Whew! Man this ImprovFriday thread from last weekend (August 12-14) was huge! Hence I’m running behind getting Paul and mine’s comments published but nonetheless it was intense and amazingly inspired and I encourage you to give some time checking out this recent weekend’s work.
Part of my delay this week was that I was involved in two other ImprovFriday projects I want to quickly mention. We had an amazing live video concert webcast on Friday, August 20th, featuring Alex Carpenter, James Ross and Michael Vincent Waller, live from Goodbye Blue Monday in Brooklyn, NY. Look for a blog entry about that say entailing details on an amazing night of music. I was fortunate to be there in person and along with ImprovFriday teammate Richard Lainhart, produced the event for the webcast. Totally cool!
Lastly the August episode of our ImprovFriday Radio podcast is up and alive. This month Paul features mixes and mashes from the community and looks at the work of J.C. Combs, Bruce Hamilton and Adam Kondor, so click on the link and give a listen, even subscribe to our monthly cast.
Now the reviews….
Michael Mjollnir– First time participant
Damp Hell – Interwoven stealthily piano and guitar sleepily starting in a David Lynch kind of weave and become more ‘jazz’ guitar like as it grows, a bit like Jim Hall’s record with Bill Evans but more ambient. Michael welcome to IF. – Jim. Nice full piano chords and guitar open this. Rain track adds a certain restfulness that matches the music. Some slick guitar playing at 2:30. Barely audible bells add an almost subliminal texture just underneath the rain. Quiet, laid back. Welcome to IF Michael. – Paul.
Celtic Harp Improvisation – Asian motif and neat playful traditional instrument sound in nicely played arpeggiating melody. – Jim. The tuning seems unconventional? Good approximation of the Celti Harp texture. Beautiful final chord – dies away nicely. – Paul.
Acceleration Canon with Accompaniment – Koto like voice opens monophonically and becomes more intricant, overlaying itself and almost polyphonic, cool gated effect in development. – Jim. Rapid, stacotto notes don’t detract from the bluesy feel of this. Like popcorn. – Paul.
Improvised Temple Bell Convolutions – Norbert continues to find homage me thinks in the Tibetan world. It seems a place of age old secrets and inner peace. Correct me if wrong but aren’t these last several voices done created in Kyma? It’s all most inventive as i think that’s what you are doing. This one is quite realistic. – Jim. Lovely bell tones mix with a rattle of metallic sounds – like a kalidescope. – Paul.
Ben.Improv.Aug.13.2010 – Tightly colored melody and chordal voices taking on a music box effect as the piece rises, all surrounded by an ambient environmental sound percussive at times, rain at times. Piano voicings are almost tossed about as if Pollock style painting but well played and orchestrated. – Jim.
Between Bingos – An environmental scape that begins as a night in what could be anywhere in what I would have thought rural America yet here we are in Sweden with the ‘safe’ game of gambling intermingled with what initially reminded me of my old ironic Swedish car, a volvo that had seen better days. It sounded like this in the cold winter when I would be praying it would start and away it would grind. But the grind here evolves to more of a rhythmic mechanical press or some such and then we are back to BINGO! I have BINGO! – Jim. Interesting intro. Industrial sounds – really booming in the lower registers, like a dragon snorting. Sounds of a car not starting generates anxiety. Bingo is big business here in the casinos… – Paul.
Run Over Zither in B Flat -‘Prepared’ instrument? Lots of manipulated strings, slides, twangs and flapping strings, played with a beer bottle I bet! Well reminds me a bit of something with a beer bottle I did on the CT-Collective record ReUse. Okay not to digress, very deltaesque, strange coming from Sweden! It’s erratic immediacy rings wild and true. – Jim. A surprising amount of music comes out of this given its state of ‘preparation’. Some of the zings and twangs are quite engaging. Not so far from one of Jukka’s latest pieces. Great effort! – Paul.
No Limits – Wow Peter, excellent almost inside the fretless sound but the more I listened I think it’s your art of nyckelharpa that you have so well developed the last year. Sounds at times like a baritone sitar at times and then gets more percussive as you lead us through your alchemy. – Jim.
