Grateful Dead - 1981-10-19, Barcelona - a better recording than the other one I had, although it took a lot of re tagging work. I'm really digging this show though.
Hamburgs Marc Richter has been busy since his last Type appearance (2009s genre-bending and critically acclaimed Alphabet 1968). Aside from helming the prolific Dekorder imprint, hes put out a number of musical curios, including 2012s excellent film soundtrack EARTH. Now Richter is back with Alphabet 1968s proper followup , a sprawling double album pieced together with crumbling samples, vocal snippets and an arsenal of noise generators and filters.
Richters material has always been characterized by an air of surrealism, but its never been more obvious than on the the pulsing, chattering opener Human Ghidrah or in the delirious fractured pop of Hands. There are real songs in hidden somewhere, but disintegrated by Richters sound manipulation techniques and dissolved into soupy extended drone marathons. The centerpiece is undoubtedly Is Nowhere, which builds slowly over 20 minutes with rumbling organ sounds and buzzing filters, never budging your attention for a second.
Black To Comm is a deeper, more challenging record than its predecessor, but one which repays the patient listener. Richters dusty, unique sound has never sounded more well-honed and pointed, and its a patchwork of ideas and fragments that only improves over time."
Continuing with new releases from Type Records on Soundcloud:
- "Wisconsins Jon Mueller and New Orleans Duane Pitre are both towering figures in the world of avant garde sound. Mueller has notched up an astounding amount of albums and collaborations in the past (including two on this very label) and while most of his time is spent eking out unusual textures from his plethora of percussive instruments, he can also be spotted moonlighting as the drummer for main-stage indie act Volcano Choir. Pitre, having retired as a professional skateboarder (seriously), has also amassed an enviable catalogue, collaborating with Eleh and Cory Allen among others, and releasing on a variety of labels in the process.
Inverted Torch finds the duo meeting somewhere in the middle ;Muellers familiar patter (this time on a collection of gongs) is matched with Pitres bowed cymbals and his expertly realized collection of Max/MSP patches.
The album is made up of two pieces No Longer of Our Time and A Fading Light Within its Place, both taking influence from a poem (also titled The Inverted Torch) by Edith Matilda Thomas. This might seem inconsequential at first, but the duo used the text as the starting point in a process that allowed them to discuss change, life, time and human action as they blended real-time performance with synthetic elements seamlessly.
The push and pull between electronics and real instruments is a conversation artists have been struggling with for decades, but Mueller and Pitre somehow make their collaboration sound effortless and decidedly organic. Blissful, unique and oddly moving, Inverted Torch is a record that defies comparison and encourages patient, deep listening.
- "The Whole might be avant-percussionist Jon Muellers first album for the Type imprint but its far from his scene debut. Working in a plethora of bands for many years (including Collections of Colonies of Bees and Volcano Choir with Justin Vernon aka Bon Iver), Mueller has honed his sound to a distinct peak, and over the course of umpteen solo albums and collaborations has cemented his status as one of experimental musics most revered drummers.
Following his epic works Metals (a collection of classic heavy metal rhythms) and the expansive and surprisingly beautiful Physical Changes, both for the esteemed Table of the Elements label, Mueller embarked on the heady process of creating a defining work. Intrigued by ideas of simplicity and acoustic sound, Muellers research drew him to Shaker crafts and quilt making, both deceptively simple practices rooted in the transmission of ideas. Over time these experiences were interpreted in many different ways, almost certainly inaccurately, and this miscommunicated simplicity is at the very centre of The Whole. Through a rolling, unamplified snare drum (a piece of kit perfected over a year of intense practice), booming low toms, hammered dulcimer and his own voice, Mueller creates a sound that is wholly original and totally beguiling. There are traces of folk traditions and lines drawn to the avant garde idiom but Muellers sound is so singularly perfected it is hard to connect him to specific peers.
