In the ever-evolving landscape of music, the transition from modernity to post-modernity has been marked by groundbreaking shifts in artistic expression. As we celebrate the 150th anniversary of Arnold Schönberg's birth, we're reminded of his pivotal role in shaping contemporary classical music. This past weekend, I had the privilege of attending a concert that not only honored Schönberg but also showcased the rich tapestry of 20th and 21st-century composition.
The Italian Associazione Culturale Secondo Maggio curated an impressive program featuring Schönberg's "Kammersymphonie No. 1 Op. 9". Completed in 1906, this piece stands as a testament to the composer's transition from tonality to dodecaphony. We experienced Anton Webern's 1921-22 arrangement for five instruments, which beautifully captured the essence of Schönberg's original vision while adapting to the practical constraints of smaller ensembles.
The concert opened with Fausto Romitelli's "Domeniche Alla Periferia Dell'Impero" (1996), a composer that boldly experiments with elements of rock and non-classical traditions. Romitelli's composition challenged our perceptions, presenting a sonic landscape that was both magmatic and deliberately unstable.
Two pieces particularly stood out: Goffredo Petrassi's "Tre Per Sette" (1964) and Niccolò Castiglioni's "Gymel" (1960). These works showcased the virtuosity demanded by contemporary classical music and highlighted the influence of Italian flutist Severino Gazzelloni, who also played a crucial role in shaping the American New Thing movement.
As I listened, I couldn't help but draw parallels between the complexity of this music and the intricate world we navigate today. Contemporary classical music doesn't merely mimic historical events; it serves as a form of mental training, helping us cope with the challenges of our reality.
Conversely, composers like Anton Webern, whose "Drei Kleine Stucke op. 11" we heard, anticipated post-post-modernity. These brief, epigrammatic pieces laid the foundation for artists like Morton Feldman, offering moments of respite in our fast-paced lives.
A special mention must go to the Dedalo Ensemble, celebrating their 25th anniversary this year. Their impeccable execution of seven challenging pieces demonstrated not only technical proficiency but also a deep understanding of the genre. The ensemble, featuring Daniela Cima, Silvano Scanziani, Stefano Merighi, Michela Dapretto, Matteo Zurletti (see photo), and Sonia Candellone, under the direction of Mauro Bonifacio, made the sometimes daunting world of contemporary classical music accessible and engaging.
As we consider the importance of experiencing this music live, I'm excited to announce that I'll be attending two performances this Monday. Drew McDonald, formerly of Psychic TV, will present an album blending electronic and acoustic elements. Wata Igarachi, evolving from punk and techno roots, will showcase his instrumental experimental music.
Stay tuned for my review of these upcoming performances, as we continue to explore the diverse and exciting world of contemporary music.
Contemporary classical music has witnessed a significant increase in the use of percussion since the early 20th century. This trend, influenced by various cultural encounters and avant-garde composers, has reshaped the sonic landscape of classical compositions. A recent concert by the Percussion Orchestra Cologne at Milan's Teatro Dal Verme on September 18, 2024, showcased this evolution, presenting works spanning nearly a century of musical innovation.
The integration of diverse percussion instruments in classical music can be traced back to cultural exchanges such as the 1889 Paris Universal Exposition. Here, Claude Debussy's encounter with the Javanese Gamelan profoundly influenced his compositional approach, introducing new timbres and rhythmic complexities to Western classical music.
Concurrently, traditional instruments like the piano saw a radical reimagining of their role. Edgard Varèse's "Ionisation" (1929-1931) exemplifies this shift, employing the piano in a percussive manner with cluster notes played directly with the forearm. This groundbreaking work for 13 percussionists incorporates a vast array of instruments from various cultures, including sirens, gongs, and log drums, expanding the timbral palette available to composers.
The Percussion Orchestra Cologne's rendition of "Ionisation" offered a contemporary interpretation of Varèse's seminal work. While slightly more "swinging" than traditional performances—perhaps a nod to Milan's reputation as the "City of Aperitif"—the execution maintained a commendable balance between elasticity and structural integrity.
This "smart" version, while sacrificing some of the original's dramatic impact, showcased the musicians' remarkable skill in navigating the piece's complex layers. True to Varèse's concept of sounds detaching from one another like parts of an ionized atom, the performance demonstrated that "Ionisation" remains a pivotal work in the percussion repertoire, its influence evident in many subsequent compositions.
