Discours IV , for three clarinets, performed by Alain Damien et al. Discours VI , for string quartet, performed by the Domus Quartet Then we jumped back and started working chronologically: 1. Accord , for soprano and five soloists. Aird de voyages vers l'interieur , for mixed voices with clarinet and trombone. Toucher , for solo percussion. Voix instrumentalisee , for bass clarinet. Corporel , for percussionist, performing only with his body. Older Posts Home. Subscribe to: Posts Atom.
Listen to WKCR -- now! His music draws inspiration from these experiences and passes through emotions rather than through traditional rules and structure. His full legacy extending not only over the field of electronic music, but also into avant-gardism, into a decidedly different language of rock, into computer-based music or natural experimenting, into classical opuses and into concept-filled fresh, generic art-leaning language.
In his music, Cacciapaglia generally blurs or melds, better said the line between classical and electronic, between orchestral and soloistic designated playing, between fully-researched and improvised music, between tradition al and emotion-driven ingenuity. Much of what he offers is down with avant-garde impulses and with an artistic superior code.
Tony Oxley born 15 June is an English drummer, composer, painter, and one of the founders of Incus Records. Tony Oxley is arguably one of the most significant British drummer of the latter half of the twentieth century. He created a style of improvised drumming, virtually from whole cloth, that has had a tremendous impact on three generations of jazz players. As co-founder of the Musicians Cooperative and Incus record label, he helped put the British improvised music scene on firmer ground.
Tony Oxley was born in Sheffield, England. A self-taught pianist by the age of eight, he first began playing the drums at seventeen. From to , after he was drafted into the British army, he became a percussionist in the the Black Watch military orchestra. While serving, Oxley studied music theory and he did more than just develop his classical chops performing works by Beethoven, Mozart, and Dvorak.
Those jazz experiences in America were decisive for Oxley. Back home in Sheffield, he formed a jazz combo which he led for three years. In , he had another decisive encounter: he met guitarist Derek Bailey who was living just around the corner. With bassist Gavin Bryars, they formed a trio called Joseph Holbrooke named after a long-deceased British composer.
The group started out playing jazz standards, but quickly evolved into other kinds of music, fueled by the interests of the members. It was a period of learning, of taming oneself, of discovering other ways of music-making.
Free improvisation—which Oxley would later term European Improvised Music—was the bridge the group built between these extremes. It was music virtually unknown in England—or elsewhere in Europe—at the time.
In , Oxley moved to London. Oxley had already moved beyond traditional jazz in his own music. Their music was quickly moving away from anything resembling jazz, fostering hostility in the British music press and at record companies. The results sound at times like an elegy to the jazz they were all leaving behind. By the early s, Oxley was doing well for a performing musician.
Venues were shutting down or booking only the most traditional jazz acts; the music was be littled by the general music press and record labels simply ignored it completely. Whilst I was being recorded, there were important developments and musicians who were not. By the time he started recording for CBS, Oxley was beginning to realize that the traditional drum kit, made up primarily of snare, toms, and cymbals—even as he had expanded with unusual noise-making devices— was not adequate for reproducing the music he was hearing in his head.
He started to experiment with various forms of amplification and electronic devices such as ring modulators to alter the sounds he made. It is unbelievable what kind of sound possibilities you can find in a little piece of metal.
Smith arranged a three-month-long artist-in-residence position for the drummer. As professional electronic composers require a large desk of treatment possibilities I had the idea to cut this down to a minimum in order to improvise. I also constantly changed my sound source. I could quite easily move my equipment to any situation.
Davie phoned Oxley to ask if he, Paul Rutherford, and Evan Parker were interested in performing at a gallery where Davie had an exhibit. When Oxley accepted, he discovered that Davie was profoundly interested in music, and often performed on an array of instruments.
He looked for his own path very singlemindedly and found it. Oxley quickly discovered the rhythmic possibilities in the instrument, and has since had an abiding interest in working with string ensembles of all kinds.
