"We prefer pieces that play with the style and format of traditional profiles," the kind folks at National Sawdust told me when I agreed to write a preview story ahead of Love Songs, the new off-Broadway music-styled show by John Zorn and Jesse Harris that has its premiere performances at the Brooklyn venue on Saturday, Sept. 16, and Sunday, Sept. 17.
Challenge accepted.
Love Songs is a delicious piece, with gorgeous music by Zorn and stylish lyrics and book by Harris, and it'll be deliciously performed by singer Petra Haden with pianist Brian Marsella, bassist Jorge Roeder, and percussionist Ches Smith. I look forward to seeing the fully cast and staged version due for production at The New School sometime in 2024.
This current engagement is part of an ongoing year-long global celebration of Zorn's 70th birthday, which also includes further events at Roulette and Miller Theatre, and in Boston and Minneapolis. You'll find links in my preview, in the paragraph that starts "The setting is National Sawdust…"
Originally published on National Sawdust Log, April 13, 2018
Drummer Brian Chase is best known as a member of the vital indie-rock band Yeah Yeah Yeahs, but that only reveals the tip of the iceberg where his creative life is concerned. A longtime participant in New York City’s busy underground-music scene, Chase has performed and recorded with a dizzying range of innovators, including Lee Ranaldo, Alan Licht, Tyondai Braxton, Andrea Parkins, Jeremiah Cymerman, and Mary Halvorson, as well as bands such as the Fretless Brothers, Oakley Hall, the Sway Machinery, and Man Forever. Recently, he was among the dozens of artists who joined John Zorn in bidding farewell to The Stone in its original East Village location.
As a solo artist, Chase for more than a decade has pursued an interest in the limitless possibilities of just intonation and drone, inspired by the iconic Dream House operated by the maverick artists La Monte Young and Marian Zazeela. In 2013 he released Drums and Drones, the initial CD + DVD release devoted to his ongoing project of that name, on the esteemed experimental-music label Pogus Productions. The album’s DVD component included videos that New York artists Ursula Scherrer and Erik Z. made to complement Chase’s live performances. About that release, Chase explained at the time:
“Drums and percussion has seen some but not much exploration in Just Intonation, yet they are inherently designed to represent it as such: a drum head is tuned to a single pitch, one frequency, and resonates with rich harmonic detail. From there the overtone series can be uncovered and expressed. The Drums and Drones project deals directly with approaching drums and percussion from the standpoint of Just Intonation.”
Now, Chase will document the evolution and refinement of his pursuit with the forthcoming release of Drums and Drones: Decade, a three-CD package bundled with a 144-page book featuring essays about the project and its components, performance photos, and still images from the videos he's performed with. Encouraged by Zorn, Chase will release the set June 15 on his own newly established label, Chaikin Records. In a telephone interview, he discussed the album and label, and hinted at some of his future plans.
NATIONAL SAWDUST LOG: The press materials announcing Drums and Drones: Decade mention that the project was inspired initially by your interest in the work of La Monte Young and Marian Zazeela. How did you become acquainted with their art?
BRIAN CHASE: For about a year and a half, I worked as a volunteer at the Dream House space… this was in 2005 or so. And that just sucked me in – I was hooked on the vibrations. And before that, I had met Jon Catler, who was a guitarist in La Monte's ensembles. So that's how I got introduced to La Monte Young, apart from history books: I met Jon and started playing in some of his groups, and Jon got me into just intonation and that whole scene, and that led me to La Monte. As I was working at the Dream House, I started to see parallels between just intonation and the resonance of a drum head.
I'd wondered how you made that leap. Most people, when they think of drums, think of the qualities of attack and impact, rather than sustain and resonance.
Yeah, but I was thinking about it… the way a drum is set up is that a drum head is tuned to have a pitch, but within that resonance there's a whole complex sound world, a complex array of harmonics. I started to develop my skills in tuning, where I could tune a drum head to a very specific frequency, and then from knowing the frequency, I would be able to know my harmonics, and where they exist on the frequency spectrum. The way the project developed was I would start by tuning the drum to a specific frequency, usually 480Hz, based on how La Monte went about tuning – he would tune to a fundamental of 80Hz, which is the hum of ConEd… or National Grid, whatever it is now – and from there, I would use digital EQ to boost the harmonics of that fundamental.
