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Charlemagne Palestine & Rhys Chatham — Youuu + Mee = Weee

Charlemagne Palestine & Rhys Chatham — Youuu + Mee = Weee (3CD, 2014)

Charlemagne Palestine & Rhys Chatham — Youuu + Mee = Weee 
*¬  First recorded collaboration between Charlemagne Palestine and Rhys Chatham.
*¬  Released in a six–panel Digipak. Sensual, physical and visceral music trance. “Surging phosphorescence… Uplifting.” Rhys is a composer from New York who has lived in Paris since 1988.
*¬  166 minutes with Charlemagne Palestine (piano Bösendorfer, orgue Yamaha and voice) and Rhys Chatham (trumpet, loop pedal, electric guitar). This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa sessions creates a form of trilogy. Available as 3CD set.
Otázka: Četl jsem o vašem pojetí "rezonanční" hudby, spíše než jako o "minimální" hudbě. Pod označením "minimální", můžeme chápat velmi různé výrazy. Mohl byste sdělit, co si o tom myslíte?
*¬   Podle mne někteří lidé začali používat slovo "minimální hudba" v sedmdesátých letech v souvislosti s hudbou jako je třeba ta moje, ale nikdy jsem si nemyslel, že to je minimální. Vždycky jsem si myslel, že moje hudba je o transu ... chtít být v transu. Tak jako můj hlas rezonuje v některých místech, moje kousky jsou závislé na určité architektuře, takže dejme tomu souhlasím s otázkou respektování "širšího konceptu." Někdy jsou moje kusy velmi husté a zvukově nejsou minimální vůbec. Ale je pravda, že někdy pieces trvají velmi dlouhou dobu a někteří lidé říkají, že slyší jen velmi málo hudby, zatímco ostatní lidé říkají, že slyší moc věcí v mé hudbě. Takže je to hodně na posluchači, aby rozhodl..., někteří lidé si myslí, že to minimální hudba je a jiní si myslí, že to je "maximální" hudba, což je opak.
Location: Manhattan, New York, NY / Paris, France
Styles: Avant–Garde Music, No Wave, Punk/New Wave, Microtonal, Modern Composition, Post–Minimalism, Experimental, Experimental Electronic
Album release: 2014
Record Label:  Sub Rosa (Belgium), 2011
Format: CD (Item 727174), 3 CD
Duration:     113:42
Tracks:
1. First      41:15
2. Second      60:00
3. Third      52:27
Personnel:
*¬  Charlemagne Palestine — piano, organ, voice
*¬  Rhys Chatham — electric guitar, loop pedal, trumpet
¬*  "Youuu + Mee = Weee is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. Following the musical meetings with Z'ev (Rubhitbangklanghear Rubhitbangklangear, SR340CD/LP), and with Tony Conrad, these new Sub Rosa sessions create a sort of trilogy.
¬*  Sublime longform sounds from the duo of Charlemagne Palestine and Rhys Chatham — and just the kind of music that takes us back to the kind of creative space that Chatham occupied forty years ago! The album is one long work, divided into three sections for the CDs — and it builds with these extended, sustained notes from both players — Chatham on guitar and trumpet, with tape loops to augment his musicianship — and Palestine on both acoustic piano and Yamaha organ, plus just a small bit of voice. The work definitely resonates with some of Palestine's best in recent years, but it also really shares a 70s aesthetic with Chatham's roots in the New York scene of the immediate post–minimalist years. A masterpiece of subtle shifts and really lovely sonic textures!  © 1996-2015, Dusty Groove, Inc.                                           © Rhys Chatham at BAM in 1990. Photo Paula Court.
Rhys Chatham
Born: September 19, 1952 in New York, NY
Notable instruments: Electric guitar, amplified trumpet
Bio 1:
¬*  Rhys Chatham is a composer, guitarist and trumpet player from Manhattan, currently living in Paris, who altered the DNA of rock and created a new type of urban music by fusing the overtone-drenched minimalism of the early 60s with the relentless, elemental fury of the Ramones  — the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar–slinging punk rock.
¬*  Starting with Guitar Trio in the 1970s and culminating with A Crimson Grail for 200 electric guitars in 2009, Chatham has been working for over 30 years to make use of armies of electric guitars in special tunings to merge the extended–time music of the sixties and seventies with serious hard rock.
