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MUTABLE 004CD
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"Calvin Massey (1928-1972) is virtually unknown with the exception of both highly knowledgeable jazz scholars and a small coterie of illustrious musicians who remain alive and were immensely indebted to Massey's musical influence and mentorship. Massey was a father figure and close friend to many of the greatest jazz musicians of the post-World War era until his early death in 1972. Massey was a trumpeter, but was most noted as a composer of magisterial works, of which his epic opus was The Black Liberation Movement Suite, an extended work of nine movements. Until now, the work had never been recorded in its entirety. Cal Massey ranked among the greatest jazz composers of the 20th century, included with Duke Ellington, Thelonious Monk and Sun Ra. 'The Black Liberation Movement Suite' is one of the undiscovered gems of an epic jazz extended work. It perhaps may be regarded through the exposure of this recording release as one of the greatest jazz suites of the 20th century, joining 'Mingus Epitaph,' 'Let 'My Children Music ' and 'The Black Saint and the Sinner Lady,' the major Ellington suites and extended form works (the 'Sacred Concerts,' 'The Liberian Suite,' 'The Drum is a Woman,' etc.), Oliver Nelson's 'The Afro-American Suite,' and the varying cosmo-dramas of Sun Ra. While of considerable musical and artistic grandeur as these other great extended works, 'The BLM Suite' is also a work of considerable socio-political significance, commissioned by the Black Panther Party and musically and ideologically expressing the revolutionary upsurge of the Black Liberation struggle in the U.S. during the late-1960s. Three other Massey compositions are featured herein. 'Quiet Dawn' was composed for the Duke Ellington Orchestra. 'Goodbye Sweet Pops' is an homage to Louis Armstrong. Finally, 'The Cry of My People' epitomizes Cal's compositional energy for combining the soulfulness of spiritual-like melody with bold and complex harmonic structures."
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MUTABLE 17545
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"Mutable Music is pleased to announce the release of the latest collection of chamber works by New York-based composer and hammer dulcimer player Dan Joseph. The central work is the 33-minute multi-movement sextet Tonalization (for the afterlife) scored for flute, violin, cello, marimba, harpsichord and hammer dulcimer. The work, composed in 2009, was the composer's first new large-scale piece to follow his 2006 collection Archaea and marked the return of the Dan Joseph Ensemble to New York's concert stages after a two-year hiatus. Along with the accompanying duos Wind Patterns and Music Primer, these three works formed the core of the ensemble's repertoire from 2009 to 2011. While discernibly tethered to minimalist and post-minimalist idioms, the works on this CD draw strongly from the composer's decade in California (1991-2001), where he came into contact with West-coast pioneers Terry Riley, Lou Harrison and Pauline Oliveros and studied Chinese and near Eastern folk music. The works thus combine the rhythmic drive of pulse minimalism with a contemplative, improvisational approach. Ever present, however, is the composer's strong sense of timbre and unabashed ear for pure beauty."
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MUTABLE 17546
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Subtitled: Music For Pianist And Yamaha Disklavier. "This compilation of JB Floyd's keyboard music with the aid of the Yamaha Disklavier, spanning over 30 years of his career, signifies the great breadth of his creative experience and his surprising individuality in such diverse disciplines of musical style. 'Tribute For my Father' (1991) is a live performance by the composer. 'Solos And Sequences I'(1999) is a composition for pianist and Yamaha Disklavier performed here by Liana Pailodze. 'Variations-1979' was the first composition to capture the kind of music that Floyd has been improvising all his life. 'Waves: The Ebb And Flow' (1981) is related to the sounds of the Atlantic Ocean and its powerful, incessant wave motion. 'Solos And Sequences II, for pianist and Yamaha Disklavier, performed by Liana Pailodze.The unique sounds of the Buchla Synthesizer inspires 'Prince Of Pentacles' (1979) by transforming the piano to enable it to realize many more possibilities of timbre. 'Another Time And Place (1993), for Yamaha Disklavier, virtual instruments, percussion and solo pianist, performed by Doug Floyd and JB Floyd."
