SUN RA ARKETSRA AND COLEMAN LEMIEUX & COMPAGNIE: HYMN TO THE UNIVERSE @ GUELPH JAZZ FESTIVAL 2014

Sun Ra Arkestra and Coleman Lemieux & Compagnie: Hymn To The Universe

21st Guelph Jazz Festival,
River Run Center - Main Stage,
Guelph, ON

September 6, 2014


DPA 4061'S > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwave > FLAC


01. [07:51]
02. [13:00]
03. [04:14]
04. [04:33]
05. [07:54]
06. [05:08]
07. [12:30]
08. [04:59]
09. [18:55]

THE SWYVES @ POLISH COMBATTANTS HALL 2010

The Swyves

Polish Combattants Hall,
Toronto, ON

June 17, 2010


source: DPA 4060's > DPA MPS6030 > Sony PCM-M1
transfer: Tascam DA-20mkII > Yamaha Soundcard > cdwav > flac


01. [02:04] introduction
02. [06:00]
03. [10:46]
04. [08:08]
05. [05:42]
06. [05:09]
07. [04:12]
08. [07:44]


Jay Hay - tenor and baritone saxophones
Aaron Lumley - bass
Dan Gaucher - drums

 with Jeremy Strachan - tenor & baritone saxophone

JESSE STEWART & DONG-WON KIM @ GUELPH JAZZ FESTIVAL 2014

Jesse Stewart and Dong-Won Kim


21st Guelph Jazz Festival,
Macdonald Stewart Art Center,
Guelph, ON

September 5, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC




01. [11:08]
02. [13:03]
03. [22:32]


Jesse Stewart - drums, waterphone
Dong-Wong Kim - percussion

UGLY BEAUTIES @ GUELPH JAZZ FESTIVAL 2014

Ugly Beauties

21st Guelph Jazz Festival,
Guelph Youth Music Center,
Guelph, ON

September 6, 2014


DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [01:10] introduction
02. [07:55] Strange Attractors
03. [07:23] Fragments of Dreams
04. [08:40] What Now
05. [05:37] Jupiter / Tricycle
06. [07:09] Raccoon
07. [05:36] Untitled
08. [07:40] Blue Violins
09. [06:25] Harold Lloyd


Marilyn Lerner - piano
Matt Brubeck - cello
Nick Fraser - drums

LEE PUI MING & DONG-WON KIM @ GUELPH JAZZ FESTIVAL 2014

Lee Pui Ming & Dong-Won Kim

21st Guelph Jazz Festival,
Guelph Youth Music Center,
Guelph, ON

September 7, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [18:43]
02. [02:46]
03. [14:01]
04. [09:12]
05. [08:24]


