CULTURAL WORKINGS

Welcome to THE CULTURAL WORKER, a blog dedicated to arts on the Left ranging from the radical avant garde and free jazz to dissident folk forms and popular arts . The Cultural Worker celebrates revolutionary creativity and features a variety of essays, reviews, fiction, reportage, poetry and musings through the internet pen of this writer, musician and cultural organizer. Scroll straight down and you'll also find an extensive historical Photo Exhibit of cultural workers in action, followed by a series of Radical Arts Links. The features herein will be unabashedly partisan---make no mistake about that. The concept of the cultural worker as a force of fearless creativity, of social change, indeed as an artistic arm of radicalism, has always been left-wing when applied with any degree of honesty at all. No revolutionary act can be truly complete in the absence of art, no progressive campaign can retain its message sans the daring drumbeat of invention, no act of dissent can stand so strong as that which counts the writers, musicians, painters, dancers, actors, photographers, film and performance artists within its ranks. Here's to the history and legacy of cultural work in the throes of the good fight...
john pietaro

Saturday, May 31, 2014

"New York Eye & Ear Control" at 50---Looking Back and Forward in One Fell Swoop

"New York Eye & Ear Control" at 50:
Looking Back and Forward in One Fell Swoop


by John Pietaro

I type this piece as a rage of thoughts race through me; this is no time to be writing and so this is all the more reason I feel the need to do so. Tomorrow, June 1, is the concert I organized  in honor of a very special album of the Free Jazz canon. Here comes the hit; all of the PR has been done and every step is nuanced as far as I can see. Some 24 hours from now I will know for certain, but my manic flow is carrying me to that point. This is the same  surge of intensity I have been experiencing for a couple of days now. The energy level is cool but the headache is far from appreciated.

Over these past few months in which I was anticipating the golden anniversary the Albert Ayler-led earth-shaking album "New York Eye and Ear Control", the idea for this special event came to me. I can only imagine how this music was received back in '64: I mean, the Beatles' first American singles were still dominating the charts, the Stones came along a little later, and of course the popular music that emanated from AM radios made this British Invasion sound seem, well, radical. Mainstream Jazz had progressed: the Getz/Gilberto album emerged this same year. And Broadway shows like "Hello Dolly" provided founding fathers like Louis Armstrong with hit material too. But the experimental sound that accompanied the rising sense of revolution in the early-mid 1960s, shouted through the lack of attention. '64 also gave us Dolphy's "Out To Lunch" and of course John Coltrane's classic quartet, with each turn, were kicking out the walls of what one could expect in the music. Toward year's end they would record "A Love Supreme". At this point, Ornette  had disbanded his quartet and was doubling on trumpet and violin in a bare-bones trio that never stopped searching for the next step, if indeed there was one to be found.

But the indie label ESP-Disk  invited the furthest outside artists into their studios to record statements that inspired responses ranging from fury to awe. And it was all grassroots, anticipating the DIY record movement by more than a generation. Rather than trying to keep up with the Coltranes, ESP debuted musicians that few had previously heard of---and the results stand among the most potent examples of the New Thing.  Albert Ayler's first ESP recordings offered something bold, even in a time in which so much adventure was to be had for those who bothered to seek the new music out---surely you wouldn't find the furthest out stuff on Impulse or Atlantic in the racks alongside Jack Jones  and Pearl Baily. And if those records could be elusive, the ESP-Disk titles could seem like contraband. Who could have guessed that 'Ghosts' or 'Spirits' would be on vinyl? ESP believed in Ayler and during this year of '64 brought him into record several times and released all of it. Ornette and Ayler had become friends and many were drawn to his music. The emulsion of raw jazz, country blues and an inside-out vision of early European folk song filtered through his melodies and so one was left wondering if they'd maybe heard it all before in a dream. But, no, this was simply Albert Ayler. Not so simply, he weaved these odd little songs into screaming improvisatory statement and back, allowing saxophonic field hollers of Ornette to enjoy a new persona, sitting on top of marches, quadrilles and jigs from a land that never was. In an era groaning from the rigors of forced segregation. The music was primal scream as much as it was prideful fight-back and a leap beyond all that had come before it.

