iiinova — where your digital self keeps evolving

Observations of Deviance @obsofdeviance.bsky.social · 29/09/2026

ALVIN CURRAN Roman Ruins CD WE INSIST! Records CDWEIN37 Release date: October 21 weinsist.bandcamp.com

Much has been written about improvisation… probably the most
ancient of musical languages that Homo Sapiens has “spoken” in
the last 40-50,000 years, and today collective free improvisation
has become an art and musical field unto itself. But like the grand
gamelan orchestras of Bali and Java, the massive Alpenhorn
orchestras in Switzerland, or our own great symphonic orchestras
and choruses – bringing large numbers of people together to
make music is nothing new, and practiced worldwide based on
proven traditions.

So, to make music based on “nothing” collectively with many
people may appear as an act of futility, even stupidity. Yet,
knowing that anything can happen, even transcendent beauty, is
for me reason enough to continue the pursuit of this evanescent
magic.

Alvin Curran, Rome, 20.10.2024

Observations of Deviance @obsofdeviance.bsky.social · 29/09/2026

Don Cherry #vinyl Original vs Reissue @wewantsounds.bsky.social The Third World-Underground by Dollar Brand, Don Cherry, Carlos Ward

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Observations of Deviance @obsofdeviance.bsky.social · 28/09/2026

If memory serves Ornette talks about KC in this film. I can’t remember the exact quote. Something about how KC was a millionaire.

ORNETTE
MADE IN AMERICA
A FILM BY
SHIRLEY CLARKE
PROJECT SHIRLEY, VOLUME THREE
RESTORED BY MILESTONE AND THE UCLA FILM & TELEVISION ARCHIVE
"THE RESTORATION AND REISSUE OF ORNETTE: MADE IN AMERICA... IS CAUSE FOR CELEBRATION -both for its value as a movie and for its exploration of Coleman's art.
RICHARD BRODY, THE NEW YORKER

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Observations of Deviance @obsofdeviance.bsky.social · 27/09/2026

New episode archived @wfmu.bsky.social STREAM ▶️ wfmu.org/playlists/sh...

See link in post for full track list

CECIL TAYLOR

JULIUS HEMPHILL

IRAN

SWEDEN

NORWAY

BRAZIL

PAT THOMAS

RONALD SHANNON JACKSON DECODING SOCIETY

MELVIN GIBBS

MIKE REED

OUT OF YOU HEAD

PLANET MU

HYPERDUB

OCORA

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Observations of Deviance @obsofdeviance.bsky.social · 25/09/2026

We are now living in an episode of Mr. Show “Cute, friendly, lovable!...Pit-Pat! A magical pansexual non-threatening spokes thing!”

on top PIT PAT from Mr. Show

below

"advertising’s newest spokescharacter, Liberty Biberty. What started as a flubbed line in a Liberty Mutual Insurance commercial, Liberty Biberty is now a fuzzy yellow puppet who is ready to talk insurance. And he’ll be hitting the airwaves"

Liberty Mutual's New Commercial Character Offers Insurance Against
Ad-Avoiding Consumers

What’s yellow, fluffy and has a name that’s likely to get stuck in your head? The insurance sector’s newest TV star.

Liberty adds to the coterie, with “Liberty Biberty,” a fuzzy anthropomorphic character

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Observations of Deviance @obsofdeviance.bsky.social · 25/09/2026

#Ocotillo is the official plant of the next episode of my radio show. Sat, Sept 26, 7-10pm(ET) @wfmu.bsky.social STREAM ▶️ wfmu.org/playlists/sh...

Plant Fact Sheet: Ocotillo
Identifying Features

Ocotillo (Fouquieria splendens) are one of easiest plants to identify in the desert. They are a large shrub with long cane-like unbranched spiny stems that grow from a short trunk. Small 2 inch leaves will grow from the stems when there is enough moisture. Dense clusters of red tubular flowers grow from the end of the stems from March through June.

Habitat

Ocotillo prefer a habitat that is open and very rocky, and where the soil is well drained. Areas such as rocky slopes, mesas, washes and desert grasslands.

Range

Ocotillo are common in most areas of the Sonoran and Chihuahuan deserts. They are also found in western Texas through to southern California.

Life Span

There is much discussion on exactly how old Ocotillo can live. A good estimate is 60 years although some studies indicate they can live well over 100 years

Size

Ocotillo can reach heights of up to 20 feet.