The concert also featured two more recent works, illustrating both the enduring influence of mid-20th century innovations and attempts at further experimentation: "Herbstfestival" (1989) by Nicolaus Anton Huber played by Schlagquartett Köln for four percussionists initially evoked the explorative spirit of groups like the Art Ensemble of Chicago. However, it soon transitioned into a prolonged unison section that, while technically impressive, raised questions about its musical necessity.
"Erdenmarsch" (2022) by Fabio Nieder, a student of Witold Lutosławski, that presented a 30-minute work for 13 percussionists. The piece incorporated a wide range of instruments and unconventional sound sources, including live-streamed radio content via iPhone. While dynamically engaging, the work's harmonic palette felt limited. Notable elements included a centrally placed large drum and theatrical interactions between musicians, though these at times seemed superfluous.
The concert underscored the enduring impact of early 20th-century innovations in percussion music. While the performances of more recent works demonstrated technical proficiency, they also highlighted challenges in pushing the boundaries established by earlier masters. The virtuosity of the Percussion Orchestra Cologne was evident throughout, elevating even the less cohesive compositions.
This evening of percussion-focused contemporary classical music, spanning over 80 years of compositional history, offered a compelling, if sometimes uneven, journey through the genre's evolution. It reaffirmed the pioneering spirit of early modernist composers while raising questions about the direction of contemporary classical music in the 21st century.
Born in Lake Forest, Illinois, Jason Kao Hwang's musical odyssey began with classical violin training. However, his eager exploration of jazz and improvised music long before the 1970s set the stage for a career marked by constant evolution and innovation.
Hwang's discography is an expression to his versatility, with each album offering a unique sonic experience. My introduction to his work came through a double CD featuring the supergroup The Commitment, alongside William Parker on bass, Zen Matsuura on drums, and Will Connell Jr. on flute and alto saxophone. In this ensemble, Hwang's improvisational style echoed influences from Leroy Jenkins and Billy Bang while incorporating flavors and techniques from Asian music.
The year 2022 saw the release of "Uncharted Faith" (Blue Coast Music), a collaboration with the late J.A. Deane. This album showcases Hwang's violin and its electronic treatments, creating a genre-defying sound reminiscent of Miles Davis's electric period from 1968 to 1975 in its innovative approach.
The following year, "Book of Stories" (True Sound, 2023) by the Critical Response quartet presented compositions deeply rooted in the New York free jazz scene, yet imbued with a distinct personality.
Given this diverse background, Hwang's latest solo effort, "Soliloquies," came as a delightful surprise. Tracks like "At The Beginning" and "Encirclement" reveal new facets of both the musician and the man.
This work stems from Hwang's desire to engage more deeply with his family history, particularly conversations with his father about their experiences in China during World War II. These musical 'soliloquies' serve as an extension of moments lost to time, preserved through memory and emotion.
Hwang's approach to the violin in "Soliloquies" is transformative, relying heavily on pizzicato techniques that reimagine the instrument's capabilities. Critics have likened his playing to a zither or a talking drum, highlighting the innovative nature of his performance.
The music defies simple categorization, weaving together Eastern and Western influences in a tapestry of sound that requires multiple listens to be fully appreciated. It's a testament to Hwang's ability to seamlessly blend diverse cultural and musical traditions.
"Soliloquies" stands as one of the most powerful musical and creative acts in recent years. Its deeply personal nature and unique sound recall Audrey Chen's "Runt Vigor" (Karlrecords, 2018) in its compelling individuality. This album represents a potential new direction for improvised music, challenging listeners to expand their musical horizons.
Jason Kao Hwang, who has collaborated with luminaries such as Anthony Braxton, Billy Bang, Butch Morris, Reggie Workman, and Henry Threadgill, has undoubtedly earned his place as a maestro in his own right. While his multifaceted career may defy easy categorization, time will likely cement his status as a pivotal figure in improvised music.
As his recent works demonstrate, Hwang continues to push boundaries and explore new territories. His career trajectory suggests exciting developments for the field of improvised music in the years to come, offering hope and inspiration for musicians and listeners alike.
