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DISSIDENT ARTS - NEW MASSES MEDIA: Press/Reviews

PRESS

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CD Review: HARMOLODIC MONK, "Sound Guardian " magazine (Croatia).
The title says it all! It reminds us of two jazz musicians who have marked the genre musical with innovation and distinctive authoritative work: saxophonist Ornette Coleman and pianist Thelonious Monk. While both early career met with incomprehension, even neglect, today they are celebrated as giants. Monk is one of the greatest composers in history of jazz, an author of a wealth of songs that have become jazz standards. His creativity is still an inspiration for new generations of jazz - and not only jazz musicians. Many of them are recorded themed albums with his compositions, among others the famous soprano saxophonist Steve Lacy, who was a great admirer of his work.

One of the most important representatives of free-jazz, Coleman founded his own musical concept - philosophy - which he called Harmolodics, and based it on his own composition/improvisation principles. Multi-instrumentalists Matt Lavelle and John Pietaro decided to record a theme album that honors both. The Monk's works are processed in a manner close to Coleman harmolodics concept. The template for improvisation are found in some of Monk's most famous songs: "Epistrophy", "Pannonica", "'Round Midnight", "Crepescule With Nellie", "Ruby My Dear", "Blue Monk", "Monk's Mood" and "In Walked Bud ", but also those less known to a wider circle of listeners, such as" Green Chimneys "and" Let's Cool One ".

In addition to the musical setting, Lavelle, who plays cornet, flugelhorn and alto clarinet, and Pietaro, who plays the vibraphone, bodhran (Irish drum similar to the Arabic instruments related defu), congas and percussion, their approach is based on the philosophy of a grand music. For example, there is the significant Coleman's story about his appearance at the psychiatric ward of a hospital when, looking at the audience, he could not distinguish between physicians from patients, as well as Bartok's belief that new music has to be deeply rooted in folk music, the world's musical heritage. All these experiences and consolidate completely in their vision of contemporary improvised music.

Although they are virtuosos who play musical instruments, that aspect is secondary. Primary is a new approach to standards, sound research, communication and interaction. This is music that we would be happy to listen to at the upcoming Zagreb Biennial.

- Davor Hrvoj, Sound Guardian
Davor Hrvoj - CD Review: "Sound Guardian" (Croatia) (Mar 20, 2015)
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CD Review: HARMOLODIC MONK, "Highland Magazine" (Belgium)

Emblematic of bebop , growing out of stride piano playing including ragtime styles, Thelonious Monk is a jazz legend, a prolific composer and improviser of the highest level . He remains, in fact, a continual source of inspiration.

How do we then distinguish from the various tributes to his glory? Lavelle and Pietaro have the solution, applying Ornette Coleman 's Harmolodic theory to this music.

Explaining this seeming arcane musical vision is the challenge. It consists of a fusion of harmony and melody in a polyphony sans the usual constrictions. In a free jazz approach, this allows for more than one musician playing the same melody but starting at different pitches, so tonality per-se doesn't govern the music but instead tones, rhythm, melody, tempo are all equal, which Ornette calls unison.

And what could be more natural than to see multi-instrumentalist Matt Lavelle present in this project? It is indeed his time with Ornette Coleman, which makes him all the more legitimate to carry this adventure. Playing in turn cornet , flugelhorn, pocket trumpet and alto clarinet, Lavelle is joined by John Pietaro on vibes, congas, percussion and the Irish drum known as the bodhran.

Ambitious and promising ...

Epistrophy: The spooky atmosphere gives us a glimpse of this concept as Lavelle holds the melody from the top of his clarinet and Pietaro digresses nicely with percussion, together forming an inseparable whole . Captivating, enhanced by mic'ing closer to the instrumentalists. This complex piece is
tamed for us and all its subtlety is revealed.

Pannonica follows this line, with a more digressive Lavelle, though again in a harmonious musical symbiosis. Green Chimneys brings color to the music, thanks to almost tribal percussion followed by a warm flugelhorn at every turn.

Round Midnight is also fascinating with the first vibraphone alone,
suspending the time for three minutes, seemingly more traditional yet still so ethereal. A no less excellent version of a Monk title is Crepuscule With Nellie featuring a break in improvisation that is close enough to the original to be sobering . Lavelle grants himself the right to play solo, shattering everything with musical brilliance. If Monk fans are skeptical of the ownership
of these titles, this should settle them!

Ruby My Dear has the same relevance to original melody, but this time it's Pietaro's vibraphone. Equally adept, he repeats the feat by remaining close to the original while applying the theory of harmolodics solo! The result is even more convincing! Let's Cool One is somewhat less powerful in its rendering, needing a more striking arrival.

Due to its length (nearly 10 minutes), Blue Monk is the most difficult of pieces to grasp. With Lavelle resolutely putting free jazz forward, some listeners may want to leave it on the side of the road on the way. However, if one perseveres , the experience is truly rich and powerful.

The most whimsical moment arrives with Monk's Mood. With his famous bodhran, Pietaro breathes a different atmosphere into the proceedings, a world music approach, differently from Lavelle is doing. Pietaro plays his instrument fiercely, playing each breath to emit sounds that are amazingly refreshing and gratifying! In Walked Bud closes the album as it began, a harmolodic replica. A beautiful finale.

The bet was risky but it pays off: The formation of a charismatic duo - Lavelle and Pietaro keep their original commitment.

Sublimely produced by Jack DeSalvo, HARMOLODIC MONK is a beautiful album. Monk fans may not appreciate everything, but that's what makes it so much than just a tribute

Since it may be difficult to approach for the uninitiated it deserves a good
listening because the effort is worth the reward. Though a tad long it lacks nothing in inspiration to keep us constantly surprised . You'll enjoy a great experience finding out!
- Axel Scheyder
Axel Scheyder - cd review: "Highland Magazine" (Belgium) (Mar 17, 2015)
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CD Review: Harmolodic Monk (Unseen Rain Records)

by Mark S. Tucker
Unlike so many past masters tributes which feature some of the subject writer's work, then a smattering of tunes cherished by the deceased mainman, and finally cuts written by the tributees, Matt Lavelle and John Pietaro's Harmolodic Monk is 100% Thelonius cuts stretched and refabricated by a horn player and percussionist stripping everything down to bare essentials before getting melodically and environmentally inventive. The baseline is Monk's mind and work, the rest is a matter of their own chops and cerebrations. The ultra-moody and atmospheric Epistrophy kicks the slab off, giving a clear indication of just what the listener is in for…and I'll warn right now that if you can't tune, de-tune, and re-tune your brain and ears, this is not the disc for you.

In the tradition of the more outside Enja, Ogun, and other labels' works, then the spirit of Lol Coxhill, Anthony Braxton, and of course Ornette Coleman, whose unorthodox talents continue to pervade and open up the extremities of aesthetics, this duo adeptly embraces what a promo sheet writer cited as "the dichotomy of ancient pre-Western approaches and extreme modernism". I tried my best to upend or at least modify that appraisal but couldn't. Whoever that cat was, he nailed it to the wall, then put a frame around it. There is indeed a wide time-span of prototypes, influences, and expansions present, sometimes bewilderingly so as things morph and bend. Pannonica is particularly apt, at one moment sounding like the bell music of Alain Kremski (Pietaro and his wondrous vibes), then a boozy Louis Armstrong (Lavelle's ever-changing horns) leading into a stream-of-consciousness section.

All the cuts flow in that fashion, the listener not for a moment let to wander but instead led from one intriguing section to the next, never knowing what will come but alive and alert for whatever may arise. Harmolodic, if I haven't made it clear, is free jazz, improvisational to a fault but based in previously set work. I suspect that if Lester Bowie and his Art Ensemble were forced to pare down to a duet, the result would be very much like this. produced the disc but his brother Jim is the engineer, and Jim's capture of everything is arresting: clear, lucid, adroitly attuned to shifting focal depths, never at a loss, providing everything this work needed to entablature itself with zero ambivalence. The holidays are over, y'all: heave the tabernacle choirs and E-Z jazz fluff and get back to deepening the crenellations in your grey matter.
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CD REVIEW: Russian jazz blog "JAZZ QUAD"-
Matt Lavelle / John Pietaro - Harmolodic Monk

This great album may well claim the title of “disc of the year”. Formally it belongs in the category tribute album, but it was too different from the usual work of this kind. Especially because we have a double tribute here. One character of this tribute is quite obvious: his name is on the cover. Interest in the work of Thelonious Monk and his ideas over the years, like a noble wine, gaining momentum.I usually don’t point out in my reviews an album’s tracklist, but in this case I want to bring it out fully. So, a program of the album made the following pieces of the famous pianist and composer: Epistrophy; Pannonica; Green Chimneys; ‘Round Midnight; Crepuscule with Nellie; Nutty; Ruby, My Dear; Let’s Cool One; Blue Monk; Monk’s Mood, In Walked Bud – almost all of the most famous and regularly performed Monk tunes .And now for the second hero tribute, whose name is immediately identifiable if not to the ordinary jazz fan, certainly to the advanced one. He, of course, linked the definition of “harmolodics” with his philosophical concept of music, Ornette Coleman. The man, whom many consider the father of free jazz (and only this term in any case originated in the title of his album), created his, frankly, somewhat confusing and vague theory harmolodics (in this word he combined the concept of “harmony”, “movement “and” melody “, of course, in their English sound). In a nutshell, it is based on the same principles as in the free jazz – atonality, polymodality, rhythmic freedom and so on, but also focused on the crucial role of the individual musician.
So, a collection of great Monk music performed in this project from the standpoint of Coleman’s harmolodic theory.