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MUTABLE 17543
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"Bun-Ching Lam, born in Macao, and Gunnar A. Kaldewey, a book artist born in Germany, have been working together for more than twenty-five years. The artistic outcome of their collaboration was presented in an exhibition of artist books and three evening concerts featuring compositions by Bun-Ching Lam, held in Heidelberg in the fall of 2009. The CDs included here contain the opening concert of October 26th, and the final concert of October 28th, featuring vocal and chamber music written for Asian and European instruments. The compositions featured on Disc 1 attempt to translate poetic or artistic sentiments into sound. It presents the many different cultural traits, from Heine to Hiroshige, from Europe to Asia, from Debussy from lunzhi (running finger techniques on the pipa) to Run, that have merged in the musics of Bun-Ching Lam. These pieces show Lam thinking as a citizen of the world, as one critic, Ken Gallo, put it. Disc 2 presents more chamber music by Lam, under the title of Seeing Sounds Like Water, Like Ritual: Chamber Music. Each of the pieces is an expressive painting in sound, allowing the audience a multiplicity of sensual experiences: it is not enough to hear, but one must see and smell, taste, feel and be touched by this music."
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MUTABLE 003CD
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Subtitled: A Scientific Soul Music Honoring Of Muhammad Ali. "During the war against advanced colo-rectal cancer (from 2006), which included two primary tumors and two recurrences, Fred Ho, hammered by massive chemo and radiation, found inspiration in the fight for his life from watching movies of The Greatest, Muhammad Ali. Ali's bold, militant, defiant and spirited resistance to the forces of American racism, combined with his elan, grace and humor (both poetical and personal), his indisputable athletic abilities and genius, and the inspiration to the world's peoples (especially the oppressed) and their embrace of him, served as constant inspiration to Fred Ho. During one of his recovery periods, Ho decided to compose a work for his Green Monster Big Band to honor The Greatest. The Sweet Science Suite is a musical evocation of that mojo conjured through Afro Asian scientific soul music, combining the swing of jazz and American and Asian boxing, martial arts and hand-to-hand combat feels and forms, with the elasticity of temperament and pitch intrinsic to the raw, folk musical characteristics of AfroAmerica and much of the Asiatic world. During Ali's match against the juggernaut George Foreman in Zaire during the mid-1970s, Ali's employ of the rope-a-dope was the quintessential methodology of the trickster, intrinsic to many Asian martial arts, such as JuJitSu, of turning the strength of one's opponent against them. This work of five movements spans the musical geography of the Black and Yellow worlds, just as Ali spanned those two worlds in his boxing training and abilities, and in turn inspired and influenced martial forms and techniques, including the footwork of the late great martial arts innovator and iconoclast, Bruce Lee."
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MUTABLE 17544
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"Formed in 2005 by Petr Kotik as the resident chamber orchestra for the biennial Ostrava Days, Ostravska banda consists of young musicians from Europe and the U.S. whose primary interest is the performance of new music. The core instrumentation of 24 players can change according the requirements of each score. Their repertoire includes works by John Cage, Iannis Xenakis, Morton Feldman, Edgard Varese, Luigi Nono, Gyorgy Ligeti, Louis Andriessen, Elliott Carter, Christian Wolff, Petr Kotik, Alvin Lucier, Phill Niblock, Martin Smolka, Miroslav Srnka and Petr Bakla, as well as many young and emerging composers. On Tour, their debut 2-CD release includes live recordings of Ostravska banda's October-November 2010 European tour. The compositions presented are: John Cage: 'Concert for Piano and Orchestra'; Petr Kotik: 'In Four Parts (3,6 & 11 for John Cage)'; Somei Satoh: 'The Passion; Bernhard Lang: Monadologie IV'; Luca Francesconi: 'Riti Neurali'; Petr Bakla: 'Serenade'; Paulina Zaubska: 'Dispersion.' Soloists include Hana Kotkova, violin; Thomas Buckner and Gregory Purnhagen, baritones; and Joseph Kubera, piano."
