Anouar Brahem - After the Last Sky (ECM, 2025)

By Don Phipps

There’s a foreverness in the music of Anouar Brahem’s After the Last Sky. The music covers a landscape of feelings that stretches outward over a vast desert – the undulating dunes, the wind, the dry arid heat, the romance – a beautiful and captivating work that reaches out in profound grace.

This is music to be savored, like that perfect glass of pinot noir or chianti on a warm summer evening – the moon and planets emerging from the ether. Brahem is a master of the Middle Eastern oud, an instrument that surfaced in the Middle Ages. It has a neck and a round bowl shape that adheres to the soundboard. And even though the instrument speaks to antiquity, under Brahem’s masterful technique, it becomes a jazzy bouquet of texture and sound, delicate yet pronounced.

Brahem is joined by the magnificent Dave Holland on bass, Django Bates on piano, and Anja Lechner on cello. Together they produce intimate music, just spicy enough at times to suggest sensual dances, while at other times, one can imagine windswept dunes that stretch forever outward against a blue sky, not unlike the movie opening of Anthony Minghella’s movie The English Patient or the great North African terrain described in Paul Bowles seminal novel The Sheltering Sky. Brahem also composed the numbers herein (except for “The Eternal Olive Tree, which he jointly composed with Dave Holland),

The music begs the question – what is after the last sky? We know for all living things there is a last sky. And that may speak to why the compositions possess a mysterious quality – the contemplation of what comes after. What hammers home this contemplation is the sweeping and haunting music that permeate the compositions. Of note in this regard are Lechner’s wonderful, bowed phrases. Check out her closing on “Endless Wandering” or her work on the short tone poem “Vague,” which lifts the piece into the sublime.

Holland stays mostly in the background, creating mood and atmospheres with plucks or soft, steady, and exquisite repetition (for example, his arpeggios on “The Sweet Oranges of Jaffa”). Occasionally, his lines emerge like a sailboat driven briskly by the wind – for instance, the beginning of “The Eternal Olive Tree.” And Bates creates seemingly uninterrupted poetry. On “After the Last Sky,” listen for the overtones in his unison duet with Brahem. Or his delicate interchange with Holland on “Never Forget.” Or the interlude he provides on “Edward Said’s Reverie.” Or the ballet of the fingers he brings to “Awake,” perhaps the most engaging piece on the album.

But if this effort belongs to anyone, it is most certainly Anouar Brahem. His popping and precise attacks and plucks, the breathing space he gives to his notes (his opening on “After the Last Sky), and his sweeping panoramic motifs (“Endless Wandering”) propel the music in unhurried fashion – think sea turtle swimming blithely by, surrounded by the dark blue water and beneath it, sparkling white sand.

“Sky” holds other charms – the tango-ish feel of “Dancing Under the Meteorites” or the artful dance of “The Sweet Oranges of Jaffa,” the black and white of “Remembering Hind,” or the salsa undertones in “After the Last Sky.” Brahem offers this point of view: “Today, the sonic materials that seem particularly transformable and stimulating to me are those that combine tradition and modernity…. For example, the Arabic maqams, which are at the heart of my musical identity, fascinate me with their melodic richness and their ability to integrate into contemporary musical contexts. They offer an infinite terrain for experimentation. I find it exciting to juxtapose these ancient modal structures with harmonic approaches from jazz, creating a dialogue between past and present, between cultures and styles.”

An infinite terrain…. Yes, and it all adds up to a beautiful and exotic experience – sounds and notes that take you far away to open ground, stunning vistas, and wind-swept patterns crossing a distant dune. Enjoy!

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Marilyn Crispell / Thommy Andersson / Michala Østergaard-Nielsen - The Cave (ILK Music, 2025)

By Eyal Hareuveni

Danish drummer-composer Michala Østergaard-Nielsen has a new trio with legendary American pianist Marilyn Crispell and Swedish double bass player Thommy Andersson (who has played with Yusef Lateef, Paul Bley, and Kenny Werner). The trio’s debut album, The Cave, was recorded during its first Scandinavian tour in 2022. Østergaard-Nielsen has led the Scandinavian supergroup Østergaard Art Quartet with Norwegian trumpeter Per Jørgensen, Danish trumpeter Kasper Tranberg, French guitarist Marc Ducret (who was born in Denmark), but is known for the jazz meets free-pop vocal ensembles Nuaia and David’s Angels.

Østergaard-Nielsen found deep affinity with Crispell’s lyricism, which, in its turn, was deeply influenced by her work with Swedish double bass player Anders Jormin (a collaborator of Østergaard-Nielsen). Crispell described the meeting with Jormin as a “life-changing, music-changing experience” and recorded two albums with him (the trio album Spring Tour, with drummer Raymond Strid, Alice Musik Produktion, 1995, and Jormin’s In Winds, In Light (ECM, 2004). Andersson, like Jormin, has a warm, rich sound that owes much to Swedish folk music. Østergaard-Nielsen completes the trio’s sonic palette with poetic, serene percussive touches.

Østergaard-Nielsen cleverly employs the “lyrical quality” that Crispell found in her meeting with Jormin and composed a set of six melodic compositions that allow generous degrees of freedom and two free improvisations. The Cave begins with the title piece, a hymn-like piece that Østergaard-Nielsen describes as “a quiet tribute to life, peace, and the silence that surrounds us”. It captures the poetic essence of the album and suggests a delicate balance between well-crafted, contemplative, and lyrical melody and spontaneous improvisation that evokes a rich, dream-like landscape.

On the following pieces, Crispell, Andersson Østergaard-Nielsen continue to weave poetic, collective sound, open and intuitive dynamics, and silence into an organic flow, always playing with the subtle tension between structure and freedom, and allowing a space where both can enrich each other, and often expand into uncharted territories. Pieces like “My Spirit Heart”, “Into the Light”, and “A Smile of a Butterfly” testify to the profound, immersive beauty of The Cave.

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Drank (Ingrid Schmoliner, Alex Kranabetter) - Breath in Definition (Trost Records, 2025)

By Martin Schray

The last words on this album are: “Can you tell me about hell?” They are spoken by Anja Plaschg, who is better known under her moniker Soap&Skin. The actress and musician can only be heard on the title track, where she speaks dark lyrics over minimal set pieces. Breath in Definition creates an apocalyptic musical landscape. At some point, the piece stops and there are 70 seconds of complete silence - before Plaschg says the above-mentioned sentence. This is disturbing, but - astonishingly - the piece is also breathtakingly beautiful. This applies not only to the piece, but to the whole album.

Ingrid Schmoliner (prepared piano) and Alexander Kranabetter (trumpet, electronics) - the duo behind Drank - are prominent sound researchers of the Austrian improv scene, their focus is on experimental music. The pieces they create combine improvised music, pop, ambient, minimal music, folklore and electronic new music and they link dark loops and drones with recurrent patterns, church bell-like, meditative sounds with fleeting melodies and bumpy beats. The textures are varied and open, and what is always interesting is what is not played.

