Archives for category: live

No Food – Live 

I went to the Seattle Chamber Music Series today and heard a program that included:
Britten: Phantasy Quartet in F minor for Oboe and Strings, Op. 2download audio sample
Dvořák: String Quintet No. 2 in G major, Op. 77 download audio sample

Schulhoff: Duo for Violin and Cello
Poulenc: Sextet for Piano and Wind Quintet, Op. 100 download audio sample

They were supposed to include Shostakovich’s 13th String Quartet –which is what initially drew me to the performance– however they replaced it with Schulhoff, with whom I was totally unfamiliar.  Turns out to have been the show stopper which got the only standing ovation (no doubt in part due to Walter Gray, cello and Mikhail Shmidt, violin, the latter whom was particularly animated [“historionic” I heard one woman say after the show]).  Anyway, in his time, Schulhoff was apparently quite a character,  even setting the communist manifesto to music as an oratorio.  Tragically, because of his Jewish descent and his radical politics, he and his works were labelled degenerate and blacklisted by the Nazi regime and his life and career were tragically cut short by tuberculosis in the Wulzburg concentration camp in 1942. Until very recently Schulhoff’s work was rarely noted or performed.  It is definitely worth hearing!

Read about him
“Absolute art is revolution, it requires additional facets for development, leads to overthrow (coups) in order to open new paths…and is the most powerful in music…. The idea of revolution in art has evolved for decades, under whatever sun the creators live, in that for them art is the commonality of man. This is particularly true in music, because this art form is the liveliest, and as a result reflects the revolution most strongly and deeply–the complete escape from imperialistic tonality and rhythm, the climb to an ecstatic change for the better.”  –Erwin Schulhoff, 1919

Listen to his Duoschulhoff



by Alexander


I just heard/saw Morton Subotnick/Lillevan melt space/time at Town Hall in Seattle.  The surround sound was awesome in the true sense of the word and Subotnick/Lillevan created sounds/images both beautiful and challenging.  Need I say more?….  Here’s a taste from youTube.

“Following up Subotnick’s debut album, Silver Apples of the Moon was a record that was in many ways its twin partner: Titled The Wild Bull, it was commissioned by Nonesuch Records, executed on the newly-created Buchla synthesizer, sequenced into two parts (Side One and Side Two) totaling a length just under a half an hour and loosely inspired by poetry from the pre-technological past of humanity. But the similarities quickly end there, because whereas his previous album was based on the verse of Yeats and underlined by glittering displays of avant-garde freakouts and peaceful planetary soliloquies, on The Wild Bull Subotnick was touched with an inspiration far removed in both time and space and one infinitely darker than the space between the planets: namely, with a Sumerian poem cuneiformed into wet tablets sometime around 1700BC, from which The Wild Bull takes its title.”  Julien Copeland,

by Jefferson Petry

I recently heard Ken Vandermark & Nate Wooly duet at the Seattle Earshot Jazz Festival.  Familiar with Vandermark, Wooley was a new name to me and together the two tore the roof off the place, Vandermark playing clarinet, baritone sax, and lastly, tenor saxophone. Throughout their investigations there was a balance between form and free exploration –the one often suddenly breaking into the other with surprising synchrony–  and the level of interplay and sensitivity between the two was so uncannily high that it seemed they were a single organism with two horns.  With that said, Ken dedicated their duets to the influence of John Carter and Bobby Bradford’s duets –names I was totally ignorant of despite a wide and deep outside jazz collection.

In Laurence Svirchev’s article John Carter: The Unbelievalbe Possibilities of Music, he writes, “Carter and Bradford’s duet work is characterized by telepathic interplay, ability to hit and hold the same high tones simultaneously mid-improvisation, and their phenomnal ability to alter tempi at will without sacrificing the forward motion and logic of the composition. One never feels that they are displaying technique, but rather that they are achieving a musical end through the use of harmonic and melodic devices.”

Bobby Bradford-John Carter Quintet

On the new Vandermark/Wooley recording with Paul Lytton (percussion) and Ikue Mori (laptop) they’re called The Nows which can be had directly from their  label, Clean Feed.

by Alexander