- "Spectropol Records is pleased to offer this EP of music by NYC guitarist and composer Marco Oppedisano. "resolute" is Oppedisano’s first solo release of electroacoustic music since 2010. The EP is composed of five compelling tracks based on electric guitar, electric bass, percussion, voice and piano. As in much of his previous work, the resulting music is a kind of electric-chamber/concrete hybrid rich with timbral, contrapuntal, gestural and harmonic detail. There’s an unwavering energy through these tracks that speaks to the title, a sense of direction and tonal focus even through contrasting sections, making the EP into what feels like a unified statement."
I came across this while looking for something else in my Amazon cloud storage, and I can't even remember where or when I got it; maybe emu? Or guvera? but anyway it sounds so great now and I can't get enough of it. Love it when that happens!
Then
Kamaiyah- A Good Night In The Ghetto
Wow, this is really good Craig; thanks for pointing it out!
rehearsing, and performing Double Arc took place in November, 2013. Now, more than a year and a half later, I am writing the liner notes to complete the last aspect of the project. The extended distance in time between the recording and mixing/mastering of the musi gave me a different perspective toward the material than I have for most albums. Working on now — 19 months after the performance was documented at the Manggha Culture Center in Krakow — what strikes me most is that this piece seems to be my Pierrot le Fou. No insult intende toward Jean-Luc Godard by comparing his work to mine but, as that film can be seen as a such motion of ideas and filmic strategies that he had developed up until that point, Double Arc can be heard as taking similar place within my own creative development.
It is the longest piece I’ve written since Collide, for the Territory Band and Fred Anderson in the summer of 2006. Like that composition, Double Arc features a guest joining an established ensemble- in this case the incomparable Christof Kurzmann performing on lloopp. Over the course of an hour it is possible to hear my interests in the variety of genres that had influenced me most until that stage: soundtracks from American action films of the 1970s (The French Connection [composed by Don Ellis], The Taking of Pelham 123 [composed by David Shire]); the early period of the New York School composers (John Cage, Morton Feldman, Earle Brown, Christian Wolff); the work of the “Midwest School” of improvising composers based in Chicago and St. Louis in the late 1960 through mid 1970s (particularly that of Julius Hemphill); the free jazz of the 1960s (both in America and Europe); 70s funk from the United States, Nigeria, and Ghana; “free improvisation” languages developed in Europe during the 1970s and 80s; the arrangements that Gil Evans created for Mile Davis in the 1950s. Though unintentional at the time it was composed, hearing Double Arc now with an objectivity provided by the year and a half between its creation and completion, it is evident to me that in many ways Double Arc can be perceived as a collection of genre studies (I am hoping that is also much more than this). it is a concerto written for the creative brilliance of Christof Kurzmann, who did much, much more than rise to the challenges that I presented him. It is the final statment by a collection of outstanding musicians and improvisers who had worked together for more than six years. It is also me, turning around from the front seat of the piece, like Jean-Paul Belmondo, in Pierrot le Fou, looking back at myself and stating, All I think about is fun.” That made it clear to me that its time for the next steps and the next work.
Double Arc is dedicated to Witold Lutoslawski, one of my favorite composers. In the fall of 1989, when I first moved to Chicago from Boston, I was up late one night and alone, listening to his Cello Concerto. On that evening the opening cello pedal and its course of development throughout Lutoslawski’s piece indicated the compositional path I should take was one that constructed material from gestures, not from notes. — KEN VANDERMARK, Chicago, June 15, 2015
Guten Tag, this is Bureau B A freebie from Emusic. I'm not sure if it's still free. It says $9.80 but I'm not a member anymore...sniff, sniff, and I can't tell.
Ps Thanks for Dec. Brighternow
ETA- I've always enjoyed a good sampler
Harald Grosskopf (sorry, I can't help thinking of frogkopf)
Lloyd Cole & Hans-Joachim Roedelius, I've enjoyed everything I've ever heard from Lloyd and this is no exception.
Pyrolator, Conrad Schnitzler, Automat & Roedelius Schneider made my ears perk up.
I enjoyed the whole album, made me think about another freebie that rostasi put me onto back in Sept. '14.
JampyKeys, Erren Fleissig Schottler Steffen, Alien Nature & Void were my ear perkers, but there were lots I enjoyed.
Ps it's still free
also - sorry for all the big pictures. I used the band camp one and couldn't remember the code to make it smaller and make the link work. Oh well.
Here we have 20 minutes of the pure ambient engine idling noise from Star Trek - The Next Generation mixed with a gently throbbing warp core. This one reminds me of a very slow starship heartbeat. Imagine getting to sleep to while pretending that you are snuggled in to your quarters somewhere close to engineering. Also great for studying, meditating, drowning out annoying co-workers, or helping your baby get to bed.
Just set your favorite tricorder to play this track on repeat as you go to sleep and you should have no trouble getting to bed in your quarters. Also perfect for burning to a cd if you need to do that. Make sure your player is set to loop seamlessly to avoid turbulence.
Comments
eta- That was terrific. Here's a short sample
From my Dec. Emusic downloads
PS I'm glad I picked it out, it's great.
Yup ! - Marco is a guitar wizard . . .
- "Spectropol Records is pleased to offer this EP of music by NYC guitarist and composer Marco Oppedisano. "resolute" is Oppedisano’s first solo release of electroacoustic music since 2010. The EP is composed of five compelling tracks based on electric guitar, electric bass, percussion, voice and piano. As in much of his previous work, the resulting music is a kind of electric-chamber/concrete hybrid rich with timbral, contrapuntal, gestural and harmonic detail. There’s an unwavering energy through these tracks that speaks to the title, a sense of direction and tonal focus even through contrasting sections, making the EP into what feels like a unified statement."
