Time is Drawing Nigh

Taken from a recording session for 'The Dark. Outside.' 24 hour radio broadcast in Galloway Forest, Scotland, 31 August – 1 September 2013.

This isn't the track that was broadcast ('The Seven Whistlers'), which, in the spirit of the event was intended only to be heard while the broadcast was taking place but it is close to it.

http://thedarkoutside.tumblr.com

Curlwing

Hildegard von Bingen - O Virtus Sapientiae

Ben Richter's "Destroying Angel" (2013)
Martha Cargo, bass flute
Sky Macklay, oboe
Somna M Bulist, harp
Ben Richter, accordion
Joe Tucker, percussion
Ellery Trafford, percussion
Damon Loren Baker, percussion
Russell O'Rourke, viola
Joshua Morris, bass

Ben Richter :: Destroying Angel

Ghost Ensemble performs "Star Maker" at the Queens New Music Festival, 
17 May 2014
conducted by David Bloom
Martha Cargo, flutes; Sky Macklay, oboe; Somna M Bulist and Damon Loren Baker, stones/bells; Ben Richter, electronics; Brooks Frederickson, percussion; Hannah Levinson, viola; Meaghan Burke, cello; James Ilgenfritz, contrabass
recorded by Sky Macklay

Star Maker

piece for synthesizer, voice, soprano saxophone and clarinet

Edgar Mojdl - synthesizer; Lucie Vítková - voice; Radim Hanousek - soprano saxophone; clarinet - Pavel Zlámal

Growing Up

mp3 sample from Olivia Blocks's 2006 Sedimental release, Heave To

Buy it

Heave To (part one) excerpt

From "Music from Czechoslovakia - Folk Music of Czechoslovakia"
Recordings by James McNeish
LP, Argo Record Co., 1970

Folk Music of Czechoslovakia // Children's Song - The Burning Sun

Didier Casamitjana playing  ' Gong ' in the morning ..

Gong of the morning

QUARTETTO d'ARCHI - The Arrival of the Queen of Sheba, F. Handel

Burns B3 Pro with Glass Armonica using the Virtual instrument from the Sonicouture Glassworks2 sample library.

Ben There Done That  - For Theremin and Glass Armonica

 Is a type of Japanese classical music that has been performed at the Imperial Court in Kyoto for several centuries. 

Gagaku/Etenraku - Japanese Classical Music

Coda: bits of life- a station, a crowd, a perspective.

Genesis of Totem


\To"tem\, n. [Massachusetts Indian wutohtimoin that to which a person or place belongs.] A rude picture, as of a bird, beast, or the like, used by the North American Indians as a symbolic designation, as of a family or a clan.

 And they painted on the grave posts Of the graves, yet unforgotten, Each his own ancestral totem Each the symbol of his household; Figures of the bear and reindeer, Of the turtle, crane, and beaver. --Longfellow.

 The totem, the clan deity, the beast or bird who in some supernatural way attends to the clan and watches over it. --Bagehot.

I first met Adria as my piano student. She quit piano to immerse herself in the study and practice of Acupuncture – an intensive four-year education in the esoteric and complex world of Chinese medicine. In our discussions about her future and past, she mentioned that she was a singer, had recorded with a band, wrote songs, and played the Celtic harp. We also discovered we both had similar interests in the anthropology of religion, folklore, and the source of song. So, while making and creating all these songs she has been deep in the throes of tests, classes, and jabbing needles in people.

What was the first song? Who sang it and why? Where does a song come from? Were the first songs about influencing nature or another’s feelings? Perhaps the concept of magic was to “spell” out words and music, and wrap in one's will the physical world. Enchantment means to be brought inside the magic of a song. How do other cultures approach the song source?

For Creation, I wandered through the Technicians of the Sacred book, and, culled ideas from a variety of cultures and traditions about The Beginning. I let the resulting text seep through my fingers. As usual, Adria understood the deeper context of the idea, and brought her awareness and vocal expertise into becoming the Weaver of Time. The movement and the Naming of the World seems a very basic need in every cosmogony.

1 & 2 Creation

She sweeps in her arm in a circling motion
Calls up light from the darkling ocean
In the ashes she draws an arc
Within the center she makes her mark

CHORUS
From her fingers spray a sultan’s treasure
Endless worlds without measure
A drop of blood encodes the light
As she forms it from the web of night

Sparkling yarn between her hands
She pulls it taut and time expands
Your beating heart now awakes to see
The Golden Garden of the Wisdom Tree.

