Jonathan Zorn: for Rob Powers: Suite no. 2 - additive feedback. 2004. Set Projects: set-03.
Jonathan Zorn: electronics
From the liner notes: "Suite no. 2 is an additive feedback loop that grows module by module, track by track, causing the sound to become increasingly unstable." Process music with a nearly pure realization. The first twenty minutes existing just on the edge of human perceptibility. Rotating one's head relative to the speakers altering the high pitch tone psycho acoustically. The change in perceptual loudness into the other tracks feels enormous. The increasing instability of the tone taking on an electrical, free improvisation-like of compounding intensity. The thinness of sound taking on a beautifully deliberate quality. A slow, thoughtful alteration of electronic tone.
Elliott Sharp/Tectonics: Errata. 1999. Knitting Factory Records: KFR 255.
Elliott Sharp: electronics, drum programming, guitar, saxophone
Dense, heavy slabs moving along their own timetable. Indifferent to the earthquakes triggered along the way. Errata builds its density with beats, pulse, groove and a constant shifting of timbral elements often bearing Elliott Sharp's characteristic preference for sonic abrasion. While built with the sonic materials of electronica this could hardly pass for drum 'n bass or be found spinning where DJs expect people to dance. The illusion of dance is never far from the surface of this music - but it is frequently thwarted or overwhelmed by the density of textures. The ears and the body are lured into a hostile ground. It is ugly. And it is an old favorite for these ears.
Ornette Coleman: Dedication to Poets and Writers. (a.k.a. Town Hall, 1962). 1962, re-issue date unknown. Magic Music: 30010-CD.
Ornette Coleman: saxophone
David Izenzohn: bass
Charles Moffett: percussion
Selwart Clark: violin
Nathan Goldstein: violin
Julian Barber: viola
Kermit Moore: cello
The legendary concert and transition point between two major phases of Ornette Coleman's career. The trio of Coleman, Izenzohn and Moffett that would become an important and well documented facet of his music is given its first public appearance in this concert. The string quartet writing realized on "Dedication to Poets and Writers" is an exciting, vibrant realization of Coleman's Harmolodics Theory through composed music. This important aspect of Coleman's music has not been well documented and the few recordings that do exist are a miracle given the fierce resistance he has encountered in realizing his composed music. A revival of "Dedication to Poets and Writers" and his orchestral work "Skies of America" are long overdue. The interaction between both trio and string quartet on "The Ark" suggests that the separation between these two sides of Coleman's creativity were not as far apart in his mind. The sudden winter storm that kept attendance low for this concert is a potent metaphor for the various forces that have contrived to keep a deserving genius from wider recognition and unprejudiced love of his melodic sensibilities.