> @rostasi said:
> I have to say I've never had YouTube suggest anything to me. LOL! How does this happen?
It works by autoplay maybe by that right hand column. Anyway the point is I got some great "Spiritual Jazz" by a bloke I know right after your helpful Chinese Post Rock suggestion.
Yeah, I'm not getting anything like that (well, that I can see?)
OK, I see an "auto-play" switch on the bottom that I turned on, but it just went to the Itzhak Perlman - Beethoven that you see in the top corner. Based on what? Who knows...
Posi-Tone says this is the first in a new series of releases each of which will feature the music of a particular jazz composer. This one has Mingus compositions. As one who thinks Mingus ranks with Ellington and Shorter as a composer this one didn't impress me. While Koslov and Kikoski (who only plays on 3 tracks) have important associations with current Mingus groups, the others do not and it shows. This is pretty bland Mingus; it would be better to listen one of the Mingus Big Band releases, which is what I am going to do now.
It remembers stuff you have played in the past...Not what you have just listened to. I leave it turned off...If you just let it go, it will eventually start playing infomercials and other crazy stuff
It remembers stuff you have played in the past...Not what you have just listened to. I leave it turned off...If you just let it go, it will eventually start playing infomercials and other crazy stuff
Yeah, but I can't ever remember playing anything like Beethoven or Perlman or just about anything that shown in the right-hand panel ... so, really, who knows?
Not only Dolphy at his best, both playing and composing, but also Freddie Hubbard and Bobby Hutcherson. I often have trouble getting beyond my thinking of Hubbard as a hard bopper (Ready for Freddie and the Hub-X releases), but he holds his own and more on some great avant garde releases such as this and his own Red Clay. Tony Williams had just turned 18 when this was recorded but he had already made his name with Sam Rivers and Miles Davis. Dolphy died within 6 months of this recording after playing on Mingus' well-documented1964 European tour.
The uncertain situation of the pandemic due to government policies that do not concern to welfare and security for the people makes anyone indignant. Survival is initiated independently and collectively through community solidarity actions, including protests. Ironically, the action was not responded to as an aspiration for the government to improve and instead responded with repression. Wukir's statement of disobey not only to socio-political conditions, but also to all things that limit and restrict freedom of expression.
This attitude is reflected in the composition on this album. It's not as melodic as it used to be. Dark as usual, aggressive, abrasive, transcendental, and definitely tribal. The percussion element is very dominant. This emerged from his new instrument in the form of a wooden box with a line-shaped hole. This ancient-futuristic album marks a tumultuous new cross-dimensional era to affirm our stance, to disobey.
Instruments: Kentongan serie A and B, Guitar, Industrial Mutant, Solet, Senyawa x Benchlab Pedal serie R prototype
Composition in twelve parts for ensemble and electronics. Performed by musikFabrik. Recorded at the Muziekgebouw aan 't IJ, Amsterdam, 17.02.11.
The history of this piece falls into three stages. In 2008 I was commissioned to write a piece for Veenfabriek’s Siren Orchestra, an ensemble of sirens and noise machines modelled on the instruments of Italian futurist Luigi Russolo and the theoretical writings of Hermann von Helmholtz. Because of the futility of writing too precise pitch material for these instruments, the score took them form of graphic notation. I used satellite images from various IMINT sources and rendered them into electronic soundscapes, using various analysis methods to translate the contours of the aerial maps into sound. I was fascinated by the results, the idea that one could translate an image of a landscape into a musical narrative, seemed an intriguing way of mapping space onto time and then back again. I have often thought of my compositions as a musical environment where one can wander through in a relatively open time scale, so the idea of using a map of a physical space as a direct analogy to a musical score became an interesting starting point for the work. This eventually became ‘Bases’ because most of the images that were rendered were of US military air and naval bases.
The next phase of the piece came from gradually tracing out my own versions of the graphic score, out of curiosity and desire to have a more precise articulation of the sound maps. This resulted in composing fixed pitches and rhythms to the soundscapes. After sketching about half of these into score, I received a commission from Tomoko Mukaiyama and the Seattle Chamber Players for a large-scale work for their Icebreaker V festival in February 2010, and I decided to complete this material for them, and so ‘Satellites’ for 5 instruments and soundtrack grew out of this. The instrumentalists are put into a metaphorical orbit. The idea was to trace some kind of movement with varying speeds through the sonic landscape, as if they were floating across it. The result being that the material which is played by the musicians, is characterized by differing velocities and rates of change, as if each instrument is orbiting around the material. Harmonies dissolve into one another and the musicians trace the contours of the sonic landscapes as if scanning the world beneath.