So that's the technical aspect. But I was also very much into the meditative aspect of listening that came with the Dream House: the idea of not being able to hear all of the sound all at once, and understanding listening as a process. The compositions developed with that in mind; they were structured to allow listening to unfold, and to be experienced as a subjective process for the listener.
Did you ever have any kind of personal interaction with La Monte and Marian?
I've had some over the years, yeah, little bits here and there. Social encounters, as opposed to artistic collaborations? Yeah. One memory I have is when I was working at the Dream House around holiday time, New Year's. I was finishing my shift, and La Monte stopped me and had gifts for me: "a gift for your body, a gift for your mind, and a gift for your soul." The gift for my body was homegrown chili peppers [laughs], and they were the hottest chili peppers I've ever had. The gift for my mind was some incense, and the gift for my soul was the Midnight ragas CD with Pandit Pran Nath.
You've been developing this body of work for more than a decade now, a process illustrated by your new album. How has your approach evolved over the years?
It's been a continual trial and error experience. [Laughs] The first album is very much about me finding the methods for the first time – which is really exciting. I love the spontaneity of that.
The second album [Drums and Drones II: Ataraxia] definitely shows a more refined approach to my methods. And then the third album [Drums and Drones III: Acoustic] is a purely acoustic album, because in the process of developing the electroacoustic material, I would discover new techniques of getting harmonics in an acoustic way. It took about eight or nine years before I had a full repertoire of developing methods to bring out the harmonics in a purely acoustic way from drums.
You've played these kinds of pieces everywhere from The Stone to Basilica Hudson. Is there an ideal space or an ideal acoustic for getting the results you're after? Can you do it literally anywhere, with the judicious use of electronics?
It can be dome anywhere, but the environment changes what is done. I have to learn how to adapt to the scenario.
Each performance is in a sense site-specific.
Definitely.
So you've got this massive project you want to put out into the worlds. What made you take the leap of starting your own label?
The label came about as an idea from Zorn. He knew I was developing some releases, but I didn't have the output for them. I told him of one label that was interested, but wanted me to pay for the manufacturing. Zorn said for that same money, I could start my own label.
And he would know.
Exactly. So I took his advice. It was kind of the next step for me, because I do have a lot of projects, and I'm very deeply involved with many different aspects of the New York City music community. I was starting to feel a little inhibited by not having a label. So while I wouldn't necessarily have envisioned it for myself, now that I'm in it and starting to do it, I see all the possibilities.
You've announced two more projects for future release already. One is untitled: after, your collaboration with Catherine Sikora. Can you talk a little bit about that?
That music is more on the avant-jazz side. Catherine is a brilliant improviser, and we've had a project for a number of years now.
It's fully improvised, rather than assembled with some compositional strategy?
Yeah. And the way we developed our pieces was we used pieces of text from a Beowulf translation.
Seamus Heaney?
Exactly. Catherine is a big fan of Beowulf and Seamus. She typed out some excerpts on an old typewriter that she had, and brought them into a rehearsal one day. We went through and developed some themes and motifs that provided a springboard for improvisation.
Is that basically a loose template, where every time you revisit that project it comes out differently?
Definitely. The pieces tend to have the same character, which is kind of cool, considering that they're all based on specific passages from the book. But yeah, the music is different.
I gather from the press-release statement about your third release, 13 Million Year Old Ghost, that you're not allowed to reveal the performer's true identity. But can you point toward the sound world the music occupies?
It does hint at the drone side of things, but it does kind of have more of a typical song aspect to it.
You can't divulge who it is for contractual reasons?
Well, it's a friend of mine from the rock world. We're doing the mastering next week, so I think after that we'll start to feel more confident about revealing more information.
Going forward, do you have a sense of what kinds of projects and artists you're interested in pursuing?
