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  • linernotes_cs130
    Another resident was visual and video artist Arno Oehri Arno and I were intrigued by Thomas s art and his way of working Each of us wanted to somehow incorporate his drawings into a project of our own Soon we decided to combine our projects although it wasn t clear how Eventually I decided to convert some as it turned out 171 of his drawings into a multi page graphic score To do that I made a matrix of pitch rows and numbers that represent playing techniques Then I reversed Thomas s drawings so that what was black became transparent Finally I laid each drawing over the matrix and used what was visible as an element in an extended modular composition In concert I shuffle the score s 171 pages and play through them at the rate of about 50 a set In Cologne at The Loft a performance space that also serves as a recording studio I shuffled the scores and recorded each one until I had an acceptable version setting the others aside to simulate Thomas s custom of tearing up his rejects The idea was for each take to reflect the amount of time Thomas took to make that drawing The denser his drawing the longer I played Some takes were as short as seven seconds and the longest were not much longer than a minute At the end of a non stop six hour session I had 254 takes 171 of which I kept Thomas sometimes reviews his archive and tears up drawings that no longer please him Similary a month later I culled the 171 acceptable takes down to 99 one for each track possible on the CD For this release I merged segments 98 and 99 to liberate an index mark for the video

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  • reviews_cs130
    as the severely fragmentary conciseness of the solos causes the whole to sound exactly as a haphazard reproduction of the initial program even when the record is played straight I seriously doubt that a remote chance of memorizing this album exists What needs to be noted is how brilliantly this man manages to conjure up a growing quantity of uncommon timbres chordal surges skeletal counterpoints and unclassifiable pitches from his axe manipulated conventionally or through various kinds of implementations elevating the music to a degree of consequentiality on a par with its pictographic complement Massimo Ricci Temporary Fault Scott Fields está a viver um período especialmente criativo do seu percurso agora ressurgindo em mais uma edição portuguesa O novo Drawings baseia a sua lógica construtiva nos desenhos a carvão de Thomas Hornung Desenhos criados impromptu levando menos de um minuto a completar só podiam traduzir se musicalmente por miniaturas e assim são 98 as faixas áudio deste CD que contém igualmente um vídeo de 55 minutos no qual os dois artistas apresentam em conjunto as suas artes visual e sonora com a particularidade de esta última utilizar as figuras da primeira como referência gráfica Como seria previsível o Fields que aqui encontramos é menos jazzístico do que o de Bitter Love Songs do Scott Fields Freetet mas também é verdade que contrasta com os seus discos mais cerebrais como We Were the Phliks Beckett e From the Diary of Dog Drexel A bem dizer este é o disco em que ouvimos o guitarrista no estado mais cru da sua música Conhecido pelas suas difíceis composições mais do que como instrumentista circunstância que só começou a mudar recentemente devido aos seus duos com Elliott Sharp Drawings tem a importância de inverter esses termos e de colocar em primeiro plano o excelente improvisador que é este americano radicado em Colónia na Alemanha Os esboços de Hornung podem ser entendidos como partituras imediatistas mas o certo é que não impõem mais do que vagas sugestões de estrutura Desse modo é o outro Scott Fields aquele que melhor se revela em concerto que finalmente descobrimos em disco O curioso é que os pontilhismos dedilhados de outros contextos não se repetem aqui Distorções vizinhas do rock fazendo nos lembrar Sonny Sharrock e abstraccionismos parasitados o Derek Bailey da parceria com os Ruins é o que nos oferta Decididamente Fields está apostado em surprender nos Rui Eduardo Paes The solo record Drawings features Fields the deadpan formalist 98 tracks in 46 minutes each using a drawing by the German artist Thomas Hornug as a graphic score Good luck trying to listen to this in any conventional manner Fields suggests playing it in shuffle mode and even within a single track individual sound events are often sharply discontinuous Though Fields is happy to draw on jazz and rock idioms his approach here reminds me of laptop guitar in the Keith Rowe tradition there s the same sense of the instrument as a lightning rod or barometer an