Lee Pui Ming - piano, voice
Dong-Wong Kim - percussion, voice


The Guelph Jazz Festival rarely deals in the obvious or the tried-and-true, but its 2014 closing concert really confounded the audience's expectations.
Lee Pui Ming is an improvising pianist, composer, and vocalist, who combines classical, jazz, and Chinese traditions, and is active in Toronto's new music community. Dong-Won Kim is a percussionist, composer, and vocalist from Korea, trained in the movements and instruments of that country's traditional music, but with a strong improvising bent,
On-stage was a Yamaha grand piano, and Kim's instruments: the jang-go, an hourglass-shaped drum with hide-covered ends; the buk, a round leather drum; and two hanging bronze gongs.
So piano and percussion, right? Not exactly.
Ming opened the concert with a long ululating call, sung into the piano. Her vibrating vocals rose and fell, filling the entire room, and sounding eerie and almost desperate. Kim sang a response, lower but equally strong, and they continued in a fluid, wordless duet, challenging each other, for several minutes.
Then Ming struck the piano body with her hand, letting it vibrate. She raised the keyboard cover and pushed it back and forth, while Kim clapped his hands and lightly hit a gong. Ming then hit the piano with the flat of her hand, lightly and then harder. You could hear it vibrate in return: a very light sound. Then she moved to the keyboard and played simple repeated sequences of notes, gradually adding sustain and making the notes sing, while Kim occasionally tapped his gongs.
The effect was gentle and airy and thoughtful, with no wasted notes.
And then just as the audience was relaxed and receptive, Ming startled them again with a vibrating screech, angry and abrupt, and followed by more start and stop piano figures. Kim responded on the jang-go: repeated echoing fast hand percussion, followed by drumming with four splayed sticks in one hand, allowing him to simultaneously hit the drumskin at different points.
The piano took over again, at first restful and melodic, then more emphatic with many repeated notes. Partway through, Kim walked slowly and gracefully over to the piano, and then pressed on the back sounding board, adding his own vibrations to those Ming was producing on the keyboard.
And then they suddenly stopped, and there was dead silence for almost 10 seconds as the audience absorbed that the piece had really ended, before clapping enthusiastically. And that was only the first 15 minutes.
Introducing the next piece, Ming noted it was Sunday morning, and that both she and Kim had attended Christian church as children. So while she produced hard, aggressive wordless vocalizations, yelling and even buzzing, Kim sang simple hymn-like melodies in contrast.
Ming and Kim had met for the first time at a rehearsal the previous day, and as became obvious, were as capable of surprising each other as the audience. In the next piece, Ming started playing phrases that could have been written by Debussy, accompanied by light hand percussion from Kim on the buk. But then she switched to treating the piano as a drum, hitting both its top and bottom at once – causing Kim's eyes to widen in astonishment. That turned into an extended and energetic percussion duet, with Ming clapping and jumping. Ming then started singing, and Kim invited the audience to collaborate in a joint long tone as Ming sang over and under, and then the two built to a extended wordless crescendo of bird and wolf-like calls.
The next piece featured prepared piano and Ming playing inside the piano on its strings, a harsh metallic sound which contrasted with the mellow sound of Kim's gongs. When Ming moved to the piano keyboard, the mood continued abstract and echoing even as it increased in speed and intensity.
After a partial standing ovation, they returned for a piece which combined light percussion and sibilant chanting, sounding like the wind blowing over the Prairies, followed by more percussive vocals. Kim forcefully hit the buk, letting it sing out, and then picked it up and crossed the stage, producing an infectious fast rhythm with small variations for several minutes before closing the show.
The five short improvisations Ming and Kim performed together included moments of utter beauty, moments of easy communication and impressive musical sympathy, and moments (at least for the audience) of total amazement – and laughter. It was a mind-stretching concert, guaranteed to wake up even the sleepiest listener.
The Guelph Youth Music Centre, with its low noise floor (minimal HVAC and no outside street noise to muddy the sound) and clear acoustics was a particularly effective location for this type of music, allowing even the most miniscule musical gesture and its long, quiet decay to be heard clearly, and substantially enhancing the intense experience for the highly attentive audience.
Audiences in southern Ontario will have more opportunities to catch Dong-Won Kim this fall, as he will be at both Guelph University (the Improviser-in-Residence for the ICASP program), and at Wilfred Laurier University. He will be working with local orchestras, dance troupes, and other musical groups; conducting masterclasses in percussion and Korean music; and every second week, speaking on musical topics and then playing with local musicians in a series at Silence, a small avant-garde music club in Guelph.
    – Alayne McGregor

JOE MCPHEE & LE QUAN NINH @ GUELPH JAZZ FESTIVAL 2014

Joe McPhee and Le Qaun Ninh

21st Guelph Jazz Festival,
Guelph Youth Music Center,
Guelph, ON

September 5, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [35:10]
02. [12:04]


Joe McPhee - alto and soprano saxophones
Le Quan Ninh - percussion

MERZBOW @ THE KATHEDRAL 2002

Merzbow

The Kathedral,
Toronto, ON

Sept 20, 2002


source: dpa 4060's > dpa mps6030 > sony pcm-m1
transfer: sony pcm-m1 > soundblaster audigy 2 > eac > flac frontend > flac


1. [46:29]



Masami Akita - laptop electronics


For those who wished to court deafness via high-pitched abrasive sounds, this bill featured various local noise acts, capped off by the star performer Merzbow. Luckily, ear plugs were provided at the door. D-Trash label artists dominated, starting with the mighty Unitus, who offered up industrial strength guitar distortion propelled by sequenced beats, taking sound levels well into the red. Next on stage was Schizoid on vocals, backed by No Core on guitars, performing a monochromatic dark EBM set. No Core also engaged in a solo textural noise performance with his Nord synthesiser with filters and distortion pedals. A pleasant surprise was the one-time collaboration between Skeeter/Nwodtlem and Flatline Construct who played an excellent creative noise set alongside some splendid animation. Closing off the evening was the nondescript Merzbow, who sat behind two laptop computers, one used to manipulate sound, the other for visual projections. The set began with a painfully piercing static white noise set to make pacemakers flutter. A roar from the crowd countered the sound when Merzbow unleashed powerful, bowel loosening bass lines that ripped through the venue creating something of a minor earthquake. The visuals ranged from television static, to visual renderings of sound to clips from Transformers the Movie and a continuous loop of a man getting his head blown off with a shotgun by a SWAT team. As texturally abrasive as Merzbow's set was, it was also not altogether unconventional. For a generation raised on electronic music and rave culture, the noise set was not that anomalous. 

