Morton Feldman, For Samuel Beckett (extrait) 
Enregistré par Radio France le 20.10.2013 à la Cité de la musique 
Ensemble intercontemporain dirigé par Peter Rundel
photo DR

Morton Feldman, For Samuel Beckett

Snippets of midori hirano's new tape album "And I Am Here" on staaltape.
https://staaltape.wordpress.com/midori-hirano-and-i-am-here/

1.Before Going To Bed
2.Story Begins
3.Wandering
4.In The Train
5.Forgot The Name
6.Girls In The Park
7.Garbage Collection
8.Dreams
9.Get Off The Train
10.Still Untuned
11.Good Night
12.Asa
13.I Got New Seeds
14.Summer Goes On
15.Pause
16.He Was There
17.Windrum
18.Stop
19.Video Tape In The Water
20.Night Trip
21.To Autumn
22.Traveler
23.Looking Up
24.Secret Aria On The Piano

And I Am Here(snippet)

New album ÜTOPIYA?
Released by Sub Rosa
Release date : April 20, 2015

Pre-order : http://www.subrosa.net/en/catalogue/soundworks/oiseaux-tempete--utopia.html

Frédéric D. Oberland: electric guitar, mellotron, piano, dark energy, critter&guitari pocket piano, dukar, alto sax, field recordings
Stéphane Pigneul: electric bass VI, acoustic & electric guitars, sampler, analog synth, drum machine
Ben Mc Connell: drums, percussion
Gareth Davis: bass clarinet

www.oiseaux-tempete.com
www.facebook.com/OiseauxTempete

Music composed & performed by Oiseaux-Tempête // Recorded live by Benoît Bel between the 17th and the 19th of March 2014 at Mikrokosm, Lyon // Except G.W Sok's vocals recorded by Anthony Laguerre at Centre Culturel André Malraux, Vandoeuvre-Les-Nancy // Edited & mixed by Oiseaux-Tempête during Summer & Autumn 2014 at Magnum Diva, Paris // Mastered by Harris Newman at GreyMarket, Montréal // Produced by Oiseaux-Tempête & Benoît Bel // Cover photograph by Yusuf Sevinçli // Inside photographs by Frédéric D. Oberland // Graphic design by Mountain

PRE_ORDER 2xLP I CD

Omen: Divided We Fall

Don Cherry & Jon Appleton
Don & Jon
Cacophonic

Released 29th January 2016

Rare outtakes from early pioneering and controversial electronic jazz experiments presented on vinyl for the first time.  This previously unpressed music provides and absolutely essential insight into Zen master experimental jazz outrider Don Cherry on the eve of his fertile Holy Mountain period which saw the composer combine all his well-travelled influences – such as the free music incubation of France and Germany with the traditional instrumentation of India, north and west Africa – then return to New York with a technicolor dream team and a healthy appetite for emerging synthesisers and electronic music. This project between electro-acoustic pioneer and Synclavier developer Jon Appleton coincided with his own history defining years at Dartmouth College where he played an integral part in the formation of one of Americas first electronic music institutions.  Recording benchmark LPs for Folkways Records and Flying Dutchman Jon collaborated with Cherry to create the album Human Music which tested the boundaries of electronic sound, jazz and ethnological disciplines in a series of melodic and rhythmical interfaces that would polarise both musical tastes, pop politics and potential spiritual beliefs in the process.

Recorded in the exact same sessions at Bregman Electronic Music Studio, Dartmouth College, New Hampshire the two tracks Don and Jon did not appear on the Human Music LP and now show a glimpse of what future unisons might have bequeathed before both artists coincidentally re-located to Sweden to pursue their individual and very specific journeys into contemporary music. Released with the blessing and encouragement of Appleton himself this record is quite simply a treasure of a dream-combination from the early doors of genuine alternative popular music. These rare sides combine the creative technology that directly coincided with the dawn of Bob Moog’s and Don Buchla’s synthesiser revolution with the homecoming of outernational free jazz which, in tandem, spearheaded America’s most radical music developments in the subsequent two decades and beyond. Don/Jon and The Human Music sessions also prelude Cherry’s further imminent electronic positioning alongside Carla Bley and Don Preston (on Escalator Over The Hill) and in film soundtracks for Jean Rollin collaborator Jean-Noël Delamare and Jodorowsky’s The Holy Mountain (with Walter Sear) before a hiatus from the for almost a decade. This extra glimpse of that important era, at the hands of these two pioneers, is now available in this very special package.

www.finderskeepersrecords.com

Don Cherry & Jon Appleton - Don

Hear more Dylan covers: http://www.covermesongs.com/2016/05/dylan-covers-phosphorescent-jim-orourke-mojo.html

Jim O'Rourke - Sad Eyed Lady Of The Lowlands (Bob Dylan cover)

International release August 2018

Acclaimed trumpeter/soundscaper Hilde Marie Holsen follows up her critical hit mini-album debut, ‘Ask’, with the dark and mysterious ‘Lazuli’, a suite of four compositions inspired by visual art and named after minerals used to colour paint.