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  • reviews_cs131
    une continuité de synthétiseur comme Lê Quan Ninh sait si merveilleusement le faire avec un bol chinois ou une cymbale sur sa grosse caisse Ici il s agit d une grosse masse harmonique faite d un apparent aléatoire sur toutes les touches du piano C est en tendant l oreille dans l intérieur du son lui même qu il faut chercher l évolution motifs rythmiques qui apparaissent ralentissement bascules rythmiques changement de timbre mélodie apparitions fantomatiques de longues résonances répétition ostinato riff Ce n est pas un synthé porté par l électricité mais un humain qui physiquement se démène avec ses mains ses avant bras et ses coudes Alors on suit cette exaltation et cet effort corporel Je finis dans le même état physique qu après un final du festival Fruits de Mhère avec un concert d Étage 34 Après ces 23 04 dans les vagues de l océan déchaîné j échoue épuisé comme sur la deuxième face d un disque vinyle sur une plage plus paisible On quitte le clavier pour l intérieur du piano Une immense harpe sur table De petits animaux qui courent parfois comme des sons à l envers du sable qui s effrite et glisse le long de la falaise Soleil brûlant Inquiétantes sonorités percussives de premiers synthétiseurs quand les pieds s emmêlent sur les pédales du piano Car il s agit d un disque de piano par un pianiste Alors vers la fin se glissent des petites citations pianistiques PS J ai écouté la deuxième plage en mode accéléré ça cahote ça va vite mais pas aussi énergique que le premier morceau Ensuite j ai mixé la plage 1 avec un disque d Étage 34 c est énorme Kosko y laissera ses baguettes Paquotte la basse entre les dents et au final Répécaud en cassera son ampli à coups de guitare Jean Christophe CAMPS Revue Corrigée Even een waarschuwing vooraf Leg of zet alles aan de kant voor u deze cd One is Land gaat beluisteren Het is namelijk volstrekt onmogelijk om tegelijk nog iets anders te doen In het eerste stuk Sea Smell houdt de Zwitserse pianist Jacques Demierre het rechterpedaal 23 minuten lang ingetrapt Terwijl hij het klavier met een vrij percussieve manier van spelen aanpakt Wat ontstaat is een zee aan klanken die je langzaam maar zeker opzuigt Na enkele minuten is de muziek onontkoombaar geworden Ogen dicht over je heen laten komen en dan krijgt het stuk haast iets transcendentaals De tegenhanger het bijna net so lange Land Smell is volkomen anders Verstilling kleine geluiden pointillisme veel gebruik van het binnenwerk van de vleugel soms met de nodige prepareringen objecten op de snaren Het lijkt eerder of we hier een slagwerker dan een pianist aan het werk horen Demierre werkt aan een bijzonder oeuvre dat wel enige overgave vergt maar waar de geconcentreerde luisteraar veel voor terugkrigt Herman te Loo JazzFlits Lo yin e lo yang il pieno e il vuoto il silenzio e il rumore il furore e la quiete la mente e lo stomaco Sono queste le reazioni scatenate dall ascolto di One Is Land ultima fatica del pianista svizzero Jacques Demierre prodotta da Creative Sources Recordings etichetta portoghese specializzata nella musica sperimentale d avanguardia e radicale Due lunghi brani che hanno il pregio di spiazzare l ascoltatore per la loro diversità ma anche per la loro complementarietà attraverso un bilanciamento chirurgico di esplosioni e implosioni sonore Un terrificante block chord apre Sea Smell ventitre minuti di burrasca di mare forza dieci di tormenta sonora che non dà respiro un maelstrom furibondo che stordisce l ascoltatore Si naviga trasportati dalla furia degli elementi impossibilitati al minimo tentativo di correzione di rotta Il pianoforte che rigurgita dalla propria pancia un magma vischioso e asfissiante sembra continuamente sul punto di esplodere immaginiamo la sua carcassa percorsa da vibrazioni insostenibili ma alla fine resiste approdando incredibilmente nelle tranquille acque di una baia miracolosa E qui inizia il percorso di Land Smell quasi venti minuti di pacata ed originale esplorazione dello strumento che viene scandagliato in tutte le sue componenti con le corde pizzicate trattate e maltrattate con ogni tipo d oggetto i legni non solo l avorio e l ebano percossi in modo anticonvenzionale per dare origine ad una sinfonia minimalista dal fascino selvaggio Vincenzo Roggero All About Jazz Deux citations du poète américain Robert Lax 1915 2000 tirées de son poème One Island Sea Smell Odeur de mer et Land Smell Odeur de terre donnent leur nom aux deux parties de One Is Land c est le titre du CD une œuvre de Jacques