The Whole is an album that sounds like both a relic of the past and an echo of the future. The ideas are anchored in memory and tradition, yet the sound is alien and sometimes impenetrable. Over time, as the messages are stripped back, an unabashedly gorgeous piece of work is revealed. Like a good book, it requires patience and contemplation to show its beating heart."
Galaxy - "Anders Brødsgaard worked on this major one-movement galactic work for two periods. The first half was created in the years 1990-93, then it lay idle for a while. With a view to a first performance in 1999 the second part was finished in the course of three hectic months. Galaxy is Brødsgaard's most volumi-nous orchestral work to date with a duration of 42 minutes. In it he wanted to challenge the audience to try to span a huge amount of information without pauses for breath. It should therefore be added that a CD recording may be the ideal medium for such a demanding work, as you can choose the time and place for listening to suit yourself. The orchestral ensemble is as ample as in a Mahler symphony: it prescribes two percussion groups with among other things two pianos, a harpsichord, two bass drums and one tam-tam placed on each side of the platform. The strings often play divisi and at certain points have 25 different parts.
Galaxy was composed as an attempt to challenge the ideologically entrenched thinking in con-tem-porary music, the -struggle between the speculatively technical and the spiritually sensual. On one front, in symbolic form, you have the whole Darmstadt School and all it implies, and on the other mentors like Per Nørgård and Karlheinz Stockhausen. Why not bring these two basic techniques toge-ther and let the work move between the two poles, alternate between the introverted, passive and explo-ratory processes like the harmony and the harmonic series, and the extroverted, active and inventive processes like melody and polyphony? In other words, an integration of tonal and atonal music, triads and cluster chords, diatonic scales and twelve-tone rows. It became important in this process that there had to be no ruptures - the music had to develop coherently, imperceptibly grow and contract, smoothly change tempo, move from the simply grasped to the overwhelmingly complicated, finally arriving at a synthesis on the highest plane.
As the bearing principle in the composition Brødsgaard chose the spiral form. In mathematics a spiral is defined by a plane curve coiling around a fixed point while approaching or receding from the same point; a circle in motion that returns to its point of origin but at a different level from before. In nature we know the spiral form from the galaxy, the DNA molecule, the tornado, the sunflower, the snail shell and even the water running out of the kitchen sink. Brødsgaard also mentions two subli-mated spiral forms in world literature as models: Dante's encounter with the Ten Heavens of Paradise in The Divine Comedy, and the final scene of Part Two of Goethe's Faust.
The spiral motion runs through Galaxy in two parts, that is, it forms a double helix. At first you hear the note D in one apparently unending breath, while at an underlying level the note is harmo-nized spectrally' with the natural harmonics. A little later you hear the twin spiral on the note E flat, and so on. Quickly added to the process is a rising twelve-tone row in the double-basses, as a theme that comes to proliferate in what follows. For after a good 13 minutes the double helix has moved forward to twelve overlapping notes, each with its own overtone harmonies. All the events appear to take place in a zone of weightlessness, in unpredictable patterns and soft collisions. The tempo mark-ings vary, but you do not notice this.
There are four of these overtone-harmonized sections where the strings predominate in a con-stantly varying sound spectrum. Four times they are interrupted by the opposite pole, the wild, rhyth-mic, complicated, percussive and virtuoso music where the percussion of course predominates. The total of eight sections gradually draw together, become shorter and shorter, and in time you can grasp the 12-tone spiral that is built into each section, and the poles then merge: the divisive (regular) string music and the additive (irregular) percussion music fuse into something new and integrated. The ninth section is the turning-point. And look, says Brødsgaard: the acceleration that has just ended is reversed, and the whole work turns out simply to be a semicircular motion in an even larger spiral. Galaxy is dedicated to Karl Aage Rasmussen."
