Night After Night

Q&A, Caroline Skinner, Executive Producer of Doctor Who

Karen Gillan, Matt Smith, Chris Hardwick and Caroline Skinner outside the Ziegfeld Theater

Q&A, Caroline Skinner, Executive Producer of Doctor Who
The New York Times Artsbeat, August 29, 2012

Prior to the preview screening of the Doctor Who season premiere, "Asylum of the Daleks," at the Ziegfeld Theater last Saturday night, described in the previous post, I had an opportunity to sit down for a quick chat with Caroline Skinner (@CaroSkinner on Twitter), who became an executive producer on the show in the middle of last season. We talked about the the broadened appeal chief writer and show runner Steven Moffat and lead actor Matt Smith (The Doctor) have brought to the series; the bold ambitions of the season about to commence this Saturday night; the impending departure of Karen Gillan (Amy Pond) and Arthur Darvill (Rory Williams) and arrival of Jenna-Louise Coleman, who will play the Doctor's mystery-shrouded new companion; and the pressure already mounting to make next year's 50th-anniversary celebrations an even bigger deal.

As a Night After Night bonus-track postlude, here's one last volley that didn't make the final cut for Artsbeat:

Q. With the spring portion of the current season still underway, how do you maintain your focus when everybody wants to know what you’re going to do for next year’s milestone anniversary?

A. Ah, well, I multi-task a lot, and I never sleep. [laughs] We’re filming those at the moment – it’s August right now, so what better time to lay snow down in Wales? We’re shooting the Christmas episode right now, and we’ve already filmed three out of the eight episodes for the spring run. Next year is such an exciting year for Doctor Who; it should be the biggest year ever for the show, and it has to be, because it culminates in the 50th anniversary. And those plans – which I’m not going to tell you anything about – are just enormous, and really exciting. 

I think the show will reinvent itself with Christmas and Jenna’s arrival, and those stories, again, they’re very epic and ambitious stories every week. My aspiration would be that you’ve got this enormous stand-alone, really wonderful Christmas episode, which is a beautiful script that Steven’s written. Then we’ll come back, and every week you want to get to the end of each of those episodes and think, “How are they going to top that?” Then you’ll see the next one and go, “Oh, that’s how they’re going to top it.” We’ll be looking at making the series grow and grow over those eight episodes in the spring run, which will feel very fresh and very different, and it should be a brilliant springboard into all of the other darkly mysterious things that we’re going to do for the 50th.

Doctor Who at the Ziegfeld Theater, August 25, 2012

"A Warm Welcome for 'Doctor Who' in New York"
The New York Times Artsbeat, August 26, 2012

In a reasonably spontaneous yet entirely natural departure from my usual beat, on Saturday evening I covered BBC America's American-debut preview of “Asylum of the Daleks,” the first episode from the forthcoming seventh season of Doctor Who. The episode, which begins both a tumultuous season and the run-up to next year's 50th-anniversary celebration, is amazing: vast in ambition and cinematic in scope, to quote myself. (The teaser trailer provides a small taste.)

After the screening, Nerdist host Chris Hardwick hosted a fan Q&A session with Matt Smith (The Doctor), Karen Gillan (Amy Pond) and executive producer Caroline Skinner. No real revelations emerged, trust me, though a good time was had by all. Earlier in the afternoon I'd interviewed Skinner one-on-one at the BBC America offices; while I ultimately did not incorporate that material into this scene report, I strongly suspect it'll be used somehow, soon.

Meantime, I'll say only this: I am amazed at the fidelity of the Doctor Who fans, who've managed to keep several revelations in "Asylum of the Daleks" (including one bona fide jaw-dropper) completely under wraps, even now that three public screenings have been held.

Don't look at me. Spoilers, sweetie.

“Asylum of the Daleks” is set to air this Saturday night on BBC America. To hold you over, check out the newly posted opening episode of Pond Life, a BBC web series meant to show what's happening with the Doctor's recently abandoned companions, Amy Pond and Rory Williams, up to the time of the season premiere.

