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Pat Metheny's "Orchestrion" - Interview (2)

cohesion is a basic element of this work: how did you get?
"One of the most obvious and important is that there are many ideas in the field. And I mean that every idea is based on 1, 2, 3, 4, 5 also musical ideas, especially in long pieces. Cohesion is a staple for me. And I must say that it is the cohesion that is lacking in the music you hear now turn. We live in half a sophisticated and layered sound. There are many young jazz musicians who have great skills and many good ideas, but ideas are disconnected from each other. Do not bind the ideas, in essence. For me, the narrative of the ideas put in close connection is a key feature of the will to communicate as a musician, that is through music. And it was also the platform Orchestrion "

The lack of connection between ideas is a sign of the times?
"Could be. We live in a world where the distraction is a constant. For this reason, the narrative construction, which creates the cohesion that I mentioned before, is so important. It is terrible to play and simultaneously have the feeling that nobody is really going in what you do. The melody for me it has a fundamental role in the music, but what chance we have to think in terms of melody? I mean, can we talk about harmony and rhythm for days, we can quantify harmony and rhythm but there is no language that allows us to think constructively about melody. The melodic aspects of harmony and rhythm are very important for me: the melody is the one narrative that gives cohesion to the music. Each idea must connect to the previous and the next. My musical heroes, such as Sonny Rollins, Gary Burton, Wes Montgomery, Igor Stravinsky and Johann Sebastian Bach were masters of melodic ideas to link. Can I include the list even as investigators Cecylia Taylor and Derek Bailey. All the authors I mentioned have created a narrative flow in music. Not just a list of ideas, but a network of related ideas that gives form to a style. What I want is just the flow, the connection ".

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Pat Metheny's "Orchestrion" - Interview (1)

The first phase of his career Patrick Bruce ' Pat 'Metheny (born August 12, 1954 at Lee's Summit, Missouri) has been characterized by creative impulses that have brought this guitar to enrich the style of jazz - with great success and critical - music including blues, country, experimental, ambient, pop, rock, ethnic. The last album was really surprising " Imaginary Day ", released in 1997. Later, however, Metheny has expanded its range of action / attention, working on new productions of the Pat Metheny Group and the consolidation of the excellent relations of cooperation (Brad Mehldau, Charlie Haden, Michael Brecker). No lack of depth explorations in style the 'combo jazz trio', or the most extreme sound research (" The Sign Of 4 ", recorded live at the Knitting Factory d NYC in the company of Derek Bailey, George Bendian, Paul Wertico).

In 2010 the indefatigable Pat has the unusual project " Orchestrion "mechanical orchestra where the musicians are 'robot' - that is electric or acoustic instruments - directly operated by the same guitar, through a sophisticated system based on solenoids and pneumatic principles. Not just record bases, and then, but "agents" non-human sounding music with band leader (human, too human or superhuman, as you prefer).

@ Angels Demons came with Pat Metheny mechanisms between mobile Orchestrion.
This is the first part of the interview.

What was your intention when you imagined basic "Orchestrion?

"This project is rich in elements of charm, on many levels. It is a platform and at the same time, it is a special media that offers new opportunities and new areas of inquiry or investigation, in all aspects of the music. The embryonic idea of \u200b\u200bthe project came to me many years ago. My grandfather owned a mechanical piano , the so-called player piano , an ancient instrument that, in the nineteenth century, was considered science fiction. The attraction of this instrument has accompanied me all my life. Somehow I always thought of how to achieve something in the spirit of the player piano, that is, a mechanical orchestra was born and was used before the advent of the music industry, that affect the music before becoming a standard practice. Thinking about the system of ' Orchestrion I asked myself many times, because this way of making music has been abandoned? A couple of years ago I received a call from composer Steve Reich. In 1989 I recorded the songs, written by Reich, who made up the work Electric Counterpoint . It was me alone with my guitar, but through numerous recordings over, was like listening to an orchestra of guitarists. A few year I was asked to play Electric Counterpoint Live at Carnegie Hall. I went up on stage, accompanied only from the records of 12 other parties who had previously performed and recorded. The concert made the audience go crazy, and after the performance, in the back of the stage I said to myself, I played with the tapes and it went very well. It's time to give substance to that desire which I carry within me ever since childhood: the time has come to realize Orchestrion.

What were the phases of creation?
"I started working on the project, with the support of luthiers and sound technicians. I had clear ideas about the outcome I wanted to achieve and I wrote a lot of material. But when the instruments were ready dell'Orchestrion I discovered that I had composed the music that could not work with this new structure. I threw everything away and starting again from scratch. It was precisely these tools to show the opportunities that I could explore, in terms of harmonic and melodic. I wrote it based on the music of nature Orchestrion not Orchestrion tried to bend to my will. I always try to get the most from the potential that the context I sell. I mean, when I play with a great bass player is my care to write bass parts that are equal to his talent. If I play with a great drummer led him to give his best. And so on. With members of Orchestrion I could not deal with the talent: they are inanimate, but have potential. The instrument platform called the palette used. The process of deepening was incredible. The song that opens the disc lasts 16 minutes and consists of 200 pages of score. The counterpoint between the instruments is very complex " .

