Floratone II is the second album by the collective Floratone, which comprises guitarist Bill Frisell, drummer Matt Chamberlain along with producers Lee Townsend and Tucker Martine, released on the Savoy label in 2012. In his review for Allmusic, Thom Jurek notes that, "Floratone II is a sonically more adventurous, yet more musically focused album than its predecessor". On ], John Garrett noted "Floratone II sharpens every shortcoming that the first album had; the pieces are tighter, melodies better pronounced, the studio manipulation never offers too much or not enough. I'm not going to say that this is one of the best albums of Bill Frisell's career but I will warn you that it can get stuck in your head". On All About Jazz, John Kelman said "as Floratone continues to drive Teo Macero's innovative collage work with trumpeter Miles Davis' late 1960s/early 1970s electric music into the 21st century and beyond, the expansive, cinematic Floratone II gives hope that Frisell, Chamberlain and Martine will continue to collaborate well into the future".
All compositions by Bill Frisell, Matt Chamberlain, Lee Townsend and Tucker Martine "The Bloom Is On" – 4:37 "More Pluck" – 3:27 "Snake, Rattle" – 3:27 "Parade" – 3:18 "Not Over Ever" – 1:01 "Move" – 3:00 "Do You Have It?" – 4:04 "The Time, The Place" – 2:23 "No Turn Back" – 4:01 "The Time, The Place" – 2:02 "Gimme Some" – 2:45 "Grin and Bite" – 1:03 "Stand By This" – 2:53 Bill Frisell – guitar Matt Chamberlain – drums, percussion Lee Townsend, Tucker Martine - production Mike Elizondo – bass Jon Brion – keyboards Ron Miles – trumpet Eyvind Kang – viola
Theater of Mineral NADEs
Theater of Minreral NADEs is an album by violinist/multi-instrumentalist Eyvind Kang, released in 1998 on John Zorn's Tzadik Records as part of the Composer Series. CMJ New Music Monthly reviewer Randall Roberts stated "On Theater Kang createsboth minimal glimpses and lush portraits, blending disparate musics. Experienced as a whole, Theater of Mineral NADEs runs like one long quasi-cinematic experience, as though a narrative is running through the music and telling its own story."Allmusic music critic Stacia Proefrock wrote "Theater of Mineral NADEs does not reach as far as some of Kang's previous work, but he manages to succeed at nearly everything he tries on this album. It is a well executed, thoughtful piece." All compositions by Eyvind Kang "The Earth & The Moon" - 2:02 "Jewel of the Nade" - 1:20 "Theory of the Supreme Ones" - 0:38 "The Anointment" - 1:30 "Mineralia" - 2:58 "Pleasures of the Nade" - 1:20 "Consensit Spiritus" - 3:16 " So Good It" - 1:50 "New Moon" - 2:00 "Suleiman" - 2:38 "Berdache" - 2:19 "Moon" - 1:14 "Mercury" - 0:47 "The Curse" - 1:04 "Lanvaettir" - 0:35 "Fate Is Sealed" - 0:47 "Private Mistery" - 0:38 "Lost Souls" - 1:27 "Ghost Dance" - 2:06 "Lost Love" - 1:09 "Lover Not a Hater" - 3:51 "Mystic Nade" - 3:05 "Mary of Magdalen" - 5:09 "Jewel of the Nade" - 0:46 Eyvind Kang - violin, bass, mandolin, recorder, voice Susanna Knapp, Jessica Lurie - flute Mike Anderson - trumpet Steve Moore - trombone James Philp - cornemuse, recorders, bass flute Emmanuelle Somer - oboe Terry Hsu, Alan Kestle - violin Brent Arnold - cello Trey Spruance - string guitar Timothy Young - guitar Christian Asplund - harmonium Tari Nelson-Zagar, Dave Pascal, Ian Rashkin - bass Tucker Martine, Mike Stone - drums Mint - finger cymbals Vishal Nagar - tabla Ed Pias - percussion Courtney Agguire - voice
The Yelm Sessions
The Yelm Sessions is an album by violinist/multi-instrumentalist Eyvind Kang, released in 2007 on John Zorn's Tzadik Records as part of the Composer Series. Allmusic music critic Stephen Eddins wrote "The pastel-colored title track, "The Yelm Sessions", the pop-sounding Latin dance "Enter the Garden" are lovely, but are a far cry from the dark power characteristic of his most exciting work; the fourth track, though, "Fire in Wind", for orchestra, guitar, electric bass, percussion, inhabits the fearsome soundworld of Kang's more unsettling work, most of the remaining pieces lead the listener through a number of dark, disturbing places." All compositions by Eyvind Kang except as indicated "The Clown's Song" - 2:35 "Enter the Garden" - 4:31 "The Yelm Sessions" - 2:47 "Fire in Wind" - 3:46 "Locus iste" - 0:52 "Sulpicia Variation" - 2:34 "Hawks Prairie" - 6:59 "Hiemarmene" - 2:45 "Mistress Mine" - 2:11 "Asa Tru" - 7:41 "Epoché for Strings" - 6:11 Eyvind Kang - violin, cello, guitar, drums, trumpet, bird ambience Hans Teuber - bass clarinet, flute Doug Wieselman - bass clarinet Steve Moore - trombone Barbara Fasching - English horn Taina Karr - English horn, oboe d'amore Nikolaus Vogelhofer - French horn Wolfgang Heiler - bassoon Marco Dalpane - keyboards Walter Zanetti - guitar Kala Ramnath - violin Gretchen Yanover - cello Scott Schaafsma - double bass Thilges 3 - programming Mell Dettmer - rain ambience, Korg MS 20 Shahzad Ismaily - drums Don McGreevy - drums, percussion Dave Abramson - percussion Matt Chamberlain - hand drums, gongs Madeleine Sosin - quijara de burro Jessika Kenney - voice Degenerate Art Orchestra conducted by Joshua Kohl Orchestra del Teatro Communale di Bologna conducted by Aldo Sisillo
