8 years ago

Volume 7 Issue 5 - February 2002

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esources do not end with capturing the sound objects themselves, however; even with such complex ·and dynamic sound material his attention to pitch relation and form leaves one firinly convinced of his mastery. If I were asked to recommend a single CD to introduce one's ear to the world of Musique Concrete, I would say "Cycle du son". What Pierre Schaeffer revolutionized in France, Francis Dhomont continues to explore to new heights and this is a CD about which I can say without reserve, everything works. The Absolute Faith Orchestra Patricia Wheeler and friends (lnd~pendent) PCWCDOOl Randall Smith This is an ambitious and largely successful undertaking on the part f saxophonist Patricia Wheeler, who is responsible for all of the compositions, lyrics and arrangements on this CD. The writing is adventurous and imaginative and Ms. Wheeler displays a broad range of colours and emotions on, her musical palette. There is extensive use of the human voice as an instrument and lyric singer Cherie Marshall faces up to the challenge of the difficult material very well .. In addition, the other musicians on the sessions are all musical colleagues with wpom she has played in NOJO and other groups, a fact that, in part, accounts for the tightness of the ensemble playing and the 'comfort level' of the sound. If I have a small carp, it is simply that I weuld have enjoyed a bit more solo space for the horns, but then I'm probably prejudiced! Tracks that stay with me are Dr. Minerva, Texas and Junction 66 and I look forward to the next project. Jim Galloway MUSICWORKS 81 Balloons and Kazoos Fall 2001, 64 page magazine, with CD (Independent) If you are seeking sonic breadth, with a bright telephoto view of the far edges of sound creation, welcome to "Musicworks". Since pioneering the concept of a magazine with accompanying/related sound recording, this quarterly journal has aimed to celebrat!! and disseminate new ' and contemporary music, sound art, sound poetry, and electro-acoustic music, featuring articles by and about Canadian and international composers. The current issue, "Balloons and Kazoos", is described as "an exploration of the unfamiliar sonic potential of familiar objects", and features recordings of the Nihilist Spasm Band, Judy Dunaway, Larry Polansky, Serge Provost, and Andres Lewin-Richter. Corresponding articles DISCO\ FRIES discuss the music of Ruth Crawford Seeger (by Golden Fire medieval melodic elements are Polansky), Varese (by Lewin-Richter and added to enhance the image of woods and alcides lanza), issues of time & musical time timelessness. Sung eloquently by Linda (Udo Kasemets), Montreal's Trio Fibonacci (by Maguire, the texts by James Joyce deal with Isabelle Panneton), and a statistical analysis Of love and nature. The natural world is enhanced the representation of women in music (Janet by harp (Sanya Eng) and flute (Robert Cram), Danielson). Combined with the 15 pages of particularly in Rain, a dreamy melancholic concert and CD reviews, Musicworks 81 piece punctuated with irregular droplets makes for d0iverse.' reasonably in-depth splashed by the harp, set against a cheerfui. coverage of music that is seldom heard bird-like flute. A fine disc to while away a elsewhere. Commencing with the homespun iinpro- · visational anarchy of Nihilist Spasm Band's Garbage Culture, the CD bursts thro1;1gh the amplifier with a perplexing, repellent, and charming exuberance. Judy Dunaway's 3 short Fluxus-inspired pieces focus on using balloons as the primary sound-source, turning the usually playful balloon rubber into an unidentifiable, ravenous species of screeching animal. Serge Provost's La pietra che canta, delicately performed with live electronics by the Fibonacci Trip, is an ethereal, relatively conventional, IRCAM-sounding work replete with reverberant reflections of the languid violin and cello lines. The CD ends somewhat anticlimactically, with 5 piano variations by Polansky and Lewin-Richler's sparse soundtrack t\) the 1964 film Gondola Eye. As with most of the editions in the varied Music-works catalogue, # 81 is sometimes excellent, and sometimes rough around the edges, just as it should be. Paul Steenhuisen Timothy Sullivan: Golden Fire Linda Maguire; Kathleen Brett; Duo Turgeon Class X Discs. cXd 001 Golden Fire, music by Timothy Sullivan is a disc of supernatural delights. Sandwiched· between two song cycles on a 'faerie theme', is a piece simply titled Two Pianos. Marvelously executed by Duo Turgeon, it incorporates a shimmering mjnimalism but with ever-changing m9ods. At times the music floats in a dreamy suspension - at others it is jazzy and dance-like. The first song cycle, A Magic Casement, is performed by soprano Kathleen Brett and mezzo Linda Maguire who are joined by piano duo Stephen Ralls and Bruce Ubukata, codirectors of the Aldeburgh Connection which originally commissioned this piece. The texts are a pastiche from a variety of poets on the subject of faeries, some playful, others exploring the darker side of creatures sometimes known to lure children into the deep forest. The piano accompaniment is wonderfully dark and insidious at these moments, while the women's voices absolutely ring with mischief in the duet Faery Revels. Vocal ornamentation adds greatly to the supernatural quality of the music. In A Soft & dreamy afternoon. Dianne Wells Concert note: Linda Maguire is featured with baritone Greg Dahl in the Talisker Players February 12 program The City is of Night. The Aldeburgh Connection presents A Britten Recital.on February 8. Humeur de facteur (The Maker's Humour) Yves Beaupre empreintes DIGITALes IMED 0160 This recording could not have fallen on more sympathetic ears. I share a , profession with M.Beaupre (harpsichord building) and also a ·life-long interest in electroacoustic music (and my son, Michael, is a composer in this genre). The sounds that provide the raw material for these works were recorded in M. Beaupre's harpsichord shop-the bumps, thumps, whirs, tappings, clickings, pluckings of harpsichords as work in progress . . Some of the samples are musical, some are just sounds. The structure follows the form 'of a Suite ("Ordre") of pieces by Francois Couperin, one of the brightest lights in the harpsichord world. This is a very interesting genre as it draws composers from many musical styles, from rock to classical. The realization here is well crafted and it is evident that there is structµre and development of the material. Six hours of recordings were made of the daily workings of the harpsichord shop and these sounds were processed and manipulated as computer samples. It is not music in the conventional sense, performed from a score on musical instruments by musicians. It does have thematic material and a kind of polyphony. There is exposition and development following classical forms . M. Beaupre speaks of working and assembling the parts into a whole, as he works the components for his harpsichords from carefully selected materials into the finished 50 February 1 -- March 7 2002

