Just in on Clapping Music/Soundcloud: My Jazzy Child - Camarade Violence
ETA:
One of the no longer free albums from Boston Modern Orchestra Project (and a really amazing one) of which there is only 3 left + a few listed as seperate tracks. Link
Kenneth Radnofsky, alto saxophone
Angel Subero, bass trombone
Richard Svoboda, bassoon
Boston Modern Orchestra Project
Gil Rose, conductor
"As a follow-up to the composers first BMOP/sound album Michael Gandolfi: Y2K Compliant (2008), From the Institutes of Groove is the latest endeavor in a long-standing affair between Michael Gandolfi and BMOP. The recordings three concertos showcase Gandolfis multifarious compositional techniques such as post-minimalist textures and interlaced grooves as well as intellectual inspirations such as science and architecture. As evident throughout, he provides a stage for the soloists to reveal their single musical personalities and the varying facets of their respective instruments.
Two of the albums works were written exclusively for BMOP: the 20-minute, four-movement Fantasia for Alto Saxophone and Orchestra featuring saxophonist Kenneth Radnofsky; and the eponymous From the Institutes of Groove featuring Venezuelan bass trombonist Angel Subero. In Institutes, Gandolfi plays off Angels versatility as both a salsa and classical player. Soaked in rhythmic patterns, the first movement Too Jazz for Rock is inspired by big-band sounds while the second Rising on the Wing a minimalist-like groove. Rounding out the recording is Concerto for Bassoon and Orchestra featuring Richard Svoboda, principal bassoonist of the Boston Symphony Orchestra."
- "Michael James Gandolfi (born July 5, 1956 in Melrose, Massachusetts) is an American composer of contemporary classical music.
Initially a self-taught guitarist, Gandolfi entered the Berklee College of Music before transferring to the New England Conservatory of Music(NEC) after one year. He went on to receive both his bachelors and masters degrees from NEC, where he is now the chair of the composition department.[1] In 1986, he was a Fellow at the Tanglewood Music Center; while there, he studied with Leonard Bernstein and Oliver Knussen. He has served on the faculty of Harvard University, Indiana University, and the Phillips Academy at Andover; since 1997 he has been the coordinator for the Tanglewood Music Center's composition department. He was previously a composer in residence with the New England Philharmonic. He has been championed by conductor Robert Spano as one of the "Atlanta School" of American composers, a group that also includes colleagues Osvaldo Golijov, Jennifer Higdon, and Christopher Theofanidis.
Gandolfi's music often contains rock and jazz elements. He often looks to the sciences for his subject matter, resulting in pieces such as The Garden of Cosmic Speculation (inspired by Charles Jencks' garden in Scotland that incorporates modern physics into its design, and nominated for Best Contemporary Classical Composition at the 2009 Grammy Awards) and Trivia, written for the Weilerstein Trio, which counts Richard Wolfson's book Simply Einstein as a source. He has also written a significant amount of children's music, including a setting of Carlo Collodi's Pinocchio story.
He has had significant performance by the Boston Symphony Orchestra, Atlanta Symphony Orchestra, The New World Symphony, the Houston Symphony Orchestra, the Boston Modern Orchestra Project, BBC Scottish Symphony Orchestra, and many others.
I had this on a cdr that I downloaded 10+ years ago; it's tagged as 8/2/1968, but I can't find any other copies of that show or info about it. It sounds really good though.
- "Jaap Blonk (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet.
He went to university for mathematics and musicology but did not finish those studies.
In the late 1970s he took up saxophone and started to compose music.
A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds.
From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well.
He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He performed in many European countries, as well as in the U.S. and Canada, Indonesia, Japan, South Africa and Latin America. With the use of live electronics the scope and range of his concerts has acquired a considerable extension.
Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Nicolas Collins, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk's work for radio and television includes several commissioned radio plays.
He also makes larger-scale drawings of his scores, which are being exhibited.
He was the founder and leader of the long-standing bands Splinks (modern jazz, 1983-1999) and BRAAXTAAL (avant-rock, 1987-2005). He also has his own record label, Kontrans, featuring a total of 15 releases so far. Other Blonk recordings appeared on Staalplaat, Basta and VICTO.