A new version of the piece was made for large ensemble in 2011, not as a way of replacing the previous one but out of an idea of adding more depth and perspective to the ensemble. This version ‘airfields’ uses brass placed on the balconies of the concert hall to echo and feedback from the ensemble of 11 remaining musicians on stage. The structure of this work, like its previous incarnation, oscillates between movements for the whole ensemble and movements for particular soloists; violin, bass clarinet, piano, cello, flute, in which the off-stage brass contribute at various times. I had the opportunity to premiere this version of the piece at the Muziekgebouw aan 't IJ in my hometown Amsterdam, with Köln based ensemble musikFabrik in February 2011, and the recording presented here is of that performance.
Canadian guitarist Greg Amirault with brother Steve's Montréal Jazz Trio. One of several fine albums this year from Montréal based musicians, mostly involving people associated with the McGill University music program.
A truly staggering amount of quality music. All tracks taken from the Thesis Drive series which asks musicians to create a long-form composition that could serve as an accompaniment to a journey.
What a wealth of incredible and original music that the Thesis Label has helped bring to light over the course of their existence. 23 long form compositions in this collection...
If you’re into sublime modern composition, low-key electroacoustic, and the output of labels like Longform Editions this is essential!
1. Sontag Shogun, Stijn Hüwels – The Sorrowful World (22:11) 2. Rutger Zuydervelt – Kortfilm (19:37) 3. Fiona Brice – Scissors Paper Stone (20:12) 4. Bruno Sanfilippo – Pure Amnesia (15:09) 5. William Ryan Fritch – Unsettled Air (21:24) 6. Marcus Fischer – Sky Park (20:42) 7. Hotel Neon – Phase Changes (21:24) 8. Drombeg – The White Raven (09:58) 9. Matthew Collings – The Plague Dogs (15:14) 10. Kinbrae – Skeletal Frames (16:48) 11. High Plains – Token (21:51) 12. Garreth Brooke – For B (15:12) 13. M. Grig – Winded Pine (20:33) 14. Light Sleeper – One Eternal Day (20:03) 15. Julia Gjertsen – Skog (18:22) 16. Mary Lattimore – Ultramarine (24:50) 17. Benoît Pioulard – Sandy River (17:49) 18. r beny – Cardinale (19:47) 19. The Gentleman Losers – There is Nowhere to Begin. (0 min) Seek the Great Perhaps. (starting from 7min 20 sec) Katabasis. (starting from 13min) (25:04) 20. Simeon Walker – Roam (17:04) 21. Pepo Galán – Hacia Praia Da Fabrica (17:01) 22. Lee Yi – Mishiva (18:52) 23. Elskavon – South Winds (22:11)
Comments
but it just went to the Itzhak Perlman - Beethoven that you see in the top corner.
Based on what? Who knows...
Posi-Tone says this is the first in a new series of releases each of which will feature the music of a particular jazz composer. This one has Mingus compositions. As one who thinks Mingus ranks with Ellington and Shorter as a composer this one didn't impress me. While Koslov and Kikoski (who only plays on 3 tracks) have important associations with current Mingus groups, the others do not and it shows. This is pretty bland Mingus; it would be better to listen one of the Mingus Big Band releases, which is what I am going to do now.
Much better.
Recorded nearly 70 years ago, but still worth listening. Maybe Vaughan's best recording and it has Clifford Brown to boot.
Not only Dolphy at his best, both playing and composing, but also Freddie Hubbard and Bobby Hutcherson. I often have trouble getting beyond my thinking of Hubbard as a hard bopper (Ready for Freddie and the Hub-X releases), but he holds his own and more on some great avant garde releases such as this and his own Red Clay. Tony Williams had just turned 18 when this was recorded but he had already made his name with Sam Rivers and Miles Davis. Dolphy died within 6 months of this recording after playing on Mingus' well-documented1964 European tour.
Peter Gabriel
This attitude is reflected in the composition on this album. It's not as melodic as it used to be. Dark as usual, aggressive, abrasive, transcendental, and definitely tribal. The percussion element is very dominant. This emerged from his new instrument in the form of a wooden box with a line-shaped hole. This ancient-futuristic album marks a tumultuous new cross-dimensional era to affirm our stance, to disobey.
Instruments:
Kentongan serie A and B,
Guitar, Industrial Mutant, Solet, Senyawa x Benchlab Pedal serie R prototype
Composition in twelve parts for ensemble and electronics. Performed by musikFabrik. Recorded at the Muziekgebouw aan 't IJ, Amsterdam, 17.02.11.
