Collaborators since 1998, NY hyperpianist Denman Maroney's playing is captured and processed by Hans Tammen, who also plays the "endangered guitar" and electronics, in a spectacular and thought-provoking album of techniques and concepts.
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Label: OutNow Recordings
Catalog ID: ONR013
Squidco Product Code: 18197
Packaging: Cardstock gatefold foldover
Recorded on June 14th, 2012 by Peter Karl at Pater Karl Studios, Brooklyn, NY.
Hans Tammen-endangered guitar
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• Show Bio for Denman Maroney
"The music of "hyperpianist" Denman Maroney (born 1949) is inspired by nature and the music of John Cage, Ornette Coleman, Henry Cowell, Duke Ellington, Charles Ives, Scott Joplin, Olivier Messiaen, Thelonious Monk, Conlon Nancarrow and Karheinz Stockhausen among others. Maroney plays what he calls hyperpiano, which involves bowing and sliding the strings with copper bars, steel cylinders, Tibetan prayer bowls, rubber blocks and CD cases and gives him a unique sonic vocabulary. He also uses a system of temporal harmony based on the undertone series that allows him to improvise and compose in several tempos at once.
Maroney also has worked with musicians Tim Berne, Jane Ira Bloom, Jon Deak, John King, Garrett List, Roger Miller, Michael Moore, Bob Ostertag, William Parker, Bobby Previte, Ed Schuller, Elliot Sharp and Peter Zummo among others, and dance and theater artists Davidson Lloyd, Sin Cha Hong, Tom Keegan, Tom Lillard, Erin Martin, Wendy Osserman and Mel Wong among others.
Maroney was educated at Cal. Inst. of the Arts (MFA '74), Bennington College and Williams College (BA '71). His teachers included John Bergamo, Alan Chaplin, Bill Dixon, Jimmy Garrison, Leonid Hambro, Ingram Marshall, Steven Mosko, Morton Subotnick, and James Tenney."-Denman Maroney Website (http://www.denmanmaroney.com/Bio.html)
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1. Dynamo Meat 3:05
2. Harmony Dame 4:57
3. Demon Stream 4:38
4. Amnesty Dharma 5:42
5. Mnemosyne 3:15
6. Anemone 10:16
7. Shaman 9:50
8. Ornamenta 10:40
9. Memory 1:21
10. Arson 7:30
11. Mad Rhyme 8:29
sample the album:
"Denman Maroney and Hans Tammen have been regularly working together since 1998, as a duo and in other formations. In 1999, they released their first duo CD Billabong on the French label Potlatch. This year, they celebrate their collaboration with a new release on OutNow Recordings, Arson, to be premiered in concert at this year's New York Electronic Arts Festival. In this work, Denman Maroney's dizzying and diverse palette of piano sounds is electronically captured by Hans Tammen, and processed into radically contrastive and fascinating noises emanating from Tammen's interactive software."-Hans Tammen website
"Denman Maroney and Hans Tammen are a wonderfully well-suited pair of sound makers. At their core they comprise a piano/guitar duo, but both of them stretch their instruments far beyond the natural voices. Perhaps more significantly, they each occasionally employ those natural voices for strikingly dramatic effect. Their shared commitment to such "extended techniques" is made evident by the fact that Maroney calls his piano preparations and inside-case playing "hyper-piano" and Tammen refers to his approach as "endangered guitar". Arson is their second release as a duo (following BILLABONG, released way back in 1999 on Potlatch), although the duo have worked in larger settings as well. The album is a great mix of melody and density, with bowls and slides on piano and guitar strings (and other such strings) creating an ever-shifting bed over which fragmented phrases and further mutations appear.
The album opens with the excitingly pounding "Dynamo Meat" but explores many more ethereal arenas over its 11 tracks. Tammen fills the field with so many sounds of indeterminate origin that the music rarely feels like a duet - or if it is, maybe a duet in a windstorm where the two can't quite hear one another. By the eighth track, "Ornamenta", the music almost sounds residual, as if the players were gone but have left some directionless noises behind them. The penultimate title track comes off as a solo piano piece, only with shards of sound breaking off and bouncing around the room. "Mad Rhyme", the closer, sounds more like an arson attack, at least in a building filled with elastic bands and bubble packaging. Such impressions don't take away from the duo's purposeful approach to their work, but rather underscore it. The vessel is, of course, their creation and the music it carries very evocative."-Kurt Gottschalk, New York City Jazz Record
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