Autorickshaw/ Paul Dolden/ K-Space/ Kristi Allik &

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Press release

FEATURE ARTICLES:

Autorickshaw: A modern spin on a classical tradition
By Tilman Lewis

Article Summary: Multicultural Canada, and Toronto in particular, has become a hotbed of world musics bending and blending. Toronto’s Autorickshaw, a four-piece ensemble that plays Indojazz fusion, is one example that’s been creating a buzz. Singer Suba Sankaran is the daughter of master drummer Trichy Sankaran, an influential teacher of the South Indian, or Carnatic, classical musical tradition. She and tabla player Ed Hanley share artistic direction of the band. Perhaps the most distinctive element of Autorickshaw’s sound is the unexpected, intimate interplay between Suba’s voice and the infectious gleefulness of Rich Brown’s electric bass, a decidedly untraditional instrument. Suba talks about “connecting the dots” between different musics, and about the common ground—and differences—of jazz and Carnatic music

Naturally Eelectronic: The art of Kristi Allik and Robert Mulder
By Stephanie Moore

Article Summary:Kristi Allik and Robert Mulder are a creative duo with a shared passion for performative and interactive art that engages multiple senses. This article outlines several of their projects, from their more recent focus on omniscape, the interconnection of image, sound, experience, memory, intuition, and gesture; to their treatment of the themes and features of natural environments

Beyond postcards from the concert hall: An interview with Paul Dolden
By Jeremy Owen Turner

Article Summary:Montreal-based electroacoustic composer, Paul Dolden is both famous and infamous for heavily multi-tracked compositions of epic length that seem to go perceptually well beyond the conventions of what currently passes for the human standards of technical performance and classical aesthetic taste. Although Dolden has been working full time for the last twenty-five years on these rather intense and intricate compositions, there remains confusion about how to pigeonhole his work. In spite of this confusion around his work, Dolden has won over twenty international awards and so has managed to convince many people that his extroverted compositions have historical legitimacy within the new-music canon.

Entering K-Space
By Julian Cowley

Article Summary:English multi-instrumentalist Tim Hodgkinson and Scottish drummer Ken Hyder have travelled extensively in rural Siberia, investigating local music and shamanic practices, and reflecting critically upon their own assumptions. Encounters with Tuvan throat-singer and musical shaman Gendos Chamzyryn led to the formation of K-Space, an improvising trio that seeks to find shared ground between Western and Siberian cultures, while embracing their differences. This piece offers an overview of the circumstances that brought K-Space into existence, traces key moments in the formation of its distinctive character, and identifies some of the views and aspirations that make it so musically intriguing.

COMMENTARY

Music Without An Audience Part 2: The visual and the aural, popular and unpopular
By Donal Mcgrait
Article Summary: In his second Commentary column, a companion to his first, which appeared in Musicworks 95, Donal McGraith compares the relative success of the visual avant-garde in relation to the musical avant-garde. He discusses why the visual avant-garde has managed to move from small galleries to major museum collections, while the audience for the musical avant-garde has become smaller and more focused. Part of the reason for this is the different nature of visual pleasure. Visual art can still amuse the casual viewer even when it is shocking or disturbing. Music requires spending more time, and avant-garde music appeals to a committed, educated listener who has learned to understand it. Casual listeners usually will not give experimental music the necessary time to understand or enjoy it. Because avant-garde music is so demanding, it has the kind of economy that is based on barter and mutual aid, as described in the first of McGraith’s Commentary columns.

What makes you believe in the future of art music? Why we make music. why we need it
By Tim Brady

Article Summary: In this article, composer Tim Brady responds to a seemingly simple question from a McGill University graduate student: “What do you feel is most important to communicate to society about the validity of new music?” In answering the question, Brady found himself moving back into the archaeological history of human society, and searching for the deepest psychological and sociological roots of musical expression. For Brady, ultimately, it is the fact that musical creation can bridge both time and distance that makes it a unique part of our human heritage.

