- "Following his last solo release on Editions Mego in 2010 ‘A Handful of Automation’, Robin Fox returns with ‘A Small Prometheus’, a significant new work which exposes a very different audio world to that previously encountered. In the intervening period Fox has been highly active with his widely acclaimed RGB (red, green, blue) laser show along with a recent collaboration with Atom ™: ‘Double Vision’ which premiered at Unsound festival in 2014. ‘A Small Prometheus’ was developed as a soundtrack to a dance work of the same name co-created with Australian choreographer Stephanie Lake. The outline here was to explore the themes of combustion and heat dissipating in various physical systems.. Greatly extending the language of his creative output Fox constructs a synthesis of electronic and acoustic sources creating a deeply nuanced excursion through space and time, timbre and texture. There is a subtle intensity to the works here, ‘A Pound of Flesh’ is an industrial strength spiralling drone, intoxicating, disorientating, ‘Antlers’ takes the listener on an eleven minute ride through a vortex of pulsing and swirling electronics whilst the title track is an unnerving combination of distressed field recordings, closed mic’d crackle and a foreboding distant pulse. ‘Through Sky’ starts out with a slow menacing rhythmic backbone which hosts an arsenal of small sounds until a certain wind supplants all in an admirable and somewhat haunted exchange.
With it’s combination of vast caverns, spiraling counterflows and microscopic investigations Fox has opened up a new world of sound in his personally trajectory and one most unlike others existing anywhere in the present day."
- "Robin Fox is a leading Australian audio-visual artist working across live performance, exhibitions, public art projects and designs for contemporary dance. His laser works which synchronize sound and visual electricity in hyper-amplified 3D space have been performed in over 50 cities worldwide. The new manifestation of this work RGB LASER SHOW premiered at Mona Foma 2014 (Hobart) and recently featured at Tramway (Glasgow), Vivid Festival (Sydney) and the Barbican (London). His groundbreaking work with Chunky Move Dance Company has contributed to the work Mortal Engine receiving a Helpmann award for best visual production and an honourable mention at the the illustrious Prix Ars Electronica 2009. Other works with Chunky Move include Gideon Obarzanek’s Connected, Antony Hamilton’s Keep Everything and Stephanie Lake’s Aorta. His recent sound work Interior Design: Music for the Bionic Ear in association with ANAT and the Bionic Ear Institute, was shortlisted for a Future Everything award in the UK 2011 and selected by the Paris Rostrum of Composers in 2012.
In the visual arts he has exhibited works at the RoslynOxley9 (Sydney), Centre for Contemporary Photography (Melbourne), Gallery of Modern Art (Brisbane) and Salamanca Arts Centre (Hobart) as well as galleries in Germany, Taipei and New Zealand. His interactive installation CRT;Hommage to Leon Theremin received an honourable mention in the National New Media Art Award 2012 and has been acquired by the Australian Synchrotron. The recent work Colour Organ had it’s first installation at MONA Hobart.
Public art projects include designing and building a Giant Theremin for the City of Melbourne, a seven metre tall interactive musical sculpture; the White Beam project commissioned by Dark Mofo which shot a high powered white laser beam through the trees on Salamanca lawns; developing a hybrid sound/dance work A Small Prometheus with Stephanie Lake involving fire powered kinetic musical sculptures which had a sell-out seasonat the 2013 Melbourne International Arts Festival and sound/light design for Lee Serle’s SYNC at the Lyon Opera Ballet. A new work ‘Transducer’ for microphones, speakers and percussionists co-composed with Eugene Ughetti was recently premiered at Totally Huge New Music Festival in Perth.
He has collaborated with some of the world’s leading improvisers and directors from Anthony Pateras, Jon Rose, Jerome Noetinger, Oren Ambarchi and Lasse Marhaug to Gideon Obarzanek, Antony Hamilton, Lucy Guerin and Stephanie Lake. He has released numerous sound works on labels across Europe, Australia and the US and recently released a limited digital edition of a new AV work Magnetic Trap through s[edition] in the UK.
He also holds a PhD in composition from Monash University and an MA in musicology which documents the history of experimental music in Melbourne 1975-1979."
"Launched on June 21, 2012 by Stephan Mathieu as a platform for new solo and collaborative work, as well as remastered work from his back catalog on vinyl and as full resolution digital editions."
Stephan Mathieu - Before Nostromo
The sound design for Ridley Scott’s sci-fi / horror classic Alien (1979) has been an inspiration to many (most notably Sleep Research Facility’s “Nostromo” (2001) which was based on the sound of the Nostromo engines humming in the first minutes of the movie).
On Before Nostromo, Stephan Mathieu focuses on the crew, not on the spaceship. Using piano, gongs, shortwave receiver, tapeloops and ‘entropic processes’, he re-creates the (soundtrack of the) dreams of the crew members just before they awake from hibernation.
The dreams one remembers most vividly are the dreams in the very few seconds before ‘awakening’. In retrospect, actual sounds are often included in the dream but placed in a totally different context. Is this also true when you are re-awakened from deep hibernation sleep? What did the Nostromo – crew dream, before they came back to life?
Each crew member has a different soundtrack for his last moments of stasis (‘a state or condition in which things do not change, move, or progress’; ‘slowing of the current of circulating blood’): Dallas, Parker, Lambert, Brett, Ripley, Kane – even Ash the Android and Jonesy the Ship’s cat. Their dreams are all different, but all share fragments of their environment: … if you listen well you can hear the sound of the Nostromo engines humming, somewhere deep within the soundfield.
This album is a ‘dedicated at-home stereo mix’ from the original work that is commissioned by ZKM | Institute for Music and Acoustics in Karlsruhe, where it is presented on their 46.12 channel (!!!!) sound pavillion (premiered November 28). What an immersive experience that must be! The closing track, Anamorphosis (which can loosely be translated as ‘return to form’), is an ‘additional coda for ebowed virginals and zither’.
Like all of his recent releases, Before Nostromo is available as a high resolution download (24/48 wav), as well as in all other digital formats. There is no physical counterpart, since Mathieu is a tireless advocate of ‘properly done’ high-res digital formats:
“I think it’s about time to look at digital albums as a serious format. There is no excuse left for heavily shrunken audio files unless you want to carry a whole archive worth of albums on your cellphone while you’re out for a long, long run. When done properly, digital files offer just as much fidelity and joy as an analog medium. As a long-time collector of records, I actually have to admit now that the fidelity of full-resolution files will often surpass my favorite medium.”
