Two works for solo percussion from French drummer Peter Orins, a member of the Circum collective and Circum Grand Orchestra, and peer of Jean-Luc Guionnet, Satoko Fujii, &c.: the 6 part "Happened by Accident", a work of subtle, building percussive work using unusual techniques and sources; and James Tenney's "Having Never Written A Note For Percussion".
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Label: Tour de Bras
Catalog ID: TDB90034cd
Squidco Product Code: 27472
Packaging: Cardboard Gatefold
Recorded at CCAM, in Vandoeuvre-les-Nancy, in Nancy , France, on June 26 and 27, 2018.
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• Show Bio for Peter Orins
"After classical music study, Peter Orins learns the drums, first in a rock and afro-cuban music school, then at the Conservatoire National de Région of Lille in the jazz section, where he studies with Guy Gilbert, Jean-François Canape, Gérard Marais... He graduates in 1997. In the meantime, he studies musicology at university, improvisation with Fred Van Hove, composition with Jean-Marc Chouvel and Ricardo Mandolini.
Playing jazz from the middle of the 90's, he plays in the bands that will create in 2000 the Circum collective : Impression (for which he composes, became Flu(o) in 2012), Quartet Base, Stefan Orins Trio. He coordinates the Circum collective till its fusion with the CRIME in 2010, and creates the Circum Grand Orchestra, band with the 10 musicians of Circum, for which he composes also occasionally. At the same time Peter Orins get in the CRIME projects, improvised and experimental music collective also based at la malterie in Lille. He plays especially in La Pieuvre, big improvisation orchestra conducted by Olivier Benoit (nowadays Artistic Director of L'Orchestre National de Jazz). It's with the Crime that he'll develop his solo work (drums and electronic with Pure Data application), and improvised and experimental projects with David Bausseron, Laurent Rigaut, Ivann Cruz, Christian Pruvost, Jean-Luc Guionnet, Benjamin Duboc, Yanik Miossec, Falter Bramnk, ... in bands like DBPO, De Nouvelles Erreurs, Signal Box, Electropus, Ternoy/Cruz/Orins (that will become Toc, free-rock progressive band)... In 2006, he leads a french-vietnamese project called Hué/Circum with the support of Region Nord Pas de Calais, which combines 4 musicians from Circum and 3 traditional vietnamese musicians from Hué (tour in Vietnam, Japan and France, from 2006 to 2009). In 2010, he creates a french-japanese quartet with pianist Satoko Fujii and trumpet players Natsuki Tamura and Christian Pruvost, band for which he composes with Satoko Fujii. Several international tours with this band (Japan, Israel, Germany, France, USA, Canada). In 2011, Ivann Cruz, guitar player from Muzzix, and Maciej Garbowski, polish double-bass player, invite him to play in their quartet with the finnish saxophone player Kari Heinila. He also collaborates with theatre, composes for cinema or animation movies, dance... Since the creation of Muzzix in 2010, Peter Orins coordinates the artistic direction of the collective.
He played with : Sophie Agnel, Jean-Luc Guionnet, Benjamin Duboc, Radu Malfati, Steve Dalachinsky, Andrew D'Angelo, Petr Cancura, Josh Sinton, Curtis Hasselbring, Joe Morris, Rene Hart, David Miller, Frank London, Nate Wooley, Renee Baker, Ernest Dawkins, Dave Rempis, Jeb Bishop, Michael Zerang, Jacques Di Donato, François Corneloup, Norbert Lucarain, Sylvain Kassap, Alain Vankenhove, Camel Zekri, ..."-Peter Orins Website (http://www.peterorins.com/biography/)
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• Show Bio for James Tenney
"James Tenney was born in 1934 in Silver City, New Mexico, and grew up in Arizona and Colorado, where he received his early training as a pianist and composer. He attended the University of Denver, the Juilliard School of Music, Bennington College (Bachelor's degree 1958), and the University of Illinois (Master's degree 1961). His teachers and mentors have included Eduard Steuermann, Chou Wen-Chung, Lionel Nowak, Carl Ruggles, Lejaren Hiller, Kenneth Gaburo, Edgard Varèse, Harry Partch, and John Cage.
A performer as well as a composer and theorist, Tenney was co-founder and conductor of the Tone Roads Chamber Ensemble in New York City (1963-70). He was a pioneer in the field of electronic and computer music, working with Max Mathews and others at the Bell Telephone Laboratories in the early 1960s to develop programs for computer sound-generation and composition. He has written works for a variety of media, both instrumental and electronic, many of them using alternative tuning systems.