I've started thinking about another round – I like the idea of doing three releases at a time. We'll see how this goes, and if I break even or it's sustainable, then I'll look toward another batch. One idea I had was to feature some great Brooklyn music… there was a lot of great stuff happening on the Brooklyn rock scene that I don't think made it past its history, unfortunately. A lot of bands that were pivotal at the time, like from 2000 to 2006, that get overlooked when people talk about the Brooklyn scene. So I was thinking about doing a compilation in a similar format to No New York that features four bands. And maybe it would be a two-LP thing; maybe it would be four bands over two LPs, possibly. So that's something I was thinking of for next time.
Your use of the term LP just then begs the question of whether you'll be issuing Chaikin releases on formats other than CD. Any plans for vinyl or cassette?
Yeah, definitely, 13 Million Year Old Ghost will be an LP. I thought about doing the album with Catherine on cassette, also, but I think that'll just stay on CD. Doing a label, the economics of all of this is… very apparent. [laughs]
Drums and Drones: Decade is due June 15, 2018, on Chaikin Records.
Originally published on National Sawdust Log, Nov. 29, 2017
Even for an artist as versatile and unpredictable as Sarah Hennies—a percussionist, improviser, and composer originally from Louisville, Kentucky, and now based in Ithaca, New York—her newest work represents a substantial achievement. Contralto, an hour-long work for vocalists on video with strings and percussion (either live or recorded), is named for the musical term that denotes the lowest female voice type. The principal source material is provided by a cast of trans women, filmed by first-time director Hennies as they speak, sing, and perform vocal exercises designed to help trans women develop a more conventionally female vocal sound.
Hennies is best known to new-music cognoscenti as a solo artist and for her work alongside fellow percussionists Tim Feeney and Greg Stuart in the protean percussion trio Meridian. In indie-rock circles, she's the former drummer for Austin combo The Weird Weeds, and the current time keeper for Philadelphia slowcore outfit Obody. For Contralto, which will be presented its world premiere on Nov. 30 at Issue Project Room in Brooklyn, Hennies has assembled a stellar band of old friends and regular collaborators: Meridian bandmates Feeney and Stuart, violinist Erik Carlson, violist Wendy Richman, cellist T.J. Borden, bassist James Ilgenfritz, and percussionist Ashley Tini.
Speaking by telephone from her home in Ithaca, Hennies talked about the personal and stylistic discoveries that led her to imagine and assemble Contralto, as well as the circuitous creative path that gave her the tools and determination to get it done.
NATIONAL SAWDUST LOG: To judge by the evidence I've seen thus far—a video trailer, a descriptive essay, and some sections of the score—Contralto is unlike anything you created before it. So let's get rolling with the most basic question: How did you come to conceive this piece?
SARAH HENNIES: It started a few different ways. Around three or four years ago, when I was first dealing with any kind of trans stuff and I didn’t know anything, this friend of mine had this really squeaky voice: super, super high. The first time we hung out, I don’t even remember how it came up, but she was like, “Oh, I can still do my old voice.” She started talking in this really profoundly deep, low voice, and I thought it was so startling. So when I started to think about making a piece that was about voices, at first I wanted to try to get a bunch of trans women to expose their quote-unquote “natural” voices. And the more I thought about that, the more wrong it felt for a lot of reasons… not that interesting, and not something that I wanted to do, because I felt like it would sensationalize physical things and focus on body stuff instead of actual identity.
And then, there’s a course that is offered at Ithaca College for free that is basically like trans voice training. They say it’s for trans people, but really only women take it, because what I learned years ago was that when a trans man transitions, his voice changes, because when you take testosterone, it causes your vocal chords to thicken, and your voice drops and gets more profound. And that does not go the other way. So I started to think of this as: when you think about trans women’s place in the world, you can change all of these things and go to all of this effort to do what’s called “passing,” and kind of assimilate into society, but there’s this one thing that you just can’t fix… or I wouldn’t use the word “fix”…
Alter?
