Recorded and performed by Eighth Blackbird at Tiny Tempest Farms in Lake Geneva, WI. 

"to end this family line" acts as the overture for "Stone House," an evening length puppet show conceived by master puppeteer Blair Thomas and Directed by Ann Hamilton.

to end this family line

J.S. BACH OBVIOUSLY LOVES SIN

Greggy is well aware that in my observations of the universe I’ve only got 53 odd years and no religion and no telescope, but I no longer believe in The Big Bang.
(No one does because no one can check.)
I mean, the Big Bang doesn't scratch the itch.
1. It isn’t funny.
2. It doesn’t inspire a single tear of sadness or joy.
I believe in The Big Wrong or The Big Love or The Big Incompatibility that, like an original sin, sets forces in motion that permanently swirl around and I admit sound a little like Bach but without the stopping points and either without the applause or with the applause going through the whole thing.

www.malletcollective.com

Mallet Collective performs - Greg Saunier - 53 years and no religion and no telescope

Aporia is an ongoing Internet collab project based around the piano/bass duo 'KIrby/Ward'. Occasionally we capture something at rehearsal that we send to dummer Dane Renshaw (Japan) and guitarist Bruce Musser (U.S.A) to add their respective talents too. Its usually pretty spacious and dreamy : ) This time however the piece we sent out was really busy and instead of trying to pare it back we thought fuck it lets go full hog and make it super busy. So we asked Guitarist Axel Weiß (Germany)and Saxophonist Phil Bywater (Australia) to join the party. So The sextet was born. Of note is that none of the players heard any other parts of the work other than the original Piano/Bass recording, and in the  case of the Saxophones poor Phil didn't hear anything at all! I just used some work he had sent me. So all those nuanced interactions are complete sonic chance. as always Aporia may or may not record more music

Aporia #3 (Sextet)

Cast of characters:
Surfers Like Us– @user-411502040 –Artur–composition, arrangement, and foundational rhythm guitar
TexMex Shaman– @texmex-shaman –Stephen–guitar, sitar, mix, mastering, and production
J.J. Terrell– @j-j-terrell – organ, electric piano, and synth
K2 and the Three [and the Four]-- @k2andthe3, @k2-kara –Ken–drums and percussion
Llanpsych– @llanpsych –Tez–Guitar 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –four string fretless bass 

This song is the brainchild of Artur, who composed it on his guitar perfectly for collaboration, and presented it to us with his vision for the entire sound. Ken went first, of course, adding his signature rocking beat to the song. I went next, as soon as Ken had laid down the drums, adding my four string fretless bass sound to fill out the rhythm section. 
  Tez came along soon after me, adding some foundational ornamentation with his guitar. JJ jumped in right after Tez, and laid in the majestic organ, riffing electric piano, and subtle synth you hear throughout. Finally, Stephen laid his guitar in there, too, which can be heard as a fiery melodic line running throughout. At Artur's suggestion, he also added some amazing, trippy sitar in a couple of spots, too.
  Once all the tracks were laid down, Stephen came through with his always skillful mix. This makes almost an album worth of material that The Eclectic Collective has created from Artur's ideas. We're always excited when he drops a new one in our laps. He wrote this on a sweet rainy day in the Polish summer. 
  We hope you enjoy listening to this as much as we enjoyed creating it. 
  We all appreciate your support, and encourage you to share this song if you've read the whole way down to the bottom here.

Sweet Rainy Day (Eclectic Collective with Surfers Like Us)

Cast of Characters:

Llanpsych-- @llanpsych -- Tez – foundational acoustic and electric guitars, distorted electric guitar, and the seed idea
Mistermark – @user-432503709 – Mark – vocals, lyrics, high organ, toy piano, percussion, sound effects, production, editing, mix
TexMex Shaman– @texmex-shaman –Stephen– 5-string banjo solo, electric guitar
J.J. Terrell-- @j-j-terrell—JJ-- low organ, piano, synth flute, sound effects
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken–drums, percussion 
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – 4-string fretless bass
Composition – The Eclectic Collective