CHORUS

From the caves across the steaming land
She breathes into each glowing strand
A whistling, warming wind spreads wide
The shuttle in the loom of life begins to glide.

If you listen you will hear her name
In the mountains or the deserts it’s the same,
In the oceans or the trees of pine
She is the Weaver of Time.

CHORUS

3 For Horses of Life we used War God’s Horse Song II (by Frank Mitchell) from the Navajo. I prepared the music, not knowing exactly what should go with it, Adria came in with an idea of how to put the words to the music. She nailed it the first time, and we knew we had something special.

Horses of Life

I am the child of White Shell Woman
With their voices they are calling me,
I am the son of the sun
With their voices they are calling me,
I am Turquoise Boy
With their voices they are calling me, 
I am I
From the arching rainbow, turquoise on its edge, from where it touches the earth the horses are mine

Dark stone water jars their hooves,
With their voices they are calling me,
Arrowheads the frogs of their hooves
Mirage-stone their striped hooves

Dark wind their legs
Cloud shadow their tails
Dark cloud their skins

Now the sun rises to shine
New moons their cantles
Sunrays their backstraps and
Rainbows their girths
They are standing, waiting on rainbows,
The dark-rainbow-four-footed-ones, their neck hair falling in a wave,

Sprouting leaves are their ears
With their voices they are calling me,
Great dark stars their eyes
With their voices they are calling me,
White shell their teeth

With lightning flashing in their mouths
Dark–music sounding from their mouths
They call out into the dawn
Their voices reaching all the way out to me.
Dawn-pollen is in their mouths
Flowers and dew are in their mouths

With lightning flashing in their mouths
Dark–music sounding from their mouths
They call out into the dawn
Their voices 
Sunray their bridles
beautifully to my hand they come
And become my own horses
My horses of life and happiness
I am the boy of life
I am the boy of happiness.

4 Markut is an Altaic Shaman song, from A Shaman Climbs Up the Sky, adapted from Mircea Eliade’s Shamanism: Archaic Techniques of Ecstasy. This, as did most of the other songs, went through several permutations, mostly removing music and vocal material, then adding the flutes and hand drum. “When I am called to treat a patient, I go into something like a trance & I compose a song, or I revive one for the occasion” (Isaac Tens, a Gitksan shaman).

Invocation to Markut, the bird of heaven

This bird of heaven who keeps
Five shapes & powerful
Brass claws (the moon

Has copper claws the moon’s
Beak is made of ice) whose

Wings are powerful &
Strike the air whose tail

Is power & a heavy wind

Markut whose left wing
Hides the moon whose
Right wing hides the sun

Who never gets lost who flies
Past that-place nothing tires her
Who comes toward this-place

In my house I listen
For her singing I wait
The game begins

Falling past my right eye landing
Here
On my right should

Markut is the mother of five eagles
5. Sea of Love is our first collaboration. I had been working on this song for years, and needed some new input, into which Adria willingly dove. The song began for me as a dream I had one night about a rhythm. I started working with that rhythm, and the bass and harmony slipped in effortlessly. The words started shaping themselves into how important it is to listen to your heart. The sea is the Sufi experience of Fana Falal – annihilation of self.

The Sea of Love

There's no point in turning back
I guess I'll have to take a different tack
I asked my heart, "What do you need?"
It said. "Follow me. I will lead."

So here I am upon Love's shore
The stars are ripe, 
But there must be more
My heart, I cannot hear you
Now I'm lost
What should I do?

CHORUS:
I want to dive
I want to dive into the Sea of Love
I want to dive
I want to dive into the Sea of Love
I want to dive
I want to dive into the Sea of Love

“Beware the rocks upon this coast
With no guide you’ll end up as a ghost 
That haunts these gloomy piers and ropes
Lovers lost without their hopes

“Fill your sails and follow me, 
Miracles and wonders you will see
Lay your hands upon the helm
I’ll show you things but don’t get overwhelmed

“Feel the love breathing in the sails
Feel the love within the whales
Feel the love in the sounds of words
Feel the love in the wings of the birds”

CHORUS

I’m Somewhere in the Sea of Love
Moon is full and waits above
The time to dive is getting near
Within the sea I’ll disappear

So Goodby to my friends 
Maybe I’ll see you again
It might do you some good
To get to know the moon

I heard the moon, 
she seemed to say

“So build a boat
Come to me
When I'm above
Come to me
Upon the Sea of Love
Come to me
Upon the Sea of Love.”

