#harmelodics

[soundgrammar]

James Blood Ulmer: Odyssey

#James Blood Ulmer #avant-funk #harmelodics #Soundcloud #music

[realgregosby]

Backstage, post duo concert in 2007 with @joannebrackeen for the inimitable @ornette.coleman #ornettecoleman It was both a pleasure and an honor to perform in his presence for the first time. He told me, “I like the way you hear, I really do.” That was very kind of him to say, considering the impact and influence that the gift of his music has been for #art, #culture, and the #world. #innovation #icon #saxophone #harmelodics https://www.instagram.com/p/CHHfzbwAPzL/?igshid=qlpl4ohav89l

#ornettecoleman #art #culture #world #innovation #icon #saxophone #harmelodics

[invisiblemotor]

My music doesn’t have any real time, no metric time. It has time, but not in the sense that you can time it. It’s more like breathing – a natural, freer time. People have forgotten how beautiful it is to be natural. Even in love.

Ornette Coleman, The Harmolodic Manifesto

#harmelodics #ornette coleman #time #love

[made-by-lulu]

#Batch8 #kombucha2F using #RizeTea I love love love the color! #cantwaittotrythisbatch #volimkombucha #gottastartsomewhere #ihavebiggerplans #kombuchabrewedinsplitcroatia 🇭🇷 #happyjuly4 Also: listen to #jamesbloodulmer #AreYouGladToBeInAmerica — my best 4th of July song since I was age 21 💓 #harmelodics (at Split, Croatia) https://www.instagram.com/p/BzfUSMoBbyN/?igshid=qs1fzp7a3h8x

#batch8 #kombucha2f #rizetea #cantwaittotrythisbatch #volimkombucha #gottastartsomewhere #ihavebiggerplans #kombuchabrewedinsplitcroatia #happyjuly4 #jamesbloodulmer #areyougladtobeinamerica #harmelodics

[dustedmagazine]

James Brandon Lewis Quartet – Molecular (Intakt)

Ornette Coleman invented Harmelodics. Wadada Leo Smith pioneered Ankhrasmation. Anthony Braxton engineered at least five major compositional frameworks that have defined his creative output over the last half-century. There’s a long and storied lineage of devising and applying stylized systems to improvised music. James Brandon Lewis adds to the estimable number with Molecular, an album that debuts musical means influenced by the structural aspects of the DNA double helix alongside an auspicious ensemble assembled to actualize it.

Lewis is no novice when it comes to pulling in disparate influences to inform his work. Spoken word and the traditions of African American spirituals and quilting have shaped past projects. Here, in the company of pianist Auran Ortiz, bassist Brad Jones and drummer Chad Taylor the emphasis is on balancing ensemble integrity with individual creativity. Lewis, and essayist Peter Margasak run down the specifics of the music’s borrowings from molecular biology, but it’s testament to the vibrancy of the end results that no theoretical weed-whacking proves purely voluntary and hardly necessary.

“A Lotus Speaks” and “Of First Importance” land a strong one-two opening punch, the former cast as a staggered, centripetal march and the latter a mallets-driven ballad plying dry humor in its programmatic positioning to title, but it’s on “Helix” where Lewis’ compositional equanimity comes into razor focus. A propulsive theme statement dispensed with, the leader drops into a racing solo punctuated with clipped Doppler effects. The others are equal participants lead by Ortiz’s frenetic fills that recall the cascading obsidian figures that the late great Andrew Hill used to specialize in.

“Per 1” and “Per 2” are comparatively curt exercises, each stamping out convincing hairpin slabs of syncopated, claustrophobic free funk. The title piece shapes the melodic consensus to accommodating ballad contours and Ortiz once again traces dark hued patterns over an undulating bass and drums groove. “Neosho” derives considerable gravitas from the contrast of the pianist’s shimmering ostinato with Lewis’ incremental cry. Jones and Taylor once again keep pliant and propulsive cross-rhythms that further stoke the drama.