Right. There’s this one pesky thing that none of us can really deal with. And what I found from the class… one of the women in the piece—the older woman in the pink sweater, her name is Dreia [Spies]—when we were filming her part, we talked about the class, because I met her there. She was asking me to explain the piece a little bit. I was like, well, I think the class is asking people to do something that is basically impossible. This is someone who’s taken the class repeatedly, and she was like, yeah, I think that’s basically true.
The class is designed to help you essentially pass, vocally?
Right, but what I found is that it does not… you know, it depends on the person. A different person, who I really wanted to be in the film, but she maybe just decided she didn’t want to, has one of the deepest speaking voices I’ve ever heard. I feel for her, because that’s really hard. But also, I started to think that the piece I needed to make was not that we all need to change our voices so that we can fit into society better, but that people need to change their definition of what they think a woman sounds like. This idea that it was trying to do something impossible is something that I was already doing in my music a lot. And from taking this class, there’s all of these exercises that started to remind me of pieces that I had already made before I ever thought about this class. [Laughs]
Oh, now that’s really curious and interesting.
The music in the trailer for the film, the kind of droney humming and sine-wave music, I actually made about six years ago. It was a test for a vocal piece that I never wrote, for a concert that a group I was in was doing in Austin, the Austin New Music Co-Op. We did a concert with a vocal group called Convergence…
A contemporary-classical kind of situation?
Right, right. The thing that ended up in Contralto I ended up releasing on a tape, just as its own piece. It’s a recording of myself multi-tracked four times, where all I’m doing is humming across my vocal range, so that one part is as low as I can possibly hum and one part is as high as I can hum. The highest part is kind of squeaky, it’s the only part that kind of wavers, and you can tell it was a little bit difficult. I wasn’t thinking about this in relation to trans- anything when I made the piece; I just made it. And there’s a lot of stuff like this where I can look back to 10, 20 years ago and be like: oh, that’s why I was thinking about this, and that’s why I was doing this.
Which tape includes the vocal piece?
It was called Casts. It’s on Astral Spirits. That tape ended up being sort of an odds-and-ends collection, just four pieces for something-plus-sine waves. There was one where I’m repeating a word over and over again, one for hi-hat, and one for vibraphone, and then this voice thing.
It’s interesting, [Contralto] is a convergence of all these things that I’ve been interested in, and they’re all just sort of happening at the same time. But it’s not explicit… I didn’t think of it as trying to do that. It just kind of happened on its own. I started to see that this was a link between all of these different things that I was doing. So that’s why I initially wanted to make the piece.
If we're connected on social media, then most likely you saw the major announcement I made there yesterday. If not, this is no April Fool's Day gag: National Sawdust Log ceased operation on March 31, a victim of perilous times.
Whether this will prove to be a temporary hiatus for the publication or a new permanent reality is anyone's guess; what's certain is that my full-time position with the institution has ended, and I am without employment for the first time since July 1997, when I parted ways with the Knitting Factory—another scrappy, visionary, and underfunded incubator for musical creation, I've just realized as I typed this.
Employment prospects are not especially promising right this minute, to say the least, and we all have more important matters on our minds right now, anyway. But I'm not going to give in to panic or despair. I've got plenty left to say and do, and I'll find the ways to say and do them, one way or another. Right now it might feel as thought we're living in some low-budget 1970s science fiction/horror movie, but one day we'll be together again, and when the time comes, the mission of documenting the music we make in public places will resume.
A weekly tally of memorable things Steve Smith has stuck in his ears. Published on National Sawdust Log.
Note: YouTube embed codes were not working when this list was made, so links are provided where necessary.
Dave Brubeck Quartet - Reflections (Concord Jazz; 1986)
William O. Smith - Two Sides of Bill Smith (CRI; 1974) > Concerto for Jazz Soloist and Orchestra - William O. Smith, Orchestra U.S.A./Guther Schuller; Variants for Solo Clarinet - William O. Smith; Mosaic - William O. Smith, Robert Suderberg
Shelly Manne & His Men - Vol. 6: Concerto for Clarinet and Combo (Contemporary; 1957)
Anastasis Philippakopoulos - piano works - Melaine Dalibert (Elsewhere; 2020)
Lea Bertucci - Acoustic Shadows (SA Recordings; due April 15, 2020. More details here.)