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MUTABLE 17540
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"Modern classical music meets industrial meets musique concrete. The music of If, Bwana (Al Margolis) represents a vigorous, original and informed continuation of the experimental traditions of American music, responding as it does to the sounds and materials of late 20th and early 21st century American life with a keenly sensitive ear and a marvelous feeling for form, balance, and texture in music. The five works on this recording all utilize and reprocess the performances (both studio and live) of the musicians and vocalists. Their work has been processed, edited, selected and assembled into strange and mutated pieces, which in many cases are quite some way removed from the realms of the familiar."
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MUTABLE 17542
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Subtitled: Works For Violin Subharmonics And Interactive Computer. "Mari Kimura is a creative violinist carrying on the tradition of renovation and transformation of her instrument by composing for herself, using the media that is available in her lifetime. This album includes two kinds of works: solo violin works using 'subharmonics,' an extended bowing technique she developed, and works for violin and interactive computer. In April 1994, at a solo recital in New York City, Kimura introduced subharmonics as a musical element to extend the range of the violin by a full octave below the open G string without changing the tuning. Playing subharmonics takes precise control of bow pressure and speed, reliably and repeatedly on demand, which is extremely hard, especially in real time performance situations. Her introduction of subharmonics was widely praised by Edward Rothstein, the chief critic of The New York Times who described it as a 'revolutionary technique' for the violin. Kimura took these obscure sounds and developed them further. She created compositions using subharmonics not for the sake of novelty but to use them as a new element for the musical language for the violin. This album contains many of her early works using subharmonics controlling different subharmonic intervals, such as subharmonic octave, third and second. Since the early 1990's, Kimura has also been a violinist/composer specializing in interactive computer music composition and performance. She created many works for the violin using an interactive computer music program MaxMSP. On this album she includes some of her older works for violin and MaxMSP, as well as more recent compositions."
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MUTABLE 17541
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"Flutes & Voices is utterly brilliant improvisation, finding two longtime musicians in top form. Thomas Buckner and Robert Dick have somewhat parallel musical histories. For well over three decades, both Buckner and Dick have redefined what is acoustically possible on their instruments. Both have a profound interest in the development of a highly individual sound language and in free improvisation. Their activities have helped shape the downtown scene in New York, and affected the course of new music worldwide. About four years ago, they began to very occasionally meet to start and continue a musical dialog. In June 2009, they recorded together. Flutes & Voices, a collection of dynamic improvisations, is the result."
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MUTABLE 17539
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JD Parran: double wooden flutes; bass saxophone; clarinet; alto flute and mbira. "This recorded solo performance, Window Spirits, manifests memories, dreams and feelings expressed in my life through music. Here, on this plain called life, we can experience existence on level ground with the ancestors." -- JD Parran
"J.D. represents the ideal performer of my music. He combines a profound understanding of the composer's intention with an expressive individual voice that is both nuanced and dramatic. " -- Anthony Davis
"This truly wonderful new release by JD Parran, performing solo, was recorded live at the Kampo Cultural Center. The event was a celebration of Parran's 50 years of music making. For a composer and performer who has played for so long and with so many people this solo CD -- luminous, lyrical, and difficult -- is long-overdue. Playing a variety of instruments, Parran focuses on improvisations of the moment: visions of his solo compositions developed during his years of creative music work. He also takes the opportunity to perform works by Anthony Davis and James Jabbo Ware, composers who have written for Parran and featured his instrumental voice in their music."
