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Kang, Eyvind

Ajaeng Ajaeng [VINYL 2 + DOWNLOAD CODE]

Kang, Eyvind: Ajaeng Ajaeng [VINYL 2  + DOWNLOAD CODE] (Ideologic Organ)

Performing on Tanpura & tuba, composer Eyvind Kang explores a wealth of Asian instruments in a series of beautiful pieces investigating and elucidating the properties of each, culminating in the Korean instrument Ajaeng, used historically as a court instrument, here used in a more introspective and meditative role through well developed and recorded compositions.
 

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product information:


UPC: 5050580743663

Label: Ideologic Organ
Catalog ID: SOMA 039LP
Squidco Product Code: 29765

Format: 2 LPs
Condition: New
Released: 2020
Country: France
Packaging: Double LP Sleeve
Recorded at SoundGo Studio in Seoul, South Korea, by Go Geom Jae, and at Eastside Sound, New York City, New York, by Marc Urselli.


Personnel:

Eyvind Kang-Tanpura, tuba, composer

Lilac Atassi-harpsichord

Yoon Na Geum-So Ajaeng

Han Lim-Dae Ajaeng

Jessika Kenney-woodblock

Hyeonhee Park-bass drum

Ches Smith-bass drum

Miguel Frasconi-glass

Janel Leppin-cello

Erica Dicker-violin

Dan Peck-tuba

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Artist Biographies:

"Eyvindur (Eyvind) Kang (born 23 June 1971 in Corvallis, Oregon, United States) is a composer and violist. He was raised in Canada and the United States, and has since lived and worked in countries ranging from Italy to Iceland.

A recurring theme in his solo work is the "NADE", the meaning of which Kang is not willing to disclose. Referring titles include "Theme from the first NADE", "5th NADE/Invisible Man", "Theme from the sixth NADE" (all three from the debut album 7 NADEs, 1996); "Jewel of the NADE", "Mystic NADE" (both from Theater of Mineral NADEs, 1998) and "Harbour of the NADE" (Virginal Co-ordinates, 2003). His preferred instrument is the viola.

In 2014 Kang visited Vossajazz in western Norway, for a gig with Bill Frisell's trio Beautiful Dreamers, including with drummer Rudy Royston, for the opening concert. During the concert Norwegian trumpeter Arve Henriksen joined in for a tune."

-Wikipedia (https://en.wikipedia.org/wiki/Eyvind_Kang)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Jessika Kenney is unwinding and nourishing a harbor of voices. As a filter for sphygmoresonances, be they in forms of language or indecipherable metonymics, this functioning as process frequently manifests as: the intersection of melodic science (radifs, cengkok, unstable svaras, pulses) with the aural and textual transmissions of translated concepts... the sphygmological space between breathing bodies, canyons, and the asymmetrical harmonics of tuned metal... the exposure of first intention ontic wounds and corresponding temporal suturing.. as well as collective atemporal eversion between eras, iconicities, and untethered evolutions of cyclic inscriptions. She currently lives on Tataviam land near Los Angeles."

-Jessika Kenney Website (http://jessikakenney.com/biography/)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Born in San Diego, CA and raised in Sacramento, Ches Smith came up in a scene of punks and metal musicians who were listening to and experimenting with jazz and free improvisation. He studied philosophy at the University of Oregon before relocating to the San Francisco Bay area in 1995. After a few years of playing with obscure bands and intensive study with drummer / educator Peter Magadini, he enrolled in the graduate program at Mills College in Oakland at the suggestion of percussionist William Winant. There he studied percussion, improvisation, and composition with Winant, Fred Frith, Pauline Oliveros and Alvin Curran. One of Winant's first "assignments" for Ches was to sub in his touring gig at the time, Mr. Bungle (here he met bassist / composer Trevor Dunn who would later hire him for the second incarnation of his Trio-Convulsant). During his time at Mills, Ches co-founded two bands: Theory of Ruin (with Fudgetunnel / Nailbomb frontman Alex Newport), and Good for Cows (w/ Nels Cline Singers' Devin Hoff). He currently performs and records with Xiu Xiu, and Secret Chiefs 3. He has also performed with Ben Goldberg, Annie Gosfield, Wadada Leo Smith, John Tchicai, Fred Frith, and Trevor Dunn. In addition to Ceramic Dog, he also leads his two of his own projects, Congs for Brums and These Arches. He currently spends his time between Los Angeles, San Francisco and Brooklyn."

