Polyrhythms

Quit Your Band! Musical Notes from the Japanese Underground , Hörbuch, Digital, ungekürzt, 432min

From the sugar rush of Tokyo’s idol subculture to the discordant polyrhythms of its experimental punk and indie scenes, this audiobook by Japan Times music columnist Ian F. Martin offers a witty and tender look at the issues that shape Japanese music today. With insights into the evolution of J-pop as well as its history, infrastructure, and (sub)cultures, Martin deconstructs an industry that operates very differently from counterparts overseas. Based partly on interviews with influential artists, label owners, and event organizers, Martin’s audiobook combines personal anecdotes with cultural criticism and music history. An accessible and humorous account emerges of why some creative acts manage to overcome institutional pressures without quitting their bands. Ian Martin’s writing about Japanese music has appeared in The Japan Times, CNN Travel, and The Guardian, among other places. Martin is based in Tokyo, where he also runs Call and Response Records. As an exclusive bonus for listeners, this audiobook contains over an hour of music from the Japanese underground. This audiobook was directed by Graeme Mick and produced by Awai Books. ungekürzt. Language: English. Narrator: Ian F. Martin. Audio sample: https://samples.audible.de/bk/acx0/125821/bk_acx0_125821_sample.mp3. Digital audiobook in aax.

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Price: 9.95 EUR excl. shipping

The Magic of Twelve

The Magic of Twelve ab 23.49 € als Taschenbuch: Polymetric Polyrhythms in Cycles of Twelve from African Afro Cuban and Afro Haitian Traditions. Aus dem Bereich: Bücher, English, International, Englische Taschenbücher,

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Price: 23.49 EUR excl. shipping

Music For String Orchestra

Scogna, Flavio Emilio - Divertimento Sz 113 (Fuer1. Allegro Non Troppo2. Molto Adagio3. Allegro AssaiOrlando, Daniele - Konzert Fuer Violine Und Streic1. Allegro Moderato E Spiritoso2. Andante Fiorito3. Rondo: Vivace Con Brio4. Molto Adagio5. Quasi PrestoScogna, Flavio Emilio - Concerto Per Archi (Konzer1. Preludio: Allegro Ben Moderato E Cantabile2. Scherzo: Allegretto Comodo3. Aria: Andante Quasi Adagio4. Finale: AllegrissimoFiore, Francesca - Trauermusik (Fuer Viola Und Str1. Langsam2. Ruhig Bewegt3. Lebhaft4. Choral: Vor Deinem Thron Tret Ich Hiermit? This highly attractive new recording presents 4 20th century masterworksfor string orchestra: Bartok's Divertimento, Ghedini's Violin Concerto IlBelprato, Rota's Concerto for Strings and Hindemith's Trauermusik forviola and strings.? Although very different in character and emotional impact the 4 worksshare the Neo-classical style, the principles of baroque and classical formsand grammar, infused with 20-th century elements like polyrhythms,atonality and folkloristic influences.? The Italian elite ensemble I Solisti Aquilani play with great imagination andinstrumental freedom, while maintaining a strong and homogeneousensemble discipline.? Contains extensive notes in Italian and English.

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Price: 6.89 EUR excl. shipping

Collision

Daniel Heagney's debut album 'Collision' provides the listener with a wide variety of solo percussion music. It includes the world premiere recordings of Peter Klatzow's 'Etudes for Solo Marimba' and Brett William Dietz's epic multiple percussion solo 'Nocturne'. The Album is rounded out with Rodney Sharman's beautiful vibraphone solo 'Apollo's Touch' and Steven Mackey's famous marimba work 'See Ya Thursday'. Review of Collision from the Percussive Arts Society September issue of Percussive Notes: It is always exciting to hear a young performer who is able to maneuver easily between a variety of styles and instruments with a unique maturity that is appreciated. Containing three works for keyboard percussion and one for multiple percussion, Daniel Heagney has produced a CD that should be recommended listening for those interested in both new repertoire and sensitive interpretation across a variety of percussion instruments. Composed for two, three, and four mallets, Peter Klatzow's "Etudes for Marimba" is a six-movement work that explores contrasting musical ideas and technical concepts on the instrument. These concepts range from the application of broken octaves to advanced polyrhythms. Commissioned by Heagney, each short movement is beautifully composed and performed. I hope this becomes a standard work on graduate student and professional marimba recitals. Rodney Sharman's "Apollo's Touch" is a quiet and intimate work for solo vibraphone. Seventeen minutes in length, it is the longest selection on the CD. Meandering freely between tonality and atonality, it produces a trancelike listening experience. While some of the pedaling of longer melodic lines gets a little blurry, Heagney's attention to detail renders a sensitive and affective performance. Steven Mackey's "See Ya Thursday" serves as a showcase for both the performer's technical and musical skill. Heagney displays this as the somewhat quirky musical lines are presented with clarity and intrigue. Scored for a variety of percussion instruments (bongos, tambourine, bass drum, cowbells, wind chimes, and tubular bells) and voice (percussion-like bursts of yelling), Brett Dietz's "Nocturne" is the most compelling work on the CD. The dialogue between various timbres almost gives the impression of a percussion ensemble piece. The introduction, disappearance, and subsequent reappearance of sonic material throughout clearly delineate the form and keeps the listener engaged. Heagney's strength as an interpreter is his sensitivity and patience in shaping each line, melodic or rhythmic, in a way that keeps the listener from being either bored or overwhelmed. -Jason Baker.

