Instrumental Piano and some Harpsichord and organ tracks. Mostly improvised from start to finish. 

Scherzo no 1. C major

Sonatina no 1. G

01272025

Piano Improv 1

This marvel of loud noise is different from everything you've ever heard. Nobody plays like this!

Punk Jazz Blast Off

Emily and Katie join their mans on the Mostly Sober Podcast. 

EP. 349 - Concert Spaghetti

Playing Piano in living room while family plays board game

1/25/25 improv

R3D Z3D R3VOLUTION | Podcast 001

The full name of this spring song (which is an actual dance) Ой летіла через село (it flew through the village). It's from our first and only workshop performance - this is a slightly edited live recording, partially improvised and transitions immediately into the next piece весна зиму похилила. When we performed it it was all one long piece. Still a work in progress but excited to see it develop.  Hope you like it. It was fun! 
Andrea Kuzmich voice
Daria Morgacheva electronics/keys
Shalva Makharashvili bass/voice
Alina Kuzma voice

POLYPHONICA Ой летіла (it flew) live slightly edited Tranzac Nov 2024

This track transitions from the previous track and in performance was one long song. This is a live recording from our first and only workshop performance. Both this and Ой летіла (Oj Letila - it flew) are based on traditional ritual spring songs from Ukraine. It's still a work in progress but excited to see it develop.  Hope you like it. It was fun! 
Andrea Kuzmich voice
Daria Morgacheva electronics/keys
Shalva Makharashvili bass/voice
Alina Kuzma voice


POLYPHONICA весна зиму похилила (Spring overtakes winter) live Tranzac Nov 2024

Recorded today (30-Jan-25), this started with the tinkly sound accompanied by two drone sounds. The oud was added next, then tabla, vocals and a bansuri (Indian flute). Finally strings were added to complete the track.
The photo was taken two weeks agowhen the sky was blue and the sea was calm.

A Breath of Fresh Air

LaLa Jazz

Headphones with good bass highly encouraged for this (AKA my mixing/production environment).

This was the 2nd half of a longer set. I forgot to hit record until the moment that this recording began. The first half was inspired by the word "thrill". The second half (i.e. this recording) was inspired by the word "ricochet" (given to me by my friend Randi).

I'm getting more and more comfortable with this newer setup!

Ricochet - Improv Jam - I loved the last vibe so much!

Despite its conceptual framework, there's a mischievous playfulness lurking beneath the surface of van Herpen's latest sonic investigation. Drawing from extremely reduced free jazz and skeletal compositional structures, Derivatives presents pairs of pieces that exist in dual states: "Sources" - electronic and electro-acoustic compositions that serve as germinal materials - and their "Derivatives" - transformed through a process that's both rigorous and playful.

The methodology itself hints at van Herpen's sly approach to experimental music. Each Derivative emerges through a series of solo improvisations, recording one instrument at a time in response to a source's characteristics, but deliberately isolated from previous takes. When these responses are finally combined, with their inspirational Source removed, the result is a phantom ensemble performance that manages to be both deeply experimental and quietly humorous in its unlikely instrumental conversations.

This playful deconstruction of group dynamics yields music that's refreshingly unpretentious despite its experimental pedigree. Van Herpen's multiple instrumental personas interact in ways that subvert expectations, creating unconventional combinations that challenge traditional approaches to space, sound, and noise while maintaining an undercurrent of subtle wit.

The album becomes a kind of musical puzzle box, inviting listeners to match Sources with their Derivatives while experiencing how reduced electronic structures can birth organic, breathing improvisations that dance between the serious and the joyous.

All music, instruments, compositions,
performance, mix and master
by Raoul van Herpen

Instruments:
Japanese Shakuhachi, Daxophone, Toy saxophone
Clarinet, Tenor saxophone, Flute headpiece,
Indian Bansuri flute, Western concert flute,
Piano, Wurlitzer piano, Electric Guitar,
Serge and Modular synthesizers, radio,
Diy Ciat-Lonbarde instruments, Modified guitar pedal,
Bastl Kastl synthesizer, Arp Axxe synthesizer.

Raoul von Herpen - Aerial Dance

i doodle with sound :)
let your tv glow<3
i play piano and love to improv

i want to make music that helps you cry and process a hard emotion at 4 am lol
expect lots of diff kinds of music, this is how i express myself :)

thisissami is a live electronic artist who takes audiences on completely improvised journeys, most often using loopers. He also curates and facilitates improvised jams with a huge variety of artists.

UK based musician, producer, multi instrumentalist and composer focusing mainly on classical instrumental piano works of an improvised nature. A refreshing listening experience in a world of 'on the grid' production.

Jed Wagner is a composer, producer and musician.  While he has deep passion for EDM, particularly progressive trance, his compositions tend to bring out his strong classical piano background as well.  A pioneer in experimenting with compound timing on his ep Pulse.  His upcoming project Prizm further explores and expands on the electronic waltz music genre he is forging ahead on.