-Ches Smith Website (http://www.chessmith.com/)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Miguel Frasconi is a composer and improvisor specializing in the relationship between acoustic objects and musical form. His instrumentarium includes glass objects, electronics, laptop, and constructions of his own design. Miguel's unique glass instruments are struck, blown, stroked, smashed and otherwise coaxed into vibration. As a composer his works include chamber music, operas, film & dance scores. His new opera, Hand To Mouth, was recently premiered in northern California. Miguel's activities have included collaborations with the Balinese composer Dewa Berata on music for a large-scale shadowplay, with tenor John Duykers on unique music/theater events, and with the Tibetan songwriter Techung, with whom he has toured throughout India. Miguel has worked closely with composers John Cage, Jon Hassell, James Tenney, Morton Subotnick, and has collaborated with many choreographers, including Alonzo King and modern dance pioneer Anna Halprin. He was a founding member of The Glass Orchestra, Toronto's internationally renowned ensemble featuring all glass instruments (1977-86), and the San Francisco sound-sculpture band Möbius Operandi (1990-95). As a keyboardist, he performed with the Paul Dresher Ensemble (1988-95), and with the Philip Glass Ensemble (1992). He is presently a member of Ne(x)works (2006-present), one of the leading new music ensembles in NYC, with whom he performed at MaersMusik/Berliner Festspiele 2012. In September 2012 his CAGE100 Festival @ The Stone was called "one of the best observances of John Cage's 100th birthday" by the New York Times and included performances by his Noisy Toy Piano Orchestra and John Cage Variety Show Big Band. Miguel's music has been released on New Albion, Porter Records, and recordings of his string quartets featuring the JACK Quartet on Tzadik.

"Born in the late 1950s in NYC, I grew up in Connecticut, with my artist parents keeping a close connection to New York City.

In the '70s, I absorbed as much music and art in NYC as possible. Loft concerts (Carla Bley, Philip Glass, Phill Niblock), Lincoln Center (Boulez, Dennis Russell Davies), MoMA (Pollock, Monet), Village Vanguard (Thad Jones/Mel Lewis), The Kitchen (Reich, Riley, Ashley); the City was my learning playground.

In the '80s, I worked with John Cage, James Tenney, Jon Hassell, and co-founded, toured N. America & Europe with Toronto's Glass Orchestra.

In the '90s, I created over two dozen dance/theater scores, co-founded San Francisco's sound-sculpture band Mobius Operandi, played keyboards in the Paul Dresher Ensemble, and toured India with Techung.

In the 2000s, I performed laptop duets with Morton Subotnick and collaborated, on glass instruments, with many NY musicians, including Butch Morris, Zeena Parkins, o.blaat, Christian Marklay, Aki Onda, Marina Rosenfeld, John Zorn, Raz Mesinai, Ned Rothenberg, Ikue Mori, and many more.

I now continue composing/performing/collaborating, teach electronic music at Bard College, and am active in one of NYC's leading new music ensembles, Ne(x)tworks.

I continue creating solo works where disparate instruments are played as one."

-Miguel Frasconi Website (http://frasconimusic.com/about/)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"A proponent of new music, Erica Dicker is committed to creative collaboration with living composers and innovation in both the classical concert hall and nontraditional contexts. Erica is a founding member of the contemporary chamber music collective Till By Turning, an ensemble devoted to reinforcing the modern canon and linking educational programs to their repertoire. As part of the New York-based horn trio, Kylwyria, Erica and her colleagues, Julia Den Boer (piano) and John Gattis (horn), work to generate interest in and develop adventurous chamber music repertoire for their unique instrumentation through dynamic programming and commissioning. Erica is also violinist in Katherine Young's Pretty Monsters, as well as Vaster Than Empires, an electro-acoustic collaboration with composer and sound artist Paul Schuette and percussionist Allen Otte. She has premiered works by many composers including solo works written for her by Olivia Block, Turkar Gasimzada, Ryan Ingebritsen and Katherine Young. Erica also writes and performs her own music, exploring the idiomatic modalities and textures of her instrument. Taking Auspices, her debut solo album, is released by Tubapede Records as a digital download and limited edition vinyl LP.

Erica serves as concertmaster of Anthony Braxton's Tri-Centric Foundation Orchestra, an ensemble founded to document and disseminate the operas by composer and multi-reedist Anthony Braxton, and has also performed with Braxton's Falling River Quartet and Diamond Curtain Wall Quartet at festivals in Belgium, Germany, Italy, Macedonia, Poland, and Turkey and appeared with the 12 + 1-tet at the 2012 Venice Biennale. Erica also writes about and curates performances of Braxton's work, most recently for the International Contemporary Ensemble at the 2017 Ojai Music Festival.

A passionate advocate for preserving the vitality of orchestral performance, Erica also lends her talent to orchestras across the Midwestern United States, such as the Grand Rapids Symphony. She previously served as associate concertmaster of the Peoria Symphony and associate principal second violin of the South Bend Symphony, and held leadership roles in festivals including Spoleto USA and the National Repertory Orchertra. In Germany Erica was part of the Bergische Symphoniker and performed with the Bachakademie Stuttgart International Festival Orchestra under the direction of Helmut Rilling.

Erica received her training at the Oberlin Conservatory of Music (BM), the University of Minnesota (MM), and the Cincinnati Conservatory of Music (DMA). Her primary teachers include Gabriel Pegis, Marilyn McDonald, and Jorja Fleezanis.

Erica resides in Astoria, New York with her husband and creative collaborator, tubist Dan Peck."

