How did the DB3 come about?
I first heard Guillermo with his group Beat Kids; they were using a computer and a poet and it was very hip-hop-oriented. Then I played with him in William Parker’s Curtis Mayfield Project and I heard another side of him. I was introduced to Michael at An Die Musik by a friend and we started working in Philly doing duets.
How did you become interested in mixing free playing and earlier kinds of jazz?
When I moved to New York in 1965 all the gigs I was handed were avant-garde gigs, but the Archie Shepp groups, for example, were quoting Ellington. And I always felt that I needed more bebop/post-bop knowledge. Over the next 20 years I kept learning pieces, sometimes out of curiosity, other times because they were assigned to me. I was on the NPR Jelly Roll Morton centennial with Dick Hyman and Wynton Marsalis; I realised afterwards it had changed my feeling and technique for the better and I wanted to really get those pieces mastered. I like to mix things up; if I have to be screaming all the time it becomes very unpleasant. As I’ve aged I’ve found it a lot easier to see the music as one. Even popular music like hip-hop — the improvisational process is one and the same.
ReviewsMar 04, 2015
3:33's White Room begins with a reverberating, low-pitched whine that's surely meant to be menacing; after all, the noise act's Bandcamp pag...
ReviewsMar 03, 2015
La BatteriaLa Batteria
The ambition of La Batteria's eponymous debut is epic. Granted, it doesn't have quite the same production value as Rome, the spaghetti weste...
ReviewsFeb 24, 2015
Aidan BakerThe Confessional Tapes
For an artist who's released over 100 albums over the past 15 years, Aidan Baker still manages to surprise. Through his solo work and as one...
ReviewsFeb 20, 2015
alicehow to be a human being
Irish composer Thomas McConville sure knows how to make an entrance. The Schematic-released how to be a human being is only his debut album ...