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Creative Sources Roundup

I’m continually surprised at the rate with which Ernesto Rodrigues releases discs on his superb Creative Sources imprint. As most folks reading this know, the excellent viola/violin/electronics improviser began to document Portuguese and Spanish improvisation several years back and has quickly developed his label into one of the premier outlets for improvisation at the intersection of European free music, electroacoustics, and new music. I recently opened up my mailbox to find a package stuffed with seven of the label’s latest goodies. All told, it’s a strong batch.

istmoIstmo (CS 023) features the fantastic trio of Ferran Fages (acoustic turntable), Ruth Barberán (trumpet), Alfredo Costa Monteiro (accordion), whose initial release Atolón (on Rossbin) was a jarringly noisy slice of reality. On this followup – consisting of two tracks recorded in the fall of 2003 in Toledo and Barcelona – the grit and alien organics of the trio’s debut are back, but the music is slightly less relentless and has a wider textural palette. One of the new elements is Barberán’s wonderful, didgeridoo-like low end ruminations on her trumpet. Her range is really growing these days and this gnarly, crackling trio – with the insane colors Fages whips up often being the least predictable – is the perfect setting for her. But the group language is growing too, now including passages where they ease back on the throttle and assemble relatively delicate layers of tonality. The key figure here is Monteiro, who really shapes this music with his silences, his wheezing, his aggression, and his ever-so-occasional lyric gesture. Tough, fascinating, and wonderfully unpredictable stuff.

pocket progressiveIn April 2004, Claudio Rochetti (turntable, small percussions, radio), Fhievel (field recordings, objects), and Luca Sigurta (cymbals, objects, toys) got together to record the two improvisations comprising Pocket Progressive (CS024). What distinguishes this recording from the others in this batch is Fhievel’s use of field recordings. In some ways, this recalls Jason Kahn’s and Greg Kelley’s recent experiments with these materials. But this trio works in an area that is more expansive than Kahn’s Songs for Nicolas Ross and less caustic than Kelley’s I Don’t Want to Live Forever. Muffled street and animal noises float in and out while flinty percussive and metallic noises squirm together as if craving release from some containment. Much of the first track sounds like a bunch of crinkled-up aluminum foil straightening itself out. And while the second piece retains a roughly similar feel, the very closing minutes open up a huge echo-drenched space followed by the tiny sounds of skittering electronic mice and sine tones. What really compels during these pieces is how distinct this trio sounds, considering the instrumentation (you’d be hard pressed to pick out just where those toys and radio and so forth are at work). Almost like the fragment of a Xenakis piece distilled to its essence and improvised over the course of 35 minutes, this crackling, sizzling trio is excellent. They have a clear focus on specific sounds and areas of the music, and they let things develop patiently.

aspirations & inspirationsOne of Creative Sources’ sub-genres is the solo winds recording (check out Bertrand Gauguet’s recent Etwa). Wade Matthews is a new name to me, though he has apparently been an active presence in Europe over the last few years. On Aspirations & Inspirations (CS026) he sticks to alto flute and bass clarinet alone, using close miking to conjure up some wild, unearthly sounds – often he produces overtones, sympathetic vibrations and the like which suggest overdubbing has occurred (it hasn’t). Feedback hums, pinched breath noises, radio static, and more all emit from Matthews’ lungs and mouth. Recorded between 2002 and 2004, these nine studies of breath (dig the etymology in the title?) are each compellingly atmospheric. Some highlights include “Remembering William” (where Matthews generates a pretty wild pulse track with his fingering, layering rough breathy slashes atop it), “Discontinuing continua” (with its soft chirrups and rustles from bass clarinet), and “Cassandra Wakes Up and Thinks for Herself” (with Robert Dick-like flute magic from drops in the pond all the way to spitty choruses). My favorite is “Scappa Flow,” the most seriously breathy of these pieces, almost like a Berio Sequenza for amplifier hiss and wah pedal. Nice stuff.

