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30 aprile 2007 Sono ultimati e pressoché pronti per la distribuzione i nuovi album che Louis Philippe ha realizzato a proprio nome ('An Unknown Spring') e in coppia con Stuart Moxham ('The Huddle House'). Di quest'ultimo sono disponibili alcuni estratti in http://tinyurl.com/27vavb

29 aprile 2007 Non potendo più ospitare iniziative in proprio, lo staff del newyorchese Tonic depista pubblico e sostenitori al vicino Abrons Arts Center per un mini-festival di due giorni il 4 e 5 maggio prossimi dedicato al ciclo zorniano Book of Angels. Il programma prevede concerti di Erik Friedlander, Jamie Saft Trio, Shanir Blumenkranz, Masada String Trio.

28 aprile 2007 Evan Parker, alla vigilia di un ciclo di concerti dal titolo 'Free Noise' con Yellow Swans, Burning Star Core, John Edwards e Paul Hession, è intervistato da Philip Clark sul numero di maggio di The Wire.
Parker è il curatore - con Eddie Prévost e Martin Davidson - del festival Freedom of the City che si tiene a Londra, com'è tradizione, ogni anno a inizio maggio. Il programma si sviluppa anche stavolta in due giornate consecutive, il 6 e 7, con concerti pomeridiani e serali, tutti presso il Red Rose:
"Freedom of the City 2007 - a festival of radical & improvised music"
curated by Evan Parker (psi), Eddie Prévost (Matchless), & Martin Davidson (Emanem)
London, Red Rose - 2007 May 6th & 7th

SUNDAY AFTERNOON (May 6th 16:00)
- EDDIE PRÉVOST (percussion), JOE WILLIAMSON (double bass), ALAN WILKINSON (alto & baritone saxes)
- UNIT : CHEUNG YIU MUNN (flute with foot pedals), THANH TRUNG NGUYEN (alto saxophone and clarinet), ANDY MARTIN (alto saxophone and short wave radio), LAWRENCE BURTON (analogue synthesiser), DAVE FANNING (bass guitar), LUC TRAN (percussion and unamplified electronic keyboard)
- MATT MILTON (violin), BECHIR SAADÉ (bass clarinet), MATT DAVIS (trumpet/electronics)
SUNDAY EVENING (May 6th 20:00)
separately and together
MONDAY AFTERNOON (May 7th 16:00)
- ALEX WARD (clarinet), ALEXANDER HAWKINS (piano), DOMINIC LASH (double bass), PAUL MAY (percussion)
- PASCAL MARZAN (solo guitar)
- IVOR KALLIN (violin, viola, voice), ALISON BLUNT (violin, voice), HANNAH MARSHALL (cello)
- QUAQUA : JOHN RUSSELL (guitar), UTE WASSERMANN (voice), CHRIS BURN (trumpet), STEFAN KEUNE (alto sax), PHILIPP WACHSMANN (violin), JAVIER CARMONA (percussion), ASHLEY WALES (electronics)
MONDAY EVENING (May 7th 20:00)
- 9! : JENNIFER ALLUM (violin), NATHANIEL CATCHPOLE (tenor saxophone), SHAKEEB ABU HAMDAN (electric bass), ROSS LAMBERT (guitars), JOHN LELY (unspecified), SEBASTIAN LEXER (piano + electronics/laptop), EDDIE PRÉVOST (percussion), MICHAEL RODGERS (guitar + harmonica), SAMANTHA REBELLO (flute), TARA STUCKEY (clarinet), ROMUALD WADYCH (electronics + things), JERRY WIGENS (clarinet), SEYMOUR WRIGHT (alto saxophone)
- EVAN PARKER (soprano & tenor saxes), AGUSTÍ FERNÁNDEZ (piano), JOHN RUSSELL (guitar), JOHN EDWARDS (double bass)

The Red Rose is at 129 Seven Sisters Road in north London, near Finsbury Park station
Ticket prices: £10 (£7 concs) for one concert; £15 (£10 concs) for one day. Tickets only available at the door.