Massimo Zamboni, guitarist of CCCP Fedeli alla Linea, and his bandmates have resurfaced after nearly two decades with a reunion in 2024. While they haven't released new compositions, they've offered fans the ultimate live experience following an exhibition in Reggio Emilia, albeit at a premium price.
CCCP Fedeli alla Linea, though perhaps not the most innovative post-punk band in Italy (a title arguably belonging to Gaznevada), was undoubtedly the most captivating to audiences. Their references to Cold War-era Communism in the Western world positioned them as the quintessential anti-establishment voice for many young people.
The album under review, "Altro Che Nuovo Nuovo" (Universal, 2024), captures CCCP's first public live performance from 1983 in Reggio Emilia. This release offers several intriguing aspects: it features a live drummer instead of the drum machine that would later become their signature sound, and includes previously unreleased material, such as a cover of D.A.F.'s "Kebab Träume," the unheard tracks "Onde" and "Sexy Soviet," and early versions of songs that would be reworked in later years.
While the live drums occasionally struggle to keep pace with the guitar lines, explaining the band's future shift to electronic percussions, these imperfections don't significantly detract from the listening experience.
CCCP Fedeli alla Linea has faced criticism for prioritizing financial gain over artistic principles, evidenced by high reunion ticket prices and their signing with a multinational label in 1986. This situation draws parallels to Joe Strummer's experience with The Clash, though Italy lacked an alternative like Crass.
Unlike Strummer, CCCP's lead singer Giovanni Lindo Ferretti has, in recent years, embraced Christianity and adopted a stance reminiscent of Morrissey. However, it's important to note that CCCP's early works, particularly their first two EPs ("Ortodossia I" and "II") and debut album ("Affinità/Divergenze"), provide an authentic snapshot of Italy's counterculture during that era.
With CCCP's entire discography now reissued and remastered, "Altro Che Nuovo Nuovo" serves as an excellent entry point for post-punk enthusiasts looking to explore scenes beyond the US and UK. This live album offers a glimpse into a past that continues to resonate, as evidenced by the current resurgence of post-punk bands, underscoring CCCP's enduring influence.
Fontaines D.C.'s fourth album, "Romance," marks a triumphant evolution for the Irish post-punk band. Released under XL Recordings, this record stands as potentially their finest work to date, showcasing them at the peak of their creative powers.
Initially, one might draw parallels to Idles' recent release "Tangk" (Partisan Records, 2024). Both albums explore themes of love—an atypical subject for post-punk groups historically rooted in social critique. However, "Romance" transcends simple comparisons, carving its own distinct path.
What sets "Romance" apart is its ambitious sonic palette. The band ventures beyond their usual instrumentation, incorporating piano, Mellotron, Minimoog and Ring Modulators. These elements, combined with collaborations featuring a string quartet on tracks like "Desire," "In The Modern World," "Starbuster," and "Horseness Is the Whatness," create a rich, textured soundscape.
Producer James Ford (Arctic Monkeys, Blur, Depeche Mode) lends his expertise, resulting in complex arrangements that elevate the album. The influence of classic British pop and even The Beatles can be heard, pushing Fontaines D.C. into new territory while maintaining their core identity.
While love is a central theme, "Romance" offers more than simple ballads. "Starbuster," the lead single, delves into the experience of panic attacks. The album also serves as a tribute to recently departed Irish music icons Sinéad O'Connor and Shane MacGowan, acknowledging artists who embodied punk's spirit of authenticity and defiance.
What's remarkable about "Romance" is how organic this transformation feels. Rather than a calculated move to avoid criticism of stagnation, the album radiates with genuine artistic growth. The band's commitment to their craft is evident in every track, resulting in one of the year's most captivating listening experiences.
"Romance" represents a significant milestone in Fontaines D.C.'s career. It demonstrates their ability to push boundaries while staying true to their ethos. The album's booklet photos capture a band revelling in their artistic journey, mirroring the listener's enjoyment. With this release, Fontaines D.C. have not only created their best work to date but have also laid an exciting foundation for future musical explorations.
A return to spirituality in jazz was clearly tangible since Eric Mingus, Charles’ son, released a record titled "Too Many Bullets, Not Enough Souls” (2002 Some Records, re-released in 2021 by Zoar Records). The collaborator of Elliott Sharp (who also produced this album), Hal Willner, Karen Mantler and many others, was clearly pointing out what we were missing at that point in history.
