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all files by Christian Galarreta.
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Biodata is a non profit Microbio Records net based sublabel oriented to the free distribution of experimental electronic music
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2 nikolaiviertel
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3 poroes
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miyazaki_s aka miyazaki shintaro. born 1980 in berlin, grown up in basle, switzerland and currently living in berlin again. played violin for over 15 years. experiments with noises as well as melodies and field-recordings since 2002. calls his style pragmatic electroacoustica. doesn’t want to create perfect soundspieces, but products of experiments with pure electronic sounds combined with non-electronic sounds like fieldrecordings, violin sounds or voices. uses excerpts from diverse music sources. plunderphonics, bastard electronica, maximalism.
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adozen.org :: netaudio freely distributes experimental electronic music
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Bovet Brothers
Kwa
label: Altrisuoni
ref: AS 181
year:2005
players: Cedric Bovet, Philippe Bovet, Lucien Bovet, Samuel Blaser, Peter Bockius
Original jazz compositions rehashed in standard language. The fidelity to the source ranges from direct linguist references to an specifically musical ethos, the preference for timbric warmth over virtuosic dexterity or, in the case of the recording?s sound design, a careful documentation based on the originals, virtually reaching the quality of historic recordings.
Compsiciones jazzsticas originales presentadas en un lenguaje standard. La fidelidad a la fuente va desde referencias lingsticas directas a un ethos especficamente musical, la inclinacin por la calidez tmbrica antes que por el virtuosismo tcnico o, en el caso del diseo del sonido, una cuidadosa documentacin basada en los originales, llegando prcticamente a emular las grabaciones histricas.
m-1328
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MA08 – Saurio – Maltobello
(c) 2006 Gaston Arevalo – Creative Commons License
(c) 2006 Monteaudio
Excelente techno-dub lento, plagado de capas de
textura y atmosferas
Excellent downtempo techno-dub, full of texture
layers and atmospheres
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Noir de monde by Pierre Mnard + Drone
Violin + clarinet + electro + piano computerized improvisations.
Texts by Pierre Mnard.
“Noir de monde : Caractre hybride, phagocyteur de la prose et du lexique, o se tlescopent images et motifs mdiatiques, faits, lments de rcits, et qu’un style libre mais rigoureux, parataxique, garde en mouvement constant, toujours sur le point de s’assembler en histoires, et crant de mini tableaux de sens, trs rythmiques.” Pierre Mnard
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Texte original et intgral
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Galen/Vigelan
Stemme 8
label: Voice of shade
ref: PRS/MCPS
year:2005
players: Nikolai Galen, Emanuel Vigelan
A collection of micro pieces for solo voice organised around a series of concerns: from the exploration of highly reverberating spaces by means vocal techniques (yodels, diphonic harmonic singing), to more onomatopoeic noise, side products of verbal expression dettached from their original emotional setting, psalm-like recitations, trance-inducing repetitions embodied in imaginary languages or distantly recalled song forms.
Coleccin de micro-piezas para voz en solitario organizadas en torno a una serie de intereses: desde la exploracin de espacios altamente reverberantes mediante tcnicas vocales (yodels, canto difnico armnico) o mediante ruido de corte onomatopyico, productos derivados de un habla alejado de su contexto emocional original, recitados de tipo salmo, repeticiones tendentes al trance expresadas en lenguajes imaginarios o formas cancin lejanamente recordadas.
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Russian-German Composers Quartet
Not only for
label: Leo Records
ref: Leo LabCD 033
year:1997
players: Alexej Ajgi, Dietmar Bonnen, Manfred Niehaus, Ivan Sokolov
Alexej Ajgi, Ivan Sokolov (Moscow, Russia), Dietmar Bonnen, Manfred Niehaus (Cologne, Germany). The four composers use a large variety of instruments: violin, viola, piano, prepared piano, synth, bells, choral samples, voices, accordion, etc. The CD is the result of their collaboration in Cologne and Moscow. The CD consists of 11 pieces with every participant contributing their own pieces. Total duration 76’11 As of June-2005, the audio CD is no longer for sale. Download is still available but it excludes track 9 of the audio CD.
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Varios
Touchless
label: ORF/kunstradio
ref: X
year:1997
players: Elisabeth Schimana, Andr Smirnov, Kristof Kurztman,Sergio Messina,Scaner, Pedro Lpez
touching and emphasizes the use of the “theremin” or “termen-vox” as a controller for various anologue synthesizers and other instruments, and female voices in similarity and contrast to the “electronic voice” of the Termen-Vox.