Crammed Discs are happy to present a new volume in their revived MADE TO MEASURE composers' series: the original soundtrack written and recorded in 2015 by Tuxedomoon and Cult With No Name for the Blue Velvet Revisited documentary, based on footage shot by Peter Braatz in 1985 on the set of Blue Velvet, at the invitation of David Lynch."
The film… - "In 1985, a young German filmmaker Peter Braatz was invited by David Lynch to Wilmington, North Carolina, to document the making of his new film.
Over the following three months Braatz was given unrestricted access to set, cast, crew and director, collating hours of behind-the-scenes footage, in-depth interviews and over a thousand photographs. Featuring exclusive, never before seen footage, the new feature-length ‘Blue Velvet Revisited’ finally offers the most intimate and revealing insight into one of the greatest films of the 1980s, and one of the world’s greatest directors ever."
The music… - "The soundtrack for this new take on an old masterpiece is equally as significant. Uniting the talents of acclaimed UK electronic balladeers CULT WITH NO NAME with legendary post-punk chamber music pioneers TUXEDOMOON, the music for ‘Blue Velvet Revisited’ is every bit as noirishly evocative as the billing would suggest. Fusing elements of contemporary classical (‘Lumberton’) to jazz (‘So Fucking Suave’) to ambient electronica (‘Do It For Van Gogh’) to krautrock (‘Jeffrey Nothing’), but never fully surrendering to any, Tuxedomoon and Cult With No Name have produced a suite that is as unique as it is representative of both artists. In addition, the album sees a contribution from electronic music Godfather JOHN FOXX, the eerie ambience of ‘Lincoln Street’ providing a perfect axis around which Tuxedomoon and Cult With No Name can weave their magic.
With glorious artwork featuring previously unseen photographs of David Lynch, Dennis Hopper, Isabella Rossellini, Kyle Maclachlan and Laura Dern, ‘Blue Velvet Revisited’ is a truly special release."
"Apperception” which means “the process of understanding by which newly observed qualities of an object are related to past experience” sees McCLure mix his woven ambient sound textures with elements of almost Vladislav Delay like Dubbishness on “Carbon and Rocks”, the melding of rich drones and field recordings on “First Snow”, the melodic glitch and hum of “Motif”, the Eno-esque of “Pattern Practice”, the Isolationism of “Sounding Out” and the utter beauty of “Steps Taken, Adrift”. “Apperceptions” has a lot for the fan of Ambience and Sound Art."
"German JAZZTHETIK and American Something Else Reviews chose Bright on their lists of the best jazz albums of 2013. The follow-up Beauteous Tales and Offbeat Stories was released by the same label in April 2015, and was immediately picked as “the jazz album of the week” at NDR and one of the hot new releases at The Europe Jazz Media Chart. British marlbank.net ranked KIT as one of the five ”state of the art trios” of 2015."
- "Vampyr and Other Stories ReR MV30 Released to celebrate their 30 years of collaboration, this limited edition release collects their earliest and latest works, the tracks lost when the two LPs were reissued on a single CD, and the entire live soundtrack performed, with Chris Cutler, to accompany Theodore Carl Dreyer’s Vampyr."
Giovanni Venosta and I started working together in 1985, inspired mainly by the works of the Musique Concrete masters especially Pierre Schaeffer and Pierre Henry, , the minimalist composing style of Steve Reich and Terry Riley, and the piano ostinatos of Abdullah Ibrahim (aka Dollar Brand) and the work of Holger Czukay - in particular Boat-woman song with Rolf Dammers (1969) and the album Movies (1979). Then there was David Byrne & Brian Eno’s 1981 My life in the Bush of Ghosts. Czukay/Dammers and Byrne/Eno actually created real landmarks of “proto” world music, at least as we primarily conceive it: a more or less complex mixture of elements from different musical cultures. We soon realized that some of the modal, atonal, and even microtonal samples we extracted from our own field recordings - and occasionally borrowed from LPs of traditional music - could, if wisely combined with Western harmonies and instruments, generate, by some strange alchemy, a completely different music. We discovered too, since we were mad cooks, that the end results of our work had almost completely lost the original flavours of its constitutive ingredients, baking an entirely new ‘world-music’ pie with its own unique flavour. After Urban and Tribal Portraits, we attempted to extend this transformative process to all sounds - in time (chronologically; from the beginning of musical history), or in space (geographically; from every corner of the globe)"
- "Vampyr - one of the first horror movies with sound, is the work of the highly influential danish director Carl Theodor Dreyer. After directing the monumental "La Passion de Jeanne d'Arc" in 1928, Dreyer decided to make this modest film based on the novel "In a Glass Darkly" by Sheridan Le Fanu; while this is indeed his first movie with sound, it was conceived as a silent film, and the movie contains very few dialog. The movie is about a traveler, named Allan Grey (Julian West), who gets involved in a nightmarish plot when the owner of the inn where he is staying asks him for help to save his family from what he believes is a vampire. We follow Allan Grey in his surrealistic trip to madness as he finds out more and more about the supposed vampire that haunts the manor turned inn.
The Gothic manor and the lonely rural exteriors increase the haunting atmosphere and the beautiful images Dreyer conceived are the work of a genius. The structure of the script may be complicated, but it shows its influence over David Lynch and other filmmakers with similar surrealist story lines and dreamlike sequences. This masterpiece is a must see for any horror fan ; It is a nightmarish trip to the darker parts of the subconscious mind."
- "The soundtrack for Carl Theodor Dreyer’s Vampyr was one of our later attempts to combine all these elements. There was only one performance - with Chris Cutler contributing unscripted percussion and live-electronics - at the Palazzina Liberty, in 1998; the recording featured here. Vampyr is not a silent movie but there is very little dialogue, so we sampled the spoken parts, transforming them into sounds to use in building our accompaniment. In an interview in 1935, Dreyer said that the advent of sound in the cinema came ‘too soon’ and, for this reason, we chose to transform the movie’s sparse dialogue using live electronic processing into musical elements of our score, as if Vampyr were, indeed, still a silent movie"
Peaks is the debut full-length album from powerhouse percussion trio TIGUE, and will see a release on November 13th. Peaks features guitar and bass contributions from Yo La Tengo's Ira Kaplan and James McNew, as well as other contributions from Shahin Motia, Mike Turzanski and Kid Millions (who also produced the record).