27 aprile 2007 Insignito del prestigioso premio William Schuman Award 2007, consegnatogli in apertura di serata ("The School of the Arts is pleased to present the William Schuman Award to John Zorn, whose astonishingly diverse and extraordinary body of work has enlightened, startled, and enchanted its listeners. His lasting contribution to the repertoire of today has changed the landscape of composition", queste le parole del presidente della Columbia University School of the Arts), John Zorn ha ricambiato ieri con un generoso concerto al Miller Theatre a Broadway. Il programma in dettaglio:
Masada String Trio: Mark Feldman, violin; Erik Friedlander, cello; Greg Cohen, bass
Jon Madof, guitar; Shanir Ezra Blumenkranz, bass; Mathias Künzli, drums
Mike Lowenstern, bass clarinet; Anthony Burr, bass clarinet
Steve Drury, piano
Jennifer Choi, violin; Jesse Mills, violin; Richard O'Neill, viola; Fred Sherry, cello
Jennifer Choi, violin; Mark Feldman, violin; Erik Friedlander, cello; Okkyung Lee, cello; Shanir Ezra Blumenkranz, bass; Jim Staley, trombone; Marcus Rojas, tuba; Jon Madof, guitar; Steve Drury, piano; Sylvie Courvoisier, piano; Jamie Saft, keyboards; Ikue Mori, electronics; Cyro Baptista, percussion; John Zorn, prompter

22 aprile 2007 In attesa di sentire il lavoro per intero - l'opera è stata presentata dal vivo, ma con altro cast, già nel 2000; l'album invece è annunciato in uscita solo tra un paio di settimane - qualche anticipazione di Welcome to the Voice si trova in http://tinyurl.com/2racxp. Cliccare Happiness e Grand Grand Freedom per udire, almeno per qualche secondo, la Cara Voce.

20 aprile 2007 Con una nota pubblicata nel gruppo ReRmegacorp su Yahoo, così Chris Cutler commenta l'esito del festival "Rock In Opposition France Event 2007":
"I just got back from the new 'RIO festival', put together against all the odds by Roger Trigaux, of Present, and festival impresario Michel Besset. It was a model of good organisation - in a large well appointed complex with open landscape around it, plenty of eating and meeting places, cafes and a large, secluded, cd-shopping room. One performance on the Friday and eight 90 minute concerts over the weekend - with a couple of hours between each show for the next group to set up and get a proper soundcheck.
This year featured brits Guapo, swedes Mats and Morgan, franco-austrians Faust, franco-belgian-american-israelis Present (with the capo di capo of ReR usa, Dave Kerman, on drums), Japan's new tango band Salle Gaveau and, from France, Nebelnest, Zao and Magma. I was there with the Blegvad trio/quartet (Peter, John and Bob Drake added on lead guitar). I'd guess about 800 people showed up at the fullest, with contingents from America, and all over Europe. There is another planned for 2008. It will be interesting to see which way the programme goes.
The original RIO was 29 years ago now, and this year's festival celebrated the music of that period - Faust, Magma, Blegvad, Present, Zao were all contemporaries, the others pretty direct descendents. But of course the political, commercial and cultural context has totally changed in 30 years, and the music of that time has a new meaning now. It made me wonder what a contemporary RIO would sound like."
Commenti, discussioni, immagini e contributi di vario genere si trovano nei forum di www.progressiveears.com e www.progarchives.com. Qualche filmatino - ad esempio, Guapo - è già su YouTube.

18 aprile 2007 Proseguono con determinazione e crescente seguito, anche sulla stampa ufficiale, le proteste legate alla chiusura del Tonic a New York; è di ieri una vivace conferenza pubblica sulla gradinata del municipio della città con l'annuncio di nuove azioni volte ad attirare l'attenzione non soltanto sul destino del locale ma sulle difficoltà economiche con cui si misurano associazioni ed enti not-for-profit nel quartiere Lower East Side, luogo in cui negli ultimi trent'anni si sono incontrate ed evolute musiche e culture con modalità ed esiti che hanno pochi equivalenti al mondo, e preda oggi di una soffocante speculazione immobiliare.
Immagini dell'azione di protesta del 14 aprile, compresi i momenti dell'arresto di Ribot e Moore, sono in http://tinyurl.com/3cvnfo. Articoli di stampa sono in http://tinyurl.com/2wq664 e in http://tinyurl.com/2w4axs, e in particolare sul Village Voice in http://tinyurl.com/334w3v.
Alcuni concerti cancellati dalla programmazione del locale sono stati intanto accolti all'interno del cartellone del Vision Festival. Documentazione fotografica degli ultimi concerti al Tonic il 13 aprile si trova in http://www.downtownmusic.net/pictures, dove sono anche immagini dei concerti del Tonic depistati al Clemente Soto Velez LES Gallery.
Per ogni aggiornamento: http://www.takeittothebridge.com