And here, look at some more photos!

 

Matt Smith and Karen Gillan at BBC America

Sonic screwdrivers lofted at the Ziegfeld

No spoilers, sweeties…

Chris Hardwick, Matt Smith, Karen Gillan and Caroline Skinner, larger than life

Playlist.

Wolf Fluorescence - There Is a Mirk Inside Here Which She Must Tint Brighter or Collapse (SicSic)

Ravi Coltrane - Spirit Fiction (Blue Note)

A City on a Lake - A City on a Lake (Beverly Martel, via MOG)

Andrea Parker - "Here's One I Made Earlier…" (Touchin' Bass, via MOG)

King Crimson - The Savoy, New York, NY, Nov. 5, 1981 (DGMLive)

Tim Kuhl - St. Helena (Bandcamp)

Harry Pussy - Let's Build a Pussy (Editions Mego)

Alanis Morissette - Havoc and Bright Lights (Collective Sounds; due Aug. 28)

Kidd Jordan - On Fire (Engine)

Alexandre Navarro - Sketches (Constellation Tatsu)

Hakobune - The Cowboy Across the River (Constellation Tatsu)

Billy Gomberg - Into the Fade (Constellation Tatsu)

Cankun - Idle (Constellation Tatsu)

Lee Konitz, Bill Frisell, Gary Peacock and Joey Baron - Enfants Terribles: Live at the Blue Note (Half Note)

Ximena Sariñana - Ximena Sariñana (Warner Bros., via MOG)

Kyle Bobby Dunn - Bring Me the Head of Kyle Bobby Dunn (Low Point)

Dave Douglas Quintet with Aoife O'Donovan - Be Still (Greenleaf Music; due Sept. 25)

Cocteau Twins - Treasure (4AD, via MOG)

Paul Hindemith - Symphony in B-flat - Philharmonia Orchestra/Paul Hindemith (EMI Classics, via MOG)

Paul Hindemith - Symphony Mathis der Maler; Trauermusik; Symphonic Metamorphoses on Themes by Carl Maria von Weber - San Franciscso Symphony/Herbert Blomstedt (Decca, via MOG)

Coheed and Cambria - Good Apollo I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness (Columbia, via MOG)

Nile - Black Seeds of Vengeance (Relapse, via MOG)

Video Diaries - Watercolour Experts (Fadeaway)

Coventry Music - National Psychedelic (Fadeaway)

Former Selves - Limits (Rotifer)

Xiphiidae - Pass Hidingly Seek (Housecraft)

Aaron Dilloway/Jason Lescalleet - Grapes and Snakes (PAN)

Sylvain Chavreau & Stephan Mathieu - Palimpsest (Schwebung)

Lindi Ortega - Cigarettes & Truckstops (Last Gang Records; due Oct. 29)

Grateful Dead - The Closing of Winterland, December 31, 1978 (Shout Factory)

Ethan Iverson, Ben Street and Tootie Heath at the Village Vanguard, August 22, 2012

Ethan Iverson and Ben Street, from the best seat in the house

School is in session at the venerable Village Vanguard in Greenwich Village this week, as pianist Ethan Iverson, bassist Ben Street and drummer Albert "Tootie" Heath merrily romp and ruminate their collective way through a master class in unhackneyed jazz repertoire. By now, Iverson needs no introduction; his work in brainy, brawny collective trio The Bad Plus has revealed his melodic, harmonic and rhythmic wiles, and he's proved eager to absorb the lessons that older generations of players can impart on the bandstand. Iverson's also one of music's keenest bloggers; his interviews with forebears and peers are not to be missed.

Ben Street is the kind of bassist everyone wants to work with: a player capable of complementing any setting, and Iverson's bandmate in the exceptional Billy Hart Quartet (about which my Time Out New York colleague Hank Shteamer wrote memorably, here.) Albert "Tootie" Heath, as Iverson mentioned from the bandstand on Wednesday night, played on John Coltrane's first session in 1957; went on to work with the likes of Wes Montgomery, Dexter Gordon, Mal Waldron and the Art Farmer/Benny Golson Jazztet, among others; and since 1975 has provided the supple backbeat for famed family act the Heath Brothers.

