Ivo Perelman and Tyshawn Sorey – Parallel Aesthetics (Fundacja Sluchai, 2025)

While I’m writing this review for the last double album to be released tomorrow by the incendiary couple of tenorist Ivo Perelman and pianist/drummer Tyshawn Sorey I’m listening to the music, not wanting to put on paper a detached analysis but instead hoping to be inspired by the music itself. After all, I believe many of us have in the back of their memory that beautiful scene from Gus Van Sant’s “Finding Forrester” where Rob Brown (the actor, not the musician) and Sean Connery are typing wildly their tales of narrative onto their typewriters while the music of Ornette Coleman is clearly audible. Let’s say I just wanted to feel the same magic, at least a bit of it. 

My memory goes back to that time in which Sorey was an important part of Roscoe Mitchell’s various line-ups, and I was focused on that music, so deep and visceral but also cerebral and complex. At a certain point, I realized that what Roscoe was achieving was kind of a ‘zen’ music, where the research for a new self as an improviser was leaving place to the simple essence of being. I was curious of hearing Sorey playing with other musicians, to hear what he could realize with another dress. 

So, you can imagine how happy I was while I found out that Perelman sent to me, through my email address, the files of his new piece of art, this double album titled “Parallel Aesthetics”. I have no liner notes, no press release, only the music and the images on the cover. And that’s enough. After all, I am a person who writes about improvised music since 2010, so I’m supposed to be able to give life with words to something worth to accompany what my ears are listening to in this moment … 

But let’s start with the basic facts: the double album is composed by a couple of records, the first including four compositions for a total time of 55 minutes, while the second features only two tracks for an amount of 37 minutes. Perelman is a musician that, after attending the Berklee School of music for only one semester, moved to L.A. where, three years after, he gave life to his first album, before moving to N.Y. His musical style is somewhere between the open but oblique singing of an Ornette Coleman and the edginess of a Steve Lacy, even if he concentrated himself on tenor saxophone and has a personal, distinct voice. 

Sorey, who shared the stage with musicians as diverse but unique such as John Zorn, Muhal Richard Abrams, Anthony Braxton and Wadada Leo Smith, well known for his commitment both in the field of jazz and contemporary music, can be seen, as a pianist, as the missing link between Cecil Taylor and David Tudor – even if I know how much these two extremes are hard to put together – while on drums he perfectly fits into that tradition of musicians using percussions to give life to beautiful colours more than concentrated on marking the time. 

“As Serious as Your Life” is the title of a book by journalist and photographer Valerie Wilmer dedicated to the first free jazz music scene in the 1960s, a book released for the first time this year in my country, and ‘as serious as your life’ is how I dare to indicate to the listeners to take into account music such as the one you’ll meet through this two albums. Because, even if the idea of alternating the tracks with Sorey on drums and the ones where he is featured on piano may seem a rational choice, the music you’ll listen is a perfect mix of head and heart. I don’t think it is so important this time to understand and separate the contemporary from the jazz influences on the compositions, at this point in history we’re all accustomed to such a meeting of different tinges and colors – at least since Anthony Braxton’s “Three Compositions of New Jazz” (Delmark, 1968). 

What I can report for sure is that, once again, even if In the world of improvised music, at least in the purest world of intentions such kind of music has been played more and more, indeed while listening time stops, the miracle of a dialogue between two well refined musicians is happening as it happens while listening to the best albums you have in your collection if you are lucky or educated enough. I mean, you know that magic. Rational discussions about how this music is tracing a new line or is following a path, or anything in the middle, fade away in front of such mastery and enchantment. 

But if there’s magic, for sure there is innovation. Sorey and Perelman with this albums are really giving life to an encounter between worlds and inspirations, and their ‘parallel aesthetics’, their attempt to create a dialogue between two worlds is really a new world in itself. There is intense flowing, moments of amazing exchanges, a vibrating feeling, some telluric and velvet sparks, but, most of all, I can clearly hear this sensation of listening to musicians which are telling something. 

Because, even if you’ll pass through different temperatures and feelings, the final idea is that of a music where the concentrated and the relaxed are perfectly balanced. This means there is a magic equilibrium between the mind, the intention and the output of the musicians. And since it is difficult to reach such a result, I’m writing that this is possibly the best output for this year as far as improvised music/jazz music I’ll be able to listen to in 2025. Now, I’m curious to get back to this review and this release in December, and see if it has kept its promises.