Charles Wuorinen - Flying to Kahani - Anne-Marie McDermott, Orchestra of the League of Composers/Charles Wuorinen (YouTube; 2016)
The Giving Shapes - Earth Leaps Up (Elsewhere; 2020)
Wolfgang Amadeus Mozart - Piano Concerto No. 27 in B-flat (K. 595); Franz Schubert - Allegretto in C minor (D. 915); Anton Bruckner - Symphony No. 7 in E - Paul Lewis, Berlin Philharmonic/Bernard Haitink (Digital Concert Hall; 2019)
Anton Bruckner - Symphony No. 8 in C minor - Berlin Philharmonic/Zubin Mehta (Digital Concert Hall; 2019)
Anton Bruckner - Symphony No. 9 in D minor - Bavarian State Orchestra/Hans Knappertsbusch (Orfeo; 1958/2016)
Anton Bruckner - Symphony No. 4 in E-flat ("Romantic," original version ed. L. Nowak) - Bavarian State Orchestra/Kent Nagano (Sony Classical; 2009)
Anton Bruckner - Symphony No. 5 in B-flat (original version) - Berlin Philharmonic/Wilhelm Furtwängler (Russian Compact Disc; 1942/2011)
Anton Bruckner - Symphony No. 6 in A - New Zealand Symphony Orchestra/Georg Tintner (Naxos; 1997)
Dave Brubeck Quartet - Brubeck à la Mode (Fantasy; 1960)
Luigi Nono - A floresta é jovem e cheja de vida (Col Legno; 1955-56/2020)
Dave Brubeck Quartet - Concord on a Summer Night (Concord Jazz; 1982)
Matt LaJoie - Everlasting Spring (Flower Room; 2020)
Starbirthed - Tour Guide (Flower Room; 2020)
Dante Boon - One Night in Forest Hills (Bánh Mì Verlag; 2020) > Christian Wolff - Exercise 15; Assaf Gidron - Hurray; John Carlos Callahan - Blue Dream Excerpt with Proportional Ending
Sarah Hennies - Habitat (self-released; 2020)
Will Guthrie - For Stephane (self-released; 2020)
Caterina Barbieri - Scratches on the Readable Surface Live Version (self-released; 2020)
Lea Bertucci - Reaches (self-released; 2020. Available only on March 20, 2020)
A weekly tally of memorable things Steve Smith has stuck in his ears. Published on National Sawdust Log.
David Grubbs & Taku Unami - Comet Meta (Drag City; due May 29, 2020)
Ellen Fullman - In the Sea (self-released/Superior Viaduct; 1987/2020)
Rachel Beetz - Script - Rescript (Populist; 2020) > Rachel Beetz - Script - Rescript; Nicholas Deyoe - NCTRN3; Edward Hamel - Pull the Name from My Tongue; Brian Griffeath-Loeb - Echoes of Cassandra; Yiheng Yvonne Wu - Relay/Replay
Cenk Ergün - Sonare & Celare - JACK Quartet (New Focus; 2020)
John McCowan - Solo Contra (International Anthem; 2017)
Jon Gibson - Songs & Melodies, 1973-1977 (Superior Viaduct; 2020)
Richard Strauss - Don Juan; Dai Fujikura - Impulse (Piano Concerto No. 3); Richard Strauss - Concerto for Oboe and Small Orchestra in D; Richard Strauss - Till Eulenspiegels lustige Streiche - Yu Kosuge, Alexei Ogrntchouk, Orchestre de la Suisse Romande/Jonathan Nott (Audio livestream; 2020. Archived here.)
Johann Sebastian Bach - Jesu, Joy of Man’s Desiring (arr. Myra Hess); Concerto for Violin and Oboe in C minor (arr. Wilfried Fischer); Chorale Prelude Ich ruf zu dir, Herr Jesu Christ (arr. Ferruccio Busoni); Cantata Ich habe genug - Simone Dinnerstein, Kady Evanyshyn, Alecia Lawyer, Rebecca Fischer, Baroklyn (Video livestream; 2020. Not archived; program information here.)
