Electro Acoustic

The strength of these pieces by American composer Keeril Makan is that they fall outside the boxes of minimalism, abstract electronic music, and world-influenced styles. The word visceral keeps coming up in his descriptions of his own music, which revels in sheer sound and proceeds in large, physical gestures with, Makan says blithely, "no formal logic other than careful attunement to what the ear and body dictate." Paradoxically, though, it's full of surprises. The three works on the album all fall loosely under the chamber music banner and are all recognizably by the same composer, but each has a different method.

Denny Zeitlin - Both/And: Solo Electro-Acoustic Adventures (2013) {Sunnyside SSC 1352 rec 2003-2012}
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© 2003-12, 2013 Sunnyside Communications | SSC 1352
Jazz / Electonic / Avant-Garde Jazz / Acoustic Piano / Synthesizers / Keyboards

Pianist Denny Zeitlin has the distinction—among many others—of having written one of the loveliest of loves songs: "Love Theme From Invasion of the Bodysnatchers." The tune can be heard in its unadorned beauty on Zeitlin's Precipice (Sunnyside Records, 2010), the recording of an extraordinarily beautiful and adventurous solo concert. The original version of the tune, from the soundtrack of the 1978 movie, Invasion of the Bodysnatchers (1978)—a masterful remake of the classic 1954 science fiction film—was Zeitlin's lone effort at writing for film. Hired originally to do a "jazz" score, Zeitlin found it necessary—when plans changed—to convince the powers-that-be that he was indeed capable of writing music for symphony orchestra and electronics—the then-new-on-the scene synthesizers.

Evan Parker Electro-Acoustic Ensemble - Warszawa 2019 (2021) {Fundacja Sluchaj}
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© 2021 Fundacja Słuchaj & Polish Music Council Foundation
Jazz / Electroacoustic / Avant-Garde Jazz / Saxophone

The ElectroAcoustic Ensemble was formed in 1990 as a sextet to explore the possibilities of real-time signal processing in an improvising context. and shortly became an opus magnum ensemble in the whole of Evan Parker's musical biography. Most of the CDs documenting the development of this exciting large ensemble were released by the legendary ECM label. The last time when EAE brought us its new CD titled Hasselt was nine years ago (PSI). Now, after this very long period, we proudly announce the brand new Evan Parker Electro-Acoustic Ensemble is coming! Beautifully recorded two years ago on the Warsaw-based festival Ad Libitum by Kuba Sosulski and beautifully mixed by Fil Gomez and Evan Parker himself in the middle of 2020 at Arcobarco, Ramsgate, UK. So let's listen and enjoying the ten pieces ensemble led by one of the greatest musicians in the world. Here comes WARSZAWA 2019.

Founded in 1992, Evan Parker's Electro-Acoustic Ensemble is a highly sophisticated grouping, which for this recording conceptually pairs three acoustic musicians with electronic tone manipulators. What keeps it so interesting is the different approaches to electronics, with Walter Prati transforming Parker's sounds, Marco Vecchi reformulating Paul Lytton's percussion, and violinist Philipp Wachsmann processing his own acoustic sounds and those of bassist Barry Guy. It is all fascinating stuff, and if it does not swing or fit into any easy definitions of "jazz," it takes the concept of improvisation to a new level. There is sometimes an aimlessness to it all that can be off-putting, but concentrated listening can produce wonderful rewards for the patient consumer. Parker's role seems less that of a leader than an instigator. He does, nonetheless, afford himself the opportunity to press his revolutionary technique to action.