Impro – Rapid sequence of sharp notes and an interesting choice of pitches. The sound of energy coming from the actively busy. I hope we can hear more from him soon! – Paul.
Roger “ErocNet” Sundström
Pottery Walk – Inside and drum like, possibly sounds indeed emerging from spinning on a pottery wheel. Living in a city I’m think you guys in rural Sweden have such wonderfully quiet environments, all these delicate found pieces you’ve been doing are so cleanly recorded Roger. This one moves about various pot percussive sounds becoming almost like a typewriter at times and weaves in and around a bucket, perhaps doing something with clay. – Jim. A definite sense of moving on foot here produced by tapping percussive sounds and echo. – Paul.
Big Foot – Featuring Steve Layton, Jukka-Pekka Kervinen, Jérôme Poirier and Roger “ErocNet” Sundström (contributing artist/mixer/masher) – Sasquatch you say! The ambience of ‘found’ versus’s swirling electronica grows in a great back/forth panning effect becoming gamesque glitch suddenly dying to the ‘found’ scratch kind of whetstone thing and then Sasqwatch returns. Critter sighted and it resolves to sounding like he has won. – Jim.
InpiOutgit – Featuring Lee Noyes and Roger “ErocNet” Sundström (contributing artist/mixer/masher) – Whether processed slowed down or all played in real time which is what I think to my ears, some awfully precise and Bill Frisell like stuff going on in this and a couple of other recent pieces from Roger, all with Steve Moyes and Lee Noyes like patience. All this kind of work has tremendous appreciation for the negative space. High plucked and sort rubbing strings going on as well as some nice percussive near the bridge strums going on. – Jim. Combination of notes from the guitar and sounds from the guitar. Almost like we are hearing the adjustment of the string tension. Long low note provides a foundation and contrast for the other sounds. A variety of close-up sounds keep us wondering what is going on. Roger must be listening to Lee Noyes these days…. – Paul.
Late Opus – Wow Roger, love this. Baritone ukelele or small bodied acoustic guitar. Very intimate and lovely played track with a nice mysterious tuning, two of the open strings really ring very cool when you come to the end of several of your phrases. Really nice. – Jim. Guitar notes but with unconventional tuning. Exotic, mournful feel to this – North African? Interesting use of echo evident
at 4:00. – Paul.
Robotics – Whirring and drills, electro mechanical at times, gamesque at times like time stretched ‘Jukka (don’t mean to trademark you here JPK)’. – Jim.
Tatoo – Though not a ‘mash’ hearing this back to back with Steve’s ‘Swims’ suggests sound influence and perhaps I think we’re all starting to influence each other which is rather cool I think. I can also see the opening moments indicative of a ‘tattoo’ parlor in San Francisco, beads adorning a back room, quiet mysterious atmosphere of the artisans of the skin art. Reeling back to musicality about 2:15 some warbling percussive textures enter as spirits and then dart in and out as the piece cycles to it’s completion. – Jim. Light electronic sounds – like a flute or whistle – combined in various ways. Airy with a sense of weightlessness to this – like we are
hovering nearby. A series of creaks at 2:20 briefly break the spell and at 3:00 it sounds like a dog barking in the distance. Relaxed feeling to this throughout. – Paul.
Buoy – With our Digitsignal Jules Verne show fresh in my ears this scape by Todd would have been perfectly at home with us. Sounds of descent and like a water explore lightly tapping on materials either outside his suit or perhaps he’s in a water sphere, bored and finding his own rhythm. Grows to cool beat. – Jim.
Kavin Allenson / David John Baer McNicholas
‘Untitled’ Neopolitalitarianism – Featuring chimps 8 my ears w/ breaking light on full spectrum lead guitar – Dense arrangement of guitar, effects, atmospheric, thickly wired. Cool tubular distortion that weaves through as the piece grows. Gamesque ‘Jukka-Pekka’ influenced sounds enter the picture all resolving to a subtle singular muted guitar figure. – Jim. A guitar surrounded by conventional band percussion and then spaceship sounds. Moves in and out of the present and into the future, blurring the boundary line. – Paul.