Lewis’ must have heard something liberating in their spirited interaction because he becomes spectator on “An Anguish Entirely,” leaving the remaining players to lock and release over a repeating rhythmic figure that’s as invigorating as it is infectious. Brief and poignant, “Loverly” signs the album off on a delicate and mellifluous shared note. DNA architecture serves as Lewis’ metaphorical musical correlate, but it’s also a subjective measure of how deeply these four musicians connect in terms of shared language and imagination.

Derek Taylor

#james brandon lewis #molecular #intakt #jazz #auran ortiz #brad jones #chad taylor #dusted magazine #albumreview #derek taylor

[djbatchy]

Your Latin in the Matin lesson Brazilian Bliss 46 has only been up 3 days & has continued to climb up the Global world chart on Mixcloud to 56th & features the following masters, teachers & shamanic guru's Marcos Valle, Airto, Stanley Turrentine, Hermeto, Deodato, Al Di Meola, Ana Caram, Jose Neto, Bebel Gilberto, Seu Jorge, Barbatuques, Aruan Ortiz, Hamilton de Hollanda, Bixiga 70 & Amaro Freitas - wow what a rollcall & register that is - please bring your fullest perception & aural skills it promises to be a beatastic & harmelodic feast! Extra homework applicable to late attendees & absentees on Mixcloud later...listen during your voluntary detention period by clicking below...

https://www.mixcloud.com/DJBatchy/brazilian-bliss-46-10th-april-2019/

[sonicstudies]

Call for papers: Tuning Speculation V: Vibratory (Ex)changes 17-19 November 2017, Toronto

For the fifth edition of Tuning Speculation, the conference welcomes  Johnny Golding ,  fractal philosopher extraordinaire and Rasheedah Phillips, auditionary force behind the AfroFuturist Affair and Black Quantum Futurism! If the din of sonic and vibrational ontologies has catalyzed a salutary expansion of the vectors through which the world is (never) made sensible, it has also risked speaking, echoing, and amplifying the disquieting murmurs and groans of contemporary neoliberal biopolitics such that sounds of the latter are, paradoxically, inaudible as such. If this is the case, then what is the relationship between a vibro-capitalism that is heard in and as contemporary politics and a vibrocapitalist impulse that drives and ratifies the reality of those same elements? Put differently, on what does vibration exchange? Maybe it’s time to forget the future, which was always a hallucinatory mnemotechnical destiny anyways; instead, the tuning is now and it brings with it questions that can only be (un)heard at scales that never quite sound. The organisers therefore seek contributions from scholars, artists, writers, activists and comedians who take seriously the ethical, political, or phenomenal capacities —possibly impossible, and likely unlikely—that are opened, foreclosed, amplified, attenuated, dampened, resonated, remixed, or otherwise called forth at the nexus of vibration and exchange, however broadly conceived. While several approaches can catalyze our speculations, the organisers propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. The conference also welcomes various reflections on sono­distractions, phonochaosmosis, ’patasonics, harmelodic­prescience, audio pragmètics, chronoportation, h/Hypermusic, rhetorical modes of speculation and other invocations of impossible, imaginary, and/or unintelligible aural (dis)encounters. Please send an abstract (maximum 250 words) to [email protected] by August 1st 2017. In addition, given that the organisers will be making multiple funding applications to support travel for all presenters, please include the following with your abstract: short bio (150 words), your affiliation, and a summary of academic degrees. Notification of acceptance will be given in early September. Tuning Speculation V is generously supported by York University through the Faculty of Liberal Arts & Professional Studies, the Faculty of Graduate Studies, and the Department of Humanities.

