G – H – I

All artists filed by last name under G, H and I :

Udo Schindler, Margarita Holzbauer, Harald Lillmeyer | 1. Salon für Klang und Kunst

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“schindler / holzbauer / lillmeyer” is a trio that was formed following the musicians’ successful collaboration as members of the ‘Munich Instant Orchestra’. Defining influences for their improvised chamber music include the confrontation of the players’ respective musical roots (free jazz, ancient, experimental and contemporary music), electronic and acoustic sounds, augmented playing techniques (multiphonics, micro¬tonality, preparations, electronic sound design) and the masking and pseudo-concealment of a sound’s origins. Continue reading →

Blaise Siwula | John Gilbert | Fulgornatus

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Fulgornatus – “ornate lightning” from Latin roots- was recorded 10-4-08 in Brooklyn, NY. The song titles refer to reflective responses of the structures ie spontaneous compositions. This partnership began via the internet. John Gilbert guitar is a resident of Tampa, Fl and Blaise Siwula alto/tenor sax and clarinet is in Brooklyn, NY. They met at Blaise’s studio in Brooklyn with two microphones and a HD recorder and performed the concepts that had been inferred via email and phone calls. 20th century classical music … microtonal approaches in composition… Messeian…. Thelonious Monk. John Gilbert- guitarist and musical innovationist, serialist of microtones & death metal guitarist. Blaise Siwula – Saxophones/Clarinets adherent of free original music in any medium or genre. Continue reading →

Moe! Staiano’s Moe!Kestra! | Two Forms of Multitudes: Conducted Improvisations

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All compositions, conductions and arrangements by Moe! Staiano. Note: The pieces are two large compositions as a whole. The indexes are provided for convenience only. Part of Conducted Improvisation Piece No. 4 was previously released on the KFJC compilation ‘Ghost Machine; Live from KFJC 89.7 FM’ (2002). The first ten minutes were edited out (hence the fade-in) to accomodate the duration of a single CD. © 2003 Moe! Staiano Continue reading →

Moe! Staiano’s Moe!Kestra! | An Inescapable Siren Within Earshot Distance Therein And Other Whereabouts

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Moe! Staiano’s Moelkestra!: Two Compositions for Large Orchestra. Produced and mastered by Dan Rathbun, November,2004 at Polymorph Studios, Oakland, California, USA Co-produced/policed by Gino Robair, Jonathan Segal, Moe! Staiano and Michael Zelner. Piece No.7 recorded live in performance by Michael Zelner, June 3,2003 at the Oakland Theater Box, Oakland,California. Piece No.5 recorded by Cuco Daglio and Guy Brenner, November 7,1998,attheYerba Buena Center for the Arts, San Francisco, California for the OPUS415 Marathon *4. Note:The pieces are two large (and yet,separate) compositions as a whole.The indexes are provided for convenience only. All compositions, conductions and arrangements by Moe! Staiano. Design by Dan Kletter. Photos by Peter Conheim (Piece No.5 image) and Dave Grossman (everything else) © & © 2006 Moe! Staiano, © 2006 Rastascan Records, © 2006 Amanita Records. Continue reading →

Moe! Staiano’s Moe!Kestra! | Two Rooms Of Uranium Inside 83 Markers: Conducted Improvisations Vol. II

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Moe! Staiano founded the Moe!kestra! project back in the beginning of 1997. The idea came from a show he did in 1996 in Berkeley at a place called Beanbenders where he gathered some dozen or so musicians to do a simple instruction, playing a one sustained note from soft, quite, crescendoing into a loud frenzy before playing free and all totally out while Moe! destroys several television sets and lighting off Whistling Pete’s fireworks (a frantic and future Moe!kestra! player Bill Horvitz had to momentarily stop Moe! to save his guitar amp that was in harms way). At the end of the show o all the excitement and cheering, Brian Hall (from Ubzub) was shouting “Moechestra! Moechestra!” This gave Moe! the idea of working in a large orchestra format and started writing text instructional scores (Moe! has no music theory, so he needed to describe how the musicians play his scores though there are some notated parts, both traditional and graphically) and wrote Piece No.1: Death of A Piano, which was loosely based on the 1996 performance and literally requires the actual destruction of a piano, which has been performed in about six times total. Continue reading →

The Long Way Home | The Best Of the Little Red Book Series | 1998 – 2008 | E-Book

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This sturdy series of little ‘books’ has been compared to the Pocket Poets series begun in the early 60s by City Lights Publishing and continues to delight audiences with the powerful imagery of the writers selected. As Laurel Speer (Beatlick News) wrote: “You can carry a Little Red Book in your coat pocket along with a passport. The passport will take you out of the country. The book will transport you out into the galaxy.” Continue reading →

Jeff Robinson Trio | Getting Fixed

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The Jeff Robinson Trio is a very refreshing sound of ‘real’ acoustic Jazz and genuine creativity. The interplay between the words and the music flows very naturally. There are musical and lyrical moments that remind me of the Great Rahsaan Roland Kirk. The poetry (mostly prose) is heavily laden with the experience of a heroin addict. It actually has the main ingredient for a sound track to a movie. Even though there have been many recordings about the abuse of drugs, the culture, the highs and the lows, i.e., Superfly, The Last Poets, Marvin Gaye’s ‘What’s Goin’ On’, I can’t recall an entire album in this case a CD solely devoted to the addict and his addiction. This is by no means a commercial hit nor is it a typical CD of music and poetry. Continue reading →

Francesco Massaro | Beppe Scardino | Danilo Gallo | Adolfo La Volpe | Giacomo Mongelli | Color Network | Aut Records

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Color Network is conceived as a tribute to one of the leading characters in the international music scene: Ornette Coleman. What sets Col-(or Net)-work apart from the others that share the same intention is the choice to focus exclusively on one album, 1957’s “The Shape of Jazz to Come”, which is regarded as one of the texan saxophonist’s seminal works. Coleman’s compositions frame a musical environment that serves sometimes as point of departure and sometimes as landing place for reckless improvisations which explore unfamiliar acoustic regions. The sound resulting in the unusual combination of two baritone saxophones and electronics turns out to be surprisingly effective and constitutes the distintive feature of the music. The band that takes risks and assumes the task of merging some of the forms of free jazz and the search for atypical, contemporary sonorities into a fresh, colourful and autonomous musical statement. Continue reading →