field recording, listening interests, experiments/compositions...
::: 27 April 2017 :::
2-octaves (s)low Brazilian Amazon forest village morning 6:23
Live nature/outdoor feeds...
Lobi van Beethoven
Sonata No.13 Op.27 No.1, 2.Allegro molto e vivace + balafon playing from Ghana
Octave lower, half speed
Concerto RV 159 in La maggiore
Concerto RV 271 "L'Amoroso" in Mi maggiore
The English Concert, Trevor Pinnock [direttore e cembalista]
Sunday morning bells
Padova, Italy, from Hotel Igea bedroom window, October 11, 2015
4:13, and in halftime: 2:06
DRUMS IN THE SKY: July 4th fireworks from Lake Travis
Austin, Texas via livenaturesongs.com July 4, 2015
Crum Elbow Creek
Hyde Park, Dutchess County, NY, June 2015
Acoustic records of the underwater soundscape at PALAOA - Antarctica
Audio stream files, sound spectrum images and 24hr-to-1min timelapse videos above land on site (!!), 2005-2011: www.doi.pangaea.de/10.1594/PANGAEA.773610
Watazumi Doso Roshi
Taisen Deshimaru chanting Dogen's fukanzazengi
“The Aeolian organ [ghau kilori] is a wind instrument which is not played by man but blown by the wind.
The instrument we recorded consists of four bamboo-canes (ghau), about 15 to 18 feet in length.
After stripping off the foliage the men cut an opening in the internodes of the upper part of the canes…In practice,
each cavity does not give one precise sound, but a multitude of harmonics, some of which emerge more clearly than others,
depending on the force of the the wind. A real storm is needed for the Aeolian organ to be heard properly.
On this recording the sound of the waves can be heard breaking on the shore and the leaves of the coconut palms and other trees
rustling in the wind. The ghau kilori used to be built for one particular event: the committing of a body to the sea.
The sound of the Aeolian organ was thought to call the spirit of the dead man back to his village before it went to dwell in the island of Malapa,
situated off the south-east tip of Guadalcanal.” (OCR 74 liner notes)
PALAOA Antarctic underwater recordings
The underwater jungle paradise recorded over a 24-hour period and organized by spectrum images of the sounds.
Click on any of the thumbnailed images and it will take you to that particular recording and play continuously,
moving automatically on to the next segment. Some of my favorite listening that there is. Beyond...
nature and field
nature and field
Beautiful, inspiring, meditative and mind-blowing listening through some field recording enthusiasts on Soundcloud.
Two albums I had no idea about yet and figured could just be listened to for the first time simultaneously — a $1 LP
from the thrift shop, Fernando Sor studies for solo guitar, and
BALI Hommage a Wayan Lotring.
John McLellan (1968 - Oct. 29, 2014)
An extraordinary musician; a truly original drummer and improviser in a language of rhythmic orchestration and dynamics, counterpoint in ideas, space, touch, spirit...
Beethoven Op. 131 & 135
Do you know the arrangements for string orchestra of these late quartets?
Excerpt from a conversation between John Cage and Morton Feldman, 1967
Original source: UBU.com/sound/feldman.html, Part 2
Adagio from Vivaldi Op. 9 Concerti Nos. 2 & 11 simultaneously...
A major / C minor.
Nos. 8 & 9... D minor / Bb major
from Violin concertos:
B-minor + Eb major... 3:37
B-minor + F major... 4:32
The 3 slow middle movements from Brahms 3 Violin Sonatas simultaneously.
Arthur Grumiaux, Gyorgy Sebok
Early recordings of pianist Moriz Rosenthal paired simultaneously by duration...
1. Schubert Moments Musicaux No. 3 in F minor, + Chopin Op. 10 Etude No. 1 in C
Some simultaneous pairings by duration from the Well-Tempered Clavier played by Rosalyn Tureck
1. Prelude No. 5, D major + Fugue No. 11, F major
Two Machaut motets simultaneously
1. Fins Cuers Dous + Bone Pastor
Doubles of Gidon Kremer in the Bach Sonatas and Partitas
Combinations from Bartok's Mikrokosmos using two pieces of same duration
Gyorgy Sandor, piano
1. No. 129: Alternating Thirds + No. 131: Fourths
Bach's Goldberg Variation No. 13 with
Helmut Lachenmann's Guero for piano
Rosalyn Tureck and Helmut Lachenmann, piano
Chopin's Prelude in C# minor for piano combined with
Carter's Fragment for string quartet
Martha Argerich, piano; Arditti Quartet
Scriabin's Prelude Op. 11 No. 15 for piano combined with
Feldman's first of two Pieces for Clarinet and String Quartet
Andante from Mozart piano sonatas 16, 17, 18 simultaneously...