Well, now it’s time to move on to the creators of the project. There’s two of them, so that we are dealing with a difficult to execute and not always easy to grasp duo. By the way, Monk – pianist, Coleman – saxophonist, but these are not the tools you’ll hear on the Harmolodic Monk album. Tools for this duo did are quite formidable. Matt Lavelle plays the cornet, flugelhorn and alto clarinet, and his colleague John Pietaro – vibraphone, congas and other percussion, including an Irish drum bodhrán (according to experts Gaelic word correctly transcribe it that way). Trumpeter Matt Lavelle’s (b.1970) work has been through a series of metamorphoses: he began to swing, then played the mainstream, but at the end of the last century became friendly with the Downtown Music in New York, became inveterate avant-garde. In 2005, Matt then took lessons from Ornette Coleman. Apparently, it was then that he was filled with harmolodic ideas, and certainly since then introduced into their arsenal of tools the alto clarinet, to evaluate the sound in his performance you will be able to hear it on the first track Epistrophy. John Pietaro not only a musician, but is also a publicist. In both guises the Brooklyn native professes the most radical views on art and also belongs to the circle of brilliant masters of avant-garde jazz.
I will not go into the details of the presentation Monk’s music in duet in terms of theories of Coleman, and advise you not to dwell on it. Better to just listen to the exquisite sounding (wind + vibraphone and percussion), to the original creative interpretation and this just extraordinarily interesting music. I can only say that the version of ‘Round Midnight by the duo Lavelle- Pietaro seemed to me one of the best ever heard before. I strongly advise not to miss this album!

© & (p) 2014 Unseen Rain Records
10 tks / 73 mins
(Matt Lavelle - cornet, flg, alto cl; John Pietaro - vibe, bodhrán, congas, perc;)
The disc is provided Jazz Promo Services

Leonid Auskern
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CD REVIEW: Matt Lavelle And John Pietaro: Harmolodic Monk (Unseen Rain, 2014)
By DAN BILAWSKY


Every time it looks like all the gold has been mined from Thelonious Monk's music, somebody comes along to prove otherwise.

Harmolodic Monk finds multi-instrumentalist Matt Lavelle and percussionist John Pietaroapplying saxophone icon(oclast) Ornette Coleman's freeing philosophical ideal(s) to Monk's oft-performed music. To some, the resultant performances may seem far more complex than the originals, complete with mind-expanding abstractions, reductions, and alterations. To others, this music may be very simple to grasp. In truth, both viewpoints are correct. The album-opening "Epistrophy," painted with molasses and (de)constructed in unique fashion, and the penultimately-placed "Monk's Mood," built on a foundation of brooding uncertainty, make the argument for those who may tend to see the radical side of this music. Those same people, however, may feel differently when "Pannonica" begins. Lavelle's alto clarinet glides through the start of that number with extreme directness.

With each track, Lavelle and Pietaro manage to find something new to say, moving away from Monk's viewpoint and shifting gears from the previous number(s). Primal modernism wins out on "Green Chimneys," the gentler side of Monk is taken to the outer limits in solo features for Lavelle ("Crepuscule With Nellie") and Pietaro ("Ruby, My Dear"), and "Let's Cool One," bookended with Monk-ish stability, features a stunning brass cadenza at its core. Some classics still exude the charms they were born with ("Round Midnight"), but others lurk in the shadows, shrouded in mystery and veiled with individual expression.

Those who like their Monk straight, with no musical chasers, may have a hard time swallowing this music, but that's a shame. There's tremendous ingenuity and skill behind Harmolodic Monk. Matt Lavelle and John Pietaro deserve a lot of credit for finding a new entryway into the oft-visited world of Thelonious Monk.

Track Listing: Epistrophy; Pannonica; Green Chimneys/52nd Street Theme; ’Round Midnight; Crepuscule with Nellie; Nutty; Ruby, My Dear; Let’s Cool One; Blue Monk/Straight No Chaser; Monk’s Mood; In Walked Bud; Light Blue.

Personnel: Matt Lavelle: cornet, flugelhorn, alto clarinet; John Pietaro: vibraphone, bodhrán, congas, percussion.
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CD REVIEW: "Harmolodic Monk" (Unseen Rain)

MATT LAVELLE-JOHN PIETARO/Harmolodic Monk: They used to tell me Monk’s music was difficult because he wanted to trick Charley. They also told me his music was difficult because his fingers were to fat to hit’s the keys. In any case, this improvising duo of horn and percussion have succeeding in making Monk’s music even more difficult. This is as art’s councilly as improv jazz gets.

CHRIS SPECTOR, Editor and Publisher
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CD Review, "All About Jazz": Matt Lavelle and John Pietaro: Harmolodic Monk (2014)
By FLORENCE WETZEL, Published: August 10, 2014 |

In multi-instrumentalist Matt Lavelle's insightful blog, "That Fat Eb Feels Mahogany to Me," he discusses a challenge shared by many jazz musicians: "With people doing more and more repertoire projects to get work and for sheer love of that artist, I have been thinking about ways to explore the relationships between the kings without doing a straight cop. Playing obscure tunes is one thing, but there must be a way to look at their work from a new perspective."

Happily Lavelle and John Pietaro have found the answer in their excellent release Harmolodic Monk, where they infuse Thelonious Monk's compositions with Ornette Coleman's harmolodic philosophy. It's a natural combination for both Lavelle and Pietaro, who have long enjoyed a fascination with Monk's music, and now find themselves in mid-career increasingly intrigued by Monk's distinctive melodies and wide-interval blues-swing. Lavelle has also studied with Coleman for many years, both formally and informally, a relationship that has initiated Lavelle in the harmolodic universe as well as allowed him to find his own voice. In addition, Lavelle plays with the grand master Bern Nix, the guitarist in Coleman's groundbreaking group Prime Time, providing a hands-on education in the art of free swing.

The combination of Monk and Coleman is delectable enough, but the duo adds other elements that invigorate the music. Monk used tenor sax and occasionally trumpet in his groups, so Lavelle's alto clarinet, cornet, and flugelhorn saturate the tunes in a wider array of colors. They also dispense with piano and instead Pietaro plays vibraphone, which adds a pleasing dimension to the music, an airy openness that sets up beautiful resonances throughout. In addition to his vibraphone chops, Pietaro is a fine percussionist, adding tasteful accents on a range of instruments including the congas and the bodhrán (Irish frame drum). The duet format is also refreshing, allowing the brilliant corners of these melodies plenty of light to shine without unnecessary embellishment.

The resulting album is a pleasure from start to finish, an hour-and-a-half of fourteen classic Monk tunes, approached with joy and loving care. The album is full of old friends, including "Ruby, My Dear," "Blue Monk," "Epistrophy," "Pannonica," "Crepuscule with Nellie," "Nutty"—the cream of the cream. All the songs are strong, including a spirited version of "In Walked Bud," bolstered by Lavelle's fat, warm cornet and Pietaro's nimble chiming. "Monk's Mood," the album's lone overdub, has a lively arrangement where the alto and cornet play hide-and-seek, with nice percussive accents by Pietaro throughout. And the duet's version of "'Round Midnight" is just sublime, with Lavelle's alto perfectly capturing the song's wistful poignancy, telling a story of lost loves and haunted places, both internal and external.

Judging from the luminous results on Harmolodic Monk, Lavelle and Pietaro have found—nay, invented—a fertile musical vein that's ripe for exploration. Plans are afoot for Harmolodic Duke, Harmolodic Hot Five, and beyond. And why not? As Monk himself said: "All musicians stimulate each other. The vibrations get scattered around."