Moor Mother @ JazzMi, Milan, Triennale, Nov. 3, 2024

My followers know how much I've appreciated Moor Mother's music since I first listened to her album "Jazz Codes" (Anti-, 2022). I felt a similar intention in her work as I had encountered in Daniel Marcellus Givens' music at the start of the new millennium, and I was excited to hear someone continuing that artistic lineage. I was fortunate to have the opportunity to see Camae Ayewa (Moor Mother) perform live in Milan, having eagerly anticipated the chance. 

Accompanied by a drummer whose jazz background was evident despite the music's departure from classic jazz, Moor Mother introduced the audience to her latest album, "The Great Bailout" (Anti-, 2023), playing only three pieces from that record. The compositions were transformed by new arrangements rooted more in noise and industrial music than jazz. Yet, Moor Mother has reached a point in her career where she can reinterpret pieces like "All The Money" or "God Save The Queen" without seeming derivative, even when compared to artists like Merzbow or Throbbing Gristle. 

The live performance, consisting of just 50 minutes of drums played with sticks, electronic devices, small instruments, and Moor Mother's own vocals, was enough to captivate the audience, who showed their appreciation with warm applause at the end. The show began with small electronic sounds and electrified drumsticks, building layer upon layer into an impressive wall of sound. Moor Mother's phrases, such as "how long did it take to pay off the trauma?", echoed with sharpness and precision through the various noise textures, reflecting her time spent with Roscoe Mitchell and the Art Ensemble of Chicago, as well as other free jazz collectives like Irreversible Entanglement. 

If I had to nominate some of the best musical moments this year, I would include this Moor Mother concert, along with the new albums by Jason Kao Hwang, Fontaines D.C., and Kim Gordon. However, we still have time before looking back and tracing the lines of musical tendencies for the past year. For me, Moor Mother's live performance in Milan's Triennale was the equivalent of last year's intense and bold concert by Michael Gira's Swans. The difference is that Swans are an institution in the post-punk continuum and among the most important founders of no-wave, giving them the freedom to do as they please. In contrast, Moor Mother and her collaborators are only recognized for their artistic value after the performance, which adds an extra layer of courage to their work.

Wata Igarashi and Drew McDowall @ Auditorium San Fedele, Milan, Oct. 14, 2024

Live music offers a unique opportunity to test musical theory against practice, allowing us to experience sounds in a communal setting that, while perhaps less comfortable than our homes, enables shared emotional connections and collective enjoyment. Such was the premise of an evening at Milan's Auditorium San Fedele on Monday, October 14. 

The event began promisingly in the theater's foyer, where attendees were treated to a pre-concert listening session of Aphex Twin's seminal "Selected Ambient Works 1985-1992" (R&S, 1992). This piece, chosen by audience members through a Facebook poll, served to inaugurate the venue's new speaker system while guests enjoyed wine and conversation. 

The evening's first performer, Japanese DJ Wata Igarashi, known internationally for his live sets, unfortunately fell short of expectations. While his ambient compositions demonstrated competent use of dynamics and variations, they offered little beyond what audiences have heard since the genre's emergence in the 1970s. His most noteworthy contribution was the application of aging effects to his sounds – reminiscent of Boards of Canada's more accomplished work on "Geogaddi" (Warp, 2002) – creating a sonic equivalent of a Polaroid filter. However, the overall musical development remained predictable and lacking in innovation. 

The evening was redeemed by Drew McDowall, whose performance elevated the proceedings considerably. A veteran of influential groups like Coil and Psychic TV, McDowall presented material from his latest album "A Thread, Silvered and Trembling" (Dais Records, 2024). His setup, combining synthesizers with recorded strings, harp, and flugelhorn, created an extraordinary sonic palette that transcended conventional electronic music boundaries. 

McDowall's composition drew inspiration from Scottish funeral melodies contemporary with Carmina Burana, weaving them into a tapestry of drone music and orchestral elements. Performed in complete darkness, his set constructed an immersive soundscape of devotional, crepuscular music that was at once melancholic and powerful. Rather than merely juxtaposing elements, McDowall crafted a cohesive journey into a shadow realm of mystery and introspection, allowing listeners to explore their own inner dimensions. 

Looking ahead, the venue will host performances of Eliane Radigue's "Tryptich II" (1979) and Lorenzo Senni's "Canone Infinito Extended" from his latest Warp Records release. Reviews of these performances will follow.

Homage to Schönberg @ Camera del Lavoro, Milan, Oct. 12, 2024

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.

Varèse Huber Nieder @ Teatro Dal Verme, MITO, Milan, Sept. 18, 2024

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.

Jason Kao Hwang - Soliloquies (True Sound, 2024)

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.

CCCP Fedeli alla Linea - Altro Che Nuovo Nuovo (Universal, 2024)

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.