The duty of a spiritual jazz, or of a spiritual crossover between genres, was taken more recently on the shoulder of musicians such the late great Jaimie Branch and of Kamasi Washington, that few months ago released this interesting LP titled “Fearless Movement” (2024, Young). The album opens with an invocation to God both in English and in an ancient Ethiopian language. But it’s the tone of Washington saxophone that sometimes makes you think of a spiritual musician such as Pharoah Sanders.
Clearly Kamasi Washington is not a copycat, his style is evidently his own, but there is something in his attempts to launch ‘that’ cry over the obstacles that in a way reminds us of John Coltrane’s pupil, exactly as the beginning of this record can remind us of many Coltrane’s moments on records such as the beginning of Om, or of Kulu Sé Mama. And even if Washington’s eloquence on saxophone is more linear than Sanders’, nonetheless his approach is similar, being a clear spiritual invocation.
“Lesanu”, the first track on the album, is clearly devoted to the Aethiopian music of Getatchew Mekurya, Mulatu Astatké and similar masters of ethio-jazz. Sometimes featuring horns speaking in tongues, sometimes featuring keyboard passages or tenor solos, the piece is possibly a prayer, an attempt to create a ‘new song’ for God and so it is a manifesto, as if Kamasi Washington were saying is music is ‘new music’, a new mix between jazz, hip hop, soul, and music to dance with, more than an intellectual experience. Anyway, we’ll see.
In an interview Washington recalled his aunt who was babysitting him and his brother making them dance, and if this is the idea underlying all the album, another recollection from the childhood is the second track “Asha The First”, whose melody was created by Washington’s daughter while experimenting at the piano. The little girl is present also on the cover of the album along with his dad. The song is immersed in a 1970s atmosphere but featuring singing and rapping by Thundercat, Taj and Ras Austin, and a beautiful electric bass solo that is an homage possibly to Stanley Clarke.
And if “Computer Love” is a cover of the soul combo The Zapp, from their fourth album “The New Zapp IV U”, “The Visionary” is a less common group improvisation just before “Get Lit”, a mid-tempo featuring the soulful voice of George Clinton and that of a younger but incisive D Smoke. “Dream State”, featuring André 3000 on flutes, has this short psychedelic intro before a small alto saxophone solo who introduces the song with a gentle touch. Washington shows us his expressive ductility at alto before the drums start signing the temperature of this song, calm but decidedly syncopated.
Finally, “Together” and “The Garden Path” close the first LP with an intriguing ballad with BJ The Chicago Kid at the voice and a hymn full of wah-wah guitars, choirs, and horn solos. At this point one might wonder about his own experience as a listener before passing to the second LP, even because the music is full of references to the past decades of the African-American music history, and you can also ask yourself if it all has a value nowadays in this returning. Obviously Kamasi Washington, his octet and entourage are searching for a commercial affirmation but there’s something original in this music or it is only a good summary of the past glories?
I know it is a strange question nowadays that everything of value has a strong tie with the past, but obviously we want to understand if what we’re listening to is in a way a small step ahead or if it is a mere reproduction of the past. Maybe the second LP can be of help for us? Let’s give it a try. “Interstellar Peace”, with its almost Coltrane-inspired title, is another piano melody with the horns creating a small hymnodic and melancholic choir before some trumpet and saxophone intense solos.
Then it’s time for “Road To Self (KO)”, with his almost minimalistic keyboards intro before a piano melody surrounded by the horns, while the drums depict a circular rhythm, leaving us with the feeling that this is not a record of solos emerging from a given structure, as in (too?) many jazz records, but an attempt to create a sonic landscape full of different meanings. One can appreciate pieces like this more than the others, as it happens to the writer of this review, but that’s it.
“Lines in the Sand” is another ballad where you can appreciate both the foreground and the background, the vocal melody and the horns’ countermelody, in a quiet atmosphere, with only one question in mind: what if these pieces were shorter and less complicated by solos? In a way, if I remember well, Albert Ayler’s “New Grass” was an album containing pieces from 3 to 5 minutes, and it worked well even if it was accused to be a commercial album.