In July of  1964 Albert Ayler gathered Don Cherry, John Tchicai, Roswell Rudd, Gary Peacock and Sunny Murray in a studio to record the legendary album ‘NEW YORK EYE AND EAR CONTROL’, the free score to the film of the same name by Michael Snow, creating a hallmark of the avant garde. 'Don's Dawn' offers a brief repose as the album's opener, a laid-back introduction that is no indication of what's to come. The remaining two cuts, lengthy free pieces are a sleigh ride into the furthest reaches of creativity, but a creativity in which no rule of harmony is featured. While Trane was seeking out a higher truth and Ornette was philosophizing Harmolodics, Ayler's trio plus Cherry, Tchicai and Rudd dropped bombshells into the grooves of this LP adorned with the shadowy figure of Snow's "walking woman" figure (actually the profile of a rather healthily-shaped Carla Bley, already a part of this exciting new scene). The music told us that there is no tomorrow, there is only the moment and it offered a soundtrack to the crush of NYC as much as it did the times of the musicians' lives. And the listeners'. Though the focus was on the moment at hand, the product is quite timeless. It breathed too hard to not contain enough air to last through the decades. Five decades. Its awful to consider that as these musicians went into the studio in July, they were acutely aware of not only the social changes in their midst but the loss of a guiding force; Eric Dolphy died suddenly at the end of June in this year. Perhaps the cries of the instrumental voices were laments for Dolphy--or a celebration of the  passage of the Civil Rights Act which came to be the same month as "New York Eye and Ear". Some would argue that Free Jazz is not necessarily political, not specifically revolutionary. I would counter that the music cannot help but reflect the years in which it was born and raised---the tumult about the framers led to and commented on the times. Even when the statements remain focused on the music itself, the very radicalism of any avant garde stands as defiance against a comfortable, bourgeois institutional art vogue. And this particular avant garde scared the shit out of many experimentalists in other genres. This was the real thing, not just a New Thing. Its independence and rebel yell led the way for the Downtown sound to come---and birthed the development of the many improvisers today.

So, this particular summer of 2014, the jazz concert season kicks off to an early start with a rousing tribute to this celebrated recording as it hits its golden anniversary. A half century hence, a wide swath of New York Jazz underground instrumentalists fete it with four sets of contemporary fire music. The headliners are a one-time only assemblage dubbed here as The Veterans of Free, a combo of artists who were vital parts of the scene during Free Jazz’s development and still stand now as leading figures. And the opening attraction is celebrated downtown poet Steve Dalachinsky whose mix of spoken word and improv crosses the decades. The other artists performing represent the improvisational new music sounds of the past thirty+ years heard in Manhattan and Brooklyn performance spaces right into today.


 Dissident Arts and the Firehouse Space present
A TRIBUTE TO "NEW YORK EYE AND EAR CONTROL" The 50th Anniversary of the Free Jazz Classic!
-'VETERANS OF FREE' ALL-STAR ENSEMBLE:
Daniel Carter- saxophones, trumpet. Karl Berger- vibes, piano. Warren Smith- drumkit, percussion. Will Connell- saxophone, flute, bass clarinet. Ingrid Sertso- voice. And with Ken Filiano on bass.

-STEVE DALACHINSKY:
Steve Dalachinsky- poetry. Rocco John Iacovone- alto saxophone. Plus guests.

-THE RAS MOSHE UNIT:
Ras Moshe- saxophones, flute, bells. Dave Ross- electric guitar. John Pietaro- vibes, percussion. Andrew Drury- drum set, percussion.
-MATT LAVELLE’S 12 HOUSES ORCHESTRA:
Matt Lavelle- trumpet, alto clarinet, musical direction. Anais- voice. Mary Cherney- flute, alto flute. Claire de Brunner- bassoon. Lee Odom- clarinet, soprano saxophone, bass clarinet. Charles Waters- alto saxophone, clarinet. Ras Moshe- tenor and soprano saxophones, flute. Tim Stocker- baritone saxophone. Gil Selinger-cello. Chris Forbes- piano. John Pietaro- vibraphone, percussion. Anders Nilsson- guitar. Jack DeSalvo- mandolin, banjo. Francois Grillot- bass. Reggie Sylvester- drums