Quick Facts

The Ocotillo is called many different names including Candlewood, Slimwood, Coachwhip, Vine Cactus, Flaming Sword and Jacob's Staff.
The Ocotillo is often use as "fencing" because its spines stop people and animals from passing through.

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Observations of Deviance @obsofdeviance.bsky.social · 22/09/2026

David Moss on 1980s/90s NYC tapers youtu.be/4YrSvhwbrFI?...

I didn't record myself because I couldn't. David, you know, it was hard enough to set up a sound-check and play a gig, but to run a recording of yourself at the same time, we all couldn't do it. We all failed at it. We all wanted to do it. But we do have recordings available to us from several of the freaks at the time, the recording freaks who followed us around, who made cassettes. I think they were a maximum four, minimum two guys who were, three of them were Japanese and one of them was probably French.

They were recorders. They didn't play. They were totally devotees of the improv scene. They turned up at almost every gig and stood in the back of the room with a handheld microphone going into their cassette machine. And it wasn't always a pro walkman. It could have been something very low level. And they recorded with this one handheld mono or stereo mic. They recorded whatever they could on cassettes. And we didn't even most of the time ask them for copies of the tapes because we weren't... The ethic of the times was we did the music, it's over. Let's go to the next thing.

Really, there was a big, big unspoken rule, another one in the scene, which was You do the music, you don't talk about it, and you go to the next one. That's it. No analysis, no listening back. What's done is done. Go ahead. Really, that was a big thing. So if you wanted to talk about something you liked in a piece, you have to be very careful because nobody wanted to go back and try to remember everything. They really, it was interesting that way.

So, okay. These guys, we saw them at almost, I mean, not every gig, but enough. I would say 65% of our gigs of duo trios and quartets and bigger ones were recorded by these people. And some of them got in contact with us later and said they have an archive of tapes and would we like copies of certain things and we could get them free if we wanted. And so that was good. Some of it was capturable by us after the fact, which we like to have for…

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Observations of Deviance @obsofdeviance.bsky.social · 21/09/2026

Albert Ayler #vinyl $12,716.17 www.discogs.com/release/5049...

Albert Ayler – The First Recordings Vol.2

Label:
Bird Notes – BNLP 2
Format:
Vinyl, LP, Album, Reissue, Test Pressing, White Label
Country:
Sweden
Released:
1963
Genre:
Jazz
Style:
Free Jazz

According to www.ayler.co.uk this issue is referred to as Vol. 2 - version 2 (also known as Vol. 3), because Vol. 2 - version 1 supposedly predates this.

Extremely rare, maybe only 5 to 10 pressed

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Observations of Deviance @obsofdeviance.bsky.social · 21/09/2026

Jazz Is My Religion BY TED JOANS www.poetryfoundation.org/poetrymagazi...

Jazz Is My Religion
BY TED JOANS
Jazz is my religion and it alone do I dig the jazz clubs are
my house of worship and sometimes the concert halls but some
holy places are too commercial (like churches) so I don’t dig the
sermons there I buy jazz sides to dig in solitude Like man / Harlem,
Harlem USA Used to be a jazz heaven where most of the jazz
sermons were preached but now-a-days due to chacha cha and
rotten rock’n’roll alotta good jazzmen have sold their souls but jazz
is still my religion because I know and feel the message it brings
like Reverend Dizzy Gillespie / Brother Bird and Basie / Uncle
Armstrong / Minister Monk / Deacon Miles Davis / Rector Rollins /
Priest Ellington / His Funkness Horace Silver / and the great
John coltrane and Cecil Taylor They Preach A Sermon
That Always Swings!! Yeah jazz is my religion Jazz is my story
it was my mom’s and pop’s and their moms and pops from the
days of Buddy Bolden who swung them blues to Charlie Parker and
Ornette Coleman’s extension of Bebop Yeah jazz is my religion
Jazz is a unique musical religion the sermons spread happiness and
joy to be able to dig and swing inside what a wonderful feeling
jazz is / yeah boy!! jazz is my religion and dig this: it wasn’t for
us to choose because they created it for a damn good reason as a
weapon to battle our blues! jazz is my religion and its
international all the way jazz is just an Afroamerican music
and like us it’s here to stay So remember that jazz is my religion
but it can be your religion too but jazz is a truth that is always
black and blue Halleluiah I love jazz so Halleluiah I dig jazz so
Yeah jazz is my religion

Notes:

This poem is part of the folio “Ted Joans: Surreally I Is” and is reprinted by permission of the Ted Joans estate. Read the rest of the folio in the September 2026 issue of Poetry.

