnie jest z sine waves Filipa zapewne sluchacze zaznajomieni chociazby z ich uzyciem przez Sachiko M w to nie uwierza ale sa one niezwykle delikatne mozna by je okreslic slowem pastelowe I choc lista powodow dla ktorych warto poznac Stand Clear jest o wiele dluzsza to ja poprzestane na wymienieniu tych dwoch Pozostale najlepiej odkrywac samodzielnie Tadeusz Kosiek Gaz Eta Los Glissandinos already vying for most pithy and punk rock name by an improv duo are sine wave specialist Klaus Filip and clarinetist Kai Fagaschinski From a couple of dates in Austria during July 2004 Stand Clear Creative Sources 029 features some of the richest and best integrated electro acoustic music so far this year Control and restraint are the name of the game here expressed most sumptuously in the gorgeous long sustained tones where the two instrumentalists blend seamlessly together achieving the fullness of an Eliane Radigue or Alvin Lucier piece particularly so on the opening The Long Ride of Sancho Panza Filip whose work I really only know from the slightly disappointing Building Excess on Grob is masterful here subtly introducing different levels and shapes from the background And Fagaschinski s control extends not only to circular breathing and even breath but to very finely nuanced use of breath to connote feedback and radio static The disc s centerpiece is the 25 minute History of Animals whose most immediate feature is the way round low tones force their way to the front against flickering sparks of static But the piece is really about oscillation and sympathetic vibration the way the huge low end reverberates along with the clarinet or the way both pinch off their instrument s high range until the music is constricted to the point of a dagger This is an intense disc which stands out from the pack Jason Bivins Dusted Magazine A Los Glissandinos kÈt eurÛpai kÌsÈrleti zenÈsz a nÈmet Kai Fagaschinski Ès az osztr k Klaus Filip duÛja A hangkelt eszk z k p rosÌt sa els re meglehet sen szokatlannak t¾nhet b r ha jÛl belegondolunk Alvin Lucier esetÈben m r t bbsz r is hallhattunk hasonlÛ ssze llÌt st hiszen Fagaschinski klarinÈtjainak hangj t Filip pedig laptopj nak szÌnusz hull mait dobja a k z sbe hogy e kÈt hangszer segÌtsÈgÈvel egy zavarba ejt en esemÈnytelen Ès mozdulatlan vagy csak nagyon lassan v ltozÛ hang univerzumot hozzon lÈtre A lemezt els hall sra tal n valamifÈle minim l ambientes f tyol lengi k r l de eset nkben azÈrt ennÈl jÛval t bbr l van szÛ B r az alkot s egÈsze nem adja mag t k nnyen s t az els nÈh ny hallgat s alkalm val kifejezetten bar ts gtalannak t¾nhet kÈtsÈgtelen l Èrdemes vele prÛb lkozni A kÈt zenei kÌsÈrletez k z s munk ja 2004 legelejÈn kezd d tt BÈcsben tavaly a klingt org honlap jokebox szekciÛj bÛl m r le lehetett t lteni egy nÈgy rÈszes felvÈtel sorozatot a duÛtÛl majd mÈg a tavalyi Èv j²lius ban r gzÌtettÈk a Stand Clear lemezt alkotÛ h rom felvÈtelt melyek vÈg l csak egy Èv m²lt n jelentek meg a portug l Ernesto Rodrigues mini kiadÛj n l A hangfelvÈteleket k vet id szakban a Los Glissandos els sorban koncert t rsulatkÈnt m¾k d tt Ès mind Fagaschinski mind pedig Filip ezzel a duÛform ciÛval t lt tte idejÈnek legnagyobb rÈszÈt

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_029.html (2016-02-11)
    Open archived version from archive

  • reviews_cs030
    a single dull moment with its acute multiphonics wrinkled harmonics and lyrical monkey business Sunday Sundaes is in a class of its own among the many marvels of Ernesto Rodrigues label revealing Keune as one of the most resourceful loonies on the current scene Massimo Ricci Paris Transatlantic I m continually surprised at the rate with which Ernesto Rodrigues releases discs on his superb Creative Sources imprint As most folks reading this know the excellent viola violin electronics improviser began to document Portuguese and Spanish improvisation several years back and has quickly developed his label into one of the premier outlets for improvisation at the intersection of European free music electroacoustics and new music I recently opened up my mailbox to find a package stuffed with seven of the label s latest goodies All told it s a strong batch Sunday Sundaes CS030 is an altogether more declarative and caustic solo reeds performance by the veteran Stefan Keune who here plays alto and sopranino saxophones Covering a lot of bases these eleven tracks recorded from August September 2004 concentrate on the saxophones harsher properties squeals wails hollers and blurts From the opening Conically Speaking where Keune seemingly tries to force as much air through the bell as possible in almost Gustafsson like voice you know you re in a different territory than one usually occupies on a Creative Sources release The Mole and the long Fric Frac concentrate on overblowing and split tones almost exclusively as an essay on harshness this is pretty effective stuff particularly the super intense tracks like Ambit Gambit But it s not really where my ears are these days Taken together this septet of discs is worthy not just for their quality but also for their documentation of this music and some of its lesser