Date: Sunday, June 1st 2014
Time: 3PM – 6:30PM –
Steve Dalachinsky (3PM)
Ras Moshe Unit (3:30)
The Veterans of Free (4:30)
12 Houses (5:30)
Location: The Firehouse Space   246 Frost Street, Brooklyn New York 11211
Curated by John Pietaro -  For more information please see www.DissidentArts.com

Sunday, May 11, 2014

CD Review: Dave Ross Quartet


 
CD Review by John Pietaro:
DAVE ROSS QUARTET: ‘BYE-BYE BROOKLYN, HELLO EVERYWHERE’ (Nacht Records, 2014 – www.nachtrecords.com )
Michael Monhart - Tenor Saxophone
Michael Bisio -  Bass, Vocal
Jay Rosen - Drums
Dave Ross - Guitar, Vocal

Recorded at the Blue Room,Brooklyn, NY, April 8th, 2008

Recording engineer - Robert O'Haire
Mixed by - Dave Ross at Orange Music Sound Studios, Orange, NJ
Mix engineer - James Dellatacoma
Mastered at Sound Mirror by "Magic" Mark Donahue
Produced by - Dave Ross and Robert O'Haire

Let it be said that Dave Ross is one of the most Harmolodic guitarists performing in improvisational music today. That he is not more widely known as a leader in this sphere is to every listener’s detriment. The wealth of imagery Ross conjures out of a guitar transports the instrument beyond mere orchestral pallet – here is where the truly unorthodox sits in a happy emulsion with impeccable technique. Ross’ approach to the guitar is refreshingly unique, inspired by visionary saxophonists much more than any other guitar player; he projects linear, spiraling sounds from deep within that emerge with jewels of melodies, barks, growls and motifs that are evocative of….something else. In true Harmolodic fashion, melody, counter-point, harmony and rhythm are interchangeable and excitedly feed off one another each time he puts fingers to fret board.

As a musician active in the NYC free jazz/new music scene myself---but as one who also writes about it---I would be remiss if I didn’t state here that I know Dave through mutual performance, but this in no way compels me to write in hyperbole, would that even be possible. In fact, my performances with this guitarist allow me something of a special insight into his conceptions and I look forward to the rolling sonic sky he creates as he both locks into the rest of the band’s moment, and then carefully rejects it all to bring us into new terrain. As I said, this is one of the most Harmolodic guitarists out there. Ornette would have to dig this music.

‘Bye-Bye Brooklyn, Hello Everywhere’ opens with  the halted breath of “Love at First Feel”, with the four musicians engaging in a group improvisation, dancing about one another as would a young couple in the moments leading up to intimacy. Beckoning, retreating, advancing in hot pursuit. Or was that “feel” simply about the good vibes that grew in the session itself? Either way, the interactions are true and you can tell these musicians enjoy one another’s work. There is a real sense of unity and the collective improv is a moment in time that is as gripping as it is joyous. Bell-like guitar trades the lead with whispering saxophone and the searching commentary of upright bass and drums. And then the dance picks up speed and pulsations are going off in every direction. Michael Monhart’s powerful tenor is ever-present in this four-way discussion but, for this cut, maintains more of a section-man role than that of the front of the band. A lengthy solo by Michael Bisio reveals a fluid, multi-dimensional bassist who establishes a groundwork that is as much about rhythmic drive as it is extended techniques and gorgeous melodic statements. It is far too easy to get lost in the reality Bisio brings forth. As his solo diminishes, drummer Jay Rosen takes us back to the moment with gently piercing metals and the brattle of fills on his tom-tom and snare rims. The quartet resumes its collective improvisation until Ross’ own solo section emerges. Lightning-fast runs, percussive fret assaults, bluesy wailing and atonal quests pour out of your speakers, with the bass chasing down every move until the two, engaging in call-and-response, slow to a sudden, unresolved halt.