The beauty of the duo’s music lies in the fleeting melodies, the repetitive structures and the sounds that ricochet through empty echo chambers. They outline the sound architecture and give the music the necessary stability - as in “Iridescent”, the album’s opener, which sounds like a roughened composition by Kenny Wheeler. Kranabetter’s polyphonic trumpet floats weightlessly over broad surfaces, Schmoliner keeps a very low profile. This is music that could also be released by ECM if it weren’t for the barely perceptible dissonances in the background, that push themselves more and more to the fore towards the end of the piece. However, “Iridescent” does not set the tone for the rest of the album, it’s rather a starting point. “Min” and “Gitta”, the pieces that follow, are reminiscent of minimal music, Schmoliner gets more involved in the music. She determines the basic structure, Kranabetter sets the accents, whereby the trumpet is heavily distorted. “Gitta”, featuring Lukas Koenig on marimba and effects, has something of a tricky ambient techno piece. The tectonic soundscapes move only slowly, but the music’s appeal especially lies in these repetitions and slower shifts.

The highlight of the album is the aforementioned title track, the piece that it all comes down to. It’s where gloom and beauty come together most perfectly, because on the one hand the monotony is almost unbearable, but on the other hand you don’t want the piece to end. The rhythms are restrained and stoic, Kranatbetter’s trumpet is delicate but also askew, Anja Plaschg’s lyrics are desperate and lost, then again they go straight to the heart.

For fans of 23 Skidoo, Robert Wyatt, LaMonte Young and early Jon Hassell. Very recommended!

Breath in Definition is available on vinyl, as a CD and as a download.

You can listen to the album and order it here:

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FMP Today: Q&A with Markus Müller

Markus Müller. Photo by Cristina Marx/Photomusix

In 2022, Markus Müller, released a fantastic book about the history of FMP. Working closely with Jost Gebers, owner and founder of the important and influential West German record label, Müller provided a expansive and engaging history of the label in its effort to document and promote the creative music developing on the border between the former East and West Berlin. We covered the FMP: The Living Music here and interviewed Müller at the time, here. 

After Geber's passing in 2023, Mueller became the owner of FMP (which he discusses below) and has been quietly working on starting a new chapter in the label's history. Martin Schray and I pooled a set of questions for Müller, who in between trips to the US and opening the new FMP office with a series of free concerts (see below), took the time to answer. Enjoy!  -Paul Acquaro

FJB: You were recently in Chicago at the Corbett v Dempsey gallery, can you tell us about this event?

MM: It was my privilege to be invited to present my FMP book and specifically FMP’s collateral relationship to Chicago and it was an honor that Ken Vandermark introduced this presentation with an Albert Ayler composition, Love Call and joined our discussion afterwards. An extra perk was being able to see the Albert Oehlen Kim Gordon exhibition as well as the Sun Ra-Covers group show.

What is the connection between FMP and the Chicago scene?

Well, initially there was an FMP fest in Chicago in 1995. I called the relation collateral because the real relation was built on John Corbett organising the possibility of Brötzmann’s Chicago Octet/Tentett experience starting in 1997. That in itself was obviously a monumental achievement: a European starts a large-scale ensemble of international colleagues and this continues to be on the road until 2011, incredible. It eventually led to John Corbett licensing FMP recordings for Atavistic Records etc. etc. etc. I believe it is fair to say that what Ken Vandermark and others have established with Catalytic Sound and Catalytic Soundstream or what Mike Reed is establishing with the Hungry Brain and Constellation, “his” two venues in Chicago, is next generation continuation of some of FMP’s ideas. And when you think of AACM’s obvious influence on FMP, you suddenly have a full circle Chicago – FMP– Chicago roundabout. Anyway, there are a lot of people in Chicago who think that FMP is a worthwhile and interesting model. And the city has the music to back it up. I had a great time at Peter Margasak’s Frequency Festival, and I loved David Rempis and PT with Joshua Abrams and Mike Reed at the Brain. And don’t get me started about Fridays at the Green Mill (thank you, again, Ken Vandermark).

CvD reissued FMP recordings over the years on CD, is this something you will continue?

Yes, the collaborations with both CvD and Trost will continue never change a winning team.

You also work with Trost, re-releasing authentic versions of the classic recordings on LP, also can we expect to see some more of these? (I have almost all of the Trost/Cien Feugos reissues, they're a treat!)

See above…

Back to Berlin... how did the move from Jost Geber's store house in the western side of Germany back home to Berlin in the far eastern side go?

Oh, it is still going on. Technically we have offices in Borken and Berlin and I am very thankful that Anna Maria Ostendorff, Jost’s wife, is still supporting FMP. I have the good fortune of being allowed to tap into her knowledge and to move things step by step.

Do the many recordings that were stored with Jost Gebers' still have musical significance beyond a historical one?

Jost had a full studio in Borken, a fully functioning office and a full storage and he was preparing recordings to be mastered by Olaf Rupp basically non-stop until the very end. Given the interest in seminal historical recordings we see right now, let us say recordings by Milford Graves for example, I would say that yes there are still quite a few unpublished recordings that have musical significance. It is all about making things available that are here, were there, and are underrepresented by the mainstream. It was John Corbett who found the alternate take to Pakistani Pomade by the Schlippenbach Trio in Borken. Who knows what I am to find?

If so, which ones do you think are particularly exciting?

I do not want to cherry-pick. But there is something for everybody. And I will also publish new old recordings that are not in the FMP vaults. I am looking at material by the wonderful Hans Schneider for example that was brought to my attention by Stefan Keune, or King Übü Orchestrü recordings that Erhard Hirt found etc. etc. by the end of April (25/26/27), when Wolke Verlag and FMP will celebrate moving into their new offices at FMP1 (no joke), I hope to have all the details for the first releases ready, they will drop in the Fall of 2025.

Can you discuss some of the developments since the The Living Music was published and FMP moved back to Berlin? Perhaps a bit more about the new location and your connection with Wolke?

Yes indeed. The new location is the former Neues Deutschland building, which was the GDR state newspaper, now FMP1 at Franz-Mehring-Platz 1, located between Ostbahnhof and Berghain and it gives us the opportunity to have offices as well as storage as well as quite a handful of different size venues that we will be able to use for our Spring Fest. Plus, there is a paternoster and, yes, we will perform Sven Åke Johansson’s “Paternoster” twice on Saturday the 26 ^th (something for all members of the family!). Thanks to Takako Suzuki and Hannes Lingen, who have both worked on the piece before, and specially to Takako, who was able to recruit and work with the required dancers. We are honored that quite a few old and new friends will join us, just to name a few: Alexander von Schlippenbach and Aki Takase, Georg Graewe, Olaf Rupp, Michael Wertmüller, Marino Pliakas, Erhard Hirt and Stefan Keune but also Burkhard Beins and Andrea Neuman, Silke Eberhard and Harri Sjöström and many more, the program is in the works. We will soon communicate all the details so please forgive me for not mentioning all involved. It will not be a generic festival, but rather a kaleidoscope of short and beautiful interventions, musics, discussions and performances: free of charge. This is all without any funding, so let us hope that our pockets are deep enough to survive this. 

Photo by Cristina Marx / Photomusix

First and foremost: we are honored and privileged to get this extra-ordinary support from the community, we will try to pay back! Wolke and FMP I believe share a similar DNA, in both their histories and in the simple fact that Wolke published a lot of Brötzmann, and Hans Reichel, Cecil Taylor, and Sven Åke Johansson, and last but not least my book. Plus, it is a beacon of working outside the box, it is a multi-dimensional publishing house and I think it is exemplary in it’s practice. “Es wächst zusammen, was zusammen gehört”. Just joking, I think it is a very good fit and I am enthusiastic about this.

Photo by Cristina Marx / Photomusix

Does the future of FMP only include the management of historical recordings or are new releases also planned? If so, would this also happen under the FMP label or under a new name that could then be associated with FMP (such as Uhlklang)?

