MINIMAL DISTURBANCE [Jack Wright & Ron Stabinsky], T Putnam Hill and Ethan Campa

JACK WRIGHT, Philadelphia-based saxophonist, is one of the originals of American free improvisation. Now 80, he has lived some diverse lives, as an activist and academic, then in 1979 settling into free improv music. He has been called the "Johnny Appleseed of Free Improvisation." His playing consists of distorted pitches, precise timing, intrusive multiphonics, sudden changes of direction, obscene animalistic sounds, and occasional "real" notes. The Washington Post said, "In the rarefied, underground world of experimental free improvisation, saxophonist Jack Wright is king."  RON STABINSKY has participated in a wide range of music groups, including the notorious Mostly Other People Do The Killing. In 2018 he joined the Meat Puppets, and he frequently performs with acclaimed trumpet player Peter Evans. He performs as a classical pianist, a jazz musician, a rock musician, and as a free improviser. In the past few years "keyboard" includes the Nord Lead 4 Synthesizer, and free improvisation extends his range to various objects inside the piano, including dental floss and a load of objects that seem to serve no purpose. http://www.springgardenmusic.com/Minimal_Disturbance--Jack-Ron.htm T PUTNAM HILL [Loma Editions] T Putnam Hill is a musician and writer based in San Antonio. He works with various sonic materials—primarily field recordings and other incidental sounds, guitar, digital processing, and feedback systems—to produce shifting auditory environments that engage with notions of altered place, space, and fiction. Hill also organizes Loma Editions,  a multimedia label for inventive sounds, sights, and text. https://linktr.ee/tputnamhill ETHAN CAMPA  [Coach Campa] There's way too much tedious, precious, boring, ineffectual improvised music. The Coach Campa Trio doesn't play it. They make spirited, articulated, dense skronk that sounds both like they mean it and are having fun doing it. Thankfully, the dynamics are: loud, louder, and loudest. This is good. The crisp, upfront, dry recording spotlights sick, virulent guitar and bass timbres and highlights the hyperactive whirlwind drumming. This music is about momentum and articulation. It is relentless in its joy and gnarliness. -Weasel Walter