sunday sundaesSunday Sundaes (CS030) is an altogether more declarative and caustic solo reeds performance, by the veteran Stefan Keune (who here plays alto and sopranino saxophones). Covering a lot of bases, these eleven tracks (recorded from August – September 2004) concentrate on the saxophones’ harsher properties: squeals, wails, hollers, and blurts. From the opening “Conically Speaking” – where Keune seemingly tries to force as much air through the bell as possible, in almost Gustafsson-like voice – you know you’re in a different territory than one usually occupies on a Creative Sources release. “The Mole” and the long “Fric Frac” concentrate on overblowing and split tones almost exclusively; as an essay on harshness, this is pretty effective stuff (particularly the super-intense tracks like “Ambit Gambit”). But it’s not really where my ears are these days.

ailackSeveral years on from their first release Luwa (on Rossbin), Ailack (CS027) finds Tetuzi Akiyama (tape delayed electric guitar), Jason Kahn (analogue synthesizer, percussion), and Utah Kawasaki (dismantled Roland synthesizer, cell phone) in an altogether more provocative place than their earlier music. Fan that I am of these musicians, I felt like Luwa wasn’t as successful as it could have been. This recording – a single, 35-minute track recorded in April 2004 at Tokyo’s Kid Ailack Art Hall – benefits from a better acoustic, a better recording, and better empathy among the players. The main musical relationship is between the vast reverberation (which often flirts with tonality) that permeates much of the beginning, and various rude noises that slash, shove, and kick at the drift towards settled meditative space. To me, the central presence here is Akiyama; he gets quite deep into his twisted, fractured blues, which emerges here like some alien language. But nothing really gets complacent in this music, as during the second half of the piece things get quite dense and loud (a surprise given the players involved), and the music starts to sounds like a giant piece of tuned metal expanding outward. One of the best discs of this batch.

kenonKenon (CS028) features a trio of up and coming Japanese improvisers: Kazushige Kinoshita on violin, Masahiko Okura on alto saxophone and tubes, and – the best-known of the three – Masafumi Ezaki on trumpet and metals. The disc opens with metallic clangs that almost recall Threadgill’s hubkaphone or the early improvisations of the Creative Construction Company (albeit with different musical sensibilities). Like a door which opens slowly to reveal the room within, the two long improvisations (from June 2004) reveal themselves cautiously, one fragment at a time, as metals and tubes establish the space within which Kinoshita can roughly press his bow on the bridge, Okura and Ezaki can wheeze and spit and hiss. The first track is mostly percussive – scrapings, clicks, and pops that bring the music to boil, occasionally letting off steam. The second is slightly more active, both in terms of density and the occasional tonality that creeps in (I was reminded of early Partch studies somehow). An unpredictable, satisfying disc.

amberFinally, one of the strongest, most beguiling releases of this batch is Amber (CS031). A wickedly good quartet – Rhodri Davies (harp), Robin Hayward (tuba), Julia Eckhardt (viola), and Lucio Capecce (soprano saxophone, bass clarinet) – deliver two rich improvisations, recorded in April 2004 in Berlin. Four acoustic instruments are reduced to their granular essence, and these instrumentalists reconstruct sound through their expert, knowing use of breath and articulation. The huge round sound from Hayward’s tuba, the gentle hiss and release from lightly bowed strings or reedwork, and the always unpredictable Davies work in concert to create a singular sound. Whether bowed, breathed, plucked, or struck, the instruments slowly merge into one another to produce a rich palette where tones blend, colors combine, and shapes shift. What’s even better is the way in which the quartet frequently achieves – through exactly this kind of blending – a sound that is very close to electronic music, with nuances of feedback, sine tones, and so forth (I suspect Davies may be using an Ebow here). In general the mood is very still and quiet, so that the few passages of raucousness and aggression have more power. One of the better discs I’ve heard so far this year.

Taken together, this septet of discs is worthy not just for their quality but also for their documentation of this music (and some of its lesser known players). Rodrigues already has a new batch out. In the meantime, however, don’t miss out on some of these gems.