17 aprile 2007 The Guardian pubblica un bell'articolo di John Robinson dedicato al lavoro di Mark Boyle e Joan Hills, in particolare alle spettacolari e innovative ambientazioni luminose prodotte all'Ufo Club e per i concerti di Soft Machine, e all'importantissimo ruolo che queste ebbero nella vibrante stagione psichedelica della Londra di fine anni sessanta. Uno degli eventi più memorabili di quell'epoca, The 14-Hour Technicolor Dream, viene celebrato a quarant'anni di distanza il prossimo 21 aprile all'Institute of Contemporary Arts (I.C.A.) con un programma dal titolo 'Our Technicolor Dream' ricco di proiezioni, tavole rotonde e varie performance. Tra gli altri, vengono riproposti anche due film originali di Boyle e Hills, con un nuovo montaggio - anche per opera dal vivo della stessa Hills, oggi settantenne - e con musiche, forse inedite, di Soft Machine.
Mark Boyle and Joan Hills were pioneers of British projections with events such as Son et Lumiere for Insects, Reptiles and Water Creatures and the infamous Bodily Fluids and Functions, which included blood, vomit, tears and semen. Their liquid light show of exploding colours and foaming bubbles became a major feature of the psychedelic scene through their residency at the UFO club and their work with Soft Machine, who played what Boyle described as 'acetylene music'.
Their farewell 'lightshow' films Beyond Image and Son of Beyond Image were shot for a circular screen environment as part of their 1969 ICA exhibition 'Journey to the Surface of the Earth' and will be remixed live by Joan Hills and Sebastian Boyle to a live recording of Soft Machine from the technicolor era.

16 aprile 2007 La partecipazione del Peter Blegvad Trio al festival "Rock In Opposition France Event 2007" appena concluso in Francia si è di fatto trasformata in un'esibizione in quartetto, con la rilevante - e, immaginiamo, scintillante come sempre - presenza di Bob Drake.
Drake, non più assiduo frequentatore delle scene ma impegnatissimo in eccellenti produzioni musicali (sia originali, sia di 'restauro') nel suo Studio Midi-Pyrenees a Caudeval, avrà a disposizione un importante spazio alla prossima edizione del Nearfest, quando si esibirà nelle vesti per lui non troppo consuete, almeno in concerto, di chitarrista. Del suo ruolo appunto di chitarrista, così dice con modestia: "I'm loving the guitar more and more, and finally able to think of myself as "a guitarist"; when I imagine myself playing onstage I always picture myself playing bass or drums, but I can finally see myself playing guitar. It's a strange thing, because I've been playing the guitar at least as long as I've played the bass and drums, that's to say something like 30 some years, though it's true that in most bands I've been a member of I was playing the bass or drums, so perhaps it's not so strange after all..."

15 aprile 2007 La manifestazione di occupazione - colorata, pacifica e sonante - del Tonic ieri a New York, caratterizzata da una ricca sequenza di interventi di musicisti e sostenitori, si è conclusa con lo sgombero dello stabile da parte delle forze dell'ordine e con l'arresto, seppur temporaneo, di Marc Ribot e Rebecca Moore, ultimi sul palco a intonare 'Bread and Roses' e a rifiutarsi di lasciare spontaneamente il locale. Questa la lettera scritta da Moore sull'accaduto e sul proseguimento dell'azione di protesta nei prossimi giorni:
Dear beautiful musicians and lovers of adventurous, renegade music, and all the friends who came to Tonic the day after it was closed 4/14/07 for the protest and action:

It was such an honor to be with you all, keeping the music going as long as we could, at Tonic today. As someone who grew up in NYC's avant-garde art scene, via my parents and their documentarian/historian work and their absolute devotion to experimental art of all kinds, I have felt that too many alternative art spaces have closed at this point, and they have closed too quietly, too complacently. It is time ALL small creative and community spaces came together to declare their collective power, and their value, to this city. New Yorkers simply cannot let real estate developers dictate the entire cultural landscape and fate of this special, historic place. We cannot let landlords tell us what music we will get to hear in our neighborhoods, what art (if any) will be placed in galleries down the block - - but that is exactly what is happening. This is not culture formed by "popular opinion" or by true market value: This is about developers running everything and everyone that is not wealthy out of this town.