Wednesday, the second night of the trio's current Vanguard run, was the scene for a live broadcast on WBGO-FM series The Checkout, guest-hosted by Matt Wilson while regular host Josh Jackson wanders abroad. (A related NPR Music live webchat was hosted as ever by Dr. LP.) What struck me initially and quickly during the first set was an unusual concision: The trio got through five tunes in the first 24 minutes, a period many bands will devote to just the first two charts of their sets. Nothing wrong with expressive longeur, but there was something downright refreshing about the way Iverson, Street and Heath compressed richness and variety into album-track-sized parcels.

From a moody original opener, "South Hampton," inspired by the late, great pianist Hampton Hawes, Iverson proceeded to call a set of standards that veered pleasantly, if not wildly, from the beaten path. "It was all the most obvious tunes by those guys," Iverson would say later during a quick hang in the Vanguard's kitchen. It was clear, too, that he was favoring some charts by leaders with whom Heath had a historical association, like Waldron and Golson.

But seriously, who else calls tunes by James P. Johnson (a tambourine-jingling "Charleston"), Eubie Blake (a rhapsodic, harmonically dense "Memories of You"), Sonny Rollins ("No Moe") and Waldron ("Fire Waltz"), let alone back to back? Further highlights included a sensuous airing of Tom Jobim's "Insensatez," with gorgeously hushed work from Heath, and "It Should've Happened a Long Time Ago," a haunting Paul Motian chart subtly reshaped by Heath's rhythmic conception.

True, I don't get around much anymore – or at least not as much as I used to and still want to on nights like this. But I feel confident in proclaiming that, start to finish, this was among the most satisfying jazz sets I've heard in many moons. Happily, it's archived on the NPR Music site, where anyone can drop in and listen again and again. But for anyone in New York City between now and Sunday night, get yourself down to the Vanguard and hear this trio do its thing for real.

Setlist

South Hampton (Iverson)
Nice Work If You Can Get It (Gershwin)
Insensatez (Jobim)
Shiny Stockings (Foster)
The Charleston (Johnson)
Memories of You (Blake)
No Moe (Rollins)
Fire Waltz (Waldron)
Along Came Betty (Golson)
It Should've Happened a Long Time Ago (Motian)
Now's the Time (Parker)

Ethan Iverson, Ben Street and Tootie Heath play the Village Vanguard through Sunday, August 26.

Iverson's lapel pin, which also adorned bandmates and crew members

Playlist.

Grateful Dead - Road Trips, Vol. 4, No. 4: Spectrum 4.6.82 (Grateful Dead)

Cory Smythe - Pluripotent (Bandcamp)

Motion Sickness of Time Travel - Motion Sickness of Time Travel (Spectrum Spools, via MOG)

Sam Rivers, Dave Holland and Barry Altschul - Reunion: Live in New York (Pi Recordings; due Sept. 25)

Sun Cycles / Inez Lightfoot - split CS (Dumpster Diving Lab)

G Sweems / Tricorn & Queue - split CS (Housecraft)

Heat Wave - Dejected Soul (Heat Rave)

David S. Ware - Go See the World (Columbia, via MOG)

Pete Swanson - Man with Potential (Type, via MOG)

Prince Rupert's Drops - Run Slow (Beyond Beyond Is Beyond; due Nov. 6)

Buke & Gase - Function Falls (Brassland; due Sept. 11)

Depeche Mode - Violator (Sire/Rhino, via MOG)

Cursive - The Ugly Organ (Saddle Creek, via MOG)

Ben Riley Quartet featuring Wayne Escoffery - Grown Folks' Music (Sunnyside)

Morton Feldman - Crippled Symmetry: at June in Buffalo - The Feldman Soloists (Frozen Reeds)

Katharina Rosenberger - Texturen - Wet Ink Ensemble/Carl Christian Bettendorf (hat[now]ART)

