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Third Sound: Heard in Havana
by Chris M. Slawecki
In July 2015, the US and Cuba re-established formal diplomatic relationships with the joint opening of their respective embassies in Havana and Washington, DC. The following November, the American Composers Forum sent ten composers and the instrumental ensemble Third Sound to perform a program of contemporary American music at the 28th Havana Contemporary Music Festival. Heard in Havana simultaneously presents this program and the recording debut of Third Sound: Sooyun Kim (flute), Romie de Guise-Langlois (clarinet), Karen Kim (violin), Michael ...
read moreBeat Circus: These Wicked Things
by Mark Sullivan
Boston-based band Beat Circus first got together in 2002, and in 2005 leader Brian Carpenter (the only constant member over the life of the band) began working on his Weird American Gothic trilogy of albums, which explore the rich culture of three American mythologies: The American Circus, Southern Gothic literature, and the Old American West. Dreamland (Cuneiform Records, 2008) was the first, followed by Boy From Black Mountain (Cuneiform Records, 2009). In 2012 Carpenter was commissioned by the ...
read moreMatteo Liberatore: Solos
by Dan McClenaghan
Matteo Liberatore presents, with Solos, an unorthodox exploration of the acoustic guitar. He brings to his artistry preparation modes that include alligator clips, metal springs, bass bow and a kick drum beater (and the bet here is a bunch more), constructing soundscapes architectures that are bold, metallic, industrial and almost always un-guitar-like. In the way of John Cage-like prepared piano, the experience of prepared guitar creates unique sounds. There is a starkness to the sound, a purity that ...
read moreDana Jessen: Carve
by Karl Ackermann
The bassoon rarely makes an appearance outside of the orchestral setting though it has found a place in jazz recordings dating back to Paul Whiteman and much later with Chick Corea. The instrument is considered one of the most difficult to play but its natural range and dynamics are far-reaching and versatile. Add in electronics and extended techniques and you have a unique instrument going beyond its already exceptional array. That is what Dana Jessen has delivered on Carve, an ...
read morePatti Cudd: Eos
by Karl Ackermann
Percussionist Patti Cudd performs as a soloist and a chamber musician and is a member of the ensemble Zeitgeist. She teaches music at the University of Wisconsin and the College of St. Benedict & St. John's University. She holds a PhD. In Musical Arts and a Fulbright Scholarship at the Royal Danish Conservatory of Music. As a performer she has appeared on more than a dozen albums and premiered over one-hundred and fifty works as part of her ongoing vow ...
read moreETHEL + Robert Mirabal: The River
by Karl Ackermann
The long-running creative music string quartet, ETHEL, shares some common ground with the pioneering Kronos Quartet. Both share an adventurous taste for unconventional projects and unlikely alliances. ETHEL however, pushes their instruments far beyond the norm with electronics, amplification and noise and unlike any other ensemble of their kind they are more than comfortable letting the wrecking ball get disconnected from the chain. They have worked with Joe Jackson, David Byrne, Thomas Dolby, Muhal Richard Abrams and Vijay Iyer among ...
read moreEleonore Oppenheim: Home
by Karl Ackermann
The high-concept and experimental nature of Home builds in a level of musicality that shines through peripheral effects. A big part of the charm in bassist Eleonore Oppenheim's solo debut lies in the variety of ways she uses her core instrument to interact with electronics, noises and vocal components. The Julliard alumni has worked with a wide array of artists including the Philip Glass Ensemble, Norah Jones, Meredith Monk and Steve Reich. Oppenheim also performs and records with a group ...
read moreGeorge Hurd: Navigation Without Numbers
by Karl Ackermann
jny: San Francisco-based composer George Hurd doesn't subscribe to any of the monolithic definitions around musical categories. In his own creative process he incorporates classical chamber music, home-grown electronics and acoustic instrumentation. Performed by the rotation of players making up his namesake ensemble, his debut album, Navigation Without Numbers, presents us with eleven Hurd original compositions that are both open and enterprising works. Although Hurd's work principally focuses on electro-acoustic music--joined with modern chamber--he has written classical music ...
read morePRISM Quartet: Heritage/Evolution, Volume 1
by Karl Ackermann
Not quite as well-known as the World Saxophone Quartet or the Rova Saxophone Quartet, the PRISM Quartet practices a unique approach to this category of ensemble playing. In part, PRISM takes a more direct aim on improvisation as opposed to the more blended method of WSQ or the openly free style of Rova. More idiosyncratic is the evolution of the quartet over three decades. When tenor player Matthew Levy founded the group in Michigan, its original mission was specific to ...
read moreMason Bates: Stereo Is King
by Karl Ackermann
Modern composer and electronics artist Mason Bates is equally comfortable in the worlds of new classical and hip hop. Working closely with the symphony orchestras of San Francisco and Chicago, he has been a driving force in escalating the role of electronics in the orchestra setting. To that end, Bates has put years into the study of flow, process and the acoustics of the classical orchestra. The rewards of this discipline are shared with listeners on Stereo Is King.
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