Alternative art spaces like Tonic attract audiences from all over the world. But the fact of the matter is, we could fill our spaces every single night of the week with rapt audiences - as we have done, as Tonic has often done - - and still not be able to pay these outrageous, insane rents. In communities like the Lower East Side and Harlem - - places completely unique to New York City --- the original characters and voices that differentiate these neighborhoods will be completely lost in this atmosphere.

I sat in awe today as I listened to the music of Marc Ribot, Doug Wieselman, Jim Pugliese and Nora Balaban, Dan Kaufman and Pamelia Kurstin, Matthew Shipp, Steve Wishnia and Eric Blitz, Ned Rothenberg, Roy Nathanson, Ras Moshe, Marco Cappelli, Sue Garner and Rick Brown -- and so many others... Poet Steve Dalachinsky recited his poetry as Patricia Parker danced... Butch Morris conducted.... the list goes on and on of brilliant people (forgive me now as my brain is so fried at this moment - but a full list will be compiled and posted here).... it is this community that I feel so much a part of, that has contributed constantly to the LES, that I would indeed go to jail for! These artists and all those that I have experienced here in NYC are what keeps me inspired, motivated, alive. These voices are the voices of the non-mainstream, of the people, magnified and projected, telling us that we are not corporate replicas - we are unique.

Artists previously raised over 100,000 dollars to keep this space running - that is how much they cared about keeping this space (which wasn't a not-for-profit) here on the LES. The bottom line is, despite all this effort and the venue's world-wide reputation, the rent was just too exorbitant.

Please continue to come together to demand that this music, this art, these artists, this community - BE KEPT in New York City, on the Lower East Side; that the city recognize its value as the rest of the world does... and that we simply be allowed to have spaces that we can afford.

Although I feel this is traumatic and surreal, it was an honor to be there with you all today even if I was led away in handcuffs with Marc Ribot to support this cause... thank you to everyone who made this happen: the steering committee and volunteers and musicians and music lovers and friends and all who supported this action, here and around the world.

PS: After such a tremendous day of music and mobilization, we again ask you all to sign our petition and continue to support us. We plan to have a press conference on the steps of City Hall on Tuesday to discuss the closing of Tonic; we hope and expect that Alan Gerson (the city councilman for District 1) or a member of his staff will be there with us in support.
Thanks again for all your support. If you were down at the club today, a special thanks.

Si trova documentazione fotografica della manifestazione in http://tinyurl.com/2ocbqy oppure in http://tinyurl.com/37b6b6. Un articolo del New York Times è in http://tinyurl.com/2rbgf5

E questo è il testo di Bread and Roses:


