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41
Everything and Nothing / Re: Robots and Donuts - the art of Eric Joyner
« Last post by chris23 on September 19, 2014, 03:43:38 PM »
Robots AND donuts?!?! What a great idea!
42
Everything and Nothing / Re: Robots and Donuts - the art of Eric Joyner
« Last post by hdibrell on September 19, 2014, 02:41:58 PM »
These are great! I especially like the kid and robot watching Star Trek.
43
Interesting album. I did really enjoy it. My favorite track is Perception Shift. I also enjoyed World Without Sky. Actually there weren't any bad tracks. I did catch myself starting to drift off while listening to this album. I was thinking that ambient music is one of the few forms of music where falling asleep while listening can be considered a compliment.  ;) Look forward to hearing more from you.
44
Other Ambient (and related) Music / Re: Kenny Wheeler, British jazz star, dies aged 84
« Last post by LNerell on September 19, 2014, 12:15:19 PM »
I saw Kenny Wheeler live once, as part of David Torn's Clouds About Mercury tour back in the mid/late 80s. It was an amazing band consisting of Torn on guitar, Bill Bruford on electronic and acoustic drums, Mick Karn on bass, and Kenny replacing Mark Isham on trumpet. Such an amazing group of musicians and Kenny easily held his own with them. One of my all time favorite concerts that I was fortunate to see.
45
Other Ambient (and related) Music / Re: Sorry Pete Kelly....On Inspiration
« Last post by einstein36 on September 19, 2014, 12:12:24 PM »
sooo, are we going to get any of those chef awesome recipes????:) ;D

Soon.....just feeling out a format that will work :)

Awesome:)
46
Other Ambient (and related) Music / Re: Sorry Pete Kelly....On Inspiration
« Last post by LNerell on September 19, 2014, 12:10:57 PM »
sooo, are we going to get any of those chef awesome recipes????:) ;D

Soon.....just feeling out a format that will work :)

Are they midi compatible?   ;) ;D
47
Other Ambient (and related) Music / Jon Hassell Interview w/ The Quietus - Sep 17, 2014
« Last post by jkn on September 19, 2014, 08:38:30 AM »
NOTE:  I posted these over at http://relaxedmachinery.ning.com and thought they'd be of interest here...  the "SOURCE" link give you pictures and audio and such - so click there...

A Quietus Interview - SOURCE:  http://thequietus.com/articles/16268-jon-hassell
In Pole Position: Jon Hassell Interviewed
Daniel Patrick Quinn , September 17th, 2014 09:30

Daniel Patrick Quinn interviews Jon Hassell about his long overdue book The North And South Of You and recent reissues of his music



"The basic metaphor is that of the north and south of a person as a projection of the north and south of the globe. A mind formatted by language and located in the head compared with the area of wildness and sensuality below the waist where dance and music and procreation reigns. Mirrored in a global north of "developed" countries that control the world by superior technology. A global south where there's a "technology" of the samba. Which one would you rather have more of when life ends?"

This is Jon Hassell on the thinking behind his long-awaited book The North And South Of You, the writing of which is still in progress. It has been on the annual list of 'must buy' books written on the front page of my diary for countless years now and if it takes him another decade to complete then even then it will have been worth the wait.

For those who don't know, Jon Hassell is a 77-year-old visionary trumpet player and composer whose intoxicating output since the 1970s could initially be described as organic, wordly, futuristic and overwhelmingly sensual. Even before you hear the music, you get the idea from many of his album covers: alluring, often semi-abstract landscapes that you want to leap into. Select one of his albums at random and you will hear what appear to be recordings from an idealized version of Earth, in which beings similar to humans wear ornate grass skirts, sit pleasantly resting at the base of trees gazing off to the distant forest-clad hills.

This fantasy land is full of philosophers, insect noises, and avant-garde conga pageants framed by lush rice terraces. It's a environment in which the intellectual and the sensual have fused, in which cutting edge technology and primal urges have come together in balance. This place must be located somewhere on the equatorial beltline – the point at which Hassell's 'north' and 'south' meet. It is, perhaps, a highly optimistic painting or dream of what the Earth could be like, a century or two from now.