Monk's Mixtures "The jazz luminary Thelonious Monk, one of the first protagonists of bebop and a quite unique piano artist, more or less consciously haunts Monk's Mixtures (2009). Since his youth Brødsgaard has been inspired by the more progressive harmonies of jazz and the instrumentation of the big band, especially the phenomenon called the thickened line' - the block harmonies that arise when you build up a melody line in several parallel parts. However, you also find this sonority in the disposition of the organ stops. The sound produced by the mixture' stop comes from not one, but several ranks of treble pipes, as a rule at octave and fifth intervals, and the stop is normally supplemented with a given selec-tion of fundamentals to produce a unified strong and brilliant sound.
Anders Brødsgaard says that Monk has influenced his own view of harmony. Monk used dense, dissonant chords, indeed often clusters, and together with his jagged rhythms this playing style resulted in a unique personal idiom that left most listeners fairly mystified. Monk had none of the horror vacui of the other beboppers. The pause played a quite crucial role in his composition - he was extraordinarily economical with his material and left it to the listener to fill out the spaces, for example in his own versions of the classic Round Midnight.
Monk's Mixtures emerges as an extremely diverting work. One is tempted to add that it is neo-classical', because it evokes associations with the rhythmic magicians of the last century: the play of shifting time signatures, the displacements of the stress and the metrical counterpoint that also came to influence the great jazz musicians. The orchestral configuration is in principle that of Vienna Classi-cism, with winds in pairs and two score of strings, but extended with a rich, often resonant percussion battery. Precisely with a view to the basic idea of the composition - mixture' sounds - the shrill pic-colo is often used at the high pitches, while the offside' winds, the bass clarinet and the contrabassoon, operate in the depths in both solos and parts moving in parallel. In this way, contours strangely remini-scent of the Duke Ellington and Gil Evans orchestras emerge from the mists of sound without leading you to believe that Brødsgaard intended to write a true jazz score. But the inspiration is not to be denied, as indeed the movement titles express: Moving, Walking and Flying.
Woodwind, brass and strings. These are the three sections that leap forth in blocks in the neoclassical game of the first minutes of Moving. Forward in shifting time signatures, first in the woodwinds: nine, six, five quavers in the three-part legato melody of the woodwinds, with the pizzicati of the strings and harp as reinforcers of the sound of the pulse. It may not be intentional, but now comes a flashback to Stravinsky's neoclassical Psalm Symphony, launched into the lake of sound with a similar vision of sonority: the beat on the bass drum and timpani as an initiatory trampoline bound. The brass takes over as a four-part block in shifting duple metres, the woodwind and brass join voices, and gradually the string front grows to a power factor with a striking duple rhythm in opposition to the triple rhythm of the winds. This is the first wave, which is thinned out with a small parade of more soloist activity, and the next wave sets in with an unequivocally duple basic measure. This is where the unison big tune' unfolds in the spacious breathing of the winds; the cool jazz phrasing is present, but more and more friction is coming from elsewhere with the usurping semiquaver rhythms of the strings. The culmination resembles the big band's chaotic tutti explosions, raw and tight, a long juicy confrontation between duple and triple metre.
Walking is a slow passacaglia, and the title refers to the walking bass' of swing music, but by no means with the four heavy beats to the bar - on the contrary, it is in the spirit of Monk with many pauses and shifting times. It begins quite as expected in the depths with cello and double-bass, but gradually ramifies quite wildly into the rest of the orchestra. One soloist after another is manifested across this straying bass-line where one is particularly fascinated by the contra-bassoon's Fafner-like exclamations and the bassoon's affinities with Dexter Gordon's unruly tenor sax.