Peaks is comprised of a peculiar brand of post-minimalist pattern-pop; a collection of crisscrossed musical conventions that evokes a kaleidoscope of genres. With inspiration from pioneering composers and breakthrough art-rockers, TIGUE has fashioned an album that defies categorization.
- "One half new music ensemble, one half avant-pop band, TIGUE delivers rhythmic hooks and patterned drones, uniting homegrown ethos and conservatory precision. Praised for their energetic and focused performances, the Ohio-born, Brooklyn-based members (Matt Evans, Amy Garapic and Carson Moody) have worked together extensively on original and composed music for nearly half a decade. Formed in 2012, following their concurrent studies at both the Eastman School of Music and the Ohio State University, TIGUE crystallized out of, and in spite of, the eclectic contemporary, pop, and avant-garde influences inherent in their DNA. Their peculiar brand of post-minimalist pattern-pop generates a kaleidoscope of concepts drawing from pioneering composers and breakthrough art-rockers. The powerhouse percussion trio will release their debut full-length album “Peaks” with New Amsterdam Records on November 13th.
TIGUE has been featured in festivals around the country including the International Beethoven Festival (Chicago), the Color Field Festival (Madison), the Frieze Festival (NYC) and the New Music Bake Sale (Brooklyn). They perform frequently in New York City, including performances at The Kitchen, Le Poisson Rouge, the Knitting Factory, and Roulette. They have been guests on a number of local music series including Vicky’ Chow’s Contagious Sounds, guest concerto soloists with Contemporaneous on P.S. 142’s Neighborhood Classics, and So Percussion’s Brooklyn Bound. TIGUE often works with young composers including a 2013 residency position at Dartmouth College working with graduate students on new pieces for percussion trio. To put it simply, TIGUE is dedicated to the proliferation of the percussive arts through outreach, education and the creation of new work. . . . ."
Christopher Bissonnette has a new album out on Kranky, called Pitch, Paper & Foil, a follow up to last year's superb Essays in Idleness and somewhat in the same vein. Great stuff.
Also, I am pretty sure it was someone on here who once recommended Port St. Willow to us all and asked us to vote for them in something. I see they have a new release:
‘Chain’ is the 2nd single to be taken from producer and guitarist Leo Abrahams forthcoming album, ‘Daylight’ (out this November) and features vocals from his frequent studio sparring partner, and one of the godfathers of electronic music,Brian Eno.
One of the album’s many highlights, ‘Chain’ sees Eno’s cut-up vocals collide with Abraham’s intricate guitar playing, ricocheting rhythms and fractured electronics. It’s pop music, just not as you know it.
Accompanying the original is a remix from acclaimed Canadian producer CFCF who turns in a beatific Ambient Techno reworking, a surprisingly propulsive beat underpinning the track’s gauzy synths and sounds.
Having previously experimented with everything from folk and art-rock to modern classical and electronica, and worked with everyone from Roxy Music to Pulp, Abrahams’ new album sees the Londoner bring his myriad influences together to produce music as inspirational as it is unclassifiable.
"The phrase ‘ecliptic plane‘ refers to the Sun’s apparent path or orbit around the Earth, as seen from a terrestrial perspective. As such, the music contained on the album Ecliptic Plane explores orbits and perspective, with multi-layered guitar loops slowly evolving and gradually changing through the course of their repetition. All sounds are produced by electric guitar, all recorded live to 2-track. "
- "Shelter Press announces the release of the second volume in Gabriel Saloman’s “Movement Building” series, continuing the release of original compositions commissioned for contemporary dance works. Following the enthusiastically received first installment – volume one’s album length The Disciplined Body – Saloman offers up 5 new tracks that combine shimmering bowed guitars and reverberant acoustic percussion into a meditative and powerful break from anything he’s produced before. Mobilizing the frequencies of contemporary electronic music (fine tuned to speaker rattling effect by Helmut Erler at Berlin’s Dubplates & Mastering) Movement Building vol. 2 abandons the conventional instrumentation and genre motifs embraced by many of his peers in favour of an utterly unique hybrid of avant-drone, psych-rock and Japanese traditional music.
In 2013 Gabriel Saloman was commissioned by the Vancouver, Canada based dance company 605 Collective to collaborate on a dance work devised by the experimental performance company Theatre Replacement. The two year process resulted in the evening length immersive multi-media dance performance, The Sensationalists(2015), a study of affect and intensity focusing on an imagined secret society devoted to collectively producing autonomous sensory meridian response, or ASMR. A perceptual phenomena that can be produced through a combination of sensual and cognitive stimuli, ASMR adherents have produced thousands of videos on YouTube tailored to provide these sensations. In composing music for The Sensationalists, Saloman built on years of exploring the outer limits of frequency and volume with his former group Yellow Swans and produced a series of tracks that both anchored the live performance and induced waves of sensation in the audience in attendance.
An early inspiration for both The Sensationalists and the music collected in Movement Building Vol. 2 was the novel Snow Country by Yasunari Kawabata. The classic Japanese novel from 1956 tells the story of a geisha in a small mountain town and her married and wealthy male lover (a self-taught musician and self-appointed expert of Western ballet, respectively). Their tragic love affair, set amidst the snow, hot springs and mountains, became a thematic and contextual source for early phases of the project, and much of the music on this album is a result.
Borrowing compositionally and tonally from Taiko and Gagaku (an ancient drone based imperial court music), Saloman reproduced sounds originating in traditional Japanese drums, wind and stringed instruments almost completely on guitar, ride cymbals and snare drum. This influence is most explicit in the undulating rhythms that open the first side of Vol. 2 (Contained Battle/Ascend) and the layered escalation of the literally titled Gagaku, a methodical combination of rhythm and drone that climbs to a peak of psych-tinged burning guitar lines. Between these tracks are situated Ear Piercer and Mountain Music, two songs that have been staples of Saloman’s viscerally intense live sets for the last two years.
Concluding the album is a version of Miles’ Davis’ classic ballad, My Funny Valentine. This epilogue of sorts is a uncanny combination of original percussion and guitar, collaged together with what may be a live recording of Davis’ “second great quintet” taken off of YouTube, processed and time-stretched on tape. Conceived of as support for a duet interpreting a shambolic, drunken encounter between Snow Country’s protagonists, the piece provides a cool denouement following the drawn out intensities of what preceded it.