The International Theremin Orchestra:
Lana Aksenova (Russia):vocals, theremin,
Andrew Garton (Australia):theremin, stylaphon
Gnther Gessert (Austria): theremin, minimoog
Christoph Kurzmann (Austria): theremin, sampler
Pedro López (Spain): theremin, sampler, electroacoustic cordal, etc.
Olga Milanich (Russia): theremin
Sergio Messina (Italy): fuzz thereminette
Robin Rimbaud (UK): theremin, electro pollution
Elisabeth Schimana (Austria): vocals, echoplex
Andre Smirnov (Russia): theremin with ringmodulator
Yuri Spitsin (Russia): powerglove, sampler
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Evan parker, Ned Rothenberg
Monkey Puzzle
label: Leo Records
ref: CD LR 247
year:1997
players: Evan parker, Ned Rothenberg
A new look at the instrumental combination made famous by John Coltrane and Eric Dolphy. Rothenberg stays with Parker every step of the way as they weave tapestries of breathtaking range, vigor, and technical skill. Parker’s soprano on the magisterial “For Ximenes” is beautifully set off by Rothenberg’s bass clarinet. This kind of fascinating interplay is not background music; it repeatedly rewards the attentive listener.
El crucigrama del Mono promete mucho ms de lo que realmente llega a ofrecer en el primero de sus cortes For Ximenes de quince minutos de duracin. En este tema resulta sorprendente el trabajo de Ned Rothenberg con el clarinete bajo junto a un Evan Parker que claramente se apunta. No slo la deconstruccin meldica que lleva las frases al punto de ruptura, sino, por ejemplo un interesante trabajo de construccin de anillos loops pensados a la manera que lo hacen los samplers, es decir, sin pensar, determinados nicamente por el tiempo de samplerizacin. Se pulsa el botn de samplerizacin y aparece un discurso desorganizado sin sentido aparente muchas veces.
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Koskohitz, Paquotte, Repecaud
Etage 34
label: 33revpermi
ref: 33Revpermi 9607
year:1993
players: Daniel Koskowitz (batterie) Olivier Paquotte (basse) Dominique Rpcaud (guitare).
The unit tage 34 (Rpcaud, Koskowitz, and Olivier Paquotte), launched in 1993, took over. Spin-off groups and collaborations multiplied, including Idiome 1238 and the trio Le Complexe de la Viande (with poet Serge Pey and theremin virtuoso Laurent Dailleau). Meanwhile the guitarist got involved in outside projects, performing on albums by Pascal Comelade, Dominique Regef, and Dominique Grimaud and playing free improv in the guitar quartet Misre et Cordes. He released his first solo CD Ana Ban, a collection of duets, in 2000.
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Sakis Papadimitriou, Leftris Agouridais
Plus and Minus
label: Leo records
ref: CD LR246
year:1997
players: SAKIS PAPADIMITRIOU – piano, LEFTERIS AGOURIDAKIS – percussion, santoor
The wizard of the “inside-the piano” playing, Sakis Papadimitriou, with his long-time partner, percussionist and santoor player Lefteris Agouridakis, produce a starting variety of sounds ranging from a sitar-like plucked shimmer, through like skittering to downright lush, lyrical romanticism, interspersed with rhythmically vigorous passages.
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Voice Crack
Deep Voices
label: Urthona Schtzenhofstrasse 9
ref: Urthona 03
year:1977
players: Mslang & Guhl
Voice Crack’s Andy Guhl and Norbert Mslang are fringe characters whose activities, dating back to 1977′s timeless Deep Voices album (FMP 0510, later reissued on CD by Urthona) and several grudge matches with Borbetomagus, have presented their unique “cracked everyday electronics” in unconventional contexts. The duo’s array of odd, often invented noisemaking instruments belies the duo’s conviction. Voice Crack take improvisation seriously, albeit with an informal flair, and their chosen discipline finds its ultimate appropriation in the anything-goes directive of the electro-acoustic idiom. Este excepcional documento recoge la actividad del do Voice Crack, entonces simplemente Norbert Msslang y Andy Guhl durante el Total Music Meeting del ao 1977. Se trata de una reedicin en CD del sello Urtonha del Lp editado por FMP. Una primera aproximacin al lenguaje instrumental que sera el origen de los ?everiday cracked electronics?. Un documento al que, sin duda alguna, no se le ha prestado todo el inters que merece.
