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Re: Reeds&electronics

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  • peter marsh
    sreeni wrote; ... of all manners of ... approaches and I fully ... writers at the Wire ... group.Would people care ... the most ... tried out myself ... one of
    Message 1 of 17 , Feb 26, 2002
      sreeni wrote;

      > There is no sonic potion as heady as the collision
      of all manners of
      > saxophones&trumpets with diverse electronic
      approaches and I fully
      > blame The Wire for getting me hooked.
      >
      > While this sort of music is a favorite with the
      writers at the Wire
      > it seems to inspire little enthusiasm in this
      group.Would people care
      > to submit their likes/dislikes here?It may help air
      the most
      > interesting successes and experiments in this area.
      >
      > I'll throw a few random Wire-derived names I havent
      tried out myself
      > yet to get things steaming-
      > 1.Mark Cunningham
      > 2.Anthony Braxton
      > 3.Marion Brown
      > 4.Lob
      > 5.Greg Kelley

      one of my faves is the recent 'digswell duets' on
      emanem featuring the estimable lol coxhill and simon
      emmerson, who does the usual fripp/eno/riley tape
      delay thing spiced with some pretty extreme
      ringmodulated stuff.very nice, and all done in 1978.
      pre dsp/powerbook and all the better for it.

      on a funkier tip, the wonderfully named plunky branch
      used to some very spacey tenor treatments on the 70s
      oneness of juju material; very synth like, but not the
      usual horrible mike brecker electronic wind instrument
      shite.

      cheers

      peter

      =====
      lob - astralpunkfunkambientnoisejazz
      http://www.lobwebsite.f2s.com/
      http://www.mp3.com/lobstuff

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    • slsreeni
      ... Aa, I wouldn t start with that as my first Braxton. It s fairly dry, and ... better ... Thanks for the tips. ... music is ... wouldn t ... Well I dont
      Message 2 of 17 , Feb 26, 2002
        --- In thewire@y..., "Vincent Kargatis / Anne Larson" <lartis@a...> >
        Aa, I wouldn't start with that as my first Braxton. It's fairly dry,
        and
        > perhaps not very illuminating as a first exposure. Plus, there are
        better
        > solo discs, WESLEYAN 1992 (hat ART) for one. I think most people

        Thanks for the tips.

        > Erstwhile is a legitimately experimental label, and most of the
        music is
        > genuinely "out there". Based on your reaction to SOLAR WIND, I
        wouldn't
        > necessarily expect you to enjoy this music - none of it could be

        Well I dont know-for example the following excerpt from the AMG
        review of Forlorn Green gives me the feeling this is right up my
        street.
        "The first track, "Man on the Outside," opens with several seconds of
        the noisy, echoing sounds of people in a large room before the space
        is suddenly sliced open by a deep but piercing blast from Greg
        Kelley's trumpet. That tone is picked up with related ones and looped
        by Jason Lescalleet's tape recorders, woven into a rich drone which
        is in turn commented upon by Kelley's trumpet, and so on. It's a
        wonderful and layered performance where it swiftly becomes impossible
        to tell which sounds are live, which not, and, indeed, who's
        responsible for a given effect. Not that it matters. The duo work
        hand in glove to produce a dense fabric of improvised sound tending.."

        Words like dense,rich,layered are usually what I look for though that
        maybe because I just havent encountered the right "throttled" stuff
        yet.

        > "accessible" in the conventional meaning. But I also encourage you
        to
        > listen more, and let your ears adjust - I hear nothing beauty-
        denying from
        > Parker/Casserley, and "texturally-throttled" sounds like a good
        time to me.

        Fair enough,the listening histories plus the constantly morphing idea-
        clusters that dictate our predilections are so webbily intricate that
        I've no problem appreciating that others happen to be at different
        listening coordinates vis a vis Parker+Casserly or whoever.I may get
        to those coordinates myself tomorrow,anything is possible!

        Cheers
        Sreeni.
      • Jim Flannery
        ... And also _Slow Music_, a duo of Coxhill and Morgan Fisher, from around the same time (1980) ... I do believe it had a reissue in the last couple of years.
        Message 3 of 17 , Feb 26, 2002
          peter marsh wrote:
          >
          > one of my faves is the recent 'digswell duets' on
          > emanem featuring the estimable lol coxhill and simon

          And also _Slow Music_, a duo of Coxhill and Morgan Fisher, from around
          the same time (1980) ... I do believe it had a reissue in the last
          couple of years.