Wayne Horvitz is an American composer and record producer He came to prominence in the Downtown scene of 1980s and'90s New York City, noted for working with John Zorn's Naked City among others. Horvitz has since relocated to the Seattle, Washington area where he has several ongoing groups and has worked as an adjunct professor of composition at Cornish College of the Arts. Horvitz, a "defiant cross-breeder of genres", has led the groups The President, Zony Mash, the Four Plus One Ensemble, he has recorded or performed with John Zorn, Bill Frisell, Elliott Sharp, Danny Barnes, Tucker Martine, Butch Morris, Fred Frith, Julian Priester, Phillip Wilson, Michael Shrieve, Carla Bley, Timothy Young, Bobby Previte, Douglas September and others. He is most famous for being the keyboardist of the band Naked City, he has produced records for the World Saxophone Quartet, Human Feel, Marty Ehrlich, Fontella Bass, The Living Daylights, Bill Frisell and Eddie Palmieri. As a composer, Horvitz has been commissioned by The Kitchen, The Kronos Quartet, Brooklyn Academy of Music, New World Records, The Seattle Chamber Players and Earshot Jazz.
He has received commissioning grants from Meet the Composer, The National Endowment for the Arts, The New York State Arts Council, The Mary Flagler Carey Trust, The Seattle Arts Commission, The Lila Wallace-Reader's Digest Fund and The Fund for U. S. Artists. In 2002 he was awarded a Rockefeller MAP grant for the creation of a new piece, Joe Hill, for chamber orchestra and voice, which premiered in October 2004 in Seattle, his 2003 composition, Hymns and a Murmur for String Quartet and soloist, funded in part by a Seattle City Artist grant, premiered in March 2004. This composition and his earlier string quartet, Mountain Language are released on the Tzadik label, his newest string quartet composition, These Hills of Glory, was commissioned with support from 4Culture and the Mayors Office of Arts and Cultural Affairs. His recent collaboration with Tucker Martine, was on the top 10 CD list for 2004 in jazz in both the New Yorker and Amazon.com. In February 2005 he received the Golden Ear award from Earshot Jazz for "Concert of the Year."
Works for theater and dance include music for the 1998 production of Death of a Salesman for Seattle's ACT theater. In 1992 choreographer Paul Taylor created a new work, OZ, to eleven compositions by Wayne Horvitz in collaboration with the White Oak Dance Company. Other theater and dance works include music for Bill Irwin's Broadway show, Strictly NY, productions by the Liz Lerman Dance Exchange, Ammi Legendre, Nikki Apino and House of Dames and the Crispin Spaeth Dance Company. Horvitz has composed and produced music for a variety of video, film and other multimedia projects, including two projects with director Gus Van Sant, a full length score for PBS's Chihuly Over Venice, two films about the creation of Seattle's EMP museum, his 85-minute score to Charlie Chaplin's film The Circus, for two pianos, two clarinets, violin premiered in January 2000 in Oporto, Portugal. As of April 2007 Horvitz performs with Sweeter Than The Day and Varmint. In December 2011, Horvitz opened a live music venue in Columbia City, Seattle.
No Place Fast Simple Facts Dinner at Eight This New Generation Monologue Film Works Wayne Horvitz, 4+1 Ensemble 4+1 Ensemble From a Window Wayne Horvitz, Gravitas Quartet Way Out East, Songlines, 2006Wayne Horvitz, Sweeter Than the Day American Bandstand - released as Forever Sweeter Than the Day Live at the Rendezvous Pigpen Halfrack V as in Victim Miss Ann Live in Poland Daylight The President The President Bring Yr Camera Miracle Mile Zony Mash Cold Spell Brand Spankin' New Upper Egypt Live in Seattle Live at the Royal Room Wayne Horvitz, Butch Morris, William Parker Trio Some Order, Long Understood Wayne Horvitz, Butch Morris, Bobby Previte Trio Nine Below Zero, Sound Aspects, 1987. Todos Santos, sound aspects, 1988. Wayne Horvitz / Ron Samworth/ Peggy Lee/ Dylan van der Schyff Intersection Poems, Spool, 2005Mylab Mylab, Sony BMG, 2004New York Composers' Orchestra NY Composers Orchestra, New World, 1990. First Program in Standard Time, New World, 1992. Ponga Ponga, Loosegroove, 1998. Psychological, P-vine, 2000.