Track Listing: Epistrophy; Pannonica; Green Chimneys/52nd Street Theme; ’Round Midnight; Crepuscule with Nellie; Nutty; Ruby, My Dear; Let’s Cool One; Blue Monk/Straight No Chaser; Monk’s Mood; In Walked Bud; Light Blue.
Personnel: Matt Lavelle: cornet, flugelhorn, alto clarinet; John Pietaro: vibraphone, bodhrán, congas, percussion.
Record Label: UNSEEN RAIN
Style: Modern Jazz
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CD REVIEW: WONDERING SOUNDS, July 2014
Matt Lavelle & John Pietaro, 'Harmolodic Monk'

Curious recording from the duo of Lavelle and Pietaro, in which they apply the Harmolodic approach of Ornette Coleman to the music of Thelonious Monk. The experimentalism of the theory leads to some strangely warm and intimate tunes. There’s a casualness to this music that is very appealing, and the enjoyment of it doesn’t hinge at all on any pre-knowledge of either Coleman’s or Monk’s approach to music. Lavelle is on a variety of wind instruments, including alto clarinet, trumpet, cornet, and flugelhorn. Pietaro contributes vibraphone, hand drums, and percussion to the session. That alto clarinet is all kinds of resonant, and I would have loved to have heard more from Pietaro on vibes… something inspired about the way they react to the compositions in duet with just a wind instrument.
- Wondering Sounds (Jul 3, 2014)
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ARTICLE on TRIBUTE TO 'NEW YORK EYE & EAR CONTROL' in Jazz Beyond Jazz,
Howard Mandel's Urban Improvisation

'Attn Time-Travelers: Dolphy & Ayler This Week in NY/NJ'
May 28, 2014 by HowardMandel

If saxophonists Eric Dolphy and Albert Ayler, icons of bust-loose and beautiful improvisation, were alive today . . .they’d be pleased by and maybe attending the festival and concert in their honor this week in Montclair, NJ and Brooklyn. Dolphy died of undiagnosed diabetes in 1964, and Ayler either jumped or was pushed into the East River in 1970, however their music is imbued with immortal spirit.
Eric Dolphy: The Freedom of Sound Festival is an extraordinary convening of musical survivors and admirers of the flutist/bass clarinetist/alto saxophonist who enriched the explorations of Coltrane, Mingus and Ornette Coleman among other free thinkers of the early 1960s, and led several of his own brilliant sessions, such as JazzBeyondJazz favorite Out to Lunch. The fest, featuring previously unheard Dolphy compositions and unique collaborations runs Friday 5/30 and Saturday 5/31 at Montclair State University’s Memorial Auditorium— a quick NJ Transit ride from Manhattan (and I hear a bus goes there too).

Sunday 6/2 Dissident Arts is staging A Tribute to Eye and Ear Control at The Firehouse Space in Brooklyn, recalling one of most unbridled and fast-flowing of ’60s blowouts, instigated by Ayler with heroic personnel (see album cover) as a soundtrack for Canadian filmmaker Michael Snow.

Coming on the heels of the planet’s acknowledgement of Sun Ra’s 100th year and Miles Davis’ 88th birthday, the Dolphy and Ayler programs as well suggest there’s desire in the air (at least in some spheres) for red-blooded, high energy, deeply committed, subversively non-pop and indeed transcendent (mostly) acoustic improvisation fed by urban modernism, rooted in folk song, standards, sounds of nature and the blues. Yes, that’s what I like.

The Freedom Sound Festival, produced by the non-profit Seed Artists (founded by drummer Pheeroan ak Laff and his wife Luz Marina Bueno) has among its scheduled highlights on Friday night a drum duet of ak Laff and Andrew Cyrille, reedist Henry Threadgill with pianist David Virelles, a solo appearance by bassist Richard Davis, trumpeter Russ Johnson’s Still Out to Lunch with Roy Nathanson on alto, andpianist Diane Moser’s Quintet with reedist Marty Ehrlich, who will also be in a bass clarinet quintet. Saturday begins with a symposium starring Pulitzer Prize-winning composer, author and academician Gunther Schuller (a major Dolphy proponent) and flutist-composer James Newton, proceeds to the trio Tarbaby with guest artist Oliver Lake, drummer ak Laff and electric guitarist Vernon Reid plus guests, and concluding all-stars. The Freedom of Sound fest has been raising funds as an Indiegogo campaign; contributions are promised to the Jazz Foundation of America (JFA) and the Montclair Academy of Dance and Laboratory of Music (MADLOM).

The New York Eye & Ear Control celebrants include The Veterans of Free (Daniel Carter, saxes and trumpet; Karl Berger, vibes and piano; Warren Smith, drums and percussion; multi-reedist Will Connell, vocalist Ingrid Sertso and bassist Ken Filiano); poet Steve Dalachinsky, sax and flutist Ras Moshe’s Unit and trumpeter/alto clarinetist Matt Lavelle’s 12 Houses Orchestra, a 14-tet. Vibraphonist and percussionist John Pietaro has more than a little to do with setting up this concert, which starts at 3:30 pm and will run into the Game of Thrones hour. Catch the dragons later –monstrous music to hear.

howardmandel.com
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CD REVIEW: JAZZ VIEWS FEB 2014

ERIKA DAGNINO QUARTET - Signs
Picture
Slam Records SLAMCD 546

Erika Dagnino, poetry, voice; Ras Moshe, flute, soprano sax, tenor sax; Ken Filiano, double bass, effects; John Pietaro, vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker
Recorded in New York in November 2012

"I HAVE HEARD NOTHING SO GOOD, SO EXCITING, SINCE MEREDITH MONK IN THE 70s AND 80s"

This is a bilingual, music/poetry production in which the words are spoken first of all in Italian then narrated again in English, all in an air of free jazz dialogue. The words are leached into the music, just as the musical expression bleeds its way into the obdurate meaning of the words: the whole is disquieting. Even in the Italian, which I do not speak, a sense of their dark meaning is evoked by Erika's annunciation. Both words and music are free-flowing, yet grave and the balance between
the voice-sound and use of instruments is inspired and sublime.

Erika Dagnino uses her words and voice as elegant tools with which to interrelate with the musicians as an equal player in the quartet. This is not new, of course, words and music, words and jazz have long been seen together, but it seems less common (perhaps less acceptable) in Europe than in the States. I recall suggesting to friends that we go to a David Murray concert in Birmingham. They were not aware until we got to the theatre that he was to be accompanied by a poet and a whistler and they were horrified – until they heard the performance. Europeans' minimal interest in such forms of free expression in music and poetry possibly explains why such an obviously Italian Italian should find her artistic home in the US, where her work was received with much enthusiasm.

The artist contributes regularly to arts journals such as New York First Literary Review East, French/Italian Littéraire Quaderni d'Altri Tempi and Suona Sonda. She has worked with saxophonists Anthony Braxton and George Haslam and in New York with The Dissident Arts Orchestra and The Front Extreme Arts. Erika writes and recites protracted, ingenious and inventive passages, passionately describing emotions in words, which she declaims plainly and stridently in her beautiful voice.

The album is beautifully recorded and all participants deliver a commanding and haunted performance, an exceptionally gratifying experience. Given the nature of this artwork, I have heard nothing so good, so exciting, since Meredith Monk in the 70s and 80s.

Reviewed by Ken Cheetham
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CHRONOGRAM, December 2013:

Harmolodic Monk- Monday Jazz Sessions
When: Mon., Dec. 16, 8 p.m.

HARMOLODIC MONK was the brainchild of noted cornet player Matt Lavelle after years of study with Ornette Coleman and ongoing performance and recording with the Bern Nix Quartet. Matt came across radical vibraphonist/percussionist John Pietaro during their mutual performance with the Ras Moshe Unit and the two quickly realized that their influences weighed heavily on the brilliant compositions of Thelonious Monk and the revolutionary philosophy of Ornette Coleman. Both are also anti-purists who revel in the amalgamation of sounds, genres and styles. Harmolodic Monk debuted on the bill of the Music Now! series at the Brecht Forum in NYC during 2013, featuring blurred harmonies, stinging accents, crushes, soaring melodic lines, burning improvisations and maybe just a little bit of the shock of the new. Subsequent NY performances included ABC No Rio (Aug 4) and the Firehouse Space (Oct 19). They will be taking their soundscape to Beacon NY's Quinn's nighclub as a part of the Monday night new jazz series (Dec 16) and hitting the recording studio Jan 6 to create their first collection for Unseen Rain Records.

Quinn's
330 Main Street Beacon
- Chronogram magazine (Dec 13, 2013)
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BOOK REVIEW: 'Political Affairs Magazine', Dec 2013
Anthony Mangos

NIGHT PEOPLE AND OTHER TALES OF WORKING NEW YORK
by John Pietaro

Night People and Other Tales of Working New York is a new collection of short stories and poems reflecting the struggles of average citizens and workers in New York City and beyond. Author John Pietaro draws from his personal city experiences and presents some very human characters that readers are sure to connect with. With an easily flowing style throughout the 121 pages, he reveals the daily grind of workers, empathizes with souls who are in need, and also confronts the city itself and what it means to live there.

Pietaro is a professional musician, writer, activist and union organizer, and has been on the front lines where his stories take place. These tales put the readers directly onto the streets of New York City. The daily experience of riding the subway to work is a recurring theme. From the mid-winter stillness of Coney Island and its Wonder Wheel, you actually feel as if you boarded the train and are holding onto the pole as you rumble towards Manhattan. The city may come across as cold and harsh, but definitely home. From afar, the writer proclaims, "New York City is not a collection of people and things, but one massive, wriggling organism." Up close though, these people and their struggles are very real. Pietaro explores the love/hate attitudes residents often have with their familiar surroundings, wherever home may be.