This second installment in what will resolve itself as a trilogy (look for Vol. 3 in 2016), Movement Building Vol. 2 is in someways a break from much of what Saloman has released before. Just as his previous output has combined cinematic atmospheres with guitar driven climaxes that easily appeal to fans of neo-classical experimentalism and post-rock informed drone, this record opens new compositional territory while maintaining a recognizable melancholy ambience. Exposure to the monolithic bass and open spaces of dub influenced EDM has led Saloman in a different direction than many of his peers (including artists such as Cut Hands, Vatican Shadow and former bandmate Pete Swanson) and towards something that moves bodies and triggers their nerve endings, but with no concession to the dance floor."
- "The last time we spoke to Arnaud Rebotini, was for the promotion of Eastern Boys, a poignant French movie directed by Robin Campillo. The electro-clash colossus told us about the elegant score he composed for the film and how he was influenced by the inevitable Nino Rota and John Carpenter, but also by a less renown artist called Christian Zanési.
A French composer born in 1952, Zanési is the co-director of the Groupe de Recherches Musicales (GRM), a collective founded by avant-garde electronic pioneer Pierre Schaeffer, which today have the likes of Jean-Michel Jarre in its ranks.
And yet, Rebotini, who’s also part of the GRM, didn’t mention Zanesi for this accomplishment. Instead, he mentioned the music he wrote for Les Maîtres du Temps (The Masters of Time), a cartoon Arnaud cherished when he was a kid, with still leaves him sparkly-eyed. . . ."
- "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."
- "Retina is a neo-fairytale-esque, hybrid arthouse-micro-drama / quasi-music video deluxe. It was written & directed by Darko Dragičević, produced by Austin Stack and it features an original soundtrack composed by Markus Popp aka Oval. Six years in the making and almost lost to time, today is the day Retina, with its unique aesthetic and beautifully hand-drawn animation, finally goes live. To celebrate this premiere, the 20-track film score by Oval comes as a free download."
The complete soundtrack recording of Laurie Anderson's newest piece, Heart of a Dog, is available from Nonesuch Records on October 23, 2015. Anderson was recently commissioned by the European TV network Arte to create a feature film—her first in 30 years. Her response was a personal essay entitled Heart of a Dog, a work encompassing joy and heartbreak and remembering and forgetting, at the heart of which is a lament for her late beloved dog Lolabelle. The Nonesuch album is the full audio recording of the film, including all music and spoken text.
Heart of a Dog has been shown at the Telluride, Venice, and Toronto Film Festivals to critical praise, with the New York Times calling it a "philosophically astute, emotionally charged meditation on death, love, art and dogs." The movie will be screened at the New York Film Festival on October 8, before opening theatrically at New York's Film Forum October 21; visit the film's site for details. It also will be shown on HBO in early 2016.
In addition to Anderson's inimitably thoughtful narration, Heart of a Dog includes musical excerpts from several of her pieces—"The Lake" and "Flow" from Homeland (2010), "Beautiful Pea Green Boat" from Bright Red (1994), "Rhumba Club" from Life on a String (2001), excerpts fromLandfall (2011) with Kronos Quartet—as well as the film's closing song "Turning Time Around," written and performed by Anderson's late husband, Lou Reed.
Laurie Anderson is one of America's most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 30 years. Anderson is best known for her multimedia presentations and musical recordings. Her tours have taken her around the world, where she has presented her work in small arts spaces and grand concert halls, and everywhere in between. She has numerous major works to her credit, along with countless collaborations with an array of artists, from Jonathan Demme and Brian Eno to Bill T. Jones and Peter Gabriel.
Anderson's first album, O Superman, launched her recording career in 1980, rising to number two on the British pop charts and subsequently appearing on her landmark release Big Science. She went on to record six more albums with Warner Brothers. In 2001, Anderson released her first album with Nonesuch Records, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), a reissue of Big Science (2007), and Homeland (2010).
Here's what I believe to be a real treat for the local Big Band aficionados and with no doubt one of the most remarkable releases in that genre from Scandinavia in 2015.
- "ReWrite of Spring” is a tribute to Igor Stravinsky’s “Rite of
Spring” – one of the iconic modern masterpieces of music with decisive
influence on the development of jazz music. “ReWrite of Spring” by
internationally renowned saxophonist, composer and conductor Lars Møller, is the first major project from his pen as director of the Aarhus Jazz Orchestra.
With
melodic, rhythmic and dramatic inspiration from Stravinsky, “ReWrite of
Spring” spans transparency and ambiguity, virility and funk, exploiting
the full expressive palette of one of Northern Europe’s best big bands
and topped by contributions from two world-class musicians, saxophonist David Liebman and percussionist Marilyn Mazur.
While
deeply rooted in American and European orchestral traditions, “ReWrite
of Spring” is a vital artistic statement representing a creative voice
in the quest for a personal big band sound.
A note by Liebman
- "Lars [Møller] was one of my first students
in Europe, meeting in Copenhagen in the mid ‘80s at a workshop. I
remember handing out an assignment to transcribe something according to
my quite detailed method. Returning the next year, sure enough Lars did
what I asked and more. I think it was Coltrane and Sonny Rollins that
he transcribed back to back over the two years. I could see then here
was a serious dude. We became friends and I even hung with his family,
convincing them that Lars needed to go to New York, Well, not only did
he go through the course at the New School, but also he got to work with
a true master on more than one occasion, drummer Jimmy Cobb. Finally,
there were Lars’ Indian trips. One of the things I emphasize when I talk
about artistic evolution is that when you have done your WORK up to a
certain level of proficiency, then you must look outside the jazz box,
into something else to inspire and enable you to bring back something of
value to in this case, jazz. His studies in India on the shenai, tapes
of which I have and use to motivate others, were great and really
influenced his tenor playing through all the quartertones and so forth
one hears in the Indian idiom. Lars was prepared to find his own voice,
which he did subsequently as a performer and especially
composer/arranger. Through the years, we would meet and at times play
together so I could see the path that he was following. To say I am
proud of him would be a gross understatement!
This project is
absolutely one of the most exciting big band projects I have taken part
in. There is a palpable sense of drama throughout…true story telling.