¬*  Parallel with his rock–influenced pieces, Chatham has been working with various brass configurations since 1982, and recently has developed a completely new approach to collaborations, improvised and compositional pieces involving trumpet through performances and recordings that started in 2009. Chatham's trumpet work deploys extended playing techniques inherited from the glory days the early New York minimalist and 70s loft jazz period.
¬*  Rhys was introduced to electronic music and composition by Morton Subotnick in the late 60s, and in the early seventies he studied composition with La Monte Young and played in Tony Conrad's early group. These composers are, along with Terry Riley, the founders of American minimalism and were a profound influence on Chatham's work.
¬*  Chatham's instrumentation ranges from the seminal composition composed in 1977 entitled Guitar Trio for 3 electric guitars, electric bass and drums, to the epoch evening–length work for 100 electric guitars, An Angel Moves Too Fast to See, composed in 1989... all the way to Chatham's recent composition for 200 electric guitars, Crimson Grail, which was commissioned by the City of Paris for La Nuit Blanche Festival in 2005. A completely new version of the piece was commissioned by the Lincoln Center Outdoor Summer Festival in 2009.
Bio 2:
¬*  Minimalist experimental composer whose compositions for guitar were a huge infleunce on New York's no wave scene of the early 1980s.
Artist Biography by Joslyn Layne
¬*  Post–minimalist composer and New York downtown music figure Rhys Chatham was involved in music at an early age. He studied classical flute, and was already playing works by contemporary composers such as Luciano Berio and Pierre Boulez by the time he began studying composition (including serialism) in his early teens. Chatham started writing electronic works after meeting Morton Subotnick in college, and came into contact with Eliane Radigue, Maryanne Amacher, and Ingram Marshall, among others, at NYU's Studio for Electronic Music. Starting in the '70s, Chatham began composing in just intonation, and made a living tuning instruments, sometimes in trade for lessons, as he did with LaMonte Young. He played in Young's Dream House band and in a group with Tony Conrad during this time. Later in the '70s, Chatham began incorporating rock elements into his music and explored non–notated forms. The rock part of his work mainly focused on electric guitars which he was inspired to love after seeing the Ramones play at CBGB's. Chatham's guitar works — the first of which, "Guitar Trio," was premiered by a trio including Glenn Branca — were played at high volumes, revealing the overtones, which can sound like voices, but also resulted in tinnitus for him by the early '80s. Chatham's better–known guitar works include "Drastic Classicism" (1982) for four guitars with alternate tunings, and the symphony "An Angel Moves Too Fast to See" (1989) for 100 electric guitars (with bass and drums). Performances of his large–scale works utilized guitarists including Bill Brovold (who went on to form Larval) and Robert Poss (Band of Susans). Chatham began composing for brass (such as "Factor X") in addition to guitar, and resumed notating his works. After years of living in NYC, he relocated to Paris. Chatham also began incorporating his trumpeting (often electrified, with effects) after about a decade of studying the instrument. You can hear his trumpet on Hard Edge (1999, Wire Editions) and Neon (1996, NTone), an album by Chatham and Martin Wheeler. In the late '90s, Chatham co–founded the group Septile with a Bronx DJ and ex–Swans drummer Jonathan Kane.
¬*  [Rhys Chatham] is one of noise rock's founding fathers. Without him, there would be no Sonic Youth, no Jesus and Mary Chain, no My Bloody Valentine . . . he remains a towering figure among six–string aficionados. — Greg Kot, Chicago Tribune, author of Wilco: Learning How to Die
¬*  “…spacious drones shimmering with intricate harmonic effects.” — Chicago Reader
¬*  “It might justly be considered music to pray to.” — Will Hermes, The New York Times