The Sonny Clark Memorial Quartet Voodoo, Black Saint, 1985John Zorn, Elliott Sharp, Bobby Previte, Wayne Horvitz Downtown Lullaby, Depth of Field, 1998. Donald Rubinstein, Wayne Horvitz and Zony Mash A Man Without Love, Blue Horse, 1998. With Bobby Previte Empty Suits (Gramavision
Tzadik Records is a record label in New York City that specializes in avant-garde and experimental music. The label was established by composer and saxophonist John Zorn in 1995, he is the executive producer of all Tzadik releases. Tzadik is a cooperative record label. Tzadik has released over 400 albums by a variety of artists with diverse musical backgrounds, including free improvisation, noise, klezmer and experimental composition. On the label's catalogue are releases by Zorn himself and his multifaceted "songbook" group Masada. Official site
The violin, sometimes known as a fiddle, is a wooden string instrument in the violin family. Most violins have a hollow wooden body, it is highest-pitched instrument in the family in regular use. Smaller violin-type instruments exist, including the violino piccolo and the kit violin, but these are unused; the violin has four strings tuned in perfect fifths, is most played by drawing a bow across its strings, though it can be played by plucking the strings with the fingers and by striking the strings with the wooden side of the bow. Violins are important instruments in a wide variety of musical genres, they are most prominent in the Western classical tradition, both in ensembles and as solo instruments and in many varieties of folk music, including country music, bluegrass music and in jazz. Electric violins with solid bodies and piezoelectric pickups are used in some forms of rock music and jazz fusion, with the pickups plugged into instrument amplifiers and speakers to produce sound. Further, the violin has come to be played in many non-Western music cultures, including Indian music and Iranian music.
The name fiddle is used regardless of the type of music played on it. The violin was first known in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more powerful sound and projection. In Europe, it served as the basis for the development of other stringed instruments used in Western classical music, such as the viola. Violinists and collectors prize the fine historical instruments made by the Stradivari, Guarneri and Amati families from the 16th to the 18th century in Brescia and Cremona and by Jacob Stainer in Austria. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. Great numbers of instruments have come from the hands of less famous makers, as well as still greater numbers of mass-produced commercial "trade violins" coming from cottage industries in places such as Saxony and Mirecourt. Many of these trade instruments were sold by Sears, Roebuck and Co. and other mass merchandisers.
The parts of a violin are made from different types of wood. Violins can be strung with Perlon or other synthetic, or steel strings. A person who makes or repairs violins is called a violinmaker. One who makes or repairs bows is called an bowmaker; the word "violin" was first used in English in the 1570s. The word "violin" comes from "Italian violino, diminutive of viola"; the term "viola" comes from the expression for "tenor violin" in 1797, from Italian viola, from Old Provençal viola, Medieval Latin vitula" as a term which means "stringed instrument," from Vitula, Roman goddess of joy... or from related Latin verb vitulari, "to exult, be joyful." The related term "Viola da gamba" means "bass viol" is from Italian "a viola for the leg"." A violin is the "modern form of the smaller, medieval viola da braccio." The violin is called a fiddle, either when used in a folk music context, or in Classical music scenes, as an informal nickname for the instrument. The word "fiddle" was first used in English in the late 14th century.
The word "fiddle" comes from "fedele, fidel, earlier fithele, from Old English fiðele "fiddle,", related to Old Norse fiðla, Middle Dutch vedele, Dutch vedel, Old High German fidula, German Fiedel, "a fiddle. As to the origin of the word "fiddle", the "...usual suggestion, based on resemblance in sound and sense, is that it is from Medieval Latin vitula." The earliest stringed instruments were plucked. Two-stringed, bowed instruments, played upright and strung and bowed with horsehair, may have originated in the nomadic equestrian cultures of Central Asia, in forms resembling the modern-day Mongolian Morin huur and the Kazakh Kobyz. Similar and variant types were disseminated along East-West trading routes from Asia into the Middle East, the Byzantine Empire; the direct ancestor of all European bowed instruments is the Arabic rebab, which developed into the Byzantine lyra by the 9th century and the European rebec. The first makers of violins borrowed from various developments of the Byzantine lyra.
These included the lira da braccio. The violin in its present form emerged in early 16th-century northern Italy; the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, published in Lyon in 1556. By this time, the violin had begun to spread throughout Europe; the violin proved popular, both among street musicians and the nobility. One of these "noble" instruments, the Charles IX, is the oldest surviving violin; the finest Renaissance carved and decorated violin in the world is the Gasparo da Salò owned by Ferdinand II, Archduke of Austria and from 1841, by the Norwegian virtuoso Ole Bull, who used it for forty years and thousands of concerts, for i