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MUTABLE 17538
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Jerome Cooper: Drums, balaphone, chiramia, Yamaha PSR 1500. "Drummer/percussionist Jerome Cooper's fruitful musical legacy with the Revolutionary Ensemble and stints with saxophonist/composer Anthony Braxton, pianist Cecil Taylor, and others reads like a who's who in modern jazz. This makes A Magical Approach - a new release of Jerome Cooper's multi-dimensional drumming, a very special event. The music on this CD is drawn from two live performances, recorded almost 30 years apart. Root Assumptions was recorded in 1978 while the other five tracks are from Cooper's 2007 performance at an A.A.C.M. concert. Cooper's remarkable agility and captivating musical spirit is enacted throughout these endearing works. What is multi-dimensional drumming? Imagine a drummer who plays this flute with one hand, bass drum and high-hat with his feet, and triggers drum loops, chord sequences and bass patterns with his other hand. Whether it is written or improvised, the resulting music is closer to world-funk than avant-garde jazz. Divided into many parts and facets, the drum set and secondary instruments Cooper uses and play are all aspects of the drums. In the future, there will be many changes and developments in the area of the mind -- so what we (humankind) think and hear, is what we shall see and hear. In order to play the drum set you must be able to manipulate four or five things at one time (i.e. bass drum, snare drum, high-hat, ride cymbals and maybe voice). So an instrument's name and structure doesn't stop him from playing them like a drum. You have instruments that are structurally different from the drum, but they have the same characteristic in the approach to the drum (i.e. piano, balaphone and shoes with taps). In order to find the music of the drums, Cooper had to change my assumptions and beliefs about music in relation to the drums, which is sound in the creation of multi-rhythms."
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MUTABLE 001CD
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"On the new release Celestial Green Monster, Fred Ho and the Green Monster Big Band -- assembled from Ho's favorite musicians with whom he had the pleasure and honor to work with since embarking upon a professional career in music in the 1980s -- perform both original compositions by Ho ('Liberation Genesis'; 'Blues to the Freedom Fighters'; 'The Struggle for a New World Suite') as well as arrangements of two pop culture classics ('Spiderman Theme'; 'In-A-Gadda-Da-Vida'). The quintessential American orchestra is not the symphony, but the big band. Retaining the essential features of swing and African-descended rhythmic vitality and complexity, improvisation (both individual and collective) with sophisticated compositional imagination, elasticity and experimentation with timbre and harmony, expansive and epic themes, the big band makes for as much a 'joyful noise' as the ubiquitous small band. Though the composer/arranger may start with sketches and minimally notated material, the opportunity and challenge for a broader and more extensive palette of orchestral voicing, contrapuntal techniques (both melodically and rhythmically), and magnified excitement, intensity, energy and explosive dynamic range ('from a whisper to a scream') continually make for the big band form an ideal vehicle of serious extended composition." The Green Monster Big Band: Fred Ho, leader/baritone sax; Bobby Zankel, Jim Hobbs, alto sax; Hafez Modirzadeh, Salim Washington, tenor sax; Stanton Davis, Brian Kilpatrick, Amir Elsaffar, trumpet; Taylor Ho Bynum, cornet; Robert Pilkington, Marty Wehner, Richard Harper, trombone; Earl MacIntyre, David Harris, contrabass trombone; Art Hirahara, piano, electronic keyboard; Wes Brown, electric and acoustic bass; Royal Hartigan, drum set. Guest Artists on In A Gadda Da Vida: Abraham Gomez-Delgado and Haleh Abghari (vocals); Mary Halvorson (electric guitar).
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MUTABLE 17536
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Performed by: Janácek Philharmonic; Petr Kotik, conductor; Thomas Buckner, baritone; Muhal Richard Abrams, piano; Roscoe Mitchell, saxophone. "Spectrum features an improvised performance by Muhal Richard Abrams and Roscoe Mitchell entitled 'Romu.' This recording is also the first to feature Abrams's and Mitchell's work with orchestral forces. Mutable Music is very proud to be able to offer these premiere recordings. Abrams's 'Mergertone' was commissioned by the Ostrava Center for New Music and premiered at the opening concert of the Ostrava Days 2007 festival by the Janåcek Philharmonic, Petr Kotik conductor. Mitchell's 'Non-Cognitive Aspects of the City' was commissioned by Mutable Music for baritone Thomas Buckner, Petr Kotik and The Orchestra of the S.E.M. Ensemble and was premiered at the Willow Place Auditorium in February 2003."