Demierre pour piano Perpetuum mobile ou le mouvement perpétuel telle est l impression qu on retire de la première pièce En effet Sea Smell c est la mer ou plutôt la houle au piano une déferlante qui dure 23 minutes et 20 secondes et qui vous submerge littéralement C est un exploit rythmique une explosion sonore qui vous tiennent en haleine Le XX siècle a connu nombre d œuvres pour piano percussif dont la complexité rythmique et l intensité sont un défi pour pianistes et public Sea Smell s inscrit dans cette lignée au début du XXIème siècle Mais comme c est souvent le cas chez Demierre son œuvre s inscrit aussi dans les traditions du jazz dans le cas de Sea Smell ça fait penser à deux noms de pianistes compositeurs tels que Cecil Taylor et Irène Schweizer Détrompez vous pourtant mes renvois ne sont que nominaux ce qui prime ici c est Demierre son originalité son génie propre Il est temps de revenir sur terre ne serait ce qu à son odeur l odeur de terre Land Smell Autant Sea Smell est un déferlement de fluidité autant Land Smell semble un voyage au centre de la terre ou mieux un voyage au centre du piano en 19 minutes et 4 secondes Le clavier et les pédales autour desquelles est construite la mer demierrienne ne sont que la surface du piano l odeur de la

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  • reviews_cs132
    There Was Mass Tony Dryer s breathy sounds laid over Jacob Lindsay s light and shifting clarinet and the abstract meter of Jacob Heule s on percussion seem closer to flute than contrabass With Meant And Memory too Lindsay s command of multiphonics lip fluttering and other extended techniques is impressive but never simply virtuosic his rich warm tones combine with Heule s long sweeps of cymbal tones to create a spacious atmosphere and a memorable musical experience In general the album is as sparing of its means as possible given the density of music it eventually delivers Harmonics rather than being solid are microtonal on tracks such as There Is An Opposition Together and Light From Another Light shivering through the mix like distant aftershocks Similarly tiny sounds and almost subliminal textures though all one can hear at first eventually start to swell and grow astringent in a kind of ponderous playfulness If never especially powerful with due patience there is ample room to consider its estimable intelligence and considerable harmonic subtlety Max Schaefer The Squid s Ear You would also expect similar Grunge influences on the other band since drummer Jacob Felix Heule and bassist Tony Dryer also perform as a brutal improv grind duo called Ettrick However the two have also worked in freer situations with experimenters like drummer Weasel Walter Furthermore the third member clarinetist and bass clarinetist Jacob Lindsay is at home in both improvised and notated experimental music situations with improvisers such as bassist Damon Smith No suggestion of Scott or other earlier jazz clarinetists can be heard on Idea of West Reed line attribution only goes back as far as Jimmy Giuffre in the 1960s with an overlay of airy and atonal stylists such as Berlin s Wolfgang Fuchs figuring in Lindsay s work as well Divergence between the Polish and American trios approaches is evident on the Yanks track which involuntarily appropriates the other CD s title Light from another Light While Zimpel deals in medley and notes Lindsay confines himself to the respiration of flat line low pitches Producing blurry splintered air his wide bore solo interlocks with ceremonial gong rattling and raw cymbal scrapes from Heule and single string strokes from Dryer Supple in their connection and tough in their output the string and percussion duo never touches on funk beats or clichéd time keeping but instead fades in and out of contrapuntal partnership with Lindsay s polyphonic tongue slaps and stops Witness their connection on Before There Was Mass and As I Said That Them Became with titles that actually sound as if they were hurriedly translated from Polish Based on a composition by Heule the later tune builds up from blunt hard drum beats and sul ponticello string sweeps to a solid cascading almost organ like contralto line from Lindsay then cymbal scuffs and jagged bass runs are added Cumulating in miasmatic crackling timbres the track ends with a drum pop The first number displays similar intimations of

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  • reviews_cs133
