by Samuel Weinberg

Tonight begins the first night of Jim Black's curated week at The Stone. Black--a drummer of extraordinarily inventive technique, approach, and feel-- has curated a week that varies tremendously in the bands showcased and highlights a number of different strengths he has as a musician. Tonight, Black is reprising the beloved Tim Berne's Bloodcount, yet, calling it "Not Bloodcount" as they are playing an entirely improvised set. If you can't make it tonight, as you'll see below, Black has exciting things in store for the duration of the week, so check him out! (The Stone is located on the corner of Ave C and 2nd Street in Manhattan; Jim Black is curating until Sunday, March 30th).

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The first night of your residence you're bringing back Bloodcount, but calling it Not Bloodcount. What was it was like to play in that band and what will you be playing that first night?

Since this week should be approached as a sort of retrospective of our work according to John Zorn, it seemed impossible not to want to play with one of my first real long term bands in NYC. Even though it’s not my band, I found a way to trick Tim into showing up to play with Formanek and Speed, only because I love playing with these guys so much. I don’t even remember how many years we toured around the world together for that matter. I don’t think we ever did a completely improvised show however, hence the name “Not Bloodcount".

You're bringing a reunion version of the 97 Ben Monder Trio on the second night. What was significant about that band to you? Can you talk a bit about Monder as a player?

Another band I cut my teeth on in NYC. That trio played weekly at ‘3 of Cups’ in the East Village – standards, Monder’s originals, etc. We spent hours and hours learning Ben’s music, all of that vocabulary was totally new to me at that time. To me at least, all these “old” bands never really break up – they take breaks, maybe leaders want to work with different projects or maybe the band has to leave the scene for a while just to refresh in the public’s/promoter’s eyes...but that particular music never dies, it just hibernates. If anything I’m more curious now to hear our sound after all these years and individual experiences. We’ve been doing this with the band Human Feel the past decade and it’s been amazing to realize how strong the music is between us. It just gets better and better over the years, without even playing all the time. Same goes for Pachora.

Later that night you're playing a duo with Ches Smith. What's your history playing duos with other drummers? What is it about Ches' playing that made you want to play duo with him?

I was in a Portuguese group with 5 drum sets once, Tim Tim Por Tim Tum – that was a blast. I really love playing with other drummers because it forces me to play a completely other way on the kit. I think the problem can arise when two drummers have to play the same parts but have two different and really stubborn feels, grooves, or approaches. The first time I played with Ches, the music fit like a glove, so that’s worth investigating, plus I love his music and he’s a great human.

For two of the nights you'll be playing with a trio comprised of you, Teddy Klausner and Chris Tordini and both nights with a special guest. What is the history of this trio? Care to reveal the mystery guest(s)?

That trio was a great release for me after having written for AlasNoAxis for so many years, a completely different direction musically and sonically. I never dreamed in my life I would start a piano trio but you meet players you love and then creating opportunities to play together becomes a priority. Actually, when I was younger I couldn’t imagine having a band like AlasNoAxis either, maybe that’s just the way it works for me. As far as the trio, that grew out of the desire to have a band that could go anywhere and play anything, like an all terrain vehicle. The music on the first recording was an opportunity for me to write what I thought swing tunes might be for me now after all this good musical damage through the years, using different grooves and feels from the Balkans to North Africa. We have a new recording waiting to be released that’s in the opposite direction. Now perhaps it’s time to push again to a different place, hence the guest for the shows is so named Loftir Gudmundsson, an amazing saxophonist.

You're reprising H-Alpha who have a great Skirl record. What do you like about playing in that band?

Chemistry. We’ve never said a single word about the music. We don’t hang out as a trio. We get together to improvise and it’s awesome. It’s nice that there are situations in life that can be that simple. Improvising is at the root of everything I do, even if it evolves into a totally composed, song based band. So I loaded Wednesday with just that, like the trio with Simon Jermyn and Jonathan Goldberger, and trio with Sam Pluta and Peter Evans – I’m in Peter’s band with both of them but we have never just improvised together, so....yes, freaks we shall be.

The final set of the week you'll be bringing a great band to play Paul Motian's music, with Oscar and Brad who both played with Paul. What was Motian's influence on your playing and conception of drumming? What appeals to you most about his completely distinctive compositional style?

That’s a tough one to nail down in a few sentences. I fell in love with his compositions and songs before I could really grasp his drumming, which was over my head at that time in college. I think I’ve heard the trio with Frisell and Lovano live more than any other band, which when going to see them at the Village Vanguard was as close as I got to going to church. His songs are singable, sometimes dark as well as beautiful, memorable, and beg for improvisations in a very cool way. I now cover some of his songs in my bands simply because I feel his music needs to heard by the next generations. I finally have a personal, honest, and artistic reason to cover his songs. Of course I would never pretend to try and copy his style when playing his music, but it’s a real challenge not to think of Paul’s approach and drum sound. Hopefully I’m old enough now to play what I hear on his tunes.

