production
the viper matrix vol.1
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Friends often become collaborators and whenever I team up with someone, I like to push the boundaries. This case, I wanted to see what could be done with a particular harmonic and rhythmic matrix. The sky is the limit! After much tweaking, a few hits and bowed pianos, I came up with this little gem.
The coolest part about this piece is that it is very intuitive to perform. This track is easily performed live, and is constructed so that no matter how hard you try it will sound different every time. This opens up many ways to improvise and interact with additional instrumentalists… As a bonus, all of the samples are acoustic. The goal was to make a live, interactive patch that sounds as if it were a musicological field recording.
sound design for dance
Last summer at the Banff Centre for the Arts, I met a brilliant choreographer Aszure Barton. I was blown away when I first saw company in rehearsal and was fortunate enough to sneak into her Ballet commissioned by the NBOC (The National Ballet of Canada) in Toronto. This past weekend she asked me for some help with the sound editing and design for her recent premiere at The Juilliard School and her current European Tour. I saw the performance on opening night and was so glad to have been able to contribute to the production.
After now having seen a handful of her work, I am particularly inspired by how she employs counterpoint – her content is so compositional and ripe with richness. If you have the opportunity to catch a performance of hers, it will certainly not disappoint. I look forward to next time already, and I have something new to study for it’s compositional content – choreology!
Here’s a little sample of her work with her company, a piece that I saw them work on intensively and worked on the touring production, it’s an excerpt of “Busk”.
extra style in the word “curate”
Tim Gough - NYTimes
New York Times reporter Alex Williams caught wind of how I used the idea of ‘curating’ to add a sense of community to venue promotion, people for recordings, and my overall ideals for production in general. Clearly, as his article examines, the term “curate” is no longer reserved for museums, or at least not here in New York City:
“They’re young, discerning and enterprising, and they’ve got a code word to tout it.”
“They don’t simply put on an event, they have an eye for it.”
Curtis Macdonald, a Brooklyn musician, also says that “curate” precisely describes his job: hiring bands for a local site.
“When given to opportunity to curate an evening of music, choosing the right bands is very similar to curating a museum,” Mr. Macdonald explained in an e-mail message. “Since I, the ‘curator,’ choose personnel based on a particular aesthetic, I am able to think of creative ways of presenting music beyond the traditional ‘call-up a venue and ask for a gig’ way of presenting.”
Check out the Full Article.
cmac produces JB3
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
I like seeing my old friends from school take necessary initiative and elevate their music to the next level. Ever since graduation, I have been impressed with how much of a following my colleague, RnB artist Jesse Boykins III has generated for himself. He’s been busy all over the U.S. showcasing his music, touring with one of my best friends and outstanding drummer, Adam Jackson, has been featured on numerous blogs and rose to the near summit of the BETJ charts; not to mention fostering several noteworthy collaborations with producers such as JMost, who is also a hugely notable school chum.
Jesse and I have always talked about doing a track together but this summer we finally made it happen. He gave me a scratch a capella vocal track and then I proceeded to mix in the rest. Hopefully this will just be the beginning of a very warm series of collaborations. You can follow Jesse on twitter: @Jb3Music
DOWNLOAD the entire remix album Here.
the bonus track for the 2009 compilation
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Every year, the Banff Centre releases a compilation album of all the best recordings from the International Workshop in Jazz and Creative Music, fittingly they title it “Centre Pieces”. And yes, that’s centre - the Canadian spelling of “center” :-)
Artistic Director, composer and trumpeter extraordinaire Dave Douglas asked me to create a remix track as an addition to this year’s jazz compilation album. In doing so, I recorded as many sounds as I could from the participants during my time at the workshop. All in all, I sifted through approximately 8 gigs of source material all of which were recorded with nothing more than my pocket-sized field recorder (the Sony PCM-D50 to be exact).
Then the fun began!!
I loaded everything up in a session and played around with all the various individual sound bites. Please note: everything on this track is ‘programmed’ – that is to say these clips were all live, acoustic, and improvised recordings. They were then later re-sliced, effected and synced in an entirely new context quite unique from their original:
Featured on this track is original sound from these musicians:
(in order of appearance)
Adam Miller – Tablas
Michal Vanoucek – ‘Extended’ Piano
Brian Seligman – Acoustic Guitar
Ryan Butler – Electric Guitar
Anu Junnonen – Voice