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Price: 19.90 EUR excl. shipping

Cyro

Honest Jon's Records present a reissue of Derek Bailey and Cyro Baptista's Cyro, originally released on Incus in 1988. When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982. As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto, and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey, the wily old fox, skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit - check out the stratospheric plings and string-length fret-sweeps of "Tonto", which sound more like a prepared piano than an acoustic guitar. Wonders abound, from the berimbau/bent-string exchanges that open "Quanto Tempo" to the delightful collision of howling cuica and spiky bebop on "Polvo", and the spare, preposterous Webernian samba of "Improvisation 3". These days, "improvisation" often appears without it's customary qualifier "free". If there were ever a case to be made for it's reinstatement, this album is the best supporting evidence. Freedom means you're free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it's hilarious, exhilarating and utterly irresistible.

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Price: 38.18 EUR excl. shipping

Lost Safari Drummers

THE LOST SAFARI DRUMMERS The word SAFARI was coined by the explorer Sir Richard Burton from the Arabic word meaning "to journey" WE ARE ON A JOURNEY INTO THE HEART OF RHYTHM INTO THE SPIRIT OF THE DRUM INTO THE CELEBRATION THAT UNIFIES... INTO THE HEARTBEAT OF LIFE!! The Lost Safari Drummers are inspired by the rhythms of West Africa: rhythms from Nigeria, Gambia, Guinea, Ghana, Senegal, Mali, Sierra Leone, and rhythms that were carried to and evolved in Trinidad, Cuba, Haiti, and Brazil. THE VOICES Jun Jun: a two-headed bass drum played with a mallet. Djembe: a goblet shaped drum with a bright sound from a goat skin head. The lead drum. Ashiko: a deeper shaped conical drum with deer skin or cow hide. The freedom drum. Shekeres (rattles), Agogo and Gankogui (double toned bells), Cow bells and Claves round out the sound. SPEAK Each drum has it's own voice in the musical arrangement and it is this interplay that creates the polyrhythmic groove. ? D R U M T A L K ? Trained initially under the tutelage of Mr. Gordy Ryan, a 20 year veteran of Babatundi Olatumji's world renowned Drums of Passion, the Lost Safari Drummers emerged innocently enough from the jungle of rhythm and drumming workshops and performed for the first time on Earth Day 1990. In the ensuing years, training from additional masters of the art has greatly expanded the repertoire. The group is made up of community members from many walks of life, with the common goal of promoting unity through rhythm, and keeping the traditions of African Drumming alive. It is a true ensemble in the sense that playing these African polyrhythms requires the collective interaction of the entire group. The ensemble performs at celebratory events and festivals including annually at the SFCC Spring Arts Festival. WE ARE GRATEFUL TO HAVE THE OPPORTUNITY TO KEEP THE SPIRIT OF THE DRUM "ALIVE"

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Price: 35.41 EUR excl. shipping

No description.

