I saw this at the used cd store, then I put it down and got something else. But it kept nagging at me, so I went back and it was still there. So glad I went back!
A Danish-American collaboration. Accordionist/Composer Frode Andersen, Composer/Sound Artist, Ejnar Kanding, and Digital Violinist/Composer, Todd Reynolds, come together through association with Artist Suzanne Bocanegra's piece, ReRememberer, to begin their own collaboration in concert at Austin, TX's very own Fusebox Festival.
Nick Didkovsky, electric guitar, laptop; Thomas Dimuzio, sampling, live sampling, and processing; ARTE Quartett: Beat Hofstetter, soprano and baritone saxophone; Sascha Armbruster, alto and baritone saxophone; Andrea Formenti, tenor saxophone; Beat Kappeler, baritone saxophone.
- "Nick Didkovsky is an accomplished composer, virtuoso guitarist, and computer programmer who works on the cusp between the concert hall and the rock-and-roll club-territory that is only now beginning to be taken seriously. Didkovsky's compositions are rigorously conceived, yet leave plenty of room for spontaneous input. He has tapped into what one might describe as a typically American way of making music-iconoclastic and formalist without being overly uptight. Combining complex rhythms, harmonies, and textures with the visceral energy of rock music he creates work that is cutting-edge (albeit more Downtown than Uptown), rigorous, and subversive. His employment of asymmetrical meters, gratuitous dissonance, and tonally ambiguous harmonies rubs against the pop sensibility implied by the compositional forms and instrumentation with which he works. The sense of compositional and technological inventiveness in Didkovsky's music bears resemblance to that of other maverick composer-hacker-performers such as Salvatore Martirano, Larry Polansky, David Rosenboom, and George Lewis.
Didkovsky's music reflects current trends and practices including the use of live, interactive computer-assistance, genre jumping, and blurring the distinctions between highbrow and lowbrow. Although the accoutrements of Western tonality are never far off, his musical sensibility allows for some radical departures from the stock-and-trade of tonality. Didkovsky is attracted to the ambiguous boundaries between human-generated and software-generated materials. Ice Cream Time (2003) is a multi-movement piece scored for saxophone quartet, electric guitar, and live electronics. As might be expected, Ice Cream Time embraces, or engages with, a wide range of influences and material contrasts. Nine of the movements feature live sampling by Thomas Dimuzio, whose job was to capture and process the saxophone and guitar sounds in real time, using his Kurzweil K2600RS. Because the unaltered signals are also heard, a rich and subtle texture is produced." New World Records 2007
-Strange music that's cheerfully friendly. A mix of so many influences that genre becomes a useless signifier. Several months later and I'm still fascinated by this recording.
Recorded at 2010 NYC Winter Jazz Fest, Manhattan NY with a Zoom H4.
released 10 January 2010
THE CLAUDIA QUINTET
John Hollenbeck- drums
Chris Speed- clarinet and tenor sax
Matt Moran- vibraphone
Ted Reichman- accordion
Trevor Dunn sitting in for Drew Gress- double bass
Gary Versace- piano
Recorded at The Bitter End, NYC
BOBBY PREVITE'S NEW BUMP QUARTET
Bobby Previte- drums
Ellery Eskelin- tenor sax
Bill Ware- vibraphone
Brad Jones- bass
Recorded at Kenny's Castaways
TERRAPLANE
Elliot Sharp- guitar
Eric Mingus- vocals
Dave Hofstra- bass
Alex Harding- bari sax
drummer, trombone player unknown
Recorded at The Bitter End, NYC
- "Tod Machover (b. 1953 in New York) has been called Americas most wired composer by the Los Angeles Times. He is widely recognized as one of the most significant and innovative composers of his generation, and is also celebrated for inventing new technology for music, including Hyperinstruments which he launched in 1986. Machover studied with Elliott Carter and Roger Sessions at The Juilliard School and was the first Director of Musical Research at Pierre Boulezs IRCAM in Paris. He has been Professor of Music and Media at the MIT Media Lab (Cambridge, USA) since it was founded in 1985, and is Director of the Labs Hyperinstruments and Opera of the Future Groups. Since 2006, Machover has also been Visiting Professor of Composition at the Royal Academy of Music in London. . . ."
