Search Result for Artist flaherty
viewing 1 To 8 of 8 items
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2LP
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FTR 308LP
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"Hard to believe it has been 18 years since this set was first issued, but that's what the calendar says. Paul and Chris had been playing together for a while before this. I seem to recall rehearsals outdoors in Hartford beneath stretches of raised highway under construction. But that may have been Chris and Pete Nolan, back when Pete played guitar. Who can remember exactly? It's been a long time. But I do remember we put this set together because it seemed essential to document how amazing the communication was between these two musicians, from different generations, but tuned into the same insane frequency. When we told Paul we wanted to do it on the Ecstatic Yod label, with art by Gary Panter, and actual liner notes, he thought it wasn't the best idea he'd ever heard, but what the hell. The actual hope of the label was to raise the profile of this incredibly talented but ruinously humble saxophonist, so that he'd be thought of in the same way as the day's other great players. And hey -- it sorta worked. The CD got solid reviews, and more people heard it. But what most listeners took away from it was how intensely telepathic the music is. It's all lightning and smoke. These guys were deep inside each other's heads, and that made for a wonderful listening experience. In a way it's funny to hear how 'jazzy' Chris's playing is. He's gone so far beyond known-moves over the last years, you almost suspect he must be holding back. But he's not. He's throwing down as hard as he can to meet the ragged flowing genius of Flaherty's horn at every turn. He just had different chops back then. And the music is still amazing. The Hated Music is one of the best extended drum/sax forays you'll ever hear. If we could have done it on vinyl back then, we would have, but no one was buying the stuff much right then. Jerks. That has changed a bit now. For the good. And we got the great Gary Panter to do new cover, since the old one was CD sized and weird. But everything else is the same. And it totally rips a hole in the universe. Now and forever. Amen." --Byron Coley, 2018 Edition of 500; Includes download code.
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LP
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FTR 307LP
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"More than a decade since their first (and last) trio album, Dim Bulb (2005), 'Buffalo Steve,' Chris Corsano and Paul Flaherty are back on the attack. The three recorded as part of a larger ensemble on the Open Mouth LP, Wrong Number (2014), but they have a certain way of creating focused trio dynamics that makes babies talk in tongues and old men drool. The line-up is a bit unorthodox -- two saxes (one a goddamn baritone) and drums. You might almost be tempted to call the format European. But it'd be a canard to try and place this album in the Euro free music tradition. I mean, yeah, there is some massive outsider brawling here. Buckets of wind and clumps of tubs 'all double twisted up,' as Fred Blassie used to say. But the fire never refrains from flaming as jazz-qua-jazz, which places it a lot more squarely in the American tradition than actual squares would have you believe. These three are clearly savages, which is a far cry from people impersonating savages, if you catch my drift. Beyond that, there is an ineffably jazzoid heft to the music here. Both Steve and Paul are playing in a distinctly post-Ayler jetstream. The freedom of their runs maintains that strangely (perhaps even imaginary or projective) American connection to bar-walking R&B maniacs -- something that seems to lie at the bottom of our country's hornic subconscious. Which is not to say individual moments on this record couldn't have come from the FMP catalog, but there's a red hot holism here that will brand most asses with the stars & stripes. The Dull Blade has a strange undercurrent of swing here as well. Largely provided by Mr. Corsano's driving full kit approach, the most outward-moving passages (often those involving the inner and outer freak registers of the horns) get corralled back into more clearly terrestrial and genuinely moving. It's a great goddamn record. Once again these guys manage to defy odds and expectations, creating music that is as fully-charged and beautiful as it is warped." --Byron Coley, 2017 Edition of 400.
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7"
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KRAYON 018EP
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2010 release. On the Flaherty/Corsano/Yeh side, oceans of drum kit fire bawling and fluttering string overtones fuse a complex web of ear asterism, infiltrated by a woozy sax line that soon reduces in duration and increases the overall vehemence with fragmented reed chewing rasp and roar joining a myriad of coordinates in this dense labyrinth of free magic. On the flip stunningly crafted harmonic percolations of feedback glare and riff particles slam into tantric drum force blast beats by Matt Skitz Sanders, on this unexpected monolith from Oren. Art by Paul Coors.
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LP
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FTR 152LP
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"It has been eight long years since we've had a new duo album by Paul Flaherty and Chris Corsano. The two have played together in other configurations, but we all know there has always been something special and telepathic about their duo collaborations. From the moment they began playing together late in the last century, Paul and Chris communicated in weird, deep ways. And so it is here. Low Cost Space Flights was recorded in June 2013, at Eric Gagne's 'Thing in the Spring Festival' in Peterborough, New Hampshire. And the duo wails through the three tracks. The room in which the performance happened has a nice natural echo, giving a sprongy edge to Flaherty's lateral sax runs, while Corsano's feverish percussion dives straight through every hoopsnake Paul rolls in his direction. No surprise. Chris is among the nimblest, most authoritatively athletic drummers to have graced the circles of fire music hell. And Flaherty remains, to my mind, a continuously under-rated player, largely because he's so rooted to his physical place in the universe that is New England. His style slips seamlessly from freak register space-squeedling to bar-walk honkery to a sort of chess player's motion-logic. Most of this set veers towards Paul's harder-blowing end of the spectrum and we say 'Halle-fuckin-lujah!' Leave the ballads to the bow ties, for now. Low Cost Space Flights reunites two great goddamn forces of the New England improv scene, and displays their playing at its hermetic, alloyed best. Beautiful Simon Bosse cover art. Great songs titles -- 'The Dog Paintings of George W. Bush,' etc. What's not to love? Besides lobsters, of course." --Byron Coley; Includes digital download code. Edition of 300.
