#Richard Karpen

[jgthirlwell]

playlist 10.28.22

Papangu Holoceno (Repose Records) Bent Knee Frosting (Take This To Heart) Elysian Fields Once Beautiful Twice Removed (Ojet) Rene G. Boscio If We Seek With Intent (Boscio Music) Yeah Yeah Yeahs Cool It Down (Secretly Canadian) Bjork Fossora (One Little Independent) High Castle Teleorkestra The Egg That Never Opened (Art As Catharsis) John Elmquist’s Hard Art Groop Stars and Bells/ Trip Up / Zero Rest Mass (Bandcamp) Sault Air (Forever Living Originals) Ben Salisbury and Geoff Barrow Men OST (Invada) Benoit Pioulard & Jogging House Communique (Bandcamp) Louis Cole Quality Over Opinion (Brainfeeder) Richard Reed Parry Quiet River Of Dust Vol 1 (Anti) Simon Fisher Turner / Espen J. Jorgenson Soundescapes (Mute) Francois Bayle, Richard Karpen, William Schottstaedt, Goebel Johannes Computer Music Currents 3 (Wergo)

[freethejazzblog]

Free The Jazz #09 [for Jane Espenson]

1 - Indigo Mist - Duke (from "That The Days Go By and Never Come Again", 2014 RareNoise)

2 - Steve Swell / Gebhard Ullmann / Fred Lonberg-Holm / Michael Zerang - Déjà Vu (from "The Chicago Plan", 2016 Clean Feed)

3 - Roger Manins - Hip Flask (from "Trio", 2010 Rattle Jazz)

4 - Bill Dixon - In Search Of A Sound (from "17 Musicians in Search of a Sound: Darfur", 2008 Aum Fidelity)

5 - Tim Berne's Snakeoil - Lamé 3 (from "Anguis Oleum", 2016 Screwgun)

6 - Colin Stetson & Mats Gustafsson - Stones That Can Only Be (from "Stones", 2012 Rune Grammofon)

7 - Tigers Milk - Stillness Among Mercury Trees (from "Android Love Cry", 2007 Family Vineyard)

8 - David S. Ware - Mikuro's Blues (from "Go See The World", 1998 Columbia)

9 - Taylor Ho Bynum - That Which Only...Never Before (from "Enter the PlusTet", 2016 Firehouse 12)

10 - Starlite Hotel - A Thousand Thousandths (from "Awosting Falls", 2016 Clean Feed)

Listen to a new show each week on 8K, and find previous shows over at Mixcloud.

[newstfionline]

Documenting U.S. Role in Democracy’s Fall and Dictator’s Rise in Chile

By Pascale Bonnefoy, NY Times, Oct. 14, 2017

SANTIAGO, Chile--An old rotary phone rings insistently.

Visitors at a new exhibition at the Museum of Memory and Human Rights here in Santiago who pick up the receiver hear two men complain bitterly about the liberal news media “bleating” over the military coup that had toppled Salvador Allende, the Socialist president of Chile, five days earlier.

“Our hand doesn’t show on this one, though,” one says.

“We didn’t do it,” the other responds. “I mean, we helped them.”

The conversation took place on a Sunday morning in September 1973 between former President Richard M. Nixon and his national security adviser, Henry Kissinger. The two men were discussing football--and the violent overthrow of a democratically elected government 5,000 miles away with their assistance.

For the exhibition, two Spanish-speaking actors re-enacted the taped phone call based on a declassified transcript.

The chance to listen in on the call is part of “Secrets of State: The Declassified History of the Chilean Dictatorship,” an exhibition that offers visitors an immersive experience of Washington’s intervention in Chile and its 17-year relationship with the military dictatorship of Gen. Augusto Pinochet.

An enlarged and dramatically lit document sets the tone at the entrance. It is a presidential daily brief dated Sept. 11, 1973, the day of the coup. Its paragraphs are entirely redacted, every word blacked out.

A dimly lit underground gallery guides visitors through a maze of documents--presidential briefings, intelligence reports, cables and memos--that describe secret operations and intelligence gathering carried out in Chile by the United States from the Nixon years through the Reagan presidency.

“There is an arc of history that is very dramatic when you put these documents together,” said Peter Kornbluh, the exhibition’s curator who is a senior analyst at the National Security Archive in Washington and director of its Chile Documentation Project. “They have provided revelations and made headlines, they have been used as evidence in human rights prosecutions, and now they are contributing to the verdict of history.”

On view are documents revealing secret exchanges about how to prevent Chile’s Congress from ratifying the Allende victory in 1970, plans for covert operations to destabilize his government and reports about a Chilean military officer informing the United States government of the coming coup and requesting assistance.

There is a cable from the Central Intelligence Agency to its officers in Santiago after a failed operation in October 1970 to prevent Allende from assuming office, which he did that November. The C.I.A. provided weapons for the plan, which resulted in the killing of the commander in chief of the army, Gen. René Schneider, and the agency later sent money to help some of the plotters flee the country.

