pan y rosas release reunión en la granja by giménez lópez, bass, suarez, scampino!

Rocío Giménez López is a pianist improviser and composer who graduated from Escuela Provincial de Música Santa Fe where she studied classical piano. She later focused on the interpretation and improvisation of jazz language attending piano lessons with Marilyn Crispell, Craig Taborn, Leo Genovese and Agustí Fernández.

Luciana Bass is a guitarist, improviser and sound artist graduated in Sound Arts and Design at the University of the Arts London. She was captivated by the possibilities of free improvised music to which she has been dedicated for the last 10 years. Today it is the union between written and improvised music what mostly interests her.

Fermín Suárez is a double bass player, improviser and composer from Rosario, Argentina. As a part of the city´s independent music scene, he has collaborated on a large amount of projects involving different styles of music such as Argentinian tango, jazz, free improvisation and Latin American song writing. Often performing live, touring, and recording as a session musician.

Rosina Scampino is a drummer, composer and educator. Her musicality and highly sensitive touch on the drums are what characterize her playing. A native of Rosario, Argentina, Rosina aims to create a sound that represents her South American musical roots in the context of contemporary jazz. Rosina strives to make every performance a positive and joyful experience, and her passion for music has relocated her to Boston, MA, where she currently resides.

Their new album is a document of an afternoon they spent making music together when Rosina visited her home country in 2019. The group performed and recorded songs by Ornette Coleman, Albert Ayler, and Paul Motian. It is co-released with the Argentine record label, Discos ICM.

Get the album here!

pan y rosas release de acá a cien años by mentolados durruti

Mentolados Durruti is an improvising trio from Buenos Aires.

Luis Conde, Luis Ianes and Carlos Vega improvised and recorded their album on March 3 of 2019. An attempt to recover narratives found in the archaeology of other music and other discussions. There is no fusion. There is an epic. Clarinets, saxophone, guitars, bass.

Get the album here.

kind words for transparent points on four axes by barbiero/moore/vosh!

The eight pieces on “transparent points on four axes” each began as a single layer of either a composed or improvised track to form a ground layer from which each of the participants then added additional layers. The use of this ground layer provides an underlying sense of direction as each piece’s dialog develops and unfolds. The pieces have a great deal of sonic and textural variety and the album is very well recorded and mixed. There are pieces that are driven by exceptional bass playing with lyrical use of bowed harmonics and the extreme upper register of the bass. Other pieces seem to be driven by more sensitive and nuanced percussion. The analog synth work is really interesting because it can at times give the pieces that retro analog early electronic music vibe, however I think that it really works on this album because it completely avoids the repetitive sequencer driven drivel that is currently being produced by so many contemporary musicians using analog and modular synths.

read the rest here!

pan y rosas release sizigias by the cátodo dúo!

based in chile, the cátodo dúo consists of amanda irarrázabal on double bass and ramiro molina on electric guitar. they began playing together in 2012 as a way of sharing their experiences in the field of the improvised music. built around a string concept, the duo easily moves from intense rhythmic situations to dense layers of noise. the music is totally improvised and their sound arises from treating instruments as sources of sound in every sense of the word using prepared instruments and avoiding conventional playing.

the second album from cátodo dúo! recorded in the studio over three days, the duo investigates sound spaces that go beyond the primarily acoustic nature of the first album to interact with electronic processes. thick noise compounds appear, revealing what was only hinted at before. audacious electronic transformations. a fluidity. a constant and sustained attention to the moment. a focused syntax.

get the album here!

pan y rosas release drank viva bloom ii by dave gabriel!

dave gabriel is a person who is associated with ombrelli sciolti and imelda marcos. he resides in chicago.

drank viva bloom ii, dave gabriel’s second release for the pan y rosas discos label, is grindcore-length faux-avantesque music for the short attention span embracing millenial era. longer than an episode of aqua teen, shorter than an episode of seinfeld.

get the album here!

pan y rosas release mastcutters by natalia kamia and haruhiko okabe!

natalia kamia is a visual and sound artist who studied classical piano when she was young. She now primarily plays everyday objects and toys. haruhiko okabe is a jazz and free improv sax player who also plays a traditional japanese instrument – hichiriki. he recently appeared at the copenhagen jazz festival. they were both born in 1961 in russia and japan, respectively.

the title of the album comes from the name of the church, located on heights close to the neighborhood where the recordings were made – masthuggskyrkan.

mastcutters consists of four unedited free improvisations and two that were layered with a field recording of the rain (it was supposed to be an outdoor concert, but the weather was unkind). all of the songs were recorded at natalia’s home.

get the album here!

kind words for for massas by joão pedro viegas, guy-frank pellerin, silvia corda and adriano orrù!

Dédié à un des auditeurs parmi les plus enthousiastes et les plus fidèles de la scène improvisée – jazz d’avant garde Lisboète récemment disparu et surnommé « Massas », ces quatre pièces enregistrées à la librairie Ler Devagar en 2015 documentent une rencontre entre les souffles du clarinettiste portugais João Pedro Viegas et du saxophoniste français Guy-Frank Pellerin et le tandem piano-contrebasse des sardes Silvia Corda et Adriano Orrù. La musique, librement improvisée, se situe dans ce no man’s land vers lequel ont dérivé le free d’après la New Thing et la musique contemporaine oublieuse de ses origines. Viegas sollicite les harmoniques de la clarinette basse et Pellerin des phrasés tordus au saxophone ténor. Les souffleurs font râler la colonne d’air, étirent les notes, éclatent les harmoniques, passent du grasseyant à l’acide.