The individual stories are intense glimpses into personal lives. In a subtle noir fashion, you feel as if you eavesdropping on their dilemmas before they disappear around a city corner towards an unknown fate. A small slice of daily existence, but a powerful one. Pietaro's straightforward urban style is reminiscent of beat literature, with a clear progressive view. Readers walk along with a struggling writer who won't give up, a night waitress and her co-workers, and an overnight security guard who goes through the motions. "The Right Side of The Road" is about an African American woman who seems to question her faith in a fast-paced, unjust world. "On The Lost Boulevard" is a heartfelt tale of a homeless man attempting to stay warm on a bitter New York City night, as his mind recalls the failings of his past and how he got to this point. The story will cause some readers to pause, realizing that on any given evening this fate is reality for many. One story, "The Old Neighborhood," explores the prejudices that arise when the cultural and ethnic makeup of a residential area undergoes major shifts, sometimes with tragic results.

Pietaro's experience includes time spent as a social worker and an HIV/AIDS case manager. This is reflected in his poetry. "Outside," a short poem, cuts to the heart of anyone who has been personally affected by HIV/AIDS. A few words deliver enormous emotion. The author also captures nuances such as an unemployed man noticing another worker's photo ID tag, and recalling how he once thought his own was a nuisance until he no longer had it. Although the inner city is well represented, a few stories take place in upstate New York. A young jazz musician leaves Brooklyn for Woodstock, and a psychologist gets unexpected results from an act of kindness on Christmas Day. This is an eclectic collection that reflects the author's many experiences.

Night People and Other Tales of Working New York carries on the strong tradition of proletarian literature. The "proletariat" are the everyday workers of the world who must offer their labor as a means of sustenance. They are our neighbors, friends, and family. They are us. Leftist historian Paul Buhle contributes an informative preface that explores the long line of working class fiction. He notes that 19th century literature, at its most popular, was about working people, such as the novels of Charles Dickens. This tradition carried on into the 20th century with writers such as Richard Wright and Nelson Algren. Buhle praises John Pietaro for continuing the stories of working class folks into the new century.

Most everyone who reads this collection will relate to one or more characters and their struggles. Equally important, this book helps open eyes a little wider about our fellow human beings. It may change the way you observe people the next time you walk down a city street. A little book can do wondrous things.

Book information:
Night People and Other Tales of Working New York
By John Pietaro
2013, paperback, 121 pages, $11.67
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CD REVIEW: Erika Dagnino Quartet: "Signs" (SLAM)
-António Branco

{NOTE: this is a rough internet translation from the original Portuguese}

The word – not necessarily Sung – is present in the history of jazz from its earliest days. Or, perhaps, even before they can speak in jazz, when the African-American storytellers combined the word with various rhythms and variations of vocal intonation imitating animal sounds and noises of trains and other machines.

Maintains LeRoi Jones/Amiri Baraka to the blues before being a musical genre, are a form of poetry. Also the use of "scat", vocal approach so typical of jazz, is no more than a manipulation of words transforming them into onomatopeias with intense rhythmic aftertaste.

In fact, the very concept of "word" is multidimensional: it coexist meaning, sound, rhythm and timbre. The word has been, well, fundamental ingredient in jazz, predominantly Sung, but recited. In this particular context, earn artistic relevance developments that this relationship has known in the New York scene, with Amiri Baraka and a set of important "diseurs", avultando the name of Steve Dalachinsky. The European panorama, however, seems oblivious to this kind of symbiosis music-Word.

One of the exceptions is the writer, poet and artist "intermediate" Italian Erika Dagnino, who however is best known in the United States – particularly in the buzzing scene of the Big Apple – than on this side of the Atlantic, where he found relatively little space.

Dagnino has a resume full of contributions to literary and musical publications, most notably the New Yorker First Literary Review-East, the French and the Italian journalism quarterly Littéraire Levure d'altri Tempi and SuonoSonda. In the musical plan are to highlight the collaboration with the Italian Quartet of Anthony Braxton, who wrote the cover notes of "Standards" (2006), Italian violinist Stefano Pastor, the British saxophonist George Haslam, the American pianist and composer Chris Brown and the Japanese percussionist Satoshi Takeishi (which integrates your trio, along with bassist Ken Filiano), among others. In New York also includes the Dissident Arts Orchestra and the Radical Arts Front.

Dagnino develops a very own approach, using the voice and the words as an instrument which interacts on equal terms with others. Accompany in saxophonist Ras Moshe, the aforementioned Filiano (well-known of Portuguese, especially for music lovers via its many recordings for the Clean Feed) and percussionist John Pietaro.

Despite his verses were written (in Italian and in English), incorporate themselves particularly well in a context of improvisation, musical discourses to contribute to accentuate the intensity of the words, so often a raw loneliness and tortured (' Saliva, eye, larva/Upward footprint of clouds. /Downward wounded footprints. /Saliva, puddle, dream. /Downward stripped feet/Upward nailed feet. /From bit to bit blank. /From bit to bit the seam splinters/Saliva. Eye. Larva. /Saliva. /Puddle. /Dream.»).

Moshe adopts a speech pós-colteaneana array (saxophones and flute), Filiano is a contrabassist with an interventional always voice (in pizzicato wants, above all, on your outstanding work with ARC), but is the biggest surprise Pietaro, assuming a central role in the construction of environments and textures, either on the vibraphone or percussions, emphasising and contrasting with discretion and good taste.

An unusual and challenging recording, which reeks of New York.
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INTERVIEW: "JAZZITALIA" MAGAZINE
Interview with John Pietaro, The Red Microphone
September 2013
by Marco Buttafuoco

(Until a proper translation from the Italian text is available, below is a pretty crude e-translation which I have attempted to clea up a bit)

In 1969, Charlie Haden released, with the Liberation Music Orchestra, a disc that would be entered into free jazz legend. It was based on purely "political" material (songs of the Spanish civil war, music by composer Hanns Eisler, German Communist songs dedicated to Che Guevara). Those were tumultuous times, times of real or envisioned cultural revolution. Haden was probably the first and the only jazz musician to use so directly the revolutionary canon. Some other jazzman (Archie Shepp, Charlie Mingus, Max Roach) gave voice to their anger and their "engagement", but Liberation Music remained a unicum. Haden took the idea to other discs: often with significantly lower artistic results. The disc we are going to talk about is particularly interesting, because it refers, unusual to our time, the example of freedom and radicalism, but also for other elements: the use of voice in the first place.

"The Red Microphone Speaks", contains in addition to two versions of 'The Internationale', Eisler's 'Song of the United Front'--which was the second track on the album of Haden--plus words by Langston Hughes (poet associated with the black movements for civil rights), tributes to Paul Robeson, and Eisler, an improvisation with sonic backdrop to the speech by writer John Howard Lawson in front of the House Un-American Activities Committee during those high McCarthy years.



We talked about this project with John Pietaro, vibraphonist and percussionist of the Red Microphone (other elements are the Ras Moshe saxophonists and Rocco John Jacovone and bass player Nicolas Letman-Burtinovic). Pietaro is also a scholar of social commitment music, and curator of The Dissident Art Festival which has taken place in Manhattan or Brooklyn over the past 8 years.

"There are several roots in my music. I started with rock and I got interested early in American folksong and its political value. In this context, I also had the privilege of working with a master like Pete Seeger. But I had already discovered jazz as a teenager and engaged in all facets of the music (Ornette and Eric Dolphy in particular). I've always felt like the expression of a people enslaved, uprooted and marginalized is just so powerful. However, I've also been interested in the works of Bertolt Brecht with music by Kurt Weill or Hanns Eisler. Innovative artists and refined, immersed in the hot climate of politics of their times. True masters. Returning to the United States cannot forget how in the years ' 30, during the great depression, the artists of the Left (all remember Woody Guthrie and the Almanac Singers) were real journalists, authentic Street speakers commenting on current affairs and intervened in conflicts with their ballads, their talking blues. Charlie Haden, with that wonderful disc you mentioned, has taken that great tradition of direct commitment by the artist. In the late 60 's it was fighting against the Viet Nam war, standing with the Black Power and women's movements, solidarity with the liberation struggles of third world nations. I have always found these artistic experiences rich in passion, innovation and revolution. Why shouldn't they still inspire us in these times of wild capitalism, of growing social crisis?"

As addressed themes so much known as the anthem of Eisler or even as the universal international?
"We turned the 'Song of the United Front' into an ABA structure in which B is a long free improvisation section--that was not part of the version of the LMO. There we kept emphasizing the "subversive" nature of this hymn. I would like to point out that the B-sequence is wholly improvised and that we did not use overdubs. In the first version of 'The International' we played as a fictional 1940s jazz Quartet, adding just a little to the harmonies. But in the seventh track we have converted the old anthem, trying to make it sound a large container of memory of the revolutionary movement. That's why I posted to the piece the voices of Lenin, Malcom X, Angela Davis and a self-defense story of Dalton Trumbo in front of the House Un-American Activities Committee. We left the original French text of the Internationale, read and sang by Nora Mc Carthy, almost minimalist, with sequences of sax. We wanted to give the piece a sense of battle cry, scream, and at the same time make the effort of all the fights represented. Hence the title of the song, 'the International Reconstruct'."