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Observations of Deviance @obsofdeviance.bsky.social · 20/09/2026

#Tucson history 1996's World's Largest Cockroach Contest ARNOLD ROACHENEGGER WON it at 1.75 inches long! VIDEO ▶️ youtu.be/kj6jOwJE_qA?...

1996 Tucson the "World's Largest Cockroach Contest" Arnold Roachenegger won it at 1.75 inches long! This video highlights our 1997 Cockroach Contest and gives Arnold a mention.

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Observations of Deviance @obsofdeviance.bsky.social · 20/09/2026

New episode archived @wfmu.bsky.social Dense Full House: David Moss Interview STREAM ▶️ wfmu.org/playlists/sh...

Creative improvising drummer and vocalist David Moss was a central figure in the Downtown NYC creative music community of the 1980s and early 1990s. He recorded and performed with some of the leading figures of the scene—Fred Frith, Bill Laswell, Arto Lindsay and John Zorn to name a few. Moss discusses this vibrant community, and the August reissue of his Full House and Dense Band albums, in an exclusive interview.

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Observations of Deviance @obsofdeviance.bsky.social · 19/09/2026

Jonas Cambien Jazz on an Ace Tone Top 5 combo organ jonascambien.bandcamp.com/album/popula...

One of the more common combo organs is the AceTone TOP-5. A fairly limited instrument in many ways, it does seem to have the bare-essentials required of a good combo organ.
Just read these glowing reviews from two satisfied TOP-5 owners:

"I think [the TOP-5] nails a great combo sound for recording and performance. Granted, if ... you're looking for a lot of variability (if you were going to play it all night, say, and wanted lots of different sounds for lots of different songs), then it would probably be too limited. But if you're looking for a great, strong, clear combo sound, then look no further than the Top-5. On top of it's sound it's also very small, and also reliable. I bought mine and it worked then and works now, and I can't say that about very many of my instruments. It's the Toyota of the combo world: not too much glamour, but when you get in, it starts and gets you where you're going."

"The more I record, the more I find my Top-5 is my organ of choice... The Top 5 may not sound 'Good' by organ standards, but I find in the context of a mix, it more often sounds "right". The few sounds that it can produce, are all the sounds that one needs...I LOVE MY TOP 5!!!"

Controls:

Knobs:Volume, Vibrato D., Vibrato S.
Tabs: Flute, Organ, Horn, Oboe, String, Vibrato

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Observations of Deviance @obsofdeviance.bsky.social · 18/09/2026

On the next episode Dense Full House: David Moss Interview Sat, Sept. 19, 7-10pm(ET) @wfmu.bsky.social STREAM ▶️ wfmu.org/playlists/sh...

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Observations of Deviance @obsofdeviance.bsky.social · 18/09/2026

Getting prepared for the evening’s festivities

Tucdon, Arizona
Hotel Congress
The Century Room

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Observations of Deviance @obsofdeviance.bsky.social · 16/09/2026

Penny's Groove by Penny (AfroSynth 2026) originally released in South Africa 1985 www.rushhour.nl/record/vinyl...

Obscure disco gem from 1985. Singer Penny Mtya, like many others, journeyed from small-town South Africa to the bright lights of Johannesburg in search of fame. There her path collided with Muntu Semenya, the son of long-exiled stars Caiphus Semenya and Letta Mbulu, who had recently arrived from the US and was making his mark in SA as a producer and keyboardist. There demo secured a deal with the local office of WEA Records and they soon entered RPM Studios with co-producer Thokoza Memela to record three tracks.

‘Cassanova (Stop That Game)’ is a seven-minute Afrofunk workout reminiscent of Kiki Gyan or Sylvester, showcasing Penny’s sultry vocals and Semenya’s stabbing synths. On the flip side, ‘I Feel It’ is a chugging instrumental climaxing in a fuzzed-out solo from session guitarist Jethro Butow. Defying expectations again, the album closes with a Motown-worthy slow jam, ‘Memories’, a duet with Yandy Mgolombane featuring Mike Faure on sax.

Titled Penny’s Groove, the three-track EP received little promotion on its release and quickly disappeared into obscurity, with the label perhaps unsure of how to market the polished ‘international’ sound and diverse components. The tracks were never performed live and everyone involved in the studio project soon parted ways. Semenya and Mgolombane laid low while Penny returned disenchanted to her home in the Eastern Cape, where she remained active in music but never realised her dream of solo stardom.