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Price: 17.49 EUR excl. shipping

Voodoo Fire & Other Works by Derek Strahan

'VOODOO FIRE & OTHER WORKS BY DEREK STRAHAN RDS 006 Total duration: 73.42 Program notes by composer for 'VOODOO FIRE', 'CHINA SPRING'. SOLOCELLO SUITE #1, 'ATLANTIS' and 'CLARINET CONCERTO #1, 3rd Movement. See end for composer's biography 'VOODOO FIRE' (1996) for Clarinet, Percussion and Keyboard. Performance by Alan Vivian, clarinet, Michael Askill, percussion, Susanne Powell, keyboards. LIVE RECORDING OF PREMIER PERFORMANCE AT CANBERRA SCHOOL OF MUSIC 21/04/1996. Duration 16.18 The work was commissioned by the Canberra School of Music for performance by clarinetist Alan Vivian and colleagues, as the result of discussions between Alan and myself over a number of years, following from Alan's splendid work recording my Clarinet Quintet No. 1 in D ('The Princess') in 1981. 15 years passed before the opportunity arose for me to write a piece especially for Alan. When he suggested I write a Trio for clarinet, percussion and keyboards, this gave me the opportunity to advance a particular interest of mine - the fusion of Western melodic counterpoint with African rhythmic counterpoint. In an arc stretching from Brazil to the Caribbean, the animist religious beliefs of Africa remain alive in South and Central America and in the deep south of the USA. The Haitian version of this religion is the best known probably because it inspired the only successful slave revolt in the world, and also because of it's supposed link with black magic. However, as in most religions, there are two clear paths which can be taken, that of the common good, and that of manipulative individual will. Central to Voodoo practice is the belief that, through ceremony and ritual the gods will possess participants and speak through them. Music and dance induce a trance state so that possession will occur. Specific dances and rites invoke specific gods. African music is distinguished by it's use of polyrhythms in drumming. A complex 'engine' of interacting rhythms produces a basis for unison chant. When Western music absorbed African influence to produce 'jazz' the following process seems to have occurred. 1) The polyrhythmic component was rejected, because it was alien to the Western harmonic system. In this, 'harmony' is achieved by vertical alignment of tones in a uni-rhythmic music where the coincidence of tones produces 'chords'. 'Jazz' as it has evolved requires performers to follow a 'chord sequence'. 2) One of the superficial effects of polyrhythm was retained - the displaced accent. Coming before the beat, this was called syncopation. In African drumming much of what sounds like syncopation is a side-effect of the concurrence of different rhythms. I have attempted in this piece to apply African rhythmic counterpoint to Western melodic counterpoint. The resulting fusion is not 'program music', nor is it, of course, true music of the Voodoo. However, in order to compose it, I did study music for which I have the greatest respect, accessed through commercially available recordings of authentic Voodoo ceremonies that took place in Haiti. As these recordings were made with the specific permission of Voodoo hougans (priests), it is right that I acknowledge the source of the musical techniques I have attempted to apply (see below). Shango is the Voodoo god of thunder and lightning, consequently also of fire. In writing music dedicated to Shango, I, a European Australian, am expressing my appreciation of the Voodoo attitude to a deity embodying this element. Shango is still worshipped as a very powerful spirit not only in Haiti, and in Brazil (as Xango) but also among the Yoruba of Nigeria, from whom Voodoo (or 'Vodun') is thought to originate. The mythology surrounding Shango is complex and colorful and can be quickly accessed in detail by googling his name on the internet. Derived from an historical figure, posthumously deified, Shango is the son of Aganju, a ferryman and god of fire. He once threw himself into fire to prove his lineage. He also has aspects of a thunder god, and, by analogy, of many Western fire gods, since, through the fire of lightning, Shango reveals "truth that hurts" by illuminating what was hidden. In Western culture gods of fire were also illuminators, who offered humans the fire of Enlightenment and Knowledge. According to our various myths, the chief gods guarded Knowledge and kept it hidden from humans. It fell to the rebellious fire god to share it with us, and he was always punished for his disobedience - demoted to being a demi-god (half-human), or demonized. Some of the names of the fire god in Western culture are: Prometheus, Loke (Loge of Wagner's "Ring") and Lucifer, the latter known also as the Light-Bringer and known also as the Fallen Angel, who was expelled from Paradise. By contrast, neither the fire god, nor any Voodoo gods are thought of as being either good or evil. Voodoo gods may at times behave with malice, since 'they embrace all aspects inherent in their physical and spiritual existence'(*). It is up to humans to induce the gods to act on their behalf, and this is done through ritual which embodies dance. Significantly, Shango is also god of the drums and dance. His power over the elements equates with the caprice and creative experience of human sexuality. Generic Voodoo terms for their gods are the 'lao', gods of earth and the underworld, and the "Orishas' gods of sky and heaven, among whom Shango is prominent. But all Voodoo gods are offspring of the Creator-God Mawu who is 'understood in his entirety' (*). The serpent figures strongly in the Voodoo faith. In it's many spellings "Voodoo" means "spirit and also 'the snake under whose auspices gather all who share the faith". Thus it would seem that the Voodoo attitude to the Creator-God is somewhat similar to the philosophy which underlies the heretical Gnostic version of Christianity. Gnostics view the Wise Serpent of Eden as a benefactor, an intermediary who intercedes to connect humans with the true God, by revealing Hidden Knowledge (Gnosis). No wonder the Gnostics were persecuted as heretics!. Voodoo, as a religion, was banned during the era of slavery, but survived by syncretism within the slave owners' faith, especially within Catholicism. For example, the gate to the 'Laos' is protected by a barrier whose guardian is 'Papa Legba' and who is also indicative of Saint Peter, since Voodoo 'effortlessly incorporates aspects of other religions'. Voodoo, Vodoun, Vudu or Vudun dates from the beginning of human civilization, and is estimated to be over 10,000 years old. On Thursday, April 10, 2003, Voodoo was officially sanctioned as a religion by the government of Haiti. Acknowledgements: 1) Sound recordings collected in Haiti and the island of La Tortue by Maurice Bitter with the agreement of the Hougans (priests) during actual Voodoo ceremonies. As released on LP, 'Voodoo Ceremony in Haiti', Olympic records. 2) Book: 'Voodoo, Africa's Secret Power' by Gert Chesi, published by Perlinger Verlag, 1979. (In 1964 Gert Chesi spent 8 months in Lambarene as the guest of distinguished author and Christian missionary Albert Schweitzer. It was during that time Chesi developed a deep interest in African tribes and their traditions). (*) Indicates quotations from this book. "Voodoo Fire" is written in three sections, played continuously, which correspond to a ritual performance, beginning with Offerings to the god, a Dance leading to Possession by the god and culminating in a prayer to Shango, the melody of which is freely adapted from a genuine Voodoo chant sung by the hougan with operatic fervour against energetic inspirational drumming. Within the work's musical structure there is some mirror imagery, where a passage is later repeated but with it's metre and notation played in reverse, leading to a reprise of the opening passage. The technicalities of this and other cyclic structural elements are described in detail in the educational Music Kit available for this work. 1. Invocation of the Fir