Flying might be a nod to Benny Goodman's Flying Home, and the speeded-up finale starts with a scene of jubilation in the now-conquered and truly flying 3/4 time. These 36 bars are in fact just an intro to an extended collective improvisation, with the solo violin as pilot. The woodwinds succeed one another in undulating rhythmic perpetual motion, and the brasses and strings cut in momentarily with edgy fourth-based chords like a blow-up of Monk's left-hand work. All this leads on to dizzying melodic concourses in the three blocks of the orchestra, each laid out in its own thickened line'. In time the differences are evened out, the instrumentation becomes brighter, the strings take over the stage - until the low-key luminous coda. A new version of the big tune' swings its way up into the woodwinds, and after several intermediate phases the work ends with a simmering, ever-fainter fade-out." Dacapo Records 2010
- "Anders Brødsgaard was born in 1955 and studied piano from 1974 at the Funen Academy of Music with Rosalind Bevan as a teacher. From 1979 he studied contemporary piano music with Elisabeth Klein in Copenhagen and piano at the Royal Danish Academy of Music with Anker Blyme. Compositionstudies with Karl Aage Rasmussen, Per Nørgård and Hans Abrahamsen. Anders Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s - above all Karlheinz Stockhausen. In the pieces from 1990 and onwards he has been working with fundamental musical phenomenons like tonality and regular pulse and he is still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters. An example of how such ideas can sound may be heard on the 65 minute recording of the piano cycle In girum imus nocte et consumimur igni (Dacapo 2008). Newer pieces still deal with rhythmic structures, for exampel Six Sax Examples (2006) and Monks Mixtures (2009) for orchestra which is recorded together with Galaxy on Dacapo Records (2010)."
Paul BOWLES (1910-99)
23. Sonatina Fragmentaria (1933) 4:52
FIRST RECORDING
Conlon NANCARROW (1912-97)
24. Prelude & Blues Blues (c. 1935) 2:32
John CAGE (1912-92)
25. Quest (1935) 1:10
CD 2
Ernst KRENEK (1900-91)
1. Twelve Short Piano Pieces, Op. 83 VI. A Boat Slowly Sailing (1938) 2:43
Otto LUENING (1900-96)
2. Six Preludes Prelude No. 4 (1938-51) 2:15
Roger SESSIONS (1896-1985)
3. From My Diary, No. 3 (1938) 2:06
Virgil THOMSON (1896-1989)
4. Souvenir: Portrait of Paul Bowles (1935) 0:58
FIRST RECORDING
Aaron COPLAND (1900-90)
5. The Resting Place on the Hill, from Our Town (1940) 5:04
Leonard BERNSTEIN (1918-90)
Seven Anniversaries (1943, rev. 1954) 2:30
6. I. For Aaron Copland 1:44
7. VII. For William Schuman 0:46
Carl RUGGLES (1876-1971)
8-10. Evocations (1934-43, rev. 1954), movements I, II, IV 10:55
Roy HARRIS (1898-1979)
11. American Ballads I. Streets of Laredo (1946) 2:26
Alan HOVHANESS (1911-2000)
2-4. Five Visionary Landscapes Op. 214 (1965), movements I, II, III 10:39
Frank ZAPPA (1940-93)
5. Piano Introduction to Little House I Used to Live In (1970) 3:15
Mario DAVIDOVSKY (b. 1934)
6. Synchronisms No. 6 for piano & tape (1970) 7:19
George CRUMB (b. 1929)
7. Makrokosmos, Vol. 2 VII. Tora! Tora! Tora! (Cadenza Apocalittica) (Scorpio) (1973) 2:23
Lou HARRISON (1917-2003)
8. A Waltz for Evelyn Hinrichsen (1977) 2:28
Joan TOWER (b. 1938)
9. Red Garnet Waltz (1977) 3:27
John CAGE (1912-92)
10. 49 Waltzes for the Five Boroughs (1977) 1st realization 0:17
11. 49 Waltzes for the Five Boroughs (1977) 2nd realization 1:13
Tom CONSTANTEN (b. 1944)
12. Dejavalse (1977) 2:57
Robert MORAN (b. 1937)
13. Valse In Memoriam Maurice Ravel (1976) 1:56
Philip GLASS (b. 1937)
