this is not the file I am looking for...I know its around the studio
somewhere...but the Last Rose of Summer is a great song.... Jaff!
Message from Jaff, from ccMixter - Here are some thoughts as I listen to the files as they come through. This is a collaboration with some singer I've never met, whose brother posted samples of her voice which I used in a track.
Planning to do some mixing of "Last Rose" - hoping it's their own composition! I imagine a crazed improv noise madness session playing behind it...
I love soprano voices...
Sorry to see Derek Bailey go. He was in Barcelona, where I once thought I'd return to start loads of impro stuff. We have to be a new generation with this stuff. Mr Bailey had already improvised with and anything and anyone that took his fancy, we have to take this stuff now and use it in our work, taking it to a whole new level. We can mix his and his contemporaries' theories on chance meetings and unpreparedness, his approach to effects in an acoustic context, his somehow useless yet fascinatingly mathematical musical abstract surface. We can develop on ways of creating chance meetings and chance creative methods - stepping outside the realms of musical performance and of the technology and organisational theory available at this time, and use what who knows will come in future.
somewhere...but the Last Rose of Summer is a great song.... Jaff!
Message from Jaff, from ccMixter - Here are some thoughts as I listen to the files as they come through. This is a collaboration with some singer I've never met, whose brother posted samples of her voice which I used in a track.
Planning to do some mixing of "Last Rose" - hoping it's their own composition! I imagine a crazed improv noise madness session playing behind it...
I love soprano voices...
Sorry to see Derek Bailey go. He was in Barcelona, where I once thought I'd return to start loads of impro stuff. We have to be a new generation with this stuff. Mr Bailey had already improvised with and anything and anyone that took his fancy, we have to take this stuff now and use it in our work, taking it to a whole new level. We can mix his and his contemporaries' theories on chance meetings and unpreparedness, his approach to effects in an acoustic context, his somehow useless yet fascinatingly mathematical musical abstract surface. We can develop on ways of creating chance meetings and chance creative methods - stepping outside the realms of musical performance and of the technology and organisational theory available at this time, and use what who knows will come in future.
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