The way Lars integrated concepts from Stravinsky and transformed them,
especially rhythmically and harmonically, is incredible. He made the
piece his own and to be honest he used me absolutely in the right
contexts. Like Duke and all the great arrangers, when you have a stylist
as the main soloist, you have to figure out the best place for that
individual’s voice to be effective towards finding the right balance
with the ensemble. Lars figured it out beautifully while the band
excelled technically and musically. The idea of a studio and live
version is really interesting and shows an artistic consideration that
is rare these days in our business. My compliments to the producers for
having a vision.
I want to thank Lars, Marilyn, Christian
Munch-Hansen for his fantastic liner notes, the band and all the people
associated with the project for their support and excellent,
professional work. Great project!!"
David Liebman, May 2015, Stroudsburg, Pennsylvania, USA
- "It is a dramatic story, the one about the young girl who
dances herself to death as a ‘spring sacrifice’ in Igor Stravinsky’s
bold ballet and orchestral work Le Sacre du printemps/The Rite of Spring from 1913. It became one of the greatest succès de scandale
of all time, shifting artistic, moral and existential perceptions in a
European time and after-time that was soon to confirm the frailty,
brutality and suffering of civilization.
The existential conditions have not changed today, a little more than a century after Le Sacre
and Igor Stravinsky (1882-1971) has been a continued inspiration – in
the jazz tradition too. He wrote music influenced by early jazz,
including Ragtime (for eleven Instruments) (1918) and the Ebony Concerto (1945),
intended for the Woody Herman Orchestra. In 1984, when Miles Davis was
about to receive the Sonning Music Prize in Copenhagen, he was proud of
featuring on the same list as Stravinsky, Bernstein and Shostakovich.
And among great jazz composers and arrangers like Duke Ellington, Gil
Evans, George Russell and Bob Brookmeyer there was a strong interest in
modern composition music. . . . "
Saxophones and woodwinds
Nicolai Schultz (lead – alto, soprano, flute and alto flute)
Johan Toftegaard Knudsen (alto and clarinet)
Michael Bladt (tenor and clarinet – tenor sax solo on Evocation) Claus Waidtløw (tenor and clarinet)
Finn Henriksen (baritone and bass clarinet)
Trumpets and flugelhorns
Antonio Geček (lead)
Jan Lynggaard Sørensen
Jakob Buchanan
Rasmus Bøgelund
Trombones
Nikolai Bøgelund (lead)
Stefan Ringive
Niels Jakob Nørgaard
Henrik Resen (bass trombone)
Rhythm section
Thor Madsen (guitar – solo on Procession)
Mads Bærentzen (piano and keyboard)
Morten Ramsbøl (acoustic bass)
Morten Lund (drums)
David Liebman plays the soprano saxophone and wooden flute
Marilyn Mazur’s set-up: udu clay pot drum, bells from all over the
world, small Chinese tuned gongs, gongs (Paiste, Hubback and Chinese),
gran cassa (bass drum), congas, timbales, Guinean dunun drum, temple
blocks, various drums, cymbals, rattle instruments, chimes and singing
metals.
I had almost forgotten about this important 2015 release:
- "Alternative Light Source’ marks the third album from one of the most established and revered electronic acts in modern times. Leftfield is back with an undeniable bang, following up the Mercury Prize nominated Leftism (1995) and Rhythm and Stealth (1999) and- dare we say- surpassing the lofty bar set by both Smashing onto the scene in 1989, the 90s saw Leftfield carve themselves a niche in progressive dance, their success snowballing alongside contemporaries like Orbital, Underworld and the Dust/Chemical Brothers, breaking electronic music from the depths of the underground, onto the stage and blasting into the charts. With ‘Alternative Light Source’ their place is cemented in musical history while maintaining an electrifying relevance in the present. ‘Universal Everything’ was the first track to be taken from it and if confirmation were needed, this was irrefutable proof: It was all worth the wait"
-"Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following on from the highly acclaimed ‘it-ness’ in 1999. Duke of York a bittersweet contemporary electronic pop record which could only exist as a result of the unison of these particular, peculiar souls. At once tender, skewered, sophisticated and unsettling Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. Whilst both tackling the sonic side of the outing Lewis also presents pleasantly paranoid lyrics, Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive, visually inviting and songs rich in brooding, dark atmosphere and melodic content. The production retains the mood of classic Lewis output whilst achieving a very fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis’ distinguished and uncompromising career whilst adding to the intriguing output of Karperyd. As with the best experimental pop records, Duke of York, unfolds with repeated listening, revealing infinite charms." - Editions Mego
I know some folk here have followed releases from weareallghosts. They have a compilation out on bandcamp that is £5 GBP, with the proceeds being matched and donated to Hospice UK.
A quite important album from 2015 seems to be missing here:
Philip Jeck writes:
"To make this record I used Fidelity record players, Casio Keyboards, Ibanez bass guitar, Sony minidisc players, Ibanez and Zoom effects pedals, assorted percussion, a Behringer mixer and it was edited it at home with minidisc players and on a laptop computer."
"... and they sparkled like burnished brass"
"Out of the depths of our complaints, it could be all so simple. To be never fooled by the finesse of a long-yearned for solidity, but in the momentary aplomb of a sleepy walk threading through familiar streets we'd hum our way, alto, baritone and tenor toward some harmonious end. An effect like some wonderful recollection of one or other of those technicolour movies. Not real for sure, but if you are in the mood...
"I would like to acknowledge the influence the writer Marilynne Robinson has had on this work. I would recommend reading any/all of her four novels and also "When I was a Child I Read Books" [Virago, 2012]. This collection of essays include "Austerity as Ideology", which dissects prevailing economic thinking, and "Open Thy Hand Wide...;" which continues with a celebration of liberal thinking as Generosity (and also turned over my received knowledge of Calvinism). Her ability to convey a love of humanity and sense of wonder about the great mystery of existence in her writing has, since I first read a book of hers, found a way into the way I think about my work - not illustrating but meditating upon." (April 2015) - Touch.
"Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early '80's and has made soundtracks and toured with many dance and theatre companies as well as his solo concert work. His best known work "Vinyl Requiem" (with Lol Sargent): a performance for 180 '50's/'60's record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including "Off The Record" for Sonic Boom at The Hayward Gallery, London [2000]. In 2010 Philip won The Paul Hamlyn Foundation Composers Award. He has been working with Touch since 1996 and this is his 9th solo album released for them.
Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. He really does play them as musical instruments, creating an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick."