-Erica Dicker Website (http://www.ericadicker.com/bio/cv)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Dan is a tubist currently living and working in New York City. Since his move there in 2005, he has been active as a soloist, improviser, and sideman in a wide variety of settings. Dan's current interests are in experimental music and improvisation, and he has performed at many of New York City's most respected venues for creative music including The Stone, Roulette, and Issue Project Room. Dan has collaborated with many New York artists, including Tony Malaby, Nate Wooley, Michael Attias, Ben Gerstein, Tom Rainey, Peter Evans, Kris Davis, Ingrid Laubrock, and Matthew Welch. Recent projects include recordings with Tony Malaby's Novela (Clean Feed), Harris Eisenstadt's Canada Day Octet (482 Music), and Jeff Newell's New Trad Band. Dan will also be on a forthcoming Anthony Braxton release, featuring music from the Falling River Series in small ensembles from Wesleyan University.

Dan currently leads a trio comprised of himself, Tom Blancarte (bass) and Brian Osborne (percussion). The group plays a mix of freely improvised music and his compositions, some of which are influenced by music of the Doom Metal genre. Their debut LP, "Acid Soil", is out on the Heat Retention Records label. In March of 2011, the Trio completed a 9 day tour of the midwest/east coast.

Equally at home in more traditional jazz settings, Dan plays in the old-timey jazz band Grandpa Musselman and His Syncopators. The Syncopators appear frequently at high society events in and around New York City, and in 2007 took part in the Jazz at Aspen Festival, directed by bassist Christian McBride.

Dan also plays a lot of contemporary music. He has premiered solo tuba works at St. Bartholomew's Church, Merkin Hall, and The Stone. In 2009, Dan was featured as part of Kagel Nacht, a celebration of the music of composer Mauricio Kagel, in which he performed two of Kagel's solo works, Atem and Mirum. As an orchestral performer, Dan has played under great conductors such as James Levine and Herbert Blomstedt, and has worked personally with composers such as Helmut Lachenmann and Alvin Lucier. Dan is a member of the International Contemporary Ensemble, and has also worked with the American Composers Orchestra, Signal Ensemble, New York City Ballet, New World Symphony, and the Tanglewood Festival Orchestra. Dan recently recorded a DVD of Iannis Xenakis' chamber music for Mode Records, with the International Contemporary Ensemble and percussionist Steven Schick conducting.

Currently, Dan plays on the Broadway musical Chicago, and is adjunct-faculty at New Jersey City University."

-Dan Peck Website (http://danpeckmusic.com/bio.html)
6/18/2021

Have a better biography or biography source? Please Contact Us so that we can update this biography.
track listing:


SIDE A



1. Tanpura and Harpsichord 19:00

SIDE B



1. Tanpura Study 11:48

2. Push Off 03:14

3. Time Medicine 07:20

SIDE C



1. Ajaeng Ajaeng 14:50

SIDE D



1. Ajaeng Ajaeng 15:00
sample the album:








descriptions, reviews, &c.

"To be heard with ears half bent, or with one side facing what Maryanne Amacher calls "the third ear".

The great reverence in which the Tanpura is held by Indian classical music, its transcendental but occulted place in the tradition alongside its normal function as a drone, made a strong impression on the composer such that it has taken decades to formulate even a simple Tanpura Study.

The fundamentals, the Om, as well as the overtones, the music of the spheres -all these have their valid rights, but in Tanpura Study they are embedded in a series of gestures, what I call signatures, on the melodic level.

In "Tanpura and Harpsichord", there is an encounter of overtones with chords braided into pun-notes, what Gerard Grisey calls "degrees of transposition". Taken together, this amounts to a non-spectralism in which, contrary to first impressions, there are no fundamental frequencies, even in the bass.

Ajaeng Ajaeng: with respect to European string instruments, the technique col legno affords the direct encounter of wood and string, opening the way to a more tactile conception of the sustained sound, while bringing the materiality of the bow and its practices into question. In violin, viola, cello bows, Pernambuco wood offers an ideal example of extraction, colonialism, deforestation.

With the Ajaeng, a Korean musical instrument, the situation is more complex. The dialectic of court to folk music, always political, always incendiary, may be heard here in the encounter of forsythia and silk, of Dae Ajaeng to So Ajaeng, and on a broader level of Dang Ak (Tang Dynasty music) to Hyang Ak (native Korean music) and their representations.

Alternating music and sound, overtone arrays mingled with noise, marked by the bow change, in flamelike patterns which flicker, emerge, and fade again. A slow down structure, also formalized in "Time Medicine", seems to produce a long decrescendo, with the technique of the players drawing out the flicker patterns in a kind of game.

The point here is not to produce a drone but to delve into the question of life in sound. This apparent emergence of life is due to the apparatus, what Marx calls a "social hieroglyphic", which brings forsythia and silk together in technique, cultivated by practices which are themselves sustained by the real relations of student to teacher to student.

The recording engineer too, by placing one mic below and one above each Ajaeng, bifurcates the listening space; the mix, one Ajaeng in each speaker, again produces a bifurcated image of the sound. Thus the sound is split in four directions, to be reconstituted in the cochlea, but with the center of the body as the real target.

This music is made for meditation. On retreat in 2019 I had a revelation: there is no difference between the prayer, the hearing, and the void. There is nothing original in this idea; Wonhyo and many sages have thought it before."-Eyvind Kang, April 2020

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