Never before reissued on CD, Real Gone Music will release 1969's Ornette At 12 and 1972's Crisis
Two Ornette Coleman albums are set to be reissued on CD for the first time since their original release on Impulse!. 1969’s Ornette At 12 features Coleman on alto saxophone, trumpet, and violin plus Dewey Redman on tenor saxophone, Charlie Haden on bass, and his son Denardo Coleman on drums, who was aged 12 at the time of recording. 1972's Crisis was recorded live in 1969 at NYU with the same line up as Ornette At 12 but with the addition of Don Cherry on flute and trumpet.
The freshly remastered albums will be released on a single CD on 9 September, featuring the original gatefold album art and liner notes by Howard Mandel, author of Miles, Ornette, Cecil: Jazz Beyond Jazz. The CD is available for pre-order now.
The Wire Presents series continues this August with Idris Ackamoor & The Pyramids at London’s The Old Queens Head. We have two pairs of tickets to giveaway
Our ongoing series with London’s The Jazz Cafe continues on 2 August with a special gig from Idris Ackamoor & The Pyramids to be held at the Cafe’s other venue, The Old Queens Head.
As featured in The Wire 389, the alto saxophonist veteran of Cecil Taylor’s Black Sun Ensemble formed his own spiritual jazz outfit Idris Ackamoor & The Pyramids during the 1970s, and last year the group reformed to make We Be All Africans, which was released by Strut.
We're offering two free pairs of tickets, you just need to guess what year the photo below was taken. Email us your answers via this link with the subject heading: Idris Ackamoor competition.
The Pyramids at Antioch College, Yellow Springs, Ohio
Swedish film maker Kasper Collin's acclaimed documentary about the star-crossed relationship between jazz trumpeter Lee Morgan and his common law wife Helen is screened at a special event in London on 26 July, followed by a Q&A with the director hosted by The Wire
Morgan was one of the most feted jazz musicians of the 1950s and 60s, recording extensively for the Blue Note label, but his life and career were blighted by drug addiction. He was shot dead by Helen in Slug’s Saloon in Manhattan, New York, in 1972, and I Called Him Morgan is a moving portrait of the couple's complex relationship leading up to that event.
Reviewing the film in The Wire 394, Derek Walmsley wrote: "There are many sad endings to the stories of musicians on Blue Note Records, but few are as shocking as Lee Morgan’s. Yet I Called Him Morgan, which centres on the second wind the trumpeter got from his partner after spiralling into heroin addiction in the mid- 1960s, carries an aura not of death but rebirth. By giving voice to collaborators and associates from across Morgan’s career, it transcends the tidy narrative arcs and tragic cliches of many jazz biopics, and has the unmistakable feeling of joyful lives lived to the full."
Following a series of reissues, Laraaji prepares two sets of new music for the All Saints label
Inspired by the renewed interest in his music and new age culture, the Harlem based electronic musician and laughter meditation practitioner Laraaji is set to release some new music this autumn. He has two albums in the pipeline, which follow reissues of 1984's Om Namah Shivaya on Leaving and the new age compilation I Am The Centre Private Issue New Age Music In America 1950–1990 on Light In The Attic. His current music was honed during recent live shows, deep listening sessions and appearances at various festivals such as Unsound and Moogfest.
Recorded with engineer Davey Jewell at Gary's Electric Studio in Brooklyn during August 2016, Laraaji produced nine hours of extended jams, which were then edited and mixed by Carlos Niño of Leaving.
The two releases are Sun Gong, comprised of two drone works exploring processed gong, and the double LP Bring On The Sun. Both will also be available in double disc format.
"Celestial music improvisation flows through my intuitive imagination,” declares Laraaji. “I feel my way through these spontaneous music and song compositions. They are gifts revealed by my undoing the ribbons of no longer essential thinking. As these ribbons fall away the gift of my authentic life, love and creative expression opens bathed through and through by a most timeless inner sunlight.”
Unsound’s London Barbican dislocation includes The Caretaker, Liz Harris and Felicità in its line-up
Unsound festival extends its Dislocation series to London in December. The UK night follows similar Unsound dislocations in Almaty and Minsk, with more events to come in Murmansk, L’viv and Kazan. Taking over the Barbican Centre, Unsound Dislocation: London will explore geography and identity through freshly commissioned works, premieres and collaborations.
Participating artists include Nivhek aka Liz Harris with MFO, The Caretaker performing in the UK for the first time in six years with a video from Weirdcore, and Felicità joined by Śląsk Song And Dance Ensemble to perform a specially commissioned work. And Rabih Beaini will DJ through the night.
The event will take place on 8 December. Tickets costing £22.50–17.50 go on sale on 21 July (Barbican members can can grab one from 20 July).
Artists this year include This Is Not This Heat, Simon Crabb and others
Portugal festival OUT.FEST has announced dates and the first list of artists to perform at this year's event. Happening in Barreiro, a city just across the river from Lisbon, it'll take place between 4–7 October at various venues. Artists announced are This Is Not This Heat, Jejuno, The Pere Ubu Moon Unit, Casa Futuro, Nocturnal Emissions, Simon Crabb, Jonathan Uliel Saldanha & Coral Tab + Coro Be Voice and Bookworms.
Tickets are available now for 25€. Watch a short documentary of Les Graciés as they record, compose and perform the finished product at the 2016 edition.
