Dream Zoo, the Avant Cabaret Music of Valerie Kuehne

Life in the United States, in my generational view anyway, is a life of continual loss. You lose things. A piano, friends, a house, a job, parents, your car keys, that important note you wrote to yourself, your youth. And then you (one hopes) gain things too. There's always new music, for example. Here today is something to gain. It's the music of Valerie Kuehne, in the guise of the group Dream Zoo. She writes the music, plays cello, and sings what is variously dubbed classical, experimental, melodramatic popular song, avant cabaret.

Like Friday's music it has a bit of a sprechstimme (speech-song) aspect, which of course cabaret always has had, presumably well predating Schoenberg's "Pierrot".

So there's a six-song self titled album Dream Zoo (self-released) which you can listen to on Facebook and My Space, and can buy as a download on Bandcamp (Facebook links you to them). Now I must caution you that this music may be an acquired taste (it was for me) so that hearing some of it while staring at a computer screen may not be the best way to experience the music.

It's music that has a cerebral-emotional intensity, modern expressionist chamber music if you like, and the first hearing, especially in less than ideal circumstances, may put you off. The lyrics are about a dissociative surreal metaphysical angst in an everyday dream world. I am not sure Ms. Kuehne would put it that way, but it hit me that way.

It is music that grew on me to the point where I now appreciate it...like it, even. First time through I almost hated it. But that's something I lost as I listened time and again.

If you download the album and do as I did, you may find that you feel the same way.

Prism Quartet, "Dedication," 31 Minatures in Celebration of the Saxophone Quartet's 20th Anniversary

The all-saxophone Prism Quartet recently celebrated its 20th anniversary as a group. Dedication (Innova 800) notes fittingly the passing milestone with the quartet performing 31 short compositions penned especially for the occasion. Most pieces are a little over a minute in duration, though some are longer. Time passes quickly and rewardingly when listening.

Jazz adept Greg Osby joins the group for some effective solo work on alto for his piece "Prism #1 (Refraction)," presented in two interesting takes.

In addition there are short pieces by Ken Ueno, William Bolcolm, Jennifer Higdon, Tim Berne, and a host of others. As might be expected, some directly channel the sounds and influences of modern jazz, others take on various characteristics as the particular composer deems fit. All are contemporary, seem specially suited for the quartet, and sparkle like small but brilliant stones in a modern cabinet of curiosities.

Dedication showcases ideally the excellence of the Prism Quartet with their exceptional tonal blend and precise agility. A most fitting way to kick off the next 20 years!

Joana Sa's Striking New Music from Portugal: "Through This Looking Glass" CD/DVD

Before I received the CD/DVD Through This Looking Glass (blinker, Marke fur Rezentes) I did not know of the music of Joana Sa. Now that I have listened repeatedly and watched the accompanying DVD, I feel that I surely do. She hails from Portugal, performs the entire piece live for this production, and leaves no small impression. The piece was conceived and written for prepared piano, toy piano, electronics (mostly live), props (mechanical toys for the most part) and a mobile.

The tripartite influences of John Cage, Karlheinz Stockhausen and George Crumb make themselves felt as precursors throughout. You have ambiance, sound-painting and an exotic component in the work as a whole that all the above have something to do with, though she remains totally herself to my mind.

The release includes a CD version of the audio and a DVD film (directed by Daniel Neves) of Ms. Sa's performance. This is late high modernism at its best. The film heightens the performative aspects of the piece with a black and white clarity that gives you insight into the work and Ms. Sa's refreshingly poetic approach. You watch as she manipulates the piano with dexterity and confidence. There are the prepared piano passages, the playing inside the piano with bow hair, mallets, sticks, hands, inserted objects. There is Joana sounding the grand piano from underneath. There are the mechanical toys, the mobile. There is the sheer viceral aspect of performance.

It is a work of great charm. It is sound poetry. It is one of the most successful and attractive high modern keyboard works that I've heard in years. Joana Sa must be appreciated if you want to know where modernism has gone. It's here. Find out more by clicking on the Joanna Sa link on the right. Click on the Trem Azul link on that site to order a copy. Highly recommended.

Avant-Minimal Accordion Music from Finland: Antii Paalanen's "Beatbox"

I don't suppose anyone would accuse this blog of getting stuck in a rut. And since it's people who make blogs, and they don't make themselves, it is this writer you can either thank or blame for it.

As if to make a point we travel to Finland today for a most interesting CD of accordion music by composer Antii Paalanen: Beatbox (Sibelius Academy 1005). It's Paalanen and his three row accordion, sometimes apparently multi-tracked, in a program of nine semi-miniatures.

What is compelling is how Antii combines minimalism, folk-like strains and quasi-rock rhythmic insistence into a heady mix that is all his own. There is a full use of all the parameters of sound that his instrument can produce and there is a definite virtuostic bent to the intricacy of the music.

It's melodic in the recognizable almost whistle-along sense. But it also has a power to it that makes it far from lightweight fare. This is serious music. It is seriously interesting. Seriously worth hearing.