14 aprile 2007 Annunciata per oggi a partire dalle ore 11.00 la manifestazione a New York (Lower East Side) contro la chiusura del Tonic e in richiesta di un concreto sostegno cittadino alle iniziative musicali e culturali che il locale ha promosso per anni. In www.takeittothebridge.com ci sono informazioni dettagliate, volantini e comunicati stampa, forum per partecipanti e sostenitori e il testo di una petizione che si può sottoscrivere on-line.
Avant Jazz/Indie/New Music Cultural Crisis
Responding to community outrage at the eviction of Tonic - a center of New York City's new music cultural life for the last 9 years - an ad hoc committee of musicians, cultural activists, and their supporters are convening to call for public political intervention.
When: 11:00 am this Saturday April 14th
Where: Tonic, 107 Norfolk Street between Rivington and Delancey
Why: To ask for public political intervention to protect new music/indie/avant/jazz in New York City and to ask the city to provide a minimum 200 capacity, centrally located venue for experimental music.
What: From 11 am on April 14 -- musicians and other performers will stage a musical protest against the planned closing of Tonic, a vital NYC new music resource.
Tonic, located at 107 Norfolk Street, has been unable to afford a series of rent increases imposed by landlord William Gottleib Inc. It will be forced to close its doors April 14th.
Coming on the heels of the closing of CBGB's, Sin-e, Fez, the Continental, and numerous other downtown venues, the closing of Tonic represents the continued shutting down of NYC's most important live music experimental jazz, indie, and new music scene.
This wave of club closings constitutes a market failure. If there is not immediate and sufficient public intervention, either in the form of limiting rents, or supplying alternate space and funding, or both, New York City will lose an essential part of its heritage, culture, and economy.
Tonic is the last new music/indie/avant jazz venue in Manhattan with a capacity above 90, presenting concerts on a nightly basis. It is also the last such venue in the city with the relatively musician friendly policy of paying 75% of door receipts.
In words of Steven Bernstein (leader of the band Sex Mob):“My band closes some of the biggest festivals in Europe...Meanwhile there’s only one club I can play in New York and it’s about to close.” (New York Times)
According to Patricia Nicholson-Parker, organizer of the Vision Festival:“We have come together to say we deserve a space and in essence, we have already paid for our space. Musicians contribute to the economy of this city every day with world-class performances. In the case of Tonic, many musicians came together and invested in the space. Through benefits and organizing they raised significant sums of money (100+ grand) for the venue, ‘Tonic.’ The city needs to acknowledge this. It is good for the city and good for the artists and their audiences for the city to make available a musician-friendly community venue which holds up to 200 audience members. It is important that it be centrally located in the LES where this serious alternative music has been birthed and where it can be easily accessed by audiences.”
This press release is being issued by an ad hoc coalition of musicians and supporters of new/experimental jazz/indie music. We represent a racially and culturally diverse community united in our desire to preserve the cultural legacy and future viability of this music historically based in the LES.
Saturday’s action will be the first of an ongoing series of actions towards this goal.
Further information and contacts are available at www.takeittothebridge.com
The coalition is asking:
1. That the city council adopt a general principle similar to European cultural policy: that the arts should not be left to the mercy of market forces: so that the new music and experimental jazz/indie musical culture, which is a unique asset -- and an essential part of New York’s history, economy, and identity -- will not to be left without support.
2. That the city recognize the damage done to its cultural heritage and status as a 'cultural capitol' by the displacement of venues central to experimental musics, and act now to protect those remaining venues from displacement -- either by providing funding sufficient to allow them to withstand the explosion of commercial rents, or by legislation forcing landlords to restrict rents of culturally valuable venues, or both.
3. That New York City intervenes to preserve 107 Norfolk Street as an experimental music venue, or make available a comparably sized and centrally located space for that purpose.

13 aprile 2007 Ancora a proposito della chiusura del Tonic a New York - oggi è l'ultimo giorno di attività consentita, per domani è annunciata una giornata di 'occupazione pacifica' del locale - una richiesta di sostegno a giornalisti e amici in Europa viene anche da Ned Rothenberg:
Dear Friends in Europe,
I'm writing you because New York is in a cultural crisis which has reached a breaking point very close to home for enthusiasts and players of creative music. Tonic, the last sizable club where this music is played nightly will be closing tomorrow night as its owners can no longer afford to operate it. I'm sure you know that there is a long history of NYC's real estate market driving artists and musicians from place to place, now we see the loss of a key foothold on the central island of Manhattan. The following press release explains the situation and the actions that are being taken. I hope you have time to read it and if you can help us either by communications of direct support or, even better, creating articles in the press there, for which we would be most grateful. Europe, which has always supported this music, has a great role to play because New York's political leadership is well aware that European (and Canadian tourists) are central to the strength of NYC's economy. Some of you are journalists, some promoters, some musicians - whatever you may be, the most important thing is that you let us know your response - we will be meeting with the city's politician's in an attempt to secure a viable venue. If we can show strong support from culturally concerned folks throughout Europe it would help us immeasurably. I am also sending this to a number of journalists who have extensive European contacts with the hope that you will forward it to your colleagues.
Thank You For Your Time and Consideration,
Ned Rothenberg
Informazioni iscrivendosi a email@example.com
oppure visitando il blog http://www.takeittothebridge.com

11 aprile 2007 A un anno dalla decisione di rendere disponibili gratuitamente gli album di cui detiene i diritti, Bob Ostertag tira qualche conclusione e rilancia con un saggio dal titolo 'The Professional Suicide of a Recording Musician'. Lo si trova tra l'altro su AlterNet, dove sono già molte e vivaci le reazioni dei lettori.

