tag:blogger.com,1999:blog-9027683.post114652427135448403..comments2023-11-03T06:10:12.483-04:00Comments on heuriskein / ευρισκειν: the ECM soundtmorangehttp://www.blogger.com/profile/13540323590390887131noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-9027683.post-1146693822541992942006-05-03T18:03:00.000-04:002006-05-03T18:03:00.000-04:00I posted a note about the Lucier thing in the next...I posted a note about the Lucier thing in the next post up…<BR/><BR/>Another person who works w/ reverb / resonance/space is (as I'm sure you know) Pauline Oliveros. Deep Listening is recorded in an abandoned underground cistern with a huge natural reverb : its makes the ECM room sound like muffled closet- it's like 35 or 45 seconds. They use is very interestingly - esp w/ the use of just intonation with makes the long tones very smooth - like glass.Drewhttps://www.blogger.com/profile/18217928929570222106noreply@blogger.comtag:blogger.com,1999:blog-9027683.post-1146693345912836372006-05-03T17:55:00.000-04:002006-05-03T17:55:00.000-04:00hmmm. .. yea, -- I find there's always _way_ more ...hmmm. .. yea, -- I find there's always _way_ more info carried in language than is intended by it's agents and this is a musical thing and a data thing - but this polyvalence is dangerous to people who need to hide information so the tradition of decoding the information is more strictly controlled. This is why you can pick apart GWBs speechs so easily (hence he caters to the most raw forms of denial), also way it's always hard work to critique a poem... Language is only framed as primarily carrying literal and mundane and monopolar info if the people trying to control the information have set up system where that's what everyone assumes, natch. My experience with language tells me that it's much closer to sound and music in how it encodes information than most people assume. If people were encouraged to think of it this way, though, it would be much harder for people with concentrated social power to lie with it.Drewhttps://www.blogger.com/profile/18217928929570222106noreply@blogger.comtag:blogger.com,1999:blog-9027683.post-1146689543493072622006-05-03T16:52:00.000-04:002006-05-03T16:52:00.000-04:00drew what yr saying about reverb reminds me of alv...drew what yr saying about reverb reminds me of alvin lucier, who as i'm sure you know has done compositions using the "acoustic signatures" of given interior spaces. like, he records a balloon being popped in a train station, edits out the "pop" and is left with the acoustic resonance of the train station, uses and manipulates that result in his compositions. fascinating. know of anyone else working in this vein?<BR/><BR/>sound and language tho are qualitatively different kinds of information tho, no? i mean yes, it's all vibrational on some level (and we can get taylor in on this from a braxtonian angle), but the problem with language always being that it's information on the utterly mundane level as well as whatever else it carries...<BR/><BR/>interestingly with evan parker's solo work -- clearly a music very dense in pulsation -- he knows how to identify and utilize the resonant qualities of a performance space. rod smith and i saw him in a presbyterian church in foggy bottom DC a few years ago, and i've been listening to a recording he made at a church in guelph ontario around the same time i think, and it's quite clear in such instances that he's playing the space as much as he's playing the instrument. in some recordings, live or studio, he's miked far too close and it really ruins it, there's no space for the performance to breath in.<BR/><BR/>t.tmorangehttps://www.blogger.com/profile/13540323590390887131noreply@blogger.comtag:blogger.com,1999:blog-9027683.post-1146687144955434202006-05-03T16:12:00.000-04:002006-05-03T16:12:00.000-04:00Yea, Taylor's right about the reverb, and generall...Yea, Taylor's right about the reverb, and generally that's what the label gets slagged for, along with putting out improv music that some people think is too atmospheric /relaxed. <BR/><BR/>Reverb is basically setting and context -- it's waveform information about place, so if you use the same airplane hanger reverb for every band, it has a homogenizing effect. Different bands work better in different contexts. It also splits up the signal you're getting from the instrument into the sound the instrument makes vs the sound of the room it's in, and when the recording is set to represent the room to such an extent, you get less info about the instrumental tone - and this tends to hurt most when the music is denser in pulsation.<BR/><BR/>I think there's a poetic equivalent of reverb settings and it concerns the resonance of vocabulary and context.… also the resonance of reference and how reference bounces around culturally/ mentally like sound waves<BR/><BR/>There are cases where this large reverb works in the ECM catalouge, though, most of time with players who use lots of space. Hence my note about Leo (who I studied with in the late 80s) <BR/><BR/>Also the Don Cherry / Ed Blackwell <A HREF="http://www.ecm-records.com/Catalogue/ECM/1200/1230.php?cat=&we_start=0&acat=Artists%2FCherry+Don%23%23Don+Cherry " REL="nofollow">El Corazon</A> works really well with that ECM large room sound.Drewhttps://www.blogger.com/profile/18217928929570222106noreply@blogger.comtag:blogger.com,1999:blog-9027683.post-1146673348955343112006-05-03T12:22:00.000-04:002006-05-03T12:22:00.000-04:00Leo Smith's records for ECM are amazing. I esp. di...Leo Smith's records for ECM are amazing. I esp. dig <A HREF="http://ecm-records.com/Catalogue/ECM/1100/1143.php?lvredir=712&doctype=Catalogue&acat=Artists%2FSmith+Leo+Wadada%23%23Wadada+Leo+Smith" REL="nofollow">Divine Love</A><BR/><BR/>There is tons of great stuff on the the ECM catalogue- The Bley / Evan Parker / Barre Phillips Time Will Tell is beautiful, though not in an austere way (not that I have fear of beauty or clarity or austerity) <BR/><BR/>I also been listening to Dave Hollands more recent ECM stuff with Steve Nelson on vibes- esp Prime Directive.Drewhttps://www.blogger.com/profile/18217928929570222106noreply@blogger.comtag:blogger.com,1999:blog-9027683.post-1146536781229952162006-05-01T22:26:00.000-04:002006-05-01T22:26:00.000-04:00I'm pretty interested in Garbarek's use of obsessi...I'm pretty interested in Garbarek's use of obsessive droning--sometimes conventionally lyrical, sometimes not--and how that's related to the idea of trance. I sometimes prefer the headspace and sense of silence produced by a droning sound to more "out" music--depends on the context, for me.<BR/><BR/>A recent two-CD Keith Jarrett record--Radiance--does an excellent job of combining his lyrical and atonal interests and putting them in useful tension.<BR/><BR/>markK. Lorraine Grahamhttps://www.blogger.com/profile/03974374662095094031noreply@blogger.com