Cynosure – From Wiki, “That which serves to guide or direct.” And clearly Kavin’s muse is directing him. Focused nicely done/felt solo guitar improvisation with nods to several directions from Jim Hallish trad jazz to Stevie Ray. – Jim. Strong, melodic guitar to start. A sort of blues riff to this with a nice progression at 1:20. Some lovely playing at 3:00 out to the quiet finish. – Paul.
Testing, Testing, Testing… – Must say really dig this. Lovely reverse wash that I’m always a sucker for, nicely layered loops, growing density and interesting guitar driven ideas and voicing. – Jim. Beautiful rising sounds create an effective drone. Nice guitar overlay enhances the mood. Guitars take over at 2:00 and provide a more varied texture. A sort of phasing seems
to occur around 4:00 that is very nice. The tones even out around 6:00 to a more focused sound. Slow fade out gives a sense of motion and distance. Pretty good for just a test. – Paul.
Shane Cadman and Kavin Allenson
Sierra Vista– Featuring Shane W. Cadman, Kavin Allenson and Steve Layton (contributing artist/mixer/masher) – A dusty town a 150 years ago or a Hollywood set, great mash/collab track. Wonderful slide guitar color over ambient peaceful synth colors and lyrical electric guitar lines. – Jim. Beautiful guitar work and drone blends together effectively. Its almost like the landscape between the two players is being described – Los Angeles to Texas. Nice mix. – Paul.
Shane W. Cadman
Piece081310 – Wonderful acoustic deltaesque tones encircled by synth colors. Very much exploring the guitar these days in your pieces Shane which I think is great. Focused tones and vision in these journeys. Like the geiger counter like click that emerges near end a couple of times. – Jim. Strong drone provides a steady texture that highlights the notes from the guitar – nicely blended. A lonely and slightly sad sound but with an element of defiance. – Paul.
Tone Over – Hovering kind of Tangerine Dream tubular voice going on that gives you that kind of ‘Autobahn’ feel over. – Jim. A wash of applause-like sounds and a series of mobile, otherworldly tones provide a rapid pulse. Like a carnival ride – tilting and whirling. Nice surf-like sounds fade out at the finish. – Paul.
Happy Dance – Featuring Fridtjof, Bruce Hamilton and Steve Layton (contributing artist/mixer/masher) – Playful ukelele ‘prepared’ and Randy Newmanish at times helter/skelterish piano clusters all flying about with great ‘free jazz’ feel. – Jim. Busy meets peripatetic. This piece radiates un-channeled energy. – Paul.
We Were All Young – Featuring Bruce and Miles Hamilton, Lee Noyes, Peter Thörn, Roger “ErocNet” Sundström and Steve Layton (contributing artist/mixer/masher) – This mash suggests strong sense of ‘time’ in the sense of passing as the name suggests with it’s feeling of a clock shop as well as subtle passerbys on the sidewalk I think, the lovely piano weaving through in a melancholy way. Some tension invites with Lee or Peter’s hammer’d tones, a dog barks somewhere, a child’s voice appears and disappears, time doth pass. – Jim.
Khon – Featuring Norbert Oldani, Glenn Weyant and Steve Layton (contributing artist/mixer/masher) – ‘(โขน) is the most stylised form of Thai dance. It is performed by troupes of non-speaking dancers, the story being told by a chorus at the side of the stage. Choreography follows traditional models rather than attempting to innovate. www.nationmaster.com/encyclopedia/Dance-of-Thailand‘. So says Google and I actually thought it had the meaning of a ‘joke’ or ‘fable’. With Norbert’s Asian infused sounds and Glenn’s foundation it does take on a dance color. Of course there is that roaring semi barreling down the Arizona interstate to me, perhaps carrying a Thai dance troop’s set and supplies (grins). – Jim.
