John Adams, Keiji Haino, Klaus Schulze articles; Dick Griffin interview
In the latest issue of Perfect Sound Forever
<http://www.perfectsoundforever.com>, you'll find (among other things):
Minimalist to the max
"The composers normally chosen for emulation are the usual suspects:
Philip Glass and Steve Reich, as well as investigations into gamelon,
Carnatic, and other exotic musics. However, in too hastily staying
within the Glass/Reich fundament, John Adams was missed, the tertiary
component in what should be a referential norm. This, dear reader, is
a sin that wounds in its absence, as Adams brings to the table what
every idiosyncratist does: variants to the canon - in his case, a
fuller sense of the permutations inherent to the mode."
"Dick Griffin is one of today's leading trombone players. In a career
spanning over 30 years, he has performed with some of the biggest
names in jazz, soul and funk, as well as appearing with several
symphony orchestras... Griffin has worked hard to develop a highly
personalized playing style which he calls "circularphonics." His
ability to combine playing chords on the trombone with circular
breathing is unrivaled among jazz trombonists. The expanded range of
simultaneous sounds Griffin creates through his multiphonic technique
sometimes evokes the spirit of such experimental jazz musicians as
John Coltrane, Rahsaan Roland Kirk, and Sun Ra."
1996- his magical year
"Haino has released a slew of records in the last 25-30 years that
stand as personal a statement as any artist has made in any genre.
... he has chased the Void, seeking in free-form music a voice for
the emptiness that is insight. His Buddhism and anarchy drives this
seeking; true emptiness, for him, is uniting with the universe in
perfect peace. That noise may seem an incongruous form of expression
of peace and compassion is a problem addressed and resolved in his
music. In 1996, Haino released a trio of astounding records that can
stand as an unofficial trilogy of that attempt..."
70's kosmische heaven
"He's been there from the beginning: engaging the post-psychedelic
birth pangs of the '70's, shucking off the vestiges of what was
euphemistically labeled 'krautrock,' weathering the corporate
venalities that ushered in "new age," and unwittingly branded by a
'90's generation of computer cowboys who've since dubbed him "the
godfather of techno/ambient/spacemusic." So why is it that Schulze
seems to maintain his status as a cult figure among aficionados,
collectors and enthusiasts of the so-called Berlin School, and of
electronic music in general?"
We're always looking for good writers and/or ideas so let us know if
you have anything to share.
See you online,
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