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Ivo perelman Rashid Ali, William Parker
Sad Life
label: Leo Records
ref: Leo Lab CD027
year:1996
players: Ivo Perelman, tenor sax; William Parker, bass; Rashied Ali, drums
Brazilian saxophonist Ivo Perelman, who settled in New York, is destined to become a big star. It is not a coincidence that he recorded with John Coltrane’s former drummer, Rashied Ali, and a near legend, William Parker, for only these musicians are capable of matching the intensity of Ivo’s beautifully melodic playing. “The essential [Perelman] disc… With Ali and Parker he is playing with musicians on the highest level, and they secure a propulsion and intensity which has its independent life without either overpowering or standing subservient to the leader. In the title tune…’Caiapo’ and the ambivalent ‘Hoedown’, Perelman is giving us his most emotive and convincing playing.”
Cuando no hace muchos aos aparecieron “Ivo” y “Man Of The Forest”, discos a nombre de Perelman en compaa de Airto, la Purin, Brackeen, Elias, Patitucci… las querencias free del sonido de su tenor, en esos contextos, no pasaban de ser una curiosidad que no pocos crticos apuntaron. En los ltimos meses, este brasileo -que tambin ha publicado dos dos con el percusionista Jose Nazario: “Soccerland” y “Tapeba Song”- se ha puesto las pilas y ha facturado un largo listado de referencias que no dejan dudas sobre su adscripcin: “Blue Monk Variations”, un solo para Cadence; “Cama da Terra” junto a Shipp y Parker para Homestead; “Sad Life” con Parker y Ali, “Geometry” junto a Borah Bergman y “Strings” con Joe Morris, los tres para Leo; “Revelation” para CIMP; “Sound Hierarchy” y “En Adir” en cuarteto junto a Crispell, Parker y Hemingway para Music and Arts o los dos que nos ocupan, su ms reciente produccin (de, curiosamente, una produccin del ’96). Vaya cambio de compaas!
m-28
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L Quan Ninh
Ustensiles
label: for 4 ears
ref: CD 822
year:1995
players: L Quan Ninh
Percussionist LE QUAN NINH is a colorist extraordinare. On USTENSILES (Four For Ears 822), he delivers a solo recital (recorded 12/26-29/95, no location) using mainly small instruments. They tend towards the metallic: Turkish and Chinese cymbals, Japanese bowls, aluminum sheets, etc. There ‘s great imagination and a real sense of organization spread throughout these five tracks. On “Musique Spectrale…” he creates a sonic scape of phased, almost electronic tones and clanging bell-like sounds punctuated with washes from the aluminum sheet. This is not to everyone ‘s taste but it ‘s a musical experience worth hearing. I suspect live it would be even better.
El percusionista L Quan Ninh grab del 26 al 29 de Diciembre del 95 en solitario este CD en el que nos presenta una aproximacin a diferentes grupos instrumentales con su quehacer caracteristico. Un compact obtenido por la original idea de crear una suscripcin de unas de setenta personas que imagino han “encargado” literalmente su grabacin. 43 minutos en los que cascasdas de percusiones, come es habitual en su autor, se combinan con la obtencin de otras sonoridades frotando platos y gongs y otras tcnicas. Su instrumentacin base son los platos y la caja acompaados por una serie de elementos menos convensionales. Papel de alumino, wood-chimes, bols japoneses etc. De factura densa, L Quan Ninh se “lanza” en cada ejecucin sobre el sonido intentando obtener, a travs de la emocin que desprende su improvisacin, un acercamiento a los lmites de su propia percepcin.