Yes, we will do both, we will “complete” our download-site on bandcamp and we will dig in the vaults and publish new new musics. But it will be only download and CD and as such it will continue the FMP CD catalog, meaning after FMP CD 148, STRETTO by Honsinger & Rupp, we will do FMP CD 150 in the Fall. We might continue the OWN Series as well as the FMP Special Editions and these will be very special indeed.

In an earlier interview with us, you said that everything about FMP was political and that it was very much about self-empowerment. To what extent does this also have significance for the future of improvised music?

I think there is no improvised music without self-empowerment. As far as the political is concerned I think we will have to talk about possibilities and strategies of resistance and survival, and these will become more crucial than ever.

In this context, cultural promotion is at stake, especially in view of the rise of populist and anti-democratic parties. Is the continuation of a brand that always sees itself as a left-wing label also to be understood as a sign in this context?

I think we are past these labels. I am for the empowerment of minorities and cosmopolitanism. But that is just me. And I will do project specific albeit sometimes extremely multifaceted and even contradictory potentialities based on FMP’s music legacy. I hope people will continue to be interested in hearing that in the future.

And to come back to now, what can we be expecting from FMP in the coming months?

Spring Fest on April 25/26/27 and new downloads and physical products in the Fall. 

Download Event Program

Finally, could you explain how you became the new curator of FMP? What do you think is the importance of the label to this day?

I am not the curator, I am the owner of FMP and it is quite a responsibility to carry. Jost Gebers wanted me to take on that role and Brötzmann agreed. I am standing on the shoulders of giants and time will tell if I can contribute to the legacy in any meaningful way, shape or form. It certainly is worth trying, especially in times like these.

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Wendy Eisenberg, More Eaze, Emily Wittbrodt and Ryan Sawyer at JAKI, Cologne

By Matty Bannond

Something chlorine-scented is heroically battling the stench of mold at JAKI—but the club’s neatly spaced overhead tube lights have shrugged a meek surrender to shadow. Perhaps jet-black paint or glittery murals cover the walls. Maybe tooth fairies or werewolves fill the fifty seats. The naked eye gets bundled up in a pitch-dark blanket at this highly regarded, subterranean venue on April 7.

On a low stage, guitarist and vocalist Wendy Eisenberg performs alongside two collaborators all the way from the USA and one comrade based right here in Cologne, Germany. Violin and pedal steel guitar player More Eaze (Mari Rubio) and drummer Ryan Sawyer have traversed perilous landscapes and seascapes to support Set One. Cellist Emily Wittbrodt has flopped out of bed to join Set Two.

The show starts with “Lasik”, which also kicks off Eisenberg’s 2024 release Viewfinder (American Dreams Records). Like an angel’s wingtip, the guitarist’s delicate singing slices through thick clouds of sound from violin and drums. Eisenberg reaches for typically spidering melodic shapes beneath lyrics that mix the plain-speaking intimacy of a teenager’s diary with harder-won, slower-cooked insights.

More Eaze switches to pedal steel for “Another Lifetime Floats Away” and “I Don’t Miss You”. The instrument’s slippery, meowing properties make it a neat fit with Eisenberg’s vocals. Again, the lyrics tell homely stories wrapped in near-translucent layers of deeper messaging. There are elements of country music in the first of these two tunes, with echoes of Johnny Marr’s guitar in the second.

A cello and some sheet music arrive on stage after the interval. The quartet presents three Wittbrodt compositions that unfold tenderly behind her patient poetry. Next comes a More Eaze piece balanced on shifting sonic-tectonic plates. Sawyer then sings “Hate Is The New Love”, taken from The Mekons’ album OOOH (Quartersick Records, 2002). His faltering vocals bring out the mournful quality of the song text, which feels bang up-to-date despite its quarter-century vintage.

Big emotions run through the music of this small group. Wendy Eisenberg is a fancy-free artist who flirts with every style, from free jazz to folk storytelling and miles beyond, without ever settling down with one of them. Even with foul smells and disorienting gloom in JAKI’s windowless underground vault, this trio-plus-one gave its audience something fresh and bright to carry home.

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2025 Big Ears Festival, Day 4: Sunday, March 30

 

By Sarah Grosser

I had been fortunate enough to use my Media wristband as the equivalent of a Premier pass, and boy does it make a difference to use the Premier queues. If you can’t quite afford the VIP lane, which is also reserved for artists, the Premier pass is worth the investment for its “second priority” lane, allowing you preference of entry over those with general admission. This allows you to find better seats or standing room first, although some smaller venues such as the Jig & Reel, there are no priority lanes due to maximum capacity being much smaller. If you line up early enough for a show you really want to see, you will get in. I did not find queueing to be an issue at all. In fact, I think this is one of the most splendidly organised aspects of the entire event. Plenty of staff are on hand to check bags and scan wristbands, so there is never too much of a stall, and most everyone working and volunteering was polite and welcoming.

Phantom Orchard (Ikue Mori & Zeena Parkins) at the Bijou Theatre

Phantom Orchard. Photo by Taryn Ferro

Avant Garde after a night of good drinking is a choice, especially for those who haven't even managed a coffee, but the prepared harp is a loveable instrument. Zeena's table is covered with electronic effects and machines. Ikue's table has her laptop and a few other gadgets. Up the back is a third table with weird objects on it and a gold statue. From the back of the balcony, it's hard to discern what it is, but it is hairy. One by one, the musicians go up to the third table and take an object and create sounds with it into a microphone, while an ambient loop plays in the background before returning to their primary instrument.

“Show me your dream.” A screen is revealed from behind the big curtains and a film starts with a bunch of weird marionettes and rainbows and strange saturated footage of dolls, disco balls, and material. The harp and electronics do complement each other. It's a strange and complicated little world these two are creating, but certainly unique.

Lonnie Holley at the Mill & Mine

Lonnie Holley. Photo by Eli Johnson

"We came here so that our ears can grow… God I love y'all, Let's geddit on!" Lonnie leads a set of improvised music and spontaneous lyrics and poetry with a huge ensemble of ten additional musicians. Is Shahzad Ismaily one of them? Of course he is!!

Lonnie is charismatic, guiding the slowly evolving jam with his deep crooning voice. It has a raspiness to it, gritty and authentic like Gil-Scott Heron. The musical accompaniment is patient and appropriate, with every musician respecting the space for the others. Nobody is too dominant and everyone gets a little space to flourish and embellish naturally. It's a great organic jam - warm, beautiful, and heartfelt. A total mood, and a perfectly curated artist for the last day of the fest.

Mary Lattimore at the Bijou Theatre

Mary Lattimore. Photo by Cora Wagoner

The Susan Alcorn Tribute was originally on my schedule, featuring Mary Halvorson among others, but in favor of brain protection and healing, I instead made the pivot to a relaxing harp. And what a fine decision that was too. Lattimore demonstrates the most exquisite use of a loop station so far, feeding her harp through it to create heavenly cycles of blissfully exquisite melodies. The harmonies of which gently fill the little theatre; it's the perfect Sunday comedown compliment. Her stage presence is so down to earth and friendly. She has a happy-go-lucky spirit and seems really happy to be here. She praises the festival "I've cried so many times [this weekend] just from the music.” And, like so many others this weekend, uses her platform to speak out against the system: “We need to take care of our most vulnerable people."

Lattimore also announced that she is so inspired to go home and write and make things. This further underlines how important it is that these festivals exist, giving so many artists the opportunity to come together to meet and positively influence each other. I can only imagine what wonderful things Lattimore might do.