By I. Khider

Published Jan 01, 2006

http://exclaim.ca/Music/article/merzbow-kathedral_toronto_on

CHARLES GAYLE + HAN BENNINK IN BUFFALO 2009

Charles Gayle & Han Bennink duo

Hallwalls,
Buffalo, NY

Jan 22, 2009


dpa4061's > battery box > M1 > soundblaster > cdwav > flac


set 1 (28:16)
-----
1. (04:24)
2. (06:52)
3. (04:37)
4. (07:46)
5. (04:37)

set 2 (31:36)
-----
1. (08:13)
2. (03:19)
3. (05:40)
4. (10:03)
5. (04:21)






Charles Gayle - piano, alto saxophone
Han Bennink - drums, walls, poles, floor, acrobatics

WILLEM BREUKER KOLLEKTIEF @ GUELPH JAZZ FESTIVAL 2004

Willem Breuker Kollektief


Guelph Jazz Festival,
St. George's Anglican Church - Mitchell Hall,
Guelph, ON

September 4, 2003

Source: DPA 4060's > DPA MPS6030 > Sony PCM-M1
Transfer: Tascam DA-20mkII > Yamaha DS1X > cdwav > FLAC



01. [01:18] introduction
02. [08:56]
03. [23:27]
04. [02:51]
05. [10:51]
06. [12:11]
07. [11:11]
08. [04:42]
09. [18:56]
10. [08:19]


Boy Raaymakers – trumpet
Andy Altenfelder – trumpet
Bernard Hunnekink – trombone
Willem Breuker – sax/clarinet/vocals
Alex Coke – tenor sax/flute
Henk de Jonge – piano
Hermine Deurloo – alto sax/harmonica
Nico Nijholt – trombone/vocals
Maarten van Norden – tenorsax
Lorre Lynn Trytten – violin
Arjen Gorter - bass
Rob Verdurmen – drums

PUGS AND CROWS + TONY WILSON @ GUELPH JAZZ FESTIVAL 2014

Pugs and Crows + Tony Wilson

21st Guelph Jazz Festival,
Macdonald Stewart Art Center,
Guelph, ON

September 4, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [04:25] soundcheck
02. [01:39] introduction
03. [08:07]
04. [06:48]
05. [15:42]
06. [06:15]
07. [08:10]
08. [07:16]
09. [05:16]



Cole Schmidt - guitar
Tony Wilson - guitar
Cat Toren - piano
Meredith Bates - violin
Russell Sholberg - double bass
Ben Brown - drums

VIJAY IYER TRIO @ GUELPH JAZZ FESTIVAL 2014

Vijay Iyer Trio

21st Guelph Jazz Festival,
River Run Center - Co-operators hall,
Guelph, ON

September 4, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [06:19] introduction
02. [21:46]
03. [17:41]
04. [01:28]
05. [24:38]
06. [06:34]


Vijay Iyer - piano
Stephan Crump - bass
Tyshawn Sorey - drum

JOHN HEWARD AND BARRE PHILLIPS 80th BIRTHDAY CELEBRATION @ GUELPH JAZZ FESTIVAL 2014

 





John Heward and Barre Phillips 80th Birthday Celebration

21st Guelph Jazz Festival,
Madonald Stewart Art Center,
Guelph, ON

September 3, 2014


DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [01:46] introduction
02. [02:36] film #1
03. [03:33] film #2
04. [04:33] film #3
05. [10:58] film #4
06. [18:59] improvisation #1
07. [13:00] improvisation #2
08. [10:39] improvisation #3
09. [09:58] improvisation #4

[01:16:03]


John Heward - drums
Barre Phillips - double bass
Dana Reason - piano
Lori Freedman clarinet & bass clarinet
Joe McPhee - soprano & alto saxophones