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Observations of Deviance @obsofdeviance.bsky.social · 15/09/2026

Karin Krog unreleased recordings from 1970, from German radio and TV 🇸🇪 www.instagram.com/p/DdRKWhUDO8B/

Öppet Fyra will be dedicated to incredible Norwegian singer KARIN KROG. To be released 23 October during Umea jazzfestival. Mats Gustafsson and Roger Bergner have dug deep and found unreleased recordings from 1970, from German radio and TV that is simply indescribably good.

Four tracks with a temporary Scandinavian septet, performing music written by Berndt Egerbladh:

Karin Krog – vocals & electronics
Lars-Göran Ulander – alto sax & flute
Calle Neumann - alto sax & flute
Berndt Egerbladh – piano & organ
Terje Rypdal – electric guitar
Niels-Henning Ørsted Pedersen – bass
Sten Öberg – drums
And three duo recordings with
Karin Krog – vocals & electronics
Pierre Favre – drums & percussion

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Observations of Deviance @obsofdeviance.bsky.social · 14/09/2026

Desert Drone | Devin Gray (Berlin) / Daniel Rossi's Mess (NYC) / Ace Hardware (Tucson) The Century Room #Tucson Thu, Sep 17 at 6:30 PM dice.fm/event/v3xayl...

An evening of drummer-led experimental music, anchored by some of the most restless percussionist-composers working today.

Devin Gray is a drummer, composer, and bandleader based in Berlin. A fixture of the international creative-music scene, he’s collaborated with Dave Liebman, Tim Berne, Kris Davis, Michael Formanek, and Gerald Cleaver, and leads his own Rataplan Records. For this performance he presents his acclaimed solo work for drums + electronics, comprising of stunningly detailed playing that All About Jazz described as “a cross between Fritz Hauser and Roy Haynes.”

Daniel Rossi’s Mess is an ever-evolving experiment from the New York drummer, guitarist, and composer. Rossi has drummed for Haley Heynderickx, Fievel Is Glauque, and Weyes Blood; with MESS, he folds those wide-ranging instincts into a project that fuses jazz, progressive rock, and free improvisation.

Ace Hardware is Tucson’s own free-improvising supergroup: Jeffery Gordon Evans (flute/percussion), John Welsh (guitar), Ryan Wheless (banjo + FX), and Greg Saunier (drums)

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Observations of Deviance @obsofdeviance.bsky.social · 13/09/2026

New episode archived @wfmu.bsky.social Underground Impresario: Gerard Cosloy Guest DJ @gerardcosloy.bsky.social SREAM ▶️ wfmu.org/playlists/sh...

Even if you don’t know the name Gerard Cosloy, you’ve heard the music he’s brought into the world. Since the 1980s he’s been associated with, or begun, some of the most influential alternative/underground music labels - e.g. Matador, 12XU, Homestead. Cosloy curated a special mix for OoD and sat with host David Mittleman for a conversation about his life in the music biz.

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Observations of Deviance @obsofdeviance.bsky.social · 13/09/2026

Saturday #vinyl find Perhaps somewhat common in Europe, I’ve never seen a copy in the wild. Overall nice & clean. Spare piano/bass jazz arrangements with Swedish folk flavor. Calming and centered.

JAZZ
svenska
stereophonic
mflp s4
Uyuklig
HeleguOr
JANJOHANSSON SVENSKA FOLKLÄTAR

JAZZ PA SVENSKA
JAN JOHANSSON PIANO
GEORG RIEDEL BAS
Stereophonic
megaion
MFLP S 4 A
NCB
33⅓ RPM
Sida 1
All rights reserved
Made in Sweden
VISA
(Från Utanmyra) 4'27"
GANGLEK
(Från Aivdaten) 1'57"
POLSKA
(Från Medelpad) 2'29"
VISA
(Från Rätfvik) 3'19"
BRUDMARSCH EFTER LARSHOGA JONKE
(Från Medelpad) 2'00"
VALLAT
(Från Jämtland) 1'52"
Arr. Jan Johansson

