3 Solo Bass Exploration MP3s by Christian Weber

Released earlier this year on the Cut label (cut.fm), Christian Weber‘s Walcheturm Solo displays the bassist’s skills at using the inherent sonic properties of a given room as a partner in his performance. Six minutes of excerpts from the album are available from the label’s website (MP3, MP3, MP3). In each, Weber mixes the textures and techniques of European free improvisation (think scratching and plucking) along a more sonorous and almost song-paced progression than those techniques might suggest. Throughout he’s abetted by the echoing properties of the hall. The album was recorded by Jason Kahn on September 13, 2007, in the Zürich, Switzerland-located art space Walcheturm. I believe that’s that’s the same Kahn who was the subject of a Disquiet Downstream back in November 2005 (disquiet.com). More info on Weber at his website, christianweber.org.

Freesound Field Recording Remix MP3s

Most music comes with some visualization, generally in the form of an album cover. The files at freesound.org come with waveform graphics, as shown below. The freesound.org site is a community for field-recording enthusiasts and, in the site’s dedicated “Remix! tree” section, the people who love to remix the publicly available source material. A recent case in point is this elegant waveform, which looks like the declining moments of a guest at your local ICU:

In fact, what’s shown above is a stereo recording of scratching, as posted on the site (freesound.org, MP3) back in March 2005 by a member who goes by Edgar.

True to the spirit of Freesound,  about a year later a member called tripta took Edgar’s sample and wove it into field recordings of an urban soundscape. The result looked and sounded (freesound.org, MP3) like this:

And just a week or so ago, yet another user, teamred, further munched up the further (freesound.org, MP3):

As teamred describes it, “i took nervous.wav and thickened it up in adobe by remixing it against itself and then took that result and ran it through audiomulch.” (Audiomulch is the name of a popular audio-synthesis and composition software package.)

Wobbly’s Massive Birdsong Megamix MP3

Back in May, San Francisco”“based musician Wobbly (aka Jon Leidecker) filled the gaps between acts at a concert headlined by krautrock legends Cluster with several DJ sets, two of which he has posted at his website, detritus.net/wobbly, for free download. (Also appearing on the Cluster bill were Tussle and White Rainbow.) Regulars of the Disquiet Downstream section will recollect an earlier Wobbly MP3 set, the “Thousand-Year Choir,” which stitched together century upon century of vocal music, from Hildegard von Bingen to Yoko Ono, with Morton Feldman and others in between (disquiet.com, June 30, 2006).

This time out, Wobbly took as his theme, as he describes it, “music that modelled or sampled birdsong or insect calls, from the 50’s to present day,” which traces from the Barrons (composers of the Forbidden Planet soundtrack), through David Tudor, on to Wendy Carlos, up through Florian Hecker and Christina Kubisch and beyond (“Pastoral,” MP3). Thoughtfully, he’s also provided not only a set list, but one with detailed time codes, so listeners can follow along — or birdwatch, as it were:

  • 00:00 – jim fassett – symphony of the birds (explanatory comments)
  • 00:08 – louis & bebe barron – a shangri-la in the desert garden with cuddly tiger
  • 01:20 – jim fassett – symphony of the birds (first movement)
  • 04:21 – francois bayle – trois reves d’oiseau / triste
  • 06:25 – pierre henry – le voyage / divinités irritées
  • 07:29 – leo kupper – automatisms sonores
  • 09:26 – eliane radigue – epsilon = a = b = a + b
  • 10:02 – karlheinz stockhausen – marsh ducks quack the marsellaise
  • 11:22 – delia derbyshire – birdsong
  • 12:40 – david tudor – rainforest IV (berlin)
  • 15:11 – oskar sala – cathy’s party / swifts in brenner’s house
  • 16:43 – ralph lundsten – fader var (prayer I)
  • 18:33 – tod dockstader / david lee myers – pond (crepitata)
  • 23:11 – luc ferrari – presque rien no. 2
  • 26:30 – hildegard westerkamp – cricket voice
  • 30:49 – wendy carlos – sonic seasonings (summer)
  • 35:46 – bernard parmegiani – capture ephémère
  • 38:29 – blevin blectum – david and justine, 47th and san leandro
  • 40:10 – conrad schnitzler – electric garden
  • 43:14 – péter eötvös – cricket music
  • 45:16 – jacques lejeune – blanche neige (solitude > golop final)
  • 50:52 – florian hecker – stocha acid zlook
  • 51:50 – christina kubisch – night flights (the cat’s dream)
  • 53:32 – thomas dimuzio / david lee myers – uncertain symmetry
  • 57:00 – jean-claude risset – sud

It being a small world, the Kubisch track was a previous Downstream entry (disquiet.com, November 11, 2007).