PLEASE COMMENT ON OUR SONGS AND PRESS LIKE IF YOU ENJOYED THEM! 

WE WANT TO SPREAD OUR MUSIC LIKE A VIRAL MEME NOW BECAUSE EVERY NEW TRACK IS BEING MONETIZED AND IT IS A LOT OF WORK TO MAKE 17 YEARS WORTH OF MUSIC AVAILABLE TO THE PUBLIC. 

SO PLEASE HELP US GROW AND WE'LL BE FOREVER IN YOUR DEBT!!


*Introduction:*
We are Ludo Loco, an Experimental Independent Improvisation Ensemble from Leiden, the Netherlands. 
We are an ensemble with Jeroen Keereweer on the keyboard and Robert Veltema on the bass guitar.
Ludo means, in Latin: to Play/Mock/Tease/Trick and Loco just means: Crazy, Mad or Insane, in Spanish. When you listen to our music you'll understand why that is our band's name. '

*The Ludo Loco Way of Making music:*
Hi, I'm Robert from Ludo Loco and I would like to tell you about the Ludo Loco methods of how we make our music and why the end result is always unique and original. 
All of our songs, already over 200 tracks, have only ever been played once and  this is always recorded on a computer. We are not capable of any reproduction of our tracks. In fact, in my case after I finish playing the bass part, I usually have no idea what I have just played and I have listen to the recording to realize if it was any good, authentic, original, but above all, doesn't contain any ugly errors that would ruin the whole track.

We usually need two takes, because there's only two of us and we usually want: bass, keys, drums (keyboard drumming) and sometimes an electric guitar. So the second take is usually the keys, if the bass and drums were laid down first. Sometimes we record piano and bass simultaneously, which often results in very sensitively played music with a lot of emotion poured in it from our inner muses.
 
We have the skills to create music in the heat of the moment, without it being erratic, random or filled with errors. It has to be great on the first try. Though we do have nights were we really suck, but those tracks we just discard and we move on.

I honestly haven't heard any other ensembles or bands that come close to our unique Ludo Loco Sound, or that match our Playing Style.
So, everything is improvised and because we've played together so much in our lives, we respond very well and immediate to each other, as the song evolves and grooves into different intensities, building up, playing variations, climaxing, bringing it down eventually with a proper ending. 

I think that if people know their instrument very well and have become bored with playing fixed songs and don't like rehearsing the same tracks over and over (like I was), they could learn how to cast off these chains of regular, written music, and develop the skill of playing by feeling only, while still being able to implement a song structure while you record it. I say people who know their instrument very well, because you need the muscle memory to help you guide your improvised track.

At least for me, this way of creating spontaneous, authentic, original music, is way more fun than practicing with a band and getting it all perfectly memorized. 
I use that space in my brain; from not memorizing anything; for allowing me to play with a lot of feeling and be creative, but also critical of how I sound, whether it is nice to listen to, whether I'm playing something totally new. Just monitoring myself and directing the creative process mentally into the next phrase of a song. I love when I make it sound cool and groovy, so that's what I usually prime my head for and for the rest it's just about having great fun with playing my part. 

In all, I have yet to hear anything anywhere that compares to our music style. I would love to know about others who make music this way. When you talk about improvising, people automatically think of Jazz, but with Jazz you have to know the standards and you're kind of only allowed to improvise over a standard from the real book. Jazz is kind of weird like that. 

We use freedom of expression to the max and I feel like we are doing something good, but also very rare... It's definitely not mainstream music, but as a niche, there's still many people who will enjoy our music and if we can find a way to reach these people, then we will be enriching their lives with something that I feel is very special.

Everyday guys talking about everyday things on a podcast you should listen to everyday.

3-Dec-23
Ex-guitarist, now a dodgy keyboard player.
With the exception of a handful of covers, everything is unplanned, first-take improvisation: switch on; record; post.
Make of it what you will.

Singinkuz's general MO is to jazz up folk songs and folk up jazz tunes with the desire to tickle the listeners' senses and possibly getting them singing along.  

On a more formal note, Andrea Kuzmich (singinkuz) is an award winning singer, a teacher, an ethnomusicologist, and composer/arranger. She has performed in and/or recorded with numerous artists, ensembles and choirs: from Whitney Smith’s Big Steam Band to the conventional SATB Choir of Toronto’s Trinity-St. Paul's United Church or the exquisite chamber style of the Aradia Ensemble; from the contemporary improvised new music provided for the soundtracks of The Witch and The Tall Grass or the backing vocals to Tanya Tagaq, to the ultra traditional Georgian and Ukrainian folk musics of Darbazi, ZARI, Ori Shalva, the Kosa Choir, Kalendar or Sing With Ukraine.

"I craft atmospheric, electronic music that fuses together elements of trip hop, heavy metal, ambient, and jazz, resulting in haunting and dark soundscapes ideal for fans of sci-fi, horror, and the avant-garde."

-Midnight Bandit 


New tracks tagged #improv