CHORUS

I heard the moon, 
she seemed to say
“Why do you stand by the river
When you can dive into the Sea of Love?”
If you want to know just where I’ll be
It’s somewhere in the middle of this loving sea
But remember you can’t  start
without the blessing from your heart

6. My Ka

Oh my Ka, I was wrong
I should have linsted when you sang
I let love fall away
And it's too late to change

Oh my Ka, you've a secret to keep
So don't give me away
The scales wait to receive my heart
The feather is weighted

I am dawned, I am dawned
A great falcon of gold
I have flown, I have flown
Over river worlds below
And my heart is brought to me
From mountains in the east
I am lit upon the prow of the sun.

For Horses of Life we used War God’s Horse Song II (by Frank Mitchell) from the Navajo. I prepared the music, not knowing exactly what should go with it, Adria came in with an idea of how to put the words to the music. She nailed it the first time, and we knew we had something special.

Horses of Life

I am the child of White Shell Woman
With their voices they are calling me,
I am the son of the sun
With their voices they are calling me,
I am Turquoise Boy
With their voices they are calling me, 
I am I
From the arching rainbow, turquoise on its edge, from where it touches the earth the horses are mine

Dark stone water jars their hooves,
With their voices they are calling me,
Arrowheads the frogs of their hooves
Mirage-stone their striped hooves

Dark wind their legs
Cloud shadow their tails
Dark cloud their skins

Now the sun rises to shine
New moons their cantles
Sunrays their backstraps and
Rainbows their girths
They are standing, waiting on rainbows,
The dark-rainbow-four-footed-ones, their neck hair falling in a wave,

Sprouting leaves are their ears
With their voices they are calling me,
Great dark stars their eyes
With their voices they are calling me,
White shell their teeth

With lightning flashing in their mouths
Dark–music sounding from their mouths
They call out into the dawn
Their voices reaching all the way out to me.
Dawn-pollen is in their mouths
Flowers and dew are in their mouths

With lightning flashing in their mouths
Dark–music sounding from their mouths
They call out into the dawn
Their voices 
Sunray their bridles
beautifully to my hand they come
And become my own horses
My horses of life and happiness
I am the boy of life
I am the boy of happiness.

The Burning is from a section of The Flight of Quetzalcoatl from the Aztec Epica Nahuatl. The founder of the Aztec culture, Quetzalcoatl departs, dies, and is reborn as the rising star.

The Burning

It ended on the beach
It ended with a hulk of serpents
Formed into a boat
And when he made it, sat in it 
And sailed away.
A boat that glided on those burning waters
No one knowing when
He reached the country of Red Daylight
It ended on the rim of some great sea
It ended with his face reflected in the mirror of its waves
The beauty of his face returned to him
And he was dressed in garments like the sun
It ended with a bonfire on the beach where
He would hurl himself
And burn, his ashes rising and the cries of birds
It ended with the linnet, with the birds of turquoise
Colors, birds the color of wild sunflowers, red and blue birds
It ended with the birds of yellow feathers in a 
Riot of bright gold
Circling till the fire had died out
Circling while his heart rose through the sky
It ended with his heart transformed into a star
It ended with the morning star
With day and evening
It ended with his journey to Death’s Kingdom
With seven days of darkness
With his body changed to light
A star that burns forever in that sky.

For Creation, I wandered through the Technicians of the Sacred book, and, culled ideas from a variety of cultures and traditions about The Beginning. I let the resulting text seep through my fingers. As usual, Adria understood the deeper context of the idea, and brought her awareness and vocal expertise into becoming the Weaver of Time. The movement and the Naming of the World seems a very basic need in every cosmogony.

Creation

She sweeps in her arm in a circling motion
Calls up light from the darkling ocean
In the ashes she draws an arc
Within the center she makes her mark

CHORUS
From her fingers spray a sultan’s treasure
Endless worlds without measure
A drop of blood encodes the light
As she forms it from the web of night

Sparkling yarn between her hands
She pulls it taut and time expands
Your beating heart now awakes to see
The Golden Garden of the Wisdom Tree.