The visual accompaniment of the flowers on the big screen is just the right medicine. She tells a cute, whimsical story about “waving at people on boats - it’s like, when you're on a boat and you see someone else on a boat and you just have this urge to wave at them.” Her energy is just gorgeous and so is her music. Just beautiful.

Knoxville Gospel Choir and the Dedicated Men of Zion at the Knoxville Civic Center 

 

 
Choir Soloists:

Evelyn Jack ("This Is the Day")

Hugh Dixson ("Grateful")

Keri Prigmore ("I Am God")

Michael Rodgers ("Mighty God/Outstanding")

Dedicated Men of Zion (Vocallists)
Anthony “Amp” Daniels
Antwan Daniels
Dexter Weaver
Marcus Sugg

If this jazz journalist is going to hell for missing the Susan Alcorn tribute then perhaps those sins could be atoned for by having opted for the Knoxville Gospel Choir and Dedicated Men of Zion performance. That's pronounced "Zay'N" or "ZIE-on" depending on what part of the South you are from. The Civic Center was only half full, so the sweet usher encouraged all patrons to go sit in the normally-reserved VIP area up front. "Now,” she announces happily in her adorable southern accent ”let's go to church!" The scene is set.

The Knoxville Gospel Choir led by Jeanie Turner Melton is proud to host around thirty talented singers of all different creeds and colors. The women’s diamante brooches glisten as they sway in time to the music. They wear black suits, a bold coloured top, and they all appear to be thrilled to perform. Their enthusiasm is palpable, and it's hard to resist clapping and even singing along, as some folks in the audience do. Soulful lead solos by Evelyn Jack, Hugh Dixson, and Michael Rodgers encouraged the happy vibe of joyful worship. The superstar of the night, however, was Keri Prigmore who dang near brought the house down channeling Whitney Houston for her incredible rendition of "I Am God." Why she was not headlining her own show is a mystery. Witnessing this chillingly precise and impassioned version had me wondering if perhaps I should start going to church. Granted there are few gospel choirs in southern Germany, but this chick has been truly blessed with a gift from God.

After a couple of choir-only songs the Dedicated Men of Zion come out in suits and sunglasses looking unbelievably cool. The soul in four-part harmony accompanied by their family band was totally infectious. During one magical moment, one of the singers repeatedly nailed an impossibly high falsetto note, complete with palms up to the sky and dramatic showmanship – for me, this epic display was a highlight of the entire festival.

Upon leaving the auditorium a security guard recognised me from the way in. He asked: “Hey! You feelin’ better?” Throwing my hands in the air I shouted: “I think I found Jesus!”

Far too early for me, but Big Ears also showed the Aretha Franklin film Amazing Grace, about the recording of said live album at a gospel church in Los Angeles in 1972. Friends who went to it reported it to be outstanding and claimed it would have perfectly complemented this performance.

Rufus Wainwright at the Knoxville Civic Center

 

Rufus Wainwright. Photo by Cora Wagoner

For a free-jazz website, it does feel a little odd to be reviewing a singer/songwriter, especially one who is musically uncomplicated. But from the moment I entered the Knoxville Civic Center a few minutes late through the center aise, I was greeted by the apparition of a male angel on guitar in the distance. A single beam of light, spotlighting him in an auditorium bulging with presence, and a voice that simply soared. This image will stay with me for life, as it was so unexpected and so beautiful. What followed was probably standard practice for Rufus, commanding the stage and winning over hearts with adorably flamboyant charisma and fun stage banter. For a new song, he described how his recent London stage show had tanked so badly he wrote a song about it. "Here's a song about suicide!" he jovially quipped. The dark humor was a hit and the audience laughed. Maybe it's projection, but it seemed there was hardly a dry eye in the house after the line "Can I cry myself awake yet?" Similarly, and probably even more poignantly, Rufus sang an old song of his entitled "Going to a Town," the lyrics of which, although fifteen years old by now, ring more true today than when they were penned: "I'm going to a place that has already been burned down, I'm so tired of America." Then adding the spoken adlib, "No fucking shit," which drew further laughter and cheers from the audience.

There is so much beauty in the confident simplicity and technical brilliance of Rufus's voice. Recorded versions simply do not do him justice. He must be experienced live. Highly recommended for lovers of passionate, heartfelt pop songs on guitar and piano, a la the Beatles.

Just a few days after the festival, news was released that 83 year old guitarist Michael Hurley had suddenly passed away. His performances at Big Ears would have most likely been his last. It’s becoming something of a recurring theme; that Big Ears is not only a celebration of life, but also a place where musicians and music lovers gather and pay tribute to their fallen friends. In this regard, and so many others, this is so much more than "just a festival." It’s a spiritual pilgrimage. And one that I dearly hope I will be able to make, over and over again in the years to come. 

 

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Read: Part 1 | Part 2 | Part 3 | Part 4

 

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2025 Big Ears Festival, Day 3: Saturday, March 29

 

By Sarah Grosser

Vijay Iyer and Wadada Leo Smith at the Bijou Theatre 

 

 

Vijay Iyer and Wadada Leo Smith

Vijay Iyer- keyboards

Wadada Leo Smith- trumpet

The Bijou Theatre is full to the brim once again. The sardines are packed in; ushers find and fill every seat as Vijay rumbles away on some deep low notes on piano. Wadada expresses a breezy slow passage. Finally, after five minutes, most of the distracting noises of cans opening, rustling patrons finding seats, and coughing have died down. Vijay gets some faint ambient electronics going and Wadada lets rip with some sharp shrill stabs. The ambient fuzz adds a constant underlying tension, a bit like the pop and crackle of an unclean vinyl album in motion. It's like a breathing whirr; like the lungs of the piece, there is an air of suspense and focus. The reverberant Fender Rhodes produces sounds similar to that on the 2023 album Love in Exile (Arooj Aftab, Vijay Iyer, Shahzad Ismaily).

Wadada's trumpet is distant and lonely, as if crying in a vast open plane. Vijay provides the base through his melody, Wadada infuses it with windy emotion. The chords are relatable and familiar, soulful, and vaguely hopeful. This is a deep and earnest performance.

The floor on the Bijou Theatre balcony is creaky wood and anytime someone leaves, it’s like a herd of elephants. It is difficult, but one must become hardened to it, and attempt to appreciate the ambient music. I want to stab everyone who interrupts it with their noisiness. EVERYONE!

Joyful Noise presents Greg Saunier, Kramer, Shahzad Ismaily, Thor Harris, Wendy Eisenberg, and friends at Pretentious Brewing Company. 