stereophonic
mflp s4
JAZZ
pa
svenska
Jan Johansson, piano
Georg Riedel, bas
Anteckningar från Jan Johanssons notblad:
Sida 1
Visa frän Utanmyra - 4'27*, inspelad 28. 2. 62. Ăr văl knappast från Utanmyra, men råkade bli upptecknad
där i den bok där jag hittade den. Text Olof von Dalin.
En av verserna: Det är den tyngsta sorg,
som jorden mânde bära, at man skall mista bort, sin aldra hjertans kara.
Det år den tyngsta sorg,
som solen övergâr, at man skall älska ten, man aldrig nånsin far.
Melodien har använts av Kurt Atterberg som mellanspel i en opera.
Gänglek frân - upptecknad i Älvdalen - 1'57", inspelad
6. 5. 64. Den för svensk folkmusik karakteristiska moll-
dur-växlingen finnes här. På inspelningen har vi försökt kombinera svensk och amerikansk folkmusik den senare sådan som Jimmy Giuffre brukar spela.
Polska från Medelpad - 2'29", inspelad 18. 10. 63. Pols-
kan var u
en dans, men en del polskor brukade man
ej dansa till utan endast lyssna till, och kanske var denna en sådan. Jag tycker ibland att man hör mera skog i låtarna från Norrland.
Visa från Rättvik
3'19", inspelad 18. 10. 63. Enligt
Torgny Erséus i tidskriften "Musik och skola" nr 1 1964 sidan 28: "... Visa från Rättvik har trots sin 3-takt
nästan koralartat högtidliga drag.
Den visar sig också
vara en variant - eller grund - till psalmen Gå varsamt, min kristen, Sv. Ps. 344..."
Brudmarsch efter Larshöga Jonke - 2'00", inspelad
18. 10. 63. Denne var en berömd spelman i Jämtland.
Dur - moll.
Vallât från Jämtland - 1'52", inspelad 28. 2. 62. Ăr en vallát från Jämtland. Georg Riedels lága D - en helton under basens normala omfång, E-strängen något slappare spänd än vanligt - skall som alla förstår skildra de milsvida skogarna.
Sida 2
Emigrantvisa - 3'27", inspelad 6. 5. 64. "Vi sålde våra hemman, vi sålde våra kor..." för att få pengar till
en enkel biljett till Amerika. Antalet verser ar mycket stort.
Visan var mycket populär och förekom i flera,
ganska olika varianter.
Berg-Kirstis polska - 3'30", inspela…

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Observations of Deviance @obsofdeviance.bsky.social · 11/09/2026

On the next episode Underground Impresario: Gerard Cosloy Guest DJ @gerardcosloy.bsky.social Sat, Sept 12, 7-10pm(ET) @wfmu.bsky.social SREAM ▶️ wfmu.org/playlists/sh...

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Observations of Deviance @obsofdeviance.bsky.social · 09/09/2026

A scan of the first page of CREEM's Leon Thomas Interview is publicly available. Here it is, and I used an image to text program to spit out the text, also here. Any help with the rest would be greatly appreciated!

an interview with Leon Thomas

(Leon Thomas first became known to us through Pharoah Sanders album Karma (Impulse). His near-yodel "the moaning of spirits known and unknown" as it has been called, fascinated both myself and many others. It was like the crying out of the father after the son and a million other everyday occurences immediately relatable, as real and inteme as Sander's own work.

The influence of Thomas has not gone unnoticed in either jazz or rock circles. Tim Buckley is said to be patterning his new act after Thomas vocal style. And Leon is featured on two new album his own Spirits Known and Unknown (Flying Dutchman) and Pharoah Sanders' latest, Jewels of Thought (Impulse). The Pharoah Sanders group, featuring Leon Thomas, is perhaps the first group which has made the New Music relatable for white rock audiences. (Others who might be mentioned in the same context are Miles Davis new group, Tony Williams' Lifetime and Albert Ayler's album New Grass).

Definitely a vanguard performer, Thomas discusses here some of the elements which make. up what has been variously called everything from The New Music to avante garde jazz to a jazz- tock fusion. At any rate, all it really is is a Black man discussing Black Music That's enough, Dave Marsh)

CREEM: To go back a little bit, the first time I ever remember hearing your name was from (Pharoah Sanders album) Karma Who were you wah before that?

THOMAS: Well, I recorded with Mary Lou Williams and (Count) Basie. I worked with Basic about two years

CREEM: How long ago was that?