Charlemagne Palestine (born Chaim Moshe Tzadik Palestine, or Charles Martin) August 15, 1945 or 1947 in Brooklyn, New York) is an American minimalist composer, performer, and visual artist.
Instruments: Vocals, piano, organ, harmonium, spoken word
Life and career:
¬*  Charles Martin was born in New York, and studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts.
¬*  A contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences’ expectations of what is beautiful and meaningful in music. A composer–performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is known for his intense piano performances. He also performs as a vocalist. In Karenina he sings in the countertenor register and in other works he sings long tones with gradually shifting vowels and overtones while moving through the performance space or performing repeated actions such as throwing himself onto his hands.
¬*  Palestine's Strumming Music (1974) remains his best known work. It features over 45 minutes of Palestine forcefully playing two notes in rapid alternation that slowly expand into clusters. He performed this on a nine–foot Bösendorfer grand piano with the sustain pedal depressed for the entire length of the work. As the music swells (and the piano gradually detunes), the overtones build and the listener can hear a variety of timbres rarely produced by the piano. A recording of Strumming Music was also Palestine's second vinyl album in the 1970s, reissued on CD in 1991. Since then, several additional recordings from the 1970s (featuring Palestine on piano, organ, harmonium, and spoken word), including new recordings of more recent works such as Schlingen–Blängen, have become available.
¬*  Palestine's performance style is ritualistic: he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes), and drinks cognac.
¬*  Music critic and scholar Kyle Gann named Palestine composer of the month in June 2005.
Selected discography: solo works
*¬  Karenina. 2 CDs. Solo performance with Indian harmonium and falsetto voice, rec. March 1997 in Paris. London: World Serpent Distribution.
*¬  Schlingen–Blängen. Solo performance for organ. US: New World Records, 1999.
*¬  Four Manifestations on Six Elements. Solo pieces for piano and for electronics. Belgium: Barooni Records.
*¬  Godbear. Solo pieces for piano. Belgium: Barooni Records.
*¬  Strumming Music. Solo piece for piano. Felmay, San Germano, Italy, 1995; reissue of New Tone recording nt6742
*¬  Three Compositions for Machines. Staalplaat, 1997.
*¬  Schlongo!!! daLUVdrone. Organ of Corti, 2000.
*¬  Jamaica Heinekens in Brooklyn. Piece for found sound and electronic drones. Belgium: Barooni Records.
*¬  Alloy. Alga Marghen, 2000.
*¬  Continuous Sound Forms. Alga Marghen, 2000.
*¬  Charlemagne at Sonnabend. 2 CDs. CP, 2001.
*¬  Music for Big Ears. Staalplaat, 2001.
*¬  In Mid–Air. Alga Marghen, 2003.
*¬  Old Souls Wearing New Clothes. VPRO, 2003.
*¬  A Sweet Quasimodo between Black Vampire Butterflies: For Maybeck. Cold Blue, 2007.
*¬  The Apocalypse Will Blossom. Yesmissolga, 2008.
*¬  Voice Studies. LP only. Alga Marghen, 2008.
*¬  From Etudes to Cataclysms. 2 CDs. Sub Rosa, 2008.
*¬  "Strumming Music for Piano, Harpsichord and String Ensemble". 3 CDs. Sub Rosa, 2010.
*¬  "Relationship Studies". LP. Algha Marghen, 2010.
*¬  "Two Electronic Sonorities". LP. Algha Marghen, 2012.
Selected discography: collaborations:
*¬  Pan Sonic and Charlemagne Palestine. Mort aux vaches. Staalplaat, 2000.
*¬  Charlemagne Palestine, David Coulter and Jean Marie Mathoul. Maximin. Young God Records, 2002.
*¬  Charlemagne Palestine, David Coulter, Michael Gira and Jean Marie Mathoul. Gantse Mishpuchach / Music in Three Parts. Fringes Recordings, 2004.
*¬  Charlemagne Palestine and Tony Conrad. An Aural Symbiotic Mystery. Sub Rosa, 2006.
*¬  Charlemagne Palestine, Terry Jennings, Tony Conrad, Robert Feldman, Rhys Chatham. Sharing a Sonority. Alga Marghen, 2008.
*¬  Charlemagne Palestine and Christoph Heemann. Saiten in Flammen. Streamline, 2009.
*¬  Charlemagne Palestine and Janek Schaefer. Day of the Demons. Desire Path Recordings, 2012.
INTERVIEW:
*¬  http://media.hyperreal.org/zines/est/intervs/palestin.html
INTERVIEW with DANIEL VARELA:
*¬  http://www.furious.com/perfect/charlemagnepalestine.html
DO YOU STILL IDENTIFY YOURSELF AS AN AMERICAN COMPOSER? CHARLEMAGNE PALESTINE
MATTER VIEWPOINT / By NewMusicBox Staff on November 1, 2002
*¬  http://www.newmusicbox.org/articles/Do-you-still-identify-yourself-as-an-American-composer-Charlemagne-Palestine/
Website: http://www.rhyschatham.net/
Website: http://www.rhyschatham.com/home/
MySpace: https://myspace.com/
Twitter: https://twitter.com/rhyschatham
Facebook: https://www.facebook.com/pages/Rhys-Chatham/12273903717
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Charlemagne Palestine & Rhys Chatham — Youuu + Mee = Weee

 

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