A provocative question. Don't you think that free jazz is an unsuitable proposal to a social mass communication as what are you proposing?

"There was a big discussion on this topic but my answer is no. In this music, as recognized scholars like Amiri Baraka, there is the spirit of the ghetto, of real fight-back. Free Jazz had ties with the black radical movements of the 1960s and has its musical roots in New Orleans collective improvisations of the early 1900s. This first cast of Free Jazz musicians, in the early 1960s, were marginalized by the artistic community and treated like pariahs, struggling to make ends meet. I believe that art, today more than ever, needs radicalism, speaking directly and harshly, and without mediation. Must be revolutionary."

Beyond the example of Charlie Haden or individual commitment of great jazzmen like Max Roach, Billie Holiday, Leo Smith, jazz doesn't seem nevertheless to have been the soundtrack of social struggles in the United States.

"It is true, for many decades the art of protest was represented by Woody Guthrie and Pete Seeger, not by African-American musicians. You have to go back to the 1930s, when the culture of the American left was heavily influenced by the Communist Party. CPUSA gravitated around then a large group of musicians heavily influenced by avant-garde German experience, the Composers Collective of New York. Among them I will remember Aaron Copland and Charles Seeger, Pete's father. The Party estimated that their proposal was too elitist and pointed to folk singers who resumed the white tradition of folk songs and Church hymns (but also a great musician of color as Leadbelly). Jazz certainly was not recognized as a minority art, it was oppressed and mistrusted by the status quo. The great orchestras that played in the Cotton Club were certainly not guarantees of revolutionary purity. The jazz was valued primarily as entertainment, commercial music. This is not to say that it has remained on the fringes of political life in the United States: Count Basie and Lester Young, for example, participated very actively in the election campaigns of F.D. Roosevelt and traveled with progressive campaigns. Newer musicians, it can be said that the most directly involved was McCoy Tyner, who spoke at various events sponsored by the CPUSA in the cause of Angela Davis. But this commitment is perhaps from the influence of his brother, Jarvis, a prominent leader of the Party. These individual cases aside, it is true that the US Left is committed to music almost entirely with the great tradition of white folk."

How do you see the USA today, also from the musical point of view?

"My country has always been contradictory. It is still largely dominant some idea of cowboy capitalism, boundless and without restriction. Reaganism is still in vogue, but something is changing. Occupy Wall Street is a movement of great interest and potential developments. From my point of view I can say that there are good signs of rescue. Our Dissident Arts Festival is getting more and more popular among several generations of New Yorkers. In Brooklyn there is developing a new jazz movement that attracts more and more young people who are progressive. We live in terribly interesting times.
Marco Buttafuoco - JAZZITALIA (Nov 17, 2013)
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CD REVIEW: IMPROVIJAZZNATION MAGAZINE, Issue 137.
Erika Dagnino Quartet – SIGNS (Slam Productions, UK)
Another great indie improv effort from Erika (poetry & voice); Ras Moshe (flute, soprano/tenor sax); Ken Filiano (doublebass/effects), and John Pietaro (vibraphone, glockenspiel, snare drum, tom-tom, bells, cymbals). As you listen to “Prima Improvvisazione“, you’ll be as amazed as I was… this is the music dreams are made of, and this one will have you dreaming over & over again – the players are truly together on this one! It was the bass/bell/reed combo on “Intermezzo” that made it my favorite of the eight offered up… Erika’s words are in another language, but I understood (clearly) everything she was saying – & you will too. I give Erika & crew a MOST HIGHLY RECOMMENDED, especially for listeners who crave adventure in their aural experiences. “EQ” (energy quotient) is 4.98. Get more information at the SLAM Productions website. Rotcod Zzaj
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CD REVIEW:NYC JAZZ RECORD, October 2013

THE RED MICROPHONE SPEAKS! The Red Microphone (s/r)
Review by Sam Spokony

Anyone interested in buying this album should understand that it seems to have been created, at least in part, for the purpose of inspiring listeners to engage in subversive activism in the name of some forthcoming socialist revolution. Not that there’s anything wrong with that.

The Red Microphone’s Speaks! is a structurally adventurous, socially conscious and quite serious debut album from a piano-less quartet that owes much to the urgent, fiery spirit of ‘60s-70s-era free jazz. The group is led by the excellent vibraphonist John Pietaro, who sets an intense, politically infused scene for the record, with arrangements of two pieces by the German Marxist composer Hanns Eisler (“Song of the United Front” and “And the Times are Dark and Fearful”) as well as two different takes on the socialist anthem “L’Internationale”. Pietaro’s agility and expressiveness fit nicely alongside the frequently interwoven saxophones of Ras Moshe (tenor and soprano and flute) and Rocco John Iacovone (alto and soprano). On bass, Nicolas Letman-Burtinovic serves at times as the only person playing in the pocket and others as a superstorm of percussive, shrieking bowing. It all combines to form a pretty well-executed - if not always focused - effort to test the boundaries of spontaneous, acoustic improvisation, especially over the more basic harmonic foundations of the modified Eisler tunes. That out playing also reaches a particularly fruitful peak in an entirely free improvisation entitled “One for Robeson”, in honor of Paul Robeson.

The political elements of the record surface not only in the aforementioned repertoire, but also two interesting pieces that feature spoken word. First, Moshe gives a stirring reading of the Langston Hughes poem “God to the Hungry Child” - invoking images of capitalist greed and its resulting societal ills - over soberingly sparse instrumental accompaniment. Then, in “The Proof Is Overwhelming”, Pietaro performs an equally impassioned recitation of a defiant protest speech given by John Howard Lawson, an American writer and communist, to the infamous House Un-American Activities Committee in 1947. In addition, vocalist Nora McCarthy makes a spirited appearance on the album’s second version of “L’Internationale”, fitting in effortlessly with jumping, jarring phrases and flights of improvisation.

For more information, visit cdbaby.com/cd/theredmicrophone. This group is at The Firehouse Space Oct. 19th. See Calendar.
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ALL ABOUT JAZZ, CD Review: Erika Dagnino Quartet: Signs (2013)

By EYAL HAREUVENI,

Italian poet Erika Dagnino runs a transatlantic- bilingual career. In Europe she works with avant-garde and free jazz musicians as Italian violinist Stefano Pastor, in the States she recorded with avant-garde composer and pianist Chris Brown and leads her own New-York based free jazz quartet comprised of reed player Ras Moshe, double bassist Ken Filiano and percussionist John Pietaro.

The setting of fiery free jazz fits the uncompromising temper of Dagnino's poetry and her bilingual delivery of lines, first in Italian, than reprised in English. As if only the intense and rough emotional turmoil of free jazz discourse and the musical flexibility of seasoned improvisers can envelope Dagnino's unsettling tales of fever, wounds and dry solitude. Her somber, almost militant reciting is part of the free-flowing musical texture, balancing the interplay, contributing to the suspense and leaving enough room for improvisations that add emotional depth to the suggestive spoken words.

Dagnino poems attempt to encompass momentary experiences of fleeting natural scenes, acknowledging its passing, the passing of time, of life. The chamber, free improvisation mirror these dark visions as both are sonic utterances of the moment. This bleak ambiance is best captured on "Terza Improvvisazione" and "Quinta Improvvisazione," with the recognition that: "Upward footprints of clouds. Downward wounded footprints...," abstracted with dissonant electronic sounds, fractured rhythms and tensed bowing on the double bass on the former, and a powerful, possessed performance on the latter by the quartet.

Dagnino poetry and music demand careful listening before the multifaceted images and sounds are grasped. Still this is a highly rewarding experience.

Track Listing: Preludio; Prima Improvvisazione; Seconda Improvvisazione; Terza Improvvisazione; Quarta Improvvisazione; Intermezzo; Quinta Improvvisazione; Improvvisazione Finale.

Personnel: Erika Dagnino: poetry, voice; Ras Moshe: flute, soprano sax, tenor sax; Ken Filiano: double bass, effects; John Pietaro: vibraphone, glockenspiel, snare drum, tom-tom, various bells, suspended cymbals, triangle, wind chimes, shaker.