In , Oxley formed the Celebration Orchestra, an under-documented big band that played on and off until well into the s. His compositions for the group were as adventurous as anything else he has done. A particularly fruitful collaboration began when Oxley first performed with Cecil Taylor. Taylor subsequently introduced Oxley to American trumpeter Bill Dixon, which set another productive collaboration in motion.
He does see his musical role as very different from that played by jazz drummers. In the new improvised music, a percussionist can interrupt the flow of his playing without affecting the nature of his relationship to the other players. Later labeled as one of the first krautrock groups, they transcended mainstream influences and incorporated strong minimalist and world music elements into their often psychedelic music.
Can constructed their music largely through collective spontaneous composition —— which the band differentiated from improvisation in the jazz sense. Through albums such as Monster Movie , Tago Mago , Ege Bamyasi and Future Days , the band exerted a considerable influence on avant-garde, experimental, underground, ambient, new wave and electronic music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C.
Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music.
Then there was jazz and all these elements were our contemporary music, it was new. Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by with guitarist Michael Karoli, a year-old pupil of Czukay, and drummer Jaki Liebezeit.
Can was ahead of its time in a number of ways. Czukay and Schmidt had studied with Stockhausen, and Schmidt had also performed and conducted works by Cage, Feldman and Gorecki. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of In mid, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom.
Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie , released in So, all I can say is wow, cool, too much, fantastic, far out. The music unfolds slowly, freely, with anchor points allowing the musicians to stay on track.
A wonderful exercise of control from a group of big names in British free history. He trusts the players to do what they generally do - play very well. The title, SEQUENCES , seems exactly right; what you get is a series of solo or small-group improvisations linked with quite brief but very imaginative passages for part or all of the ensemble. Because of the non-dictatorial approach the music sounds like a a series of beginnings, rather than a formalised music event.
No harm here of course: beginnings, played by such a band are pretty engrossing. When the pieces end, it's as if they could have gone on for a long time: they leave a feeling that a lot remains to be said.
There's no percussion here: Oxley plays electronics. It's an unusual sound - even in this context - and works brilliantly. If I describe this music as predominantly sombre and inconclusive, don't be put off: there is so much going on. With a complete exhalation bring the face close to the knees and watch for the extra stretch at the lower back, at the base of the spine, in Paschimottanasana C. This forward fold of the torso brings a gentle massage to the lower back, slowly activating the muladhara chakra , or the root chakra.
Focusing on this main part of the spine the root, helps to bring about a slow flow of prana, removing the blockages with the forward fold. This root of the spine is compared to the root of a tree giving the body the full support and helping the body to grow well. Remain here for about 6 slow breaths, while the stretch is felt at the lower back close to the base of the spine.
Release from Paschimottanasana, by taking a deep inhalation, while taking the arms stretched out and up and raising the torso. Seated back in Dandasana, bend one leg and place the feet on the floor and then the other, and sit on both your feet, in Malasana or Garland Pose. Considered to be a good way to activate the root chakra or the muladhara, place the hips down but not touching the floor and bring the outer elbows on the inside of the inner thighs and place the palms in Namaste, close to your upper chest.
Taking the mind to the base of the spine close to the lower back, watch the movement of the spine as the breathing happens. Malasana, grounds you and hence make that connection with the body while in this posture and watch for the 8 long breaths. Push the hips downwards and raise the chest out and bring the face up while contracting the muscles close to the lower back. This pose will activate the Adrenal Glands, influencing the functioning of the large intestine and rectum.
Raise your torso up from Malasana with inhalation, and bring the body extending the lower part of the body while keeping the knees straight, and as you exhale continue to keep the torso in a forward fold, placing the hands on the floor besides the feet. With feet close to each other, take the toros in Standing Forward Fold Pose, focusing on the base of the spine with the deep sense of stretch at the lower back.
Remain in this posture for about 10 slow breaths and make sure the body is relaxed while there is a gentle massage to the lower back.Sequences. Sort by: Date - Total Views - Total Favorites. 3 images, views, 72 favorites, 4 comments Transformation potions can appear to be much, much less potent than they actually are. 2 images, views, 92 favorites, 9 comments.