CHORUS

From the caves across the steaming land
She breathes into each glowing strand
A whistling, warming wind spreads wide
The shuttle in the loom of life begins to glide.

If you listen you will hear her name
In the mountains or the deserts it’s the same,
In the oceans or the trees of pine
She is the Weaver of Time.

CHORUS

Markut is an Altaic Shaman song, from A Shaman Climbs Up the Sky, adapted from Mircea Eliade’s Shamanism: Archaic Techniques of Ecstasy. This, as did most of the other songs, went through several permutations, mostly removing music and vocal material, then adding the flutes and hand drum. “When I am called to treat a patient, I go into something like a trance & I compose a song, or I revive one for the occasion” (Isaac Tens, a Gitksan shaman).

Invocation to Markut, the bird of heaven

This bird of heaven who keeps
Five shapes & powerful
Brass claws (the moon

Has copper claws the moon’s
Beak is made of ice) whose

Wings are powerful &
Strike the air whose tail

Is power & a heavy wind

Markut whose left wing
Hides the moon whose
Right wing hides the sun

Who never gets lost who flies
Past that-place nothing tires her
Who comes toward this-place

In my house I listen
For her singing I wait
The game begins

Falling past my right eye landing
Here
On my right should

Markut is the mother of five eagles

Jungle Law fits in with the totemic animal theme and in this case we have a serpent singing. This was originally written for my children’s album I Love Animals. The second part of the song is from Rudyard Kipling’s Jungle Book.
To create the trance-like motion of the python, I used a four-measure phrase:

 
The Jungle Law

		Oh hear the call - good hunting all- 
		That keep the Jungle Law...

Silently I slide along the jungle floor
In the distance I hear tigers roar

My scaly skin reflects the moon above
My coils fit around you like a glove

Closer closer come closer to me
You're not afraid of snakes I see

It's time I think to have a little chat
You've got to know where certain things are at

You see that ball of fire in the sky?
Every day it falls to the ground and dies

And then the ones who sleep throughout the day
You'll see them stretching in the twilight's gray

You came into our jungle- that's all right...
But can you make it through a jungle night?

You came into our jungle- that's all right...
But can you really make it through a jungle night?

	Now Chil the Kite brings home the night
		That Mang the Bat sets free
	The herds are shut in byre and hut
		For loosed 'til dawn are we
	This is the hour and pride and power
		Talon, tusk and claw
	Oh hear the call! -Good hunting all
		That keep the Jungle Law
	Oh hear the call! -Good hunting all
		That keep the Jungle Law!

La Paloma (the dove) was written for a beloved friend as she passed through some heart-rending changes, and came out stronger.

La Paloma

For the first time
With her wings unfurled
For the first time
She flies into the morning light

For the first time
With her new wings
For the first time
She hears her heart is singing Love

CHORUS
La Paloma, La Paloma
Wing your way back home
La Paloma
La Paloma
Fly, pretty bird

For the last time
She says goodby
For the last time
She’ll never see that cage again

With her heart awake
With the love she knows
A last look back
And then she flies above the mountain snows

CHORUS

With a pure heart
Like a compass
A new course is set
That takes her to her sweet lover

And her children
Her dear children
And her children
Fly along and laugh with her

CHORUS

For the first time
With her wings unfurled
For the first time
She flies into the morning light

For the first time
With her new wings
For the first time
She hears her heart is singing Love


Gravity of Love is the suspension of time and space. Stuck in a plane, looking out the window, thinking, remembering, forgetting a loved one, but not succeeding. If you live in the air, the laws of physics are different than on the ground. But the gravity of love remains constant.

GRAVITY OF LOVE
A mile above the clouds
And I’m gazing out of the window of the plane
Suspended in the air 
My heart can find no prayer without the gravity of love

I thought it would be
Easy to love
Easy to be free

Under other stars
Stars that are far from where you are

I see from this home in the skies
That I still can see
I can still see your eyes
I see your eyes

Sparks from a million years
Speed across the night
Across the night
And a thousand miles apart
We both absorb this sudden light

I see from this home in the skies
That I still can see
I can still see your eyes

I’m caught up in the blue
The unending ending view
The canvas for my dreams anew
Suspended in the air 
My heart can find no prayer
Without the gravity of love

My Ka

Oh my Ka, I was wrong
I should have linsted when you sang
I let love fall away
And it's too late to change

Oh my Ka, you've a secret to keep
So don't give me away
The scales wait to receive my heart
The feather is weighted

I am dawned, I am dawned
A great falcon of gold
I have flown, I have flown
Over river worlds below
And my heart is brought to me
From mountains in the east
I am lit upon the prow of the sun.

