Long-time coming ultra-limited vinyl edition of this legendary recording that pairs Don Cherry’s heavenly trumpet stylings with Terry Riley’s psychedelic/minimalist organ work in an edition of only 275 copies: recorded live in 1975 but never officially released and never available on vinyl before, this is a long whispered-about recording, a meeting between Terry Riley’s amazing all-night-flight organ styles and Cherry’s devotional trumpet work, tying in with his explorations of higher-minded drones states with the Organic Music Society. Riley is on stunning form on the A side, “Descending Moonshine Dervishes”, playing the kind of endlessly rippling dosed organ drones that sound like the play of heavenly DNA, with a sense of stasis in expansion that is uniquely brain-razzing. Cherry’s playing is heart-stoppingly beautiful, curling slow, melancholy arcs and threading high angel tones through Riley’s electronic matrix. Something so lonesome and beautiful about this combination, the perfect 2am stone. On the flip they’re joined briefly by Karl Berger on vibes for the slow-motion celestial tone-float of “Sunrise Of The Planetary Dream Collector”, which is just awe-inspiringly gorgeous and intensely psychedelic, somehow managing to sound exactly like its title, while the closing “Improvisation” might be one of the most elegaically beautiful and time-killingly complex works of live stream minimalism ever wept to wax. A staggering document and another fascinating uncovering of a key moment in the secret history of holy minimalism. (volcanictongue)
Piotr Zabrodzki, młody warszawski multiinstrumentalista i kompozytor, znany szerszej publiczności m.in z formacji Blast Muzungu oraz niezwykłej kooperacji z genialnym japońskim perkusistą Tatsuya Yoshida (Ruins, Magaibutsu, Acid Mothers Temple itd.), nagrał płytę z wirtuozem tuby Zdzisławem Piernikiem .
Piernik ( ur. 1942), postać wielce znacząca dla szeroko pojętej muzyki współczesnej, występuje na scenach całego świata wykonując dzieła Vivaldiego, Bacha, Schumanna, Schaffera, Dobrowolskiego, Pendereckiego i innych.
Namanga to zbiór 15. kompozycji Piotra Zabrodzkiego. Barwna, wyrafinowana mieszanka jazzu, eksperymentalnej klasyki oraz eksperymentalnego rocka.
Zdzisław Piernik ( tuba), Piotr Zabrodzki (fortepian, fortepian elektryczny, kontrabas, gitara basowa, organy, ambient), Hubert Zemler ( perkusja, wibrafon), Wojciech Kondrat (skrzypce). (vivo)
Unusual Polish Contemporary Music performed by tuba genius Zdzislaw Piernik! Additional musicians: Piotr Zabrodzki (piano, electric piano, doublebass, bass guitar, organ), Hubert Zemler ( percussion, vibraphone), Wojciech Kondrat (violin). All tracks composed by Piotr Zabrodzki - extremely talented artist, member of Blast Muzungu and Tatsuya Yoshida's (Ruins, Magaibutsu) cooperator.
Posted by Pausts
Frederic Rzewski studiował kompozycję między innymi u Miltona Babbitta i Luigiego Dallapiccoli. W połowie lat 60. wraz z Alvinem Curranem i Richardem Teitelbaumem założył w Rzymie zespół MEV (Musica Elettronica Viva), który rychło zdobył uznanie za swe pionierskie działania w dziedzinie żywej muzyki elektronicznej i improwizacji. W latach 70. artysta eksperymentował z formami, w których styl i język traktowane są jako elementy strukturalne; najbardziej znanym dziełem z tego okresu jest The People United Will Never Be Defeated! - 36 wariacji fortepianowych na temat pieśni rewolucyjnej śpiewanej w oddziałach Che Guevary (w 1980 kompozytor wykonał je na "Warszawskiej Jesieni"). Z kolei seria utworów na większe zespoły instrumentalne, skomponowanych w latach 1979–81, zdradza powrót do notacji eksperymentalnej i graficznej, twórczość zaś lat 80. eksploruje nowe sposoby użycia techniki dodekafonicznej.
W nowszych utworach Rzewski prezentuje swobodniejsze, bardziej spontaniczne podejście do kompozycji. Największym dotychczas utworem jest The Road, ośmiogodzinna ,"powieść" na fortepian solo. The Triumph of Death (1987–88) to z kolei dwugodzinne oratorium, którego tekst jest adaptacją sztuki Petera Weissa z 1965 r. "Die Ermittlung" ("Dochodzenie"). Scratch Symphony na orkiestrę miała prawykonanie na festiwalu w Donaueschingen w październiku 1997 r.
