All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
For Jon Rose, one violin is not enough. Two violins barely cut it. On The Hyperstring Project, Rose works with his violins, a midi bow, and independently operable footpedals driving sampled instruments. Using this setup (and some extra electronics), he becomes a one-man improvising orchestra capable of playing three or four voices at a time. No edits, no overdubs: this material is played live.
There are two ways to approach The Hyperstring Project. One is to study the intimate technical details of Rose's personally developed electro-acoustic technology, which has enough intricacies to indulge hundreds of listenings. The other approach is to simply absorb the universe of sound as it expands in front of you. While some of the material involves conventional tunings and harmony, there's an abundance of odd intervals and dynamically evolving textures. When you press play, you must be prepared to take an abstract voyage through twisted human consciousness: the old rules no longer apply.
Either way, Jon Rose is a genius. This recording is a gifta masterpiece of technology and artistry. For one player to assimilate all these sounds and assemble them into a coherent whole (live!) is almost superhuman. While a recording with this kind of depth and abstraction is most definitely not for everyone, it's sure to satisfy the curious and challenge the openminded.
To excerpt a particularly "rogue" explanatory quote from the liner notes:
"Extreme bow pressure gives rise to some unlikely responses from the sampled string sounds... a bit like an opera singer being suddenly choked in mid phrase by an assassin's black gloved hand."
Track Listing: Siren; Oops!; Heads and Tails; Chuggalug; The Real Blow; Choral Prelude; Hammer Horror; Spikes; Broken
Bones; Tacit; Reversed Spam; Buzz Buzz; Schoenberg's Bow; Hitting the Wall at 100 mph; Son of Tacit; The
Pages; Whipped Cream; Spaghetti Machine; Il Tenore; Warriors; The Agony and the Ecstasy (Automatic Violin
Personnel: Jon Rose: violins, hyperstring, electronics.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.