Here's the last improv of a 50 minute set that Misha, Greg, and I did at Modern Cult Records in Louisville, Kentucky. This is the last part of a longer improv that started as a completely free atonal session which morphed into a flamenco fusion improv. The whole show was unlanned/unstructured. 

Misha Feigin - guitar
Gregory Acker - flute
Jon Silpayamanant - cello

June 28, 2015
Modern Cult Records
2001 Frankfurt Avenue
Louisville, KY
http://modern-cult-records.myshopify.com/

http://mishafeigin.free-jazz.net/
http://boldcellist.com

Image credit:
Mstyslav Chernov http://mstyslav-chernov.com/
used per license described here:
https://commons.wikimedia.org/wiki/File:Flamenco_moves_and_dancers'_traditional_costumes,_Spain-2-2.jpg

Misha Feigin, Gregory Acker, Jon Silpayamanant - Flamenco Fusion Improv

Timestretched to the length of the longest recording. Now available for download / vinyl: https://heyexit.bandcamp.com/album/every-recording-of-gymnopedie-1

buy the vinyl

Every Recording of Gymnopedie 1

Here's an excerpt of Jamil Awiz's "Samaii Nawa Athar" that we played at the Windfall Dance Studio in Bloomington, Indiana.

Victor Santoro - oud
Jon Silpayamanant - cello
Andy Smith - riqq

March 19, 2016

Samaii Nawa Athar (excerpt)

"Manarah," (2015) [excerpt] for two digitally processed antiphonal trumpets and orchestra, by Saad Haddad

Perusal Score, Program Notes, and Purchase/Rental Information: http://www.saadnhaddad.com/manarah.html

American Composers Orchestra conducted by George Manahan
April 1, 2016; world premiere live recording
Carnegie Hall
New York, NY
www.americancomposers.org/

Manarah [excerpt]

"Kaman Fantasy" (2014) for violin and piano, by Saad Haddad

Perusal Score, Program Notes, and Purchase Information: http://www.saadnhaddad.com/kaman-fantasy-for-violin-and-piano.html

Ambra Casonato, violin; Ava Nazar, piano; Nathan Prillaman, audio engineer
http://ambracasonato.com/
http://www.avanazar.com/
http://nathanprillaman.com/

Kaman Fantasy (version for violin and piano) [studio recording]

Performers: Leo Altino, cello; and Tess Highmark, marimba

Notes by the composer: Shawn E. Okpebholo

"In the dark months following the terrible losses, I found myself needing to turn to the language of poetry, if only to preserve the phrase Roger spoke after his diagnosis, that he was going into the treatment to experience "the complete sufficiency of grace." This was poet Miho Nonaka's response to her elegant poem, Distance, an elegy for Roger Lundin, and the inspiration for this piece. Roger was a Christ-follower, a husband, a father, a scholar, a teacher, a friend—my friend. Our friendship grew out of Roger’s humility: I, as a junior faculty member, for example, receiving encouragement, soaking up his wisdom, talking about shared interests, like music, the Negro spiritual, specifically.

Distance is a duo for cello and marimba. I intentionally chose that instrumentation to reflect Roger’s demeanor.  The cello and marimba are considered soft instruments and both have warm and rich timbres. Even in a casual chat with Roger, one would experience his soft-spoken voice: a tone that was warm; words that were full of depth; insights that were rich in meaning. In this work, I aimed to musically weave the many ideas expressed in Nonaka’s poem: the body, devotion, act of musical worship, joy (imagery of the flies), space, breath, and words (the Word).  I included two musical quotations: the spiritual, Prepare Me One Body, and one of the great hymns of the church, For All the Saints (Ralph Vaughan William's tune, sine nomine). Not only do these songs capture poignant themes of Nonaka's poem, the songs were special to Roger.

This piece was composed in memory of Roger Lundin and is dedicated to Sue Lundin.

Distance
Miho Nonaka
(Roger Lundin 1949-2015)

Snow started overnight, unexpectedly, in abundance
making the drive to church beautiful, nearly 
impossible. And it would continue through the service—
high windows like a slender book opened 
in the middle, pages growing whiter, emptier
save for a few bones of the tree 
on the margin. 
                        Your body 
already bare, severe space 
of reformed architecture: a lone vessel  
breaking its path through the hush
of human breath to the center, the unknown. 

That summer, a poem had started us discussing
flies, a sudden legion of them in my kitchen.
It amused you to no end to picture me
swatting at them with dark passion,
tallying my victories each day until
my husband finally located their colony. 

What flies, invisible, interpose between words,
splinter the syntax of eulogy?  
                                                Uncertain, stumbling, we 
turn to music, hymns, prayers. As if the soul 
is a kind of distance, measured around and still beyond 
circumference. We ache to feel exactly
what our fragile faith tells us we can’t

but must. 
                Inside your head was a library
of unfinished books. An entire forest of them gone
before the first snow. Your voice haunts me, tender,
elegiac at the core, calling to the dead, your 
scattered tribe, a maze of jagged isles, high winds 
through the fog of the Baltic Sea. 

There was a time I thought that words, when 
true, would crystallize in their arrival. 
I believed that. 
                         It is such a long journey, Sue said
at a late night grocery store. We were pushing carts full
of essentials when we ran into each other
under the florescent light.
I had no words for her. We are still 

standing in that spacious church 
surrounded by silent crystals. Dusk  
gathers, the ceiling grows higher, and the whole  
building is an instrument full of air, aching to 
house the complete sufficiency of grace.

Distance (for cello and marimba)

Music by Alessandro Ratoci
Performed by Alarm Will Sound
Live at the Mizzou International Composers Festival, July 25, 2015

Schegge Di Storia  E Di Furia

Cellista's Transfigurations

Confessions features the vocals of Rykarda Parasol

Confessions

Nebal Maysaud
with musicologist Imani Mosley

 It has been a little over a year since the publication of Nebal Maysaud’s “It’s Time To Let Classical Music Die,” which is the most widely-read article in the history of NewMusicBox. One year later, Nebal reexamines these ideas in a candid conversation with musicologist Imani Mosley, where they discuss how to nurture a more inclusive, diverse, and equitable creative community.

audio production: Brigid Pierce

Nebal Maysaud: Rumored "Death" of Classical Music Has Been Greatly Exaggerated

Satellite, poem by Conyer Clayton 
Orchestration by Rylee Short 
Flute, Clarinet, Horn, Bassoon, Cello

Misha Feigin, Gregory Acker, Jon Silpayamanant - Flamenco Fusion Improv

Jon Silpayamanant

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