Don’t look down Upon the Earth

Don’t look down upon the earth
You don’t know how much it’s worth
Below your feet are the highest souls
Ten Thousand prophets lie beneath.

The first one: conscious, self-aware
Learned the names, under Eden’s care
Gave it up for all the world
The Prophet Adam lies beneath

The one who carried sand all day
From his tears he made it clay
Laid the floor of Kaaba
Abraham lies beneath

Dropped in a well for many days
Sold as slave to Egypt’s ways
Rose to sultan of the land
Prophet Joseph lies beneath

The one whose body’s torn and ill
Thanked Allah and praised him still
Patient through this bitter pill
Prophet Job lies beneath

His staff was changed into a snake
Hit the sea and made it break
The one who ruined Pharoah’s take
Prophet Moses lies beneath

Allah’s lover, best of friends
Healed the sick and help them mend
Sultan of all the prophets and saints
Muhammed lies beneath.

Yunus you will also die
Buried below the earth and sky
There’s a lot of hypocrites
Stuck inside the best of crypts.


Coda

Gentle beautiful dreamlike and perfect. The combination of Matthew Leigh Embleton's lovely tasteful composition and Hong Guo's delicate graceful piano, creates yet another beautiful timeless moment.

Released 01 February 2016
Label: Audio Fabrique

iTunes: https://itunes.apple.com/…/matthew-leigh-emble…/id1068461562
Amazon: https://www.amazon.com/Matthew-Leigh-Embleton-…/…/B019G2RKN2

Track list:
01 Nocturnes, Op. 02: No. 1 in D Minor
02 Journey in D Minor, Op. 1: No. 1, Introduction
03 Journey in D Minor, Op. 1: No. 2, The Pursuit
04 Journey in D Minor, Op. 1: No. 3, Looking Skyward

Nocturnes, Op. 02: No. 1 in D Minor (Piano Hong Guo)

Fading Call.WAV

I recently installed some new software at my studio and wanted to put it through its paces a bit.  It's December, so this just seemed fitting.  Enjoy. 

Dance Of The Sugar Plum Fairy (Tchaikovsky)

OUT MAY 12 on all digital services, JUNE 2 on CD

Lauded by the New York Times as a “...hypnotic and ethereally beautiful invocation of wind, sky and birdsong,” John Luther Adams’ Canticles of the Holy Wind, performed by the renowned chamber choir The Crossing, is his most technically challenging choral work, and yet the music’s mesmerizing aura of stillness encourages listening at its most elemental. The piece is composed for four choirs of eight singers each, and moves through spaces that are as fantastical (“Sky with Four Suns”) as they are serene (“The Hour of the Doves”), always with a connection to our inner world, as well as the world around us.

Canticles of the Holy Wind

John Luther Adams: The Hour of the Doves

Disquiet Junto Project 0036: Still Life 

<i>The painter Clyfford Still (1904-1980) was one of the great practitioners of abstract expressionism. The Clyfford Still Museum in Denver, Colorado, not only houses a wealth of his works, it also has on display artifacts from Still's daily life and practice, such as his smock, his old paint cans — and his record collection. These records, displayed behind glass, include pieces by Wagner, Mozart, Beethoven, and Bach, among others, and they're accompanied by a small note: "Clyfford Still was passionate about music, particularly classical music. Shown here are several samples from his record collection." In this week's project we're going to take that word "sample" literally. 

There's an interesting question inherent here about matters of aesthetic influence: how it is that the man who painted such massive and graphically evocative works was, in fact, listening to music far more figurative than the art he himself produced? The goal of this week's Disquiet Junto project is to take a shared sample of the sort of music that Still loved — a 78rpm recording of J.S. Bach's Brandenburg Concerto No. 2, II. Andante — and turn it into something that might be deserving of the term "abstract expressionism." 

So, the instructions for this week are as follows: 

Step 1. Please select part of the designated MP3 of J.S. Bach's Brandenburg Concerto No. 2, II. Andante.

 Step 2. Then transform that sample, through any methods you desire, into something that you feel meets the definition of "abstract expressionism" provided by the Clyfford Still Museum: "marked by abstract forms, expressive brushwork, and monumental scale." 