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MUTABLE 17534
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"This new CD by pianist Borah Bergman and violinist Stefano Pastor was recorded on July 1st, 2007 at the Jazz Fuori Tema Festival in Tortona, Italy. The five pieces on this recording - three compositions by Bergman and two improvisations by the duo - highlight Bergman's ambi-ideation: his amazing ability to have each hand go its own way. Instead of accompaniment and melody, what one hears are often two completely different melodic lines being played simultaneously. Stefano Pastor's style of playing the violin is strongly based on an imaginative reworking of bop wind instruments' language. A great deal of experimentation led him to re-consider the set-up of his instrument. Pastor has re-strung his violin with extremely rigid electric guitar strings to obtain a heavy sound, allowing his violin and the way he plays it to speak like a wind instrument - with breath and power. The resulting music is sometimes rasping, sometimes lyrical, a not rarely prodigious dialogue between the piano and the violin, with Bergman's hands running about on the keyboard producing cascades of notes, each with an exact, determined precision with its own very limpid specific weight. Pastor plays the game wonderfully, intervening with his violin with its sanded, gravelly, very earthy sound."
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MUTABLE 17535
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"This new recording of music by J.B. Floyd highlights the three main strands of his career: pianist, composer, improvisor. He composed In Crossing the Busy Street for baritone Thomas Buckner (a frequent collaborator of his) and piano, using a poem by Daniel Abdal-Hayy Moore. The musical material from this twenty-two minute song cycle then became the basis for further exploration as material for improvisations. Floyd then worked with drummer George Marsh (another long-time collaborator) on what became Improvisations on In Crossing the Busy Street. J.B. Floyd's career as pianist, composer, and improviser has included classical recitals and solos with orchestra, new music solos and group collaborations, jazz improvisations, and multi-media presentations."
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MUTABLE 17533
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"Composer Tom Hamilton¹s stunning new CD, Local Customs, explores some obscure notions about music theory and performance practice, leading to sound combinations that are at once unsettling and yet somehow familiar. One discovers that there is very little in Local Customs that follows from conventionally intentional music writing. It is perhaps better to regard it as a group of artifacts of little-known origins, modified through new transformations into something further unexplained. The foundation for the piece is an 'electronic harmony generator' that plays an endless sequence of chords exhibiting curious relationships with no purposeful direction. The musical lines for the ensemble - consisting of flute, clarinets, trombone, contrabass, percussion, and electronic harmony - accumulated from coding and decoding various readings, investigations, and experiences during a summer residency in Italy. Tom Hamilton has been composing and performing for over 40 years, and his work with electronic music originated in the late-60s era of analog synthesis. He often explores the interaction of many simultaneous layers of activity, prompting the use of 'present-time listening' on the part of both performer and listener. Hamilton appears on synthesizer in his own ensembles, and has participated in groups led by Peter Zummo, David Soldier, and Michael Schumacher. He has recently performed with Thomas Buckner, Lisle Ellis, Chris Mann, Al Margolis, and Jacqueline Martelle. His CD London Fix received an award in the 2004 Prix Ars Electronica. He is a longtime member of composer Robert Ashley's touring opera ensemble, and his work can be found in over 60 CD releases of new and experimental music."
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MUTABLE 17532
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Leroy Jenkins (violin), Sirone (bass) and Jerome Cooper (drums, balaphone, chiramia, Yamaha PSR 1500). "Beyond The Boundary Of Time documents the last live performance of the legendary Revolutionary Ensemble before Leroy Jenkins' death in 2007. This recording was made of a performance on May 25, 2005 in Warsaw, Poland. In the 1970s, the Revolutionary Ensemble introduced New York to decided musical advances, many pioneered by Chicago's A.A.C.M. musicians. Ex-Chicagoan Leroy Jenkins, who played violin, of all unheard-of modern jazz instruments, had formed his concept from classical, swing, blues, and modern elements and had been one of the radicals who discovered new concepts of sound, space, and musical relationships in the late 1960s. Jerome Cooper had been a somewhat later Chicago explorer, while Sirone's freedom of motion had grown out of work with the most visionary New Yorkers. Extensive rehearsal led this cooperative trio to a shared, free sense of dynamics, momentum, and form, and a wholly unique sound: their instrumental recombinations yielded a surprising variety of textures and colors. Most of all, these highly sophisticated personalities played together to create an ensemble music even larger than the sum of its parts. After the long overdue reissue in 2004 of their 1975 recording The Psyche on Mutable Music, the Revolutionary Ensemble -- Leroy Jenkins (violin), Sirone (bass), and Jerome Cooper (drums, keyboards) -- reunited for both recording and performances. On this live set, each musician is represented by one of their own compositions - 'Configuration' by Sirone, 'Usami' by Leroy Jenkins, and 'Le-Si-Jer' by Jerome Cooper, as well as two group improvisations. All three of these great musicians are at the top of their form here, and one envies the Warsaw audience that attended what turns out to have been their final performance together. Their remarkable realization of the ensemble ideal was still revelatory and still revolutionary."