SONIC GEOGRAPHY:

We've begun a new section of the magazine with this issue, called sonic geography, in which writers describe aspects of their local music communities. In issue 96 we have:

Eric Leonardson in Chicago
Doug Harvey in Los Angeles
Benjamin Klein in Northern New Zealand

CD CONTENTS

1 | Kapi-Wallah (2003) 16:29
by / par Suba Sankaran and / et Ed Hanley of / de Autorickshaw Performed by / interprété par Autorickshaw: Suba Sankaran, voice / voix, solkattu; Ed Hanley, tabla, solkattu, percussion; Rich Brown, bass / basse; Debashis Sinha, riqq. Commissioned by / commande de Natasha Bahkt. From the album / tiré de l’album autorickshaw

Download MP3:

2 | Ganamurthy (2004) 6:29
Arranged by / arrangé par Suba Sankaran and / et Ed Hanley for / pour Autorickshaw. Performed by / interprété par Suba Sankaran, voice / voix, solkattu; Ed Hanley, tabla, solkattu, percussion; Rich Brown, bass / basse; Debashis Sinha, multikit, doumbek Sruti box (drone). From the album / Tiré de l’album Four Higher

3 | Below the Walls of Jericho (excerpt/extrait) (1988-89) 5:39
by / par Paul Dolden

4 | Twilight’s Ritual Incantations (excerpt/extrait) (1997-2002) 4:30
by / par Paul Dolden

5 | Beyond the Walls of Jericho (excerpt/extrait) (1991-92) 4:19
by / par Paul Dolden

6 | L’ivresse de la vitesse (excerpt/extrait) (1992-93) 4:15
by / par Paul Dolden

7 | Live In The Northern Hemisphere (2000) 3:53
by / par K-Space
Composed by Tim Hodgkinson and Ken Hyder, registered with the Performing Rights Society. Performed by Gendos Chamzyryn, Ken Hyder, and Tim Hodgkinson.

8 | Kungaa and Kaznacheev Rap (2004) 3:59
by / par K-Space
Composed by Tim Hodgkinson and Ken Hyder, registered with the Performing Rights Society. Performed by Gendos Chamzyryn, Ken Hyder, and Tim Hodgkinson.

9 | Moving Sprits (2004) 4:37
by / par K-Space
Composed by Tim Hodgkinson and Ken Hyder, registered with the Performing Rights Society. Performed by Gendos Chamzyryn, Ken Hyder, and Tim Hodgkinson.

10 | Machine Symphony (2000) 3:13
by / par Kristi Allik

11 | Sea Spirits (2002) 5:07
by / par Kristi Allik

12 | Funk Island (2002) 3:02
by / par Kristi Allik
Performed by / interprété par David McCallum, didgeridoo.

13 | Debrusions (2005) 4:04
by / par LEARK
Performed by / interprété par Mike Cassells, David McCallum, Robert Mulder, Kristi Allik: laptop and electronics / ordinateur portable et l’électronique; Cheryl O, cello/violoncelle.

14 | Skyharp (excerpt/extrait) (1999) 3:49
by / par Kristi Allik and / et Robert Mulder

REVIEWS:

Events:
Anne Bourne on the Electric Ecclectics Festival
Anne Bourne on Music (in) Galleries in Toronto.
David McCallum on Mutek
Gayle Young on FIMAV
Brent Lee on Thinkbox

Recordings:
Ken Waxman on Carnival Skin.
Stuart Broomer on Contest of Pleasure’s Albi Days
Ken Waxman on Tom Djll’s Bellerophone
Chris Kennedy on Ethiopian Orthodox Christian Church’s Aqwaaqwam:
Music and Dance of Heaven
Chris Kennedy on Leroy Jenkin’s Driftwood.
Gregory Preson on Kyron’s Morpho Genex
Ken Waxman on Pierre-Yves Martel’s Engagement & Confrontation.
Stuart Broomer on Mattin/Radu Malfatti’s Going Fragile.
Ken Waxman on Numious Opossum’s Find the Burrow and Bury Your Head
Ken Waxman on Satoko Fujii Quartert’s Angelona
Ken Waxman on Syntopia Quartet’s Mars
Ken Waxman on Reben Radding’s Intersections
Ken Waxman on Reben Radding’s Fugitive Pieces
Ken Waxman on Ursel Schlicht and Reuben Radding’s Einstein’s Dreams
Gregory Preston on Kees Tazelaar’s Electronic Compositions
Ross Birdwise on John Wall’s Cphon
Chris Kennedy on Philip Werren’s Electronic Music
Ken Waxman on Wrigt, Djll, Rainey, and Feeney’s Road Signs
Robert Gluck on Shahroh Yadegari’s Migration
Chris Kennedy on Alla Zagaykevych’s Motus

Words:
Devin Shaw on Aden Even. Sound Ideas: Music, Machines, Experience
Ken Waxman on Steven L. Isoardi. The Dark Tree: Jazz and the Community Arts in Los Angeles

Visions Of Sound
W. Mark Sutherland