Rafi Zabor’s Updoc. Fri 2/13 & Tues 2/17

It is, it isn’t, it is, it’s not. Well, if it’s not another Lee Konitz show, how come there’s so much Lee Konitx in it—at 8PM Friday and noon next Tuesday, Greenwich Village time—can you tell me that? Well, things sort of fell out that way because there were a couple of Konitz tracks I didn’t get to on last week’s real Lee Konitz show and I wanted to catch up. But then Konitz’s . . . um . . . aesthetic indeterminacy kicked off a number of associations and suggested interesting contrasts and—yes, okay, aesthetic whateveracy I said is probably not the ideal phease. I read an interview the other day in which Konitz said that he likes to come to a gig ready but not prepared—which is pretty much how I do this show—so why wouldn’t I go from Konitz the Saxophonitz on a ballad to the piercing music of Himalayan and Ladakhi double reeds? Natural high-mountain music, a world in which the veil of air is thin and the next world is just a breath away, whether via vision or a misstep on the scree. Besides, this music comes courtesy of my colleague Brian Cullman, who is curating the immense catalogue of David Lewiston’s extraordinary recordings of music from almost everywhere, and once we’ve travelled that far among the reeds, why not Akagündüz Kutbay, Djivan Gasparyan, Ornette Coleman visiting Joujouka, Paul Desmond, Iqbal Jogi, Julius Hemphill, Anthony Braxton, Branford Whatsisname, but how come I left out Bismillah Khan and what is Dutilleux’s 1st Symphony doing there? We’re lost in the stars. Big stars, little stars. Whisper not. Or whisper. Come as you are.RousseauFluteLg

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