Fausto Romitelli - Anamorphosis - Talea Ensemble (Tzadik)

Marillion - Brave (Sanctuary, via MOG)

Porcupine Tree - The Incident (Metal Blade, via MOG)

Digital Natives / Seziki Tetrasheaf - split 2CS (Rotifer)

Iasos - Elixir (Rotifer)

Hobo Cubes - Slow Summer Soul (Old Frontiers)

Reedbeds - Heirloom Rust Garden (Old Frontiers)

Yes - House of Yes: Live from House of Blues (Eagle Rock, via MOG)

Time Out New York: Live preview, 2NE1.

Live preview: 2NE1
Prudential Center; Aug 17
Time Out New York, Aug 16–22, 2012

How and when South Korea’s pop-music industry began to insinuate itself in the U.S. isn’t altogether clear, but mounting evidence indicates that K-pop, a polyglot sound purveyed by a swelling stream of slick, energetic boy bands and girl groups developed by entertainment megacorps like S.M. and YG, has established a beachhead here. 

Small wonder: These fresh-faced performers and their sticky-sweet sounds are as addictive as Pop Rocks, and the choreography, costuming, video and stagecraft involved in their packaging beat most anything going. SMTown Live, a showcase of top acts like Super Junior, Girls’ Generation and SHINee, not only sold out Madison Square Garden last October, but matched and even surpassed Justin Bieber’s most recent Garden extravaganza for sheer dazzle and preteen decibels. Now, American kingpins like Kanye West and Teddy Riley are working with K-pop acts, and Girls’ Generation strutted on Letterman in April. 

All of which sets the stage for the arrival of 2NE1, alternately pronounced “to anyone” and “twenty-one” (the latter prompting fans to dub themselves “Blackjacks”). A YG-groomed girl group crowned 2011’s “Best New Band in the World” by viewers of global-pop showcase MTV Iggy, 2NE1 stirs hip-hop and dancehall sounds into its spotless dance pop; singers CL, Bom, Dara and Mimzy drop English choruses and asides among Korean verses, but their attitude needs no translation. Blackjack, 2NE1’s Will.i.am-helmed English-language debut, has yet to arrive, but last year’s 2nd Mini Album includes six of the group’s strongest cuts. Listen to inspirational thumper “I Am the Best,” and you too might be chanting “naega jeil jal naga” with the diehard Blackjacks in Newark.—Steve Smith

=====================

The preceding ran in the issue of Time Out New York currently on newsstands, previewing a concert held last Friday at the Prudential Center in Newark. Jon Caramanica's review of that show is in The New York Times today, online here. Phil Freeman also reviewed the show, producing an epic post for MSN Entertainment.

Bard Music Festival, Weekend One, at Bard College, August 10-12, 2012

Camille Saint-Saëns

 

Bard Music Festival, Weekend One, at Bard College, August 10-12, 2012
The New York Times, August 14, 2012

For an unrepentent music geek like me, the Bard Music Festival is simply irresistible: a fabulous wealth of music by a major composer from the classical tradition, surrounded and contextualized with works by forebears, peers, colleagues, friends, enemies, students, followers—you name it. This year's festival, focusing on the music of French composer Camille Saint-Saëns, admittedly was not one I greatly looked forward to, I'll freely admit; I know and admire some works by Saint-Saëns—what percussionist doesn't love Danse Macabre?—but on the whole, my opinion going in was probably not so far removed from the quotation I borrowed from an earlier New York Times critic, Richard Aldrich:

“His music has invention, skill, ingenuity, taste, a great feeling for form and rhythm, mastery of resource for all the mediums in which he wrote – and they were about all the mediums that exist. But there is rarely in it a true creative force, passion, warmth and vivifying power, or even spontaneity. There is always the impression of craftsmanship, expertness, as the underlying source of it all; and they are not enough.”