What do you enjoy most about both playing at The Stone and its existence for the creative music community, more generally?

Man, just the existence of a venue like that in Manhattan nowadays is incredible, after the closing of the Knitting Factory in Tribeca and Tonic on the Lower East Side. It’s Zorn’s gift to the community, and it’s an honor to get asked to play there for a week. Plus, I like the fact the audience is wrapped around the band, the intimacy of it... I’ve heard so much great music there that wouldn’t get the chance to be played or get exposure anywhere else.

What's some recorded music you've been listening to lately?

Well, iTunes is playing down through the letter M in song titles right now as I type..so that’s Ornette Coleman, Sonic Youth, Blonde Redhead, Stereolab, Meshuggah, Caetano Veloso, Beck, Deerhoof, Nicki Minaj, Peaches, Queens of the Stone Age, and Paul Motian in the past hour. I just bought the last Autechre, Boards of Canada, along with the latest Lady Gaga and Beyonce, mainly because people were raving about the production values, which I tire of pretty quickly these days. I do like panning for gold when listening to music that at first listen could appear silly or trite – I like to soak in it for a while and see if something usable or fun rubs off on me. Kind of addicting sometimes. I think I spent a whole month two years ago listening to one Britney Spears track, which if I hear again I might....

What's your ideal omelet?

Speaking of food.... My ideal omelet is one with no eggs, because I cannot stand them boiled, scrambled, or sunny-side up – that runny yolk and floppy gelatinous white part? Not gonna happen. But I do LOVE Spanish tortilla, which is generally more potato than egg, so it hides the texture/flavor of the egg....so let’s start there. One toasted piece of Spanish bread rubbed with garlic, tomato, & olive oil then top with the already olive oil soaked tortilla, and cover it with some of those badass roasted red peppers they make in Spain – serve with a side of fresh Manchego and membrillo. Add a double café con hielo if breakfast, or an all purpose dry Albarino white wine if lunch. And now I’m starving.

Fred Frith is in residence at The Stone tonight through Sunday of this week. The house that Zorn built is giving lucky audiences a chance to see Frith with a wild variety of players. He's not from round here and it'd be best if you went and checked it out.  His career and catalog are loaded, beginning with the British avant gardists Henry Cow and most recently with the supergrounp Cosa Brava. Below. We've got recordings below from the distant past and the recent, turn the volume up and sink into both. There's a synonymous appreciation for texture that is prevalent in both, regardless of decade, accompaniment, or influence. The self of Fred Frith imparts the melodic use of texture (an inherently subtle task) and it really shows the timelessness and resilience of the man and the music.  We asked Fred Frith some questions and he kindly answered them as well. Get into all of it below and get out to the shows!

When given a chance to perform in the same place for more than one night in a row, how do you go about plotting the course?

It depends on the situation. I love doing the same piece for several nights in a row in the same place, because it gives the material a chance to grow. This time the brief was different: I was supposed to be involved in every performance, and present as many different facets of my work as possible. Knowing that presenting composed music simply wasn't an option because I don't usually perform it myself, I decided to focus on the idea of what "improvisation" means to me - playing with a mixture of folks I've never played with before and others like Ikue and John with whom my improvising relationship goes back more than 30 years; with people who think of themselves primarily as "Improvisers" and people who don't; and not only playing the guitar but also home-made instruments—some from the 80s and some new—and piano. In other words, thoroughly exploring the terrain of improvisation as a unique and personal way of communicating.

Is there a collaboration going down that's never happened before?

Quite a few actually. I only once performed with Laurie, and not as a duo, so that feels brand new. I haven't ever done a whole concert improvising on piano, though I did play a bit of piano with Christian Marclay in London last year; Nava, Jeannie and I have never performed before so I'm really excited about that. My home-made instrument duo with Sudhu Tewari hasn't played in a few years. The trio with Annie and Theresa is also a first, as is the one with Ikue and Nate. So there's plenty of new ground being broken! The trio with Jordan and Jason is an ongoing band that I hope to be doing more and more.

What is a positive that you pull from New York that affects how you perform here? What is a negative?

New York will always feel like home to me, since I lived there for almost 15 years after 1978. I have family there, and many dear friends, and I love to play there in an intimate setting where we can all see each other! Can't think of any negatives...

How do you see yourself now compared to the artist you were 40 years ago? Is it all building upon itself, or have there been any drastic changes?

I don't think about it too much. At my end of the "market" all I can do is try and get work done and put it out there. Conditions are better than ever in some departments (performing around the world) and worse in others (being able to afford to make records when no-one buys them anymore because they're so easy to steal.) As always I negotiate the circumstances as pragmatically and productively as I can, and try to encourage the players coming up to do the same. From that point of view nothing much has changed. The bottom line is that I'm lucky to be able to make a living doing what I love. I try not to forget that.

What is an unknown that excites you?

Tomorrow.

What is an unknown that scares you?