Friday, December 30, 2011
Saturday, December 24, 2011
Here's a concert recording of a rather expanded Radio NOIR line-up performing at the C.O.M.A. experimental music series at ABC No Rio, the celebrated anarchist space in NYC, 12/18/11. John Pietaro (xylophone, frame drums, percussion, spoken word), Javier Hernandez-Miyares (elec guitar), Laurie Towers (electric bass) with guests Frederika Krier (violin) and Rocco John Iacovone (soprano and alto saxophones). Our regular fourth member, clarinetist Quincy Saul, was unavailable for the gig as he was in Durban South Africa reporting on the Climate Conference (a pretty good excuse if I may say!) so we adapted some of our regular material to this line-up and of course added in some new things too. We'd also planned on performing a newly realized version of the brilliant Phil Ochs song, "No Christmas in Kentucky" but unfortunately there was not enough time. Still, this was a notable evening of music-on-the-edge.
Much thanks to the very talented Frederika and Rocco for being a part of this day. For more info on ABC No Rio and the COMA experimental music series curated by Blaise Siwula see www.abcnorio.org
To listen to the recording log on to:
(1) free improv
(2) Langston (Pietaro/Saul)
(3) Pastures of Plenty (Woody Guthrie; arr: Radio NOIR)
(4) the Arbitrator (Iacovone)
(5) Hanns Eisler Speaks: Fantasia in G-Men (prose by Eisler; free improvisation by Radio NOIR)
Friday, December 9, 2011
PLUS Blaise Siwula's duet AND an open session!
Sunday Dec 18, 7PM, ABC No Rio 156 Rivington Street, NYC www.abcnorio.org
Wednesday, December 7, 2011
Thursday, November 24, 2011
Radio NOIR'S improvisatory, ethereal adaptation of this beautiful Woody Guthrie theme is presented today in strong reflection of Thanksgiving in hard times. Guthrie's ballad of migrant farm workers struggling for dignity is timeless.
Radio NOIR chose to approach this piece in a unique manner which is built upon the Minimalist-influenced xylophone line of John Pietaro and the insistent, grinding bass of Laurie Towers. Javier Hernandez-Miyares' effects-laden guitar builds an incredible atmosphere in which the ensemble lays out a pasture of conflict and struggle for the melodic realization by Quincy Saul's clarinet. After the actual Guthrie melody is heard in full, the quartet stretches out with solo statements built into a sort of collective improv. In the melody's final hearing Hernandez-Miyares' guitar effects build to create a soundscape indicative of a southern textile factory's looms, tying the concept of the field worker into industry, open spaces into a darker, untouchable sky.
"Pastures of Plenty" was produced by Javier Hernandez-Miyares and recorded by Natalie Scarborough at 17 Frost Theatre of the Arts, Brooklyn NY, October 2011 www.17frost.com
Radio NOIR is John Pietaro, xylophone and percussion
Quincy Saul, clarinet
Javier Hernandez-Miyares, electric guitar and effects
Laurie Towers, electric bass
"Dissident swing...radical improv...Art Deco-damaged protest song!"
Tuesday, November 22, 2011
Sunday, November 20, 2011
Radio NOIR: "The Lost Broadcast" E.P.
NOIR is a quartet which wields its own unique brand of dissident swing.