    os músicos Eduardo Chagas Jazz e Arredores This disc fits in perfectly with the other releases from this fine label in that it walks the line that divides minimal improv from more conventional instrument use The opener and longest track features some beautifully wacked out trumpeting against walking in the leaves percussion Pay special attention to the harmonics here split tones and chords seem to rise from the blast of metal covered air Over the course of its run the duo explore many different combinations of sounds techniques and it s again easy to forget that we re hearing trumpet and percussion a good thing There are several pauses and re starts which give us opportunity to re gather our attention Later high pitched whining is placed alongside squealing curlicues a sped up drone with pig solo The next piece stays fairly quiet through its entire length a box of newborn mice accompanied by wind through a half closed window Track 3 opens up with what sounds like mad string bowing an ethnographic forgery from an imaginary region Drumhead scrape and quick tings and bangs begin and the trumpet resumes its slight of ear After a very short percussion solo Wick sends out note less blasts in measured segments occasionally adding feedback sounding high notes They stop abruptly Perhaps best described as a good example of sound improvisation this disc had me returning several times to re listen something I can t say about a lot of recordings these days Jeph Jerman The Squid s Ear On his knockout duo album with percussionist Andrew Greenwald the new 37 55 Creative Sources his playing is almost polyphonic he overlaps acidic high pitched cries with plush breath sounds from sibilant flutters to tight unpitched puffs I ve never heard a trumpet sound so inhuman his flickering tone and stuttery articulation dislocate the instrument s voice like an electronic filter and for minutes at a time you might imagine you re listening to an old school analog synth Peter Margasak Chicago Reader Here s another name to add to the already long list of so called extended techniques trumpeters Brooklyn based Jacob Wick who joins percussionist Andrew Greenwald for a set of four duets entitled wait for it Track 1 Track 2 Track 3 and Track 4 with a total duration of yes 37 55 One supposes that the track and album titles were chosen not out of lack of imagination but more as a plea for listeners to approach the pieces as pure music whatever that is or maybe an act of homage to the likes of Braxton I see he s now up to Composition No 367B and Cage Duration as title of work 4 33 being the most notorious example You could say there s a touch of late Cage Number Piece austerity to Wick and Greenwald s first track which clocking in at over 21 minutes divides the album in half indeed one wonders whether a vinyl release wouldn

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  • reviews_cs134
    no sentido clássico do termo Rui Eduardo Paes Piano soprano sax cello and violin Great album an assortment of moods and dynamics changing from track to track a tendency to utilize the extremities of the instruments while maintaining a distinct chamber flavor The Rodrigueses are concerned with making the strings sound as a marble cutting machine one moment a chain of delicate whispers the next Rebelo can handle different kinds of timbral duty inside and outside the piano frame with ease in certain circumstances Stillness approaching a pseudo romanticism of sorts Schroeder is the most unobtrusive voice an almost spiritual rather than instrumental participation but her absence is noticed as soon as we realize Impressive ensemble work in the static dissonance of Tension and an overall sense of control on the directions that the music even if instantaneously generated should take Harmonically fragile yet percussively emphatic in several episodes this material sounds like having been somewhat planned in advance possessing a kind of implicit contrapuntal substratum that renders the listening experience even more gratifying Massimo Ricci Temporary Fault Pedro Rebelo e Franziska Schroeder músicos mais próximos da expressão erudita contemporânea teoria e prática acústica e electroacústica com um pé na improvisação Ernesto Rodrigues e Guilherme Rodrigues percorrem a via larga das actuais correntes da composição instantânea juntaram se para tocar e registar o resultado Aqui está como dois afluentes com características de fundo e forma diferentes na sua multipolaridade se juntam num mesmo e vasto curso que é a música improvisada Em May There Be há linguagens que se interseccionam práticas concertadas que concorrem para formar um tertium genus ambientes organizados numa mundivisão vivida e partilhada no risco permanente da falta de rede É assim que sem buscar deliberadamente encontrar o caminho da chegada a música prefere especular para lá