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_030.html (2016-02-11)
    Open archived version from archive

  • reviews_cs031
    of blending a sound that is very close to electronic music with nuances of feedback sine tones and so forth I suspect Davies may be using an Ebow here In general the mood is very still and quiet so that the few passages of raucousness and aggression have more power One of the better discs I ve heard so far this year Taken together this septet of discs is worthy not just for their quality but also for their documentation of this music and some of its lesser known players Rodrigues already has a new batch out In the meantime however don t miss out on some of these gems Jason Bivins Bagatellen À cet amas post industriel répond le raffinement bruitiste d Amber CS 031 cd par un quartet ou quatuor dirais je tant les personnalités rassemblées par l altiste Julia Eckhardt qui vit à Bruxelles participent autant des milieux de la musique contemporaine que de ceux de l impro libre nouvelle manière Le tubiste anglais Robin Hayward le harpiste gallois Rhodri Davies et le clarinettiste basse et saxophoniste soprano italien Lucio Capece s associent à Eckhardt dans une concentration sonore vraiment séduisante S impose d emblée une grande précision dans l intention et la réalisation alors que le devenir de l impro est laissée béante dans toute son ouverture Évidemment difficile de distinguer parmi les instruments en présence quelles sont les sources sonores de la musique de cet ensemble Parfois le souffle d une anche se détache et encore allez savoir Le harpiste utilise un archet et des objets qui altèrent la résonance des cordes L altiste décompose le geste au point que le son se fragmente La première génération de la musique improvisée a entre autres aboli la frontière entre les bruits et les sons musicaux duo Parker Lytton Derek Bailey Paul Rutherford Cette troisième génération a créé le bruit doux la démarche du soft noise Le phrasé mélodique même le plus freak out est évacué au bénéfice de l attaque purement sonore de l instrument Jean Michel Van Schouwburg Improjazz Visions of formally attired symphonic types producing shimmering glissandi or of Harpo Marx manhandling the luminescent strings remain in most folks minds when they think of harpists That may be why the 27 string symphony harps or smaller 34 string Celtic harps are usually musically underrepresented except for their coloration qualities Welsh harp slinger Rhodri Davies may be the antidote to all that Born in Aberystwyth he has played the harp since the age of seven and was educated enough in standard techniques to easily work in the so called classical pop and traditional fields Slotting himself as an experimenter however he s spent the past decade investigating electro acoustic environments adding noise silence textures and abstraction to his sound through preparations detuning and bowed and e bowed strings The connective thread among three recent releases he s matched with different international ensembles on each British born Berlin resident Hayward himself joins Davies on Amber Creative

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_031.html (2016-02-11)
    Open archived version from archive

  • reviews_cs032
    repeated listening to fully appreciate its message it s also the darkest sounding Creative Sources release Massimo Ricci Touching Extremes Stralau Creative Sources 032 is a long improvisation is credited to tenor saxophonist Bertrand Denzler trumpeter Axel Dörner baritone and soprano saxophonist Daniel Erdmann drummer Michael Griener and the ubiquitous Günter Müller on iPod md selected percussion and electronics It s music that confronts two challenges head on first the long form improvisational course and second the use of basically conventional instrumentation in such spare non idiomatic playing Griener is something of a wild card here as his subtle rattlings and reverberations link up with Müller to provide a continually adapting bed of sound In this kind of context it s very very difficult to adapt wind instruments saxophones in particular I think to music which aims to avoid conventional gestures and expressions These players especially Denzler and the masterful Dörner pull it off quite well It s not as if they really want to efface themselves but rather to dissolve conventional boundaries For while you hear a sudden thwack or scrape a jagged blast of feedback or horn howl what really compels is the overall sense of merging True that could be said of many recordings Stralau however has a kind of fractiousness or an edge to it that lifts it above the dreamily commonplace Jason Bivins Dusted Magazine Arès l écoute de Metz sur le même label je suis un peu curieux du résultat de cette rencontre Un rassemblement helvético berlinois dans lequel prédominant les sdons électroniques de Günter Müller durant un long morceau de concert de 54 minutes et 11 secondes Stralau 68 est un lieu de Berlin où le percussionniste Michael Griener a réalisé l enregistrement On devine à peine ses interventions dans l ensemble ultra collectif tout comme les anches de Daniel Erdmann et de Bertrand Denzler et la trompette d Axel Dörner Ce dernier double au computer Outre ses selected percussions et electronics Müller est crédité à l ipod et au md Ou serait ce md selected percussions Toutes mes excuses chers lecteurs mais comme j aime un certain mystère de temps en temps je laisse la question ouverte Ouverture comme cette musique dans laquelle flottent des petits coups de vents dans les tubes qu on a du mal à attribuer à l un ou à l autre Comme je l ai déjà expliqué dans l article paru sur le label Creative Sources vous pouvez metre le son au volume 4 ou 5 voire plus et vous serez récompensés par les infimes details sonores de cette musique aussi volontaire et collective qu accidentelle Un réseau de matières en suspension où se dessinent les traces du geste du musicien et que vient troubler une montée électrique soudaine Un moment sonore à apprécier de toute façon selon vos inclinaisons personnelles Jean Michel van Schouwburg Improjazz Creative Sources er for tiden ikke bare et av de mest produktive plateselskapene der ute med om lag 20 utgivelser så