~ Jason Bivins

Discussion

39 comments for “Creative Sources Roundup”

  1. Once more Bags and Paris Transatlantic seem to be running along the same stretch of track - PT’s review of the same set of releases, co-authored by myself, Wayne Spencer and Massimo Ricci, will be up and out on Wednesday. Massimo, as usual, as wildly enthusiastic (even more so than you Jason), while Wayne and I are more reserved. It’s wonderful to see such a lot of new music coming out, and hats off to Ernesto and Carlos Santos for the time they’re putting in on the project, but - call it listener fatigue, perhaps - I’m not as impressed by some of these as I was by earlier CS releases. Istmo is fine but I really preferred Atolon; interested to read you prefer Ailack to Luwa, Jason, as for me it was the other way round (but I’ll go back and listen to the earlier Rossbin release again); Kenon though is a drag, as was the Unami / Veliotis / Sugimoto / Kinoshita on Hibari, and I’m a bit too solosaxed out to appreciate the Matthews and Keune discs. The best of this bunch was Amber, imo. Speaking as a friend of the label - and as someone who has released music on CS myself, for which I’m very grateful - I think there’s a danger (too strong a word, perhaps, but..) in releasing too much, because hardly anyone can afford to acquire the whole collection and see the big picture, and as a result really superb albums tend to get lost in the process and not receive the coverage - and sales - they deserve (I’m thinking particularly of the No Furniture album CS 009 with Axel D

    Posted by Dan Warburton | May 29, 2005, 9:57 pm
  2. yes, I was also quite disappointed by the new wave of CS releases, and I think No Furniture is still the best disc they’ve released. I’m looking forward to the Fagaschinski/Klaus Filip release.

    I do like that Hibari disc Dan mentioned, though. maybe a bit predictable, but interesting for me to hear the same musicians perform three different kinds of material the same night (Taku’s composition, Nikos’ composition, and an improv), a bit like the Seven Guitars night on the AMPLIFY box…

    Posted by jon abbey | May 30, 2005, 9:17 am
  3. Yes, except the Seven Guitars set is more interesting and varied. As I pointed out in the Wire review of the Hibari, I don’t think it makes much difference whether the music these cats are playing is composed or improvised, as it ends up sounding more or less the same. Anyway, Taku Sugimoto has stopped improvising altogether, hasn’t he? Btw don’t want to give the impression I disliked the Hibari, just found it a little unadventurous. Fwiw, Nikos Veliotis described it as his favourite album, though I’ll have to part company with him there - the solo disc on Confront and the Squarehorse on Absurd are much more satisfying to my ears (not to mention the long-deleted split CD we did together).

    Posted by Dan Warburton | May 30, 2005, 9:51 pm
  4. Don’t know if Taku Sugimoto stoped improvising altogether (there is still one complete improv on the Hibari cd mentioned) as he is currently part of a Taku Sugimoto/Radu Malfatti/Klaus Filip/Taku Unami japanese tour. What are yr thoughts on ”Pricipia Sugimatica” on A Bruit Secret and Veliotis/Grubbs duo album on Headz?

    Posted by lukaz | June 2, 2005, 6:07 am
  5. Posted by Dan Warburton | June 2, 2005, 8:49 am
  6. Yep saw it just two minutes after sending this- that’s result of spending time up in the countryside picking up cherrys. thanks for claryifying Principa Sugimatica but i don’t see the reason why should be even transfered to conventional notation. Isn’t decoding of a composition thru lens of 20th century classsical music part of the composition already wheater it’s a graphic score, Braxton’s abstractions, etc … I think a performer of a peace should dig himself into the system and take all the pain or misunderstandings in the process. As for CS releases my pick from the latest bunch would also be ”Amber”. And seeing Los Glissandinos live last year and expecting them live in Shitenia i can’t wait for their release on CS. And to jump up a bit on Civil War and suggestion of Durian as a record company suitable for that group irony is that i just got an offer from Adam to release their next cd on L’Innomable for which i am quite interested for next year …

    Posted by lukaz | June 2, 2005, 10:12 am
  7. “i don’t see the reason why should be even transfered to conventional notation”
    I would have thought that was clear enough: it’s easier to read (for a musician - do you read music, Luka?) and aids performance. I played with Peter Schuback last week and was interested to see he did the same thing with Feldman’s graphic scores as Tudor: prepare a “performing version” on normal stave manuscript paper.
    Talking of Paris Transatlantic, is anybody else out there (apart from Jacques) having trouble loading / reading the June html page (link above)? I must have done something stupid in Dreamweaver.
    “I think a performer of a peace should dig himself into the system and take all the pain or misunderstandings in the process.”
    Agreed, but Sugimoto’s notation, as I hope my piece makes clear, is hard to read quickly and easy to make mistakes with: one . in the wrong place and you’re fucked!
    “to jump up a bit on Civil War and suggestion of Durian as a record company suitable for that group irony is that i just got an offer from Adam to release their next cd on L’Innomable for which i am quite interested for next year …”
    That’s great! Let us know if you go for it, Luka!