Comments
- "Following his last solo release on Editions Mego in 2010 ‘A Handful of Automation’, Robin Fox returns with ‘A Small Prometheus’, a significant new work which exposes a very different audio world to that previously encountered. In the intervening period Fox has been highly active with his widely acclaimed RGB (red, green, blue) laser show along with a recent collaboration with Atom ™: ‘Double Vision’ which premiered at Unsound festival in 2014. ‘A Small Prometheus’ was developed as a soundtrack to a dance work of the same name co-created with Australian choreographer Stephanie Lake. The outline here was to explore the themes of combustion and heat dissipating in various physical systems.. Greatly extending the language of his creative output Fox constructs a synthesis of electronic and acoustic sources creating a deeply nuanced excursion through space and time, timbre and texture. There is a subtle intensity to the works here, ‘A Pound of Flesh’ is an industrial strength spiralling drone, intoxicating, disorientating, ‘Antlers’ takes the listener on an eleven minute ride through a vortex of pulsing and swirling electronics whilst the title track is an unnerving combination of distressed field recordings, closed mic’d crackle and a foreboding distant pulse. ‘Through Sky’ starts out with a slow menacing rhythmic backbone which hosts an arsenal of small sounds until a certain wind supplants all in an admirable and somewhat haunted exchange.
With it’s combination of vast caverns, spiraling counterflows and microscopic investigations Fox has opened up a new world of sound in his personally trajectory and one most unlike others existing anywhere in the present day."
- Editions Mego - Soundcloud
- "Robin Fox is a leading Australian audio-visual artist working across live performance, exhibitions, public art projects and designs for contemporary dance. His laser works which synchronize sound and visual electricity in hyper-amplified 3D space have been performed in over 50 cities worldwide. The new manifestation of this work RGB LASER SHOW premiered at Mona Foma 2014 (Hobart) and recently featured at Tramway (Glasgow), Vivid Festival (Sydney) and the Barbican (London). His groundbreaking work with Chunky Move Dance Company has contributed to the work Mortal Engine receiving a Helpmann award for best visual production and an honourable mention at the the illustrious Prix Ars Electronica 2009. Other works with Chunky Move include Gideon Obarzanek’s Connected, Antony Hamilton’s Keep Everything and Stephanie Lake’s Aorta. His recent sound work Interior Design: Music for the Bionic Ear in association with ANAT and the Bionic Ear Institute, was shortlisted for a Future Everything award in the UK 2011 and selected by the Paris Rostrum of Composers in 2012.
In the visual arts he has exhibited works at the RoslynOxley9 (Sydney), Centre for Contemporary Photography (Melbourne), Gallery of Modern Art (Brisbane) and Salamanca Arts Centre (Hobart) as well as galleries in Germany, Taipei and New Zealand. His interactive installation CRT;Hommage to Leon Theremin received an honourable mention in the National New Media Art Award 2012 and has been acquired by the Australian Synchrotron. The recent work Colour Organ had it’s first installation at MONA Hobart.
Public art projects include designing and building a Giant Theremin for the City of Melbourne, a seven metre tall interactive musical sculpture; the White Beam project commissioned by Dark Mofo which shot a high powered white laser beam through the trees on Salamanca lawns; developing a hybrid sound/dance work A Small Prometheus with Stephanie Lake involving fire powered kinetic musical sculptures which had a sell-out seasonat the 2013 Melbourne International Arts Festival and sound/light design for Lee Serle’s SYNC at the Lyon Opera Ballet. A new work ‘Transducer’ for microphones, speakers and percussionists co-composed with Eugene Ughetti was recently premiered at Totally Huge New Music Festival in Perth.
He has collaborated with some of the world’s leading improvisers and directors from Anthony Pateras, Jon Rose, Jerome Noetinger, Oren Ambarchi and Lasse Marhaug to Gideon Obarzanek, Antony Hamilton, Lucy Guerin and Stephanie Lake. He has released numerous sound works on labels across Europe, Australia and the US and recently released a limited digital edition of a new AV work Magnetic Trap through s[edition] in the UK.
He also holds a PhD in composition from Monash University and an MA in musicology which documents the history of experimental music in Melbourne 1975-1979."
Stephan Mathieu - Before Nostromo
The sound design for Ridley Scott’s sci-fi / horror classic Alien (1979) has been an inspiration to many (most notably Sleep Research Facility’s “Nostromo” (2001) which was based on the sound of the Nostromo engines humming in the first minutes of the movie).
On Before Nostromo, Stephan Mathieu focuses on the crew, not on the spaceship.
Using piano, gongs, shortwave receiver, tapeloops and ‘entropic processes’, he re-creates the (soundtrack of the) dreams of the crew members just before they awake from hibernation.
The dreams one remembers most vividly are the dreams in the very few seconds before ‘awakening’. In retrospect, actual sounds are often included in the dream but placed in a totally different context.
Is this also true when you are re-awakened from deep hibernation sleep? What did the Nostromo – crew dream, before they came back to life?
Each crew member has a different soundtrack for his last moments of stasis (‘a state or condition in which things do not change, move, or progress’; ‘slowing of the current of circulating blood’): Dallas, Parker, Lambert, Brett, Ripley, Kane – even Ash the Android and Jonesy the Ship’s cat.
Their dreams are all different, but all share fragments of their environment: … if you listen well you can hear the sound of the Nostromo engines humming, somewhere deep within the soundfield.
This album is a ‘dedicated at-home stereo mix’ from the original work that is commissioned by ZKM | Institute for Music and Acoustics in Karlsruhe, where it is presented on their 46.12 channel (!!!!) sound pavillion (premiered November 28).
What an immersive experience that must be!
The closing track, Anamorphosis (which can loosely be translated as ‘return to form’), is an ‘additional coda for ebowed virginals and zither’.
Like all of his recent releases, Before Nostromo is available as a high resolution download (24/48 wav), as well as in all other digital formats.
There is no physical counterpart, since Mathieu is a tireless advocate of ‘properly done’ high-res digital formats:
“I think it’s about time to look at digital albums as a serious format. There is no excuse left for heavily shrunken audio files unless you want to carry a whole archive worth of albums on your cellphone while you’re out for a long, long run.
When done properly, digital files offer just as much fidelity and joy as an analog medium. As a long-time collector of records, I actually have to admit now that the fidelity of full-resolution files will often surpass my favorite medium.”
- Ambient Blog
The film…
- "In 1985, a young German filmmaker Peter Braatz was invited by David Lynch to Wilmington, North Carolina, to document the making of his new film.