10 aprile 2007 Un appello a colleghi e amici ad unirsi in forme di protesta per la chiusura del Tonic viene da Marc Ribot - non nuovo a iniziative di presa di coscienza e di mobilitazione tra i musicisti indipendenti a New York - con questa lettera:
An Open Letter to the Musicians, Staff, and Fans of Tonic
When Tonic closes this Friday, we will have a lost a great club, and the last avant jazz/indie/new music club in manhattan with a capacity of over 90 presenting music on a nightly basis.
Tonic’s closing is not an isolated event: Coming on the heals of the closing of CBGB's, Siné, The Fez, the Continental, this wave of club closings, downsizings, and displacements to Brooklyn constitutes a market failure.
But we don’t have to accept the diminishment of our musical culture. We’re organizing a response, and we intend to fight for the viability of new music/ indie/experimental jazz traditionally based in the LES (ndr. Lower East Side). We don’t intend to let Tonic’s eviction pass without making some serious noise.
We hope you’ll join us. If you’d like to help out or be kept informed of upcoming events, please sign up for the mailing list by sending an email to: email@example.com and if you just want to keep up to date with what we're planning, you should go to: http://www.takeittothebridge.com .
We are an ad hoc coalition of musicians and supporters of new/ experimental jazz/indie music. We represent a racially and culturally diverse community united in our desire to preserve the cultural legacy and future viability of the progressive jazz, experimental rock, and new music historically based in the LES.
Marc Ribot
Informazioni iscrivendosi a firstname.lastname@example.org

07 aprile 2007 Largamente anticipato, ma sostenuto finora da poca e approssimativa informazione (perfino da parte degli stessi promotori), prende il via la prossima settimana - dal 13 al 15 aprile - la tre giorni di concerti "Rock In Opposition France Event 2007" a Le Garric (Francia), con Magma, Faust, Zao, Peter Blegvad Trio, Salle Gaveau, G.M.E.A., Present (in doppia versione), Nebelnest, Mats/Morgan Band, Guapo.

Così Michel BESSET e Roger TRIGAUX illustrano premesse e obiettivi dell'iniziativa:
"During an encounter in Brussels in December 2005, Michel Besset and Roger Trigaux discussed their common desire to initiate in France - and everywhere in the world, since that fight is of an interplanetary kind! – new dynamics around those musical forms that have thrilled them since the early 70's. For Roger, this desire is linked to the permanent commitment of a musician who always refused to compromise or to "adapt" his music to the mainstream taste of non-demanding audiences, and who always had to cope with the obstacles generated by such a radical approach. For Michel, this is the willingness to come back to these musical streams that have shaped the identity of "Transparence", the association he founded in 1974, back in a period of deep musical innovation, when truly committed artists gave birth to numerous passionated initiatives that were often risky and far off the beaten tracks of commercial production. In the meantime, both Michel and Roger have witnessed a worldwide flourishment of music Festivals dedicated to so-called « progressive » musical forms, but in fact mostly presenting artists who are redundantly recycling the recipes of the same old cult-bands.
Something had to be done...
The birth of that new musical event is in continuity with gigs that have been promoted for the last three decades by the association "Transparences" in Carmaux, Albi and other locations in Southern France (with such artists as Henry Cow, Art Zoyd, Léo Ferré, Univers Zero, Magma, Nucleus, Contrepoint, Present, …). This event illustrates how this association has always been a committed partner to the most UNCOMPROMISING artists, AGAINST a commercial system that forces them to adapt their creativity to a demand created by the system itself and IN OPPOSITION to a system that seems to be inescapable and self-consuming.
The idea is not to hide in the past. Back in the 70's, artists had to fight to promote these so-called "radical" musical forms, and it's getting even more difficult nowadays. Just because that music is demanding – not that it requires an effort from the audience, but only because it appeals to his curiosity and his longing for new perspectives. The complex language, the emotion and the depth, the real collective work that characterize musicians who dedicated themselves to that music, made their way through several decades and finally reached the new generations, tired of hearing cheap discourses and mainstream merchandised muzak. In France, one band epitomizes that fight: Magma, whose lasting musical influence has become more and more obvious as years have passed. But outside France as well, such artists as Robert Wyatt, Soft Machine, Miles Davis and Jimi Hendrix have been important symbols for a whole generation.
Sometimes the music reaches its target… when it has one! Those musicians opened our minds and gave us enough strength to pursue that struggle, for ourselves, for the music and for the human condition in general. After more than three decades, we now realise how crucial that issue can be. After having experienced other forms of music, we are now able to understand the significance of the music we defend today."
Il programma:
5 pm - "VIP" reception for professionals (labels, press, musicians...)
6 pm - Doors opening - Festival presentation
7 pm - Salle Gaveau (jp) - Main Hall
10:30 pm - ZAO (fr) - Main Hall