[thingsimeanttoapplyfor]

Tuning Speculation V: Vibratory (Ex)changes

17-19 November 2017, Toronto (Canada)

Organized by The Occulture

(David Cecchetto, Marc Couroux, Ted Hiebert, Eldritch Priest and Rebekah Sheldon)

If the din of sonic and vibrational ontologies has catalyzed a salutary expansion of the vectors through which the world is (never) made sensible, it has also risked speaking, echoing, and amplifying the disquieting murmurs and groans of contemporary neoliberal biopolitics such that sounds of the latter are, paradoxically, inaudible as such. If this is the case, then what is the relationship between a vibro-capitalism that is heard in and as contemporary politics and a vibrocapitalist impulse that drives and ratifies the reality of those same elements? Put differently, on what does vibration exchange?

Maybe it’s time to forget the future, which was always a hallucinatory mnemotechnical destiny anyways; instead, the tuning is now and it brings with it questions that can only be (un)heard at scales that never quite sound. We therefore seek contributions from scholars, artists, writers, activists and comedians who take seriously the ethical, political, or phenomenal capacities —possibly impossible, and likely unlikely—that are opened, foreclosed, amplified, attenuated, dampened, resonated, remixed, or otherwise called forth at the nexus of vibration and exchange, however broadly conceived. While several approaches can catalyze our speculations, we propose to concentrate on sounding art—broadly understood—in order to leverage the fated semiotic parasitism, differential production, relational expression, and perceived multiplicity that informs such practices. We also welcome various reflections on sono­distractions, phonochaosmosis, ’patasonics, harmelodic­prescience, audio pragmètics, chronoportation, h/Hypermusic, rhetorical modes of speculation and other invocations of impossible, imaginary, and/or unintelligible aural (dis)encounters.

Please send an abstract (maximum 250 words) to [email protected] by 1 July 2017. In addition, given that we will be making multiple funding applications to support travel for all presenters, please include the following with your abstract: short bio (150 words), your affiliation, and a summary of academic degrees. Notification of acceptance will be given in early August.

Tuning Speculation V is generously supported by York University through the Faculty of Liberal Arts & Professional Studies, the Faculty of Graduate Studies, and the Department of Humanities.

[jazzworldquest-blog]

USA: Matt Lavelle's 12 Houses- End Times (2017)