Artysta jest członkiem American Academy of Arts and Letters, a w 2009 r. otrzymał doktorat honorowy Uniwersytetu w Liège. (polskieradio)
Frederic Rzewski is among the major figures of the American musical avant-garde to emerge in the 1960s, and he has been highly influential as a composer and performer. He was born in Westfield, Massachusetts, earned his B.A. in music at Harvard, and later received an M.F.A. from Princeton, where he had the privilege of studying with Roger Sessions and Milton Babbit. A Fulbright scholarship allowed him to travel to Florence in 1960 to study for a year with Luigi Dallapiccola. Since then, except for a five-year period in the 1970s, he has mainly lived in Europe. He first came to public attention as a performer of new piano music, having participated in the premieres of such monumental works as Stockhausen's Klavierstück X (1962). In 1966, he founded, with Alvin Curran and Richard Teitelbaum, the famous ensemble Musica Electronica Viva (MEV). MEV combined free improvisation with written music and electronics. These experimentations directly led to the creation of Rzewski's first important compositions, pieces such as Les moutons de Panurge, a so-called "process piece," which also combines elements of spontaneous improvisation with notated material and instructions. Rzewski's improv-classical hybrids are some of the most successful of the kind ever produced thanks to the fervent energy at the core of his music. During the 1970s, his music continued to develop along these lines, but as his socialist proclivities began to direct his artistic course, he developed new structures for instrumental music that used text elements and musical style as structuring features. Attica, which includes the recitation of a prison letter, and The People United Will Never Be Defeated, a virtuosic set of piano variations, are his most well-known works of the period. In 1977, he was made professor of composition at the Royal Conservatory of Liège, Belgium, and has continued to teach there since. During the 1980s, Rzewski produced a number of surprising twelve tone compositions that (happily) provided fresh ideas of what could be done with serial systems. The 1990s saw him revisiting, via scored music, some highly spontaneous approaches to composition that recall his inspired experiments of the late 1960s. Rzewski's music is among that which defines postwar American new music. He has consistently given the exuberant boyish pleasures of a composer like Copland within the rigorously experimental framework of a composer like Cage. Often unapologetically tonal and fun, Rzewski's music cuts right through the frequent churlishness of avant garde music. (Donato Mancini)
Lider Dinosaur Jr. nagrał kilka dziwnych płyt (np. jako perkusista zespołu Upside Down Cross), i to jest być może najdziwniejsza z nich. Pieśni dedykowane hinduskiej - jak to poprawnie po polsku powiedzieć? - guru Mata Amritanandamayi. Brzmi to, cóż za niespodzianka, jak krisznowy Dinosaur. Proszę się częstować.
Maybe the strangest record from the former Upside Down Cross drummer, among other occupations. Sounds like Dinosaur gone Krishna. Just gimme Hindie-rock!
This is a sampler that presents a part of the "new stage" groups from Kharkov City (Ukraine) - "new stage" is a c ooperative that works on the level of real independence - the real free supression of the mind is their basic idea - so they don't want to be captured by any state or money controlled system.
Chromosomos to zespół instrumentalny wykraczający poza łamy jazzu, muzyki etnicznej, jungle czy progresywnego rocka.
Założony w 1999 roku przez perkusistę Artura Dominika, związanego z wieloma projektami sceny alternatywnej, rockowej, jazzowej a współpracującego także z muzykami pochodzenia afrykańskiego, żydowskiego jak i bałkańskiego w zespołach folkowych.
Bagaż doświadczeń nabytych poprzez wieloletnią współpracę z muzykami o różnorodnych korzeniach kulturowych, jak i zespołami o odmiennej stylistyce, pozwalają na kreowanie własnej przestrzeni muzycznej, wykorzystując przy tym najciekawsze formy.
Jest to projekt łączący różnorodność muzyki kultur Europy i Bliskiego Wschodu z nowoczesnymi trendami instrumentalnej muzyki współczesnej klubowej o zabarwieniu jazzowym w charakterystyczny oryginalny sposób.
W inspiracjach grupy można doszukać się również wpływów współczesnej muzyki elektronicznej, odbijającej swoje piętno na grze sekcji rytmicznej eksperymentującej w drum`n`bassowej, jungleowej czy housowej charakterystyce, przeciwstawionej użyciem transowego, wieloczłonowego taktowania w nieregularnym metrum.
Klasyczny akustyczny skład kontrastujący z użyciem dźwięków generowanych cyfrowo i elektroniczne, przetwarzanie barw instrumentów akustycznych nadaje zespołowi nietypowe brzmienie. (chromosomos)
***
Chromosomos are an instrumental band that goes beyond the boundaries of jazz, ethnic music, jungle or progressive rock. It was set up in 1999 by drummer Artur Dominik, who has been involved in projects in the alternative, rock and jazz scenes and who has cooperated, in a number of folk groups, with musicians of African, Jewish and Balkan origin.
The experience of long years of cooperation with musicians rooted in diverse cultures and with bands of various styles allows Chromosomos to create their own musical space with a simultaneous use of most interesting forms.
The Chromosomos project combines the musical variety of European and Middle East cultures with modern trends in contemporary instrumental club music and adds to it a characteristic and original jazz flavour.
Among the band's inspirations you can also trace the influence of contemporary electronic music that leaves its mark on the rhythm section which experiments with the drum'n'bass, jungle or house sphere juxtaposed by a trans-fashioned multi-part rhythmic division within an irregular meter.
The classic acoustic structure of the band contrasting with the use of digitally generated sounds as well as electronic processing of the sounds of acoustic instruments gives Chromosomos an unmatched tone. (chromosomos)
The sound of Dickie Landry’s saxophone — with tone and approach at once experimental and fully-realized — was a crucial component of the Phillip Glass Ensemble in the 1970s. During that era — the heyday of minimalism, new music and cross-disciplinary art adventures in New York City — Landry was also involved in many other collaborations and solo projects. Fifteen Saxophones, originally recorded in 1974 and released in 1977, presents Landry’s saxophone and flute in varying contexts and constructions of live delay and overdubbing. (The engineer here is Kurt Munkacsi, who also engineered and produced Glass records.)
Both the title piece and “Alto Quad Flute Delay” (the titles are functional and descriptive) seem steeped in Landry’s previous explorations of Gregorian Chant and church polyphony: there’s a billowing serenity to these works, as consonance and dissonance unfold and coalesce via the delay-created, choir-like motifs and melodies. But there is also — thanks to both the solid physicality and attention to breath underlying Landry’s technique and conception — a sense of grounded-ness and dimensionality.
Originally taking up side two of the LP release, “Kitchen Solo” features Landry working with a sonic lexicon rhythmically and texturally akin to that of free-jazz and avant-garde improv. These sounds, melodies and patterns, often made via extended technique — from overtones and reed-squeals to percussive clicks and taps; performed with live delays — create a variegated solo saxophone tour-de-force. (Kevin Macneil Brown)
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