Potlatch
P 106
Recorded in three sessions between 2002 and 2003, these misunderstandings find masters Butcher and Kurzmann scrapping, conversing and generally entwining in a series of nine duos of varying degrees of absorbency. It seems that, intentionally or otherwise, they’ve chosen to remain fairly close in overall tonality and pitch, allowing the listener to hear the pieces more as interweaving branches from the same tree than as a duo. Butcher’s facility for sounding entirely un-saxophonic goes a long way toward this end, of course, and he’s in brilliant form here. The first “suite” of five pieces, the most recently recorded, begins a bit uncertainly but builds in cohesiveness very steadily, especially in the final three, lengthiest improvisations. Kurzmann’s “lloopp” software is quite fluid, rushing like a swift stream alongside Butcher’s torrent of clicks, screeches and burblings. They commingle high-pitched keenings on “Klafter” and get into quasi-minimalist iterative patterns on “Redwood Second”, the only track on which Butcher utilizes his feedback tenor.
Cuts 6-8, from 2002, are the strongest ones here, forming a wonderful, muscular triptych. They spend a good deal of time in the lower registers of their instruments, probing around the dark, knocking into damp walls. “Shilling”, to these ears the strongest track on the disc, making its way from the nether regions to the dizzying stratosphere, all the while maintaining a consistency of focus and imaginatively deploying a variety of attacks including an aggressive rhythmic throb by Kurzmann toward the end; a real cinematic piece with an driving, narrative feel. That pulse is carried forward in “Therblig”, the final piece from that session, a tough, rambunctious assault accented with Butcher’s deep tenor ululations. The harsh, hive-like “Thimbleful” effectively closes out the disc.
Whatever misunderstandings exist between hertz and megahertz, Butcher and Kurzmann have crafted a gritty, vibrant disc that should go a long way toward assuaging those who have found the saxophonist’s recent outings a bit too diffuse or Kurzmann’s too sweet. Worth hearing.
Posted by Brian Olewnick on September 4, 2006 11:01 AMDamn Brian, you are on a tear with the reviews these days. Thanks for helping me cut through the thicket of new releases :)
Posted by: Robert at September 4, 2006 11:20 AMCK told me last week that the "lloopp" patch (Max MSP) was originally created by Klaus Filip, btw.
Yep, I enjoyed this one a lot, but as an old crusty who still likes a good tussle and a real feel for pitch (that's what I enjoyed about the latest Efzeg & Polwechsels too) that's hardly a surprise ;-) Now looking forward to the new CK / Yoshida on Erstwhile and the third chapter of the Kai Fagaschinski + laptop (CK this time) on Alastair Wilson's new label. Maybe Jon and Alastair can clue us in to actual release dates?
I took delivery of the CDs today, so "street date" (as they say in the so-called real world) is probably next Monday. Jon can speak for himself, and usually does, but I believe the Ami/Christof will be ready for Erstquake.
Posted by: Alastair at September 4, 2006 1:23 PMyep, if all goes well. it's at the printer now, along with the Toshi/Billy DVD.
Posted by: jon abbey at September 4, 2006 2:17 PMWhat's the name of the "Alastair Wilson's new label" ? And where should I turn to order that CD from ?
Posted by: tk at September 5, 2006 12:18 PMThe name of the label is Quincunx Sound Recordings (website up and running shortly) and you'll be able to order it from Sound 323 or Erst Dist in a few days, plus other distributors in due course.
More details of the release here - http://kylie.klingt.org/rel-firsttime.html
Posted by: Alastair at September 5, 2006 2:28 PMWho's the lass on the album cover? Sure as hell ain't Roberta Flack..
Posted by: Dan Warburton at September 5, 2006 9:53 PMLet's not mention that name too often...
Posted by: Alastair at September 6, 2006 12:33 AMas i think klaus filip‘s work with lloopp is a bit underrated, i write here some words about it. i hope i‘m right with the following (i‘m not an expert), at least that‘s how i understood it.
lloopp is not just one patch. it‘s a complete solfware for live improvisation built on max/msp. the inventor und main developer is my husband klaus filip. it is an open source solfware and so there are some people around which are programing for lloopp, but the kind of headquarter is the dornerplatz in vienna, klaus and his flatmate noid. the aim of lloopp is to enable the user to built his/her own flexible instrument for his/her special needs. lloopp is freeware, so you can download it moneyless from its website
http://lloopp.klingt.org/
, but it requires max/msp, which is not for free. lloopp is used by many musicians world wide. don‘t know who exactly, but kurzmann is one of them, fennesz as well and many others.
the cover girl of the new kommando raumschiff zitrone-cd is marisol sanchez from columbia, as far as i know.
Posted by: kylie fagischefsky at September 6, 2006 6:20 AM"Let's not mention that name too often..."
Whassamatter? It's Ewan McColl you probably shouldn't mention:)
CD on it's way to you soon, Dan, you can decide which one will be more annoyed when you've heard it ;)
Posted by: Alastair at September 6, 2006 12:29 PMApologies for extraneous apostophe in previous post. See, that's why I haven't written anything else for PTrans...
Posted by: Alastair at September 6, 2006 12:32 PM...that and not being able to spell "apostrophe".
Posted by: Alastair at September 6, 2006 1:11 PMDon't worry Alastair, you'd be welcome back, apostrophes or not.
I can now confirm btw that the Christof Kurzmann piece is for NOVEMBER Wire.
But when is Paris Hilton schedulled for then Dan ? Santa Claus s December ?
n
Posted by: Akchote Noel at September 18, 2006 4:59 AM.................................................. © 2003 - 2006 bagatellen ..................................................