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LP
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NADA 005LP
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$27.00
PREORDER
RELEASE DATE: 1/28/2022
For the first time on vinyl, this compilation brings excerpts from electroacoustic pieces written by Jocy de Oliveira from 1987 to 1993. It is rather fascinating Jocy de Oliveira's journey as a creative and sensitive inhabitant of our planet. She is a masterful composer, interpreter, multimedia artist, and storyteller. Her pieces are influenced by the avant-garde of the 20th century and all cultures and languages on Earth, emphasizing the importance of feminism, science, and the environment. Jocy started composing at the age of six and was introduced to piano studies at a very young age by her mother who was a poet and pianist. In 1959 she recorded A Música Século XX de Jocy (1960), an "Anti-Bossa Nova" record that was not understood by anyone in the '50s, but 62 years latter it became a cult classic (and has just been reissued). Her talent and dedication brought her to work alongside 20th-century music masters such as Igor Stravinsky, Oliver Messaien, Luciano Berio, Claudio Santoro, John Cage, Xenaxis, and Karlheinz Stockhausen. This became a vital experience in her artistic life and she performed world premieres of works by many of these great composers. Jocy witnessed and experienced the rupture of several paradigms of Western music. She incorporated serialism and electroacoustics, dialogued with ritualistic music and indeterminacy that boomed in the revolutionary 1960s. This album is dedicated to a production that goes from the mid-80s to the early '90s. On side A, "Oniric" presents electronic music performed in real-time along with voice. The following pieces are two ragas: "O Contar De Uma Raga" (Telling Of A Raga), and "Raga na Amazônia" (Raga in the Amazon) and last is "Solaris" with Ricardo Rodrigues on reeds and oboe. In all these pieces Jocy plays the keyboards. Jocy plays synthesizers in all tracks and is accompanied by great musicians as Ayrton Pinto, Joseph Celli, Sang Won Park, Ricardo Rodrigues, and Anna Maria Kieffer. The LP comes with an insert with unseen photos and two texts, one by Jocy de Oliveira and other by the musician and researcher Paulo Beto.
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LP
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BLUME 007LP
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Limited 2017 repress. Blume present the first vinyl reissue of Jocy De Oliveira's legendary albumEstorias Para Voz, Instrumentos Acusticos e Eletronicos, reissued for the first time since its original release in 1981. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Technically, her 2nd album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos resonates through a shimmering body of organized sound, unveiling truths lingering in the shadows, the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights. Oliveira began her career as a concert pianist. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents, working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. During the early 1960s, Oliveira shifted her efforts toward composition. She embarked on a process of folding organized sounds across nearly every context it could inhabit, blurring the lines between performance and composition, and incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theater work written with Luciano Berio, Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. Released in 1981, during the last years of her country's military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view, heard by almost no one beyond Brazil's borders. Among the most astounding realizations of electroacoustic process ever recorded, it is a series of sonic stories for voice, and acoustic and electronic instruments: prepared piano, violin, percussion, synthesizers, electric celesta, etc. The album's singularity, culture, humanity, and introspection cannot be displaced; like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian. Its draws on a diverse range of the country's music and percussion traditions, as well as Indian raga structures, and Japanese Shōmyō singing, inspired in part by the sounds of immigrant communities within São Paulo, the city where Oliveira grew up. A landmark classic from the '70s Brazilian electronic music scene. To quote Keith Fullerton Whitman, this is the "lost Tropicalia/psych/free-vocal/ring-modulator freakout/jam hybrid that you've only dreamt about!" Comes in a full-color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Red-colored vinyl.
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