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_032.html (2016-02-11)
    Open archived version from archive

  • reviews_cs033
    the recording is not completely clean since you have that sort of ambiental buzz typical of live recordings but this a studio one it fits really well with the sound of this trio since it has a good definition and at the same time is incredibly warm While the first of these two suites is more quiet the second one starts more incisively and pictures the players involved in a most vigorous way of playing but don t worry it doesn t imply they become neither aggressive nor free meant in a way jazz solos jams are meant This cd follows the philosophy of a few sound floating in the air for a suitable amount of time I mean you won t hear your usual short acoustical strikes as if there was an earthquake going on in the middle of the studio Sometimes I ve caught myself thinking they could have reduced these two long tracks in a number of minor episodes but I think they wanted to freeze the whole momentum experience of the recording session and if that s the reason no one can blame them for this choice Andrea Ferraris Chain DLK Tonight I went to Oxford for a meal Mongolian with Julie and so my listening in the car was mainly Spandau Ballet and A ha but this afternoon once I had stopped working my way through assorted string quartets I listened to a couple more CDs from the Creative Sources pile and then span them again tonight Both of these involve the father son combination of Ernesto and Guilherme Rodrigues like a good number of the CS catalogue This is not a surprise when you remember it is they that run the label On a completely tangental note I wonder where on earth they store all those CDs there are only ten Cathnor releases and I struggle Anyway the first of the discs I played is a trio with Toshihiro Koike s trombone added to the Rodrigues usual Cello viola combination though on this album which is named Sen Guilherme also plays a pocket trumpet The album was released back in 2006 and recorded in Lisbon as long ago as December 2004 so its a little dated but Ernesto included this one when he sent me a box of new releases recently and as I committed myself to writing about each of them here I am The good thing is it doesn t sound dated While there is a lot of extended technique going on here and all three instruments are used in a dry textural manner the music is not quiet or particularly restrained For the most part there is a bright energy to the music a kind of clash of brittle surfaces sat at strange angles to one another I am for some odd reason reminded of the scarlet of rusting cars piled up in a scrapyard all twisted metal with the light from above casting strangely shaped shadows upon them A bizarre

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_033.html (2016-02-11)
    Open archived version from archive

  • reviews_cs034
    pointed me to his similar site which includes some additional recordings by the trio that made Absence When exchanging a few emails with Leonel he mentioned that it might be interesting to hear how the same trio sounded on different occasions in different settings The album itself was recorded in an Argentine studio but the additional tracks made available capture the group live at a French festival and also out in a forest playing amongst nature Following the recent online discussions that have been taking place about the current state of improvised music this lead me to think more about the nature of improvisation and in particular the notion of it existing beyond a recording intended for a CD release Too often particularly in online circles improvised music is judged by what appears on commercial releases when actually only a small portion of what goes on ever makes it onto a disc The additional recordings here capture further meetings by the trio that weren t really intended for release but have been shared by the musicians as an illustration of what they were up to in different locations and settings rather than as polished musical statements That s fine by me For me personally improvisation is as interesting and exciting as ever but increasingly I am interested in the social and philosophical elements of the practice almost as much as I am the actual music or at least the music released on CD Hearing three recordings made of the same group in three quite different scenarios is an interesting experience in itself irrespective of how the music might sound Of course CDs matter and matter a lot but increasingly their position as the definitive statement on the music of any one set of musicians is becoming increasingly less interesting As it has become possible via technology for musicians to issue substantial documentation of their meetings or to play around wildly with track lengths or in the case of the Absence trio to present various versions of the music recorded under different conditions the need then for musicians to produce forty minutes of perfect material for a CD release is lessened and their exploration and collaboration in itself becomes of great interest the act of improvising becomes something far more than a means to an end So the original Creative Sources album by the trio is a bristling busy affair made up of the two trumpets Dorner and Kaplan and Chamy s simple stripped down percussion It is mostly made up of textural noteless extended technique with the two trumpets hard to pick apart with only the occasional signature sound from Dorner giving away who is who It isn t the hushed quiet affair that the 2003 recording date might suggest with the three musicians really wrapping their sounds in and out of one another building a thoroughly satisfying muscular bundle of writhing energetic music I will never know having already been familiar with the CD but I suspect that if

    Original URL path: http://www.creativesourcesrec.com/reviews/reviews_034.html (2016-02-11)
    Open archived version from archive



  •