Elliott Sharp

Saadet Türköz’s influences spread far and wide. Born in 1961, the singer grew up on the Bosporus where Europe and Asia meet. Her ancestors were nomads who migrated from Semey in Kazakhstan to East Turkestan from where they fled via India and Pakistan to Istanbul. But Istanbul, international city, modern metropolis and history-laden cultural crucible, is not the only place to have influenced her.

Inevitably, there's some symbolism implied when an artist, after years of lurking behind a semi-obscure pseudonym– head down, eyes averted, shoulders squeezed and high– puts out a record under his common name. Former Third Eye Foundation principal Matt Elliott has spent most of his recording career as a modish UK hipster in a dark disguise: thus, the leap from "Third Eye Foundation" to "Matt Elliott" should involve a nice dose of lurid confessionalism, some newfound honesty, a running-around-naked-in-daylight reinvention of self. Right? Hey, turn this car around! Someone left the personal catharsis at home! The Mess We Made, Matt Elliott's proper debut as Matt Elliott is, at least atmospherically, just as shadowed and sinister as his late, orchestral Third Eye work.

For their second and, apparently, final album, the group of downtown New York City musicians who had come together under the banner of the New York Composers Orchestra branched out a bit from performing their own compositions in the attempt to construct a kind of repertoire of large ensemble music from various contemporary composers…

Henry Kaiser has the gift. Whether it's the gift of empathy, of friendship, or simply a more pragmatic gift for creative collaboration isn't clear, but I think it's one of the first two. These guitar duos go all the way back to 1977, and "Wheels Right and Left" with the saintly Davey Williams, coming right up to date with "Infinitum Ad-Infinitum" with the currently omnipresent Ian Brighton. The set starts, properly enough, with "Chrysanthemums", a 1993 meeting with Derek Bailey, just a minute and a half in length, but it ends, even more appropriately with a much longer piece with John Russell called "Split the Difference". In between, you'll find warm, sometimes hilarious selfies with Nels Cline, Fred Frith, Jim O'Rourke, Elliott Sharp, Eugene Chadbourne, Bill Frisell, but also a few less familiar names like Debashish Bhattacharya, Sandy Ewen, Chris Muir and Roberto Zorzi; all this just laboured enough to suggest the range and warmth of Kaiser's creative relationships. These are, as he explains in a minimal sleevenote, friends who became heroes who became friends.

An emblematic figure of her time, Nadia Boulanger (1887-1979) taught and inspired several generations of musicians, from Igor Stravinsky to Quincy Jones. Her musical and pedagogical philosophy, demanding yet highly stimulating, influenced the entire twentieth century. Astrig Siranossian, a rising star of the cello who now joins Alpha for several recordings, is fascinated by this musical personality whom everyone respectfully called ‘Mademoiselle’. She met some of her most illustrious students, including the late Michel Legrand, and Daniel Barenboim who has agreed to accompany her in a piece on the album. With the pianist Nathanaël Gouin, she has devised a very eclectic programme, including the three pieces for cello and piano written by Nadia Boulanger in 1915, three years before the death of her sister Lili.

This CD represents a compilation of what a listener might hear at any FIRST AVENUE Concert - a sort of "First Avenue Concentrate". And, since improvisation is a spontaneous act of composition, you are hearing democracy in action. Each player contributes her or his own flavor to the overall flow, sometimes coming to the fore to insert a new qesture or confirm (or deny) the direction of the improv, sometimes melting into the crowd.