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MUTABLE 17529
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"This beautiful new recording by 'Blue' Gene Tyranny includes the mysterious The Somewhere Songs cycle (1997-2001) for baritone voice and electronics, and 'The Invention of Memory' (2003-2005). A lyrical discourse for baritone voice, string ensemble, guitar, and piano, The Somewhere Songs concerns friendships in or undergoing difficult circumstances. The narrator, in a sense, builds his own circumstantial world as he sings -- the vocal part was composed first by singing spontaneously and the 'transitional systems' (pitch/rhythm, etc., material) were derived from that vocal line to generate other acoustic and electronic parts. The question of the 'true intentions' of the two former friends is of course left to the listener. 'The Invention of Memory' is about the behavior and physiology of the brain. In the course of reading, Tyranny was struck by what seemed to be rough parallels between the way that people have described forms of memory and certain musical procedures. This thought created a strange sensation in him -- something about the true nature of music. 'The Invention of Memory' was written to research this nameless correlation. An initial 'Song,' heard in a piano solo at the outset, provides a basic reference to which the players return, similar to a past event that is recalled in varied ways. The song is then 'scanned' by the players, employing different musical procedures. Some of the musical forms employed are traditional (canonic imitation, passacaglia) while the majority are compositional procedures Tyranny developed for earlier pieces, including melodic transfers within a closed loop (from the transformational lattice score of 'Stars Over San Francisco,' 1972), drone with internal motion (from 'The Interior Distance,' 1959), camouflage (from 'Sleeping Beauty in Camouflage,' 1992), and the song modulated by its own internal voice ('gravity' modulation from 'The Driver's Son,' 1989 - present). 'Blue' Gene Tyranny, composer and pianist of avant garde music, has toured extensively in solo and group concerts throughout the U.S., Europe, Canada, Mexico and Brazil. He also played in teenage rock bands and for a gospel church. He has composed over 50 works for electronic, instrumental and vocal ensembles, over 30 film and video soundtracks, and 50 scores for dance and theatre productions. He has performed on many albums and performed with such diverse performer-composers as Robert Ashley, Peter Gordon, Laurie Andersen, John Cage, Leroy Jenkins, David Behrman, Brenda Hutchinson, Jon Gibson, William Duckworth (The Cathedral Band), Phil Perkins, Ben Manley, Carla Bley, Iggy Pop, Lise Vachon, and many others."
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MUTABLE 17530
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"This project was created from a series of improvisations, compositional sketches, and field recordings. With the help of Pro Tools, it has evolved into this present form. Nils Bultmann is a violist, improviser, and composer currently based in the San Francisco Bay area. Rooted in classical technique and tradition, he has developed his own voice within the context of a wide variety of musical styles and art forms. Active as a performer in the United States and Europe, he plays both classical repertoire as well as his own compositions, and is involved in collaborative projects of dance, film, and avant-garde improvised music. He has generated an expansive body of work in the recording studio, including solo and multi-track viola music as well as collaborative and improvised material. He also writes through-composed works for traditional instrumentation including for solo pieces, string quartets, and orchestral music. He has appeared as a soloist with an orchestra premiering his own work. As an improviser, he has worked with Ken Butler, David Wessel, Frank Gratkowski, Myra Melford, Evan Parker, and Roscoe Mitchell. In September 2004, he was a guest at the International Symposium for Improvised music in Munich, Germany to perform two new works by jazz saxophonists Roscoe Mitchell and Evan Parker, as part of the Transatlantic Art Ensemble, which was recorded and released on ECM Records."