B major / D major / F major.
Mitsuko Uchida, piano
Bach Cello Suites Allemande from Nos. 1 & 5 simultaneously...
G major / C minor.
Pierre Fournier, cello
Chopin Ballades Nos. 2 & 3 simultaneously... F major / Ab major.
Arturo Benedetti Michelangeli, piano
Recordings from the Costa Rica jungle
El Tumbo de las Olas
A friend asked me about a specific section in Bartok's 2nd Violin Sonata and which Coltrane it sounded like. I recognized it immediately - "Creation", live from the Half Note - and lined the two up!
An hour and 45 minute recording alongside the ocean, home in Santa Barbara.
John Coltrane, Soldier Field, Chicago, August 15, 1965
John Coltrane, Archie Shepp, tenor saxophone; McCoy Tyner, piano; Jimmy Garrison, bass; Elvin Jones, drums
A rare bootleg of the group headlining the Downbeat Jazz Festival. To quote from Coltrane: The Story of a Sound - "His performance at Soldier Field....has been understood as a famous breaking point - a Dylan-at-Newport, or a Rite of Spring. As with both of those examples, the challenge put forth from the artist to the audience is half-overstated and half-real. The set was 37 minutes long. The quartet, with Archie Shepp as an extra on tenor, yoked together a set out of the theme from "Nature Boy" and "Blue Valse."... It aggravated a great part of the crowd, prompting, according to some witnesses, a large exodus....casual jazz fans who had been in the sun all day at a free festival, listening to more straightforward performances by Woody Herman and Gerry Mulligan and Monk and Joe Williams..."35:55
At a thrift shop I frequent on the upper west side of Manhattan where LPs are $1 each, a came across this record not knowing who
Ervin Nyíregyházi was, just going by the jacket which made it clear these were historic recordings of someone quite phenomenal. It wasn't
until the following day when I listened to the music and read the notes on the inside that in the matter of an hour my life was changed forever
by the incredible story and pianism of this guy.
1. En Reve - Nocturne 2:25
2. Ballad No. 2, B minor 16:27
3. Sunt lacrymae rerum, en mode hongrois 7:52
4. Abschied 2:25
1. St. Francois d'Assise (La Predication aux oiseaux) 13:03
2. St. Francois de Paule marchant sur les flots 9:54
Also just discovered, the remaining out of print CBS recordings from the 1978 sessions (as of side A on the LP above), and in fact the only studio recordings which exist of him. This piano playing is about the most engaging I have ever experienced. The gravity of his sound and time... A window through to the truth; this man's spiritual life message. So important... so one-of-a-kind...
1. Hungarian Rhapsody No. 3 8:46 2. Misere After Palestrina 7:32
3. Abdenglocken 10:11 4. Aux Cypress de Lavilla d'Este 8:40
5. Nuage Gris 3:29 6. Mosony's Funeral 10:59
7. March Of The Three Holy Kings From Christus (Trans.Nyiregyhazi) 14:21 8. Polnisch 10:17
1. Sie tanzt, Op. 57, No. 5 3:44
2. Der Hirtenknabe, Op. 54, No. 1 5:49
3. Waltz in A Minor, Op. 12, No. 2 3:15
4. Heimwartz, Op. 62, No. 6 3:59
5. Warum?, Op. 6, No. 5 4:08
6. Au Jardin du vieux serail 4:08
7. Waltz in A-Flat Major 5:00
8. Romance in F Minor, Op. 5 7:23
9. Travel Pictures: Poland (Mazurka), Venetian Gandola Song, In Spain 10:33
Birds at dawn from the cottage by the sea. Rye Beach, New Hampshire.