Saturday, April 14th
11 am - Access to vendor's stands - Musical Workshop GMEA - 2nd Hall & Mezzas
2 pm - NeBeLNeST - CONCERT - Main Hall
3:30 pm - Access to vendor's stands - Musical Workshop GMEA - 2nd Hall & Mezzas
5 pm - Present - CONCERT - Main Hall (Version for 2 pianos, percussion, and vocals)
6:30 pm - Access to vendor's stands - Musical Workshop GMEA - 2nd Hall & Mezzas
7:30 pm - Peter Blegvad Trio - CONCERT - Main Hall
9 pm - Access to vendor's stands - Musical Workshop GMEA - 2nd Hall & Mezzas
11 pm - Faust - CONCERT - Main Hall

Sunday, April 15th
2 pm - Guapo - CONCERT - Main Hall
5 pm - Mats/Morgan Band - CONCERT - Main Hall
7:30 pm - Present - CONCERT - Main Hall
10:30 pm - Magma - CONCERT - Main Hall
Maison de la Musique, Cap'Découverte - 81450 LE GARRIC (Carmaux) - FRANCE
Informazioni e contatti in www.rocktime.org/rio

06 aprile 2007 Su Alias-Il Manifesto di questa settimana c'è un breve ritratto di Jakko M. Jakszyk in occasione del suo album The Bruised Romantic Glee Club - in circolazione già da qualche tempo, in verità - e qualche brano di intervista abbastanza recente. Tra le varie cose, il chitarrista allude a un possibile documento live di Rapid Eye Movement - epoca 1980/81, con Dave Stewart, Rick Biddulph e Pip Pyle - da estrarre dagli archivi in un prossimo futuro. Mica una brutta idea...
A proposito dell'album, al sito di Jakszyk sono disponibili diversi estratti dalle conversazioni tenute con Sid Smith nella primavera dell'anno scorso; interessanti in particolare quelle a proposito di Stewart e del suo ruolo nella realizzazione delle tessiture sonore dei brani, allora ancora in via di completamento. Burning Shed, che pubblica e distribuisce il doppio cd, così lo presenta:
Combining powerfully melodic compositions, high production values and superb musicianship, The Bruised Romantic Glee Club is a stunning two CD set which represents Jakko Jakszyk's most accomplished and heartfelt release to date. The first disc, entitled 'Now,' is set of original material written over the last year by Jakko.
The second CD of this double set, entitled 'Then,' features a series of eclectic and unlikely cover versions of songs by artists that have exerted a strong influence on Jakko, such as Henry Cow, King Crimson and Soft Machine.
The Bruised Romantic Glee Club brings together luscious ballads, intelligent adult pop and widescreen dynamic instrumentals. Jakko's hauntingly beautiful songs possess lyrical content that often borders on the confessional. In some ways, the lyrics represent a continuation of the musical autobiography investigated in Jakko's Sony Award nominated piece, The Road To Ballina (commissioned by BBC Radio 3), which explored his upbringing as an adopted child.
Joined by a formidable array of guest contributors that reads like a who’s who of the best and most innovative musicians from the UK music scene of the last 30 years, guests include drummer Gavin Harrison (Porcupine Tree), acoustic bassist Danny Thompson (Pentangle, John Martyn), saxophonist/flautist Mel Collins (King Crimson, Roger Waters), bassist extraordinaire Mark King (Level 42), keyboardist Dave Stewart (Hatfield & The North/Bruford), drummer Ian Wallace (King Crimson, Bob Dylan), fuzz bassist, Hugh Hopper (Soft Machine), drummer Clive Brooks (Egg) and guitarist Robert Fripp (King Crimson).
As well as contributions on two tunes from Robert Fripp, former King Crimson lyricist Pete Sinfield has written a new lyric for Jakko's cover of Crimson's legendary 'Pictures of a City.' Now re-titled, ''Pictures of an Indian City', this audacious new version features an imaginative Asian-tinged re-working of the song.
With his virtuoso guitar technique and heartfelt, passionate singing voice to the fore, The Bruised Romantic Glee Club is a poignant and stirring release that will resonate with anyone who has ever loved, lost and danced in 12/8 time.

05 aprile 2007 A dieci anni dalla scomparsa di Allen Ginsberg, l'inesauribile UbuWeb mette a disposizione un toccante filmato di Jonas Mekas, Scenes from Allen's Last Three Days on Earth as a Spirit (1997), girato nei giorni immediatamente precedenti e successivi alla morte del poeta.