Tenney is the author of several articles on musical acoustics, computer music, and musical form and perception, as well as two books: META + HODOS: A Phenomenology of 20th-Century Musical Materials and an Approach to the Study of Form (1961; Frog Peak, 1988) and A History of 'Consonance' and 'Dissonance' (Excelsior, 1988). He has received grants and awards from the National Science Foundation, the National Endowment for the Arts, the Ontario Arts Council, the Canada Council, the American Academy and Institute of Arts and Letters, the Fromm Foundation, the Deutscher Akademischer Austauschdienst, and the Jean A. Chalmers Foundation.
Tenney returned to the California Institute of the Arts in the fall of 2000 to take the Roy E. Disney Family Chair in Musical Composition, having taught there at its beginnings in the early 1970s. He has also been on the faculties of at the Polytechnic Institute of Brooklyn, the University of California at Santa Cruz and at York University in Toronto where he was named Distinguished Research Professor in 1994.
James Tenney's music is published by Sonic Art Editions (Baltimore) and the Canadian Music Centre, and is also distributed by Frog Peak (Lebanon, New Hampshire). Recordings are available from Artifact, col legno, CRI, Hat[now]ART, Koch International, Mode, Musicworks, Nexus, oodiscs, SYR, Toshiba EMI, and New World, among others."-Plain Sound.org (http://www.plainsound.org/JTbio.html)
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1. Happend By Accident 1 7:39
2. Happend By Accident 2 5:19
3. Happend By Accident 3 5:04
4. Happend By Accident 4 6:06
5. Happend By Accident 5 4:19
6. Happend By Accident 6 5:13
7. Having Never Written A Note For Percussion 12:12
sample the album:
"Time for a solo percussion! Peter Orins, a French drummer with whom we meet on these pages quite regularly, performs a six-part title composition, her own authorship, as well as a composed excerpt of a very interesting title, "Never never written a note for percussion"by James Tenney. Recorded during two June days in France (2017? 18?), It seems to resemble fairly free improvisation, but extremely planned in detail. It will take us 45 minutes and 51 seconds to listen to the whole thing.
The adventure with the recording, which happened by accident, we start with a drone of dry synthetics, which coexists exceptionally well with the quiet band of live drumming. After 120 seconds, in the background, seems to give birth to the second band of live music. The narration is focused, calm, but full of internal... anxiety. 5 minutes brings additional accents to the snare in the form of a preparation, but the synthetic drone does not budge. After a living time, it seemed to resonate with the synthetic one. When the latter goes out, the two strands of vivid senses resound. We smoothly go to the second part, whose start is determined by the preparation and sonorist treatment of the snare's glaze. Their three worse ones also add plates. The narrative takes place only with live elements of the drum set. Number threeon the player appears quite quickly. Continuation of the already set story, here decorated incidentally with deaf strokes of the foot. We are close to silence, music is very scrupulous, unhurried, full of filigree beauty. Seemingly, the action is not too fast, but I listen to it with great pleasure. The fourth part heralds the pulsating drone of meta acoustics. After a while, we realize that two drones are already accompanying us. Resonance, trembling membranes, noisy silence. On the elongation of this episode a delicate percussion, although the foot of the bass drum does not stop thundering from a distance. Another, more intense thunder opens the fifth part. Preparations on snare and volumes, and drummer set as if it grew in space - a kind of intriguing damming up of the narrative. A small orchestra of exclusively acoustic sounds. The final of the title composition is again very smooth. He seems to sum up all the ideas of the composer - the improviser - preparations, a handful of sonorities, resonance of plates. We have the impression that the musician draws three or even four stories of the story here. Scrubbing, shaking, and squeaking are the next stages of this story. A small singing percussion equally charming.
After a few seconds of silence, the seventh part of the album begins. A deaf echo of cosmic almost drumming. Trembling, rustling, percussive ambient. Flow gently but steadily increases, seems to flow ever wider stream. A few-minute, beautiful, sensual finale of an equally phenomenal whole! The entrance to the top itself is decorated with a disc resonance symphony. We come to the wall of sound of exceptional beauty, which after 8 minutes begins to gradually crumble. Very slow decay process - a kind of long-lasting extinguishing the flame of the narrative. Full acoustic ambient of cymbals, the reviewer notes at the end, and then closes the notebook in a state of enormous satisfaction with the journey he has traveled over the past three quarters."-Tribune of Spontaneous Music, translated by Google
James Tenney — "Having Never Written A Note For Percussion":
The Squid's Ear!
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