Comments
Nik B
I saw this at the used cd store, then I put it down and got something else. But it kept nagging at me, so I went back and it was still there. So glad I went back!
London Docks - Tangar
Thanks amc
Haven't listened to this in a while, it's a great one
Nick Didkovsky, electric guitar, laptop; Thomas Dimuzio, sampling, live sampling, and processing; ARTE Quartett: Beat Hofstetter, soprano and baritone saxophone; Sascha Armbruster, alto and baritone saxophone; Andrea Formenti, tenor saxophone; Beat Kappeler, baritone saxophone.
- "Nick Didkovsky is an accomplished composer, virtuoso guitarist, and computer programmer who works on the cusp between the concert hall and the rock-and-roll club-territory that is only now beginning to be taken seriously. Didkovsky's compositions are rigorously conceived, yet leave plenty of room for spontaneous input. He has tapped into what one might describe as a typically American way of making music-iconoclastic and formalist without being overly uptight. Combining complex rhythms, harmonies, and textures with the visceral energy of rock music he creates work that is cutting-edge (albeit more Downtown than Uptown), rigorous, and subversive. His employment of asymmetrical meters, gratuitous dissonance, and tonally ambiguous harmonies rubs against the pop sensibility implied by the compositional forms and instrumentation with which he works. The sense of compositional and technological inventiveness in Didkovsky's music bears resemblance to that of other maverick composer-hacker-performers such as Salvatore Martirano, Larry Polansky, David Rosenboom, and George Lewis.
Didkovsky's music reflects current trends and practices including the use of live, interactive computer-assistance, genre jumping, and blurring the distinctions between highbrow and lowbrow. Although the accoutrements of Western tonality are never far off, his musical sensibility allows for some radical departures from the stock-and-trade of tonality. Didkovsky is attracted to the ambiguous boundaries between human-generated and software-generated materials. Ice Cream Time (2003) is a multi-movement piece scored for saxophone quartet, electric guitar, and live electronics. As might be expected, Ice Cream Time embraces, or engages with, a wide range of influences and material contrasts. Nine of the movements feature live sampling by Thomas Dimuzio, whose job was to capture and process the saxophone and guitar sounds in real time, using his Kurzweil K2600RS. Because the unaltered signals are also heard, a rich and subtle texture is produced."
New World Records 2007
Peter Rosendal - "Love for Snail"
-Strange music that's cheerfully friendly. A mix of so many influences that genre becomes a useless signifier. Several months later and I'm still fascinated by this recording.
Recorded at 2010 NYC Winter Jazz Fest, Manhattan NY with a Zoom H4.
released 10 January 2010
THE CLAUDIA QUINTET
John Hollenbeck- drums
Chris Speed- clarinet and tenor sax
Matt Moran- vibraphone
Ted Reichman- accordion
Trevor Dunn sitting in for Drew Gress- double bass
Gary Versace- piano
Recorded at The Bitter End, NYC
BOBBY PREVITE'S NEW BUMP QUARTET
Bobby Previte- drums
Ellery Eskelin- tenor sax
Bill Ware- vibraphone
Brad Jones- bass
Recorded at Kenny's Castaways
TERRAPLANE
Elliot Sharp- guitar
Eric Mingus- vocals
Dave Hofstra- bass
Alex Harding- bari sax
drummer, trombone player unknown
Recorded at The Bitter End, NYC
Followed by:
Eta; ooh I'm really liking this. Ambient experimental collage. Free or NYOP; GP you should check it out. Reminds me vaguely of your water mix.
Thanks, amc2, definitely will.
Thomas Savy - "Bleu Archipel 2"
-Really good bass clarinet-led album
- "Tod Machover (b. 1953 in New York) has been called Americas most wired composer by the Los Angeles Times. He is widely recognized as one of the most significant and innovative composers of his generation, and is also celebrated for inventing new technology for music, including Hyperinstruments which he launched in 1986. Machover studied with Elliott Carter and Roger Sessions at The Juilliard School and was the first Director of Musical Research at Pierre Boulezs IRCAM in Paris. He has been Professor of Music and Media at the MIT Media Lab (Cambridge, USA) since it was founded in 1985, and is Director of the Labs Hyperinstruments and Opera of the Future Groups. Since 2006, Machover has also been Visiting Professor of Composition at the Royal Academy of Music in London. . . ."
Really nice album.