03 aprile 2007 La rivista specializzata francese Batteur offre questo mese la copertina e una lunga intervista a Christian Vander. Alle attività extra-Magma e più jazzistiche del batterista (Trio, Quartet, Alien) è dedicato il nuovo sito: www.christian-vander-jazz.com

02 aprile 2007 Annunciata per il prossimo 13 aprile la chiusura del celebre Tonic, uno dei centri pulsanti delle musiche indipendenti ed eterodosse dal vivo a New York, e uno dei pochissimi rimasti finora aperto, soprattutto a causa della vertiginosa e dissennata corsa all'aumento dei costi di affitto di spazi e locali nel quartiere Lower East Side; corsa guidata da investitori e imprenditori con pochi scrupoli e nessun interesse per attività culturali giudicate di basso o nessun profitto. Tra gli ultimi appuntamenti in calendario, concerti di Gary Lucas, ICP Orchestra, Sylvie Courvoisier & Mark Feldman, Peter Brotzmann, Erik Friedlander & Ikue Mori, Okkyung Lee, Blind Idiot God e l'immancabile 'Improv Night Party' curato qui per l'ultima volta da John Zorn.
Così scrive l'affiatato team che per anni ha amorevolmente curato la direzione artistica del locale:
Dear Musicians, Fans and Friends:
After more than 9 years as a home for avant-garde, creative, and experimental music, Tonic will reluctantly close its doors on Friday, April 13th, 2007. We simply can no longer afford the rent and all of the other costs associated with doing business on the Lower East Side.
The neighborhood around us has been increasingly consumed by "luxury condominiums", boutique hotels and glass towers, all making the value of our salvaged space worth more then our business could ever realistically support. We have also been repeatedly harassed by the city's Quality of Life Task Force which resulted in the debilitating closing of the ))sub((tonic lounge in January. Coincidentally, this campaign began as our immediate neighbor, the Blue Condominium building - a symbol of the new Lower East Side - prepared to open its doors.
As a business, we take responsibility for mistakes made along the way. If profit had been our chief motivation we could have changed our programming to something more mainstream and financially lucrative. Instead we were more committed to a certain type of music and loyal to the community that supported us. As a result, we've always just survived but never really prospered. It is, however, unfortunate that it is so difficult for small businesses to operate in this city and that a chain store that can afford a high rent is more desirable than a place like Tonic that has a different kind of value.
While this is certainly the end of Tonic at 107 Norfolk Street, we remain committed to what Tonic represents and plan to try again in some form as soon as possible. In the interim, Tonic will make efforts to present new music in existing venues such as the Abron's Arts Center located just a few blocks away.
We invite you to join us as often as you can over our remaining days to help us celebrate Tonic and more importantly the amazing artists, our unwavering staff, and the nurturing community that made Tonic possible. It’s because of you that we’ve stayed open as long as we have. Thank you!
Sincerely, Melissa and John

01 aprile 2007 Pesce d'aprile? Eccone uno, non male, e proprio in tempo per introdurre all'imminente Festival Rock in Opposition a Carmaux:
"Assez déçu par les extraits des sessions d'enregistrement du prochain album de MAGMA qu'il a pu écouter en avant-première, le responsable de la programmation du Festival Rock in Opposition à Carmaux a décidé de changer sa tête d'affiche du dimanche soir! C'est donc finalement - et à la surprise générale - HENRY COW qui clôturera le festival dans son line-up classique et habituel de l'époque, Michel Berckmans (UZ) remplaçant Lindsay Cooper et Stella Vander, récemment démise de ses fonctions chez Magma, en lieu et place de Dagmar Krause. Peter Blegvad pourrait se joindre à la formation en tant que joueur de balalaika "midi"! Cela dit, la participation de Fred Frith resterait soumise à une condition que le festival ne pourra peut-être pas honorer: le guitariste tient en effet à jouer assis sur un fauteuil en cuir rétractable!De son côté, très choqué par l'annulation précipitée du concert de son groupe, Christian Vander aurait menacé de représailles "cette race maudite de gauchistes patentés" (sic).Du coup, Chris Cutler envisage, lors de sa prochaine performance de musique improvisée, de brûler en public son stock de pin's "Magma". "Ce sera la plus belle performance du Rock In Opposition!", a déclaré l'ancien fondateur du mouvement."