End times One of the signatures of the 12 Houses is that with the exception of the singularly unique voices of guitar players Jack DeSalvo and Anders Nilsson, very rarely is an instrument doubled. In fact, the only time this occurs is when we are joined by special friends like incomparable global citizen Nicole Johänntgen or shaman Ras Miguel who hails from the mountains of Puerto Rico. Each of the houses is an individual sound-color and story. The seed for the creation go the 12 Houses was planted in a series of discussions I had with Ornette Coleman. In one important conversation, he pointed out to me that, instrumentation aside, what most traditional large ensembles were missing was a balance in male and female energy. I still am not aware of any large group in jazz history which has pursued this elemental balance. In another discussion, I recall wondering out loud, what it might be like to have a large ensemble in which you could hear every individual color at the same time. Ornette smiled when he said, “There’s only one way to find out.” If we dare to enter the mind of God, we can wonder about what decisions were made in creating life as we know it in order for the human race to become itself. Seemingly, separation by gender and culture continues to be far more than we can handle. The 12 Houses are an attempt to musically begin to bring us all back together while celebrating each and every one of us. What if the balance Ornette spoke of could be achieved on a worldwide scale? Every piece on our second album is a concerto of sorts that celebrates a sound color that is entirely unique in the world. At the same time, each house is supported by all the other houses in the neighborhood. We’re all stronger together, and one day we just may tune the world. OC DC BC was the first Harmelodic piece I ever composed. At the time I had three C’s in my life. Ornette, Daniel Carter and Bass Clarinet which I was passionate about at the time. Of all the musicians I’ve crossed paths with, I have always been in awe of Charles Waters relationship with music. Charles is the first serious composer I ever met, and I have never met anyone who hears and writes new music so prolifically. Besides his writing, Charles has been blowing his alto and clarinet on the front line in downtown NYC for a long time, and I thought OC DC BC could tap into his spirit. Jack DeSalvo is also featured with possibly the most scorched banjo solo in jazz history as he takes his banjo through the door he opened on our previous record Solidarity down into the heart of a volcano. Bloodstreams is an unabashed attempt to hear every sound we have at one time together. Without a single unison, we all move forward each taking turns playing every note we have. The unison here is the method itself. At the center of all these cells moving downstream is my brother François Grillot and his bass. I was determined to place François in an environment he might never find himself in so he could explore in his unique way, and explore he does. My portrait of Daniel Carter is an epic out blues celebrating my dear friend DC with Uranus in the 10th house. A true portrait of DC would be an improvisation with extreme dynamic contrasts and sweeping movements, but I’m one of the few people who has played his written work, and I wanted to tap into Daniel’s version of blues and swing. At the center of his deep radical nature lies one of the biggest hearts I have ever seen. This piece features the big tone and heart of brother Tim Stocker on the big horn, the Baritone saxophone. Tim has that emotional urgency and honesty that makes everything that much more real with a sound color that is all his own. End Times is the second ballad I ever wrote trying to use wide intervals inspired again, by Daniel Carter using major sevenths in his improvisation. The song is a prayer with lyrics though we play it here as an instrumental. The prayer was and still is a call to the human race to try and become itself, written before 2012 as it seemed the world was collapsing around us. The world is in even more chaos now, so we better keep playing it. I have found myself many times telling people that when it comes to singers, there are some folks who are simply in possession of a gift from God. Anais Maviel is that kind of special person who I truly believe was born to sing, and I am in awe of her work on End Times. End Times also features cellist Gil Selinger who is a master at playing cello right at the intersection of the instrument's entire history. Another thing I love about Gil’s music is that he goes right to the emotional core of the cello, not an easy place to reach. The next piece was designed to feature a true clarinetist, (who is also a true soprano sax player). Lee Odom, also known as Sweet Lee, is simply a joy to listen to, as she gives himself over to the moment completely every time she plays music. After she had played this piece several times I asked her what the title was, and she said: “It sounds like sleepy Harlem to me.” I knew then and there that was the title, as this piece belongs to her. Lee takes us from sleep into a deep dream state, into waking up, into everybody waking up, into.. The moment I received the first time message from the love of my life and future wife Sue Nyoni, I was composing the next piece. The music is about sunset and sunrise happening at the same time, the dual existence of day and night, and both birth and death. Sue (the music) is about an epic life change sitting on your doorstep waiting for you to exit your house. Nobody on Earth can escape transformation and evolution. Brother Anders Nilsson is featured on this piece. Anders' music is, in fact, everything that the piece is about, especially night music. Anders always reminds me in music that the creation of music is indeed a human experience. In Anders' music I’m reminded of the greater nature of the human being, and that we are far greater than what we appear to be. In Anders, I hear the present and the future, never the past. Finally, we reach Darklight, a feature for Mary Cherney, a flute master. Long have I been obsessed with the flutes ability to live in such a unique sound world all their own. Dark Light is also a journey into my long time obsession with haunting dissonance. The still lake at night. The middle of a completely calm ocean. Alone on a mountain path. Darklight is also any place on Earth where there has never been any people and nature exists without us. The sound of trees growing. Mary takes us to all of these places with the center of her sound. Matt Lavelle 1/14/2017 credits released January 17, 2017 MATT LAVELLE - cornet, flugelhorn, alto clarinet, conduction LEE ODOM - soprano saxophone and clarinet CHARLES WATERS - alto saxophone and clarinet RAS MOSHE BURNETT - tenor and soprano saxophones, flute, bells TIM STOCKER - baritone saxophone, bass clarinet MARY CHERNEY - flute, piccolo CLAIRE de BRUNNER - bassoon CHRIS FORBES - piano LAURA ORTMAN - violin GIL SELINGER - cello ANDERS NILLSON - guitar JACK DeSALVO - banjo, mandola JOHN PIETARO - vibraphone, percussion FRANÇOIS GRILLOT - double-bass RYAN SAWYER - drums ANAÏS MAVIEL - voice All music by Matt Lavelle via Blogger http://ift.tt/2mO2uSc

[conelradstation]

You can play sharp in tune and you can play flat in tune.

