Morning Song/Evening Song: Sam Sadigursky

Another edition of our franchise that asks a musician what he or she listened to before bed and after awakening.  I’ve got requests out to several participants. Responses will float in during the next few weeks.

With his rather fetching Words Project records, Sam Sadigursky follows in the footsteps of other luminous poetry meets music titles, including Ishmael Reed’s Conjure discs, Luciana Souza’s investigations into Elizabeth Bishop and Pablo Naruda, and the forever wonderful Lacy/Aebi experiments. Minatures is Sadigursky’s latest, and likely the most vivid, installation, bringing the texts of Kenneth Pachen, Maxim Gorky, Emily Dickinson, and William Carlos Williams to inventive settings. Rather addictive stuff. Thanks to Sam for being our guest blogger.


Caroline Hertig – Chalumeau

There’s a staggering virtuosity to the compositions here, and Hartig brings a primal energy to her interpretations of these solo pieces for clarinet, most of them by composers I’m unfamiliar with. There’s such a vitality and edge to the music, all enveloped by Hertig’s amazingly warm clarinet sound. There’s a melodic and rhythmic vocabulary here that I feel really close to, and parallels much of the language of modern improvisers.


In the Country – Whiteout

David Doruzka was visiting from Prague last week and insisted we see this group at Le Poisson Rouge the night he arrived. They’re based in Oslo and are quite big in Europe, but virtually unheard of here (they played for a crowd of about eight people at LPR). It’s always so refreshing to hear what can happen when a group of creative and accomplished musicians really commit to an ensemble for an extended period, which seems to happen much more in Europe than it does here. The record has an astonishing depth of sound, logic, and inventiveness – big sections of music seem to roll into one another and solos always feel deeply integrated into the composition. These guys are great improvisers, but they don’t let that stop them from constructing these songs with the care that’s more common to bands like Wilco and Radiohead. Here you have the patience and restraint of an ECM record with a groove and edge that I often miss on those recordings.

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