Spider – Featuring Peter Thörn, Lee Noyes, Roger “ErocNet” Sundström, Steve Moyes, Jérôme Poirier and Steve Layton (contributing artist/mixer/masher) – The width of this one does kind of feel like an octagonal legged creature rambling about between Kavin’s manipulated guitar, Lee and Peter’s rubbed percussion. For me I see tall grass and warbling through the terrain so perhaps it is an outdoor spider looking for crickets and the like in the darker places in it’s sojourn. The great sense of ‘found’ and manipulated textures casts a great picture here. – Jim. The zither returns! Accompanied by guitar, cello and piano tones of similar nature – good choices for featuring all the strings this week. A definite friction-y feel by 4:00. Nice sequence of tones at 4:50 – too brief. Great finish. – Paul.
Infiltrators – Featuring Todd Lainhart, Roger “ErocNet” Sundström, Glenn Weyant and Steve Layton (contributing artist/mixer/masher) –
Lots of neat lower bout ambient tones going on between Todd, Roger and Glenn here. Sirens pass by and a hovering craft approaches in the scape. Perhaps a rainstorm also blowing in, perhaps akin to the first arrival of the alien ship over South Africa in District 9. Cool beat grows midway and leads us through the piece. Actually that reminds me of Wil and his piece would equally mash in here but a late arrival this time. Good mash Steve. – Jim. The sounds from inside a submarine that has perhaps dived too deep – produces a certain uneasiness. Nice groove in the percussion. – Paul.
Improv Aug.13.2010 – Featuring Benjamin Smith and Steve Layton (contributing artist/mixer/masher) – Clocklike and akin to watching/hearing the ribbon like strips responding to the manipulated turning wheel of a music box, turning with the strips striking the small placed points and resonating the sound. Rain, percussive, coming down, Bartokish in style. – Jim. Wonderful ambiance to this – like we are inside the piano. The sounds really explode off the keyboard when heard this way. We hear what sounds vaguely like party music – but with a more distant and remote feel – almost alienated. The percussive piano sounds at 6:00 are very striking, almost intimidating. A piece with a unique sonic perspective. Glad you attempted this recording given that your midi interface is still down – the artistry comes through. – Paul.
Deep Blue – Featuring Chris Vaisvil, Adam Kondor, Greg Hooper, Todd Lainhart, Kavin Allenson and Steve Layton (contributing artist/mixer/masher) – Steallarness of the ocean depths it’s title suggests, gliding like a submarine or some sea creature in it’s beautiful slow motion through the walls of sea liquid. Reverse guitars give a cool effect as the piece moves along. – Jim.
Johnny and Faith
Flushed Rush – Spoiled Little Sour Grapes – Mr. Limbaugh I presume! Creative editing with voice of the airways ego dialog here and well done J&F. Good groove going from the talk radio to a sense of ambience and edge soundscape. – Jim. Masterful mix of Rush – a kind of compressed version of his radio rants. Maybe it’s the OxiContin talking…. Very well crafted! – Paul.
Impro 08/13/10-#1 – Oscillating panning strobing gamesque frontier here so well done from Mr JPK. – Jim. Full-on electronics. Spacy feel to this. Sounds a bit like an old shortwave radio on a noisy night – we are listening to the ionosphere. – Paul.
Lin #2, Variation – Featuring Jukka-Pekka Kervinen and Bruce Hamilton (contributing artist/mixer/masher) – This particular game sound has a real peak or pointed sound different from the many others Jukka has sent our way. This is almost like a machine gun going off like a game ‘sprite’ moving through the electronic landscape. The scape has an overall pinball effect to of the ball rolling down the slight incline bumping off electronic bumpers racking points. – Jim. A much more liquidy version. We are descending underwater and hearing the bubbles of air go by. – Paul.
Lin #4, Variation A – Featuring Bruce Hamilton, Jeff Fairbanks, Steve Moyes and Jukka-Pekka Kervinen (contributing artist/mixer/masher) – More space in this variation between the range of electronic beeps and pulses. This one feels a bit more like floating in space which might be due to the complementary mash with Bruce, Jeff and Steve. Good balance of the pulses and tones. – Jim. Bell-like tones here – lovely ringing sounds. Like being inside a tower clock striking midnight. – Paul.
Lin #4, Variation B – Featuring Jukka-Pekka Kervinen, Jeff Fairbanks, Steve Moyes and Bruce Hamilton (contributing artist/mixer/masher) – Combination of bells and electronica – a big music box with the clanking of gears audible. – Paul.
