see you soon | bis bald | à bientôt
Saturday, December 23rd, 2006
Archive: December, 2006
metropolis | shop| laden | magasin
Friday, December 22nd, 2006
Metropolis has now it’s own shop. We started with Christoph Gallio’s label Percaso, Henry Kuntz and Ernesto Rodrigues Creative Sources and others will follow. Labels, Group’s or Artist’s interested in to distribute their products via Metropolis, please use our contact page. We will get in touch with you as soon as possible with more detailed information.
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new orleans 2005
Thursday, December 21st, 2006
I was outraged and appalled by the Bush government’s disregard for the safety and well-being of those citizens of New Orleans (overwhelmingly poor/working class and African-American) left to fend for themselves in the days following hurricane Katrina. This song attempts to articulate some of that anger, as well as express some hope for change. Samm Bennett
New Orleans 2005
see the black man down in New Orleans
waist deep in the floodwaters wading
gunfire crackles in the distance
the last glimmer of daylight is fading
he didn’t have much to begin with
now his world has come all unglued
he’s on his way to bust into a grocery store
to get his family water and food
new orleans new orleans 2005
now see the president up in his airplane
he says zero tolerance for looters
one thing this president really knows how to do
is to send in the guns and the shooters
but less bullets more boats beds and blankets
and a few hundred lives he might save
ah but blaming the victim is what we do best
here in the home of the brave
new orleans new orleans 2005
they say the president loves all americans
no matter the color or creed
but you decide for yourself where the real truth resides
is it found in the word or the deed
if you say you don’t think that it’s racist
maybe this’ll cut through your dense mental haze
just try and imagine a whole stadium full of white people
left to fend for themselves for six days
i don’t think it would’ve happened quite that way
new orleans new orleans 2005
now if there’s good that can come from this tragedy
it’s that maybe things’ll get rearranged
lord knows over in washington d.c.
we’re long overdue for regime change
one hundred eighty six million dollars they spend
on the war in iraq every day
with just a fraction of that
they could’ve shored up those levees
and kept the floodwaters at bay
new orleans new orleans 2005
copyright 2005 samm bennett
henry kuntz
Monday, December 18th, 2006
14 Euro inclusive shipment cost world-wide.
Henry Kuntz has been intimately involved in free jazz and free improvisation for more than 30 years. From 1973 to 1979, he was editor and publisher of the internationally-acclaimed newsletter-review BELLS.
bruno fleutelot | mare australe
Sunday, December 17th, 2006
Strasbourgeois installé à Genève, Bruno Fleutelot formait avec Philippe Saucourt le duo français Oboken, dont la musique ambitieuse, mêlant sonorités acoustiques et électroniques à la manière du Suisse Polar, méritait mieux que l’indifférence polie qu’elle a rencontrée. A l’évidence, ce n’est pas ce disque solo essentiellement instrumental (à télécharger ou à commander directement à l’auteur) qui va sortir Fleutelot de l’anonymat, tant la musique qu’il contient semble chanter dans un murmure les grandeurs de l’effacement.
Particulièrement austère, la première plage évoque les minimalistes américains (LaMonte Young, Tony Conrad…) et la musique électro-acoustique, avec ses bourdonnements, ses sons sourds et lointains et ses étranges crissements épars. Une guitare nous ramène ensuite vers des territoires un peu plus familiers - on distingue même quelques suites d’accords, notamment sur le dernier morceau -, mais la musique semble toujours flotter dans le liquide amniotique. On pense à certains projets de Sylvain Chauveau (samplé par Oboken sur leur dernier album) ou aux derniers albums de Labradford, aboutissements d’un processus radical d’épurement sonore.
Pas vraiment le disque à passer lors d’une soirée entre amis – et encore moins indiqué pour un long trajet en voiture -, “[ozo viv]” semble plutôt destiné à accompagner des installations d’art contemporain, ou vos séances de méditation. Une Å“uvre exigeante qui ne révélera ses beautés qu’aux auditeurs patients. source
Bruno Fleutelot’s web page
110 bridge st. / inside the landscape / trombone revenge
Thursday, December 14th, 2006
Fiedler / Koen / Ware / 110 Bridge St
CIMP / 185
Joe Fiedler / trombone, Ben Koen / reeds, Ed Ware / drums
High Desert Duo / Inside the Landscape
Zerx / 026
Kurt Heyl / trombone, voice, cornet, percussion, Dave Nielsen / drums, reeds, vibes, percussion
Bonefied / Trombone Revenge
Zerx / 018
J A Deane / tenor trombone, bass flute, shakuhachi, percussion, Steve Feld / trombones, euphonium, sousaphone, text, Kurt Heyl / tenor trombone, flutes, percussion, voice, Gary Sherman / trombones, “flugelbone”, tuba, Jefferson Voorhees / drums, percussion, Mark Weaver / tuba, tenor trombone
The trombone was there right at the start of jazz — before the saxophone, certainly — but we still don’t think it’s cool. There are few famous jazz bone men, and none of them are household names. Oddly, that’s meant that many players in the various free improv “communities” (whatever that means) have been attracted to it. It’s a viable, versatile instrument with a real jazz history and great potential for extended techniques but a well-developed, clearly-defined set of conventional ones. Little wonder, then, that it seems to be more widely adopted now than ever.
obliques before pale skin / dark embrace
Thursday, December 14th, 2006
The Remote Viewers / Obliques before Pale Skin
Leo Lab / CD063
Adrian Northover / saxophones, theremin, Louise Petts / saxophones, voice, synth, theremin, David Petts / saxophones, synth, theremin
The Poison Cabinet / Dark Embrace
The General Ear / GE4
Louise Petts / voice, electronics, David Petts / tenor sax, electronics
The Petts are one of London’s best-kept secrets. They gig rarely, as their music crosses categories of new composition, rock, jazz and free improv, although it isn’t really any of those things, and the electronics they use can make playing tiny club nights a headache. Yet what they do is perfectly unique, and they continue to stubbornly plough their furrow despite the obvious difficulties it presents.
pursuit / nohc on the road / double exposure
Thursday, December 14th, 2006
Benoit Delbecq / Pursuit
Songlines / SGL11529-2
Benoit Delbecq / piano, Francois Houle / clarinet, Michael Moore / reeds, Jean-Jacques Avenel / bass, Steve Arguelles / drums, electronics, Marc Ducret / guitar, one track only.
Didier Petit / NOHC on the Road
Leo Records / CD065
Daunik Lazro / saxophones, Denis Colin / bass clarinet, Michael Nick / violin, Didier Petit / cello, voice
Achim Kaufmann / Double Exposure
Leo Records / CDLR289
Michael Moore / reeds, John Schroder / guitar, John Hollenbeck / drums, Achim Kaufmann / piano
People will, it seems, continue to insist that jazz isn’t dead for some time to come, and as long as they make music as good as this, who can complain? These three records are all firmly within the jazz tradition; rather than fusing it with something else, they all, in different ways, aim to develop interesting little ideas buried deep within it.