Charles Wuorinen - Eighth Symphony ("Theologoumena"); Fourth Piano Concerto - Peter Serkin, Boston Symphony Orchestra/James Levine (Bridge; 2016. Audio samples here.)
Charles Wuorinen - Symphony No. 3 - Japan Philharmonic Orchestra/Akeo Watanabe (CRI; 1962. Audio samples here.)
Arnold Schoenberg - Trio for Strings; Alexandra du Bois - Heron. Rain. Blossom.; Tristan Murail - Paludes; Ben Johnston - String Quartet No. 4 (“Amazing Grace”) - Chamber Music Society of Lincoln Center (Video livestream; 2020. Archived here.)
Charles Wuorinen - Symphony Seven - unidentified orchestra and conductor (composer's website; 1997. Available for streaming here.)
Charles Wuorinen - Piano Concerto No. 3 - Garrick Ohlsson, San Francisco Symphony/Herbert Blomstedt (Elektra Nonesuch/Tzadik; 1990/2005. Audio samples here.)
Charles Wuorinen - Piano Concerto - Charles Wuorinen, Royal Philharmonic Orchestra/James Dixon (CRI; 1968)
Ben Hackbarth - Lockstep Variations; Clara Iannotta - Limun; Brian Ferneyhough - Liber Scintilarrum; Brigitta Muntendorf - shivers on speed; Gérard Grisey - Talea - Riot Ensemble/Aaron Holloway-Nahum (Video livestream; 2020. Not archived; program information here.)
Charles Wuorinen - Percussion Symphony - New Jersey Percussion Ensemble/Raymond DesRoches (Nonesuch; 1978)
Elliott Sharp - The Velocity of Hue (Emanem/Zoar; 2003/2017)
Johann Sebastian Bach - St. John Passion - James Gilchrist, Hana Blažiková, Damien Guillon, Zachary Wilder, Christian Immler, Yusuke Watanabe, Bach Collegium Japan/Masaaki Suzuki (Video livestream; 2020. Archived here.)
Ernst von Dohnányi - Serenade; Pyotr Ilyich Tchaikovsky - Souvenir de Florence; Béla Bartók - Sonata for Two Pianos and Percussion - Chamber Music Society of Lincoln Center (Video livestream; 2020. Archived here.)
A weekly tally of memorable things Steve Smith has stuck in his ears. Published on National Sawdust Log.
Anastassis Philippakopoulos - piano works - Melaine Dalibert (Elsewhere)
Matt LaJoie - Everlasting Spring (Flower Room; due March 14, 2020)
crys cole - Beside Myself (Students of Decay; 2020)
Katharina Rosenberger - REIN - Orchestre Philharmonique du Luxembourg/Baldur Brönnimann (YouTube; 2020)
Arnold Schoenberg - Pelleas und Melisande - Orchestre Philharmonique de Radio France/Yahav Shani (France Musique/YouTube; 2018)
Tyshawn Sorey - Unfiltered (Pi Recordings; 2020. Audio and more information here.)