          --
          --------------------------------------------------------------------------
          Jim Flannery
          newgrange@...

          "When I say ‘no’ I’m always right and when I say ‘yes’
          I’m almost always wrong."
          -- Dwight Macdonald
          np: nothing
          nr: Julie Hecht, _Was this Man a Genius? Talks with Andy Kaufman_
        • slsreeni
          ... around ... More in this vein... 1.Ulrich Krieger - Walls of Sound I havent heard this one but the title sure is inviting.I dont think it features a lot of
          Message 4 of 17 , Feb 26, 2002
            --- In thewire@y..., Jim Flannery <NEWGRANGE@S...> wrote:
            > peter marsh wrote:
            > >
            > > one of my faves is the recent 'digswell duets' on
            > > emanem featuring the estimable lol coxhill and simon
            >
            > And also _Slow Music_, a duo of Coxhill and Morgan Fisher, from
            around
            > the same time (1980) ... I do believe it had a reissue in the last
            > couple of years.
            >

            More in this vein...

            1.Ulrich Krieger - Walls of Sound
            I havent heard this one but the title sure is inviting.I dont think
            it features a lot of electronics but going by the reviews delivers on
            the atmosperic front.

            2.Rhys Chatham - Neon etc...
            Here's another Wire favorite,uses trumpet+electronics.His latest
            release features trumpet-stylings over breakbeats(?!isnt that so
            passe?).

            3.Mark Cunningham - Blood River Dusk inspired apparently by Cormac
            McCarthy's bloody novel Blood Meridian(lots of blood there!)
            Look here -
            http://www.experimentaclub.com/data/mark_cunningham/0index.htm

            Cheers
            Sreeni.
          • Kraig Grady
            He also worked with Phil Niblock on his Dideridoo piece! Also does performances involving stretched strings, dissected pianos. ... -- Kraig Grady North
            Message 5 of 17 , Feb 26, 2002
              He also worked with Phil Niblock on his Dideridoo piece!
              Also does performances involving stretched strings, dissected pianos.

              slsreeni wrote:

              > 1.Ulrich Krieger - Walls of Sound
              > I havent heard this one but the title sure is inviting.I dont think
              > it features a lot of electronics but going by the reviews delivers on
              > the atmosperic front.

              -- Kraig Grady
              North American Embassy of Anaphoria island
              http://www.anaphoria.com

              The Wandering Medicine Show
              Wed. 8-9 KXLU 88.9 fm
            • Kristopher S. Handley
              ... No crime in SOLAR WIND not doing anything for you, though if it hasn t been mentioned yet, the first Evan Parker Electroacoustic Ensemble record, TOWARD
              Message 6 of 17 , Feb 27, 2002
                >From: "slsreeni" <slsreeni@...>
                >Words like dense,rich,layered are usually what I look for though that
                >maybe because I just havent encountered the right "throttled" stuff
                >yet.

                No crime in SOLAR WIND not doing anything for you, though if it hasn't been
                mentioned yet, the first Evan Parker Electroacoustic Ensemble record, TOWARD
                THE MARGINS (ECM) is excellent and has a nice meeting of e/a textures and
                free improvisation; maybe more to your liking. The second EPEE record on
                ECM is pricklier, and I prefer it, but I guess I would try that one first.
                I badly wish this group would record again, at length. Maybe a live
                recording?

                Since Ersthwile was mentioned, I must say that the
                percussion-and-live-electronics meeting between Le Quan Ninh and Guenter
                Mueller, LA VOYELLE LIQUIDE, is a stand-out favorite of mine. It's gorgeous
                and mysterious and incredibly varied. Any records that kind of work in this
                vein (aggressive live concret, a little more Parmegiani/Henry than, say,
                p16.D4, who are also fab) would be much desired, and any recommendations
                appreciated. If you like free improv, and don't mind a little noise, you
                might really like the FLIRTS (Gert-Jan Prins and Cor Fuhler, on synths, etc)
                and BART (Thomas Lehn and Marcus Schmickler on aggressive synth/computer
                madness).

                -----a

                np: Parmentier, LUXSOUND (sigma editions)

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              • R. Lim
                ... You seem to be conflicting medium with message here. You can just as easily make boring, retrograde music with electronics as you can with a alto
                Message 7 of 17 , Mar 18, 2002
                  On Mon, 25 Feb 2002, slsreeni wrote:

                  > You're right,however Braxton's ideas and sometimes his playing or
                  > atleast Wire's accounts of them strike me as futuristic(and exciting!)
                  > in the same way that most electronics strives to be.

