Label: Penumbra Music - Penumbra CD006 Format: CD Country: US Genre: Jazz Style: Free Improvisation
News updates on Slacker Radio. Finding libraries that hold this item It is possible to produce relatively even or graceful ellipses or agitate it into very complicated oscillations by striking several times at right angles to the original input. You may send this item to up to five recipients. Please select Ok if you would like to proceed with this request anyway. At Sea Grafton:
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Breathing Author: Grafton, WI: Music CD: CD audio: No Linguistic Content View all editions and formats Rating: Subjects Duets.
No news? Manage News Not now. Message Loading The instrument as an extension of the human voice: Both voices heard on this disc can take many tones.
Steve Nelson-Raney is the breath of the duo, handling tenor, soprano, and sopranino saxophones, along with clarinet, ocarina, and the beautiful and very breath-demanding shakuhachi. Hal Rammel brings in his homemade instruments, relying at times on percussion like on "Ruffling" but mostly playing string-like instruments and bowed metal -- things that will sing a very humanlike song if handled the right way.
His musical saw, triolin, and amplified sound palette hum and grunt in a breathtaking no pun dialogue with Nelson-Raney. On "Muttering," shakuhachi and triolin are paired to create a very original aural experience. All the other free improvisations are shorter, mostly within the three- to five-minute range, which allows for frequent changes in instrumentation.
The term kaleidophone was coined by Charles Wheatstone in to describe a "philosophical toy" he had devised to study complex vibratory patterns in a metal rod fixed at one end. Wheatstone attached a glass bead at the free end of the rod and illuminated it with a light source.
When the rod is struck or bowed the patterns formed vary according to the direction, strength, and manner in which it is activated. It is possible to produce relatively even or graceful ellipses or agitate it into very complicated oscillations by striking several times at right angles to the original input. My facsimile of the kaleidophone is photographed with a digital camera at varying shutter speeds and illuminated by a variety of LED flashlights.
The photo are cropped but otherwise not manipulated digitally. Apart from having my silhouette cut out from black paper in a booth at the Illinois State Fair in the early s, my first encounters with traditional papercutting came through several works of papel picado I collected in the early 80s.
In I acquired some pieces of amate bark paper and aspired to find my own way into these materials and this tradition extending my personal vocabulary of forms and sharing my high regard for the animate flora and fauna essential to the papel picado tradition. I enjoy the subtractive nature of papercutting in which carefully shaped cutouts determine the final image by what remains.
I employ the formal symmetry basic to traditional papel picado and by constantly shifting the axis of symmetry I build a coherent composition. My papercuts are impromptu constructions built upon structural ideas of mirroring, echoing, rhythmic repetition, motivic variation, paralleling, and so on. The concentrated dynamics of these constrained forms cut from a single piece of paper, inescapably attached to one another across its surface, are the wonderful challenge of papel picado.
In , the hours I spent cutting these bark paper shapes were perfectly complimented by my rediscovery of the extraordinary recordings of Fletcher Henderson and Don Redman from the s and 40s. The titles of my papercuts pay homage to their brilliant story-telling, bursting with a multitude of voices in a explosive forum for argument and accord in the pressure-cooker of everyday life.
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