Johannes Brahms - Academic Festival Overture; Michael Pisaro - Umbra & Penumbra; Anahita Abbasi - why the trees were murmuring; Johannes Brahms - Symphony No. 3 in F - Greg Stuart, La Jolla Symphony/Steven Schick (University of California Television/YouTube; 2020)
Jon Gibson - Melody IV Part 1 - Apartment House (SoundCloud; 2019)
Linda Catlin Smith - Gold leaf - unidentified orchestra and conductor (SoundCloud; 2018)
Porcupine Tree - In Absentia (Deluxe Edition) (Lava/Kscope; 2002/2020)
Latitude 49 - Wax and Wire (New Amsterdam; 2020) > Gabriella Smith - Number Nine; Viet Cuong - Wax and Wire; Sarah Kirkland Snider - Thread and Fray; Annika Socolofsky - a sense of who; Chris Sies - these (were) used to harm; Sarah Kirkland Snider - You Are Free
McCoy Tyner - The Real McCoy (Blue Note; 1967)
John Coltrane - A Love Supreme (Impulse!; 1965)
David Murray - Special Quartet (DIW/Columbia; 1990)
Wayne Shorter - JuJu (Blue Note; 1965)
McCoy Tyner - Asante (Blue Note; 1974)
Hank Mobley - Straight, No Filter (Blue Note; 1963-88/1985)
Art Farmer/Benny Golson - Meet the Jazztet (Argo; 1963)
Joe Henderson - Inner Urge (Blue Note; 1966)
McCoy Tyner - Tender Moments (Blue Note; 1968)
Grant Green - Matador (Blue Note; 1964/1979)
Bobby Hutcherson - Stick-Up! (Blue Note; 1968)
John Coltrane - Ascension (Impulse!; 1966)
McCoy Tyner - Solo: Live from San Francisco (McCoy Tyner Music/Half Note; 2009)
Florence Price - Symphonies Nos. 1 & 4 - Fort Smith Symphony/John Jeter (Naxos; 2019)
Liza Lim - Extinction Events and Dawn Chorus (Kairos; 2020) > Extinction Events and Dawn Chorus - Sophie Schafleitner, Klangforum Wien/Peter Rundel; Axis Mundi - Lorelei Dowling; Songs Found in Dream - Klangforum Wien/Stefan Asbury
Amy Beach - Symphony in E minor ("Gaelic") - Nashville Symphony Orchestra/Kenneth Schermerhorn (Naxos; 2003)
Ruth Anderson - Here (Arc Light Editions; 2020)
Olga Neuwirth - …miramondo multiplo… - Håkan Hardenberger, Gustav Mahler Youth Orchestra/Ingo Metzmacher; Remnants of Song – An Amphigory - Antoine Tamestit, ORF Radio-Symphonieorchester Wien/Susanna Mälkki; Masaot/Clocks Without Hands - Vienna Philharmonic/Daniel Harding (Kairos; 2020)
A weekly tally of memorable things Steve Smith has stuck in his ears. Published by National Sawdust Log.
Moniek Darge - Sounds of Sacred Places (Igloo/Kye; 1987/2011)
crys cole - Beside Myself (Students of Decay; 2020)
The Taj-Mahal Travelers - July 15, 1972 (CBS Sony/États-Unis; 1972/2019)
Steve Roach - The Sky Opens (Projekt; 2020)
Kevin Drumm - A Small Register of Motion (self-released; 2020)
Tomás Cabado - historia de la luz: cuaderno de guitarra - Tomás Cabado, Catriel Nievas (Edition Wandelweiser; 2019. Audio samples here.)
Giacomo Fiore and Larry Polansky - from pike (self-released; 2020) > Ruth Crawford Seeger - Folksong Arrangements; Nat Evans - branching streams flow in the dark; Larry Polansky - 34 (more) chords: Charles Dodge in Putney
Sivan Silver-Swartz - untitled 6 - Nigel Deane, Patrick Behnke, Tanner Pfeiffer, Tal Katz, Julius Tedaldi (Edition Wandelweiser; 2019. Audio sample here.)
Man Forever - Play What They Want (Thrill Jockey; 2017)
Oneida - Romance (Joyful Noise; 2018)
Company - 1983 (Honest Jon's; 2020. Audio samples here.)