Montreal jazz drummer John Heward is also renowned Canadian painter and sculptor John Heward, and he shows a similar experimental bent in both his artistic pursuits.
For the week of the Guelph Jazz Festival, the main floor walls of the Macdonald Stewart Art Centre featured several of his artworks: canvas painted and twisted into large-scale dramatic pieces. When he performed at the art centre as the first evening show of the festival – with some of his favourite musicians – there was a similar feeling of drama, uncertainty, and flair.
The concert and show were to celebrate Heward's 80th birthday – but only his 31st year as a professional musician. He played the drums as a teenager, but then concentrated on the visual arts. In 1983, at 49 years old, he bought a set of drums, and started playing improvised music. He's played in various avant-garde groups in Montreal, including Nicolas Caloia's Ratchet Orchestra, and PO (“Provocative Operations”). He leads the free jazz group Murray Street Band.
The concert began with 20 minutes of short videos by Montreal filmmaker Sylvia Safdie. In black and white, they were quiet and sonorous, each featuring music by one or more of the musicians performing that evening. And not only that: as you watched each three-to-five-minute piece, you realized that, among the landscapes and waterscapes were (in most cases) the artists themselves, or in some cases only part of their bodies.
For the concert, Heward occupied centre-stage, and provided a constant presence in the music with highly dynamic drumming. But he rarely took a solo, leaving that to the other musicians in that evening's ensemble: Barre Phillips (double bass), Dana Reason (piano), Lori Freedman (clarinet and bass clarinet), and Joe McPhee (soprano and alto saxophone).
The ensemble was a perfect example of the internationality of free jazz and of the festival itself: Phillips is from the U.S., but has been based in France since the early 70s; Reason was raised in Ontario, studied at McGill and in the U.S., and now teaches in Oregon; Freedman is now based in Montreal, but has studied and played across Canada, the United States, and Europe; McPhee is American, but works with many well-known European jazz musicians. They performed four improvisations in the next 50 minutes, in a high-compressed and intense performance which allowed all the musicians to shine.
A duet between Heward and Phillips – but with additions – started the show. Phillips also celebrates his 80th birthday this year, but given the amount of intensity and imagination both showed, it was obvious neither was in his dotage. They started off sparsely, with Phillips also playing the zipper of his fleece cardigan, pulling it up and down to getting a buzzing sound. Then he played his bass with his bow held backwards, producing atonal, off-kilter sounds, and then plucked notes in time with Heward's strong drumming. He then moved back to bowing, more roughly but the right way around, and then Reason jumped in to add more melody with rippling piano.

While McPhee played a light and evocative alto sax solo, Phillips lightly brushed his bass strings. Then Freedman entered very loudly, practically bellowing into her bass clarinet, and the music leaped up a level in intensity. It became deeply ominous and disturbing and finally ended with an urgent bass clarinet solo which resolved quietly into a last light note.
The next piece again opened with hard bass and drums, but then Freedman inserted fast circling bass clarinet lines floating over top. She was a particularly interesting musician to watch during the show, consistently graceful and gliding into the music with her whole body. The lead quickly switched among the musicians, with McPhee's soprano and Phillips' bowed bass working particularly well together, both in melancholy and in fast, buzzing passages.
The third piece began energetically and became almost frantic, with punctuated piano riffs and circling alto sax and clarinet. In contrast, in the final piece, the musicians let each note ring out, starting with resonant bass pizzicato alternating with high strong notes on clarinet. Freedman's clarinet, McPhee's melodious soprano and Phillips' bowed bass joined together creating a single line, and split apart again as the clarinet pushed higher, before the piece ended with a last bass note.
Each of the pieces was greeted with strong applause from the receptive audience, who also gave the group a partial standing ovation at the end. The concert started the Guelph festival off as it would want to be perceived: collaborative, and with its own strong individual voice.
    – Alayne McGregor

FRED VAN HOVE & LOU GRASSI @ GUELPH JAZZ FESTIVAL 2014

Fred Van Hove & Lou Grassi

21st Guelph Jazz Festival,
Guelph Youth Music Center,
Guelph, ON

September 6, 2014

DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [34:51]
02. [14:40]
03. [04:48]


Fred Van Hove - piano
Lou Grassi - drums

DD JACKSON // MILFORD GRAVES // KIDD JORDAN @ GUELPH JAZZ FESTIVAL 2014

DD Jackson, Milford Graves, Kidd Jordan

21st Guelph Jazz Festival,
River Run Center - Co-operators Hall,
Guelph, ON

September 6, 2014


DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC


01. [10:08]
02. [11:52]
03. [03:48]
04. [10:03]
05. [07:55]
06. [17:51]
07. [06:56]


DD Jackson - piano
Milford Graves - drums, voice, gong
Kidd Jordan - tenor sax

ATOMIC @ ARTWORD ARTBAR

ATOMIC

Artword Artbar,
Hamilton, ON

February 7, 2015


Lineage: DPA 4061's > DPA MPS6030 > Tascam DR-07 > usb > Audacity > cdwav > FLAC



set 1 [47:25]
=============
1. [02:55] introduction
2. [09:16] Lucidity
3. [10:07] Start Stop
4. [01:11] FL chatter
5. [09:43] A New Junction
6. [01:56] FL chatter
7. [12:47] Major

set 2 [54:01]
=============
1. [01:56] introduction
2. [13:28] Laterna Interfruit
3. [01:02] FL chatter
4. [09:31] A McGuffins Tale
5. [09:34] December
6. [02:56] FL chatter
7. [15:34] Stuck In Stockholm



Fredrik Ljungkvist - -tenor sax & clarinet
Magnus Broo - trumpet
Håvard Wiik - piano
Ingebrigt Håker-Flaten - bass
Hans Hulbaekmo - drums