Quite possibly the best LP of Schoenberg's music I've ever heard
1. Variations on a Recitative for Organ, Op. 40 18:52
Gerd Zacher, organ
(reminded me of the music beginning George Lucas's early THX 1138 film made back in 1967 when he was a student at USC)
Schoenberg's handwritten score to it:
2. Variations for Orchestra, Op. 31 21:26
Hans Rosbaud, cond., Symphony Orchestra of the Southwest German Radio, Baden-Baden
3 hours of evening raining in the backyard at Santa Barbara
Birds at dawn from the cottage by the sea. Rye Beach, New Hampshire.
Srimati M.S Subbulakshmi
A. Sri Venkatesa Suprabhatam 20:39 B. Bhavayami 19:52
Takahashi Kuzan (1900-1986) was born in Hokkaido and grew up in Yamagata in the Northern part of Japan.
Initiated in Jű-jutsu (bare fisted fight), Ken (fencing), Naginata and Yari (lances), Shuriken (projectiles) and Yumi (archery),
he traveled throughout Japan on pilgrimage for the secrets of Fuke Shakuhachi. It is mentioned in the document The Temple of
Myoan of the Mountain Kyorei by Tsukamoto Kido that "Kuzan was transmitted with the essence of Shakuhachi from Kobayashi Shizan, Okazaki Meidô,
Katsuura Shôzan, and mastered the art of the different schools Kinpű-ryű, Kaidô-ryű, and Nin-ryű. It is said that he received the
transmission of more than 250 pieces of the traditional repertory. His playing was different from Nyozan and he is the greatest and
the most recognized player of the modern age."
Kuzan eventually settled in Tokyo where he opened a dojo to teach the three traditional pillars of
komuso art, "teki zen ken" -
shakuhachi, zazen and martial arts, as well as calligraphy. He became widely renowned as a master of shakuhachi and preserver
of the old traditions - pieces which were learned from the last remaining players
and preserved in no other lineages, in particular the Honkyoku repertoire of Fusaiji in Ise
and repertoire of Shinobu-ryu. He was also known for his science and mastery of the Hitoyogiri, Satsuma Biwa and Hichiriki instruments.
Take no Hibiki or The Sound of Bamboo
1. Kyorei 4:29
2. Shinseki 3:00
3. Tsuru no Sugomori 10:34
4. Sagariha 1:30
5. Mushi no Ne 3:15
6. Nezasaha Shirabe 4:09
7. Sanya 5:12
8. Gematsu 4:56
Simultaneously the 1944 & 1946 recordings of Duke Ellington's orchestra at Carnegie Hall playing "The Blues" from Black, Brown and Beige. Marie Ellington sings in the 1944 version, Joya Sherrill the one from '46. Al Sears tenor saxophone on both.5:35
Oh D minor...
Oh my D-minor loves... Mozart's Requiem superimposed over Coltrane's Impressions live at the Village Vanguard
The sound of the wall in the apartment next door being destroyed
Albert Ayler interviews
1964, 1966, 1970
John Coltrane interview
One of the truly random voicemails you can get as a trombonist in New York City. Pretty hilarious I think. No idea who this was, how he got my number...
A few videos going simultaneously of pianos being destroyed
"Feldman loved to challenge students' assumptions about what ideas were au courant, about which composers were radical and which were conservative. He proclaimed, for example, a love for Sibelius, who had long been derided in progressive circles as a retrograde Romantic. When I visited the small archive of Feldman papers at SUNY Buffalo, I came across an exam paper in which the composer asked his students to analyze Sibelius's Fifth Symphony alongside Webern's Concerto Opus 24" — Alex Ross, New Yorker MagazineSuperimposed...
Sibelius 5 + Webern Op. 24
Sibelius 4 + Feldman Piano Concerto & Cello Concerto
Pablo Casals LP
It dawned on me how on a lot of the old jazz records, alternate takes were often about the same length. Revisiting some of these albums after many years and listening to them with these tracks superimposed offered an exciting new insight into the sound of this music, perspectives on autonomy and indeterminacy very relevant in improvisation, and a joyous expansion on these musicians' sounds and song, multiplying aspects of this aural history into an abstracted afterlife of collage. So simple and so affecting! I am grateful to be able to share this...