Ornette Coleman

#free jazz #ornette coleman #harmelodics

[soundgrammar]

Ornette Coleman: Of Human Feelings

#Ornette Coleman #harmelodic funk #jazz-funk #jazz #Soundcloud #music

[djbatchy]

Your Latin in the Matin lesson Brazilian Bliss 46 has only been up 2 days & has climbed up the Global world chart on Mixcloud to 69th & features the following masters, teachers & shamanic guru's Marcos Valle, Airto, Stanley Turrentine, Hermeto, Deodato, Al Di Meola, Ana Caram, Jose Neto, Bebel Gilberto, Seu Jorge, Barbatuques, Aruan Ortiz, Hamilton de Hollanda, Bixiga 70 & Amaro Freitas - wow what a rollcall & register that is - please bring your fullest perception & aural skills it promises to be a beatastic & harmelodic feast! Extra homework applicable to late attendees & absentees on Mixcloud later...listen during your voluntary detention period by clicking below...

https://www.mixcloud.com/DJBatchy/brazilian-bliss-46-10th-april-2019/

[djbatchy]

Your Latin in the Matin lesson Brazilian Bliss 46 has only been up a day & has charted on the Global world chart on Mixcloud at 91st & features the following masters, teachers & shamanic guru's Marcos Valle, Airto, Stanley Turrentine, Hermeto, Deodato, Al Di Meola, Ana Caram, Jose Neto, Bebel Gilberto, Seu Jorge, Barbatuques, Aruan Ortiz, Hamilton de Hollanda, Bixiga 70 & Amaro Freitas - wow what a rollcall & register that is - please bring your fullest perception & aural skills it promises to be a beatastic & harmelodic feast! Extra homework applicable to late attendees & absentees on Mixcloud later...listen during your voluntary detention period by clicking below...

https://www.mixcloud.com/DJBatchy/brazilian-bliss-46-10th-april-2019/

[djbatchy]

Your Latin in the Matin lesson Brazilian Bliss 46 features the following masters, teachers & shamanic guru's Marcos Valle, Airto, Stanley Turrentine, Hermeto, Deodato, Al Di Meola, Ana Caram, Jose Neto, Bebel Gilberto, Seu Jorge, Barbatuques, Aruan Ortiz, Hamilton de Hollanda, Bixiga 70 & Amaro Freitas - wow what a rollcall & register that is - please bring your fullest perception & aural skills it promises to be a beatastic & harmelodic feast! Extra homework applicable to late attendees & absentees on Mixcloud later...listen during your voluntary detention period by clicking below...

https://www.mixcloud.com/DJBatchy/brazilian-bliss-46-10th-april-2019/

[djbatchy]

Your Latin in the Matin lesson tomorrow features the following masters, teachers & shamanic guru's Marcos Valle, Airto, Stanley Turre tune, Hermeto, Deodato, Al Di Meola, Ana Caram, Jose Neto, Bebel Gilbert, Seu Jorge, Barbatuques, Aruan Ortiz, Hamilton de Hollanda, Bixiga 70 & Amaro Freitas - wow what a rollcall & register that is - please bring your fullest perception & aural skills it promises to be a beatastic & harmelodic feast! Brazilian Bliss with DJ Batchy 8am on back2backfm.net! Extra homework applicable to late attendees & absentees on Mixcloud later...

[conelradstation]

Don't let the saxophone tell you what to play. Let your ear tell you. No matter how much technique you have, you're not going to play no music if all you're doing is playing from how the instrument is built.

Ornette Coleman

#ornette coleman #saxophone #music #free jazz #harmelodics