Guitarist Barry Chabala's interpretation of composer Pisaro's piece, instructing the performer on structure and pitch but allowing the precise timing and sound to the player; plus a reworking of Chabala's recording taking advantage of cassette hiss and sine tones.
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Label: Winds Measure Recordings
Catalog ID: 17-2
Squidco Product Code: 19139
Format: 2 CDs
Packaging: CD sleeve
Barry Chabala-electric guitar; recording engineer "black, white, red, green, blue"
Michael Pisaro-composition; sine tones, samples, mixing and mastering of "voyelles". samples are drawn from tape hiss produced from various cassette sources.
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• Show Bio for Michael Pisaro
"Michael Pisaro was born in Buffalo in 1961. He is a composer and guitarist, a member of the Wandelweiser Composers Ensemble and founder and director of the Experimental Music Workshop, Calarts. His work is frequently performed in the U.S. and in Europe, in music festivals and in many smaller venues. It has been selected twice by the ISCM jury for performance at World Music Days festivals (Copenhagen,1996; Manchester, 1998) and has also been part of festivals in Hong Kong (ICMC, 1998), Vienna (Wien Modern,1997), Aspen (1991), London (Cutting Edge, 2007), Glasgow (INSTAL 2009), Huddersfield (2009), Chicago (New Music Chicago, 1990, 1991) and elsewhere.
He has had extended composer residencies in Germany (Künstlerhof Schreyahn, Dortmund University), Switzerland (Forumclaque/Baden), Israel (Miskenot Sha'ananmim), Greece (EarTalk) and in the U.S. (Birch Creek Music Festival, Wisconsin). Concert length portraits of his music have been given in Munich, Jerusalem, Los Angeles, Vienna, Merano (Italy), Brussels, New York, Curitiba (Brazil), Amsterdam, London, Tokyo, Austin, Berlin, Chicago, Düsseldorf, Zürich, Cologne, Aarau (Switzerland), and elsewhere.
He is a Foundation for Contemporary Arts, 2005 and 2006 Grant Recipient. Much of his music of the last several years is published by Edition Wandelweiser (Germany). Several CDs of his work have been released by such labels as Edition Wandelweiser Records, Compost and Height, confront, Another Timbre, Cathnor, Nine Winds and others, including most recently "transparent city, volumes 1-4", "an unrhymed chord", "hearing metal 1", "A Wave and Waves" and "harmony series (11-16)".
His translation of poetry by Oswald Egger ("Room of Rumor") was published in 2004 by Green Integer. He is Co-Chair of Music Composition at the California Institute of the Arts near Los Angeles. He has performed many of his own works and those of close associates Antoine Beuger, Kunsu Shim, Jürg Frey and Manfred Werder, and works from the experimental tradition, especially John Cage, Christian Wolff, James Tenney and George Brecht."-Edition Wandelweiser (http://www.wandelweiser.de/michael-pisaro.html)
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1. black, white, red, green, blue (2004) 1:00:04
2. voyelles (2009) 1:00:20
sample the album:
"When I wrote black, white, red, green, blue for a concert in Los Angeles in 2004, I didn't think anyone else was going to play it. The score was written in a kind of shorthand, for me to keep track of what I wanted to do. (The structure and all the pitches are given, but the precise timing and the details of the guitar sound are left open.) However, I had the good fortune to meet Barry Chabala a few years ago, and in the close working relationship that developed, Barry has learned to play most of my work for solo guitar (and a few pieces besides).
Barry's version of this piece is subtler, more striking and deeper in its use of the resources of the Fender Telecaster than any version of it I played. As his recording developed, it became clear that it should be released. This happened to coincide with a request from Ben Owen to consider releasing something on cassette on his excellent winds measure label. My first thought was that I'd never figure out anything for that (apparently) outdated medium. However, in pondering the background of the original piece and the fact that I loved the sound of tape hiss, I started to formulate an idea for a remix that would make use of the medium.
I thought I'd see if various kinds of hiss, collected from the unused ends of old tapes, could be aligned with the five sections of the piece. This procedure found its own trajectory as I worked with the sounds, adding multiple layers of straight and filtered tape hiss (and then sine tones) to Barry's recording. The result, although leaving Barry's recording intact, was different enough in sound and perceived structure, that I felt it merited a new title, thus, going back again to Rimbaud: voyelles.
Deepest thanks to Barry and Ben. I dedicate this new piece to them."-Michael Pisaro
NY Downtown & Jazz/Improv