To trace the beginnings of Hassell's unique worldview one need look no further than the first album recording that he appeared on, the original 1968 version of Terry Riley's minimalist masterpiece In C. Not far off half a century later, here are Hassell's recollections:

"I can't separate the session itself from the 2-3 months of getting to know Terry, playing an all-night concert at the University of New York at Buffalo student center, dragging some Moog equipment up from the studio to play (I think) the first synth bass line. He was a big influence to me (and everyone). After studying in Cologne with Stockhausen he was a breath of american fresh air, describing the European music as 'neurotic'. That clicked with me as an audaciously insightful and accurate description. Referring to above: very 'north' and behind the wave of american minimalism with its re-discovery of trance, raga, psychoactive drugs."


Whilst thousands of hitherto 'unlikely' musical hybridizations are commonplace now in the age of being able to research and download sounds from anywhere and anywhen, equal temperament tuning still very much dominates popular culture in the West. Hassell's early projects with Terry Riley and La Monte Young were both doors to vast realms of alternative tuning systems that one could argue remain relatively neglected by the majority of modern composers.

"Of course my playing with La Monte Young in New York was a real baptism in the harmonic series. The oscillator was tuned to 60 cycles (USA standard, he tuned to 50 in Europe!) in order to avoid any unwanted frequencies. There was also a hashish milk shake in the picture and in these performances there was a crystalline world of overtones (the voices and instruments attempting an ultimate tune-up of natural harmonics) that I had never experienced. I later (1969) did a piece - Solid State - that was a growth out of that experience with a stack of eight perfect (2:3) fifths creating a dense harmonic block which was time-sculpted with voltage-controlled filters. Maybe to be released on Warp. Flash forward to recent times. Not into purity, I often tune harmonizer pitches in natural intervals but on keyboard for example you get a hybrid. And - look at hip-hop with all those samples tuned weirdly to get rhythm synch. That's opened ears to a plethora of exotic tunings."


An expanded version of Hassell's 1990 album City: Works Of Fiction has recently been released on Warp as an expanded edition with two bonus discs. I got to know this new release whilst re-reading JG Ballard's The Drowned World and found it the perfect musical companion to the vivid imagery in the text. The lands that Hassell and Ballard detail are both from an imagined future however many weeks, months or years around the corner. On Hassell's collaborative album with Farafina (1988's Flash Of The Spirit) is a piece entitled 'Tales of the Near Future', an obvious nod to Ballard's 'Myths Of The Near Future'.

The original album is, for me, the least interesting because it is atypical of Hassell. City sounds resolutely urban (hence the title!) and over-reliant on then-contemporary technology that paradoxically allows the material – particularly the percussion - to sound a little dated. The sonic atmospheres here are also often too specific, the places they evoke too limited. When one hears the sound of a drum machine there's less room for the imagination of the listener to set to work constructing elaborate imagery. That's just my opinion – others are bound to disagree and preferCity to the wide open, mysterious, beautifully vague landscapes suggested by the majority of his work.

What for this reviewer are far more enjoyable are the many gems on the two bonus discs. The second disc is entitled /Living City and is a live set from New York in 1989, live-mixed by Brian Eno. The finale is 'Nightsky', 18 minutes of shimmering drones and tropical insect accompaniment. Things reach such an ecstatic climax that you could imagine the performers levitating metres above the stage. Like much of Hassell's work, it's music for a magic carpet ride.

"I carefully edited the three nights of performances in NYC into one show so it's a sort of idealized concert but still live. I'm irritated by reviewers who think that Brian had anything to do with all the natural sounds except for a cross-fade from the Rainforest environment in the beginning. These sounds were part of my sonic palette in those days."


Psychogeography is the title of the third disc, and it's a collection of remixes of Hassell's work plus unreleased recordings that simply didn't find their way onto an official release at the time. The remixes certainly demonstrate how Hassell's ideas have been hugely influential on DJs and experimental composers of all genres. However, they sit uneasily next to Hassell's own pieces which, on Psychogeography, are frequently dazzling.