Sometimes longer structures, like pieces of 12 minutes, aren’t paying well if they’re not able to convey tensions and releases in an intriguing way. Being too much redundant is the defect I can find in this music. Things go a little worse with the last “Prologue”, an homage to a beautiful melody by Astor Piazzolla where you can listen to all the weaknesses of the arrangements by Kamasi Washington.
In this piece you can find that ‘Seventies touch’ as something little bit out of time. This effect is propagating during the listening to all the album. But there is a sincerity in the music of Washington that is something I want to save. So in the end, all we can do is waiting for future releases and hope in a more contemporaneity of arrangements and of inspiration.
Spirituality is good, and since I’m reading Sun Ra biography by John F. Szwed in these days I can say it’s also something that has precious roots, but it must become a personal quest, otherwise the risk is that of following the leaders’ principles instead of becoming truly yourself. And what can be applied to spirituality, can also be applied to music. Washington is a musician coming from a noble tradition and with a personal touch as an instrumentalist, but he needs to rejuvenate some arrangements and/or become less verbose.
For the moment this album is something worth listening, as it is also last year output by Jaimie Branch “Fly Or Die Fly Or Die Fly Or Die (Word War)” (International Anthem, 2023), but everyone has to understand that the sound of music defines an era, and we can’t really take back the past in the present times. We have to move forward, defining this era with music for our times. This is unluckily not what happens with this album, and it’s a pity because the source of inspiration is original, and the musicians involved are great. But being contemporaneous, for an artist, is not optional.
There are albums or pieces of music that must arrive at the right time to touch your heart. That's why, even though I've known about this music for a couple of months, I decided to write about it only today. "Why" is a short but compelling title. It challenges listeners to think beyond conventional boundaries, immersing them in the flux of past and present while transcending societal norms. In essence, it embodies what every piece of improvised music should aspire to achieve.
Joel Futterman, like William Parker, is a veteran of free jazz. Born in Chicago in 1946, Futterman was influenced by Clarence Eugene Shaw, a trumpeter and student of Gurdjieff's Fourth Way. Musically, Futterman was a devoted student of Coltrane, Dolphy, and Monk. One striking aspect of his style is that, while sounding contemporary, his melodic approach—even when pointillistic and abstract—sets him apart from Cecil Taylor and other contemporary piano masters.
It has often been said that Taylor played the piano as if it were a drum set. Futterman, however, plays the piano as if all these techniques, borrowed from Monk, Cage, and others, were honed to fit his own unique vision. After playing in Chicago from 1964 to 1969, the pianist moved to Virginia Beach in 1972. His first album as a leader was released in 1979, and his many collaborators have included Jimmy Lyons and Richard Davis.
Following a period of musical inactivity, Futterman returned to collaborate with various artists, including Kidd Jordan and Alvin Fielder. It's not surprising to see him playing in this set with William Parker, who, after a period of playing with musicians of his own generation in the supergroup The Commitment, began collaborating with veterans like Cecil Taylor and Peter Brötzmann. Listening to the "Why" album, it's clear that Futterman and Parker fit together remarkably well.
I've mentioned pointillism, and indeed, Futterman's style of attacking with short phrases and notes, their effect prolonged through subsequent phrases, matches perfectly with Parker's bass playing, both plucked and bowed. There are moments when their interplay is almost telepathic (as it should always be in this music), and you can sense that the two are playing after dismissing all rational thoughts and practices, relying instead on intuition and more emotional skills.
I'm not sure how familiar you are with Gurdjieff and his 'Fourth Way.' One of his most important statements is that we tend to love as we count, using our rational mind. However, he proposes a new way—the fourth—in which we can learn to be different, more complete human beings. In this sense, love, like art, is both a territory in which to enjoy this new self and a doorway to it.
Even the most skeptical listeners can appreciate this music and be captivated by the beauty and density of this dialogue. While Parker, playing with Taylor and English drummer Tony Oxley in the so-called "Feel Trio," was accustomed to playing independently from the other musicians, here the 'interdependence' between the two musicians is clearly enjoyable.
I've recently listened to many free improvisation albums that have both highlights and lowlights, but this album consists entirely of 'highs.' Therefore, I wholeheartedly advise listeners to experience and enjoy it in its entirety. "Why" is not just an album; it's a journey into the depths of musical intuition and emotional resonance.