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AARDVARK JAZZ ORCHESTRA
Psalms & Elegies
label: Leo Records
ref: Leo Lab CD028
year:1997
players: Varios
Funded in part by the MIT Provost HAAS Fund, This CD includes pieces recorded live at MIT as well as “Psalms,” an extended work recorded live by Boston’s WGBH at Jacob’s Pillow Dance Festival/New Music Series. The work was commissioned by the Meet the Composer/Lila Wallace-Reader’s Digest Commissioning Program in association with the National Endowment for the Arts. Mark Harvey is the founder, composer and music director, has performed with George Russell, Gil Evans, Howard McGhee, Sheil Jordan and others. The pieces are rather long in length but the playing is spectacular, the music is adventurous, interesting and spiritual. The compositions allow a lot of space for group interaction and solos. The liner notes by Harvey describe the music in detail. I enjoyed the first three pieces. The fourth piece has vocals that do not really seem to work. 1. Modal jazz with very good group interaction 2. A conglomeration of sounds and styles of jazz 3. Quiet, distant, eerie
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Alain Roche Trio
Incandescence
label: Altrisuoni
ref: AS 194
year:2005
players: Alain Roche, Thierry Roques, Alain Tissot
An accordion, piano and drums trio project moving along a series of different linguistic repertoires: contemporary compositions for traditional instruments, modern folk or jazz oriented tunes strongly influenced by a fusion aesthetics. The approach is an inclusive one, incorporating elements from various sources and blending them through an original compositional work.
Tro de acorden, piano y batera que frecuenta diversos repertorios lingsticos: composiciones contemporneas para instrumentos tradicionales, folklore moderno, o temas de corte jazzstico con una fuerte influencia de esttica fussion. El plantemiento, de carcter inclusivo, incorpora elementos de diversas fuentes y los mezcla a travs de un trabajo de composicin original.
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Benat Achiary Kent carter David Holmes
Noite
label: CCAM Vandeouvre
ref: Vandeoubre 9611
year:1994
players: Benat Achiary Kent carter David Holmes
Une rencontre acoustique mlant des bases free jazz celles du rock sans oublier celles plus traditionnelles de Benat Achiary. 50mn d’improvisation ludique, empruntant un texte Michaux ou Garcia Lorca. Benat Achiary triture les mots alors que la contrebasse de Kent Carter chante elle aussi, virevolte, et que les balais de David Holmes tisssent une toile colore faite de touches prcises, de frottements et de soupirs. Le rsultat est grandiose. CHOC JAZZ MAGAZIN
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The Woodstock Concert
Marilyn Crispell
label: Music & Arts
ref: CD 929
year:1995
players: Marilyn Crispell
One of the free jazz scene’s phenomenal figureheads of solo piano improvisation, Marilyn Crispell’s amassed discography is as flawless as Cecil Taylor’s when it comes to brilliance in solo piano performance. The Woodstock Concert was given on April 21, 1995, and on that date she performed four improvisations, a Bill Evans piece, and one Annette Peacock composition which erupts into one of the most glorious performances of Crispell’s highly documented mid-’90s era. The pieces “Await; In Lingering Air” and the exquisitely titled “How Not to Anaesthetize Desire are exceptional moments that capture some of her greatest free improvisation on recording. ~ Skip Jansen, All Music Guide
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Cecil Tailor y Gnter Sommer
In East-Berlin
label: Free Music Prodution
ref: CD 13-14
year:1989
players: Cecil Taylor (piano); Gunter Sommer (drums).
This is a double album taken from Cecil’s two nights in East Berlin during his classic extended stay in West Berlin in 1988 that spawned the many other ‘black’ FMP discs originally released as a box set. The two discs here include a solo concert and a duet with the German drummer Gunther Sommer. The solo concert is in my opinion his best — and I am partial to his soloing and own a lot of solo concerts by Cecil with which to compare. The three part Reinforced Concrete includes some simply amazing, and aptly named, playing including plenty of dense forearm work on the Bosendorfer — he’s really beating the keys into submission on this one. He then entertains the crowd with four brief encores which bring the concert to more than 70 minutes of playing. I can’t recommend it highly enough. The duet with Sommmer (the three-part PUUC) is a raucous, free-spirited exchange that’s full of energy and at times gets Cecil shouting and growling on top of everything. Sommer’s drum kit is curious — in addition to the standard drums it includes tympani, tubular bells, organ pipes, a whistle, and what sounds like a car and later even a truck horn, all of which make noticeable appearances. The dialogue between them is rich and full of humor, similar to their first meeting on “Riobec” recorded a few days earlier.
m-18
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This unusual experimental work is a group of blended variations on a simple structure and limited set of tones and sounds. From such a small tonal palette, great variety and depth can nonetheless be attained. The Tribe of Astronauts enjoyed making this, and you will enjoy listening.
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Parker, Guy, Lytton, Crispell
Natives and Aliens
label: Leo records
ref: CD LR243
year:1997
players: Evan Parker, soprano and tenor saxophones; Barry Guy, double bass, piccolo bass; Paul Lytton, percussion; Marilyn Crispell, piano.