“The station has done an excellent job of guiding Chileans to a point today where a military solution is at least an option for them,” the cable says, commending the officers, even though their plot was foiled.

The exhibition includes only a small sample of the 23,000 documents on Chile that the Clinton administration declassified between 1999 and 2000 in response to international requests for evidence on Pinochet’s crimes. The former Chilean dictator was arrested in London in October 1998 and awaited extradition to Spain to face trial on charges of human rights abuses during his rule.

As several other European countries also sought Pinochet’s extradition based on the principle of universal jurisdiction, Mr. Kornbluh, the curator, led a campaign to persuade the White House to release classified records that could serve in an eventual trial against the general.

Documents on Chile from 1968 to 1991 from seven United States government agencies, some of them heavily redacted, were released as part of the State Department’s Chile Declassification Project. Most were declassified months after Pinochet was sent home from London for humanitarian reasons, but just in time to contribute to new judicial investigations in Chile.

The documents have been used as evidence in several human rights inquiries involving American victims, including the 1973 killings in Chile of Frank Teruggi and Charles Horman; the 1976 car bomb assassination of Orlando Letelier, a foreign minister and defense minister in the Allende administration, and his American colleague, Ronni Karpen Moffitt, in Washington; the 1985 disappearance in Chile of Boris Weisfeiler, an American professor; and the killing of Rodrigo Rojas, a Chilean-born United States citizen who was burned alive by soldiers in Chile in 1986.

They have also shed light on Operation Condor, a network of South American intelligence services in the 1970s and ‘80s that shared information, traded prisoners and orchestrated assassinations abroad. The head of DINA, Chile’s clandestine intelligence agency, Gen. Manuel Contreras, was the mastermind behind Condor, and hosted an inaugural meeting in November 1975 in Santiago.

In the exhibition, the seats at a rectangular table bear the names of the intelligence chiefs of Argentina, Bolivia, Paraguay, Uruguay and Chile who attended Operation Condor’s first meeting. A layer of earth covers the table, and brushes are provided for visitors to reveal what is beneath: the names of Condor victims, many of whom vanished without a trace.

Nearby, copies of the front pages of dozens of newspapers from the Pinochet era hang from a panel simulating a kiosk. They were all published by the conservative media empire El Mercurio, which received at least $2 million from the C.I.A.

The records in the exhibition also profile Pinochet, trace intelligence gathering on brutal state-sponsored repression and detail how the Reagan government abandoned Pinochet to his fate in 1988, fearing a further radicalization of the opposition.

“These documents have helped us rewrite Chile’s contemporary history,” said Francisco Estévez, director of the museum. “This exhibit is a victory in the fight against negationism, the efforts to deny and relativize what happened during our dictatorship.”

The Memory and Human Rights Museum opened in 2010 during the first term of President Michelle Bachelet and offers a chronological reconstruction of the 17-year Pinochet government through artifacts, recordings, letters, videos, photographs, artwork and other material. About 150,000 people visit the museum annually, a third of them groups of students, Mr. Estévez said.

The National Security Archive donated a selection of 3,000 declassified documents to the museum several years ago, while the State Department provided the Chilean government with copies of the entire collection. Chileans, however, have rarely seen them.

“To see on a piece of paper, for example, the president of the United States ordering the C.I.A. to preemptively overthrow a democratically elected president in Chile is stunning,” Mr. Kornbluh said. “The importance of having these documents in the museum is for the new generations of Chileans to actually see them.”

[improvisedmusicproject-blog]

IMPFest X: With Myra Melford, Andrew D'Angelo and Bill Frisell

Buy tickets to this year’s festival here, happening May 30th and 31st at UW’s Meany Studio Theater.

Originally conceived as an outlet for talented musicians from the UW Jazz Studies program incubating their own creative music scene, IMPFest had its sprawling, glorious beginnings as a multi-week happening largely organized, hosted, and arranged by students and mostly staged in off-campus venues. The festival has changed and morphed through the years to its current format: a two-day festival showcasing talented student musicians from the Jazz Studies program collaborating with renowned guest artists, but the festival also has come to serve a separate and important role in advancing faculty research interests and subsequent recordings of featured guest artists.

Along with providing opportunities for students to learn from musical mentors and creating inimitable live music experiences for audiences, the festivals have yielded notable results in the form of recordings and projects and tunes that were developed or debuted at IMPFest. In that, IMPFest has proven an important sounding board, launch pad, and experimental laboratory for new music and works in progress. Cuong Vu’s “Leaps of Faith,” Bill Frisell’s “Big Sur,”and the Cuong Vu/Richard Karpen-led collaboration “Indigo Mist,” to name a few, all contained themes and tunes performed at various IMPFest appearances.

As IMPFest celebrates its tenth year, energetic collaborations between students and mentors continue unabated. This year’s festival is a stripped-down affair in contrast to the first student-led outings of a decade ago, which stretched out over multiple weeks and venues with bills largely populated by students and their local compatriots. Surprises are certain, but whatever this year’s festival has in store, expect innovation, creativity and mutually enriching experiences for all involved. 