Stellar Regions (2 takes)
Sun Star (2)
All tracks simultaneously (8)
All tracks simultaneously (6)
Nature Boy (2 takes)
Check Out Time (2)
Broad Way Blues (2)
All tracks simultaneously (6)
Like Sonny (2)
I'll Wait and Pray (2)
Body and Soul (2)
Giant Steps (11)
Cousin Mary (2)
Leap Frog (3)
Relaxin with Lee (3)
An Oscar for Treadwell (2)
My Melancholy Baby (2)
I'm in the Mood for Love (2)
I'll Remember April (2)
Au Privave (2)
She Wrote (2)
Why Do I Love You (3)
Swedish Schnapps (2)
Bach Home Blues (2)
La Cucaracha (2)
Cosmic Rays (2)
In the Still of the Night (4)
Old Folks (3)
Chi Chi (4)
I Get a Kick Out of You (4)
Love For Sale (2)
I Love Paris (2)
I Remember You (3)
You Don't Know What Love Is (2)
Foolin' Myself (2)
It's You Or No One (2)
Out of Nowhere (2)
There's Danger in Your Eyes (2)
Carvin' the Rock (2)
Wail Bait (2)
Gypsy Without A Song (2)
Yokada, Yokada (2)
Ode to Von (2)
The hunting horns of Royale Foret Saint-Hubert!
1. La Saint Hubert 0'52
2. Le Nouveau Depart 0'49
3. Le Clocher de Dampierre 1'10
4. La Royale 0'39
The sound of...
All 24 Opus 87 Preludes by Shostakovich begun simultaneously,
directly followed by all the Fugues, in the same fashion.
Seven sublime recordings of different "Nocturno Responsorium" by Gesualdo played simultaneously
Zabaleta x 3
Three LPs of harpist Nicanor Zabaleta begun simultaneously, conducted with the volume knobs.
Left: Record 2, Side 1 - 18th century: CPE Bach and Beethoven's Variations on a Swiss Theme
Center: Record 3, Side 2 - Modern French and Spanish: Caplet, Pittaluga, Tournier, Haiffter
Right: Record 1, Side 1 - 16th century: Anonymous, Mudarra, Narvaez, Cabezon, Milan, Palero
Pauline Kael And Stan Brakhage (1964?)
”Legendary film critic Pauline Kael is captured here in conversation with filmmaker Stan Brakhage. While the tape is incomplete, we do hear Brakhage defend his practice, his epic film DOG STAR MAN, his influences, his search for ‘ a happening in structure’… Brakhage proudly declares: ‘I'm an amateur filmmaker, I make home movies.’” —Ubu.com, Rare Audio from Anthology Film Archives
Stan Brakhage... nothing could stop him, His Life was his Art... But Pauline Kael?? Never made a film in her entire life, and became an esthetic snob who found a sense of "prestige" for herself by trying to get in between artists and their work and its audience rather than make her own... in other words, attempting to almost take away credit from the artist and use it to build her own sense of "notoriety" or "achievement"...
The Seven Themes
Playing simultaneously all seven of "The Theme"s from the Plugged Nickel recordings of the Miles Davis Quintet
The Themes 10:22
Szeryng, Milstein, Heifetz
Three LPs combined of them each playing Bach's G minor violin sonata
A beautiful record of G.I. Gurdjieff's piano music. The only information on it is "played by Thomas de Hartmann." There is no date or label.
Side 1, Side 2
Three LPs mixed together of three different string quartets (the Budapest, Amadeus and Yale) each playing the adagio from Beethoven's A-minor opus 132
1. Molto adagio - Andante - Molto adagio 17:15
Two beat-up copies of the same old favorite baby record playing from two portable suitcase turntables simultaneously
Kol Nidre in Moscow
September 15, 1956
side 1 23:39 side 2 22:05 side 3 21:52 side 4 23:21
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Not for the timid. Curiosity does not kill the cat. The idea comes and go with it. Easy. Extreme combinations. Bach organ music combined with some, yes, the sound of some random hardcore porn off the internet. Hilarious, out, thought-provoking, the way one affects the other... I don't know... Makes me reconsider combinations of things, collages, sounds just purely for what they are...
Didn't you say somewhere, "I am for obscenity and against pornography"?
