great deep sub bass! this music describes perfectly a semi-sleepy morning!

Tracked

Before You Know It

(...)
Tu
ves 
dictar
ideas
del lavadero
sobre el ombú aéreo

(...)
en
el
batir
del búho
hace añicos
el imán parlante Yahvé 

(...)
en
el
Kariz
el gozo
en el Kiristi
boxean contra el zorro


EL KaRiz  

D i ó g e n e s  T a c u a r a 

(CC BY-NC-ND 4.0)
creativecommons.org/licenses/by-nc-nd/4.0/deed.es_ES

el_karis

A recent collection of work that's been an enlightening yet strange journey over the past couple of months. Are we antennas picking up and channeling something outside of our own lines? Or, are we just restless and mad people banging on things to fill up the spaces, or both?

Unknown Address

Star

Til You Can't

verDust - Star

6am - 8am

7pm End

I've been trying to make Jazz music by electronic means for a while now. It's been pretty hard.

So much about the ethos of Jazz is dependent on the traditional notion of musicianship: a group of people in a room, trading improvised passages. So much of its tradition is shaped by virtuosos. The thing is, even though I play 'real' instruments, I don't play them well enough and also (and this might be strange to admit) I don't even like playing them that much. I started playing the saxophone when I was 15 and then went for 20 years without playing, I got back into it last year, but I don't really enjoy the process. So I sold it. Now I have a clarinet (because it's quieter, cheaper and sweeter), but I also got a wind synth.

Yeah, the wind synth is not the same, but it's close enough for what I want, it allows me to literally breath some emotion into what I play without it being loud or overly hard to intonate and I have a lot more fun this way. This track features me playing the wind synth.

But another part of Jazz is the collaboration. So I invited the amazing producer and guitarist @ubo-music to contribute some jazz guitar improvisation and that changed everything. It brought a totally new life to the piece.

Overall, the process was: write a very repetitive pattern for the keys and the bass, then use that to play the virtual sax. I sent that to ubo, who send back this guitar part. Based on his part, I then re-recorded a big chunk of the sax parts. After that, I went back and played the keys again to add flourishes and variations, same for the bass. For the drums, I used Superior Drummer and made a bit of a collage of midi parts (I love doing this, it's like sampling, but for midi.)

In the end, even though nobody played together, I hope it still feels organic and if it does, it's because we did collaborate and traded passages, only they didn't happen in realtime.

Honestly, it's strange calling it Jazz. I have so much respect for the roots and traditions of the genre, but it has also evolved so much since the early days in New Orleans that I think I'm entitled, just like everybody else, to bastardize it in whatever way I see fit.

9am

8tech

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