Lin #5, variation A – Featuring Bruce Hamilton, Jeff Fairbanks, Steve Moyes, Jukka-Pekka Kervinen and Adam Kondor (contributing artist/mixer/masher) – Well add Adam and even more things happen in the virtual landscape. Voice like samples or voices emerge and even more space develops giving almost an electrical glitch or discharge happening along the ‘space’ like content. – Jim. Sounds are more eruptive and sudden. More crashing and clashing – produces a feeling of slight distress. – Paul.
Lin #5, variation B – Featuring Bruce Hamilton, Jeff Fairbanks, Steve Moyes, Jukka-Pekka Kervinen and Adam Kondor (contributing artist/mixer/masher) – Kind of growing more like an air lock or a process being ‘gated’ between it’s lower frequencies and silence. An interesting process in all these. – Jim. The bells are highlighted here and the crashing subdued resulting in a bit more optimistic feel. – Paul.
Improv in D Minor – Nice classy movieesque piano and orchestration. Reminds me of a Bill Evans record that was done similar with strings. The balance is cool Ken and emotive, well played, felt and arranged. – Jim. Nice orchestral sounds behind the keyboard – the timpani rolls add drama. Minor mode really comes out well in the strings. Give it some structure and it could grow into a piano concerto. – Paul.
After Sludges – Jérôme returns to the Jon Hendricks influence I was hearing him do when one of us first came in to the community here. Very playful and nice ‘jazz’ phrasing in this approach. – Jim. A series of almost bird-like sounds at the start. Some nice vocals and trumpet tones at :35. Bizarre vocalizing at 1:00 accompanied by a sort of rushing sounds produce a strange environment. – Paul.
Mem Euphony – Featuring Miles Hamilton and Bruce Hamilton (contributing artist/mixer/masher) – Lovely alchemy I was going to say mash but think this is Bruce only. Pictorial layering between the romantic almost new agee yet more dense piano and the various environmental make for a smoky heart felt piece. – Jim. Beautifully simple piano line here arcs over a sort of restless collection of busy sounds. Evocative of the intensity small children exhibit in their playtime. – Paul.
Rome – Featuring Paul Hertz, Steve Moyes, Glen Weyant, Benjamin Smith, Peter Thörn and Bruce Hamilton (contributing artist/mixer/masher) – Ambience of lady luck, strings on metal, drones, electro acoustic keys and ‘when in Rome’. Kind of like a machine shop then about 3 min in there is a release to the pulsing keyboard interplay then the alchemy returns. The grinding car trying to start cuts through in all this from Peter’s ambient track, turns Twilight Zonish and dies out to the drone of the cello. – Jim. We hear what sounds like an orchestra rehearsal or tuning – a sort of controlled chaos. Some serious industrial sounds change the mood at 2:00. Excellent mixing of all the parts here. Nice burbling of piano and instruments in the background at about 4:00 and this builds into a sense of anxiety. Some really good rumbles in the bass at 5:30. It all breaks into a sort of drone at 6:00 that is very engaging… and then ends suddenly. – Paul.
Pastone – Stretched and rubbed strings and colors that suggest ‘Adam’ influence to me Bruce. Glitchy tones follow with occasional percussive hits and kalimba like plucks. Lovely motif resolves on the end. – Jim. Lovely mix of woodwind and string sounds with strong percussive beats. Flute and violins conjure a melancholy feel at 1:00 that is explored and then reinforced at 2:18 through the finish. – Paul.
Mice – Like it! Slightly Monkish bouncing piece that begins sparse with playful piano, horn thrown about almost like random chance and gradually becomes more calculated in feel with really nice bass and drums entering and tying it all together. – Jim. Incredible variety of short, sharp sounds. A rhythm that defies any tempo… At 1:30 a snare drum gives us some helpful timekeeping. This piece accurately portrays the sporadic movement of mice… all it lacks is a cat 🙂 – Paul.