This song began its life as a hauntingly exquisite guitar chord progression that Tez came up with and shared with the rest of us. He also stacked a couple of other guitar tracks in there for good measure. Ken was first up, adding his drums, then later his pots and pans percussion. As he was doing that, Josh was coming up with his bass line, and they did their little dance of back and forth until the rhythm section was set. Mark came in around the same time, though, and added his unique, Waitsian vocals with the lyrics that he wrote for it, too. He also added some really amazing organ parts, a toy piano which you can hear right after the banjo solo, and percussion that add a solid foundation for his voice and add magic throughout the song. Stephen followed shortly after with the big stroke guitar chords, and also came up with the amazing banjo solo you hear in there, too. Last, but not least, JJ came in with his organ and electric piano to seal the deal with the melodies and ambience. Then he and Mark added the cool sound effects you hear throughout, too.
  Every great song needs a great producer, and Mark filled the duty on this one. He has proved himself to be a masterful editor, producer, and mixer, and we are lucky to have him as part of the team.
  This one is an homage to Tom Waits in a deliberate way. We're all big fans, and tried to do something in his unique style. We hope you enjoy listening to this as much as we enjoyed creating it.
 
Original lyrics by Mistermark:
I got something hidden in my closet 
that I don’t want you to see 
A little like a shady deposit
And it’s bound to incriminate me

Well now some might call it a skeleton 
Like a raincoat filled with bones
See I been hangin’ it there since I don’t know when
And I just can’t leave it alone

Me and Bill rolling bones in a gambling hall 
I threw snake eyes but Bill counted three
I took his accusation just a little too far 
Then everybody went quiet as they stared at me

Now the finger bone’s connected to the trigger
And the hand bone’s connected to me
And every day my secret’s gettin’ bigger
Soon enough I’ll be swinging from a tree

Coz I got something hidden in my closet 
that I don’t want you to see 
I done made a shady deposit
And it’s bound to incriminate me

Well now some might call it a skeleton 
Like a raincoat filled with bones
See I been hiding it there since I don’t know when
And I just can’t leave it alone
(repeat)

Bones (Eclectic Collective)

Pifa

Hexad is a Prelude and Fugue for String Sextet

Hexad for String Sextet

Daniel García Tio / Live in Rotterdam (November 2024)

"Calor Para Un Corazón Helado"

10 ans après « Akasha » ce programme s’appuie sur le son original du
quartet créé en 2000 -et renouvelé pour partie- en l’enrichissant de deux
saxophones, alto et baryton.
Il rassemble des compositions originales ; certaines ayant déjà pris vie
mais jamais enregistrées ni publiées, d’autres écrites spécifiquement
pour ce sextet.
Toujours dans une recherche et un travail sur le son : Shabda
Dans la théorie des cinq éléments de l’Āyurveda notamment, Akasha –
l’espace ou l'éther- est caractérisé principalement par le son. Shabda
désigne, en Sanskrit, le son de la parole, du mot, mais aussi sa vibration
originelle.
Les linguistes, les grammairiens de l’Inde ancienne ou encore les
philosophes hindous et yogiques font du son un objet de préoccupation
central. Le son est-il substance, qualité, mouvement ? Il est celui du «
verbe », de la connaissance, un véhicule mental souvent sacré qui relie
à la fois hommes et divinité(s).
Le mot ne suffit pas à donner sens, c’est sa sonorité, sa qualité
vibratoire, les articulations de ses sons qui lui confèrent toute sa force
et sa signification dans la longue tradition de transmission orale.
De la musique des mots aux mots de la musique, il s’agit toujours de
transmission, de perception et d’échange, intemporels et universels.
Carole Amistani


13 Ova

Been wanting to write a chamber piece recently, so I wrote a sextet for piano, two violins, viola, cello and contrabass. It's pretty morose, but hey, such is life sometimes :D And isn’t alot of chamber music morose and dismal anyway? ;)

Enjoy!!