 

Joyful Noise

Wendy Eisenberg- guitar

Greg Saunier- drums

Tall Tall Trees- banjo

Kramer- guitar

Thor Harris- clarinet

Macie Stewart- violin

Shahzad Ismaily- bass synthesizer

Hope Littwin- vocals

“You should be here - Greg [Saunier] is the best drummer at this festival!” – Friends summoned me away from the Bijou Theatre to the Pretentious Brewing jam session featuring a kaleidoscope of colourful, free-spirited musicians. This jam truly lived up to the record label name presenting it, as everyone on stage could be seen euphorically engaging in their array of instruments. Thor’s keyboard was gaffer-taped to a plastic children’s basketball hoop. Someone (probably Shahzad) had placed a shoe on Greg’s snare. The little beer garden was bursting with spectators, even the perimeter of the fence was speckled with people who had climbed up from the other side to watch. At one point, a pair of identical twin brothers appeared, adding to the surreal, Lynchian vibe of the show. Bright, swirling melodies launched rainbows of colour into the overcast sky. In spite of the very name of the brewery, it is all carefree and ironically unpretentious. It’s contagious watching musicians who are clearly enjoying themselves. It’s like a playground up there. At one point Shahzad jumps up, zipping his onesie over his face, holding his Palestine t-shirt in protest. Soon after he is draping socks and other material over Thor’s instruments while he is playing them. Kramer is keeping a glue-like bassline going while Hope occasionally chimes in with her almost spiritual cries. Macie’s violin sets the tone, while Greg flails madly around in his “SUPER ME” crop top, which looks ab-solutely adorable. (Is he the best drummer at the festival? It’s a hard choice between him, Tyshawn, Sanchez, Wollesen, Waits, … how can one possibly choose?) Suddenly out of nowhere, Shahzad starts singing “Dreams” by Fleetwood Mac. One by one, the spectators start to look at each other and laugh and smile. The jam has accidentally turned into a live remix, never once reaching the word "raining." Everyone just keeps singing in a loop: “Thunder only happens when it’s / thunder only happens when it’s…” The joyful noise continues until it doesn’t anymore, and the band bows and collects itself on the side of the stage for a group photo. Everyone looks so happy to be there.

After the conclusion of the performance Shahzad grabs a mic. “Fleetwood Mac! What the FUCK!” Everyone cheers. He goes on to make an announcement that if people have time and are interested, they should absolutely check out an Indonesian artist named Peni Candra Rini at 7:30. It’s a good thing he mentioned it too, because this performance ended up being an incredibly moving standout. But more on that show to come...

Sylvie Courvoisier: Chimaera at the Bijou Theatre

 

Sylvie Courvoisier. Photo by Ashli Linkou

Sylvie Courvoisier- piano

Ikue Mori- computer

Wadada Leo Smith- trumpet

Nate Wooley- trumpet

Kenny Wollesen- vibraphone, drums

Drew Gress- double bass

Nasheet Waits- drums

I must have looked like I was having trouble deciding where to sit, as one of the friendly ushers asked me if I needed some help. They asked if I would like to go and sit in the opera boxes next to the stage, as these were open for anyone. I’d never been up in one of those before, so I gleefully accepted the novel suggestion. The sound quality from the opera box was still perfect. Only the vision was slightly obscured due to the speakers. I had to stand up if I wanted to see Ikue Mori and Nasheet Waits, but I had a wonderful, uninterrupted view of Ms. Maestro at her piano.

It's a completely different sound hearing the band without the ambient warmth of Fennesz's guitar but today Ikue Mori is filling in on computer and effects. She is sparkly and shimmery over Sylvie's glittery arpeggios. Wadada's trumpet is shiny while Nate Wooley's is matte. Nate's solo is so squelchy and textured that it's almost percussive, while being totally original. Wadada's solo is the polar opposite: austere, long muted notes, shrill and emotional.

Sylvie – looking ravishing as ever in her new black dress – plucks along the inside of the grand piano, while Kenny Wollesen taps gently on the vibraphone. Ikue's electronics flitter around like electrical glowing insects. Drew Gress and Nasheet Waits keep the soulful groove flowing with its sultry, slinky vibe.

Ikue leads the intro of the next song and the performance is capitulating and beautiful. Perhaps fittingly so, no solo is as engaging as Sylvie's. Her presence at the helm is commanding, but not dominant. She is the one in control, and the piano leads. Kenny has switched to a second drum kit and he and Nasheet battle it out in a thunderous, unfeasibly intense drum duet which comes seemingly out of nowhere, like a random hurricane. Sylvie is enjoying it. It's rather mighty.

Sylvie gives a speech about words recently banned by the US government. She is filled with disgust at the "orange moron" and stands for empathy, compassion, and transparency. The applause that follows is one of the loudest of the festival so far.

Peni Candra Rini at the Point

 

Peni Candra Rini

Rini's voice is absolutely outstanding. It's a crime that she and Arooj Aftab, the Grammy-nominated Pakistani vocalist were performing at the same time. Despite this unfortunate direct competition, the modest church is generously full. Her shadow puppet visuals, sparkling sequin outfit, and delicate traditional dance movements are the perfect accompaniment to her jaw-dropping unamplified vocal performance of traditional Indonesian music with impressive operatic elements. Her vibrato is so controlled and comes directly from her heart. Just like the very slightest variation in her voice, the most delicate hand movements and choreography is executed with an equally controlled finesse.

Two of her Indonesian friends are controlling the puppets and adding additional traditional Asian instruments. She also uses objects as part of her dance- a human heart statue, a piece of firefly-inspired art by a fourteen-year-old. Dr. Andy McGraw and Shahzad Ismaily (again) accompany on traditional Indonesian instruments, and bass/Moog, respectively.

The shadow boxes tell a story from Peni’s childhood, in written English text which is manually rotated to reveal each next chapter. This ensures that no expression is lost in translation through Peni’s more simple spoken English, which she also naturally speaks with a slight accent. It also adds to a style of storytelling which transports the viewer into a familiar cocoon; homey, comfortable, and as enchanting as having storybooks read to you out loud as a child. These words and the shadow puppet imagery that accompany it conjure tangible fantasies, brought to life through Peni’s incredible voice. She sways between more traditionally nasal asian folk singing and a more westernised operatic vocal approach, which makes for an extraordinary range of dynamics. Beyond that, her peaceful compositions range from soft ballads through to more pulsing dance numbers. She never ventures into kitsch territory. At one point Shahzad is resting his head on his bass and just watching up at the silent shadow puppets. It’s such a relaxing space to be in.

Towards the end of the show, the shadow puppets are revealed from behind the screen and they are gold and colourful, like giant autumn leaves. Having only seen them in shadow form and therefore only black, this comes as a bright and magical twist. One puppeteer remains behind the screen while the other controls the coloured puppets in front of the screen. There are layers of animation now, and with Peni the star, dancing and singing out in front, I can feel my waterline beginning to flood. It is without question that the church rises to a standing ovation at the conclusion – a very long one, which clearly takes Peni by pleasant surprise. Later on, via Instagram she posts a photo of her Big Ears “Artist” wristband and writes: “Many thanks for the incessant standing ovation.”

أحمد [Ahmed] at Regas Square 

أحمد [Ahmed]

Pat Thomas- piano
Joel Grip- double bass
Antonin Gerbal- drums
Seymour Wright- alto saxophone

 

Having already played the night before to raving reviews the [Ahmed] Quartet returned to Regas Square for another frenzied round of their signature endurance-jazz. Talk about exhilarating. One of the most polarising acts in the jazz world today, this is the band all the elitists seem to love-to-hate. The general noisiness of the whole project is an acquired taste, as is Seymour Wright’s sax tone.

The [Ahmed] sound wall is dense and meditative. The speed at which the musicians play is a test of physical stamina, so too for the audience to listen to it. It’s totally extreme, and utterly relentless in the best possible way. As Homer Simpson once said: “Nobody snuggles with Max Power, you strap yourself in and feel the G’s!”

