Peter Brötzmann & Heather Leigh

Heather Leigh
Heather Leigh. Photo © Micke Keysendal.

Heather Leigh — pedal steel
Peter Brötzmann — reeds

Recorded by Jonathan Dakers at Fylkingen, 19 Feb 2016 as part of First Edition. Mixed by John Chantler.

Stockholm Record Shopping

Record Mania — Free Jazz New Arrivals, December 2016 (Photo: Record Mania)

A few recommendations for out-of-town visitors — this is by no means comprehensive, just the ones I go to most often…

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Globe Unity Orchestra

Alexander von Schlippenbach
Alexander von Schlippenbach. Photo © Micke Keysendal

Globe Unity Orchestra:

Henrik Waldorff — saxophones
Gerd Dudek — saxophones
Frederik Ljungkvist — saxophones
Axel Dörner — trumpet
Manfred Schoof — trumpet
Christof Thewes — trombone
Mats Äleklint — trombone
Alexander von Schlippenbach — piano
Paul Lytton — drums, percussion

Recorded at Fylkingen by Jonathan Dakers on 19. February 2016 as part of First Edition.  Mixed by John Chantler.

Globe Unity’s performance was made possible with the kind support of the Goethe Institut, Sweden.


Rashad Becker & Okkyung Lee

Okkyung Lee & Rashad Becker
Okkyung Lee & Rashad Becker. Photo © Micke Keysendal

Okkyung Lee — cello
Rashad Becker — electronics

Recorded 20 February 2016 at Fylkingen during First Edition by Daniel M Karlsson. Mixed by John Chantler.

Eliane Radigue’s Occam Ocean

by Kate Molleson

Eliane Radigue © Delphine Blast

A composer writes an orchestral piece by inviting every member of the ensemble to visit her at home, one-by-one, to devise their parts collaboratively. This is how Eliane Radigue makes music: slow, exacting, verbal, personal. In many ways her work is a paradox. She writes drone music that dances. It is simple and rich, spacious and detailed, unhurried and full of movement, spiritual and non-didactic, narrative and abstract. Over the past 50 years she has honed a uniquely concentrated creative practice in order to access an expansive realm of partials and subharmonics — “sounds within the sound,” she calls them. She works instinctively, and her instinct has always drawn her to slowness and subtle modulations, yet she demands from her performers a kind of precision that is physically and mentally virtuosic. She claims with a shrug that her technique boils down to “fade in, fade out, cross fade,” whether in her early long-form synthesiser works or the acoustic pieces she’s been writing for the past decade. Yet it’s the complex, iridescent interior expanses of her music that achieve exquisite lift-off.

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Sarah Hennies — Gather

Buttermilk Falls © Sarah Hennies
Buttermilk Falls © Sarah Hennies

Before I left my home of 10 years in Austin, TX and moved to Ithaca, NY, a friend asked me, “Is your work influenced by your surroundings?” I replied, “I don’t think so but I’ve lived in the same place for ten years. Ask me again in six months.” It was a few months later that I visited Buttermilk Falls State Park, a breathtaking system of waterfalls near Ithaca’s southern border, and immediately declared, “I must record this!” While I did find the sound of the waterfalls (barely distinct from white noise) to be powerful and compelling, I was particularly struck by the way adjacent waterfalls – some of them quite loud – were sonically discrete from one another. Each waterfall would become inaudible within a few feet of walking toward the next, making it possible to create my own spontaneous sound collage by choosing the direction and speed I walked toward and away from each subsequent waterfall. I attempted to recreate this multi-sensory experience by recording my composed walk up the gorge, with an awareness that my recording could suggest but not replicate the feeling of actually being in the park. Not long after that, I suddenly realized that I was transgender while attending an indie pop music festival in New York City.

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