The next cut, “All Roads Lead to Universe”, is a Ross composition which offers an imaginary landscape into a horizon somewhere far away. One sees an endless desert, a barren mountainside, with a red sun beating down on a small caravan of believers that move along determinedly over miles of the mind. Wheezing saxophone, the reed sounding as dry as the imagery this produced for me, slowly brings a melody to the forefront. By the time this somewhat Arabic piece comes into being, the saxophone is now full-bodied, perhaps even one part bar-honker in addition to the obvious world music and post-modern jazz influence. Ross’ guitar, now feeling strangely like some sort of electric sehtar, opens the pathway for Bisio’s bowed bass which, cello-like, guides the rear of the caravan beneath Rosen’s white-hot cymbal rolls.

“This is Was” kicks off with a clipped walking bass which builds into the free jazz comp of the old school shimmering rhythm section  a la Haden and Higgins, creating a swathe in which all else is built upon. The first leading voice one encounters in this brief piece, traditionally enough, is the tenor, here spewing out a blurring improv that screams out Ayler’s name while reminding us that for at least one classic album Ornette played tenor too. The inventive, dominant performance of Monhart is quite classic and yet is unafraid to look well beyond his favorite memories of the Atlantic and Impulse records in his collection. Behind him, Ross drops in a chordal structure, bouncing off of the gallop of bass and drums. The guitarist takes over in a solo which includes a tap dancing duet with snare rim-shots, and then Bisio is featured as the sounds around him slowly come apart, decrescendoing into an abrupt false ending. The piece returns in an explosion that feels like a Sun Ra orchestral climax but also recalls early King Crimson. It’s all over quickly, leaving you wanting much more. The title’s Was seems to not only comment on the past of improvisational music but the blink of the track itself.

“In the Key of D” may have been a general idea in the instructions when this piece was first presented, but the irony of the title is apparent; the work opens with a drum solo. Drummer Rosen offers a world of sounds in his frenetic but quite musical feature. Even as the other instrumentalists enter the scene, Rosen remains out front. The inventiveness is germane to the standard of the contemporary free drummer’s language. The approach is far different from the “traditional” free jazz drumming of the music’s first period, as heard in the prior piece. In this case, the showcase is of the drumming conceived by stalwarts such as Rashid Ali and Milford Graves and then developed further through percussionists like Charles Downs (Rashid Bakr), Ronald Shannon Jackson and Jamie Muir. Just as the music had to develop to a point where the elements could break the chains of their conservatory roles, so did the New Thing drummer have to develop a vision of his or her instrument. The ride cymbal is not specific to time-keeping, perhaps nothing is. And why need it be? The constantly shifting terra firma offers a natural contrapuntal voice to lead lines which have moved well beyond any work’s specific harmonic structure let alone key signature. It’s a new day and it has been, progressively, since at least 1956. The artists of the underground claimed it as the Year One in their quest for the next philosophy, but have forged on ahead steadily. Nothing can stop this progression. The full breadth of it can be heard in many pockets of this album. But in the world of Dave Ross, the full breadth can sometimes be a detailed close-up of only one or two voices of the whole.

Case in point, “So Nice 2 Be…” closes off this album with the leader and bassist sitting out, apparently enjoying the gripping tenor/drumkit duet carrying on wonderfully about them. This is a concise selection that never falls into the trappings some extended duets have, where the players’ inspiration runs out well after the listener’s interest. Here is a rapid-fire excursion that invites us along for the ride and then ends with mutual satisfaction---like our younger selves had hoped for in First Feel encounters gone by. Love is never having to say ‘you are out of tune’…

The utter modesty that would allow a leader to end an album with his own tacit speaks volumes. Even more than these darkly adventurous, magical cuts can. Dave Ross never turns down the spotlight, and once in it he is a master magician of free, yet he is just as inspired in playing behind another soloist, dropping in just the right chords, spikes of sound, languid lines—or basking in silence. But Ross BECOMES the guitar when he is in the moment, and this cannot be learned through any tutelage. You have to experience it for yourself. ‘Bye-Bye Brooklyn, Hello Everywhere’ offers at least a glimpse into that special place.

 -John Pietaro is a musician, writer and cultural organizer from Brooklyn NY. His website is www.DissidentArts.com and blog http://TheCulturalWorker.blogspot.com