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Album Cover for Audio Clips releases:
11-20
21-33 | | | | |
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|  | | | Interventions
#1: Matt Hannafin & Brian Moran - SubTonic, 9-4-04: Improvisations
for percussion, radical electronics, and field recordings, beginning from the
Buddhist idea of shunyata: "In shunyata there is neither movement nor non-movement
nor both movement and non-movement nor something other than movement and non-movement.
Reality embraces all, includes all, and transcends all. " Recorded live at the
Phonomena series, Tonic, NYC. Total time: 45:02. |
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#2: Matt Hannafin & Brian Moran - Bar XVI_Afterparty: Matt Hannafin percussion
solos cut, chopped, spliced, and stitched by Brian Moran at a later date, in real
time, using Mac and Max/MSP. Fourteen tracks of radical reinterpretation, transforming
improvised percussion solos via improvised post-production electronic reinterpretation.
"In particular what is most important to me is the transformation of a sound by
slowing it down, sometimes extremely, so that the inner sound becomes a conceivable
rhythm." -- Karlheinz Stockhausen. Total time: 44:37. |
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#3: Dan DeChellis - The Evergreen Level: Solo piano improvisations
recorded in Massachusetts and North Carolina. "So many great free jazz players
-- especially pianists -- have well-developed classical chops: players like Cecil
Taylor, Borah Bergman, and Marilyn Crispell. . . . Dan DeChellis is another name
to add to the list" (Chris Kelsey, All Music Guide). "His sound is one of control.
. . . He is driving across Tribeca and takes one non-obvious road after another.
You think you know his next turn, but he confounds your expectation. In the end
his shortcut is faster than anything you've seen, and you've been driving the
area for years" (Michael Benedetti, Phiba-improv). Total time: 63:46.
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#4: Chainworks - Twenty Minutes in Brooklyn, 5-4-2003: Complete
performance by improvisational power-trio Chainworks at the second annual Improvised
& Otherwise Festival, with Dan DeChellis (piano & digital piano), Brian Moran
(electronics), and Matt Hannafin (percussion). "Provides a view into where creative
improvisation is heading in this new century" (Frank Rubolino, All About Jazz).
"Bleeds through the barriers that separate so-called jazz and so-called classical
music" (Ken Waxman, Jazz Weekly). "Formidable . . . alchemical . . . dense and
intricate. Shifts quickly from spacious, textured soundscapes to veritable explosions
of noise" (Susanna Bolle, The Weekly Dig, Boston). Total time: 19:08. |
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#5: Matt Hannafin - Liberation: Improvisations and multitracked ensemble pieces
for kit and hand percussion (zarb, triangles, gongs, tambourines, bendir, darbuka,
bells, rattles, temple blocks, kanjira, etc.), recorded between 1998 and 2000
on a 4-track cassette recorder and a twenty-year-old radio-broadcast mic. A transitional
recording, documenting the artist's exploration of the middle ground between Persian
and Asian traditional and classical musics and the world of modern free improvisation.
Total time: 42:55. |
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#6: Matt Hannafin, Brian Moran & Nate Wooley - 11-07-04: This Machine Kills
Fascists: Lower- and uppercase improvisations recorded at ABC No Rio, NYC, three
days after the Armageddon Election of 2004, with Matt Hannafin, percussion; Brian
Moran, circuit-bent electronics, and Nate Wooley, trumpet. "Art is not a mirror
held up to reality, but a hammer with which to shape it" (Bertolt Brecht). Total
time: 45:16. |
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#7: Richard Gross - Ovation: Three computer creations/manipulations recorded
at the turn of the century by sax/clarinet/guitar player Richard Gross, a fixture
on the New York improv scene for more than a decade. The sole source material
for the postmodern, 26-minute, musique concrete title track was a handful of music
fans' energetic applause at the Pink Pony, NYC. Other tracks use Gross's alto
sax solos as stock for radical reinvention. Total time: 43:29. |
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#8: Ed Chang & Han Degc - Nois Und Stringe: A six-track excavation
into the deep strata of electro-acoustic noise improv, featuring low-fi electronics
and classical guitar playing at the intersection of abrasion and vibration. The
pieces are presented in the sequence in which they were performed, allowing the
listener to hear the evolving nature of this unique collaboration. Total time:
32:55. |
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#9: Little Ricky's House of Chankletas - B-flat Cat: A recording of meditative,
transient, sensibly funny, and entertaining music, its thematic relations landing
somewhere between the logic of a Zen Koan and a good fart joke. With Barry Seroff
(flute, guitar, vocal, didgeridu, ukelele, live samples, radio, metronome, cymbals,
bells), Joe Mapplebeck (vocal, keyboards, live and recorded samples/processing,
cymbals, pot covers, cowbells, prayer bell), Gerry Tuohy (trap kit, spoons, guiro,
agogo, washboard, djembe, tongue drums, turkey call, slide whistle, dog whistle,
steel pan, rose), and Kurt Nepogoda (studio magic). Total time: 27:11. |
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#10: Ravi Padmanabha - Solo
Snare Drum: Says Ravi of this recording, "On 6/5/05 I purchased a baby snare drum
(6-1/2 x 8 inch). Then I went home and recorded two solos. By pure chance, both
solos were twenty-four minutes long." Spooky. The results are a remarkable exploration
of the one-drum approach, using a range of extended techniques to draw out unexpected
sonorities and textures. Total time: 48 minutes and a few stray seconds. |
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