IF Community Project
IF Linear-Cumulative – Featuring Bruce Hamilton, Jukka-Pekka Kervinen, J.C. Combs, Lee Noyes, Jim Goodin – This was great fun, a Bruce Hamilton inspired ‘chain’ project started during the thread. Each artist recorded between 5 – 20 seconds and tagged on to the previous person’s work, so Bruce set the stage with the opening seconds. Each participant could not ‘mash’ on top of a previous track but could segue from the previous to their own by a dissolve or other transition. The idea to pick up where the other left off, respond and go somewhere connected but new. Twas cool! – Jim.
Memories of a Mad Mother – Adam man you take some amazing trips in your work. I can see this one. Kind of feels like a drift towards dark streets and foreign open markets for a while with orchestration, some hammered sounding strings, Indian in color at times, cinematic at times. The ‘hammered dulcimer’ like thing that surfaces several times makes me think of curio shops and the ‘foreign’ markets referenced. Nicely mixed throughout with wonderful separation. – Jim. Amazing series of menacing sounds blended into a somewhat scary mix given the title and text. Darkly foreboding feel – a sense of rising anxiety. The sudden ending adds a punch to the preceding drama. – Paul.
Layers of Silence – Featuring Steve Layton, Steve Moyes, Glenn Weyant and Adam Kondor (contributing artist/mixer/masher) – A silent scream, a great sense of ‘an in the distance’ feel, beautifully set. Stellar metallic whirs and ghost like sources that glide past your ears on this one – headphones for sure! – Jim. Best to quote a comment from Steve L on this one: “I have to say Adam, this made my mouth hang open in wonder… A near-perfect spectralist piece, conjures up Grisey or Radulescu!” I would just add that I think Adam has managed to elicit from electronic sounds the same feelings that can be
heard in his orchestral pieces, esp in the woodwinds. – Paul.
Paul Hertz / Max Roach
Different Trains – Featuring Paul Hertz, legacy recording of Max Roach and Adam Kondor (contributing artist/mixer/masher) – Rhythmic mashed duping between Paul’s pulsing organ and the historical recording of jazz great Max Roach who sounds like a machine gun. Paul’s tones start as repetitive block clusters then modulate into an arpeggiated figure, all of which calls to mind Steve Reich clearly hence the titling I think. The Roach drum track is indeed made for him here. – Jim. Good to hear the jazz master – well chosen to accompany Paul’s piece. Amazing how they follow each other. Maybe “Different Tranes”? – Paul.
Precipitation – I can see why this track worked so well with Max Roach through Adam’s eyes/ears. Very percussive rhythmic chordal tones coming from your organ this week Paul. Churchy at times and circusy at others. Nice low tones that are also very Reichish which is what the track mash with Max brings to mind. – Jim. What’s this? A minimalist pulse! Has Paul been listening to Philip Glass? Nice passage work at 2:30. Fine re-creation of rain dripping off a roof after a summer storm (just the way I remember it). Now all ya gotta do is expand, say, those 16 bars at 2:30 into 5 minutes – just trust the process – and you will be on your way! – Paul.
Open Source Inside Piano – 13 VIII 10 – Like a forensics specialist Dr Noyes goes about the piano in a kind of ‘unprepared’ way like inverted John Cage finding sounds first hammering on strings leading to a resolve plucking a low chorus, rings very sweet here. Then we are led to space awaiting the next detail. Again a lovely plucked low string, followed by some high and then some pairs that become more Asian in color. The exploring continues as akin to the tale of the Scottish harper who kept going when his pipping corp turned left. – Jim. Striking the strings provide ray-like sounds. The strumming sounds much richer than on a guitar – very cool. Wonder why we don’t hear more ‘piano unbound’ music? The very low notes at 5:00 have a nice dark color. The higher notes at 5:50 have such an exotic feel you would not guess they were from a piano. I’m now convinced the piano as we know it is a percussive instrument – the strings on their own have an entirely different flavor. Looking forward to the re-tuning experiment. – Paul.