14. Modern Love Waltz (1977) 2:51
Frederic RZEWSKI (b. 1938)
15. Four Piano Pieces No. 4 (1977) 9:29
Christian WOLFF (b. 1934)
16. Prelude No. 5 (1981) 4:15
James SELLARS (b. 1943)
Nocturnes (1981) 10:18
17. I. Spanish Dreams 4:17
18. II. French Dreams 2:14
19. III. American Dreams 3:47
Ross Lee FINNEY (1906-97)
20. Youths Companion V. Riddle Song (1981) 2:55
FIRST RECORDING
CD 4
Philip GLASS (b. 1937)
1. Opening (1981) 5:21
Lukas FOSS (1922-2009)
2. Solo (1981) 13:04
Alvin CURRAN (b. 1938)
3. For Cornelius (1982) 13:47
John CAGE (1912-92)
4. Souvenir (1983) 7:03
FIRST RECORDING FOR PIANO
Nils VIGELAND (b. 1950)
5. Nocturne: The Sensualist, Dying, Recalls His Protestant Youth (1987) 3:13
Stephen PAULUS (b. 1949)
6. Dance (1987) 2:03
Kamran INCE (b. 1960)
7. My Friend Mozart (1987) 4:11
Joseph SCHWANTNER (b. 1943)
8. Veiled Autumn (Kindertodeslied) (1987) 4:20
Otto LUENING (1900-96)
9. Song Without Words (1987) 2:58
Comments
https://soundcloud.com/systemfuture3/sets/with-and-without
https://www.morrmusic.com/artist/Future%203/release/2124
Built Like A Brick Shithouse by Henderson, Mettler, Foisy, Lachance
Nice free jazz quartet. NYOP.
Interesting to hear the story behind the Wish You Were Here cover photo.
Murcof feat. Eric Truffaz & Talvin Singh - Live Montreux Jazz Festival 2006
Sebastien Roux - Songs
Stephen vitiello - Between You and the Shapes You Take
Fran
Live Music Archive link to Del McCoury Band at DelFest, May 26, 2013
ETA: Wow ! - (track 3)
ETA 2: Oh . . . My . . . God ! (Track 5)
Donatello D'Attoma - Watchdog
The most interesting to me of Dave Sumner's new jazz picks. Quite enjoyable so far.
ETA:
Galaxy
- "Anders Brødsgaard worked on this major one-movement galactic work for two periods. The first half was created in the years 1990-93, then it lay idle for a while. With a view to a first performance in 1999 the second part was finished in the course of three hectic months. Galaxy is Brødsgaard's most volumi-nous orchestral work to date with a duration of 42 minutes. In it he wanted to challenge the audience to try to span a huge amount of information without pauses for breath. It should therefore be added that a CD recording may be the ideal medium for such a demanding work, as you can choose the time and place for listening to suit yourself. The orchestral ensemble is as ample as in a Mahler symphony: it prescribes two percussion groups with among other things two pianos, a harpsichord, two bass drums and one tam-tam placed on each side of the platform. The strings often play divisi and at certain points have 25 different parts.
Galaxy was composed as an attempt to challenge the ideologically entrenched thinking in con-tem-porary music, the -struggle between the speculatively technical and the spiritually sensual. On one front, in symbolic form, you have the whole Darmstadt School and all it implies, and on the other mentors like Per Nørgård and Karlheinz Stockhausen. Why not bring these two basic techniques toge-ther and let the work move between the two poles, alternate between the introverted, passive and explo-ratory processes like the harmony and the harmonic series, and the extroverted, active and inventive processes like melody and polyphony? In other words, an integration of tonal and atonal music, triads and cluster chords, diatonic scales and twelve-tone rows. It became important in this process that there had to be no ruptures - the music had to develop coherently, imperceptibly grow and contract, smoothly change tempo, move from the simply grasped to the overwhelmingly complicated, finally arriving at a synthesis on the highest plane.