    Posted by Dan Warburton | June 2, 2005, 9:24 pm
  8. ”I would have thought that was clear enough: it’s easier to read (for a musician - do you read music, Luka?) and aids performance”.

    Yes it was clear i am just speaking from the situation that is common in Slovenia where classically trained musicians are lazy and ignorant bastard so pieces like this should kick their ass (not that they will in the future). Maybe one of Taku’s intention with principia is also to create very sparse music with a complicated means and to create a contrast between the score and performance (frankly many of even ”trained” ears here in Shitenia describes Taku’s music as simple and ridiculous). As for reading music i must admit i am very rusty with it, since it has been long ago that i dropped playing classical guitar (maybe it sounds weird but i have always take interest in listening to music rather than playing it).

    To jump again to different subject- where the fuck is the review of AMMMEV ”Apogee” on Bags. I thought you all would jump on it (and i can just see a long debate over Prevost-Rowe ”dispute over the t-shirt sales” as Butthole Surfers would put it.

    Posted by lukaz | June 3, 2005, 1:00 am
  9. Speaking of old pranksters like Butthole Surfers (which quickly reminds me that Boredoms were once briefly called The Pisshole Surfers) did you hear Gibby Haines & His Problem. Not that music matches some of the Butthole’s shit but the name of the band is pure genius for me …

    Posted by lukaz | June 3, 2005, 1:05 am
  10. lukaz :”To jump again to different subject- where the fuck is the review of AMMMEV ”Apogee” on Bags.”

    I’ve only listened through once so far, so take that into account, but my general impression is that the combined set has some nice moments but many ups and downs (the latter courtesy Curran, for the most part, as near as I can tell), the AMM set is pretty good, if not essential and the MEV is pretty awful. Curran’s sampler work–not to mention his shofar–throughout I find real bothersome and, as much as I enjoy Rzewski in a composer context, I just don’t think he’s very good at all as an improviser. I really think it’s a mismatch overall; the AMMsters acquit themselves OK (their last performance as a trio, I believe) but the MEVmob sound really quaint.

    Wondering if I listen to it again from an “MEV point of view” if it will sound different. I’ll give it a try.

    Posted by Brian Olewnick | June 3, 2005, 5:55 am
  11. “classically trained musicians are lazy and ignorant bastard”
    Well, not all of them I hope!
    “frankly many of even ”trained” ears here in Shitenia describes Taku’s music as simple and ridiculous”
    You don’t seem to like Slovenia, Luka! Is it really as horrible as all that? You should try Liverpool.
    “where the fuck is the review of AMMMEV ”Apogee” on Bags.”
    Haven’t been sent a copy, and haven’t seen one in the shops here. From what I heard from people who were there it doesn’t sound like something I’m ready to invest in.
    Instead I’d be more inclined to ask “where the fuck is the review of the last five Erstwhiles on Bags?”
    Ahh, the Butthole Surfers.. one of my favourite groups..

    Posted by Dan Warburton | June 3, 2005, 7:43 am
  12. As for Shitenia i use it as a metafor for a situation in music that is pretty awful and yes unfortunately almost all musicians in Slovenia are like that- if they re not the academia takes care of them and turn them into their ”running dogs”.
    Yes where are Erst releases? And i’ve seen Curran recently performing in a large ensemble playing Cobra with John Zorn in charge and he was quite unimpressive. The piece was performed in too much trashy fashion with four drummers ,etc… Zorn’s gang plus couple of italians didn’t produce any of the sparks that Cobra with it’s own system can. Delicate players like Luca Venitucci or Steffano Scodanibio were completely wash out of the overall picture. And we in Europe are not used to ”new york sets”- meaning 45 minutes with encore included. The only impressive thing was that at the entrance of the club (Link in Bologna) there was a palestinian flag waving to Zorn (as i’ve heard from some of my collegues he doesn’t even read newspapers at all so his perspective on the israel- palestine conflict is pretty much onesided) …

