#extended technique

[nofoodjustwax]

John Coltrane & Pharoah Sanders - Live in Seattle

John Coltrane & Pharoah Sanders – Live in Seattle

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[devilishlyoperatic]

The notation for this is WILD

[fluterants]

This piece was written as part of @fugue-shit-up/@words-bite-so-do-i‘s idea for a musician tag challenge where everyone tagged interprets the same graphic notation score (http://fugue-shit-up.tumblr.com/post/158005471699/hello-everyone-im-proposing-a-music-challenge-to). I got tagged by @tumorsandmusic, and I tagged a bunch of people on facebook as apparently I don’t know a whole lot of you that well. *shrugs* (PS: go check out my fb page and like it please! https://www.facebook.com/leannakeithflute/)

[nofoodjustwax]

Wadada Leo Smith - Spirit Catcher

Wadada Leo Smith – Spirit Catcher

Released in 1979 on Nessa Records Format: LP Style: Avant-Garde Jazz, Chamber Jazz, Modern Creative Music Vibe: Intertwined, Open, Patient, Flowing, Noir, Suspenseful, Spiritual, Communal, Abstract Musical Qualities: Poly-Free Improvisation, Polyphonic, Acoustic, Complex, Instrumental, Dynamic Instrumentation: Trumpet (muted), Harp, Vibraphone, Upright Bass, Clarinet, Trombone, Wooden Flute,…

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[noirepistemology]

https://seminalrecords.bandcamp.com/album/oco-2

[colindigs]

Chloe Kim's 'How To Get Through'

Recently I've been reading about Asian diasporic Jazz/Improvisatory musicians. And naturally my thoughts turned local - like who is Asian, doing improvised music based on Gadigal land of Warrang (Sydney)?

I was already familiar with Chloe Kim's live work but didn't know they had a full release! Kim is an incredible, conservatory trained drummer blending shamanic Korean rhythms with jazz and post-rock. It's not like anything I've heard recently! It's very virtuosic, without being showy, experimental but really approachable because the rhythms are very satisfying. And I like how musical and dynamic everything sounds - it's very expressive.

I recommend listening to this six track record from top to bottom - since it was recorded as a continuous single performance.

Here's Kim's own words about the record - it's certainly a very heartfelt and personal work! (not to mention good life advice)

In the course of developing as a drummer, I have learned some personal coping strategies for challenges that arise in life, like living with a physical illness, working through times of sadness, trying to love the most and cause the least pain (for myself and others), and how to communicate and work to the best of my ability. These methods, in my experience, seems to have recurring patterns: - to prepare sincerely; - to accept changes in transitional phases; - to hold onto the task persistently; - to emerge confidently; - to recognise the difference, acknowledge received supports, and to be aware of how to be/do better; and - to repeat it all again, with new tasks. My second solo drum album ‘How To Get Through’ follows this process in the form of music, each track corresponding to a different step. You can listen to in one sitting, from first track to last, since it was recorded as one long performance. It can also be listened to whilst looking at my improvised artwork, the album cover.

It's a lesson in subtlety and details and careful listening - and it's just propulsive! It's a little bit challenging since it's all drums, but after a while you kind of get into the flow of it.

If you like rhythmic music... or minimalism or improvisation or drumming or jazz or post-rock, grab a good pair of headphones for all the details - this is super fun.

[spaceintruderdetector]

C.Webster/G. Dunning-Estigate

https://archive.org/details/Estigate-ColinWebsterAndGrahamDunning

Textural recordings of extended technique saxophone and turntable with specially recorded dubplates.  All tracks recorded live. No overdubs or cuts. Colin Webster: Tenor and baritone saxophones Graham Dunning: Turntable, mixer and dubplates. 

[extrapiano]

Aaaand switching off the organ. Bet you didnt know organs can make harmonics