As the bearing principle in the composition Brødsgaard chose the spiral form. In mathematics a spiral is defined by a plane curve coiling around a fixed point while approaching or receding from the same point; a circle in motion that returns to its point of origin but at a different level from before. In nature we know the spiral form from the galaxy, the DNA molecule, the tornado, the sunflower, the snail shell and even the water running out of the kitchen sink. Brødsgaard also mentions two subli-mated spiral forms in world literature as models: Dante's encounter with the Ten Heavens of Paradise in The Divine Comedy, and the final scene of Part Two of Goethe's Faust.
The spiral motion runs through Galaxy in two parts, that is, it forms a double helix. At first you hear the note D in one apparently unending breath, while at an underlying level the note is harmo-nized spectrally' with the natural harmonics. A little later you hear the twin spiral on the note E flat, and so on. Quickly added to the process is a rising twelve-tone row in the double-basses, as a theme that comes to proliferate in what follows. For after a good 13 minutes the double helix has moved forward to twelve overlapping notes, each with its own overtone harmonies. All the events appear to take place in a zone of weightlessness, in unpredictable patterns and soft collisions. The tempo mark-ings vary, but you do not notice this.
There are four of these overtone-harmonized sections where the strings predominate in a con-stantly varying sound spectrum. Four times they are interrupted by the opposite pole, the wild, rhyth-mic, complicated, percussive and virtuoso music where the percussion of course predominates. The total of eight sections gradually draw together, become shorter and shorter, and in time you can grasp the 12-tone spiral that is built into each section, and the poles then merge: the divisive (regular) string music and the additive (irregular) percussion music fuse into something new and integrated. The ninth section is the turning-point. And look, says Brødsgaard: the acceleration that has just ended is reversed, and the whole work turns out simply to be a semicircular motion in an even larger spiral. Galaxy is dedicated to Karl Aage Rasmussen."
Monk's Mixtures
"The jazz luminary Thelonious Monk, one of the first protagonists of bebop and a quite unique piano artist, more or less consciously haunts Monk's Mixtures (2009). Since his youth Brødsgaard has been inspired by the more progressive harmonies of jazz and the instrumentation of the big band, especially the phenomenon called the thickened line' - the block harmonies that arise when you build up a melody line in several parallel parts. However, you also find this sonority in the disposition of the organ stops. The sound produced by the mixture' stop comes from not one, but several ranks of treble pipes, as a rule at octave and fifth intervals, and the stop is normally supplemented with a given selec-tion of fundamentals to produce a unified strong and brilliant sound.
Anders Brødsgaard says that Monk has influenced his own view of harmony. Monk used dense, dissonant chords, indeed often clusters, and together with his jagged rhythms this playing style resulted in a unique personal idiom that left most listeners fairly mystified. Monk had none of the horror vacui of the other beboppers. The pause played a quite crucial role in his composition - he was extraordinarily economical with his material and left it to the listener to fill out the spaces, for example in his own versions of the classic Round Midnight.
Monk's Mixtures emerges as an extremely diverting work. One is tempted to add that it is neo-classical', because it evokes associations with the rhythmic magicians of the last century: the play of shifting time signatures, the displacements of the stress and the metrical counterpoint that also came to influence the great jazz musicians. The orchestral configuration is in principle that of Vienna Classi-cism, with winds in pairs and two score of strings, but extended with a rich, often resonant percussion battery. Precisely with a view to the basic idea of the composition - mixture' sounds - the shrill pic-colo is often used at the high pitches, while the offside' winds, the bass clarinet and the contrabassoon, operate in the depths in both solos and parts moving in parallel. In this way, contours strangely remini-scent of the Duke Ellington and Gil Evans orchestras emerge from the mists of sound without leading you to believe that Brødsgaard intended to write a true jazz score. But the inspiration is not to be denied, as indeed the movement titles express: Moving, Walking and Flying.