    Posted by lukaz | June 4, 2005, 5:10 am
  13. As for Shitenia i use it as a metafor for a situation in music that is pretty awful and yes unfortunately almost all musicians in Slovenia are like that- if they re not the academia takes care of them and turn them into their ”running dogs”.
    Yes where are Erst releases? And i’ve seen Curran recently performing in a large ensemble playing Cobra with John Zorn in charge and he was quite unimpressive. The piece was performed in too much trashy fashion with four drummers ,etc… Zorn’s gang plus couple of italians didn’t produce any of the sparks that Cobra with it’s own system can. Delicate players like Luca Venitucci or Steffano Scodanibio were completely wash out of the overall picture. And we in Europe are not used to ”new york sets”- meaning 45 minutes with encore included. The only impressive thing was that at the entrance of the club (Link in Bologna) there was a palestinian flag waving to Zorn (as i’ve heard from some of my collegues he doesn’t even read newspapers at all so his perspective on the israel- palestine conflict is pretty much onesided) …

    Posted by lukaz | June 4, 2005, 5:11 am
  14. OK, well I have finally managed to spend some time with the five Creative Sources that took my fancy; Istmo, Ailack, Kenon, Amber and Stralau. The last one, Stralau (Denzler, Dorner, Erdmann, Griener, Muller) isn

    Posted by Richard Pinnell | June 6, 2005, 2:46 pm
  15. Oh , and the current ‘imaginary expletive’ word, Keynsham, is actually a town just outside Bristol, UK. Knowing the place as I do expletive is still the correct term, I just wish it was more imaginary!

    Posted by Richard Pinnell | June 6, 2005, 2:49 pm
  16. Ah, seems I have to go back to that Hibari and give it another possing, now that Richard and Jon have both sung its praises. I agree with your comments Richard (seen our CS roundup over at PT yet?) - still waiting for Stralau and the next batch but if it’s as nice as Metz it should be splendid.
    Palestinian flag for Zorn, eh, Luka? I don’t suppose he commented on that. Has he ever made any public statement on the Israelo-Palestine affair? Not to my knowledge. Can’t imagine a diehard Genet fan like JZ cuddling up to Ariel Sharon.. and how about the image of Old Man Ariel snuggling down in a comfy sofa with fair round belly with good gefulte fish lined and blowing his fuckin yarmulke off with a blast of TORTURE GARDEN..? hoho..
    Yes, I wondered about Keynsham too, Richard. Well, we’ll soon be seeing Totnes, Alnwick, Hawick, Drumnadrochit, Down Ampney and Towcester!

    Posted by Dan Warburton | June 6, 2005, 9:42 pm
  17. Dan - “still waiting for Stralau and the next batch but if it’s as nice as Metz it should be splendid.”

    Metz is one of the CS discs that has slipped past me, sounds like its worth hearing?
    If its the Denzler link that lead you to mention it Dan, I can thoroughly reccomend Three Dances new on Potlatch by Denzler/Beins/Durrant under the name Trio Sowari. I played it for the first time last night and its already getting its fourth airing. Very restrained, uncluttered music, soft granular sounds, the odd sine wave and even a snippet or two of what sounds like a musical box thrown in. Lovely stuff,amd hot on the heels of the excellent Strom another great Potlatch disc.
    The only other Denzler I have heard is Vasitas, again on Creative Sources in Japanese/French company. It really didn’t do a great deal for me after the couple of spins I gave it but having heard Stralau and now Three Dances I think I will give it another go.

    And I vote Westward Ho! to be the next imaginary expletive, easily the best town name in Europe!

    Posted by Richard Pinnell | June 7, 2005, 6:19 am
  18. “Palestinian flag for Zorn, eh, Luka? I don’t suppose he commented on that. Has he ever made any public statement on the Israelo-Palestine affair? Not to my knowledge.”

    no, but there have been fairly explicit (antizionistic) comments on that matter on linernotes for CD’s produced by zorn, i.e. elliott sharp’s “xenocodex”.

    p.s. has anyone read the new book by keynsham?

    Posted by tomas | June 7, 2005, 6:58 am
  19. You guys use this word “granular” a lot, but it draws a semantic blank for me. Can someone explain what it means in this musical context? In return for the favor, if you ever want to know about mass/count semantics for “grain” in a food context, especially in the word “kefir grains”, I’d happily oblige privately with more text than you’d likely want to swallow…

    Posted by Michael Anton Parker | June 7, 2005, 3:41 pm
  20. granule - n. a little grain, a small particle. - granular - a. consisting of grains or granules.