Open-Source Inside-Piano – 12 VIII 10 – A second journey into the deep cavity of the 88’s. Man Lee resonance of the plucked bass strings is worth the price of the trip. Plucked strings and struck strings follow in curious exploring, occasionally rubbing the strings getting the grit and metal. This should be a suite with Peter’s nyckelharpa, think about it for next week guys, can see it. – Jim. The piano project yields its first recorded piece! Interesting shimmer to the sustained notes; you can hear the sympathetic vibrations of the other nearby strings. Guitar-like in the lower registers and harp-like higher. An other-worldly, yet familiar sound. – Paul.
Railings – Down and dirty intense bowing leads us in to this inner workings track. You can almost see the wood breaking in your cello bow Steve! Occasional cluster pluckings pop in and then excellent bow bouncing follow that brings to mind my buddy Will’s ‘guitar’ drumming. The nice surprise here is I think this is all acoustic guitar bowing which for a while in this piece I’ve been thinking your cello but I think not! Great hit and saw ending section. – Jim. Low notes from a bowed string instrument open this with a definite industrial character. Harsh sounds now at 1:30 interspersed with chords. Breaks into a strong rhythm at 2:20. By 4:25 a series of creaks and chords ratchet up the tension. Spectacular cadenza at the finish. – Paul.
Swims – Fluid as water like as the title suggests. Small bells looped or possibly stretched, thickens as the piece develops taking on more blending in to one another. The sounds become more like saucers as in flying, not having seen one but imagined they might elicit these sounds, also like a geiger counter as referenced earlier. The piece continues nicely balanced as it begins to thin out and return to it’s singular beginning quality. – Jim. Bright tone colors echo through the air. Very intense sound – almost like musical hail. Beautiful tone sequence at about 2:00. Higher pitches sparkle like broken glass on the pavement. Nice fade-away on the
ending. – Paul.
Strange Vibes – Kalimba and struck like percussive ‘found’ sound maybe a box actually, muted vibe tones interwoven with other percussive sounds and space. As the piece progresses a tubular sound emerges akin to struck plastic pipe and taking on a rhythmic more pattern oriented path unusual to the composer’s more recent environmental sound pieces and then it stops. – Jim. Interesting vibraphone playing – exploratory, searching sort of feel to this. Percussion takes over at 1:15, vibes back in at 1:45. Assertive playing at 2:45 brings us to the abrupt signature finish. – Paul.
Ticket – Cool fretless bass or some such sounding tones engage in this brief piece. Nice chordal tones in the style of Jaco and more current Michael Manring. Melodic tones weave above a low level electronic ambience as if clouds or fog blowing cross the land. A sense of something landing abounds. – Jim. Short bursts of notes stand out against the subdued background. Quiet, reflective. Short. – Paul.
Untitled / track 2a solo drone processed – Wonderful cello drone Glenn with growing distortion or I think it’s cello perhaps other textures but cool drone regardless. Takes on colors if you were passing through a tunnel, flashing lights going by, could be a subway tube in my world Glenn I think you are in Arizona so possibly a long stretch of desert highway and semis tearing up the road at night at 80+ and this is the sound of their tires on the pavement. – Jim. Sounds at first like a 60 Hz transformer hum but this has more overtones. Nice additions at 1:05 – powerful! You can almost hear a melody at 1:50… Very interesting – should be expanded. – Paul.
Scarified and Rarified – I can’t really comment on Will’s work as he’s a friend and collaborator. This is Will’s second piece for the community, the first was a collaboration between he and I. Scarified and Rarified was initially supposed to be that as well but arrived late and I felt it should stand on it’s own. I’ve known and worked with Will for several years now since we first met when I was doing a clinic at a Sam Ash and he was doing an article on clinicians for the now defunct Gig Magazine. In those days he played more conventional drums but heavy influence from folks like Bill Bruford but equally had a very organic tribal Mickey Hartish thing happening. In recent years he’s gotten very in to ‘found’ textures and colors and uses everything from pvc tube to bicycle parts sometimes combined with traditional drums or sometimes without. i’m glad to bring him into the mix here and hoping he becomes as inspired as I have become by ImprovFriday. – Jim. Nice groove going with the percussion. Crisp playing – precise. The xylophone entry gives a melodic dimension. Reminds me a bit of listening to a parade, esp as it fades off into the distance.. – Paul.
See you next time…
Jim & Paul