Done in Sibelius 8 with Note Performer strings and Alicia Keys piano. Composed, arranged and produced by Phil Justin. ©2025

#classicalmusic #composition #soundtrack

Imaginary Friends: Sextet for Piano and Strings in A minor

"Magic is what we do. Music is how we do it." -- Jerry Garcia

Welcome to my page, my peers, associates, friends, and musical family. I'm a lifelong, multi-instrumentalist musician who records prolifically and joyfully. You'll hear me play guitar, bass (regular four string, and four and five string fretless), mandolin, banjo, keys (piano, organ, synth), lap slide, sitar, and sing on my recordings here. I've been in a few dozen bands in my life, playing everything from bluegrass, jazz, rock, jam band, reggae, funk, afrobeat, Middle Eastern, traditional Irish, singer/songwriter, pop/covers, to experimental/avant garde. 
  Since I found SoundCloud a couple years ago, I've found many talented, creative people with whom to create music. However, in the summer of '23 I formed a band called The Eclectic Collective with some of my favorite musicians I've met through here. It started as a loose collective of musicians and coalesced into a core group of musicians who find other musicians with whom we'd like to make music, then run their songs through our process, and in effect add a full band. That core of The Eclectic Collective includes Tez (Llanpsych), J.J. Terrel, Ken (K2 and the Three), Stephen (Texmex Shaman), Chris (cgmaness), and Mark (mistermark). A couple of other musicians are frequent collaborators, as well, including Artur of Surfers Like Us, and Steve Vervaet of Steve's World. 
  The magic of music is amplified exponentially by each person adding to it. So, we really try to add our sorcery all kinds of music from all kinds of artists. Sometimes, we keep it within the group, but a lot of what we do is collaboration with other artists. Therefore these days, 100% of what I do is collaboration, within the group or with other artists on the side.
  I, and we, are also available for hire if you have a song or lyrics and you really want to add bigger instrumentation or a band and good production to it. 
  A small sampling of the artists whom I consider primary influences, and whom you will hear coming through my fingers include Phish, The Flaming Lips, The Grateful Dead, Radiohead, Rye Cooder, Steve Earle, Miles Davis, Fela Kuti, Arcade Fire, Mikey Dread, Yellowman, Purpleman, The Meditations, Michigan and Smiley, Lee Perry, Dillinger, Django Reinhardt, Impossible Recording Machine, The Allman Bros Band, Pink Floyd, Led Zeppelin, Cream, Bela Fleck, Les Claypool, Sam Bush, David Grissman, John Prine, Talking Heads, Beastie Boys, MMW, Moe., Morphine, Ween, John Abercrombie, Dave Holland, John Scofield, Victor Wooten,  Cannonball Adderly, Thelonious Monk, Flea, Parliament Funkadelic,  Frank Zappa, Prince Paul, Pete Rock, Thievery Corporation, Amon Tobin, Chet Baker, Joao Gilberto, Stan Getz, Astrud Gilberto, Carol Kaye, Tame Impala, Mumford and Sons, Japanese Breakfast, LCD Soundsystem, Beach House, Sean Lennon, and Billy Strings, but of course there are many more. I also really like and am influenced by traditional Iranian, Palestinian, Indian, Sri Lankan, Sudanese, Mauritian, Somalian, Egyptian, West African, and Syrian music. I welcome anyone who plays non-western music to contact me for a collaboration, too.
 I'm overjoyed to have found my community on SoundCloud. This is a truly unique forum where everyone is sincerely trying to build each other up. The profoundly supportive and positive SoundCloud community has really opened up an exciting new world of collaboration for me. That is the main reason I'm in the Cloud, actually, to connect with other musicians and make music that I enjoy listening to, and hopefully others do, as well. I am ALWAYS looking to collaborate with interesting musicians, mostly though BandLab, which is where I record almost exclusively. It's a solid, free digital audio workstation hub where you can share recording projects, even if it's not where you make your recordings.
  Everything I do is live instrumental, not programmed, and using no computer beyond my phone. That's not to say that I would be opposed to using that kind of tool, it's just not my preferred medium with which to paint. If you like my music, please share it. If you want to collaborate, my BandLab handle is @bingo_pajama. Feel free to contact me at cornbreadband@hotmail.com, as well, even if you aren't on BandLab.
  If your music is primarily AI, please don't come around my page, as I'm not at all interested in complimenting a machine.
  Here's a link to music I've recorded live with a group of musicians here in Pittsburgh called The Northumberland Street Ramblers.
Check out The Northumberland Street Ramblers on #SoundCloud
https://soundcloud.app.goo.gl/fU4Me

Music and things that might sound like music by Mat Ward. Noise Art/A  Piano and Bass Duet with Dani Kirby/A 50 plus member Art Ensemble called Then She Reaches The Gun/Deep Research Into Luigi Russolo and his Intonarumori .. thats just the stuff I post regularly : ) Thanks to everyone thats ever stopped by. Music is The Best!