"Keynote Dialogues" is first Jaap Blonk solo album since 2000." MonotypeRec / Morr Music GBR - Soundcloud - http://www.jaapblonk.com/
Gabriel Saloman - Adhere - "When legendary noise duo Yellow Swans dissolved just prior to releasing Going Places, it left in its wake two musicians with very distinct but very different voices. Pete Swansons post-YS technoid experimentations have been well documented, but that still leaves Gabriel Saloman, who after leaving the group buried himself headfirst in sounds and images that were possibly even further away from his comfort zone. Adhere is Salomans first proper album, and finds him stripping away the blood, sweat and tears of his old band and revealing a rich seam of ominous restraint. Delicately picked strings, piano and hocking woodblock percussion are drowned in reverb and drawn out in cold anguish giving a cracked, minimalist mirror to the work of fellow Miasmah alums Kreng or Elegi. A softly spoken record, while Adhere pushes away Salomans noise history, none of his well-documented intensity is discarded and lost. Instead the blistering punk nihilism is allowed to simmer and boil over in different ways, and the occasional moments of post-Cocteau Twins shimmering bliss we could just about make out on Going Places are now given a chance to shine in all their glory. Adhere is a surprising, challenging and perfectly paced album, and fits into its very own niche, ushering in a new generation of listeners to Salomans distorted, hazy vision." Miasmah Recordings 2011 - More Gabriel Saloman @ Emusers
"New Phonic Artfour gifted avant-garde musicians playing trombone, clarinets, saxophone, flute, alphorn, zurle, piano, organ, and percussion. The textures produced are in places reminiscent of Kagels Acustica, though more spare. Over two days of January 1971, they recorded seven unedited takes without rehearsal or premeditation and selected three for this LP (Wergo 60060)." Lastfm
I'll have to queue that up next, BN. Was already listening to Nusrat Fatah Ali Khan based on an elwoodicious Facebook post, and want to finish that out first.
- "One could hardly not see in Don Preston a key musician within Frank Zappa's oeuvre. He is not only that, but his presence has marked The Mothers' major records from 1966 to 1974. His touch was already there before the arrival of Ian Underwood, and it continued after Ian left. You all remember King Kong (its magnificence as interpreted by Dom DeWild) from the second Uncle Meat suite. A certain form of jubilation emanates from this track, thanks to Preston's fluid style and lightly astringent tone on the Moog synthesizer - that instrument never sounded quite like that before or after. This might have to do with his double training, his twin interests, since he had been simultaneously working with Gil Evans and listening intensely to Luciano Berio, Karlheinz Stockhausen, and Tod Dockstader. Immersed in jazz music, he was imagining secret ties with the nascent electronic music.
In the mid-'60s, Preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. Out of this instrument came Electronic (1967), his first piece. Two years later, he became a close friend of Robert Moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. Nowadays, you can't mention the Mini-Moog without thinking of Preston. Bob Moog himself said about his solo in Waka Jawaka: "That's impossible. You can't do that on a Moog.". Filters, Oscillators & Envelopes features the other side, the hidden side of Don Preston: the composer of purely electronic music."
- Sub Rosa.
I learned of this album when I came across one of its songs on a scottish-irish alternative/indie rock mix (although they seem to be from Atlanta, GA). NYOP on Bandcamp.
"A four-piece band whose style makes me think of ancient, abandoned castles and elegant rundown graveyards. 'Gothic' is a tragically overused word, thrown at everyone from Amy Lee to Amanda Palmer, but here it really is relevant. From the Macbeth-inspired "Toil and Trouble" to the haunting ghost story "Penelope", these songs always seem to touch on hints of the supernatural and the ghostly. As for the music itself, it's sublime. The band's use of strings and piano are particularly well done, and both lead singers Andrew (who takes the lead on tracks like "Wild Creatures of Doubt") and Ashley ("Penelope" and "Persephone", as well as their cover of Joanna Newsome's "Balloons and Bridges") have extraordinary, distinctive voices." - from the blog, thebringerofsong.
Totally brilliant and free for an email on Bandcamp: - "The Pomegranate Cycle is the debut album from Textile Audio a solo project by composer, mezzo soprano and sound engineer Eve Klein. It is a space for wild, romantic experiments in ambient electronica and post-classical forms.
