Ahoy!

A Quake's a' Coming!

Abate? Arise?

A New Take

Alternate version of https://soundcloud.com/keithkenniff/keith-kenniff-to-see

All rights reserved. 

http://www.unseen-music.com

Photo by my brother Colin Kenniff

Keith Kenniff - To Be

Zbigniew Preisner - The Beautiful Country

Underground Storage Gallery

Opening song of the album "Capitao Nemo no Forró de Todos os Santos", issued in 1999. Players are: André Magalhães (drums), Giba Silva Pinto (bass), Paulo Campos (percusssion) Benjamin Taubkin (keyboards), myself on GR-50 Midi-Guitar, Ubaldo Versolatto (Baritone-sax and flutes), Marcelo Mangabeira and Paulo Pascali (tenor-saxes), Silvio de Pieri and Tiago Sormani (alto-saxes),and Mané Silveira (flutes and soprano-sax). Mané Silveira's performance is outstanding, with his unmistakable smooth sax sound, and the impro was captured in his first take. It is probably the most detailed score  I've written -- André thought we would never suceed in recording it all, but we did! The composition is dedicated to Maestro Moacir Santos.


Baião D Todos Os Santos

Setó: Camilo Carrara, Eduardo Contrera, Pedro Macedo
Piano e pads: André Mehmari
Composer: Ralph Towner

Beneath an Evening Sky

HOUSE recorded in concert on August 9th, 2014 by Dave Zuchowski, at the home of Kate Dumbleton in Chicago, as part of the Ratchet House Concert Series. Special thanks to Kate Dumbleton, Anton Hatwich, Nick Mazzarella, and Frank Rosaly. Mixed and mastered by Dave Zuchowski, One Room Studio.

From "Site Specific" the 2CD / Book release from Audiographic Records

Pre-Order here: http://catalyticsound.com/shop/ken-vandermark-site-specific-2cd-book/

House 4 (bass clarinet for Barre Phillips)

OUT APRIL 29 on Cantaloupe Music

From the liner notes: "Modernism scares people. Is it because it’s new? That can’t be the whole explanation, because everybody likes to discover new things, right? Maybe it's the amount of newness. While discovery always involves a degree of unfamiliarity, modernism can drive really far into unfamiliar territory, becoming distant from any known landmarks. So much unfamiliarity can be scary.

It can even be alienating. The unpopularity of Revolution 9 (by one of the world’s most popular bands) is the evidence that the Beatles' experimentation with found sound, tape loops, and studio technology pushed their fans away. Revolution 9 is modernist because it is a song that’s not a song, something so unfamiliar that it not only breaks with the past, but also breaks its own category.

Varèse’s Poème électronique must have also seemed like a categorical contradiction: poetry created on machines?! The piece—no less than its title—expresses his modernist zeal through never-had-a-past electronic sounds. 'The world is changing, and we change with it. The more we allow our minds the romantic luxury of treasuring the past in memory, the less able we become to face the future and determine the new values in it.'"

Purchase

Revolution 9 (The Beatles)

Galina Ustvolskaya, Sonata No. 6 (1988)
Liliya Ugay, piano

“The lady with the hammer” Galina Ustvolskaya was born in 1919 in Petrograd (in 1924 it was renamed as Leningrad, and from 1991 – Saint Petersburg), where she lived her entire life. From 1939 to 1947 she studied at the Leningrad Conservatory in the class of Dmitri Shostakovich with whom she developed a close artistic and personal relationship. Shostakovich held very high opinion of her talent and said that her music would achieve world fame. In one of his letters to her he also stated: “It's not you who are under my influence, it's me who is under yours.” However, Ustvolskaya, later in her life, expressed an extremely negative attitude towards Shostakovich, speaking scornfully both about his music and his personality. Upon graduation Ustvolskaya was accepted to the Union of Soviet Composers. Her music had occasional success and was even recorded by the famous Soviet recording company “Melodiya”.

However, Ustvolskaya renounced from most of her works of her earlier period. Instead, she preferred to write music “for the desk drawer,” but to express freely her artistic individuality. She lived in poverty making her living by teaching in the Leningrad music college (equivalent to a high-school specialized in music.) Her music was rarely performed. Finally good fortune came to her: in late 1980 the director of German publishing house Sikorski, Jürgen Köchel, and Dutch musicologist Elmer Schönberger, came to Leningrad and heard her musiс, by which they were enormously impressed.  Köchel bought the publication rights on her works, and Schönberger organized a series of concerts of her music in Europe: (1995, 1996, 2005, 2011 in Amsterdam, 1998 in Vienna, 1999 in Bern, 2001 in Warsaw.) Conductor, composer, and pianist Reinbert de Leeuw became another important propagandist of her music. Since then, her music has been widely performed in Europe; however, in Russia it was still largely ignored. Nevertheless, Ustvolskaya rejected all proposals for emigration. She died in Saint Petersburg in 2006. 


Galina Ustvolskaya, Sonata No. 6 (1988)

A contemporary version Erik Satie's timeless Gymnopédie No.1 - Brought to you by Remixdj.

Satie Amazon
https://www.amazon.com/Erik-Satie-Essential-Collection/dp/B00J0LBFIG/

Satie iTunes
https://music.apple.com/gb/album/erik-satie-the-essential-collection/918615441

Best of Satie
https://play.google.com/store/music/album?id=Bditbkfgfdqvxx7hansrl6qhy4y

Satie Compilation
https://open.spotify.com/album/0vzKMInu4PzU2Qyi6NgmRK

Erik Satie Album
https://www.deezer.com/us/album/7540311

Best of Satie Playlist
https://www.youtube.com/watch?v=mk2SNcpTNbs&t=68s

Erik Satie The Essential Collection

Gymnopédie

🎥 VIDEO

Gymnopédie No.1 - Satie

Barre Phillips - Movement

Alva Noto + Ryuichi Sakamoto - Berlin ( D.S.edit 121221 )

Double bass player, music performer, improviser.
Masters degree in performance (UNESP), with research focused on preparing for free improvisation.

Beneath an Evening Sky

Pedro Macedo

Recent comments

Antonín Pevala

Related tracks