[jazzviewswithcjshearn]

Cuong Vu 4-Tet: Ballet: The Music Of Michael Gibbs (RareNoise, 2017)

Cuong Vu: trumpet; Bill Frisell: guitar; Luke Bergman: bass; Ted Poor: drums

The collaboration with trumpeter Cuong Vu, and legendary guitarist Bill Frisell goes back to the trumpeter's recording of “It's Mostly Residual” (Artist Share, 2005) a project that in it's genesis was originally supposed to be one of three Pat Metheny produced projects on Warner Brothers that never came to fruition.  The album with Metheny was eventually recorded last year and released as the terrific “Cuong Vu Trio Meets Pat Metheny (Metheny Group Productions/Nonesuch, 2016)”.  Vu blends incredibly well with guitarists, and the date with Metheny reached often for the extreme reaches of the avant garde, while the present album “Ballet: The Music of Michael Gibbs” is a carefully considered group effort where the whole is incredibly important, and is for a lack of a better term more inside in a lot of respects.  Vu and Frisell, are a team just as compatible, their individual sounds and phrasing make a delightful experience over the course of forty two minutes.

The album, which follows hot on the heels of the Metheny date, was brought on as a desire of Frisell to have Michael Gibbs come to the University of Washington to use some of his arrangements of the guitarist's music in an orchestra setting. Vu, who teaches at the University got the go ahead from Richard Karpen, Director of the School of Music,  the music contained herein is from the quartet portion of the second night of concerts that also featured two student driven ensembles.  The group, featuring Vu, Frisell, regular 4 tet bassist Luke Bergman and long time drummer Ted Poor approach the music with vim and vigor.  The title track, one imagines with it's sprawling melody, a modern dance routine, moves to a waltz with the solos, both Frisell, and the trumpeter at their sprightly best.  Vu is a master of solos with a dramatic build, and here is no exception as he alternates between swinging, and straight eighths, torrential streams of notes in addition to. legato lines. Frisell is aided by the added lift of Poor's switch from brushes to sticks in an extended conversation with the trumpeter.  “Feelings And Things” is a sumptuous ballad, much like Vu's haunting, “Let's Get Back” on  the Metheny album.  Once again, the presence of a guitar brings a depth of kaleidoscopic texture, Frisell's signature decay, bending in pitch along with his Americana roots is perfect for a deeply reflective solo statement.  The trumpeter's  solo is filled with the sentiment of deep appreciation for a lover.   On “Blue Comedy” first found on the Gary Burton Quartet's “In Concert” (RCA, 1968) sees Frisell swinging with the same flair as when one hears  his unforgettable speech cadence, and making connections to Thelonious Monk by quoting “Blues Five Spot”. The trumpeter grabs the ambling  overall feeling just as easily.  The group's stretching out on “On The Third Day” featuring scorching distortion from the guitarist and Vu spiraling to thrilling heights also showcases the rich impressionistic color they create throughout the set.  

“Ballet” is a terrific addition to the catalogs of both Vu and Frissell.  Cuong Vu continues to refine his craft as his career reaches it's maturity, simultaneously becoming even more lyrical and fiery, two qualities that have marked his playing from the start.  Frissell is enjoying a wide range of creativity and freedom on projects, and like the excellent “Small Town” (ECM, 2017) with bassist Thomas Morgan from earlier this year, always finds enchanting outlets for his expression.

Rating: 9.5/10

[jazzworldquest-blog]

FRANCE/USA: Cuong Vu 4-tet Ballet- The Music Of Michael Gibbs (2017)

2017 release. On the heels of his acclaimed 2016 recording, Cuong Vu Trio Meets Pat Metheny and his 2014 collaboration with electro-acoustic pianist-composer and Director of the School of Music at the University of Washington Richard Karpen on their Ellington-Strayhorn tribute That The Days Go By And Never Come Again, trumpeter-composer Cuong Vu joins forces with guest guitarist Bill Frisell on Ballet, a tribute to renowned composer-arranger Michael Gibbs. With regular Vu 4Tet bassist Luke Bergman and drummer Ted Poor, the four exchange ideas in the moment in a collective fashion on the expansive opening track, "Ballet," which gradually morphs into a kind of quirky, dissonant blues waltz featuring brilliant solos from Vu and Frisell. Regarding this exhilarating Vu 4Tet project, Vu says, "This was a very collective/equal opportunity effort, so we just played and dealt with the cards collectively as they were dealt. I think it just comes down to the collection of players and our individual aesthetics coming together and trying to find a common goal/language." They succeed in triumphant fashion on Ballet, the second collaboration between Cuong Vu and Bill Frisell (their first was Vu's 2005 ArtistShare album Mostly Residual). via Blogger http://ift.tt/2rJXi4P

[earvisions]

Aperture II by Richard Karpen performed by the JACK Quartet May 8, 2012, at the Floyd and Delores Jones Playhouse at the University of Washington.

Spacey and mesmerizing... the first half has this shimmery droney texture and little outbursts that make me think of sunshine on a pond with dragonflies flitting along the water.