The Pomegranate Cycle is woven from song, sound textures and fragmented orchestration a fragile, ebbing work, part sonic and part myth. The Pomegranate Cycle uses poetry and abstract language to convey a felt sense of narrative. It traces opera and the ghosts of women whose lives have been touched by violence. Elements of the Persephone story are strewn through symphonic timbres and ruptured with grain and glitch. A girl collecting flowers is stolen, transfigured, a mother seeks her lost child, and wreaks vengeance.
This is a new kind of opera. It deals with the genres inability to reconcile its institutions and outmoded vision of romance with contemporary audiences. It rejects the gendered violence of opera, perpetuated in the tropes of dying sopranos. The Pomegranate Cycle embodies a new kind operatic heroine, who lives, reflects and heals. She is the spark for a womens centered opera, a highly configurable and living tradition where the singer is the composer and producer simultaneously. . . ." Wood & Wire - FMA
Footwork is good stuff. Combines electronic dance music with hip hop beats at a high BPM. If I worked out I'd totally listen to Footwork while doing so.
News from Aagoo Records (Colin Stetson, Philippe Petit) on Soundcloud:
- "These works are a collaboration between the Japanese figure of experimental electronic music, KK Null, and Mexican artists and brothers Israel and Diego Martinez.
Diego is best known as Lumen lab, and both are mentors of the label Abolipop -Suplex. The process started at the end of 2012 when Kazuyuki Kishino, based in Tokyo and Israel Martinez in Berlin, started to share electronic sounds and field recordings. They tried making new pieces exploring various approaches to composition such as the recording of improvisation sessions, the capturing of the soundscape and incorporating some electroacoustic computer processes.
After several exchanges, Israel invited Lumen lab to participate in the project from Zapopan, Mexico. The two had not worked together since 2002 when Israel was part of Lumen lab. Sharing this experience with an early influential musician of the 90's electronic and experimental scene provided a good moment..."
Comments
@BN, going to post the track list for the summer mix to the summer mix thread.
My Jazzy Child - Camarade Violence
ETA:
One of the no longer free albums from Boston Modern Orchestra Project (and a really amazing one) of which there is only 3 left + a few listed as seperate tracks.
Link
Kenneth Radnofsky, alto saxophone
Angel Subero, bass trombone
Richard Svoboda, bassoon
Boston Modern Orchestra Project
Gil Rose, conductor
"As a follow-up to the composers first BMOP/sound album Michael Gandolfi: Y2K Compliant (2008), From the Institutes of Groove is the latest endeavor in a long-standing affair between Michael Gandolfi and BMOP. The recordings three concertos showcase Gandolfis multifarious compositional techniques such as post-minimalist textures and interlaced grooves as well as intellectual inspirations such as science and architecture. As evident throughout, he provides a stage for the soloists to reveal their single musical personalities and the varying facets of their respective instruments.
Two of the albums works were written exclusively for BMOP: the 20-minute, four-movement Fantasia for Alto Saxophone and Orchestra featuring saxophonist Kenneth Radnofsky; and the eponymous From the Institutes of Groove featuring Venezuelan bass trombonist Angel Subero. In Institutes, Gandolfi plays off Angels versatility as both a salsa and classical player. Soaked in rhythmic patterns, the first movement Too Jazz for Rock is inspired by big-band sounds while the second Rising on the Wing a minimalist-like groove. Rounding out the recording is Concerto for Bassoon and Orchestra featuring Richard Svoboda, principal bassoonist of the Boston Symphony Orchestra."
- "Michael James Gandolfi (born July 5, 1956 in Melrose, Massachusetts) is an American composer of contemporary classical music.
Initially a self-taught guitarist, Gandolfi entered the Berklee College of Music before transferring to the New England Conservatory of Music(NEC) after one year. He went on to receive both his bachelors and masters degrees from NEC, where he is now the chair of the composition department.[1] In 1986, he was a Fellow at the Tanglewood Music Center; while there, he studied with Leonard Bernstein and Oliver Knussen. He has served on the faculty of Harvard University, Indiana University, and the Phillips Academy at Andover; since 1997 he has been the coordinator for the Tanglewood Music Center's composition department. He was previously a composer in residence with the New England Philharmonic. He has been championed by conductor Robert Spano as one of the "Atlanta School" of American composers, a group that also includes colleagues Osvaldo Golijov, Jennifer Higdon, and Christopher Theofanidis.