Record Label: Slam Records
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'MUSIC ZOOM' (Italy), CD REVIEW: "Signs" by the Erika Dagnino Quartet

A very nice review of the new album by THE ERIKA DAGNINO QUARTET, "SIGNS", in the Italian language music periodical MUSIC ZOOM. Though my grandmother tried desperately to teach me, I never learned to speak the language so had to rely on Google for translation. Here is the not-necessarily perfect English version of the review:

"The art of poetry and the music together for some time flirt with interesting results often. Sometimes it is the poetry that undergoes major transformation mutating in the verses of a pop song, or as here, retains its identity and the verses are recited with fervor in the midst of the musicians' improvisations. Erika Dagnino not find some time. The poet writes Genoese long imaginative texts that tell of feelings in words that run stories in new ways to describe the performance of which is unpredictable. To accompany her in a club in New York there are three improvisers: the saxophonist and flutist Ras Moshe , Ken Filiano on bass and percussionist and vibraphonist John Pietaro . Europe lacks a real interest in these forms of improvisation, poetry and music, rap and free, while in the USA his poem, recited so passionately in Italian and English met immediately the interest of the public and the living community of musicians who resides in New York. She, on the stage, sudden verses Mentra everything takes shape with the saxophonist's solos or excited collective moments. The percussionist and vibraphonist (he studied with Karl Berger) is very interesting to create moments liquids into which the music flows without hesitation. If the bop was the soundtrack of the novels of Jack Kerouac Dagnino here is to give expression and voice direction to that which is the music of three improvisers of the big apple. The final improvisation closes a record in which the literary arts and music are a perfect meeting point, echo the contemporary. An echo that will hopefully bounce arrivals in Italy".
- MUSIC ZOOM, Sept 2013 (Sep 21, 2013)
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CD REVIEW: ERIKA DAGNINO QUARTET With RAS MOSHE/KEN FILIANO/JOHN PIETARO
Title: 'Signs'
Label: Slam 546 Country: UK

Featuring Erika Dagnino on poetry & voice, Ras Moshe on flute and saxes, John Pietaro on vibes and percussion and Ken Filiano on double bass. Italian poet and teacher, Erika Dagnino, has played at DMG on several occasions and always chooses good musicians to work with. The last time she played here a few months ago she was backed by Red Microphone, two of whom (Moshe & Pietaro) are on this disc. This is a studio recording and the sound is warm and well-balanced.

Whenever I've read Ms. Dagnino's poetry printed on the pages of CD booklets, I am impressed. The poems on this disc are printed in both Italian and English. The first track is all instrumental, free and mellow and sets the pace of things to come. Ms. Dagnino recites her words in Italian in a calm yet expressive voice. The sound of her voice and the words blend well with the somber, free-flowing and quietly unsettling music. Even without knowing what the words mean, a certain vibe is still apparent. In the second half of this piece, Erika recites in English so I have to listen more intently to hear what she is describing. It is rare for a poet to recite in two different languages within the same setting but it works well here. I like the music here since the balance and choice of instruments sounds carefully selected. The blend of tenor sax or flute, plucked or bowed bass and vibes or small percussion is consistently inspired and never overdone. The balance between the spoken word sections and instrumental passages is superbly balanced giving us a chance to consider the words more thoughtfully. There is a section of "Terza" where the words and music are both filled with suspense and mystery as if Erika is describing a rather disturbing dream. There is just enough breathing space here to allow us to recover from the occasionally dark moments which appear at unexpected intervals.
- Bruce Lee Gallanter, DMG
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DOOBEEDOOBEEDOO MAGAZINE Aug 20, 2013

"Interview: John Pietaro – musician, activist & producer of the Dissident Arts Festival 2013 – speaks out! "

-Interview by Sohrab Saadat Ladjevardi (DooBeeDooBeeDoo’s chief editor), August 20, 2013


Sohrab Saadat Ladjevardi (S): John, let’s talk about your festival “baby” first: the annual Dissident Arts Festival 2013. Why and when did you start this festival?

John Pietaro (J): These days the annual Dissident Arts Festival features a lot of free jazz and new music that is thematic of progressive politics and urgent social matters. The radicalism can be overt but the statements are often symbolic, a revolutionary creativity. The Fest has matured. But I began it in 2006. It was Bush’s second presidential term and the nation was terribly polarized, the working class was under attack and illegal war with a first-strike policy had become commonplace. It was a bad time for everyone but the terribly rich. I have been an activist for a very long time, so I sought a way to make a big statement through the arts, particularly my medium of music. I have been a musician most of my life and spent much of that time performing jazz and new music, but I had been delving deeply into the cultural movements in the Left for many years, absorbing the repertoires of related music (everything from modern composition to work songs, punk rock to free jazz). Much of my research –and enjoyment– also comes from the social justice messages inherent in some of the great music, poetry, theatre, film and literature related to the larger concept of People’s arts. So I wanted to draw on the full spectrum.

I am a Brooklynite but in 2006 I had relocated to upstate New York for a several year period; my wife and I lived in the little Hudson Valley city of Beacon from ’05-‘10. There is a thriving cultural scene up there and I had been performing a lot of folk-oriented protest music at that point (LOL yes I sing a bit and play some banjo!). I thought, “What a great place to create a folk festival that is all about radical politics”. I could find no other annual fest that was particular to topical song, let alone one that sought to break down barriers of just what “folk” music is. Immediately I knew that I wanted to include jazz, punk-folk, roots music, choral works, poetry with improvised accompaniment and more, even if the main focus was on singer-songwriters in the folk-protest vein. I insisted on having a variety of faces on stage—different hues, cultures, ages, accents, and of course both men and women. To me the image of the folk singer as a white guy with a guitar was terribly exclusive and that would never do. So I reached out to everyone up there who would get this concept. And I knew it must be called ‘the Dissident Folk Festival’ to make a statement on both the politics and the sort of anti-cliché I was seeking. That name lasted only through the first year—it soon became ‘the Dissident Folk and Arts Festival’, finally simply ‘Dissident Arts Festival’ as it developed. That first year we had Pete Seeger leading a tribute to Woody Guthrie, Malachy McCourt came in as a guest speaker, the songwriter Lach (founder of the ‘Anti-Folk’ movement of the ‘80s), a chorus from the Pittsburgh Raging Grannies, my own ensemble at the time the Flames of Discontent, a tribute to Paul Robeson featuring a powerful vocalist named Kenneth Anderson and labor legend Henry Foner, plus various local poets, jazz musicians, bards and more. We had a blast over a full weekend. By year two, the focus had already begun to expand and we had a tribute to Bertolt Brecht!


S: What makes it different from other NY music festivals?

J: We live in the greatest city and its one filled with amazing musicians and other artists. It would be fool-hardy for me to say that my festival was better than any of the others but I can say that among all of the annual new jazz/new music festivals out there, the Dissident Arts Festival is the only one that ties this brand of forward-looking, experimental music to social justice issues. One of the earlier events which I draw inspiration from is the October Revolution in jazz organized by Bill Dixon. That amazing concert sought to revolutionize the audience through the music’s inspiration. And there were other similar events that were a part of the Black Arts Movement in the 1960s, as well as groups like the Composers Collective of New York in the 30s that used modernist composition as a tool to symbolize revolution and organize activism. But presently there appears to be no ongoing vehicle that presents music that is radical in every respect.

S: What’s the main theme of this year’s festival?

J: I choose a different theme each year, one which is immediately relevant, though the performers are not quite bound by it; this is an event which calls for true expression. But as I was putting the finishing touches on the line-up, I was haunted by news reports of the acquittal of George Zimmerman, the self-appointed neighborhood watchman of a white Florida town who chased down and then killed Trayvon Martin. This nation was quite literally built on inequity, we are the belly of the capitalist beast, and so divisiveness is a standard means separate people. The US may be a more tolerant place than it was 50 years ago but the stain of racism and classism lingers on and in many parts of the south, that stain is a bright blood stain. Here was a perfect example of the heritage of hate. And so it was decided that we need to make a statement about the terrible loss of Trayvon and the awful crime of his murder’s acquittal.

S: How did you chose the musicians and bands for this festival?

J: Every year I seek out some powerful performers. I am careful, in my search, to reach out to a wide variety of artists and by that I mean culture, color, gender and age as well as creative vision. Some of the folks on my original list were unavailable and some of the others who are on the bill now reached out to me. It’s a combination of sources but if the artist is deeply creative as well as rather unafraid to discuss socio-political issues and have spoken out in the past, I want them!

S: Who are the endorsers this time? And why? How do they support your event?

J: Well for one I am thrilled to have ‘DooBeeDooBeeDoo’ on board as an endorser—your mag has been highly supportive of several of my efforts, so thank you for that. Local 802 AFM’s Justice for Jazz Artists campaign has also lent us their support. The Rosenberg Fund for Children, an amazing organization founded by one of the sons of Julius and Ethel Rosenberg, has been there for us over the last couple of years, offering not only their name and helping with outreach, but a small financial contribution as well. Presently, their small donation is the only money that comes in as this is a grass-roots organization with no grants or gifts. And of course the Brecht Forum has happily housed and co-produced this event with me over the past four years, ever since I moved it to NYC.

Speaking of you being a musician and an activist: when did you start your music career?

J: Hard to answer this as I have been a musician most of my life and performance has been so deeply important to me—my musical self, my creative self is surely the biggest part of me. But on the other hand I have a day job (I work as an organizer in the labor movement) and derive an income from that. This allows me to play the music I want to as opposed to something more commercial. I have been playing this kind of experimental jazz for many years, since the late ‘80s, mostly in NYC though I did live outside for several years. When I returned here in 2010 I immediately felt into what I saw as the best part of the new jazz/new music circle.

