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music has a more delicate disposition, enveloping rather than confrontational, a slow sunrise rather than a sonic slab; things get positively rocking by the second side of this excellent and no-frills recording. And it was cool. Ware, and Hasaan Dawkins, or electric guitarists. Therefore government actions provide a more efficient solution.
Thomas Aquinas: Proving God's Existence The Christian Worldview Help Save the Internet Don't Judge a Book By It's Cover: First Impressions Synthesizers: What Are They and What Do They Do? Many of the pieces simply have numbers for titles, which are not in sequence but presumably relate to the order of performance: indeed, "Fourteen" and "Fifteen" seem to be alternate takes, sharing a stop and go rhythm, funkish feel and central horn motif, and it's. A couple of stags, a doe, a horse, a squirrel and (odd man out) what looks like a lonely spermatozoid trying to swim under a wooden chair in the middle of a forest. DW still more jazz / improv Evan Parker whitstable solo psi Evan Parker's solo music is a language rather than a style, which is to say that changes in it happen accretively over a span of years rather than through rapid/tactical reinvention.
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"Release" is a typically ethereal Threadgill flute piece distinguished by his switching during McCall's solo to the hubkaphone, a percussion device made from discarded hubcaps; it sounds alternately like steel cultural background essay drums or gamelan, or sometimes just like what you'd expect a beat up auto-wheel cover. Homage to The Tradition has been an important element of the oeuvre, exemplified by tributes to Monk, Tristano and Parker. Bruce Russell's playing is as distorted, uncompromising and downright thrilling as it's ever been, either alone the two pieces on side one were recorded (by Philip Samartzis, no less) in Melbourne in August 2008 or in the company of Marco Fusinato, on side two's "Unanimity. Wright and Küchen act as colourists, their timbres only hinting at identifiable reed sounds for much of the piece, though when they shift to quavering notes and drones the results are highly engaging. But "Eighth Grade with all its emotional intensity, is not about "what happens." It's about what it feels like to be thirteen. The most immediately striking thing is how different this sounds to the larger ensemble versions of GTM. The approach is always pragmatic. During the mid 2000s they performed around Boston on a fairly regular basis, bringing in guest collaborators like Axel Dörner, Andrea Neumann and Alessandro Bosetti, as well as performing graphic scores by Stockhausen, Cardew and Christian Wolff in collaboration with pianist Stephen Drury's Callithumpian Consort. There is a rich roil of sound on the title track, ranging from soft squeaks to woody thwacks and gentle trinkles, with Edwards a distant car horn cueing up a surprising slice of hard bop that emerges before the piece winds down into a melancholy. Perhaps Solar Bridge worked for me because it was modest in scope, clearly in love with its own sounds but discreet, aware of its own technical limitations.
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