Tuesday, October 25, 2011
I've been away from blog and web updates for a few months for a very good reason.
Starting on July 15th, I embarked on a project to write new music for the Arboreal Quartet. The different phases of this project involve further research into North Indian classical music, compositions, and rehearsals with my group.
First off I must say that it is very rewarding to be working with such talented musicians as Tom Eliosoff (guitar), Sage Reynolds (upright bass) and Eric Thibodeau (drums). One of my goals has been to push myself forward musically and to write material tailored to the strengths of the musicians, and this has been very rewarding.
At present we are having bi-weekly rehearsals, and I'm excited to be unveiling a few of the new pieces in two weeks over at les Pas Sages here in Montréal.
I have a lot to say about the project but I'll be brief here (for the moment!) Essentially what I'm doing is looking at the Hindustani tradition of classifying different ragas according to the time of day when they are normally played. A book I bought in India in 1998 (Nad - Understanding Raga Music by Bagchee) contains a chart dividing the day and night into two sets of 4 cycles, or 3-hour periods. Each period contains many possible ragas.
Through this book and several other sources I began creating a map of these ragas. My plan is to choose a raga from each period, study it, listen to as many recordings of it as I can find, and come up with a musical idea based upon it. The completed piece will pass through all of the sections of the day and night. My goal is not to write North Indian classical music, but rather to be inspired by it, in the context of the sonic possibilities of the ensemble I've put together.
The working title of my project -- Interstices -- refers to a particular interest of mine: how can I express, musically, the transition periods between these sections of the day and night? What are some ways I can lead the listener from one period to the next, in such a way that the unique qualities of each section are highlighted?
I've had a number of ideas on how to accomplish this, and have been working away on exploring them. Along the way I've been keeping a detailed project journal, and it occurs to me that I could add sections of the journal to this blog as I proceed. The subject is vast and rewarding, and I still feel that I am barely scratching the surface here.
So, there, I've broken the radio silence! More to come soon.
Tuesday, June 14, 2011
Friday, June 3, 2011
I was pleased to find out that The Signal on CBC Radio 2 played our track "Dee" on their program of May 19th, in a typically (and wonderfully) eclectic mix. Thanks to everyone at the Signal for including us once again in their eye-opening programming.
Via SoundCloud's stats, I'd like to say hello to new listeners from Tel Aviv, Mexico City, Pelotas (Brazil), Barcelona, Madrid, Prague, and Budapest.
Thanks for dropping by, and please share!
Thursday, April 7, 2011
Thursday, March 24, 2011
Damon Dowbak, who has played us before on his eclectic world/jazz show brilliantCORNERS on LU Radio 102.7 in Thunder Bay, put us in an interesting set on March 15th alongside Rahsaan Roland Kirk, the Creaking Tree String Quartet (which contains ex-Montréaler John Showman) and Geoff Berner. This was on March 15th.
And back on January 2, on a show called Crooked Highway -- "A bucket of folky bluesy mostly acoustic indie roots music broadcasting on KVMR FM in Nevada City" -- host Gary Wells fit us in amongst Calexico, the Marc Atkinson Trio, Vic Chesnutt, M. Ward, and Townes Van Zandt. Thanks, Gary!
Both plays were of our track "Shift."
Friday, February 11, 2011
The piece is called 'Tanpura' and I actually wrote it on guitar years ago, before putting the Quartet project together.
It resurfaced as I was practicing sarod one afternoon a few months ago. A brilliant burst of sun emerged on an otherwise cloudy day, and I noticed an interesting effect of the light reflecting my fingers on the metallic surface of the sarod's neck, so I took a few photos. Here's one:
Thursday, February 10, 2011
February 8, 2011
|22h30||Theme de Yoyo||Zu & Spaceways Inc.||Radiale||Atavistic (2004)|
|22h31||Just a Gigolo/I Ain't Got Nobody||Louis Prima||The Wildest!||Capitol Jazz (1962)|
|22h36||Frisco Club||Gerry Mulligan||The Jazz Soundtracks||Gambit (2006, enr. 1958)|
|22h42||Lac aux Castors||Quintet Marie-Claire Durand||Mai||Indépendant (2011)|
|22h47||October 25th||Avishai Cohen||Introducing Triveni||Anzic Records (2010)|
|23h00||Snap||The Arboreal Quartet||The Arboreal Quartet||Indépendant (2010)|
|23h07||Luz da lua||Thomas Carbou||Hekátê||TCMusique (2011)|
|23h13||Melismatic||Tim Brady||24 Frames - Trance||Ambiances Magnétiques (2010)|
|23h15||Slinger||Muskox||5 Pieces||Standard Form (2009)|
|23h25||When Cassavetes Hit Reagan||Surreal Estate (Bruce Friedman, Jonathon Grasse, Ken Luey, David Martinelli, Jeff Schwartz, Charles Sharp)||Lacunae||Acoustic Levitation (2010)|
|23h35||One For the Rev.-Rev. Frank Wright||Sabir Mateen||Urdla XXX||Rogue Art (2010)|
|23h45||Out to Lunch||Otomo Yoshihide's New Jazz Orchestra||Out to Lunch||Doubt Music (2006)|
Thursday, February 3, 2011
Wednesday, February 2, 2011
The seemingly simple diptychs in painter Mark Igloliorte's Two Ways of Seeing present subtle shifts in perception of the same subject, at Galerie Donald Browne (#528, 372 Ste-Catherine W.), to March 5. In On the Surface, Lucie Chan presents two installations made with drawings, paper and animation that articulate themes of intimacy, social voyeurism, diaspora and personal stories, at MAI (3680 Jeanne-Mance), to March 12. Montreal's Arboreal Quartet strums up world-music-infused acoustic jazz at Casa del Popolo, 8:30 p.m. And Czech-born, Toronto-based singer-songwriter Lenka Lichtenberg builds cultural bridges in World Beat, at La Sala Rossa, 7:30 p.m.
Along with Tom Eliosoff (guitar) and myself (sarod), we'll be welcoming these fine musicians:
Sage Reynolds - Upright Bass
Eric Thibodeau - Drums