'Favela' is atypical Hassell in that it is funk-blues-rock, but what an album could be made of this unusual coupling of empty American South bar-room groove with Hassell's otherworldly snakecharmer melodies superimposed on this backdrop. It's as if Hassell's regular group of collaborators caught the wrong bus and he simply enlisted the help of a few heavy drinking guitar-wielding audience members for an improvised jam session instead. Other, more familiar sonic territories are explored on pieces such as 'Aerial' as synths bubble and drone whilst Hassell's treated trumpet swoops and soars across the canvas, sculpting curves over the evening sky.

Hassell's work spans six decades. I wondered what his secret to longevity was, not just as a musician with a career but as a creative person in general. He replied in reference to The North And South Of You, that book I and many other fans are patiently waiting for. There's a line from the book that asks you to ask yourself:

"What is it that I really like? Following that is a long process of self-excavation from being buried by what you've been told you should like."

City Works Of Fiction is out now. Listen to Acting The Rubber Pig Redux by Daniel Patrick Quinn here
48
Other Ambient (and related) Music / Kenny Wheeler, British jazz star, dies aged 84
« Last post by jkn on September 19, 2014, 08:36:06 AM »
Ambient fans will know Kenny Wheeler from his ECM releases and 4 albums with David Sylvian:

source: http://www.telegraph.co.uk/culture/music/worldfolkandjazz/11108457/Kenny-Wheeler-British-jazz-star-dies-aged-84.html

Jazz trumpeter and composer Kenny Wheeler, who lived in UK since 1952, has died

Kenny Wheeler
Kenny Wheeler Photo: Rex Features
Martin Chilton
By Martin Chilton, Culture Editor online
10:27AM BST 19 Sep 2014

Kenny Wheeler, the distinguised Canadian-born trumpeter, has died at the age of 84.
Wheeler is considered one of the modern greats of British jazz and he had a dedicated following.
Wheeler's ECM albums of the Seventies – recorded with Norma Winstone and John Taylor – remain a touchstone of quiet and unflamboyant ensemble playing. Wheeler, also a flugelhorn player, was a fine composer, as he showed in works such as Jigsaw, with its clever harmonic patterns.
He was born on January 14 1930 in Toronto but had been based in the UK since 1952. His father was a semi-professional trombonist, who encouraged his son to learn the cornet. He studied briefly at music college before leaving for Britain to avoid being drafted for the Korean War. Once here, he worked with West Indian Carl Barriteau, with saxophonist Tommy Whittle and eventually, from 1959, with John Dankworth. He was active in many British jazz bands of the Sixties, including with groups led by Tubby Hayes and Ronnie Scott.
For many jazz fans, though, Wheeler's artistic highpoint came in the Nineties, with excellent albums including Music for Large and Small Ensemble and Kayak. In 1997 he won critical acclaim for Angel Song, a quartet album featuring Bill Frisell, Dave Holland and Lee Konitz.
Wheeler was a thoughtful man, saying once: "I’ve always liked losers, and I think a lot of very talented jazz musicians have a streak of it, that thing of being an artist with dreams, but not really knowing how to make your way in life, like Charlie Parker or Chet Baker."

In recent years, he became the founding patron of the Junior Jazz programme at the Royal Academy of Music and was the subject of a year-long exhibition by the Academy Museum. He celebrated his 80th birthday with a concert in 2010. Wheeler died on September 18 2014 after a short period of frail health at a nursing home in London.
49
Other Ambient (and related) Music / Re: Sorry Pete Kelly....On Inspiration
« Last post by ffcal on September 19, 2014, 07:18:13 AM »
John,

Something that has worked for me is keeping a project notebook.  I reserve any ideas I might have for the next project for that notebook, however scattered or crazy.  Though I usually end up using only a fraction of the ideas, it helps me think out loud and gives me more focus.  The notebook can also help me remember what flow I originally had in mind, once I'm deeper into the project.

Good luck getting restarted.

Forrest
50
Other Ambient (and related) Music / Re: Sorry Pete Kelly....On Inspiration
« Last post by jkn on September 19, 2014, 07:03:24 AM »
I posted this to my "pause box" on http://relaxedmachinery.ning.com the other day - and it pretty much defines me right now:

"Writing about writer's block is better than not writing at all." - Charles Bukowski

source: http://musicthoughts.com/t/3256

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