Complementing the massive birdsong megamix was a Wobbly set consisting of work by Cluster’s contemporaries (“Sky Plus,” MP3):

  • vladimir martynov / yuriy bogdanov – why aske you?
  • harald grosskopf – emphasis
  • bernard parmegiani – capture ephemere
  • michael rother – KM10
  • asmus tietchens – die elektrische horde
  • günter schickert – überfallig (puls)
  • monoton – dancing and singing
  • tyndall – unterwegs
  • vladimir martynov / yuriy bogdanov – spring etude
  • vangelis – at chew’s lab
  • david tudor – sliding pitches in the rainforest in the field
  • francois bayle – trois reves d’oiseau / zen
  • conrad schnitzler – ballet statique

Just as an aside, I was in attendance at that Sunday evening Cluster concert, and it was a tremendous experience to get to see those two gentlemen work their veering-on-romantic synthesizers for a crowd many of whom never thought they’d have the opportunity to experience such a thing. Thus it was all the more unfortunate, if not surprising, that so many people in the crowd persisted in talking through the Cluster set, including members of at least one of the opening bands. Dax Pierson (of the band Subtle) happened to be situated in the crowd in front of me at the start of the Cluster performance, and after a short while he spun his wheelchair around, mouthed the words “Too much talking,” and headed toward the door.

Kenneth Kirschner CD / Disquiet.com Liner Notes

The new, two-CD set from New York City-based composer Kenneth Kirschner is due out in mid-November on the 12k record label, run by Taylor Deupree. Titled Filaments & Voids, the album collects four pieces (three on the first CD, one on the second CD) marked by silence, several of them consisting of precisely constructed sound objects that are heard in sequence, framed by quietude.

I’ve long been an admirer of Kirschner and his work, and I’m pleased to report that I wrote the liner notes for the release. It was an honor to have been asked to participate.

Visit the label at 12k.com and Kirschner at kennethkirschner.com. In addition, I interviewed the composer for an article (“Music for Shuffling”) that appeared on Disquiet.com on October 6, 2005.

“St. James Infirmary” Remix MP3

The jazz and blues standard “St. James Infirmary”opens, at least in a version by Louis Armstrong, with this image of a corpse laid out:

I went down to St. James Infirmary
Saw my baby there
She was stretched out on a long white table
So cold, so sweet, so fair

As such, the song all but suggests itself as a subject for musical dissection.

Recently the San Francisco-based programmer and musician Christopher Abad (aka Aempirei) did just that, applying his computer to the gloomy classic, thus joining the ranks of Cab Calloway, Wynton Marsalis, Cassandra Wilson, Django Reinhardt, and countless others (including, yes, Andy Griffith as well as the White Stripes). And as with any proper take on “St. James Infirmary,”Abad’s appears to have originated with an intimation of mortality — in his case, a bike crash.

In late August, Abad wrote in a single post on the blog of the Tenderloin District art gallery he runs, twentygoto10.com, about two separate events: first, that he had been in a bike accident; second, that he’d been “working on a generalized method for note detection on musical instruments.”His goal was to be able to have the computer transcribe what he played on his trumpet. “Needless to say, I inevitably failed,”he writes (at twentygoto10.com), “but I did come up with some novel audio filters during my fruitless research.”

In the manner of jazz musicians and computer programmers alike, he made use of his self-described “failure” and improvised, putting the notes of “St. James Infirmary”through the hombrewed filter and coming up with a version all his own (MP3), one that clocks in at a little longer than nine minutes. The result has the shape of the antique original (that lonesome chordal arc, and the requisite funereal pace) as well as the digital fixings of a contemporary rendition (notably the algorithmic pulses, as well as some glitches that suggest a dog barking). Abad has posted the C++ code of his little program, should you want to compile it and fiddle with the experiment.

And if the digitized jazz of Abad’s “St. James Infirmary” strikes your fancy, then check out a more recent post of his, from mid-September, which features a test run of another classic, “Swing Low, Sweet Chariot,” on a simple synthesizer he wrote (MP3, twentygoto10.com). It sounds like it’s being played on a bass-heavy glass harmonica, these tremulous swells carrying the melody along. Abad posted not only the MP3 and the C++ program, but also the input data of the song. Shown below, it is the digitized corpse of “Swing Low, Sweet Chariot,” laid bare in cold code:

2a3
6f3 2a3
3f3 1f3 1d3 3c3
1f3 1f3 1f3 1f3 1a3 1a3 2c4
6c4 1d4 1c4
6a3 2c4
3f3 1f3 1d3 3c3
1f3 1f3 1f3 1f3 1a3 1a3 2g3
6f3

2c4
1c4 2f3 1d3 2f3 1f3 1f3
1f3 1f3 2f3 1d3 3c4
1f3 1f3 1f3 1f3 1a3 1a3 2c4
6c4 2c4
1d4 1c4 2a3 2a3 2f3
1f3 1f3 1f3 1f3 1d3 3c3
1f3 1f3 1f3 1f3 1a3 1a3 2g3
6f3

For deep wells of background information on “St. James Infirmary,”visit not one but two blogs focused on the subject: nonotes.wordpress.com (that link goes directly to the “Infirmary”-related posts) by R. Walker, author of the books Letters from New Orleans and Buying In (and an old friend from when we both lived in New Orleans), and iwentdowntostjamesinfirmary.blogspot.com by Robert W. Harwood, author of the book I Went Down to St James Infirmary.