Over the following three months Braatz was given unrestricted access to set, cast, crew and director, collating hours of behind-the-scenes footage, in-depth interviews and over a thousand photographs. Featuring exclusive, never before seen footage, the new feature-length ‘Blue Velvet Revisited’ finally offers the most intimate and revealing insight into one of the greatest films of the 1980s, and one of the world’s greatest directors ever."
The music…
- "The soundtrack for this new take on an old masterpiece is equally as significant. Uniting the talents of acclaimed UK electronic balladeers CULT WITH NO NAME with legendary post-punk chamber music pioneers TUXEDOMOON, the music for ‘Blue Velvet Revisited’ is every bit as noirishly evocative as the billing would suggest. Fusing elements of contemporary classical (‘Lumberton’) to jazz (‘So Fucking Suave’) to ambient electronica (‘Do It For Van Gogh’) to krautrock (‘Jeffrey Nothing’), but never fully surrendering to any, Tuxedomoon and Cult With No Name have produced a suite that is as unique as it is representative of both artists. In addition, the album sees a contribution from electronic music Godfather JOHN FOXX, the eerie ambience of ‘Lincoln Street’ providing a perfect axis around which Tuxedomoon and Cult With No Name can weave their magic.
With glorious artwork featuring previously unseen photographs of David Lynch, Dennis Hopper, Isabella Rossellini, Kyle Maclachlan and Laura Dern, ‘Blue Velvet Revisited’ is a truly special release."
process of understanding by which newly observed qualities of an object are
related to past experience” sees McCLure mix his woven ambient
sound textures with elements of almost Vladislav Delay like Dubbishness on
“Carbon and Rocks”, the melding of rich drones and field recordings on “First
Snow”, the melodic glitch and hum of “Motif”, the Eno-esque of “Pattern
Practice”, the Isolationism of “Sounding Out” and the utter beauty of “Steps
Taken, Adrift”. “Apperceptions” has a lot for the fan of Ambience and Sound
Art."
dialogue, so we sampled the spoken parts, transforming them into sounds to use in building our accompaniment. In an interview in 1935, Dreyer said that the advent of sound in the cinema came ‘too soon’ and, for this reason, we chose to transform the movie’s sparse dialogue using live electronic processing into musical elements of our score, as if Vampyr were, indeed, still a silent movie"
Tigue - Peaks
- "One half new music ensemble, one half avant-pop band, TIGUE delivers rhythmic hooks and patterned drones, uniting homegrown ethos and conservatory precision. Praised for their energetic and focused performances, the Ohio-born, Brooklyn-based members (Matt Evans, Amy Garapic and Carson Moody) have worked together extensively on original and composed music for nearly half a decade. Formed in 2012, following their concurrent studies at both the Eastman School of Music and the Ohio State University, TIGUE crystallized out of, and in spite of, the eclectic contemporary, pop, and avant-garde influences inherent in their DNA. Their peculiar brand of post-minimalist pattern-pop generates a kaleidoscope of concepts drawing from pioneering composers and breakthrough art-rockers. The powerhouse percussion trio will release their debut full-length album “Peaks” with New Amsterdam Records on November 13th.
TIGUE has been featured in festivals around the country including the International Beethoven Festival (Chicago), the Color Field Festival (Madison), the Frieze Festival (NYC) and the New Music Bake Sale (Brooklyn). They perform frequently in New York City, including performances at The Kitchen, Le Poisson Rouge, the Knitting Factory, and Roulette. They have been guests on a number of local music series including Vicky’ Chow’s Contagious Sounds, guest concerto soloists with Contemporaneous on P.S. 142’s Neighborhood Classics, and So Percussion’s Brooklyn Bound. TIGUE often works with young composers including a 2013 residency position at Dartmouth College working with graduate students on new pieces for percussion trio. To put it simply, TIGUE is dedicated to the proliferation of the percussive arts through outreach, education and the creation of new work. . . . ."
Leo Abrahams & Brian Eno - Chain
‘Chain’ is the 2nd single to be taken from producer and guitarist Leo Abrahams forthcoming album, ‘Daylight’ (out this November) and features vocals from his frequent studio sparring partner, and one of the godfathers of electronic music,Brian Eno.
One of the album’s many highlights, ‘Chain’ sees Eno’s cut-up vocals collide with Abraham’s intricate guitar playing, ricocheting rhythms and fractured electronics. It’s pop music, just not as you know it.
Accompanying the original is a remix from acclaimed Canadian producer CFCF who turns in a beatific Ambient Techno reworking, a surprisingly propulsive beat underpinning the track’s gauzy synths and sounds.
Having previously experimented with everything from folk and art-rock to modern classical and electronica, and worked with everyone from Roxy Music to Pulp, Abrahams’ new album sees the Londoner bring his myriad influences together to produce music as inspirational as it is unclassifiable.
LO Recordings - Soundcloud
Gabriel Saloman - Movement Building Vol. 2
In 2013 Gabriel Saloman was commissioned by the Vancouver, Canada based dance company 605 Collective to collaborate on a dance work devised by the experimental performance company Theatre Replacement. The two year process resulted in the evening length immersive multi-media dance performance, The Sensationalists(2015), a study of affect and intensity focusing on an imagined secret society devoted to collectively producing autonomous sensory meridian response, or ASMR. A perceptual phenomena that can be produced through a combination of sensual and cognitive stimuli, ASMR adherents have produced thousands of videos on YouTube tailored to provide these sensations. In composing music for The Sensationalists, Saloman built on years of exploring the outer limits of frequency and volume with his former group Yellow Swans and produced a series of tracks that both anchored the live performance and induced waves of sensation in the audience in attendance.
An early inspiration for both The Sensationalists and the music collected in Movement Building Vol. 2 was the novel Snow Country by Yasunari Kawabata. The classic Japanese novel from 1956 tells the story of a geisha in a small mountain town and her married and wealthy male lover (a self-taught musician and self-appointed expert of Western ballet, respectively). Their tragic love affair, set amidst the snow, hot springs and mountains, became a thematic and contextual source for early phases of the project, and much of the music on this album is a result.