You cannot add any sounds to the sample, but you can manipulate the sample in any way you see fit.</i>
--------------------------------\

I looked at Still’s abstract work, alongside his earlier work, and I decided (conveniently for me) that he was doing with paint what I sometimes try to do with sound – going deep inside former works, digging out the hidden elements inside their representational exteriors… reaching into the fractal interior, if you like, trying to pull out and display on canvas the strange misery that is part of the human condition. One of his earlier works,  PH-79, struck me particularly. It is a grotesque Pieta, possibly inspired by the events of the Dustbowl, but presciently painted only four years before the outbreak of a war that would end with the revelations of the Death Camps and the generation of images that would change Art and Society forever.

Adolf Busch, whose Chamber Players recorded the piece we are using, was so revolted by the rise of Nazism that he left Germany in 1927 for Switzerland, migrating to the USA when WW2 erupted.

I chose the last twenty seconds of Bach’s moving piece to work with. More ambitious than usual, I wanted to recreate the almost unbearably sad mood of Samuel Barber’s haunting Adagio For Strings, so I stretched the sample using four different methods and tonalities and mixed them together. I then fed the sample into ambient v.3, rode the delay controls as carefully as I could and cut up the resulting track, rearranging it to suit the dynamics of the 8+ minute ambient version that the stretching and mixing had produced. I then interpolated the original sample, with its wonderful aged and shellac-surfaced ambience, near each end of the piece.

This track is a transformation, in honor of painter Clyfford Still, of a sample of J.S. Bach's Brandenburg Concerto No. 2, II. Andante, culled from this recording:

http://archive.org/details/J.S.BachBrandenburgConcertoNo2 ;

More on the Clyfford Still Museum at clyffordstillmuseum.org.

More on this 36th Disquiet Junto project at:

http://disquiet.com/2012/09/06/disquiet0036-cstillconcerto/ ;

More details on the Disquiet Junto at: http://soundcloud.com/groups/disquiet-junto/info


Andante [disquiet0036-cstillconcerto]

SELLO: Reprise > Fecha: Setiembre 25, 2012.

John Zorn, inspirado en la obra de William Blake —en un álbum que es uno de los más bellos en varios años—, crea un sonido realmente encantador —brillante y lleno de esperanza— de una manera que nunca pensamos, muchos años atrás, que íbamos a escuchar del saxofonista. A Vision in Blakelight (2012) continúa línea musical argumentativa iniciada dos años atrás con The Goddess. Music for the Ancient of Days (2010), y seguida por In Search of the Miraculous (2010), At the Gates of Paradise (2011) y The Gnostic Preludes. Music of Splendor (2012). Esto cuatro son tan recomendables como del que hablamos.

La música, como ha sido la regla en los últimos años, salvo excepciones, no cuenta con instrumentación propia de John. Ella la deja a cargo de un grupo que cuenta con John Medeski en piano y órgano, Kenny Wollesen en el vibráfono, Carol Emanuel en la armónica, Trevor Dunn en el bajo, Joey Baron en la batería y Cyro Baptista en la percusión.

El sonido es muy cálido y orgánico —una sombra del modo minimalista de Terry Riley, pero más lírico en su amplitud— con una calidad abierta, una floración maravillosa que se descubre desde el principio.

Zorn arregla, compone y conduce la grabación. Los títulos incluyen: "An Island In The Moon", "The Hammer Of Los", "The Prophecy", "Marriage of Heaven & Hell", "Night Thoughts", and "When The Morning Stars Sang Together".

— Gulbis
LISTA DE CANCIONES:

 
Track	Titulo	Compositor
1	When the Morning Stars Sang Together	John Zorn
2	The Hammer of Los	John Zorn
3	Jerusalem	John Zorn
4	The Prophecy	John Zorn
5	And He Rode Upon the Cherubim	John Zorn
6	Marriage of Heaven and Hell	John Zorn
7	A Woman Clothed With the Sun	John Zorn
8	Shadows In Ancient Time	John Zorn
9	An Island In the Moon	John Zorn
10	Night Thoughts	John Zorn
MUSICOS:

John Medeski	Piano, Organo
Kenny Wollesen	Vibráphono, Campanas
Carol Emanuel	Arpa
Trevor Dunn	Bajo
Joey Baron	Batería
Cyro Baptista	Percusión
Jack Huston	Recitación de Jerusalem de Blake.
John Zorn	Arreglos, Compositor y Conductor.