Helmed by xylophonist/percussionist John Pietaro and featuring the
clarinet of Quincy Saul, the electric guitar of Javier Hernandez-Miyares
and the electric bass of Laurie Towers, the band made its debut at the
2011 Dissident Arts Festival (August 13, 2011, the Brecht Forum, NYC).
Soon after the members recognized that the artistic as well as
socio-political ties that led to the founding of Radio NOIR was indeed a
reason to hold the band together. Inspired by the fervent radicalism
and sounds of the 1930s as well as the daring post-punk improvisations
of downtown NYC, Radio NOIR seeks to build bridges between Left politics
and Jazz, radical philosophy and New Music. "The Lost Broadcast", Radio NOIR's 4-song E.P. collection, was recorded live in an all-day marathon session at 17 Frost Theatre of the Arts (Williamsburg, Brooklyn NY) in October 2011. The final document not only includes blazing audio tracks of the band's unique 'dissident swing' but wholly produced videos as well, inclusive of imagery projected onto 17 Frost's three massive screen's positioned around Radio NOIR during the recording process. Note that some of the imagery is comprised of excerpts of the seminal sci-fi/social change film 'Metropolis' by director Fritz Lang. It is not happenstance that Lang's film was directly influenced by his visions of NYC during his initial visit here--- likewise now his work inspires Radio NOIR in their music-activism journey. This E.P. is Radio NOIR's
debut recording and one which offers a vivid account of their
convictions. Starting from the bitter social unrest of the 1930s, the
quartet produce a music which speaks loudly to today's struggles for
social and economic justice. Wrapped in the shadows of Depression-era
New York, the four titles bridge Hot Jazz to noir novels, ethereal
sounds to No Wave, the words of revolutionary composer Hanns Eisler to
free improvisation and the music of Woody Guthrie to a restless,
relentless kind of swing. The members of Radio NOIR are
experienced improvisors, with New Music as well as expansive Jazz and
Pop burnt deeply into their repertoires, but always they maintain the
still higher goal of the arts as cultural work, a means toward real
Friday, November 11, 2011
(photo by Don Mount)
Free Jazz as Cultural Revolution:
Karl Berger & The Stone Workshop Orchestra
By John Pietaro
The Stone stands quietly and without fanfare at the corner of Avenue C and East 2nd Street. The club is set in an old store front that still bears the markings of pre-gentrified Alphabet City. So unassuming is it that there’s no sign over its door proclaiming that a new experimental music space—one which features the free exchange of art and ideas--has taken back part of New York otherwise lost to the developers and yuppies. The Lower East Side , New York’s historic center of alternative arts and struggle, survived years of neglect and decay during which it was shunned by a larger society attempting to cut off its immigrant and poor population just until the ‘hood became fashionable. And as its boarded-up shops transformed into bistros, it ‘became’ the East Village and was sold to the highest bidder. And somehow post-modern saxophonist John Zorn made a grab to claim some of this prized territory for the movement. This community --where Beat poetry found its home, where the most radical of Left activists congregated, where jazz’s loft scene was birthed, where the punk movement began and where the post-punk avant garde coalesced into No Wave—has taken back one of its lost corners. There’s cause to celebrate but the Stone remains the Village’s best-kept secret. And the noise about it only seems to occur within.
Having enjoyed memorable performances in LES clubs and galleries back when there was a healthy scene harboring this kind of music, I well remember the once-affordable community and its phalanx of artists, anarchists, addicts, dealers, homeless, Hell’s Angels and poverty-stricken residents. No, they weren’t really good old times because there was too much hurt and yet the area held a strange beauty that’s long gone. Walking through the door of the Stone brings me back almost immediately. The space is tight, intimate. The lights are dim. The energy is whirling, barely contained in the walls about me. I felt it on my first visit: Musicians flow in, greeting each other with warm, jovial exchanges, laughs, and discussions about a recent tour with this or that one, the last gig with so-and-so, or baseball scores and small talk. Dressed down, unpacking their axes these men and women are as unassuming as the club itself. I walk over the uneven floorboards and find a spot near the back, next to the drummer and two upright bassists preparing for the evening’s excursion. I stand amidst a mini xylophone or glockenspiel, large and small frame drums, several small hand-held percussives, sometimes a dumbek, and a pair of crowded racks sporting woodblocks, temple blocks, cowbells and a triangle. Somehow I set it up in a manner that’s workable but not imposing to the tightly-packed band, which ranges from a minimum of 12 members to a more standard number of about 23. The immediacy of those around me seems to extend well beyond the physical.