Well, it's very simple. The obscene would be the forthright, and pornography would be the roundabout. I believe in saying the truth, coming out with it cold, shocking if necessary, not disguising it. In other words, obscenity is a cleansing process, whereas pornography only adds to the murk.
J.X. Bach 4:40
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
March 14, 2008
The sound of all Bach's Goldberg Variations playing simultaneously - Glenn Gould, 1981.
1. Goldberg Variations Variation 6:03
February 24, 2008
Olivier Messiaen's Livre d'Orgue, which I recorded organist Gail Archer performing in a free concert given at Rutgers Presbyterian Church on w. 73rd St.
1. Reprises par Interversion 7:47
2. Piece en Trio 2:05
3. Les Mains de l'Abime 6:24
4. Chants d'Oiseaux 9:54
5. Piece en Trio 10:19
6. Les Yeux Dans les Roues 2:15
7. Soixante Quatre Durees 11:37
A very obscure Hungarian LP of bird song.
Beautiful, complex calls presented at their original speeds and then much slower
Notes from the jacket as follows.
Side A 24:17
Side B 20:53
Also known as The Mother, I recently came across Mirra Alfassa for the first time in the sixth episode of Louis Malle's Phantom India (1969), at the ashram of Pondicherry. Alfassa was the spiritual guru to that area. Cameramen were not allowed to film her, only record her voice. What she said, the sound of her voice - I was so struck by it... This is a beautiful book...
The Mother speaks 1:36
Translation: It never happens the same way twice. Generally, it happens when we least expect it. And it’s usually when we’ve surrendered our so-called knowledge, our convictions, and abandoned all hope that we enter a state where we’re able to receive it. Revelation is always present. It’s always here. We’re the ones who don’t let it in. Knowledge is always present. Enlightenment is always present, floating above everything, ready to be received. It’s only because we’re so completely blinded by everything we think we know and want to do that we can’t receive it. But at the moment we surrender, for whatever reason, it makes us a bit passive and open, and that’s when we receive it.
Hours of beautiful footage documented by filmmaker Louis Malle in the early 1960s. This has just recently been made available on dvd, and I couldn't more highly recommend something to see, or hear. So for that matter, here are the sound environments of it all which I recorded and spliced out the French commentary from
episode 1 - the impossible camera 15:27
episode 2 - things seen in madras 17:34
episode 3 - the indians and the sacred 17:00
episode 4 - dream and reality 19:47
episode 5 - a look at castes 25:26
episode 6 - on the fringes of indian society 10:44
episode 7 - bombay 28:10
Turkish ney solo
Manipulated with the fast-forward and rewind buttons on a cd player.
November 17, 2007
1. Track 1 8:30
Rye Beach, New Hampshire
1. "birds, backyard, wind in the trees, road" 2:07
2. "ocean" 6:28
music for MORT
Musical excerpts from the play MORT, which I arranged and performed music for in its first two and only performances on August 3 and 4, 2006. These particular collage pieces consist of sound only from music by Morton Feldman. They were assembled collaboratively with tenor saxophonist/composer Sam Hillmer
Impressions x 10
July 7, 2007
The sound of ten different recordings of John Coltrane playing "Impressions" going simulatenously. Rather difficult to listen to, but interesting I think...
1. "Impressions x 10" 20:54
March 4, 2006
The sound of a bell I sampled and explored, from an old episode of Police Squad (the joke was a suspect's name, Eddie Cassalas, "rang a bell," so a bell kept going off).
Various musical excerpts affected and blended together with the computer.
April 18, 2005
In collaboration with drummer, composer and long-time friend Doug Hirlinger, Beatshell 1.4 was assembled over the course of many weeks, sending a sound file back and forth to each other through e-mail. An initial sample from an electronic piece by composer Charles Wuornen got us going, from which point sounds were set from sources such as Fellini's Satyricon (Ilhan Mimaroglu), Kieslowski's Dekalog, Morton Feldman, Mario Davidovsky, Olivier Messiaen, Bela Bartok, Alban Berg, John Cage, Harrison Birtwistle, George Crumb... many old things going back to the days of mini disc recorders and the Manhattan School of Music library.
CHINATOWN RECORDINGS, LOOPS
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16