    So ’soft granular sounds’ would be soft sounds made up of lot of little particles.
    It may be a lazy but pretty way of describing particular sounds, and yes I use it too much but I’m not sure why you find the term hard to grasp?

    Posted by Richard Pinnell | June 7, 2005, 3:55 pm
  21. = “grainy”. Like “a grainy photograph”.

    Posted by nd | June 7, 2005, 3:57 pm
  22. Metz is definitely worth checking out (though it’s a bit short - just a tad over half an hour). And Trio Sowari is Potlatch’s best release since the St

    Posted by Dan Warburton | June 7, 2005, 9:46 pm
  23. [Richard] So ’soft granular sounds’ would be soft sounds made up of lot of little particles.
    It may be a lazy but pretty way of describing particular sounds, and yes I use it too much but I’m not sure why you find the term hard to grasp?

    [Nate] = “grainy”. Like “a grainy photograph”.

    [Mike] Thanks for these clarifications, but while I find the term easy to grasp in its native visual case, I’m still struggling to get a clear sense in the audio case. The transfer across modalities is not quite going through for me. “Sounds made up of lots of little particles” is a very helpful paraphrase that I will have to submit to some contemplation. Would you consider homogeneous crackling to be granular?

    Richard, I didn’t wish to suggest you overused the term! In my view a good term can’t be overused. I sense I’m a mere step away from warming up to this one myself. Though I had to chuckle when I saw “grainy” in your new Erstlive005 review! Trying to mix things up, eh?
    :-)

    Posted by Michael Anton Parker | June 11, 2005, 10:13 am
  24. [Mike]- Though I had to chuckle when I saw “grainy” in your new Erstlive005 review! Trying to mix things up, eh?

    I was wondering if you would spot that! I toyed with taking it out after your comments above but I left it in just for you!:)
    It is actually a lazy and generally overused term anyway for describing this music, there are a good few CDs called Grain out there too!

    As for ‘homogeneous crackling’, over here in the UK thats just a term for evenly cooked pork rind so no, not granular:)

    Posted by Richard Pinnell | June 11, 2005, 11:47 am
  25. something im curious about is how reviewers in particular but really everyone here reacts to something from the cs label at this point with discussions abounding about the pay to play and drop off in quality because of heavy release schedule. Even if we all think the artists have the best intentions and have ignored all the issues because they feel they have something special they want people to hear and come packaged as nice as cs disks are, do you find yourself predujudiced when you see a release on cs. do you think there is a backlash and it actually would be bad for an artists career or “cred” to be on a pay for play label. i dont have an opinion yet but i really would like some honest assements.

    Posted by saltws | June 2, 2006, 1:37 am
  26. Though there’s been some mutterings of a backlash, and I can think of about half a dozen CS releases that I wouldn’t have put out myself, the fact remains that Ernesto Rodrigues is doing something no other label these days are doing, with the possible exception of Emanem, ie building up a substantial body of work to document a particularly vibrant European scene (all but a handful of the CS releases are from Europe). Comparisons with other labels such as Erstwhile and Potlatch aren’t all that useful, because I don’t see Rodrigues’ mission as being as “hands on” and “handpicked” as Jon’s and Jacques’. As far as the pay to play argument goes, I think that’s pretty much neither here nor there - compared to what I forked out to have my disc on Leo records six years ago, Ernesto’s asking price is damn reasonable (even if you release your stuff yourself it’s still going to cost you something, after all). Having said that, I think the record I released on CS was one of the last ones the label financed in its entirety - but if at the time I’d been asked to contribute towards the production costs I think on balance I would still have accepted (can’t speak for Messrs Blondy & Mariage, who also played on that disc).
    As a reviewer, I’m often overwhelmed by the sheer amount of stuff CS put out, not to mention the other discs that come my way, but I think there’s plenty of fine music on the label - I suppose it’s my “job” to try and point prospective punters towards what I consider to be the most worthwhile purchases (from the last batch I was particularly impressed by Belvedere, Kriesel and the David Chiesa solo bass outing, which is monstrous). I’m particularly looking forward to the next batch, which includes a new offering by one of my very favourite musicians, Sei Miguel. My only gripe with the label is that they need a distribution as dynamic and present as their release schedule. Hope this answers some of your questions, John.