Karl Berger and Ingrid Sertso enter the room, gently reaching out to the musicians sitting in a two-rowed semi-circle. The band responds in kind, offering greetings, brief bits of humorous tales and other chitchat. But this is not a mere social call. Soon Karl seats himself caddy-corner at the piano and offers some basic ideas as to what the music will be like tonight. In some cases choosing pieces he’s worked on with the Orchestra before, in others, introducing brand new ones without warning, of course. The compositions are often his own but just as likely penned by the Ornette Coleman or Don Cherry, or other past collaborators. Many are drawn from the repertoire of world folk songs (Karl is especially fond of Turkish music). But it can never be said that there is anything assumed or pre-planned about this band’s music. There is NEVER a written score and when the band needs to learn a jazz head or other melody, it is simply played at the piano, at times slowly and repetitively, until the musicians are comfortable with what’s to come. Karl offers some info on the particular mode or the tradition in which the piece was developed as his hands lightly run over piano keys. The musicians are all veterans and adept at this kind of performance, but Karl’s advice and philosophical guidance are never taken begrudgingly. “Please let’s remember to pay close attention to dynamics in this passage,” Karl is wont to explain as he demonstrates the importance of the phrasing in a piece. Standing now, he raises a hand and gently fans it downward: “You can almost leave that last note out completely. In fact, I would like some of you to fade the phrase just before it ends to really exaggerate the emotion. Deeee-da. Deeee-da”. And the music, already inspired and executed beautifully, comes fully alive. By design, this band is geared toward the highest level of creativity, and the tools of such creativity--free improvisation, on-the-spot composition, modernist harmonies, world rhythms, technical expertise, and latter-day angst—are in constant demand here.
The Stone Workshop Orchestra’s sound is born of the moment, founded by the players’ instincts, skill and need to emote----and it’s then organized by Karl’s artful hand and facial expressions. Sculptor-like, he molds and shapes the aural force emanating from this collection of brass, reeds, strings and percussion set before him. Refusing to consider his part in this as conduction (“really, this is not so specific, I just cue and offer guidance, you do the rest…”), Berger none the less has developed an incredible language of his own; never losing sight of the musicians’ individuality, he plays the orchestra. Karl’s unique hand signals--and welcoming eye contact---bring in sections, soloists or the tutti ensemble, and in doing so, establishes range, tempo, volume, timbre and vibe. Through his cues the band knows the direction and shape as well as the duration of the notes to be played---but the specific notes remain our own. He guides orchestral accents behind the force of a soloist’s excursion, adding to the soundscape and fierce intensity. Karl then layers one solo over another and calls on this or that accompaniment—which ultimately is seen as just an important a voice in the mix and may very well take over the spotlight. Feel is paramount and interpretation is demanded.
So what of this orchestra? Since I began this weekly gig, it has proven itself as a wonderfully expansive vision of what a ‘big band’ could be. From early September till this writing, the line-up has shifted in membership with a solid core of regulars and a series of guests who are passing through New York while on tour. Each Monday I have seen new faces, heard new accents and reveled in new and exciting musical concepts. The musicians qualify as a united nations of Free Jazz, among them Karl Berger - Piano and Conducting, Ingrid Sertso - Voice, Thomas Heberer - Trumpet, Brian Groder – Trumpet, Steve Swell - Trombone, Rick Parker –Trombone, Avram Fefer - Soprano Sax, Stephen Gauci - Tenor Sax, Yoni Kretzmer - Tenor Sax, Darryl Foster – Tenor and Soprano Saxes, Esa Pietila - Tenor Sax, Dave Schnug - Alto Sax, Mercedes Figuera - Alto Sax, Blaise Siwula – Alto Sax, Mikko Innanen – Alto Sax, Jason Candler - Alto Sax, Ricardo Tejero – Clarinet, Michael Lytle - Bass Clarinet, Sylvain Leroux - Flutes, Frederika Krier - Violin, David Bakriges - Violin, Cecile Borche – Violin, Mossa Bildner - Voice, Kenny Wessel - Guitar, Harvey Valdes - Guitar, John Ehlis – Mandolin and Guitar, Adam Lane – Bass, Dominic Lash - Bass, Dave Perrott - Bass, Ken Filiano – Bass, Lou Grassi – Drums, Harvey Sorgen - Drums, John Pietaro - Percussion, Philip Foster – ‘Odds and Ends’. And the many others whose names have escaped me and I hope to meet again.
The performances of the Stone Workshop Orchestra now dwindle down and I contemplate this journey, one not only through avant music but the revolutionary art that begat the need for such an ensemble in this place and time. Karl has no intention of letting this band cease, though the end of season at the Stone will arrive on December 5—in the form of a blow-out pair of concerts which will include special guests including John Zorn. As winter’s chill arrives on the Lower East Side, the Orchestra’s shouts of musical liberation descend over the luxury condos and gourmet delis, declaring the legacy of fearless creativity. And in its resonance, the music tears away the cloud of conformity and clears the path for further generations of New Music.
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