Woodwind, brass and strings. These are the three sections that leap forth in blocks in the neoclassical game of the first minutes of Moving. Forward in shifting time signatures, first in the woodwinds: nine, six, five quavers in the three-part legato melody of the woodwinds, with the pizzicati of the strings and harp as reinforcers of the sound of the pulse. It may not be intentional, but now comes a flashback to Stravinsky's neoclassical Psalm Symphony, launched into the lake of sound with a similar vision of sonority: the beat on the bass drum and timpani as an initiatory trampoline bound. The brass takes over as a four-part block in shifting duple metres, the woodwind and brass join voices, and gradually the string front grows to a power factor with a striking duple rhythm in opposition to the triple rhythm of the winds. This is the first wave, which is thinned out with a small parade of more soloist activity, and the next wave sets in with an unequivocally duple basic measure. This is where the unison big tune' unfolds in the spacious breathing of the winds; the cool jazz phrasing is present, but more and more friction is coming from elsewhere with the usurping semiquaver rhythms of the strings. The culmination resembles the big band's chaotic tutti explosions, raw and tight, a long juicy confrontation between duple and triple metre.
Walking is a slow passacaglia, and the title refers to the walking bass' of swing music, but by no means with the four heavy beats to the bar - on the contrary, it is in the spirit of Monk with many pauses and shifting times. It begins quite as expected in the depths with cello and double-bass, but gradually ramifies quite wildly into the rest of the orchestra. One soloist after another is manifested across this straying bass-line where one is particularly fascinated by the contra-bassoon's Fafner-like exclamations and the bassoon's affinities with Dexter Gordon's unruly tenor sax.
Flying might be a nod to Benny Goodman's Flying Home, and the speeded-up finale starts with a scene of jubilation in the now-conquered and truly flying 3/4 time. These 36 bars are in fact just an intro to an extended collective improvisation, with the solo violin as pilot. The woodwinds succeed one another in undulating rhythmic perpetual motion, and the brasses and strings cut in momentarily with edgy fourth-based chords like a blow-up of Monk's left-hand work. All this leads on to dizzying melodic concourses in the three blocks of the orchestra, each laid out in its own thickened line'. In time the differences are evened out, the instrumentation becomes brighter, the strings take over the stage - until the low-key luminous coda. A new version of the big tune' swings its way up into the woodwinds, and after several intermediate phases the work ends with a simmering, ever-fainter fade-out."
Dacapo Records 2010
- "Anders Brødsgaard was born in 1955 and studied piano from 1974 at the Funen Academy of Music with Rosalind Bevan as a teacher. From 1979 he studied contemporary piano music with Elisabeth Klein in Copenhagen and piano at the Royal Danish Academy of Music with Anker Blyme. Compositionstudies with Karl Aage Rasmussen, Per Nørgård and Hans Abrahamsen. Anders Brødsgaard began by writing rigorously structured pieces, inspired by the serial composers of the 50s - above all Karlheinz Stockhausen. In the pieces from 1990 and onwards he has been working with fundamental musical phenomenons like tonality and regular pulse and he is still inspired by the post-Pythagorean idea of a musical continuum between the musical parameters. An example of how such ideas can sound may be heard on the 65 minute recording of the piano cycle In girum imus nocte et consumimur igni (Dacapo 2008). Newer pieces still deal with rhythmic structures, for exampel Six Sax Examples (2006) and Monks Mixtures (2009) for orchestra which is recorded together with Galaxy on Dacapo Records (2010)."
Sunday starts with
Little Feat- Feats don't fail me Now
Arc - Rise
A slow burner.
- Lindsay Cooper / bassoon, sopranino saxophone
- Dean Brodrick / keyboards, piano, accordion, bassoon
- Stuart Jones / trumpet, cello, bass guitar
- Peter Whyman / alto + soprano saxophone, bass clarinet