Muy hermosa
I came across this while looking for something else in my Amazon cloud storage, and I can't even remember where or when I got it; maybe emu? Or guvera? but anyway it sounds so great now and I can't get enough of it. Love it when that happens!
Then
Kamaiyah- A Good Night In The Ghetto
Wow, this is really good Craig; thanks for pointing it out!
Shellac - Dude Incredible
Seeing them tonight. First time seeing a Steve Albini joint.
@amclark2 - You're quite welcome!
Craig
Mono - Rays of Darkness
Opening for Shellac tonight. What a great bill.
Craig
The more I listen, the more I love
I have been on a RMI binge lately...
A good one, that you can stream at Bandcamp
Notes
rehearsing, and performing Double Arc took place in November, 2013. Now, more than a year and a half later, I am writing the liner notes to complete the last aspect of the project. The extended distance in time between the recording and mixing/mastering of the musi gave me a different perspective toward the material than I have for most albums. Working on now — 19 months after the performance was documented at the Manggha Culture Center in Krakow — what strikes me most is that this piece seems to be my Pierrot le Fou. No insult intende toward Jean-Luc Godard by comparing his work to mine but, as that film can be seen as a such motion of ideas and filmic strategies that he had developed up until that point, Double Arc can be heard as taking similar place within my own creative development.
It is the longest piece I’ve written since Collide, for the Territory Band and Fred Anderson in the summer of 2006. Like that composition, Double Arc features a guest joining an established ensemble- in this case the incomparable Christof Kurzmann performing on lloopp. Over the course of an hour it is possible to hear my interests in the variety of genres that had influenced me most until that stage: soundtracks from American action films of the 1970s (The French Connection [composed by Don Ellis], The Taking of Pelham 123 [composed by David Shire]); the early period of the New York School composers (John Cage, Morton Feldman, Earle Brown, Christian Wolff); the work of the “Midwest School” of improvising composers based in Chicago and St. Louis in the late 1960 through mid 1970s (particularly that of Julius Hemphill); the free jazz of the 1960s (both in America and Europe); 70s funk from the United States, Nigeria, and Ghana; “free improvisation” languages developed in Europe during the 1970s and 80s; the arrangements that Gil Evans created for Mile Davis in the 1950s. Though unintentional at the time it was composed, hearing Double Arc now with an objectivity provided by the year and a half between its creation and completion, it is evident to me that in many ways Double Arc can be perceived as a collection of genre studies (I am hoping that is also much more than this). it is a concerto written for the creative brilliance of Christof Kurzmann, who did much, much more than rise to the challenges that I presented him. It is the final statment by a collection of outstanding musicians and improvisers who had worked together for more than six years. It is also me, turning around from the front seat of the piece, like Jean-Paul Belmondo, in Pierrot le Fou, looking back at myself and stating, All I think about is fun.” That made it clear to me that its time for the next steps and the next work.
Double Arc is dedicated to Witold Lutoslawski, one of my favorite composers. In the fall of 1989, when I first moved to Chicago from Boston, I was up late one night and alone, listening to his Cello Concerto. On that evening the opening cello pedal and its course of development throughout Lutoslawski’s piece indicated the compositional path I should take was one that constructed material from gestures, not from notes. — KEN VANDERMARK, Chicago, June 15, 2015
Guten Tag, this is Bureau B
A freebie from Emusic. I'm not sure if it's still free. It says $9.80 but I'm not a member anymore...sniff, sniff, and I can't tell.
Ps Thanks for Dec. Brighternow
Harald Grosskopf
(sorry, I can't help thinking of frogkopf)
Lloyd Cole & Hans-Joachim Roedelius,
I've enjoyed everything I've ever heard from Lloyd and this is no exception.
Pyrolator, Conrad Schnitzler, Automat & Roedelius Schneider made my ears perk up.
I enjoyed the whole album,
made me think about another freebie that rostasi put me onto back in Sept. '14.
Ps it's still free
also - sorry for all the big pictures. I used the band camp one and couldn't remember the code to make it smaller and make the link work. Oh well.
Aww ! - that sucks.
Just in at Soundcloud:
http://www.12k.com/index.php/site/releases/ballet/
http://www.innova.mu/albums/david-kechley/sea-stones
$2.45 - !!!!!
Here's one part I really enjoyed
Concert Donaueschingen - Part 2
It's undead.
$2.94 !!!!!
ps. Last track- as great as it started
$1.96 !!!!!
The credits at discogs
ps
My oldest brother played trombone, not like George but I loved to hear it just the same.
Here we have 20 minutes of the pure ambient engine idling noise from Star Trek - The Next Generation mixed with a gently throbbing warp core. This one reminds me of a very slow starship heartbeat. Imagine getting to sleep to while pretending that you are snuggled in to your quarters somewhere close to engineering. Also great for studying, meditating, drowning out annoying co-workers, or helping your baby get to bed.
Just set your favorite tricorder to play this track on repeat as you go to sleep and you should have no trouble getting to bed in your quarters. Also perfect for burning to a cd if you need to do that. Make sure your player is set to loop seamlessly to avoid turbulence.
There's also a 12 hour YouTube version.
Thanks.
Here's how it starts
Arnaud Rebotini & Christian Zanési
Tigue - Peaks
$3.92
Thanks
Sixteen Soul Stirring Stompers
Lucinda Williams does quite a bit with one or two chords...enjoyable blues set!