Filmed in India and Nepal, the experimental documentary Kalinga Utkal follows Picco's journeys to the heart of the subcontinent’s Buddhist and Hindu cities
Pablo Picco of experimental folk group Ø+yn has made a travel film soundtracked by an array of Argentine alternative musicians. Called Kalinga Utkal, the film documents Hindu and Buddhist cultures in India and Nepal. Musical contributors include Pan Del Indio, Calato, Ø+yn, Mariano Rodriguez, and Uton, among others; but an audio recording of a Tashi Ling Buddhist ceremony will be released separately as The Bombastic And Repetitive Sound Of Tashi Ling Buddhas In Pokhara, Nepal on the More Mars label.
“The temple was somewhat small but the voices and the mood was very, very strong,” recalls Picco, when asked about the recording of that ceremony. “The recordings were made on a day they call ‘happy holy’, which is the international celebration of colours. At the beginning of that record, the recordings were made outside the temple. Getting there was pretty odd because it was VERY dark and the road was in some ways creepy.
“We woke up around 4am and drove by motorbike,” he continues. “But at some point we became very lost in the fog on the dark road… not a single soul was there at that hour... so we drove further and further hoping to get to some meeting point or something.
“Luckily we made it to the temple. We weren’t allowed to enter until the first callings were made – that’s the sound of horns at the beginning of the record – and then when the gong started, a monk inside opened the gate for us.
“The other sounds present on the disc were recorded the same day at the Pewa Tai Lake. Also the part of the clock and the crowd was recorded outside that cave too while they were touching and celebrating with a man that has special powers.”
You can watch the film below:
Ø+yn were featured on the 2015 Buh Records compilation ¡Salgan Al Sol!: Avant-Rock En La Argentina Del Siglo XXI, reviewed by Kek-W in The Wire380. Subscribers can read his piece via Exact Editions.
V/Vm and Boomkat pay tribute to a rarely celebrated strand of Manchester's rave folklore
The fifth release in Boomkat Editions’ 12x12 series is a mixed and chopped set of James Kirby’s 2006 recordings as V/Vm. Called The Brabant Shrobbelèr, it’s a 20 minute selection of previously unreleased new beat tributes compiled and sequenced by Jerk van den Boschalottt and mixed by Demdike Stare's Miles Whittaker.
Stockport born Kirby is paying homage to the genre which, in Boomkat record shop’s words, is the “black sheep of Manchester’s dance music canon”.
“New Beat was a crucial part of the Manc Dance make-up, most often mixed up with Chicago, Detroit and New York house, and whatever UK bleeps and boops were bubbling through at that time. James Kirby aka V/Vm is all too aware of the fact,” states Boomkat, “and thanks to the influence and legendary DJ sets of V/Vm card holder Acid Alan – whose new beat collection spilled over the racks at a now defunct NQ record shop – its memory and place in Manchester’s rave folklore has been preserved by only a select few souls who really-cannot-be-fucking-chuffed with the constantly regurgitated putative history of our city’s club and warehouse culture.”
The Art Of Sound: A Visual History For Audiophiles documents the evolution from acoustic to digital recording during the last 160 years
The Art Of Sound: A Visual History For Audiophiles will be published at the end of July. Including inventor biographies of Emile Berliner, Thomas Stockham and more, author Terry Burrows’s text focuses on key changes in the evolution of recording. Ranging from Scott de Martinville's invention of the phonautograph in 1857 to the present day, it surveys four eras of recorded sound history: acoustic (1877–1924), electrical (1925–45), magnetic (1946–74) and digital (1975 onwards).
Illustrated with hundreds of archival photographs and various facsimile blueprints gathered from around the world, the book is published by Thames & Hudson in collaboration with the EMI Archive Trust on 27 July.
The 19th edition of CTM will run from 26 January–4 February 2018. It’s already open to submissions for its fifth Radio Lab Call
Describing its 19th edition as its last teenage year, Berlin’s CTM festival will mark its coming of age by making turmoil its central theme.
It expands on last year's Fear Love Anger theme, asking, “What is the sound of turmoil? What are aesthetics of tumult? What to do with such intensities? Which other sonic and musical responses could we conceive of to counter the current overload of agitation, anxiety and animosity?”
The theme continues the festival's inquiry into sound and music's potential to educate and drive resilience during a period which organisers see as marked by a normalisation of political, social and environmental crisis, all of which results in “unsettling feelings that resonate through our on and offline lives”.
Meanwhile, the fifth edition of CTM’s Radio Lab Call is now open for submissions. It’s sent out an open invitation to submit ideas that bring radio art and live performance or installation together based around the idea of turmoil. The commissioned work will premiere at the festival and then be broadcast as part of Deutschlandfunk Kultur’s Klangkunst programme. The Österreichischer Rundfunk (Austrian Broadcasting Corporation) will then present the winning pieces via one or more of its platforms. More information can be found on CTM's website.
Running from 26 January–4 February, the CTM festival will include club events and concerts as well as day time lectures, talks, exhibitions and the sixth edition of MusicMakers Hacklab. It will take place at various Berlin venues, taking in new and veteran partners such as Berghain, HAU Hebbel am Ufer and Kunstquartier Bethanien. The first wave of confirmed artists will be revealed in early October.