. . . . . ~ . Dl.\COVERIES instrument. Here we have the transmogrification of the physical workshop into an electronic one. The title "Humeur de facteur" (The Maker's Humour) is pe~haps a pun on several levels, and·an indication that this work is not to be taken too· seriously. This is certainly not to everyone's taste, but it is worth a hearing. Ids clever, charming, and humourous. '> Den Ciul Ben& Teddy Ben Webster & Teddy Wilson Sackville SKCD2-2056 The surfacing of previously unreleased performances by important players is always of interest and all the more so when it is musicians of the stature · of Teddy Wilson and Ben Webster. This is material from a co in Bern, Switzerland in May of 1970 when Teddy Wilson was still keeping up a hefty touring schedule and Ben Webster was living in exile in Europe. We can be happy that long-time enthusiast and catalyst, Arild Wideroe, ha9 the good sense to bring .them together on this occasion. The first six tracks have Wilson accompanied by two very able and sympathetic musician~, bassist Isla Eckinger and drummer Peter Giger. This is vintage late period Teddy Wilson - fingers perhaps a little less nimble - but nevertheless dancing over the keys in his . unmistakable' fashion, like a Fred Astaire of the ivories. There is a breakneck-tempo Honeysuckle Rose and a little nod to his days with Benny Goodman and Lionel wl,e !musit Qtqaritber 217 Danforth Ave. (416) 406-1641 Newand Used Classical and Jazz CDs Hampton with a version of Flying Home. The last five numbers provide a showcase for the breathy, sensual tenor sax voice of Ben Webster - In A.Mellotone, Stardust, Sun

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