Visions, Fantasies and Dances Music for String Quartet by Yitzhak Yedid A Reflection by Arjun von Caemmerer Yitzhak Yedid remarks that during a synagogue service the congregants may chant and sing in quasi-unison alongside the cantor, thus spontaneously and intuitively generating heterophonic variations from the monophonic melodies of traditional prayers and Piyyutim. My response to …
The third album, Kinetic Conversations, is an extraordinary and rare find, a heady 100%-proof concoction distilled once and only in the off-hours of a March afternoon at the University of California, San Diego, in 1986. Let loose in the lab were two electric and eclectic and eccentric maestri: the Visiting Professor, Australian Keith Humble, on piano and electronics and Bunsen burner, and the Resident Professor, American Bertram Turetzky, on mortar and pestle and contrabass.
Forget rigid categories, the security of strict delineations. Formative influences for Israeli-born Yedid include classical music (as a child and later at JAMD); the discovery of jazz and improvisation (in Israel and at Boston’s New England Conservatory, where he studied with Paul Bley and Ran Blake); and not least his immersion in the music of his childhood environment: the Syrian synagogue where all the melodies were rendered in Arabic scales, and his thorough saturation with the Hasidic and Orthodox Jewish scales.
Allan Browne, poet that he is, holds the art of space: not just knowing what to say and when to say it but knowing what not to say and when not to say it.
If an index of the ‘success’ of any art is its capacity to make an audience question what they have previously taken for granted, their own habitual modes, then on this measure Chameleons of the White Shadow, the 10th album from Joseph Tawadros in as many years, succeeds admirably…
A bright weaver’s shuttle flashes back and forth,
Rumi from “Where Are We?”
12 tracks, a round dozen. As the product of an ex-Triosk drummer and a musician of the Fourth Way this seems just right.
“To the marvels enfolded within this album, airwaves, there is literally no end…”
… the hum, buzz, & electric crackle coalesce at times into the sounds of the everyday
It is fortunate that I allowed myself several exposures to this album before approaching Tom Heasley’s website where, prefixed to Tuba, the word Ambient is so prominently and alarmingly highlighted.