The billing is a bit misleading: rather than a duo album, Natives and Aliens features the Evan Parker Trio — saxophonist Parker plus longtime collaborators Barry Guy on bass and Paul Lytton on drums and percussion — working with avant-garde pianist Marilyn Crispell. Originally recorded in the early ’80s and first released in a small vinyl edition before gaining a wider distribution on CD in 2001, these 11 tracks are fluid, small-group improvisations that slot Crispell neatly into the practiced interplay of Parker’s trio. Crispell’s playing blends the best characteristics of her two acknowledged inspirations, with Paul Bley’s fluidity (best heard on the speedy, rippling cascades of notes that color “Sumach”) and Cecil Taylor’s percussive, rhythmically free attack (as on “Day of Small Truths,” where the pianist interjects booming, sustained chords into a lyrical solo by Guy). The Evan Parker Trio, as always, play with the intuition and improvisatory grace that comes when skilled musicians are in tune with each other’s idiosyncracies, giving Natives and Aliens a light — almost swinging, in the old-school sense — touch that’s often missing in this brand of modern jazz. ~ Stewart Mason, All Music Guide
Curiosa esta grabacin realizada en los estudios Gateway en Mayo del ao pasado. Digo curiosa porque motiva la reflexin; me explico. Observando el trabajo que realiza Marilyn en este disco y comparndolo con otros anteriores salta a la vista a cualquiera que lo escucha la moderacin con que se plantea su intervencin. Si bien en varias ocasiones haba reflexionado ella misma sobre lo extremadamente denso que resultaba su lenguaje, sobre todo si este se desarrollaba en trabajos conjuntos con otros msicos (los cuales en ms de una ocasin le pedan de mejor o peor forma que descansase ocasionalmente), nunca, que yo sepa, esta reflexin se haba convertido en realidad. Sin embargo en este trabajo este deseo se ha consumado y puede oirse perfectamente el quehacer moderado no slo de Marilyn, sino de otro contertulio usualmente tan prdigo como ella como es el caso de Evan. Al considerar el resultado no podemos dejar pasar por alto un cierto refinamiento de este estilo de cascadas de notas tan al uso ltimamente en este mbito. No s si el refinamiento ser la mejor idea para un estilo que pretende consolidarse pero en cualquier caso est muy claro que es la idea que ellos han escogido. Excelente, por otra parte, el trabajo de Barry Guy.
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Clnicos
Esquizodelia
label: Triquinoises producciones
ref: TQ 024 CD
year:1995
players: Markus Breuss- Pelayo Arrizabalaga
“ESQUIZODELIA” es el resultado de un ao de trabajo. Una vez ms se han rodeado de buenos colaboradores, de los que citaremos slo unos nombres por falta de espacio: Vctor Nubla, Javier Colis, Ajo, Susana Kulia, Antonio Garcia, Victor Polansky , Juan Alberto Arteche, Justo Bageste, Gunther Mller, Christian Marclay, Wade Matthews, Pedro Lpez…
Lo que s es seguro, es que ste disco es un viaje sin fin. Un retorcimiento de cabeza, si an la conservas en tu sitio, lo que no suele ser normal
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Ivo perelman, Joe Morris
Strings
label: Leo Records
ref: CD LR 249
year:1997
players: Ivo perelman, Joe Morris
It came as quite a surprise when Ivo Perelman put down his tenor sax and played the cello exclusively on Strings, an album of “duets” with acoustic guitarist Joe Morris. The word “duets” is used lightly, for this project involved extensive overdubbing (something Perelman has done very little of). First, Perelman recorded his unaccompanied improvisations on the cello, then he brought in Morris and recorded his guitar separately. Some listeners might cry foul, but the bottom line is that Perelman’s cello and Morris’ guitar compliment one another beautifully on this collection of “inside/outside” performances (many of which successfully combine Brazilian folk with the energies of jazz’s avant-garde). Not nearly as abrasive as Perelman’s work on the tenor, Strings is among his more accessible offerings. Hearing the saxman in a saxless setting is quite a revelation.– Alex Henderson
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Now here’s one of the most interesting trios there is! It’s Marilyn Crispell playing piano, Barry Guy playing acoustic bass, and Gerry Hemingway playing drums, vibraphone, and gamelan.
year: 1993
players: Marilyn Crispell: piano, Barry Guy: bass, Gerry Hemingway : drums
12
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