Blink-and-you’ll-miss-it changes in variation on drums are seamlessly woven in amongst chaotic bass and piano, while the honky sax creates a sound reminiscent of an alarm going off, repeatedly. At some points it feels closer to noise music than jazz music, and that’s truly a compliment to the innovation of the project. How often can one say that they have come across something in jazz which is *this* original? The closest musical comparison I can think of would possibly be the band Swans, whereby after a while, one begins to hear new sounds amidst the intensity, and the density. It’s also a hell of a lot of fun to watch. Earlier in the day, via a chance meeting at Starbucks, Joel Grip showed me his calloused, bruised hands, totally wrecked from thrashing the ever-loving shit out of his double bass at breakneck pace. Developing a thick skin has always been a necessity in jazz, this only proved it to also be physically true.

To put the speed into perspective, and to paraphrase Edward George’s liner notes from their 2024 album Wood Blues: “I think [Ahmed] can be said to rate as highly as Atomic on the Bassie Swing Metric […] almost breaking our measuring equipment.”

I have been told that the performance culminated in a full-house standing ovation, which I (criminally) missed seeing. The only thing that could possibly drag one away from the unstoppable quartet would be a personal invitation from Sylvie Courvoisier to join her on a walk downtown to see…

Jenny Scheinman's All Species Parade at the Bijou Theatre 

 

Jenny Scheinman's All Species Parade

Jenny Scheinman- violin
Bill Frisell- guitar

Julian Lage- guitar

Nels Cline- guitar
Carmen Staaf- piano
Tony Scherr- bass

Kenny Wollesen- drums
Julianna Cressman- dance 

 

Jenny smiles as she sways her violin in her floaty, floral pantsuit. There’s not a spare seat in the theatre and there’s a line outside to get in. She is joined onstage on what can only be described as a frickin' powerhouse of a guitar trio: BIll Frisell, Julian Lage, and Nels Cline – so much character and individuality between the three. It’s a gift to be able to watch each trade a solo one after the other, really showcasing the diversity of the instrument: Julian with his understated, brilliant virtuosity, Bill with his familiar, sensitive master’s voice, and Nels with his almost punkish, effect-driven punches. But it feels almost rude to single out anyone from this obviously legendary lineup. Julianna Cressman also captivated with her contemporary dance, slinking and folding her body aesthetically around to the music in a white, earthy modern outfit.

From wafting swing ballads through to more upbeat blues, Jenny’s alluring violin-led tunes were an excellently curated collection, providing just the right party atmosphere for one of the final sets of the day.
 

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Read: Part 1 | Part 2 | Part 3 | Part 4

 

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2025 Big Ears Festival Day 2: Friday, March 28

 

By Sarah Grosser 

Eno (film)

 

To Brian Eno, there seems to be an eternal sense of wonder about the world. An artist without even trying to be one, it's just something he was born to do. And a relatable artist at that. The packed cinema enjoyed frequent outbursts of laughter watching the famous innovator swearing "Fuck off" at YouTube while waiting for the ads to end. This generative film can be viewed over and over again as the segments are randomly selected for each individual screening. Some folks who viewed both screenings of Eno at Big Ears estimated that around 50% of the movie was different in the second version- a section about Eno's love of the omnichord was not in the first showing, for example. Another fan was overheard saying that the version they saw last year had a stronger focus on Roxy Music and vintage Eno.

Oblique Strategies are a deck of cards developed by Peter Schmidt and Eno, designed to prompt new, creative solutions to artistic conundrums. As a proud owner of my own deck, (fifth edition 2001), I was pleased to see the cards appearing in different segments. Learning that Eno and David Bowie used to take a card each and not tell each other its contents, and then try work on the same track in secret resulted in some terrifically creative dichotomies, especially when both cards worked in polar opposition to each other. These small vignettes were a joy to experience. I could have kept watching all day.

Nels Cline Singers at the Mill & Mine

 

Nels Cline

 

Nels Cline- guitar

Skerik- saxophone

Trevor Dunn- bass

Scott Amendola- drums

Cyro Baptista- percussion

A little sunburn was a small price to pay for a front row spot on the railing for Nels's spectacular experimental band. Not that there was any shortage of talent onstage. Keyboard player Brian Marsella was notably absent, but becoming a first-time father is a legitimate excuse. The crowd cheered when Nels announced this happy news. This psychedelic group explored a range of props and accessories with their instruments, resulting in an array of unique textural squonks amongst the grooves. Me and my friends had fun dancing and imitating the different wah-wah's, click-clacks, and more. Cyro Baptista was blowing into a tiny whistle, clanging one of his many gongs, rustling handmade shakers, or providing odd vocal accompaniment. His bag of bizarre percussive tricks seemed infinite. He was endlessly entertaining and brought a fun, trippy spice to the already eclectic group. Frontman Nels was just as fun to watch, cycling through different effects and jamming out on his git. Some passionate moments saw him go momentarily punk, ripping at his axe dramatically, as if momentarily possessed. Watching Nels's wild flashes was exciting. The sound in the front row was difficult and it was almost impossible to hear Skerik’s saxophone. It's a strange thing to be two meters away from a wailing sax and not to hear it. Thankfully there were a few quieter moments where the sax could be made out. I'm sure it sounded fantastic everywhere else in the hall. But standing directly under the truss speakers, for a great live view, I suppose this is the unfortunate price to pay.

Jeff Parker ETA IVtet at the Bijou Theatre

 

Jeff Parker - Bijou. Photo by Taryn Ferro

Jeff Parker- guitar

Josh Johnson- saxophone

Anna Butterss- bass

Jay Bellerose- drums

I only managed to catch a few songs from this set, but I really enjoyed Jeff Parker’s smooth, easy guitar grooves. After the busy freak-out with Nels, a funky loop with a minimalist vibe was the perfect way to calm back down and ease into the rest of the day. The infectious repetitions of “Freakadelic” had the audience grooving away, their heads nodding along to the beat in the darkness. Unpretentious, understated, and really easy to enjoy. I hadn’t previously heard the long jams from their 2024 release “The Way Out of Easy” but I can see this becoming my soundtrack to a hot, loungey summer’s day.

I had heard, however, great things about Australian bass player Anna Butterss, and they did not disappoint with their soulful approach to the upright bass (and super cool pink buzz-cut.) A true original in the scene today and – after a quick chat after the show – a lovely person too.

Thor Harris at the First Presbyterian Sanctuary

 

Thor Harris

Thor has his little keyboard right up front in the middle, in contrast to Kramer and Shahzad who were hidden behind the grand piano, stage left. I can't tell if its little speaker is busted or if it's meant to be subtly distorted like that. The slight buzzing is a little off-putting against the angel clarity of the keys. When Thor comes in on an equally bright and clear clarinet, the buzzing continues. I've come to the conclusion that it was just an added effect by choice, as it did fade out over time. The toy piano sound is much more pleasant. I'm not sure what I expected from a former Swans percussionist, but certainly a toy piano looped with live clarinet was not on my radar. Even though his live playing kept it interesting, for me the loops are a little repetitive. For others this is surely entrancing.

"What an honor to play in the best festival in the United States!" Thor seems like a really positive person, shouting out friends in the audience, giving people big warm hugs. He seems genuinely nice. It's hardly any wonder he has seven musician friends to invite, joining him for an ensemble piece. The band is Water Damage and they play a soft looping piece which is mellow, calm, and subtly evolving. The numerous stringed instruments swirl around each other as the plinky toy piano descends like tiny snowflakes. Thor joins in on a melodica, and adds a bassline. This time, when the loops are played by musicians, it has a less mechanical feel to it.

The jam eventually begins to lift into a crescendo which is quite loud. Several people in the audience are nodding along with the musicians. The intensity is welcomed after the long start. At the conclusion of the show, one man launches to his feet, clapping maniacally into the sky with pure elation.