Which just makes me even more eager to admit that the BMF, with its dependably outstanding array of musicians and scholars, convinced me exactly why I should care about Saint-Saëns, who was capable of real greatness more often than I suspected. The masterpieces—the "Organ" Symphony and The Carnival of the Animals foremost during my visit—were confirmed as such. But delights equally great came in works I'd never paid close-enough attention to: the first piano trio and quartet, for example, and the Piano Concerto No. 5, "Egyptian," which in Danny Driver's hands proved a neglected gem that could easily replace yet another Tchaikovsky or Rachmaninoff performance in a standard orchestral program.

What I enjoy most of all about the BMF, and I've said this many times before, is the sensation of being isolated somewhere gentle and just distant enough, and surrounded by people who, like me, want to listen closely, ponder deeply and discuss intently. It's not altogether easy to take in so much music—Bard president and BMF artistic director Leon Botstein seems incapable of programming a concert that lasts for less than two-and-a-half hours, and there are usually six concerts each weekend. Nor is it easy to distill what I've heard on deadline without lapsing into merely recounting favorite performances—which would be oh-so-easy to do.

But it's always deeply enriching, and worth whatever effort it demands. That press quote they like to trot out—"part boot camp for the brain, part spa for the spirit"? Mine.

You can still attend the festival's second weekend this Friday through Sunday; the primary highlight is a performance on Sunday afternoon of Saint-Saëns's virtually forgotten historical opera, Henry VIII. Next year's Bard Music Festival will focus on Stravinsky, with Taneyev's opera Oresteia as a prologue during the broader SummerScape series; the year after, Schubert, operatic intrigue TBD.

A final thought: When I was up at Bard a few weeks ago to cover Chabrier's opera Le roi malgré lui, Leon Botstein was asked in a Q&A session following his pre-performance talk about rare American operas he might be interested in taking on. Unsurprisingly, and bravely, Botstein cited Montezuma, an uneven but noble work by Roger Sessions. With that in mind, here are five words I urgently wish to impart:

Carlos Chávez and His World.

I'll be here if you need me, Mr. Botstein.

Past Bard Music Festival reviews:

2006: Franz Liszt and His World

In a dictionary, “exhilaration” and “exhaustion” appear in close proximity. The second weekend of the Bard Music Festival…brought them even closer together.

2007: Edward Elgar and His World

Two evening concerts by the American Symphony Orchestra offered works so powerful and vital as to render their current neglect inexplicable.

2008: Sergei Prokofiev and His World

The piece, it almost goes without saying, is absurd.

2009: Richard Wagner and His World

…nothing among Wagner’s early works indicated that he was a likely candidate for changing the world.

2010: Alban Berg and His World

“My job tonight is to allay any residual fears you might have,” the conductor Leon Botstein said from the stage…

2011: Jean Sibelius and His World

“I believe that ‘pure’ and ‘purity’ are dangerous words, best reserved only for food and water,” the musicologist Byron Adams said…

Pauline Oliveros profile + Night After Night bonus track with Dana Reason.

 

Pauline Oliveros at the Bang on a Can Marathon, by Jennifer Taylor/The New York Times

 

"Strange Sounds Led a Composer to a Long Career"
The New York Times, August 12, 2012

Profiling the composer, improviser and teacher Pauline Oliveros for The New York Times was an incredible privilege; the only problem is that it feels like I barely scratched the surface of everything we covered in a long, generous conversation. This piece easily could have been twice as long, or even more. Still, I did manage to cover some important turf, including information about an amazing new 12-CD box set of Oliveros's trailblazing electronic music and details about upcoming performances: on August 21 at the Stone, where she is the guest curator August 17-31; and on September 7 at the New Museum.

When I originally conceived this article, I'd intended to include reflections from Oliveros's associates, protégés and students. That didn't work out in the end, but I'm very pleased to be able to offer, as a Night After Night exclusive bonus track, some insights from Dana Reason, a Canadian-born pianist, composer, improviser and educator based in Corvallis, Oregon. Reason is the director of Popular Music Studies at Oregon State University, and has released 11 albums. From 1998 to 2003, she and Oliveros collaborated in a wonderful trio, The Space Between, which also included the superb shakuhachi player Philip Gelb. Reason will be performing at the Stone on August 28 at 10pm as part of Oliveros's series.