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LP
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FTR 090LP
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New music from Paul Flaherty, with Sam Gas Can and White Limo. Pressing of 500 copies, cover art by Joshua Burkett. Like all of the greatest live "festival" records -- Woodstock II (Cotillion '71), Mar y Sol (Atco '72) & 1968 Memphis Country Blues Festival (Blue Horizon '69) -- Mystery Triangle is an especially exceptional souvenir for those people who were there when it happened. But unlike dud compilations, Mystery Triangle provides a truly fine sonic gush for even those of us who were too confused (or scared) to "make" the actual "scene." In November 2011, a goddamn magnificent display of talent went down at Joshua Burkett's Mystery Train store in Amherst, MA. And thankfully, Edward "Ted" Lee, the whirling dervish of Feeding Tube, was there to capture the sounds on tape. First up is Paul Flaherty -- the godfather of all that is good and weird in New England. Paul has been woefully under-documented in solo performance. His maniacal sax work is well represented in duo and group settings, but he has always been a bit shy about pure solo work-outs, and he shouldn't be. The beauty of his turn here is stunning. Relying less on the freak-gush that marks his ensemble work, Flaherty creates a pure, blazing line of melodic invention that is a testament to both the power of his lungs and the creativity of his process. Stoned and flowing, his side rips gently into the air with a series of compositional statements that are gorgeous, fully-imagined and a testament to the brilliance of no-net-improvising. Without other players gumming up his works, Paul moves through moods and thoughts with ferocious surety, creating one of the finest recordings in his catalog. Truly a wowser of a set. Sam Gas Can sometimes relies on conceptual theories for his sets, but here is an engine of pure glossalic genius. Working in the tradition of the great sound-poets, Sam offers a bravura performance that stretches itself deep into the Schwitters zone, conjuring up subconscious connections to memories locked far beneath our surfaces. As the great Dredd Foole noted after the set, "No one uses their voice any more." An amazing thing. Finally, White Limo (Chris Cooper, Jess Goddard and Joshua Vrysen), hit the road with a set of cracked electronics halfway between serious aleatory ensembles like Gruppo di Improvvisazione Nuova Consonanza and proletarian ass-crack noisers such as Id M Theft Able. Although they don't seem to play often, this trio (with deep roots throughout of the odd-noise underground) has cracked the code that has daunted many other combos with similar intent, making sounds that manage to be both deeply resonant and weirdly engaging. Totally boss. This is a fully satisfying festival record. Every performer, every note feels essential. One of the best. No shit. Includes mp3 download.
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CD
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IMPREC 195CD
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"Violinist/vocalist C Spencer Yeh & unrivaled saxophone elder-titan Paul Flaherty team up without the assistance of acclaimed drummer Chris Corsano for the first time. Along for the jamz is bonkers Boston trumpeter Greg Kelley. After performing numerous times and honing a distinct group dynamic as a trio over many years with celebrated percussionist Chris Corsano, Yeh and Flaherty decided to try it out one-on-one. The record comprises of the best from two live sets from a short duo tour in the Northeast -- at the celebrated venue Issue Project Room in Brooklyn, and Nom D'Artiste in Boston. With minimal editing, this is the sound of two people tearing at the limits of their instruments, these iconic configurations of metal and wood; hurling their respective accumulated life experience into one another, exposed and raw. The duo is likely one of the most dangerous configurations for people to interact within, musical or otherwise. Greg Kelley on trumpet is added to the mix and the results mutate into an even more mysterious form -- the trumpet is indistinguishable from the vocals; the saxophone creaks so the voice doesn't have to."
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CD
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FV 055CD
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"Don't call it a comeback. Bridge Out!, the first release in almost a decade by the outlaw duo of saxophonist Paul Flaherty and percussionist Randall Colbourne, is better thought of as a renewal, a reawakening of a collaboration which has lain dormant for too long. Joining forces in the late 1980s, these two New Englanders released over a dozen uncompromising albums of avant garde jazz on their own and other labels that have since vanished into legend. Since then, Flaherty has expanded across the world stage in improv, out-rock and noise (with Chris Corsano, Thurston Moore, Sunburned Hand of the Man, Wally Shoup, etc.) while Colbourne pursued private study. Together again, they've created eight instant compositions of coiling sax lines and polyrhythmic patterns that commemorates the past and celebrates the new. Includes liner notes by Nick Cain."
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CD
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IMPREC 095CD
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"Together Chris Corsano and Paul Flaherty have re-written the concept of modern free-jazz with their post-hardcore punk style approach of euphoric togetherness. Ferocious, spontaneous, explosive and aggressively lyric they've established their groundbreaking duo with loads of shows and a host of tremendous recordings." Liner notes by John Olson (aka Johnny Coorz!).
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