In between shows our crew heads over to Good Golly Tamale for vegan tamales which we then took over to eat at Pretentious Beer Co. – perhaps the most creative brewery in town, widely known for their unbeatable selection of delicious and inventive craft beers. As an Australian based in Bavaria, the opportunity for me to experience a real Tamale had not yet presented itself in this lifetime, so I was thrilled to be experiencing one for the first time. Scrumptious, and highly recommended!

Bill Frisell "In My Dreams" at the Tennessee Theatre

 

Bill Frisell's In My Dreams. Photo by Eli Johnson

Bill Frisell- guitar

Jenny Scheinman- violin

Eyvind Kang- viola

Hank Roberts- cello

Tony Scherr- bass

Rudy Royston- drums

Greg Tardy- clarinet and tenor saxophone

Despite having six friends on stage alongside, Bill is given all the sonic space he needs to stand out as the feature of this very listenable ensemble. The addition of strings makes it magical. They take a good thing and make it even better. The songs waft along like a warm spring breeze- the ideal accompaniment to the unusually hot weather outside. Bill is all smiles jamming with this group: the groove is smooth and elite. It's classy.

Rudy Royston's drum solo is a dynamic feast. Bill is clearly ecstatic at Rudy's immaculate demonstration and the joy is contagious. People are clapping before it's even over. Granted, it's after 8 pm on a Friday and beers are flowing. Everyone in the audience is loving it. Solo after solo elicits joyful applause. The composition has taken a turn for the ballad, and everyone is down for the ride.

The pieces are quite long, and have a typical Frisell groove to them, but they meander along with a relaxing, but not chill vibe- there is plenty of tension and suspense, but it's universally enjoyable.

(Turntable Trio) Miriam Rezaei, Maria Chàvez, Victoria Shen (aka Evicshen) at the Standard

 

Victoria Shen

The only downside to this incredible, provocative, electrifying performance is that there are no deck-cams to observe all the exciting, busy creativity happening atop the tables. A heavily male-dominated instrument, this all-female turntable noise trio is a miracle to behold. Maria to the right providing ambience and effects, physically dropping crumbled vinyl onto the deck to produce loud booms and manipulating her own voice via microphone. Miriam in the middle conjuring incredibly choppy beats and lightning-fast scratches and manipulations with speed and precision. And then there is Victoria Shen (Evicshen), unquestionably having the hottest theatrics of the festival, combined with a dominant stage outfit, and a mad-scientist’s collection of homemade noise instruments and devices. When she began combing her hair with a comb microphone, producing a loud gritty distortion, the guy next to me must have been tripping balls because he absolutely lost his shit. Contorting her body, using her mouth, nails, legs, squatting over her homemade turntable with a small trumpet, and finally cracking an actual whip, she had the enthralled audience in the palm of her hand. Or rather, under the heel of her boot. Exceptional.

Together, the three digital sirens interacted with each other, sometimes swapping places, constantly experimenting. The drum 'n' bass finale saw Maria excitedly jumping and smiling- in exuberance. It was contagious.

When the show ended, a man called out, "That's how you do it!" which I'm sure was meant well, but left me thinking, "Male confirmation not required." They clearly already know how it's done. 

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Read: Part 1 | Part 2 | Part 3 | Part 4

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2025 Big Ears Festival, Day 1: Thursday, March 27

By Sarah Grosser

It is said that if you look up FOMO (noun: “The fear of missing out”) in the dictionary, there is a logo of the Big Ears Festival right next to it. The most commonly recurring topic of conversation amongst festival attendees is that there are simply too many fantastic options, and each choice results in missing out on not just one equally fantastic show, but multiple. Over 200 performances are scheduled over four days, along with movies, talks, gallery exhibits, secret shows, late night jams, and more. The music performances generally start around noon, while the ancillary activity happens in the morning.

With judicious planning, it is reasonably easy to see five to six full performances per day with brief breaks for food. If you are willing to duck out early and/or arrive late, then you can pack in much, much more. There are always multiple performances overlapping, so the real difficulty is deciding what shows to miss. This year was no different, as I had to skip many shows that would have been "must see" at most any other festival. Among the more well-known artists: Beth Gibbons (singer from Portishead), Beak> (the rest of the band Portishead), Anohni, Tindersticks, Sun Ra Arkestra, and Arooj Aftab, to name just a few.

The musical performances happen in about fifteen venues spread out in downtown Knoxville, with the furthest travel times being about twenty-five minutes on foot, or only a few minutes by electric scooter. Amongst these are plenty of excellent food options and breweries to keep the concert-goer fueled up. There are so many possibilities that wait times for food or drink is rarely an issue, unless you’re going for the local handmade biscuits at Matt’s. Having said that, the 1.5 hour wait was worth it for the gorgeously melty chipotle cream cheese on a delicious garlic and cheddar biscuit.

Before seeing any music, we trekked over to the Knoxville Museum of Art for Pangrok Sulap Live Printmaking. A large intricate wood-cut was resting on the table, inked up, and ready to go. A team carried the plate onto the ground, gently rolling out curtain material over the top, onto which the print would be printed. Guests were invited to take off their shoes and dance over the covered surface, directing their energy into the artwork and creating the pressure required for a nice, dark print. This dancing was accompanied by guitar and singing/chanting, and folks of all ages removed their shoes and had a go. The only rule was "no pirouettes!" When the song was complete, the print was lifted to reveal a wonderful detailed landscape with fun little creatures and symbols amongst the linework. There were also some hidden icons like the Big Ears logo. A fun, original way to get into the communal spirit of the festival.

Kramer at the First Presbyterian Church Sanctuary 

 

Kramer. Photo by Taryn Ferro.

The lights are dimmed, illuminating stained glass windows. Kramer comes out in a HOWL cap and starts tremoloing the piano, craned over it. The reverberations create a drone-like effect with a darkly ethereal quality. There is a pleasant intensity to Kramer's persistent melody. It sounds like he is using a looper or some kind of heavy delay. It's quite pretty, and the cathedral is a wonderful setting for this ambient, beatless soundscape.

The first two pews are dedicated VIP seats but people are coming and going throughout the show, so it's not always favorable to sit right up front if you plan on skipping the end of the show to catch the start of another. This coming-and-going sounds annoying on paper, but you get used to it as it occurs at almost every show, and it never seems to phase the musicians, who understand the necessity of the frequent shuffling.

Some of the higher pitched delaying tones become a bit stressful for a delicate sensitive ear and a couple of people bail on the journey. I resorted to concert earplugs to help filter some of the harsher tones, but it does become tinnitus inducing. Shahzad Ismaily materialises out of nowhere in his onesie, carrying two enormous coffees. With his hood pulled up over his head, he sits at the piano with Kramer. They are both deeply entranced. The idea of what they are doing is lovely but the glissandos and arpeggios are swallowed by the piercing frequencies.

Thankfully, this does relent after a while, and gives way to some more gentle droning melodies. Some give a standing ovation and are overheard commenting that the performance was brilliant in the way they manipulated the sound in the whole room. Perhaps I was sitting in a bad spot?