                  You seem to be conflicting medium with message here. You can just as
                  easily make boring, retrograde music with electronics as you can with a
                  alto saxophone. At any rate, Braxton's music is well-steeped in several
                  traditions, including jazz (like the kind Wynton Marsalis likes) and
                  academic classical music. His synthesis is really interesting, but I
                  would hardly call it "futuristic".

                  > Thanks for the suggestion,I've been thinking 19 Solo Compositions
                  > myself with the cover art of flying albatrosses on Albion.What do you
                  > think of it?

                  I think this is one of his more lyrical solo records. I wouldn't recommend
                  any of his solo records for an initiate except for the very first one (For
                  Alto). One problem in diving into Braxton is that you kind of have to
                  listen to a lot of them to get a real feel for what's going on, because
                  his music definitely evolves over the first couple of decades (plus it
                  helps to have at least a familiarity with jazz). In fact, I would say
                  that it doesn't become fully realized until the 80s.

                  This work-in-progress feel is particularly a problem with his solo
                  records, which tend to come across as studies in improvisational methods
                  rather than fully fledged pieces of music (explicitly so with the New
                  Albion disc). Anyway, I would say that the thing that "9 out of 10
                  Braxton fans" would agree on is that his late 80s/early 90s quartet with
                  Crispell/Hemingway/Dresser remains the most consistent high water mark of
                  his career. I personally think that chasing down his 70s output on Arista
                  is a very illuminating process, but you might want to check some of that
                  quartet stuff to make sure there's a "there" there for you.

                  By the way, trumpets are not reed instruments.

                  -rob
                • Kristopher S. Handley
                  ... At the risk of opening a redundant can of worms, would anyone who s familiar with a very large chunk of Braxton s disco (say, upwards of 30 titles) care to
                  Message 8 of 17 , Mar 18, 2002
                    >One problem in diving into Braxton is that you kind of have to
                    >listen to a lot of them to get a real feel for what's going on, because
                    >his music definitely evolves over the first couple of decades (plus it
                    >helps to have at least a familiarity with jazz). In fact, I would say
                    >that it doesn't become fully realized until the 80s.

                    At the risk of opening a redundant can of worms, would anyone who's familiar
                    with a very large chunk of Braxton's disco (say, upwards of 30 titles) care
                    to sketch out an essential line of development in his music through his
                    catalog? I own probably 40 of his records (remorseful glance cast over
                    shoulder, into the void, turning into pillar of salt, etc etc), but it's
                    always interesting to see how serious listeners of his set up the crucial
                    turning points, etc. If anyone is willing to take a stab at this, please
                    include even stuff that was never rendered digital. I lost track after one
                    of the 'Ghost TRance" discs (a studio quartet recording), which was
                    dsiappointing at the time. I'm sure after I get back into the old man's
                    music again, everything will have dropped from print.

                    >I would say that the thing that "9 out of 10 Braxton fans" would agree >on
                    >is that his late 80s/early 90s quartet with
                    >Crispell/Hemingway/Dresser remains the most consistent high water mark...

                    I'd just like to chime in to say that the 4cd WILLISAU live and studio sets
                    by this band (HatArt) are phenomenal, and rather excellently recorded. They
                    have survived dozens of listens over the past 6 years for me. Amazing and
                    bold music.

                    -----s

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                  • Vincent Kargatis / Anne Larson
                    From: Kristopher S. Handley ... As far as GTM goes, and since you re already a Braxton convert, you *must* check out Composition
                    Message 9 of 17 , Mar 19, 2002
                      From: "Kristopher S. Handley" <thesubtlebody@...>
                      > I lost track after one
                      > of the 'Ghost TRance" discs (a studio quartet recording), which was
                      > dsiappointing at the time. I'm sure after I get back into the old man's
                      > music again, everything will have dropped from print.

                      As far as GTM goes, and since you're already a Braxton convert, you *must*
                      check out Composition 247 on Leo (2001), a marvelous GTM record with a trio
                      of two reeds and bagpipes. Really extends into newish-sounding territory
                      for Braxton, imo.
                      --
                      Vincent Kargatis
                      np: The New Pornographers - MASS ROMANTIC
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