Yves Rousseau was born in 1961. His parents were music lovers, his grandmother a pianist and his cousin a jazz double bassist: the doors to a career as a jazz musician were neither wide open nor locked. He loved Schubert, Armstrong, Bach, Ferré and Leforestier, and discovered the pop music of the 70s with enthusiasm. A childhood foray into classical guitar left little trace. After the baccalauréat, he enrolled at Langues O to learn Chinese. At the same time, he enrolled at the CIM, the great jazz school of the 80s, where he brought his first double bass. He listened to the French musicians of the time (Michel Roques, Georges Arvanitas, Patrice Caratini) and dabbled in hard bop. But seriously, he took up classical double bass and studied with his boss, Jacques Cazauran, at the Conservatoire de Versailles.
His career began, almost against the grain: he hung out a bit on the nightlife scene and jammed at the Petit Opportun like everyone else of his generation, but he soon realised that this would not be enough. So he embarked on atypical projects. The A Boum trio (vibraphone, double bass, drums) with which he won the Concours de La Défense in 1989. Then Archimusic, an astonishing octet of four jazz improvisers and four classical musicians. 
The time had come to become a leader: Yves Rousseau put together Fées et Gestes, his first quartet, again quite unusual: alto saxophone, violin, double bass and drums: four CDs, all of which received a Choc award from the specialist press.
He writes texts (Ferré, and later Louise Labbé with the Choeur Mikrokosmos). Then came the Wanderer septet, which recalled Schubert, the Continuum duo with Jean-Marc Larché, a saxophonist with a dual jazz and classical culture, and the quintet that created Murmures, based on poems by François Cheng.
Always very close to his double bass, Yves Rousseau's career has also been marked by composition, in a variety of moods: From Balkan and Turkish music (in 2009 for the inauguration of the Year of Turkey), to the world of Jacques Tati, to stage music (with the company Passeurs de mémoire), to the singular voices of Claudia Solal and Jeanne Added, to the Fulani flute of Oua-Anou Diarra in theOrchestre Régional de Normandie.
For 6 years he programmed a festival in Flamanville, then took part in the programming of another, Arches en Jazz, again in Normandy...Fragments was premiered in 2020: no revivals, just reminiscences of the pop music he grew up with (King Crimson andGenesis), with a new orchestra featuring keyboardist Étienne Manchon. 
His latest project is Shabda, with Géraldine Laurent and Jean-Charles Richard on saxophones, Clément Janinet on violin, and a few close friends, Jean-Marc Larché and drummer Christophe Marguet. Unprovoked, but never one for fads, Yves Rousseau continues his career as a daring and unusual pioneer, with his beloved double bass, with its relaxed, deep, very acoustic sound.It has had 5 strings for some years now (the extra one is in the lower register).
A solo? It's on the way... to invite the audience, others, to enter into the risky, sensual intimacy, almost always without witnesses, of a musician in dialogue with his instrument.
Created in May 2024 as part of the season at the Espace Culturel de Chaillol in the High Alps, this solo performance will take the form of 3 concerts, inviting the audience and others to enter into the risky, sensual intimacy of a musician in dialogue with his instrument, almost always without witnesses.

Film Scores 
TV 
Video Games 
Performance Art 
Band

Phil Justin: a composer and producer, who has done projects under the names of Ozone Ghost, Pleiadian Agenda, Once Twice Thrice, as well as other projects and working with bands and artists. Phil Justin currently has 8 album projects, music ranging from full orchestral scores to electronica and soundtrack music, funk, jazz, metal, rock, world and piano solo. Enjoy it :)

New tracks tagged #sextet