Gandolfi's music often contains rock and jazz elements. He often looks to the sciences for his subject matter, resulting in pieces such as The Garden of Cosmic Speculation (inspired by Charles Jencks' garden in Scotland that incorporates modern physics into its design, and nominated for Best Contemporary Classical Composition at the 2009 Grammy Awards) and Trivia, written for the Weilerstein Trio, which counts Richard Wolfson's book Simply Einstein as a source. He has also written a significant amount of children's music, including a setting of Carlo Collodi's Pinocchio story.
He has had significant performance by the Boston Symphony Orchestra, Atlanta Symphony Orchestra, The New World Symphony, the Houston Symphony Orchestra, the Boston Modern Orchestra Project, BBC Scottish Symphony Orchestra, and many others.
Gandolfi currently resides in Cambridge, MA and is a member of ASCAP"
Wikipedia
http://www.bmop.org/ - http://www.michaelgandolfi.com/
Before:
Now:
Next:
Then:
Craig
I had this on a cdr that I downloaded 10+ years ago; it's tagged as 8/2/1968, but I can't find any other copies of that show or info about it. It sounds really good though.
- Thanks P42.
- "Jaap Blonk (born 1953 in Woerden, Holland) is a self-taught composer, performer and poet.
He went to university for mathematics and musicology but did not finish those studies.
In the late 1970s he took up saxophone and started to compose music.
A few years later he discovered his potential as a vocal performer, at first in reciting poetry and later on in improvisations and his own compositions. For almost two decades the voice was his main means for the discovery and development of new sounds.
From around the year 2000 on Blonk started work with electronics, at first using samples of his own voice, then extending the field to include pure sound synthesis as well.
He took a year off of performing in 2006. As a result, his renewed interest in mathematics made him start a research of the possibilities of algorithmic composition for the creation of music, visual animation and poetry.
As a vocalist, Jaap Blonk is unique for his powerful stage presence and almost childlike freedom in improvisation, combined with a keen grasp of structure. He performed in many European countries, as well as in the U.S. and Canada, Indonesia, Japan, South Africa and Latin America. With the use of live electronics the scope and range of his concerts has acquired a considerable extension.
Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Maja Ratkje, Mats Gustafsson, Nicolas Collins, Joan La Barbara, The Ex, the Netherlands Wind Ensemble and the Ebony Band. He premiered several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. On several occasions he collaborated with visual computer artist Golan Levin.
Blonk's work for radio and television includes several commissioned radio plays.
He also makes larger-scale drawings of his scores, which are being exhibited.
He was the founder and leader of the long-standing bands Splinks (modern jazz, 1983-1999) and BRAAXTAAL (avant-rock, 1987-2005). He also has his own record label, Kontrans, featuring a total of 15 releases so far. Other Blonk recordings appeared on Staalplaat, Basta and VICTO.
"Keynote Dialogues" is first Jaap Blonk solo album since 2000."
MonotypeRec / Morr Music GBR - Soundcloud - http://www.jaapblonk.com/
Not the kind of thing I usually listen to. (My first tip-off would be the band name, "The Black Angels.") But it rocks. And I do like it.
Gabriel Saloman - Adhere
- "When legendary noise duo Yellow Swans dissolved just prior to releasing Going Places, it left in its wake two musicians with very distinct but very different voices. Pete Swansons post-YS technoid experimentations have been well documented, but that still leaves Gabriel Saloman, who after leaving the group buried himself headfirst in sounds and images that were possibly even further away from his comfort zone. Adhere is Salomans first proper album, and finds him stripping away the blood, sweat and tears of his old band and revealing a rich seam of ominous restraint. Delicately picked strings, piano and hocking woodblock percussion are drowned in reverb and drawn out in cold anguish giving a cracked, minimalist mirror to the work of fellow Miasmah alums Kreng or Elegi. A softly spoken record, while Adhere pushes away Salomans noise history, none of his well-documented intensity is discarded and lost. Instead the blistering punk nihilism is allowed to simmer and boil over in different ways, and the occasional moments of post-Cocteau Twins shimmering bliss we could just about make out on Going Places are now given a chance to shine in all their glory. Adhere is a surprising, challenging and perfectly paced album, and fits into its very own niche, ushering in a new generation of listeners to Salomans distorted, hazy vision."