http://www.artefacto.com.uy/themusicalbox/john-zorn-a-vision-in-blakelight-2012-critica-disco.html

John Zorn: Night Thoughts (A Vision in Blakelight, 2012)

This was recorded in the Crypt at St Mary's in Sydney on the 19th of November 2012


01 Caritas abundat - Hildegard von Bingen

Composed by Heinrich Ignaz Franz von Biber

Biber - “The Annunciation” from The Mystery Sonatas (c. 1674)

ROBERT BROOKS
SAM NORDQUIST
AARON BUSHNELL
ELIJAH MCCLAIN
ANTEO ZAMBONI 
SUMMER TAYLOR
AHMED EREKAT
DOMINIQUE REM'MIE FELLS
SARAH GROSSMAN
JAMES SCURLOCK
DAVID MCATEE
EYAD AL-HALAQ
HECTOR GARCIA MENDOZA
GEORGE FLOYD
BREONNA TAYLOR
VICENTE RAMON GUERRERO
MARCI WISE
JOSEPH ROSENBAUM
ANTHONY HUBER
RIAH MILTON
TONY MCDADE 
EUGUI ROY
AHMAUD ARBERY
ASHLYNN LISBY
OLUWATOYIN SALAU 
VICTORIA SIMS
JOHANNA METZGER
ZEZICO GUAJAJARA
ISABEL CABANILLAS
DAVID GLEN WARD
TONY MCDADE
TIFFANY M. MOFIELD
KENNY RICHIE MARTY "MYLEZ" MITCHELL
NÉHÉMIE JOSEPH
NICOLA SACCO
BARTOLOMEO VANZETTI
ANNA LOPIZZO
ATATIANA KOQUICE JEFFERSON
CARY BALL JR.
ROXANA HERNANDEZ
JAKELIN CAAL MAQUIN
FELIPE ALONZO-GOMEZ
DREASJON "SEAN" REED
MCHALE ROSE
JANA LANGE
WILLIE MCCOY
MARIEE JUAREZ
OSMAR EPIFANIO GONZALEZ-GADBA
JEANCARLO JIMENEZ-JOSEPH
HUY CHI TRAN
KALIEF BROWDER
MI'CHANCE DUNLAP-GITTENS
SERGIO ALONSO LOPEZ
KAMYAR SAMIMI
JOSHUA BROWN
GEMMEL MOORE
TIMOTHY DEAN
SAHAR KHODAYARI
DE'VON BAILEY
TONY TIMPA
MARIA DEL PILAR HURTADO
EMILSEN MANYOMA
MOISÉS MOSQUERA MORENO
TEMISTOCLES MACHADO 
ELEAZAR TEQUÍA VITUCAY
HECTOR WILLIAM MINA
ELIJAH AL-AMIN
NINA POP
JENNIFER LAUDE
LAYLEEN POLANCO
PAMELA TURNER
CHYNAL LINDSEY
JOYCE FIENBERG
RICHARD GOTTFRIED
ROSE MALLINGER 
JERRY RABINOWITZ 
CECIL ROSENTHAL 
DAVID ROSENTHAL 
BERNICE SIMON 
SYLVAN SIMON 
DANIEL STEIN 
MOHAMMED ABU KHUDAIR
MOHAMMAD RAMIZ BAKR
AHED ATEF BAKR
ZAKARIYA AHED BAKR
ISMAIL MAHMOUD BAKR
MELVIN WAX 
TIMOTHY CAUGHMAN
LARNELL BRUCE JR
OSCAR JOSE FIGUERA
EMANTIC “EJ” BRADFORD, JR.
TENIYA JONES 
THURMAN BLEVINS
ALEX NIETO
WALTER LUEBCKE
ARMANDO FRANK
RACHEL ALIENE CORRIE
ANTWON ROSE, JR.
LINUS PHILLIP
DIANTE BUTCHIE YARBER
SAHEED VASSEL
DANA MARTIN
ASHANTI CARMON
CLAIRE LEGATO
RACHEL CORRIE
MUHLAYSIA BOOKER
KENNETH CHAMBERLAIN SR.
ADAMA TRAORE
MICHELLE "TAMIKA" WASHINGTON
JAQUARRIUS HOLLAND
DANNY RAY THOMAS