THOMAS: That was about sixty...sixty-five, sixty-three to sixty-five. And with Randy Weston, Roland Kirk, with Roland Kirk mostly. And Tom Scott. And recorded with Mary Lou, did some concerts with her and did a live recording at Carnegie Hall. Then playing and gigging around subsequently hooking up with Pharoah

CREEM: How did that happen? Had you met Pharoah previously?

THOMAS: Yes, I'd known Pharoah since be was with Trane. And we'd …

041

Observations of Deviance @obsofdeviance.bsky.social · 08/09/2026

Anyone have a subscription to CREEM? I’m looking to get a transcript of this Leon Thomas interview. 🙏 www.creem.com/archive/arti...

161

Observations of Deviance @obsofdeviance.bsky.social · 04/09/2026

Pat Thomas - electronics and piano Khabat Abas - cello and self-built instruments Alya Al-Sultani - voice Manara منارة beacon /ˈbiːk(ə)n/ noun 1. a fire or light set up in a high or prominent position as a warning, signal, or celebration. discusmusic.bandcamp.com

DISCUS MUSIC 215CD
Artist: Alya Al-Sultani / Pat Thomas / Khabat Abas
Title: Manara
Release Date: 25th September 2026
Recorded: 2022

Manara is a trio that emerged from a love of poetry, a shared interest in the musical traditions of the Middle East and poetry as political resistance.

The musicians had worked together before separately – Alya and Khabat performed together in Suleimaniyah, Iraqi Kurdistan as part of the Space 21 Festival, and Alya and Pat have improvised together in several ensembles over the past decade.

Alya had arrived at a time where she was desperate to explore the performance of more poetry in her mother tongue – she wanted to find a vehicle for free improvisation that was not orientalised and captured the complexity of the identity of exiled individuals and those who think and feel differently to their surroundings. Having always admired and loved Pat and Khabat’s work, she believed that coming together would achieve that sound.

In the tradition of classical Middle Eastern music, the compositions start with a poem placed into the hands of a singer.

In this case, a poem by Palestinian poet Dareen Tatour for which she was punished by imprisonment for 4 years;

“Resist, my people, resist them.
Resist the colonialist’s onslaught.
Pay no mind to his agents among us
Who chain us with the peaceful illusion.”

And words by Palestinian-Jordanian writer Khadija Muhaisen Dajani,

“Qahr”.“There is no English equivalent to the Arabic word qahr قهر. The dictionary says “anger” but it’s not. It is when you take anger, place it on a low fire, add injustice, oppression, racism, dehumanization to it, and leave it to cook slowly for a century.”

The trio is honoured to have the blessing of both poets to explore their work in this album.

The trio follows the poems’ beacons in spontaneous collective composition.

The artwork (created by Al-Sultani), is handmade paper within which is embedded indigenous wild flowers and seeds. The poetry of both poets

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Observations of Deviance @obsofdeviance.bsky.social · 04/09/2026

On the next episode Underground Impresario: Gerard Cosloy Guest DJ @gerardcosloy.bsky.social Sat, Sept 5, 7-10pm(ET) @wfmu.bsky.social SREAM ▶️ wfmu.org/playlists/sh...

at. Sep 5th, 7pm - 10pm: Underground Impresario: Gerard Cosloy Guest DJ
Even if you don’t know the name Gerard Cosloy, you’ve heard the music he’s brought into the world. Since the 1980s he’s been associated with, or begun, some of the most influential alternative/underground music labels - e.g. Matador, 12XU, Homestead. Cosloy curated a special mix for OoD and sat with host David Mittleman for a conversation about his life in the music biz.

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Observations of Deviance @obsofdeviance.bsky.social · 03/09/2026

Upcoming @wfmu.bsky.social 9/5 Underground Impresario: Gerard Cosloy Guest DJ 9/19 Dense Full House: David Moss Interview 10/17 Leap Life: Saul Williams Interview 11/7 The Secret of the Cooler: Eugene Chadbourne Interview 11/21 Stochastic Parrot: Mike Cooper Interview ▶️ wfmu.org/playlists/OV

0206

Observations of Deviance @obsofdeviance.bsky.social · 02/09/2026

"Painting In Sound positions the listener inside a fully three-dimensional sound field. Greenfield treats space as an equal compositional voice...Greenfield composes not only with notes but with spatial placement and movement through the immersive field" sunnysiderecords.bandcamp.com/album/painti...

