Modal rituals #1 (alto sax solo) and #2 (everybody). From concert with the acoustic improvisation group project “No Standard Assembly” the 5th of December 2014 in Copenhagen. Jedrzej Lagodzinski (Ten. sax), Thomas Maintz (guitar), Anders Monrad (piano) and Franciszek Pospiezalski (double bass) and Michael Nyvang (alto sax).
After all the COVID confinement, the frustrations, the insecurity about the job and a place to stay – to survive, and not loose courage then finally: I get out and begin to play live again!
After a shaky start alone (I almost didn’t make it out there; so long time ago, the sax needs repair badly – could I play at all? I was ridiculously nervous!)
However thanks to Bruno and Antoine from MarcheDuLivre.Paris I’m playing again! I reckon I soon could become a trio, why not? Do the smooth cool jazz standards. Like, say:
archive.org/details/CharlieParkerWithStrings/12+I’ll+Remember+April.mp3
It would fit in there and be good practice. In any case a big thank you to everybody for the amazingly warm welcome this Sunday!
“numen / IV.” is a short movie (c) by Ola Surdacka created in 2015 to “Collage I — traveling heavenward” (c)(r)(p)† by me (Michael Nyvang.) Ola made this movie using only analog movie techniques. I consider these visuals the best ever made for this sound. She have my full endorsement for this work.
(†) The reason I emphasize copyright information is that this soundtrack was licensed in 2010 on a non-exclusive license to an Irish movie production company for a production for which ‘the movie’s overall sound design work’ received a major Irish award.
Some who may find their way into the work “Te quiero” may wonder about the title, the design of sound, the languages and so on.
It is not quite what it maybe looks like.
Let us take two examples:
In the begining you hear an answering machine.
However, every sound put in there was written down and then ‘performed’ from a score. ‘Beeps’ are not ‘beeps’ but someone whistling and so on.
Towards the end you hear what many will consider a foolish movie cliche: thunder.
However, there is no thunder.
That sound does not at all originate from recordings of thunder.
It is not from a ‘sample effect library’ nor is it from a field trip with funny hats recording hurricanes or whatever.
What it is is sound from a piano string manipulated with filters and distorted, composed from the material in ‘the movie.’
In fact all is contemplated like this. As a painting by Leonardo, a technique of meticulous drawing up from scratch on canvas: a vision so that in the end it may look like a ‘banale photo.’
Modal rituals #4. From concert with the acoustic improvisation group project “No Standard Assembly” the 5th of December 2014 in Copenhagen. Jedrzej Lagodzinski (Ten. sax), Thomas Maintz (guitar), Anders Monrad (piano) and Franciszek Pospiezalski (double bass) and Michael Nyvang (alto sax)
Un monologue intérieur avec des tableaux musicaux, sonores et poétiques de la zone crépusculaire entre le sommeil et la veille.
Matériel original développé à partir de mon propre texte, d’une musique composé en partition, d’improvisations sur un piano à queue et d’échantillons sonores originaux méticuleusement conçus.
Le montage a été effectué dans Digital Performer avec une partie vidéo rudimentaire “ébauchée” dans Final Cut Pro.
L’intention était de remplacer l’esquisse vidéo par des images de qualité broadcast dans une phase ultérieure, mais je n’ai pas pu le faire. La partie sonore et vocale est assez complète.
‘Ça qui est perdu se ne retrouve pas, mais devient poésie’.†
(Note technique : si vous utilisez un VPN (Virtual Private Network) c’est possible que le film d’archive.org ne s’affiche pas. Déconnecte votre VPN en ce cas pour le regarder.)
(†) ‘Se’ ou ‘ce’ ? — “Ça qui s’est perdu se ne…” et “Ça qui est perdu ce ne …” a été fusionné vers : “‘Ça qui est perdu se ne retrouve pas, mais devient poésie.”
J. S. Bach wrote between 1000 and 10.000 compositions. His secret was that he didn’t use a computer…