STEPHON CLARK
MARIELLE FRANCO
TOVEET RADCLIFFE
HEATHER HEYER
FRED HAMPTON
LAVENA LYNN JOHNSON
PHILANDO CASTILE
TAMIR RICE
DANROY HENRY
TRAYVON MARTIN
ERIC GARNER
MICHAEL BROWN
WALTER SCOTT
VIOLA LIUZZO
CLAUDIA PATRICIA GOMEZ GONZALEZ
RICKY JOHN BEST
TALIESIN MYRDDIN NAMKAI MECHE
FREDDIE GRAY 
ALTON STERLING
JORDAN EDWARDS
OSCAR RAMIREZ, JR.
LIGE DANIELS
JESSE WASHINGTON
JOSE ANTONIO ELENA RODRIGUEZ
SAM DUBOSE
HENRY SMITH
JOHN HARTFIELD
ELTON MITCHELL
T.A. ALLEN
THOMAS DEVERT
JOE SPINNER JOHNSON
LUTHER HOLBERT
JESSE THORNTON
WILLIAM LITTLE
JEFF BROWN
KEITH BOWEN
GENERAL LEE
THOMAS MILES
GEORGE DORSEY
DOROTHY DORSEY
TARIKA WILSON
DEAUNTA FARROW
SAM HOSE
PATRICK HARMON
SEAN BELL 
ANTHONY LAMAR SMITH
HENRY GLOVER
RONALD MADISON
TIMOTHY STANSBURY
ALBERTA SPRUILL
DEBORAH DANNER
OUSMANE ZONGO
ORLANDO BARLOW
PRINCE JONES
RONALD BEASLEY
EARL MURRAY
PATRICK DORISMOND
MALCOLM FERGUSON
JONATHAN FERRELL
DONTRE HAMILTON
JOHN CRAWFORD III
EZELL FORD
AIYANA JONES
OSCAR GRANT
DANTE PARKER
TANISHA ANDERSON
TYREE WOODSON
VICTOR WHITE III
YVETTE SMITH
MCKENZIE COCHRAN
JORDAN BAKER
ANDY LOPEZ
MIRIAM CAREY
DEION FLUDD
KIMANI GRAY
REYNALDO QUEVAS
SHANTEL DAVIS
TAMON ROBINSON 
SHEREECE FRANCIS
REKIA BOYD 
TROY DAVIS 
AMADOU DIALLO
RAMARLEY GRAHAM
LAQUAN MCDONALD
KENDRICK JOHNSON
LAVENA JOHNSON
MEDGER EVERS
ANDREW GOODMAN 
MICHAEL SCHWERNER 
JAMES CHANEY 
JOHN EARL REESE 
WILLIE EDWARDS JR 
MACK CHARLES PARKER 
MARSH COOK
JOHN BROWN
HERBERT LEE 
ROMAN DUCKSWORTH JR 
WILLIAM LEWIS MOORE 
ADDIE MAE COLLINS 
DENISE MCNAIR 
CAROLE ROBERTSON 
CYNTHIA WESLEY 
VIRGIL WARE 
HENRY HEZEKIAH DEE 
CHARLES MOORE 
LEMUEL PENN 
JIMMIE LEE JACKSON 
JAMES REEB 
ONEAL MOORE 
WILLIE BREWSTER
JONATHAN DANIELS 
VERNON DAHMER 
BEN CHESTER WHITE 
WHARLEST JACKSON
BENJAMIN BROWN 
SAMUEL HAMMOND JR 
DELANO MIDDLETON 
HENRY EZEKIAL SMITH 
NAT TURNER 
ANDY BURKE 
JOHNSON WHITTAKER 
ROBERT ROBINSON 
FRED ALEXANDER 
ROBERT TRUETT
L.B. REED 
CLINTON BRIGGS 
FRANK LIVINGSTON 
BUD JOHNSON 
LUCIUS MCCARTY 
POWELL GREEN 
EARNEST MCGOWAN 
LEE SNELL 
PRECIOUS GRANT 
HUGH JOHNSON
J.C. FARMER 
EUGENE BELLS 
TIMOTHY HOOD 
JAMES STEPHENSON 
ALONZA BROOKS 
DEJUAN GUILLORY 
ROCRAST MACK JR. 
JUSTIN THOMPSON 
DARRIUS STEWART

Time is Drawing Nigh

dialectical integrities