Hayes Greenfield’s third Sunnyside release, Painting In Sound, expands the horizon and perception of what jazz–and binaural, spatially immersive music–can be. An acclaimed jazz musician, composer, and electroacoustic artist, Greenfield draws from decades of traditional and improvisational mastery to create a sonically exploratory recording that is as architecturally precise as it is emotionally resonant.

Captured with Max/MSP and SPAT spatial and binaural software, Painting In Sound positions the listener inside a fully three-dimensional sound field. Greenfield treats space as an equal compositional voice: shaping air, distance, proximity, and motion with the same sensitivity he brings to melody, harmony, and rhythm.

Greenfield composes not only with notes but with spatial placement and movement through the immersive field. Lines arc and spiral; instruments and textures shimmer, recede, orbit, and hover; and tones appear, approach, and dissolve. Greenfield’s sound palette is wide with acoustically driven sources, like alto and soprano sax, flutes, bass and alto clarinets, kalimba, harmonica, and voice, finding new tones and textures through effect pedals and loopers.

Subtle resonances, overtones, and timbral shifts reveal new layers with each listen, creating an immersive sonic environment in which movement, depth, and perception become essential elements of the music.

Rooted in jazz’s spontaneity yet reaching beyond traditional form, Hayes Greenfield’s Painting In Sound blurs the line between performance and environment. Every tactile gesture feels alive, offering an intimacy that redefines the recorded experience. It is an expansive statement from an artist pushing jazz into bold and new perceptual dimensions.
credits
released May 15, 2026

Hayes Greenfield - alto & soprano saxophones, C & alto flutes, bass & alto clarinets, kalimba, harmonica, voice, effect pedals, and loopers
license

0102

Observations of Deviance @obsofdeviance.bsky.social · 01/09/2026

Weird! Here's a press photo of the two together.

Linda May Han Oh & Melissa Aldana - Beneath Lifted Skies

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Observations of Deviance @obsofdeviance.bsky.social · 01/09/2026

One of the all time great #vinyl boxsets “Centrafrique Anthologie De La Musique Des Pygmées Aka” OCORA 3-LP 1980 repress, originally released 1978, recorded 1972-77

Anthologie
de la Musique des Pygmées Aka
Centrafrique
Musiques traditionnelles vivantes
I. Musiques de tradition orale
ocora

Booklet detail, b&w photo of two drummers

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558 526/27/28
Anthologie de la Musique des Pygmées Aka
(Centrafrique)
Disque 1
Face A
1 à 4. Rituel précédant le départ à la chasse (Zoboko)
S. Appels de chasse (Mongombi)
6. Chants pour le retour de la chasse (Nzombi)
Face B
1. Danse après avoir tué un éléphant (Monzoli)
2. Rituel précédant la collecte du miel (Mobandi)
Disque 2
Face A
1. Berceuse (Mo boma)
2. Chant pour l'enfant dont la mère est enceinte (Ndosi)
3 a 5. Trois jeux d'enfants chantés
6 et 7. Musique pour la
danse Mbenzele
Face B
1. Musique pour la consécration d'un nouveau campement (Mokondi)
2. Musique pour la
danse Ngbolu
3 et 4. Musique pour la danse lombe
Disque 3
Face A
Tet 2. Deux chantefables:
"L'Oiseaux (Nyodi) et
"Taille-fine" (Nanga-ningi)
3. Chant de déploration sur le cadavre (Boyiwa)
4 et 5. Musique de divination
(Bondo) : Dikobo, Diye Face B
TaS. Musique de divination (Bondo):
1. Apolo
2. Koko ya ndongo
3. Yaya
4. Mbola
S. Mbola
Enregistrements stéréophoniques, notice et photos : Simha AROM
Documents recucillis de 1972 a 1977. au cours de missions effectuées dans le cadre du Laboratoire des Langues et Civilisations à Tradition Orale du
Centre National de la Recherche
Scientifique, Paris.
Traduction David Stevens
Gravure : François Terrazzoni
Pressage : M.P.O.
Secrétariat d'édition : Alliramy Brochand
Collection dirigée par : Pierre Toureille
® 1960. Rodition en coffret - comportant une nouvelle gravure des enregistrements.
Cette "Anthologie de la Musique des Pygmées Aka - Centrafrique" a obtenu la plus haute distinction jamais accordée à une publication de cet ordre (Grand Prix International du Disque / Académie
Charles Cros/Prix du Président de la République 1978.
DISTRIBUTION EXCLUSIVE
MUSIDISC-EUROPE

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