S: Why did you chose the vibraphone as your main instrument?

J: Though I too see vibes as my main ax, I am a percussionist and play many instruments: vibraphone, xylophone, drum kit, frame drums, hand drums, orchestra bells, small percussion instruments. I also sing. But the short answer is that the vibraphone is the only instrument that allows a percussionist to retain drum chops while also offering much of the breadth and expressiveness of piano. For me, the instrument has many of the characteristics of an electric piano and I enjoy allowing the bars to resonate and blur and smear. I do this often with great use of dynamics so that certain tonalities dominate at certain points, and then others move to the surface. I use a vibraphone without a motor as my training and a lot of experience was on the xylophone: I use rolls on vibes very much the way most percussionist do on marimba. But here it shimmers and widens in a way no other instrument can. Its an amazing voice. Its my voice. I love listening to other vibes players, especially Bobby Hutcherson and Red Norvo, but I have come to realize that its Bill Evans’ piano playing that has stood as the bigger influence to what I do on my instrument.

S: Are you a jazz musician?

J: This is such a relative term: yes, I feel strongly that I am a jazz musician and I have the opportunity to perform regularly with some powerful names associated with the music including Karl Berger and Ras Moshe. But then jazz is such an all-encompassing genre—just look at the leaps and growth it experienced in its first 50 or 60 years! Buddy Bolden could never have envisioned a Thelonious Monk would come along, let alone an Ornette Coleman. But while I have made jazz my primary focus, not only as a performer but as a historian of sorts too, I also play and enjoy non-jazz music. I cannot claim that I do not love the Beatles or King Crimson or Aretha Franklin or Talking Heads because I really do. And Hanns Eisler and Woody Guthrie and Stravinsky and Hindemith just as deeply. The West Coast studio musicians known as the Wrecking Crew are among my heros. They played on most of the pop hits of the 1960s yet go unheralded. The music of all of these artists and so many more inspires me in so many ways that I can never have a singular focus. But when jazz reaches in, deeply, and then stretches out, it calls to me like nothing else. And jazz, in this respect, surely includes Coltrane, Ornette, Dolphy and Monk but also Bird, Duke, Bix Beiderbecke, Louis Armstrong’s Hot 5, Don Cherry, Gene Krupa, Paul Bley, anything Max Roach ever touched, Billie Holiday, June Christy, “Music Liberation Orchestra”, “Freedom Now Suite”, “No New York”, “Firebirds”……

Why did you become a (music?) activist?

J: I have always seen straight to the tradition of cultural workers – artist-activists, if you will. In Left politics the cultural workers were the creative army, the movement musicians and playwrights and singers and actors and poets and painters and film makers and dancers who would encapsulate the struggle through their art. They would inspire and symbolize and call to arms. So my social and political activism just naturally grew into a cultural activism. If we are going to make any serious changes for a People’s government here, the artists must be part of the fight.

S: Do you know of any other NY musicians who are music activists like you?

J: While most artists are generally progressive thinking, many choose not to present anything political, any hot topic, on stage or on record. But I am very happy to say that some of the musicians I have worked with have surely been unafraid to speak their minds. Ras Moshe, who is not only a collaborator but I would say now a very good friend, has been open in his radicalism for many years. And many of the others in his Music Now! Circle share his feelings and engage in events such as the Festival as a matter of course. You, Sohrab, are also among the radical musicians I am happy to work with. But many of the veteran musicians of color have a strong connection to the teaching of the Black Arts Movement, and folks who come to the event on Aug 24 will get to hear much of that. I am so looking forward to hearing Roy Campbell’s liberation pieces!

S: When and why did you join the musicians union Local 802?

J: I have been a member of the Musicians Union for quite a few years. I joined on principal as I am a labor movement activist. Admittedly I had let my membership lapse for a few years when I found it increasingly hard to afford, but I was inspired to take another look and re-join (after you invited me to some J4JA events). I am very pleased with the union at this time and will surely maintain my membership.

J4JAS: Do you support the union’s campaign “Justice For Jazz Artists?” IF yes why?

J: J4JA is a very very important initiative of 802. One of the earlier problems with the union is that it was almost entirely white male-run. And if you go back far enough, the focus was never on jazz but instead only on classical music and Broadway. Studio musicians of the 30s, 40s and 50s were often jazz musicians yet their Business Rep would have primarily been concerned with the radio work. This began to shift in the 70s and 80s but it was a slow move and many folks were turned off. J4JA is a testament to the union’s decision to reach out to jazz artists and commitment to an actually egalitarian vision.

S: Speaking of you as a New Yorker: who’s your favorite candidate for mayor? Will you join the union’s choice of Bill de Blasio?

J: I am not a registered Democrat—I am a Green Party member—so will not get to vote in the primary. But I do like de Blasio a lot. I supported him in the past and well recall when he first ran as a Council Member, he came to visit my then-workplace (day job) and we were very impressed by him. He is a real progressive. I was at the health care rally just today, in the Village just across from where St Vincent’s Hospital was, and he was fearless in his commitment to average citizens, not only with regard to stopping hospital closings but in his stance against the horrible runaway rent situation we have in this city. He has been a very good Public Advocate and among the candidates, I would like to see him as mayor. Naturally, my politics are quite to de Blasio’s left, so I cannot say that he or any Dem would be my ultimate choice. If there was the opportunity for a candidate with socialist values and philosophy to actually win such a race, I would be campaigning for him or her immediately. But in the here and now, all progressives need to fight the onslaught of the far-right, of the corporatist takeover, of the greed that has permeated our city and so much of the world. Its time for a turn-around and there is such a strong place for the arts in this struggle—particularly an art that is as revolutionary in its creativity as it is in its politics.

S: Thanks for doing this exclusive interview. Good luck with your “baby!”

J: Thank YOU my brother!
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CD Review, 'Signs' Erika Dagnino Quartet
-Downtownmusicgallery.com

Artist: ERIKA DAGNINO QUARTET With RAS MOSHE/KEN FILIANO/JOHN PIETARO
Title: Signs
Label: Slam 546 Country: UK
Format: CD Status: AVAILABLE $13.00

Description: Featuring Erika Dagnino on poetry & voice, Ras Moshe on flute and saxes, John Pietaro on vibes and percussion and Ken Filiano on double bass. Italian poet and teacher, Erika Dagnino, has played at DMG on several occasions and always chooses good musicians to work with. The last time she played here a few months ago she was backed by Red Microphone, two of whom (Moshe & Pietaro) are on this disc. This is a studio recording and the sound is warm and well-balanced. Whenever I've read Ms. Dagnino's poetry printed on the pages of CD booklets, I am impressed. The poems on this disc are printed in both Italian and English. The first track is all instrumental, free and mellow and sets the pace of things to come. Ms. Dagnino recites her words in Italian in a calm yet expressive voice. The sound of her voice and the words blend well with the somber, free-flowing and quietly unsettling music. Even without knowing what the words mean, a certain vibe is still apparent. In the second half of this piece, Erika recites in English so I have to listen more intently to hear what she is describing. It is rare for a poet to recite in two different languages within the same setting but it works well here. I like the music here since the balance and choice of instruments sounds carefully selected. The blend of tenor sax or flute, plucked or bowed bass and vibes or small percussion is consistently inspired and never overdone. The balance between the spoken word sections and instrumental passages is superbly balanced giving us a chance to consider the words more thoughtfully. There is a section of "Terza" where the words and music are both filled with suspense and mystery as if Erika is describing a rather disturbing dream. There is just enough breathing space here to allow us to recover from the occasionally dark moments which appear at unexpected intervals. - Bruce Lee Gallanter, DMG
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PHILIPSTOWN.INFO, June 25, 2013
'Ras Moshe’s Music Now Extended Unit Plays Howland Center June 29: Jazz Series Change of the Century continues in Beacon'

The Howland Cultural Center in Beacon continues its monthly series, Change of the Century – New Jazz for the 21st, with New York City-based multi-instrumentalist Ras Moshe and his fire music ensemble Music Now Extended Unit. The lineup for Music Now is never the same twice — for their Beacon performance, the ensemble includes vibraphonist/percussionist John Pietaro, pianist Chris Forbes, guitarist (and Change of the Century organizer) James Keepnews and drummer Andrew Drury.

The performance takes place at the Howland Saturday, June 29, at 8 p.m. Admission for each concert in the series is $15, and $10 for students and seniors. Tickets will be available at the door each concert evening only. For more information, visit the Facebook page for the concert series, facebook.com/groups/changeofthecentury. The Howland Cultural Center is located at 477 Main St. in Beacon, and their telephone number is 845-831-4988.
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DOOBEEDOOBEEDOO MAGAZINE, June 2013

CD Review: The Red Microphone's new album 'The Red Microphone Speaks!'
Artist: The Red Microphone
Title: The Red Microphone Speaks!
Label: self released
Genre: jazzy revolutionary music

by Matt Cole

Recently, I reviewed the CD release show for The Red Microphone‘s new album, The Red Microphone Speaks!. Having listened to the CD, I can safely say that The Red Microphone does just as well in the studio as live at putting together a very cohesive package of free, revolutionary-tinged music.

