Recorded at The Harmony Hall, Matsumoto, Japan between March 1992 and March 1993. Includes liner notes by Mark Nauseef
This 1991 release is a pinnacle of avant-fusion and most of the credit goes to Joachim Kühn's gloriously raw and distorted electronic keyboard sound. As a guitarist, it's hardly surprising that Miroslav Tadic would summon prototypes of ecstatic electric music like Jimi Hendrix and Allan Holdsworth, but for a musician best known as a pianist, and occasionally a rather bland one, it's a real shock to hear the same prototypes summoned by keyboards.
This recording is a tribute to Albert Hofmann who celebrated his 100th birthday on January 11th, 2006.
After a catchy start on "Invocation," the world-influenced music from former Flecktone Levy (diatonic harmonicas, jew's harp, clavichord), Tadic (guitars, bass guitar), and Nauseef (percussion, drums) deteriorates into performances that are rudderless, timid, and lacking cohesion and verve. Things peak at mid-point in the 12 tunes, but fail to maintain momentum. Sounding more like three self-indulgent guys diddling around in the early morning hours, their scattered music holds little to pique listener interest.
Born near Belfort (France) in 1960, Michel Godard soon established himself as an extraordinarily versatile exponent of the tuba, pursuing a career in jazz and classical music.Today he is one of the most virtous tuba and serpent players in Jazz as well as in improvised music. This site informs about his activities in its diversity.
This pairing of pianist Sylvie Courvoisier and percussionist Mark Nauseef is an exploration of the percussive textures not only of sonant concepts, but of electronic ones as well. Courvoisier plays a prepared piano here that is amplified and treated by Nauseef. There is an interlude in five parts followed by a trio of suites, which are bordered by Valsettes and one more interlude. How the different sections interact with each other is by the exploration of durational space and what can be articulated within it, whether it be a note, a series of beats, a rhythm, a crash, or all of them together, solo or in exchange.
England's Orlando Consort, a quartet of male singers augmented as needed by other performers, offers performances of Renaissance vocal music that lie midway between the traditional and the highly individualized modern. Sometimes they veer toward one of those two extremes, but often, as on the present disc, they find a happy medium. Their sound, especially in sacred music, owes much to the English cathedral tradition, but there's a well-honed edge to their one-voice-to-a-part interpretations that brings out the crowds who've recently been drawn to early music. This disc is intended as an introduction to a composer who doesn't always offer easy listening to the modern ear. Netherlander Antoine Busnois, active at the end of the fifteenth century and considered the greatest figure between Dufay and Josquin, wrote music that broke free from elaborate medieval numerology but came in advance of Josquin's perfect marriage of music and text.
A spectacular presentation of eleven new compositions from Zorn’s Book of Angels by two passionate virtuosos whose work together is never less than perfection itself. Contextualizing the music into a classical recital for violin and piano, this is the chamber music of the future. Exciting and breathtaking, Mark and Sylvie have put together a program filled with imagination, lyricism and an intense energy. New Jewish music by one of the greatest violin/piano pairings ever. This is a whole new all-encompassing direction for classical music.