Borrowing compositionally and tonally from Taiko and Gagaku (an ancient drone based imperial court music), Saloman reproduced sounds originating in traditional Japanese drums, wind and stringed instruments almost completely on guitar, ride cymbals and snare drum. This influence is most explicit in the undulating rhythms that open the first side of Vol. 2 (Contained Battle/Ascend) and the layered escalation of the literally titled Gagaku, a methodical combination of rhythm and drone that climbs to a peak of psych-tinged burning guitar lines. Between these tracks are situated Ear Piercer and Mountain Music, two songs that have been staples of Saloman’s viscerally intense live sets for the last two years.
Concluding the album is a version of Miles’ Davis’ classic ballad, My Funny Valentine. This epilogue of sorts is a uncanny combination of original percussion and guitar, collaged together with what may be a live recording of Davis’ “second great quintet” taken off of YouTube, processed and time-stretched on tape. Conceived of as support for a duet interpreting a shambolic, drunken encounter between Snow Country’s protagonists, the piece provides a cool denouement following the drawn out intensities of what preceded it.
This second installment in what will resolve itself as a trilogy (look for Vol. 3 in 2016), Movement Building Vol. 2 is in someways a break from much of what Saloman has released before. Just as his previous output has combined cinematic atmospheres with guitar driven climaxes that easily appeal to fans of neo-classical experimentalism and post-rock informed drone, this record opens new compositional territory while maintaining a recognizable melancholy ambience. Exposure to the monolithic bass and open spaces of dub influenced EDM has led Saloman in a different direction than many of his peers (including artists such as Cut Hands, Vatican Shadow and former bandmate Pete Swanson) and towards something that moves bodies and triggers their nerve endings, but with no concession to the dance floor."
- "The last time we spoke to Arnaud Rebotini, was for the promotion of Eastern Boys, a poignant French movie directed by Robin Campillo. The electro-clash colossus told us about the elegant score he composed for the film and how he was influenced by the inevitable Nino Rota and John Carpenter, but also by a less renown artist called Christian Zanési.
A French composer born in 1952, Zanési is the co-director of the Groupe de Recherches Musicales (GRM), a collective founded by avant-garde electronic pioneer Pierre Schaeffer, which today have the likes of Jean-Michel Jarre in its ranks.
And yet, Rebotini, who’s also part of the GRM, didn’t mention Zanesi for this accomplishment. Instead, he mentioned the music he wrote for Les Maîtres du Temps (The Masters of Time), a cartoon Arnaud cherished when he was a kid, with still leaves him sparkly-eyed. . . ."
Konbini.com - Soundcloud
http://www.blackstroberecords.com/
Oval - Retina Score
Oval - Retina (Short Film)
Tinariwen - Live In Paris 2014
The complete soundtrack recording of Laurie Anderson's newest piece, Heart of a Dog, is available from Nonesuch Records on October 23, 2015. Anderson was recently commissioned by the European TV network Arte to create a feature film—her first in 30 years. Her response was a personal essay entitled Heart of a Dog, a work encompassing joy and heartbreak and remembering and forgetting, at the heart of which is a lament for her late beloved dog Lolabelle. The Nonesuch album is the full audio recording of the film, including all music and spoken text.
Heart of a Dog has been shown at the Telluride, Venice, and Toronto Film Festivals to critical praise, with the New York Times calling it a "philosophically astute, emotionally charged meditation on death, love, art and dogs." The movie will be screened at the New York Film Festival on October 8, before opening theatrically at New York's Film Forum October 21; visit the film's site for details. It also will be shown on HBO in early 2016.
In addition to Anderson's inimitably thoughtful narration, Heart of a Dog includes musical excerpts from several of her pieces—"The Lake" and "Flow" from Homeland (2010), "Beautiful Pea Green Boat" from Bright Red (1994), "Rhumba Club" from Life on a String (2001), excerpts fromLandfall (2011) with Kronos Quartet—as well as the film's closing song "Turning Time Around," written and performed by Anderson's late husband, Lou Reed.
Laurie Anderson is one of America's most renowned—and daring—creative pioneers. Her work, which encompasses music, visual art, poetry, film, and photography, has challenged and delighted audiences around the world for more than 30 years. Anderson is best known for her multimedia presentations and musical recordings. Her tours have taken her around the world, where she has presented her work in small arts spaces and grand concert halls, and everywhere in between. She has numerous major works to her credit, along with countless collaborations with an array of artists, from Jonathan Demme and Brian Eno to Bill T. Jones and Peter Gabriel.
Anderson's first album, O Superman, launched her recording career in 1980, rising to number two on the British pop charts and subsequently appearing on her landmark release Big Science. She went on to record six more albums with Warner Brothers. In 2001, Anderson released her first album with Nonesuch Records, the critically lauded Life on a String. Her subsequent releases on the label include Live in New York (2002), a reissue of Big Science (2007), and Homeland (2010).
http://www.laurieanderson.com/
Aarhus Jazz Orchestra
David Liebman, soprano saxophone
Marilyn Mazur, percussion
Lars Møller, conductor
Lars Møller, composer
Dacapo Records - Full streaming at Soundcloud (shamelessly overlooked)
- From the Liner Notes at http://rewriteofspring.com/
AARHUS JAZZ ORCHESTRA
Saxophones and woodwinds
Nicolai Schultz (lead – alto, soprano, flute and alto flute)
Johan Toftegaard Knudsen (alto and clarinet)
Michael Bladt (tenor and clarinet – tenor sax solo on Evocation) Claus Waidtløw (tenor and clarinet)
Finn Henriksen (baritone and bass clarinet)
Trumpets and flugelhorns
Antonio Geček (lead)
Jan Lynggaard Sørensen
Jakob Buchanan
Rasmus Bøgelund
Trombones
Nikolai Bøgelund (lead)
Stefan Ringive
Niels Jakob Nørgaard
Henrik Resen (bass trombone)
Rhythm section
Thor Madsen (guitar – solo on Procession)
Mads Bærentzen (piano and keyboard)
Morten Ramsbøl (acoustic bass)
Morten Lund (drums)
David Liebman plays the soprano saxophone and wooden flute
Marilyn Mazur’s set-up: udu clay pot drum, bells from all over the world, small Chinese tuned gongs, gongs (Paiste, Hubback and Chinese), gran cassa (bass drum), congas, timbales, Guinean dunun drum, temple blocks, various drums, cymbals, rattle instruments, chimes and singing metals.
- Infectiuos Music UK - http://www.leftfieldmusic.com/
More Edward Graham Lewis at Emusers (two posts)
They have a compilation out on bandcamp that is £5 GBP, with the proceeds being matched and donated to Hospice UK.