Started by Mandryka, December 20, 2020, 08:44:10 AM
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Quote from: T. D. on July 06, 2021, 06:38:23 AMSorry if slightly OT, but here's a funny jazz story (emphasis and [...] added):...But there was one Blue Note Pete La Roca album, Basra. Steve Kuhn [the pianist on Basra] is a wonderful pianist who played with Pete in John Coltrane's tremendous band with Steve Davis on bass. I saw that quartet often at the Jazz Gallery. Eventually Steve, Pete and I played a lot together and made a few records. Three Waves was Kuhn's trio date, while Art Farmer's Sing Me Softly of the Blues has a wonderful rendition of the Carla Bley title track. But the record most people know today is Basra...."One of the tunes on Basra was 'Lazy Afternoon,' a tender ballad. We were in full flight, mid-take, with our eyes closed, when Kuhn reached inside the piano to pluck a chord. There were immediate loud and abrupt noises over the P.A. Rudy [legendary recording engineer Rudy Van Gelder] came running out to the room in the middle of the take and angrily told Kuhn, 'If you touch those strings again, this date is over.' We were all sitting there pinned to our seats with our eyes bugged out....https://jazztimes.com/features/columns/steve-swallow-pete-la-roca/
Quote from: T. D. on February 24, 2022, 04:06:16 PMGoogle reveals Vimeo videos of Folklore 3 and 4 by a Jacob Rhodebeck from 2008.This recording is from my Final Doctoral Recital at the Staller Center Recital Hall at Stony Brook University, Stony Brook, NY on December 9, 2008.https://vimeo.com/19242184https://vimeo.com/19260417See also, for instancehttps://www.facebook.com/spectrumNYC/posts/congratulations-to-pianist-jacob-rhodebeck-for-his-superb-perfoemance-of-michael/947296422043057/http://www.jacobrhodebeck.com/repertoire.html
Quote from: Mandryka on May 03, 2021, 08:27:57 AMThis CD features quite a long and exploratory piece of music called Beginners Mind, I have to say that it's one of the more interesting examples of piano music I've ever heard, a systematic exploration of a range of styles. Ian Pace is in fine fettle for it, and well recorded too. Zimmermann is, I think, a good composer - in a Howard Skempton/Laurence Crane sort of way.
Quote from: Mandryka on March 03, 2021, 12:09:26 AMhttps://www.youtube.com/v/_Ncfn1_UkIQChristopher Fox's More Things in the Air than are Visible part iii is for piano and various ambient nocturnal sounds including woofing dog, and tweety and hooty birds. Rather nice.
QuoteContinuants exist at times and change from time to time. Xis a temporary part of Y if X is at some time part of Y and at some time (when Y exists) not part of Y. Parts without temporary parts are moments. X coincides with Y if X is at one or more times identical to Y. (Notes and melodies often coincide; superposed notes never coincide.) Moments of X coincide with X. A temporary part of X does not coincide with any part of some moment of X. Parts without parts are simples. All simples are parts of moments. Not all moments of parts are simples. X is a regular continuant if every moment of part of X is part of a moment of X. (Every part of X coincides with part of each of one or more moments of X.) Memories and their objects are regular continuants. The times of parts of a moment of an object of memory need not be identical. The times of contiguous moments of an object of memory need not be contiguous. A moment of a memory part is a rich moment if its object has temporary parts. (The object of a rich moment coincides with more than one moment.) Every moment of a rich memory is a rich moment. Objects of brief rich memories coincide with symphonies, yesterday, vacations, April, and other continuants of extended duration. Rich memories of words are thoughts. Not every part of the object of a rich memory Z is the object of part of Z. No temporary part of the object of a momentary part of Z is the object of part of Z. No momentary part of the object of Z is the object of part of Z. No part of a rich memory is isomorphic to its object. Non-temporary parts of the object of Z are objects of parts of Z. The simples of a rich moment are rich [or Derus] simples. A rich simple is a qualification of its object. The qualification of this changing to that has this-changing-to-that-ness as a qual-ity. Some qualities can only be qualities of parts of rich memories (e.g. getting-redder-ness). Some relations can only relate parts of rich memories (e.g. getting getting-redder-ness-er than). — Kenneth Derus: Memories and their Objects Kenneth Derus (b. 1948) is a former director of the Center for Combinatorial Mathematics and the dedicatee of George Flynn's American Icon and Kaikhosru Sorabji's Opus secretum. He has written about music for Tempo and The New Grove (among others) but is mainly concerned with the mereotopology of memory experience.
Quote from: Mandryka on December 15, 2022, 11:15:56 AMThe preface to Finnissy's Folklore
QuoteFrom Geofffrey Douglas Madge's recording of George Flynn's Derus Simples
Quote from: Florestan on December 29, 2022, 03:39:22 AMI hope their music sounds better than their mumbo-jumbo.
QuoteDERUS SIMPLES is a continuous work whose gestures, shape and character result from expansions of simple sounds or ideas — "simples" — into complexities that frequently revert back to their simple origins.The prevailing simple in this work is the tritone (usually F-B, near the center of the keyboard). Derus Simples begins and ends with this tritone. However developed, its presence throughout the piece ought generally to be clear.The first part of Derus Simples expands on the tritone in an easily heard manner: the simple dyad accumulates notes in a variety of attack and decay modes while registrally expanding to the keyboard's lowest and highest B's. The following part [tr 2] develops arpeggiated and single-strike aggregates, with the arpeggiations expanding into fluid passages [tr 3] and the aggre-gates articulating their own "chorale" (however interrupted by the fluid passages), both of which, in turn, eventually prepare [tr 4] for the work's central, contrapuntal, section. The contrapuntal section starts five times [Trs 5 - 9], with each start (except the second) leading to a progressively more elaborate and obviously more demanding development. The final develop-ment of this section at first dissipates (starting at Tr 10) to a momentary, quiet contemplation of material surrounding the cen-tral F-B tritone, and later to a progressively more frenzied approach to three "curtains" of sound [Trs 11 - 13] that prepare for the final section of Derus Simples. Each curtain consists of the same vast arpeggiation, low to high, followed by a version of the previously heard material. The final section [tr 14] presents much of the work's original material but in reverse order, with interpolations from the contra-puntal section and sudden "mini" elaborations here and there (Tr 15 for example). The opening arpeggiations are recalled [tr 16], as is the central contrapuntal section [tr 17], while the original tri-tone becomes progressively more isolated as the end approaches, until it stands alone. Derus Simples was commissioned by the philosopher Kenneth Derus as a way of celebrating the centenary of the composer Kaikhosru Sorabji (1892-1988). Its title acknowledges ideas pre-sented by Kenneth Derus in discussing Sorabji's music: in particu-lar his suggestion that we appreciate melodies, not notes, as basic elements ("simples") when we listen to and remember Sorabji's music. This notion of things being "simples" (basic elements with no parts) in certain worlds, but obviously structures (full of parts) in other worlds, galvanized my thinking while composing Derus Simples. (A definition of "Derus simple," as the term is used in philosophy, appears elsewhere in this booklet.) - GEORGE FLYNN
Quote from: Mandryka on December 29, 2022, 03:44:09 AMHere's some more -- I forgot to post George Flynn's essay
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