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MUTABLE 17528
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"For 30 years, Thomas Buckner has carved out a very special niche -- that of a champion of the avant-garde. In concert halls throughout the world, his 'baritone-mastery' has astonished both audiences and critics. He has an extraordinarily flexible voice; his experience and ability ranges from madrigals, lieder, opera, free improvisation, extended techniques, all the way to electronically processed wordless minimalist song. This wonderful new collection of works for baritone and chamber ensemble were all written specifically for Buckner. Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations, through text-sound and performance art to concert music. Petr Kotik is a performing musician (conductor and flutist) and the founder and director of the S.E.M. Ensemble which expanded in 1992 as The Orchestra of the S.E.M. Ensemble."
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MUTABLE 17527
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Timeless Pulse: Thomas Buckner (voice); George Marsh (percussion); Pauline Oliveros (accordion); David Wessel (live-electronics); Jennifer Wilsey (percussion). "Timeless Pulse sometimes recalls the soundscapes of Günter Müller, Butch Morris, David Shea and AMM, and is thus recommended to fans of them and harmonious (yes, that's right, with harmony) free-improv." --Mark Keresman. "Formed in 1993 in a residency at the Deep Listening Institute, the musicians of Timeless Pulse -- whose members come from jazz, classical and electronic -- make music together through listening and responding in the moment. The five compositions on this recording from 2005 are warm, compassionate tapestries of soft, rolling sounds performed by accordion, cymbals, drums, gongs, bells, chimes, sampled sounds and voice."
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MUTABLE 17526
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"In August of 2005, on a visit to Paris to celebrate the birthday of sculptor Alain Kirili, singer Thomas Buckner and flutist Jérôme Bourdellon gathered with Kirili at his studio to record these duo improvisations in the presence of his group of sculptures entitled 'Totem.' Both musicians are longtime collaborators with Alain Kirili, performing most recently at a concert at the Theatre du Palais Royal in Paris celebrating to opening of an installation of his sculptures in the garden of the Palais Royal. The music is a spontaneous, abstract response to and interaction with the sculpture. Jérôme Bourdellon is a composer and flutist residing in Nancy, France. For more than 30 years, baritone Thomas Buckner has dedicated himself to the world of new and improvised music. As a performer, producer, and promoter, Buckner has enabled the creation of an extensive body of new works by some of the world's leading, most exciting and most challenging composers. Currently, Buckner works regularly with composers Robert Ashley, Roscoe Mitchell, Alvin Lucier, Annea Lockwood, Bun-Ching Lam, Jerome Cooper, David Wessel, Tom Hamilton, Leroy Jenkins, Phill Niblock, Wadada Leo Smith, among others."
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MUTABLE 17524
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"Latest release by William Allaudin Mathieu, pianist, composer, teacher, recording artist, and author. 'A Parrot, Three Fish, and a Donkey' is a modern piece with a medieval text, and medieval sensibilities have worked their way into the musical fabric: the small percussion instruments, the instrumental range lying (for the most part) within the range of the human voice, and, most of all, the harmony, which is a kind of modulating modality. Inspired by the universality of Rumi's poems, Mathieu felt especially free in this piece to borrow from many centuries of Eastern and Western harmonic practice."
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MUTABLE 17525
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"Mutable Music is pleased to announce the debut release by composer and hammer dulcimer virtuoso Dan Joseph. Entitled Archaea, the recording consists of three recent extended chamber works performed by The Dan Joseph Ensemble: Tom Chiu (violin), Michael Lowenstern (clarinet), Danny Tunick (percussion), Marija Ilic (harpsichord), Loren Dempster (cello) and the composer on hammer dulcimer. Influenced most directly by the first generation minimalists, Joseph's works bring a welcome new voice to the idiom with his unique sense of timbre, intricate rhythms and unexpected formal turns. Equal parts East coast and West coast, Appalachian and Balkan, rock and baroque, his style is characterized by its immediate beauty, positive spirit and exhilarating drive."
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