    Posted by Dan Warburton | June 2, 2006, 3:21 am
  27. Funny, just read the post that opened this thread a year and a day or two ago.. the catalogue’s nearly DOUBLED since!!

    Posted by Dan Warburton | June 2, 2006, 3:26 am
  28. yes interesting. i liked the jason kahn toor diary very much by the way. pigs cant eat pumpkins
    j

    Posted by sws | June 2, 2006, 3:50 am
  29. My thinking on CS has changed a little in recent months since I started to dabble in the label business, and it has become apparent to me just how much good music that is out there unreleased with artists looking to find homes for it.

    I used to think that the CS quality level had to suffer simply because the method of funding releases allowed for a less strict screening policy, but over recent months its occurred to me that I could easily put out half a dozen records before the end of the year that I really liked if finances allowed, alas they don’t, and good music I’d like to see released remains homeless.

    I also used to think that they surely must end up with the releases that nobody else wanted to put out, as why else would someone pay towards their own release when they wouldnt have to otherwise. My thoughts here have changed also since I have heard some great demos by musicians that have spoken about taking the CS or self publishing route out of desperation.

    This doesn’t change the fact that for me personally there are only a seven or eight CS discs I really like out of the massive catalogue, but I now put this down to having different musical taste to Ernesto rather than any of my old theories, and I now understand better the good work that Ernesto and co are doing.

    Posted by Richard Pinnell | June 2, 2006, 4:15 am
  30. At least 60 CS releases later, was wondering what your thoughts on this subject are now.

    Posted by Dan Warburton | February 28, 2009, 1:33 am
  31. Personally I’ve lost touch with the label.

    Of the last forty or so releases I think I have about half a dozen that have come directly from the musicians. I looked at the recent catalogue the other day after Brian posted a round-up and identified at least another half dozen I really should order.

    I don’t doubt there are some nice releases there, they just don’t seem to cross my path that easily these days, and keeping up is not easy.

    One I really did like was Grundik Kasyansky’s Light and Roundchair, but that one was way back at No.062!

    Posted by RPinnell | February 28, 2009, 5:26 am
  32. “Noite” with Guinnoet, the Rodrigues & Murayama was the one that stood out in the batch of 13 I received recently. More here

    Posted by Brian Olewnick | March 2, 2009, 10:31 am
  33. Misplaced “o” in Guionnet, obviously…

    Posted by Brian Olewnick | March 2, 2009, 10:32 am
  34. Wow, well done Brian. I’m just working my way through the same batch. Haven’t got the Guionnet yet.. The Toshi / Trayle didn’t do much for me first time round, but of course I’ll have to listen to it again. Question is, when?

    Posted by Dan Warburton | March 2, 2009, 11:31 am
  35. That should be “haven’t got TO the Guionnet yet..”

    Posted by Dan Warburton | March 2, 2009, 11:31 am
  36. You lucky people…I still have to finish the PREVIOUS batch!

    Brian, hats off to the detailed synthesis of your roundup indeed.

    Currently enjoying the Veryan Weston and Lee/Evans/Beresford trio on Emanem (Milo Fine still to be heard as of now).

    Posted by Massimo Ricci | March 2, 2009, 1:47 pm
  37. Got a piece on the middle one nearing the cusp of completion. My Milo allergies persist, though Jaron Childs and particulary Davu Seru are interesting local cats.

    Posted by derek | March 2, 2009, 3:52 pm
  38. Yeah, however hard I try I can’t master the 50 word review. On the strength of Brian’s write-up, I take it he’s next in line to succeed Grandmaster Byron Coley :)

    Posted by Dan Warburton | March 3, 2009, 11:24 am
  39. I’m attempting a bronze medal, because my firm intention is doing lots of roundups myself in the next future (hey, there are label batches waiting on my desk since MAY 2008, for chrissake…)

    Derek, a little Emanem morning update: the Milo Fine is very good on a first listen. Subtler (in spurts)than your average Milos.

    Posted by Massimo Ricci | March 4, 2009, 5:53 am

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