Dear All About Jazz Readers,

If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.

You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...

Dafne Vicente-Sandoval & Klaus Filip: Remoto

By MARK CORROTO
November 22, 2013
Sign in to view read count

Dafne Vicente-Sandoval & Klaus Filip: Remoto

What are the expectations minimalist musical artists have for their audience? The live experience aside, what presumptions are set forth for the listening experience of a consumer of a CD? Will the listener's happening be on a bus (via headphones) or in a sterile sound room? And what part will background noise and visual distraction play?

A recording like Remoto by Klaus Filip (sinewaves) and bassoonist Dafne Vicente-Sandoval elicits such questions. Their minimalist improvisations presented in two tracks (one in studio and the other a church) invite the listener into the sounds.

Filip is an Austrian innovator of electronics and laptop performance. He has performed and recorded with the likes of Christian Fennesz, Eddie Prevost, John Tilbury, Axel Dörner, and Jean-Luc Guionnet. Here he limits his presentation to sinewaves unfurling long tones throughout. His sonic painting lays down a background of atmosphere that is both meditative and somewhat tactile.

The notes Dafne Vicente-Sandoval's bassoon emits are not typical of a double reed woodwind. Rather they are tapping its body, breathy exhalations, and microtonal emissions. Her multi-phonic approach, like that of many minimalist improvisers, is to reinvent the instrument. She places microphones at various points along her horn (perhaps similar to Colin Stetson) to capture the barely perceptible sound.

Both tracks invite listeners to meditate on the occurrence of recorded sound and also each listener's environment. The farther we travel into the performing and listening experience, the closer we come to realizing John Cage's sound theories.

Track Listing: Obscur; Clair.

Personnel: Klaus Filip: sine waves; Dafne Vicente-Sandoval: bassoon.

Title: Remoto | Year Released: 2013 | Record Label: Potlatch Records

Music & Tickets

About Klaus Filip

CD/LP/Track Review

Remoto by Mark Corroto
Remoto by John Eyles

Remoto

Potlatch Records
2013

buy

Aluk

WEA
2006

buy

CD/LP/Track Review
Origins
by Dan Bilawsky
Published: April 20, 2018

CD/LP/Track Review
Bright Force
by Karl Ackermann
Published: April 20, 2018

CD/LP/Track Review
Say It
by C. Michael Bailey
Published: April 20, 2018

CD/LP/Track Review
Alchemia Garden
by Glenn Astarita
Published: April 20, 2018

CD/LP/Track Review
Don't You Wish
by Dr. Judith Schlesinger
Published: April 20, 2018

CD/LP/Track Review
Making Other Arrangements
by Bruce Lindsay
Published: April 19, 2018

Live Reviews
Big Ears Festival 2018
by Mark Sullivan
Published: April 13, 2018

Take Five With...
Take Five with Mark Haskins
by Mark Haskins
Published: April 17, 2018

Interviews
Linley Hamilton: Strings Attached
by Ian Patterson
Published: April 17, 2018

CD/LP/Track Review
On The Brink Of A Lovely Song
by Chris Mosey
Published: April 15, 2018

Read Taz Modi: Submotion Orchestra is a unique blend

Catching Up With
Taz Modi: Submotion Orchestra is a unique blend
by Nenad Georgievski
Published: April 14, 2018

CD/LP/Track Review
44/876
by Nenad Georgievski
Published: April 15, 2018

CD/LP/Track Review Say
by Glenn Astarita
Published: January 30, 2018

CD/LP/Track Review Provenance
by Geno Thackara
Published: November 11, 2017

CD/LP/Track Review Landfall
by Nenad Georgievski
Published: January 14, 2018

CD/LP/Track Review Elementals
by Chris May
Published: April 18, 2018

CD/LP/Track Review After The Fall
by Karl Ackermann
Published: February 13, 2018

CD/LP/Track Review Honey And Salt
by Mark Corroto
Published: August 22, 2017

Showcase

Buy Now

Elvesang by Sigurd Hole
Buy Now

Straight Ahead by George Kahn

Story of the Day

I love jazz because it's helped me to escape to new worlds and new experiences. I was first exposed to jazz while I was very young. I was born in 1964 and I remember jazz being the background music for so many TV programs I used to watch
Read more

I love jazz because it's helped me to escape to new worlds and new experiences. I was first exposed to jazz while I was very young. I was born in 1964 and I remember jazz being the background music for so many TV programs I used to watch. Sesame Street, The Pink Panther, Peanuts and many others. I've loved jazz for as long as I can remember. I met the bassist, Jennifer Leightham, recently at a performance at The Merc, in Temecula, California. It was a wonderful experience. The first jazz record I bought was Miles Davis' “Kind of Blue” (1959). My advice to new listeners is don't let anyone discourage you from exploring jazz and don't limit yourself to one type of jazz. Be bold! Experiment! Expand your musical horizon. You will never regret it.
Show less

By David Alfonso
Member since: 2017