Name: At First Sight by Mark Thomas Taylor | Composer
Duration: 1 min 46 s
Description: For practice, I decided to score a scene from the classic Hitchcock film "Vertigo"

For practice, I decided to score a scene from the classic Hitchcock film "Vertigo"

At First Sight

French - Electropop - Prelude - 1

This quartet, for bass clarinet, percussion, piano and double bass, is based on improvisation within restrictions. The musical material is defined, as well as a very clear formal structure, but within these frames the musicians are free to find their own paths through the piece. Therefore, the duration of the piece may vary a lot between different performances, and the exact order of the musical events will never be the same. But the overall form of the composition will always be there.

"Impromptu" has two movements, "Morendo" and "Concertino", which follow each other without a break.

Live recording from the first performance.
Reaktion Ensemble, Malmö Academy of Music, 2015-11-14.

Impromptu (2015, for bass clarinet, percussion, piano and double bass)

[CONEY ISLAND]
Adrianna Mateo

It doesn't feel like it's December
The air is fresh and damp like Spring
Bodies humming, minds remember
What an afternoon like this one could bring

Would you come to Coney Island with me?
It might be cloudy but let's see
Rollercoaster's closed but there'll be a gentle breeze
Come to Coney Island with me.

You say you live in a far-off place
Like everyone I seem to meet
My mind's map shows the distance between our cities
Is a thumb's length less than the space between our knees

Would you come to Coney Island with me?
It might be cloudy but let's see
Rollercoaster's closed but there'll be a gentle breeze
Come to Coney Island with me.

Now in my mind's eye we're at the airport
Saying bye until next time
I'm well aware that might be never
But if it happens I know I would hit rewind

Would you come to Coney Island with me?
It might be cloudy but let's see
Rollercoaster's closed but there'll be a gentle breeze
Come to Coney Island with me.

Come to Coney Island with me?
Come to Coney Island with me...

--
CREDITS:
Songwriting, Singing, Violins: Adrianna Mateo
Electric Guitars: Adam Bilchik
Electric Bass: Laiyo Nakahashi
Production, Drums, Electric & Slide Guitars: Richie DeCicco
Mastering: Chris Davies
Recorded July-Aug 2016 at WhiteWater Recording Studios, NYC

Special thanks to Zach Simao and Henry Martinez, whose contributions to the first performance of "Coney Island" were invaluable.

Adrianna Mateo

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Coney Island (also on YouTube, iTunes, and Google Play)

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Michaël Attias: alto saxophone & piano 

Recorded by Céline Grangey on December 13, 2017 at La Maison en Bois in Abéville-La-Rivière, France. 
Mixed and mastered by Céline Grangey in Paris, July 2018. 
Artwork and design by TJ Huff (huffart.com).

Released by:
Out Of Your Head Records
Release date:
4 April 2019
P-line:
℗ All compositions © 2019 Michaël Attias (Ravished Limbs Music, SESAC)

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Mark Thomas Taylor has worn many musical hats: composer, improviser, orchestral freelancer, chamber musician, teaching artist, bandleader and studio musician (He was even in a hip hop video once…).  In addition to several new chamber works, including “3 Songs About Puppetry” (commissioned by the principal Hornist of the Michigan Philharmonic), Mark has written and recorded the score for “Last Days of Coney Island” for famed animator/director Ralph Bakshi, placed two songs in the Dollface Productions independent feature film "The Girl" and scored the documentaries “9/11 Fear In Silence” for JadeFilms and Camille Billops’ "A String of Pearls”. Other projects include “It’s Not Like He’s Never Been There Before”, a multi-movement orchestral work, commissioned by the Tri-Centric Foundation and a series of transcriptions of the work of seminal jazz bandleader James Reese Europe’s 369th “Hellfighters” military band for the Brooklyn Repertory Ensemble. Mark has released four CDs of all original material, QuietLand, Circle Squared, At What Age and Live At The Freight (co-led with composer/saxophonist Jessica Jones).
One of the few performers to successfully integrate the notoriously difficult French Horn into the landscape of jazz and improvised music, Taylor’s broad musical background includes performing, composing and arranging. In addition to leading his own ensembles, Mark has also performed and recorded with an array of modern jazz giants including: Max Roach, Henry Threadgill, Wadada Leo Smith, Muhal Richard Abrams and Anthony Braxton.

At First Sight

Mark Thomas Taylor | Composer

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