The history of this piece falls into three stages. In 2008 I was commissioned to write a piece for Veenfabriek’s Siren Orchestra, an ensemble of sirens and noise machines modelled on the instruments of Italian futurist Luigi Russolo and the theoretical writings of Hermann von Helmholtz. Because of the futility of writing too precise pitch material for these instruments, the score took them form of graphic notation. I used satellite images from various IMINT sources and rendered them into electronic soundscapes, using various analysis methods to translate the contours of the aerial maps into sound. I was fascinated by the results, the idea that one could translate an image of a landscape into a musical narrative, seemed an intriguing way of mapping space onto time and then back again. I have often thought of my compositions as a musical environment where one can wander through in a relatively open time scale, so the idea of using a map of a physical space as a direct analogy to a musical score became an interesting starting point for the work. This eventually became ‘Bases’ because most of the images that were rendered were of US military air and naval bases.
The next phase of the piece came from gradually tracing out my own versions of the graphic score, out of curiosity and desire to have a more precise articulation of the sound maps. This resulted in composing fixed pitches and rhythms to the soundscapes. After sketching about half of these into score, I received a commission from Tomoko Mukaiyama and the Seattle Chamber Players for a large-scale work for their Icebreaker V festival in February 2010, and I decided to complete this material for them, and so ‘Satellites’ for 5 instruments and soundtrack grew out of this.
The instrumentalists are put into a metaphorical orbit. The idea was to trace some kind of movement with varying speeds through the sonic landscape, as if they were floating across it. The result being that the material which is played by the musicians, is characterized by differing velocities and rates of change, as if each instrument is orbiting around the material. Harmonies dissolve into one another and the musicians trace the contours of the sonic landscapes as if scanning the world beneath.
A new version of the piece was made for large ensemble in 2011, not as a way of replacing the previous one but out of an idea of adding more depth and perspective to the ensemble. This version ‘airfields’ uses brass placed on the balconies of the concert hall to echo and feedback from the ensemble of 11 remaining musicians on stage. The structure of this work, like its previous incarnation, oscillates between movements for the whole ensemble and movements for particular soloists; violin, bass clarinet, piano, cello, flute, in which the off-stage brass contribute at various times.
I had the opportunity to premiere this version of the piece at the Muziekgebouw aan 't IJ in my hometown Amsterdam, with Köln based ensemble musikFabrik in February 2011, and the recording presented here is of that performance.
or have my own radio station.
Dijf Sanders - Java
Canadian guitarist Greg Amirault with brother Steve's Montréal Jazz Trio. One of several fine albums this year from Montréal based musicians, mostly involving people associated with the McGill University music program.
Great Find, another rabbit hole to disappear down.
What a wealth of incredible and original music that the Thesis Label has helped bring to light over the course of their existence. 23 long form compositions in this collection...
If you’re into sublime modern composition, low-key electroacoustic, and the output of labels like Longform Editions this is essential!
1. Sontag Shogun, Stijn Hüwels – The Sorrowful World (22:11)
2. Rutger Zuydervelt – Kortfilm (19:37)
3. Fiona Brice – Scissors Paper Stone (20:12)
4. Bruno Sanfilippo – Pure Amnesia (15:09)
5. William Ryan Fritch – Unsettled Air (21:24)
6. Marcus Fischer – Sky Park (20:42)
7. Hotel Neon – Phase Changes (21:24)
8. Drombeg – The White Raven (09:58)
9. Matthew Collings – The Plague Dogs (15:14)
10. Kinbrae – Skeletal Frames (16:48)
11. High Plains – Token (21:51)
12. Garreth Brooke – For B (15:12)
13. M. Grig – Winded Pine (20:33)
14. Light Sleeper – One Eternal Day (20:03)
15. Julia Gjertsen – Skog (18:22)
16. Mary Lattimore – Ultramarine (24:50)
17. Benoît Pioulard – Sandy River (17:49)
18. r beny – Cardinale (19:47)
19. The Gentleman Losers – There is Nowhere to Begin. (0 min) Seek the Great Perhaps. (starting from 7min 20 sec) Katabasis. (starting from 13min) (25:04)
20. Simeon Walker – Roam (17:04)
21. Pepo Galán – Hacia Praia Da Fabrica (17:01)
22. Lee Yi – Mishiva (18:52)
23. Elskavon – South Winds (22:11)
In memory of Ronnie Spector
Also, their s/t EP.