Charles Lloyd: Homage to Zakir Hussain at the Tennessee Theatre

 

Charles Lloyd. Photo by Andy Feliu

Charles Lloyd- saxophone, piano, flute, oboe

Bill Frisell- guitar

Ganavya- vocals

Eric Harland- drums

Harish Raghavan- bass

After a gorgeous little square slice of pizza with succulent peppers and the perfect crispy base, it's off to the Tennessee Theatre for Charles Lloyd's homage to the recently deceased Zakir Hussein. The enormous theatre is spectacularly opulent. Warm lighting highlights the excessive decorations, curtains, lattices, patterns, flags, and giant urns line the walls. The smell of fresh popcorn is wonderfully enticing. From the front row of the balcony, one can peer out and see the people below reviewing their schedules on the Big Ears app.

Grammy Award winning musician Zakir Hussain was an Indiantabla player and composer who tragically succumbed to illness in late 2024 at the age of 73. Hussain was scheduled to perform at this year’s Big Ears with Lloyd as part of the Sangam Trio in a show dedicated to Lloyd’s recently departed musical teacher. His sudden passing was a deep personal loss for Lloyd.

The lights are lowered and the unmistakable sound of Bill Frisell's guitar meets Lloyd's soft saxophone, joined by subtle percussion and the singer Ganavya in traditional Indian attire. Her voice is pure and smooth. Lloyd switches between sax and piano. Behind them, a big screen displays a painting of a fish, a hand, and a fruit bowl with an ancestral linework. It's a contrast to the opulent architecture around it.

The voice and sax are a powerful duet- both mesh together purposefully, as if one was born to perform with the other. It's no wonder that almost every seat was filled. All the while, a constant, light tabla tap pitter-patters away. This is just a subtle nod to Zakir, but it fills the space with his essence. Twenty minutes floats effortlessly by and it feels like five.

Harish Raghavan’s double-bass is bowed along to the second piece which is a more haunting hymn- the singer's deep emotions are on full display. She is fantastic. Lloyd is on instrument number three, a flute. Ravenous Frisell fans can be spotted from a mile away sneaking a little recording on their camera-phones during his solos.

All in all, a sensitive and moving tribute for a fallen friend.

Alan Sparhawk at the Jackson Terminal

 

Alan Sparhawk. Photo by Billie Wheeler

The Jackson Terminal is a typical standing concert shed located up the top end of town. With lovely high ceilings, it has an open feel to it which is nicer than a small club, but still retaining a warm, intimate vibe. For Alan Sparhawk, the venue is half full, but those who are present are deeply engaged. Some people are hugging. If Sparhawk’s name is not immediately familiar, perhaps he is better recognised as the male singer from the band Low. Of course there is a certain unspoken space onstage that was once reserved for the other singer in that band, Sparhawk’s wife, Mimi Parker, who tragically passed away in 2022. Tonight, Sparkhawk would be joined by his son Cyrus Sparhawk on bass, and Fred Pollard on the drums. In true Big Ears tradition, Shahzad Ismaily would also be joining the group on a number of instruments: bass, banjo, and Moog. This would be the second of twelve performances that Ismaily attended all weekend. When asked how he managed to make it to each venue on time he responded: “I ran!… I was running!!”

Sparhawk bared all… in overalls, no shirt, and a shaggy grown out hairdo. A raw, eccentric look for a man with a voice so majestic and deep with feeling. It resonated peacefully through the hall for the more sparse and ethereal songs, but jabbed with spiked anger and disgust during others. The crowd joined him in the final chant of his newest unreleased song: “No more darkness / No more darkness.” With a contented look on his face, Sparhawk blew a kiss to the sky, which was met with a jubilant, enthusiastic cheer.

As the band was leaving the stage and packing up for the next artists, the frontman took an exit down the front stage stairs. A fan with a rather apparent scent of alcohol burst past to greet the singer as he descended. “AYYY! ALAN!!” He went in for the big hug. Alan let him. “Huge fan, man - I loved your new album… yeah… I forgot what it was called.” Sparhawk smiled and thanked him. Obviously the fan had made the decision to approach his hero before he had decided what to say, and with nothing particularly original prepared, he continued. “Wow! … I’m so drunk hey!” Sparhawk smiled and nodded in agreement, allowing the man to keep rambling. “Well!... That was a lot better than I thought it was gonna be!” I couldn’t contain my laughter at this point, and Sparhawk laughed as well, responding: “HAH!... Well - I could say the same!” A couple of fans rushed in for a quick selfie. He smiled at everyone as the little queue began to form.

Axiom 5 at the Bijou Theatre

 

Axiom 5. Photo by Cora Wagoner.

Jon Irabagon- saxophone
Uri Caine- piano
Mark Helias- bass
Barry Altschul- drums

In any other city, the Bijou might be heralded as quite a grande theater, but just down the road from the Tennessee Theatre, this smaller-sized sister can’t really compete with those dangling chandeliers, gold trim, and enormous ceiling. While the venue is somewhat overshadowed by the Spanish-Moorish opulence uptown, it is still highly charming with its Classical-Revival style. A remarkable setting for some far-out free jazz - which, at this point in the evening, this reporter is really itching for! The playhouse is peppered with patrons, which is understandable, given the complexity and busyness of the music. We do love a dose of that squonkiness that not everybody can stand.

It’s a largely improvised set and the crowd is transfixed on the adventurous quartet. Some parts are met with chuckles when interesting musical decisions are made, or comical facial expressions exchanged. The band explores a full spectrum of tempos, moods, experimentations, and grooves: a wild, free-for-all with the occasional quiet passage. For some songs it seemed as if drummer Barry Altschul never wanted it to end, and concluded at least two jams with a drum solo fade-out. Uri Caine, wearing some kind of a poncho, smashed confidently away at the keys of the Steinway with vigour while the equally confident Mark Helias went rogue on upright bass. Filipino-American Jon Irabagon was up front on the sax bringing a wonderful bright tone and energy to complete the solid quartet.

Amidst all of the beauty and prettiness of the first day of the festival, it's so satisfying to soak up some gritty, unfiltered late-night jams, courtesy of a more than capable group of jazz legends, and legends in the making. Pure fun, if you're into this kinda shit.

Béla Fleck, Edmar Castañeda, Antonio Sánchez - BEAT Trio at the Tennessee Theatre

 

BEAT Trio. Photo by Taryn Ferro.

Béla Fleck- banjo

Edmar Castañeda- harp

Antonio Sánchez- drums

This show is packed. I did not get to see very much of this performance as I had already had the great privilege of witnessing the band’s debut performance at The Blue Note in New York, this past autumn. I knew from that experience that this show was going to be well loved, and my colleagues confirmed it to be true. Apparently Antonio Sánchez made a public statement about the current American political situation, which was met with applause. He was not the only artist to stand up for justice this weekend, as a number of artists bravely used their platform to announce their disgust.

This trio of banjo, harp, and drums sounds unconventional on paper, but magical in the real world. Sultry, upbeat, with a strong Latin flair. This music is gloriously joyous. It's such a happy vibe. How can anyone dislike this?

Darkside at the Mill & Mine

 

Darkside. Photo by Andy Feliu

Nicolás Jaar - electronics / vocals
Dave Harrington - guitar / effects

Tlacael Esparza - drums

The final chapter for many is the rave over at Mill & Mine, headlined by DARKSIDE – a live band with an electronic feel. But this is no doof-doof party music. This set is thoughtful and varied, with a twist of psychedelia. The venue is a very large, wide shed complete with rotating ceiling fans that create spinning silhouettes in the dark. Partygoers raise their hands as they dance towards the lights onstage. Although the general demographic of this festival tends towards a more mature audience, the atmosphere is energetic, even though for some of us (my 38 year old self included) 1:30 am is way past our bedtime.

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