The Alvaret Ensemble - ea (laaps; 2020)
Peter Zinofieff & Lucy Railton - RFG Inventions for Cello and Computer (PAN; 2020)
Kaitlyn Aurelia Smith - The Kid (Western Vinyl; 2017)
Liza Lim - The Heart’s Ear - Ensemble für Neue Musik Zurich (hat[now]ART; 2002) > Voodoo Child; Veil; Inguz; The Heart's Ear; Philtre; Diabolical Birds
Rose City Band - Rose City Band (Thrill Jockey; 2019)
Gustav Mahler - Symphony No. 6 in A minor - San Francisco Symphony/Michael Tilson Thomas (SFS Media; 2002)
Shots - Can We Win (Regional Bears; 2018)
Arek Gulbenkoglu - A gift like a hollow vessel (Penultimate Press; 2018)
Samir Amarouch - Electronica 1; Daniel Apodaka - Suoni Notturni; Luis Quintana - Smudges Over Dripping Ink; Théo Méringeau - Hoquetus Mechanicus - Etudiants du Conservatoire National Supérieur de Musique et de Danse de Paris, musiciens de l'Ensemble Intercontemporain/Simon Proust (Conservatoire National Supérieur de Musique et de Danse de Paris/YouTube; 2019)
Mayhem - Daemon (Century Media; 2019)
Kaitlyn Aurelia Smith - EARS (Western Vinyl; 2016)
Riot Ensemble - Speak, Be Silent (Huddersfield Contemporary Records; 2019) > Chaya Czernowyn - Ayre: Towed through plumes, thicket, asphalt, sawdust and hazardous air I shall not forget the sound of; Anna Thorvaldsdóttir - Ró; Mirela Ivičević - Baby Magnify/Lilith's New Toy; Liza Lim - Speak, Be Silent; Rebecca Saunders - Stirrings Still II
Shots - Private Hate (Careful Catalog; 2019)
Gabi Lonsoncy - Judgement (caduc.; 2015)
Jürg Frey - ECHO.TRIO.FRAGILE.EYOT. (a new wave of jazz; due April 15, 2020) > Paysage d’échos - Jürg Frey; Streichtrio - Angharad Davies, Johnny Chang, Stefan Thut; Equilibre fragile - Jürg Frey; Eyot - Antonio Correa
A weekly tally of memorable things Steve Smith has stuck in his ears. Published on National Sawdust Log.
Carla Bley, Andy Sheppard, Steve Swallow - Life Goes On (ECM; 2020)
Dave Douglas - Marching Music (Greenleaf Music subscriber exclusive; 2020. More information here.)
Sofia Gubaidulina - Jetzt Immer Schnee; Perception - Leonid Stasov, Stella Kleindienst, Siegfried Lorenz, Netherlands Chamber Choir, ASKO|Schönberg/Reinbert de Leeuw (Philips; 1995)
Leoš Janáček - Choral Works - Netherlands Chamber Choir, Schönberg Ensemble/Reinbert de Leeuw (Philips; 1995)
Frank Martin - Die Weise von Liebe und Tod des Cornets Christoph Rilke - Jard van Nes, Nieuw Sinfonietta Amsterdam/Reinbert de Leeuw (Philips; 1995)
Adrian Rew - Slot Machine Music (Ergot; 2013)
Kate Carr - Tate Lates set (Bandcamp subscription exclusive; 2020. More information here.)
Bluesharp - Fieldwork, Vol. 2: American Speech (Permanent Nostalgia; 2020)
Keith Jarrett - The Köln Concert (ECM; 1975. Audio samples here.)
Dire Wolves - Live Dwlvs: The Hideout, Chicago, IL, April 11, 2019 (Bandcamp subscriber exclusive; 2020. More information here.)
Dante Luna & Cassandra Venaglia - La Figlia che Piange (The Girl who Cries) (self-released; 2018)
Missy Mazzoli - Vespers for a New Dark Age - Victoire, Lorna Dune, Glenn Kotche (New Amsterdam; 2015)
Riot Ensemble - Song Offerings (Coviello Classics; 2020) > Samantha Fernando - How Many Moments Must; Aaron Holloway-Nahum - Sailing; Samantha Fernando - Utterance; Laurence Osborn - Micrographia; Samantha Fernando - The Half Moon; Jonathan Harvey - Song Offerings
Mark Hannesson - undeclared - Antoine Beuger, René Holtkamp, Mark Hannesson (Edition Wandelweiser; 2019. Audio sample here.)
Dante Boon - hannesson.boon.philippakopoulos (Edition Wandelweiser; 2019. Audio sample here.) > Mark Hannesson - signposts; Dante Boon - duo (2h); Anastassis Philippakopoulos - piano piece (2016); piano piece (2017); piano piece (2018); piano piece (2018 β)
André O. Möller with Christoph Nicolaus and Rasha Ragab - music for stone harps (Edition Wandelweiser; 2019. Audio samples here.)