Miasmah Recordings 2011 - More Gabriel Saloman @ Emusers
New release from Gizeh records, wonderful acoustic record
- Quite good, actually. . .
ETA: track 4 is brilliant.
ETA 2:
Craig
- "One could hardly not see in Don Preston a key musician within Frank Zappa's oeuvre. He is not only that, but his presence has marked The Mothers' major records from 1966 to 1974. His touch was already there before the arrival of Ian Underwood, and it continued after Ian left. You all remember King Kong (its magnificence as interpreted by Dom DeWild) from the second Uncle Meat suite. A certain form of jubilation emanates from this track, thanks to Preston's fluid style and lightly astringent tone on the Moog synthesizer - that instrument never sounded quite like that before or after. This might have to do with his double training, his twin interests, since he had been simultaneously working with Gil Evans and listening intensely to Luciano Berio, Karlheinz Stockhausen, and Tod Dockstader. Immersed in jazz music, he was imagining secret ties with the nascent electronic music.
In the mid-'60s, Preston started developing an electronic instrument, using a home-made synthesizer and a series of oscillators and filters. Out of this instrument came Electronic (1967), his first piece. Two years later, he became a close friend of Robert Moog, and their discussions gave birth to a number of applications in relation with the flexibility of the instrument. Nowadays, you can't mention the Mini-Moog without thinking of Preston. Bob Moog himself said about his solo in Waka Jawaka: "That's impossible. You can't do that on a Moog.". Filters, Oscillators & Envelopes features the other side, the hidden side of Don Preston: the composer of purely electronic music."
- Sub Rosa.
I learned of this album when I came across one of its songs on a scottish-irish alternative/indie rock mix (although they seem to be from Atlanta, GA). NYOP on Bandcamp.
"A four-piece band whose style makes me think of ancient, abandoned castles and elegant rundown graveyards. 'Gothic' is a tragically overused word, thrown at everyone from Amy Lee to Amanda Palmer, but here it really is relevant. From the Macbeth-inspired "Toil and Trouble" to the haunting ghost story "Penelope", these songs always seem to touch on hints of the supernatural and the ghostly. As for the music itself, it's sublime. The band's use of strings and piano are particularly well done, and both lead singers Andrew (who takes the lead on tracks like "Wild Creatures of Doubt") and Ashley ("Penelope" and "Persephone", as well as their cover of Joanna Newsome's "Balloons and Bridges") have extraordinary, distinctive voices." - from the blog, thebringerofsong.
Craig
Streaming from Bandcamp, thanks Kez
Craig
- "The Pomegranate Cycle is the debut album from Textile Audio a solo project by composer, mezzo soprano and sound engineer Eve Klein. It is a space for wild, romantic experiments in ambient electronica and post-classical forms.
The Pomegranate Cycle is woven from song, sound textures and fragmented orchestration a fragile, ebbing work, part sonic and part myth. The Pomegranate Cycle uses poetry and abstract language to convey a felt sense of narrative. It traces opera and the ghosts of women whose lives have been touched by violence. Elements of the Persephone story are strewn through symphonic timbres and ruptured with grain and glitch. A girl collecting flowers is stolen, transfigured, a mother seeks her lost child, and wreaks vengeance.
This is a new kind of opera. It deals with the genres inability to reconcile its institutions and outmoded vision of romance with contemporary audiences. It rejects the gendered violence of opera, perpetuated in the tropes of dying sopranos. The Pomegranate Cycle embodies a new kind operatic heroine, who lives, reflects and heals. She is the spark for a womens centered opera, a highly configurable and living tradition where the singer is the composer and producer simultaneously. . . ."
Wood & Wire - FMA
Between this and some compilations I'll be exploring Chicago's "Footwork" scene for the next little while.
Craig
Footwork is good stuff. Combines electronic dance music with hip hop beats at a high BPM. If I worked out I'd totally listen to Footwork while doing so.
Craig