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Price: 18.65 EUR excl. shipping

Circuitous

Einzigartiger Mix aus Afrofuturism, Science Fiction, Free Jazz, und Future Hip Hop. Eric Porter Douglas auf den Spuren des Astral-Reisenden Sun Ra...Einzigartiger Mix aus Afrofuturism, Science Fiction, Free Jazz, und Future Hip Hop. Eric Porter Douglas auf den Spuren des Astral-Reisenden Sun Ra... 'Circuitous' follows from nearly a decade of releases for Deepblak -the Oakland-rooted imprint of frequent collaborator Aybee- and shares common blood with both the elevated conscious- ness of late '80s club culture and contemporary West Coast beat scene Built around Douglas' signature polyrhythms and complex melodies, the unorthodox agility demon- strated throughout the album's fourteen tracks reflect his long history of live, improvised sets combining multiple turntables, upright bass, and a command center of digital tablets and controllers. Each track maps the artist's own movements, tracing paths of flight, highway trajectories through tunnels and over bridges, and rides through rough and gated neighborhoods. If familiar on the surface, deeper or repeated listenings to 'Circuitous' reveal the dynamic multiplicity embodied within. 'Circuitous' is a free and unbound body of work-one that defies easy classification yet translates fluidly across multiple environments-compiled over double LP in order to fully realize the scope of Afrikan Science's sonic palette. The album is mastered and cut by Rashad Becker at D&M, pressed on a double 140g vinyl & CD, featuring artwork by Louis Reith & Bill Kouligas. soundcloud.com/pan_recs/sets/afrikan-sciences-circuitous-lp/s-1fV25 TRACKS: 1. Two in the Chamber 04:45 2. Reddin Off 04:32 3. Transient Authority 03:05 4. Evolved In Twists 06:28 5. Circuitous 05:34 6. Kae 06:03 7. Feel 07:38 8. Swash 04:07 9. The Image 08:28 10. Group Home Reality 04:04 11. Alibi II 04:01 12. DBC 05:30 13. I'm Asking You KB 07:35 14. Tell Me Who Like That 06:45

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Price: 15.03 EUR excl. shipping

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