Hilde Marie Holsen’s ‘Lazuli’ is an almost shockingly complete musical statement. It’s as if an intense dialogue between the processes of composition and improvisation, and the interplay of sound and music, has led to the creation of experimental and often challenging work that nevertheless comes across as absolutely fully-formed; as inevitable, even. The result is a kind of monumentality, where to change just one element of the final text becomes impossible to contemplate, despite the whole thing remaining, at another level, entirely provisional and contingent, as immaterial as air itself, and perhaps closer to the idea of a sonic atmosphere than to most definitions of what constitutes music. ‘Element' is significant, too, for Hilde Marie Holsen’s implicit thematic touchstones for ‘Lazuli’ - the chemical minerals used to create pigment in paint, and the idea of painting with sound, together with her own intuitive methods of production, continually working and re-working her material until the art reveals itself - relate in some way to the notion of alchemy. If not quite turning base matter into gold, Holsen is taking the sounds made by her trumpet and refashioning them through a combination of breath and electronic processing, into vivid new life.

“All the electronic sounds on the album are still live and processed trumpet, as they were on ‘Ask’” says Holsen. “Since ‘Ask’, I’ve been exploring, among other things, different ways to play the acoustic trumpet, both conventional and unconventional, trying to find different timbres that can also give a larger register of processed sound in the electronic soundscape. The music on ‘Lazuli’ began as improvisation, and then later on I’ve had the chance to do minor adjustments and edits on the tracks. ‘Lazuli’ came about through a collaboration with the artist and painter Tyra Fure Brandsæter. We’ve spent some time practising our art together, using each other’s expression as an inspiration for our own performance and artistic production. The titles on the album are an homage to this collaboration: they are all different types of minerals that have been used as colour pigment in painting.”

There are numerous exemplars of an instrument-plus-electronics approach in improvised and experimental music, even those combining trumpet and electronics. We could consider Terry Riley’s tape-manipulations of Chet Baker in ‘Music For The Gift’ in Paris in 1963, the experiments of Jon Hassell, Mark Isham and Graham Haynes, as well as a very strong Norwegian tradition including Nils Petter Molvaer and Ave Henriksen. But no-one, perhaps, has gone as far as Hilde Marie Holsen in making the sound - the noise, even - such an equal partner to the music, and in creating such a seamless end-result to such a pleasingly natural-seeming process, where one musical instrument is used to provide both the form and the content, the figure and the ground. Listen, especially, to the final, title-track, of ‘Lazuli’ and you’ll see how far Hilde Marie Holsen can go.

Hilde Marie Holsen: Orpiment - from the upcoming album Lazuli

Produced by Opiate & Alva Noto as Opto for the "2nd" album.
Released by Hobby Industries in 2005.

Opiate+Alva Noto=Opto-11.33 a.m. (2005)

PRE-ORDER AVAILABLE NOW: ImportantRecords.com 

Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello & Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier. 

“For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes. 

“Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”

Chamber Music:  Morton Feldman - 3 Clarinets, Cello And Piano (1960) - Anthony Burr/Charles Curtis

Abundance-vijay-iyer-prasanna-nitin-mitta

http://brian-eno.net
Small Craft On A Milk Sea album released: 2 Nov 2010 (15 Nov 2010 in the UK)

Small Craft On A Milk Sea

Emerald and Stone

Brian Eno with Jon Hopkins & Leo Abrahams - Emerald and Stone (taken from Small Craft On A Milk Sea)

Joanna Brouk - The Nymph Rising, Calling the Sailor

Described by The New York Times as a “social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway,” composer-pianist VIJAY IYER has carved out a unique path as an influential, prolific, shape-shifting presence in twenty-first-century music. He received a MacArthur Fellowship, a United States Artist Fellowship, and a Grammy nomination.

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