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28 @ 28 - the lineup

Sunday, February 28, the radio program " @ Angels Demons" is been
almost entirely occupied by the collage sound (or, if you prefer, medley post-modern ) "28 @ 28 " created with editing software Vegas and which - in full or partial - 18 tracks that span across genres is not contiguous. The title indicates the duration: 28 minutes and 28 seconds, aired Feb. 28. So much for accuracy. is a tribute to composers and musicians who have gone beyond the boundaries of expression, beyond the fences gender, as well conventions. "28 @ 28" is structured as a road movie or a journey from sunset to sunrise. The list of participants , in order of appearance, is as follows (Introductory Note: have been marked with [*] all these pieces in full, the others are fragments or pieces cut from cited)

Garbarek - Kashkasian - Katché , "A Tale Begun"

Bela Bartok , "Music for Children - Vol # 1 10" [*]

Battaglia - Rabbia , "Spirits of Myths"

Evangelista , "On The Captain's Side"

William Burroughs , "Present Time Exercise"

Steve Reich , "Music For 18 Musicians"

Omar A. Rodriguez-Lopez , "Asco Que Conmueve Los Puntos Erògenos"

Judee Sill , "Jesus Was A Cross Maker" [*]

Erkki Sven Tüür , "Conversio"

Frank Zapp a, "T-Mershi Dween" [*]

Post Soviet Land , "Bells"

Steely Dan , "Don't Live That NYC No More"

Andy Hawkins , "River Blindness"

Bela Bartòk , "Music for children - Vol. 2 # 21" [*]

Kronos Quartet , "Purple Haze" (cover)

Frank Zappa, "Strictly Genteel"

Joni Mitchell , "All I Want" [*]

John Zorn, "Sonnambulism"

Create these sound collage is an interesting and instructive exercise that brings the music of others, providing unprecedented creative ideas and stimulating to listen new ears. It is an attempt to answer the question posed in Jack London " philosophy of life of the author ", published on pages of the magazine "The Editor" in October 1899, namely: "What do you know the world below the surface of boiling?"

[Both drawings by Dave McKean ]

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Angels @ Demons on Friday evening

cycle night radio show, "Angels and Demons" begins in Milan on the frequencies 107, 6 of Radio Popolare summer 2009. The goal is to give space to the music, the genius, the instincts, the idiosyncrasies and neuroses music John Zorn and the many musicians / composers who have worked or are working with him (Marc Ribot, Rob Burger, Uri Caine, Joey Baron, Greg Cohen, Medeski Martin & Wood, Sylvie Courvoisier, Koby Israelite, Cracow Klezmer Quartet, Bill Frisell, Dave Douglas, Trey Spruance, Trevor Dunn, just to name a few). Despite the similarities with the novel by Dan Brown, the name "Angels and Demons" takes its cue from the songbook "Masada 2 - Book of Angels," which currently has 14 albums released by Tzadik and dedicated to Zorn to Christian demonology and the fallen angels (Lucipher, Orobas, Balan, Xaphan, etc.). Ladders ten episodes of the tracks include linear, complex, weird and, in some cases, admittedly difficult parts. The findings are positive and so, at the end of the summer, and Radio Popolare Maurizio Principato decide to prolong the cycle in autumn and winter months. The transmission is slightly different name, becoming " @ Angels Demons - authors, musicians and explorers beyond all boundaries." I embrace music content, as well as the complete works of Zorn's work, the work of composers and musicians (from Frank Zappa to Ralph Towner, Keith Jarrett by Warren Haynes to from The Mars Volta to Erkki-Sven Tüür by Steve Reich to Massimiliano Viel ) that have opened and continue to point to new paths in the infinite landscapes of contemporary music, without restrictions or distinctions of gender. At the same time giving space - within the various episodes - in dozens of interviews during which writers, directors, promoters and designers "without borders" illustrate and disseminate their work. Were followed with meticulous attention many reviews in Milan, such as " Bars in Concert at the Teatro Manzoni " (live performance dedicated to the variegated universe jazz), " Koiné - Teatro Dal Verme " (concerts of avant-garde music) " Ambience " (laboratories play on the theme: music and the environment, held at O 'Artoteca , by Sincronie and Die Schachtel ). The 21 episodes of "Angels @ Demons" have aired on Sunday afternoon from 17:35 to 18:30. Sunday, February 28, the program has dedicated a tribute to sound of 28 minutes and 28 seconds overall, entitled (with unbridled excess of imagination) "28 @ 28 . It 's a musical collage dedicated to all artists boundless and those who follow with pleasure / curiosity / interest "@ Angels Demons". If you wish to download the collage: 28 .

Since the changes spring brings tangible and imminent need to renew (even draconian), from March 5, 2010 transmission airs Friday night at , from 22:35 to 23:30 . The editorial line remains the same. The surprises and exclusives increase with geometric progression - Service Note: The transmission can be heard streaming on the site www.radiopopolare.it . Finally, an exciting teaching extrapolated from the writings of Jack London (republished by Minimum Fax in his essay " First Aid for writers "):" Rotta constant and clear mind .