 

Dana Reason, by Norman Korpi

 

Night After Night: When and how did you first come to work with Pauline Oliveros?

Dana Reason: I heard Oliveros play the first Bang on a Can festival in NYC when I was 18 years old. The live performance of Sonic Meditations had a profound effect on me. Several years later, I was performing at the Newfoundland Sound Symposium and Oliveros was the featured composer in residence. She conducted several workshops that I attended and I introduced myself to her. In 1995, I went out to Mills College to study composition. In 1996, Oliveros was the Darius Milhaud chair and I had the tremendous fortune of studying composition with her.

After Mills, Oliveros, Philip Gelb (shakuhachi player and improviser) and I formed The Space Between – a trio that literally dealt with the huge tuning gaps between 3 unlikely musical suspects: a just-tuned accordion, a bamboo flute, and a well-tempered piano.

We performed various concerts and lectures (Stanford, RPI, Roulette, U of Colorado, etc.) and would often demonstrate a scale played in “unison” by the trio. The sound was quite thick and cluster-like but intriguing (full of possibilities). The idea with the trio was to place timbre as the focal point for the ensemble. The works were textural, sonically rich and expressive. I would often refrain from playing the piano with conventional fare and would seek alternate sound sources from the body, and inside of the piano. Our work together culminated in 4 CD recordings. Each recording featuring a fourth guest performer such as French bassist Joëlle Léandre, bassist Barre Philips, saxophonist Jon Raskin (from Rova) and the late Matt Sperry on bass. All the albums were concert recordings headed up by David Wessel at CNMAT at UC Berkeley.

Night After Night: What lessons would you say you learned from Pauline, either in a formal setting, in more casual circumstances, or both?

Dana Reason: First and foremost, Oliveros taught me how to listen. Her approach as a composer, performer and improviser is very refined. There is a virtuosic quality to the way she focuses her attention with each note, gesture or silence enacted. Her works could be heard as an extension and perhaps revision of John Cage's contested remark to “let sounds be themselves,” in that she provokes sounds to not only be themselves but also to be extensions of herself. Because of this, the sounds she elicits and emits are implicitly and explicitly connected to her as the originator. The sounds embody and heed Pauline’s sonological DNA.

Night After Night: Lacking the usual "classical composer" model of scores to be performed by other musicians, what form would you say Pauline's enduring legacy might take?

Dana Reason: Perhaps the apogee of Oliveros’ lineage is a body of writings, compositions and performances centered in “The Art of Sounding, Hearing and Listening.” Her works encourage individual and collective sonic actions and identities to form and be transformed. These sonic identities question performance practices ranging from the non-professional or conservatory bound musician to the music-cultural practices of contemporary and improvised music, notation and oral tradition.

Oliveros loosens and challenges western music's historical divisions between performer and listener; performer and composer, composer and improviser, listener and listening.

Dana Reason performs at the Spectrum on August 26 at 7pm, and at the Stone on August 28 at 10pm.

Captain Jack.

To mark the 70th birthday of the brilliant drummer, bandleader and composer Jack DeJohnette, a quick post featuring two somewhat offbeat videos, since you've probably seen a lot of Miles Davis and Keith Jarrett footage elsewhere.

First, my favorite of DeJohnette's original compositions, "Silver Hollow" (not "Hallow," as the clip is labeled), recorded in 1978 by his New Directions quartet with Lester Bowie, John Abercrombie and Eddie Gomez. It's slightly perverse to highlight a clip in which DeJohnette doesn't play drums, but his piano here is just gorgeous.

There's plenty of DeJohnette's drumming, though mostly kept to a simmer, in this video of a 1997 performance with Bill Laswell's Transmutations, which also features free-improv guitar titan Derek Bailey and DJ Disk. Beautifully recorded and filmed at the Frankfurt Jazz Festival, this readily demonstrates DeJohnette's breadth and sensitivity. (There's more on YouTube; the second of the four posts includes a tight DeJohnette solo at the 8:40 mark.)