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  • reviews_cs135
    or bass clarinet trills and grumbles the violin s dry pizzicato and eerie harmonics Still overall the date is kinda tetchy wispy faint and bone dry Since the longest stretch of pitched sounds come from a church carillon across the street on In Out and occasional brief altissimo lines and the odd tremolo from Irmer s fiddle this may qualify the album s genre as real time atmospherics Chicken scratchings fiddle percussion and cluckings two horns account for much of the rest Whether the barnyard rants run fast and funny Fur Lotte or slow and hazy Compression or faint coyote yodel y Once Upon the players insistent preoccupation with bizarre sounds for their own sake soon grates Only on that latter track does Foschia play for a hot minute a gritty sforzando rich passage that sounds like a bass clarinet Fred Bouchard All about jazz Here s another example of music that meshes very nicely with the rural serenity of a Sunday morning one of my favourite moments for the ritual of listening in case someone missed previous references Canaries On The Pole was realized with clarinets percussion objects toys violin and prepared saxophones at Jazzzolder Mechelen Belgium in 2007 To better highlight the concept of simultaneousness that defines this quartet s approach the longest track In Out was enhanced by a microphone placed outside the studio which captured alluring echoes of the nearby urban environment including a gorgeous bell tower while the musicians were improvising There s a sense of closeness around the notes the idea of sharing something extremely profound which brings several episodes of intense suspension where the players utilize rarefaction and conscious postponement of events to further increase the selflessness factor Yet we also meet sections where a major determination is perceivable the instruments in turn coming at the forefront of vivacious interactions never running towards inconsistent behaviour or narcissistic attitude this collective vibe of ridged awareness remains a constant presence either in movement or in stasis It s exactly this uncharacteristic unevenness that gifts the CD with an aura of inexplicable attractiveness like observing a hybrid creature of uncertain origin slowly turn into a ravishing vision Outstanding stuff all the way Massimo Ricci Temporry Fault Carefully measuring every sound and gesture produced the Canaries on the Pole CotP ensemble stays true to its microtonal roots But on this provocative CD it finds time to expose the sonic spectrum available from close interaction extended techniques multi instrumentation and chance Reacting to the unexpected is most pronounced on In Out Here a microphone placed outside the studio captures the daily sounds of Mechelen Belgium as members of the four piece German Belgian group strategically respond to reverberations from a massive church bell supplementary peals from smaller bells and snatches of a child s conversation With wide tessitura exposed by Christoph Irmer s alternately squeaked and vibrated violin strings as well as the quivering and sibilant textures of Jacques Foschia s clarinets plus Georg Wissel s saxophones further

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  • linernotes_cs136
    thinking by means of sound a kind of sound painting music appearing in terms of sound spaces sound surfaces sound layers or sound objects This change in musical comprehension from an art form developed within time to one unfolded within space required its equivalent in terms of notation The score of Ordinary Music Vol 3 visualizes a possible simultaneity of sound events to be combined put in sequence layered intermingled in real time by the players an ad hoc composition with predetermined material The material slides tremoli harmonics held tones patterns distortions beating waves or noises white noise knocking whistling etc noted in diagrams partly as sound descriptions partly as technical instructions can be performed by musical laymen just as well as by professional musicians In the instructions it says It might take some rehearsal to acquire the perceptiveness it takes but in principal there are no preconditions regarding musical education Nikolaus Gerszewski has studied and performed scores by Cage Four6 Cardew Treatise and Christian Wolff Edges Prose Collection The decisive impulse however came from an entirely different direction Since October 2007 I have been visiting a Yoga class The experience of how to change the body perception by breathing

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