The Red Microphone consists of John Pietaro on vibes, percussion, and spoken word; Ras Moshe on tenor and soprano saxophones, flute, and spoken word; Rocco John Iacovone on alto and soprano saxes; and Nicolas Letman-Burtinovic on double bass; with a guest appearance by Nora McCarthy, who adds vocals to “L’Internationale Reconstruct,” a re-imagining of “The Internationale” by Pierre Degeyter, Eugene Pottier, and Hanns Eisler (adapted by Pietaro). All are members of the Dissident Arts Orchestra, known for adding improvised live soundtracks to classic movies.

The Red Microphone Speaks! contains music from several sources; some of the pieces are free improvisations, others are songs from the rich Leftist tradition adapted by the band, and saxophonist Iacovone contributes an original piece (“Freedom Theme”) which opens the album. The band makes use of spoken word samples on numerous tracks: on “The Proof Is Overwhelming,” they weave a tight free improvisation under John Howard Lawson‘s protest statement to the ironically named House Un-American Activities Committee in 1947. The improv is a good example of the way the band can patiently develop a piece; it starts out with a rich, overtony arco bass soon joined by flute, chimes, and percussion for the net effect of a slow, eerie, windy wet day to a busy (but not distracting) three way conversation between the saxophones and the vibes, over an ominous arco bassline. Overall, the music in this piece supports the spoken words very well, with the saxes punctuating and responding to Lawson‘s strong words, and the overall stormy vibe of the improvisation matching the feel of a time when freedom was under threat by powerful inquisitorial committees. The previously mentioned “L’Internationale Reconstruct” is another example of the use of found voices, with snippets of Malcolm X, Angela Davis, Dalton Trumbo, and V.I. Lenin interspersed with pulsating drums, and gentle saxes and vibes yielding over time to a more frantic and outside collective sound before returning to the main “Internationale” theme.

In addition to sampling, The Red Microphone will also, on occasion, provide their own voices to a text. This is most notable on “God To the Hungry Child,” an adaptation of a Langston Hughes poem with music by Janet Barnes and John Pietaro. After an angular, swingy group improvisation, Ras Moshe recites lines from the poem, while Iacavone’s sax provides instrumental response to Moshe’s strong voice, and the vibes and bass give texture underneath.

As a whole, like at their show, The Red Microphone does a fine job of playing as a tight unit, able to move as one or complement each other while playing quite different parts; and finding a nice balance in letting each player make an idiosyncratic individual contribution to a very cohesive whole. The band also builds each piece well, with a good mix of patience and daring. Album opener “Freedom Theme” provides a nice example of these qualities, the song starts with arco bass long notes, soon joined by dreamy vibraphones and then saxes. Soon, though, the music becomes more urgent and free, and then morphs into a funky bass rhythm over which the vibes and harmonizing saxes play a ’60s -ish jazzy theme. “Freedom Theme” provides a notable example of a very interesting use of space and musical dialogue that appears on several tracks; the saxophones start to converse and counterpoint each other, and the vibes join in, playing a counterpoint to the ongoing shape that the already-in-counterpoint saxophones are making. Perhaps this can be thought of in terms of a cladogram, with the saxes as two species in one genus, and the vibes as the next genus over. At any rate, it is quite enjoyable to listen to and the players manage to pull this off even when playing somewhat orthogonally to each other. Another example of this can be found on the “Song of the United Front” (by Hanns Eisler, and adapted by The Red Microphone) in the middle section (between two head sections that combine a swing and march feel). Even when all the players are playing busily, they manage to avoid stepping on each other’s toes, a notable example of this can be found in the mid-section of “L’Internationale Redux.” However, the band is also able to make excellent use of wide spaces, as demonstrated in the beginning of album-closer “The Times.”

Individually, the players each make interesting contributions to the whole. Vibraphonist Pietaro is equally at home providing dreamy textures, rapid lead lines, or complementary counterpoint to the rest of the band. As an accompanist, he does an excellent job of filling the space that would often be filled by the left hand of a pianist, not unlike the rhythm guitar of Bob Weir of the Grateful Dead. Bassist Letman-Burtinovic gives the band a rock-solid bottom, and uses well a wide array of techniques, from arco overtone-rich long tones (“Freedom Theme,” “The Proof is Overwhelming”) to rapid-fire plucked notes (“One for Robeson”) to make a rich low-end palette. As noted above, saxophonists Moshe and Iacovone converse extremely well together, showing great listening skills and creativity, and are both able to take the lead individually as well. “L’Internationale Redux” provides a good example of the latter, with Moshe‘s jazzy tenor sax solo followed by Iacovone‘s optimistic soprano sax; while in addition to examples from earlier, the mid-section of “The Times” sees the former, with Iacovone and Moshe making intricate shapes together and staying together while playing freely and sometimes orthogonally to each other.

In all, The Red Microphone Speaks! is a fine collective effort created and constructed by a group of talented individual musicians; energetic, cohesive, and with a revolutionary bent that is strong and yet organic (and not at all overwhelming). It is an example of free music at its finest; of what happens when several musicians make a commitment to spontaneously create as one, while not losing their individuality.
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KRAMER ON 'THE RED MICROPHONE SPEAKS':

Mar 21, 2013 1:12 PM
John, this music is MOVING me like nothing else i've mastered in years.

reminds me of the days when all i listened to was stuff from the ESP label, BYG (from France), and Karl Berger, my first real teacher and mentor.

this music of yours brings all musics TOGETHER. i fucking LOVE it!

-love, K
Kramer - Kramer, legendary downtown new music producer (Mar 30, 2013)
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DOOBEEDOOBEEDOO, May 22, 2013

Concert Review
Date: April 17, 2013
Venue: ZirZamin (NY)

The Red Microphone CD Release Concert
by Matt Cole

I saw The Red Microphone for the first time at their CD release show at ZirZamin for The Red Microphone Speaks!, and was thus happy to see that they were a quartet consisting of four members of the Dissident Arts Orchestra, who had created a fine improvised soundtrack to Eisenstein’s classic Battleship Potemkin a few months back. Specifically, The Red Microphone consists of John Pietaro on vibraphone and percussion; Ras Moshe on tenor and soprano sax, flute, and spoken words; Rocco John Iacovone on alto and soprano sax, and Nicolas Letman-Burtinovic on bass.

It can be a challenge for musicians to play free music in sync with each other, but The Red Microphone manages to be a very tight, cohesive unit. The music started with a driving baseline and ethereal vibraphone sounds, and soon the two saxes came in playing in harmony, at times sounding like they were in different keys that nonetheless created a good sound, not unlike what Charles Ives might have written had he anticipated the free music of the ’60s or the Downtown flowering of the ’80s and beyond. The overall sound was rooted in modern avant-garde jazz, leaning towards the free end; the sounds of rock, hard bop, and even a hint of modern classical also could be heard in the mix. Right away, I noticed that there was a lot of communication between the band members, enabling them to move together as a single unit, changing rhythms, feel, and tempo with ease (or at least it looked that way to Yours Truly, watching from the audience). Themes would appear, bounce around, make an impression, and vanish into the ether like a pair of virtual particles in sub-Planck time. The band members took turns taking the lead, with tenor man/flautist Ras Moshe playing bluesy, uplifting solos with a definite undertone of urgency just beneath (and often breaking) the surface. Throughout the set, the band showed a talent for evolving pieces, with individual instruments coming in and out over time as the music grew.

Among the highlights of the evening was a very idiosyncratic version of the “Internationale.” Right after that, the band played an adaptation of Langston Hughes’ “God to the Hungry Child,” in which Moshe recited lines from the poem, while Rocco John Iacovone played responses on the soprano over John Pietaro’s spare vibes. Following this, the band did a free improv for the recently deceased President Hugo Chavez of Venezuela, during which bassist Nicolas Letman-Burtinovic displayed an impressive array of techniques (cascades of soft plucked notes, arco bass, using the end of the bow to make notes, and using the body of the bass as a percussion instrument), yet never wavered from playing in service to the music. Towards the end, the band played a bar song of German revolutionaries in the ’30s, “Song of the United Front” which was written by Brecht and Eisler; this was a very jazzy rendition which featured a more-spare-than-busy alto solo by Iacovone over a free rhythm laid down by Pietaro and Letman-Burtinovic. Ras came in underneath, and then the horns melted out over an Arco, overtone-y bass and fast, dreamy vibes before coming back to the head.

It’s easy to play flashy free music with little communication and cohesiveness. It’s tough to play freely together as a unit and make it mean something. The Red Microphone did a fine job of the latter at their CD release show, and I look forward to reviewing the new CD.
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