Happy birthday, Mr. DeJohnette. Thanks again for being so gracious when I came up to speak with you, all tongue-tied and starstruck, after your Special Edition gig at the Caravan of Dreams back in 1987.

Playlist.

Abul Mogard - Abul Mogard (VCO Recordings)

Jonas Reinhardt & Abyss of Fathomless Light - Rusting Cyphers of a Forgotten Sky (VCO Recordings)

Alexandre Navarro - Sketches (Constellation Tatsu)

Hakobune - The Cowboy Across the River (Constellation Tatsu)

Billy Gomberg - Into the Fade (Constellation Tatsu)

Cankun - Idle (Constellation Tatsu)

Melissa Stylianou - Silent Movie (Anzic)

Panabrite - Illumination (Under the Spire, via MOG)

Peyote Cristal - Foreign Tongues (Housecraft)

Euglossine - Floridian Abstract (Housecraft)

Digital Natives - Two See Everything (Housecraft)

Former Selves - Limits (Rotifer)

Crystal Palace - Spirit Quest (Rotifer)

Albino Groupie - Echo of the Eye (Rotifer)

Manabu Ishikawa - Manabu Ishikawa (Rotifer)

Nag Dolly - Pomander (Rotifer)

400 Lonely Things / Transmuteo - Iscandarian Sunset (Rotifer)

Emmanuel Chabrier - Le roi malgré lui - Barbara Hendricks, Isabel Garcisanz, Peter Jeffes, Gino Quilico, Jean-Philippe Lafont, Radio France Chorus, New Philharmonic Orchestra of Radio France/Charles Dutoit (Erato)

King Crimson - Live at the Marquee, August 10, 1971 (DGM King Crimson Collectors Club)

Grateful Dead - Europe ’72 Vol. 2 (Grateful Dead/Rhino, via MOG)

Anthony Braxton - GTM (Iridium) 2007, Vol. 3, Sets 1 & 2 (New Braxton House)

Deep Listening Band - Great Howl at Town Haul (Important Records)

Deep Listening Band - Octagonal Polyphony (Important Records)

Katharina Rosenberger - Texturen - Wet Ink Ensemble/Carl Christian Bettendorf (hat[now]ART)

Arnold Schoenberg - Moses und Aron - Hans Herbert Fiedler, Helmut Krebs, Sinfonieorchester des Nordwestdeutscher Rundfunk (Hamburg)/Hans Rosbaud (Columbia Masterworks; more here)

Fausto Romitelli - Anamorphosis - Talea Ensemble (Tzadik)

Vektor - Outer Isolation (MRI, via MOG)

Cannibal Corpse - Torture (Metal Blade)

Quiet Evenings - Transcending Spheres (Preservation, via MOG)

Cecil Taylor and Pauline Oliveros - Solo-Duo-Poetry (EMPAC DVD)

Yes - Going for the One (Atlantic/Rhino, via MOG)

Franco Falsini - Cold Nose (Spectrum Spools, via MOG)

Bob Mould - Silver Age (Merge; due Sept. 4)

Grateful Dead - Dave's Picks, Vol. 3: Auditorium Theatre, Chicago, IL 10/22/74 (Grateful Dead)

Pauline Oliveros/Stuart Dempster/Panaiotis - Deep Listening (New Albion, via MOG)

Deep Listening Band - Non Stop Flight (Music and Arts, via MOG)

Pauline Oliveros - The Roots of the Moment (hatOLOGY)

Yes - Relayer (Atlantic/Rhino, via MOG)

Public Image Ltd. - The Flowers of Romance (Warner Bros./Rhino, via MOG)

Christopher Gibbons - Motets, Anthems, Fantasias - Academy of Ancient Music/Richard Egarr (Harmonia Mundi)

Woody Shaw - Woody Plays Woody (HighNote)