Fred Frith / John Zorn Step Across the Border Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Fred Frith / John Zorn Step Across The Border mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Stage & Screen Album: Step Across The Border Country: Russia Released: 2000 Style: Soundtrack, Fusion, Avantgarde, Experimental MP3 version RAR size: 1238 mb FLAC version RAR size: 1591 mb WMA version RAR size: 1398 mb Rating: 4.2 Votes: 458 Other Formats: MP2 VOX MPC VQF MP4 MP1 ADX Tracklist 1 Sparrow Song 1:28 2 Voice Of America (Part 3) / Legs 4:24 3 Selluloid Restaurant / The Old Man Puts Out The Fire 3:09 4 After Dinner 1:47 5 Houston St. 2:54 6 Drum Factory 2:01 7 Regardless Of Rain 3:05 8 Candy Machine 2:59 9 Romanisches Cafe 6:19 10 The Border 3:29 11 Nirvana Again 1:53 12 Scottish Roppongi 1:46 13 Norrgården Nyvla 2:58 14 Birds 2:18 15 The As Usual Dance Toward The Other Flight To What Is Not (Part 3) 1:47 16 Williamsburg Bridge 1:53 17 Same Old Me / Williamsburg Bridge (Reprise) 4:10 18 The As Usual Dance... Etc. (Part 5) 2:24 19 Lost And Found 3:21 20 Nine By Nine 5:52 21 Evolution 3:20 22 Union Square 1:41 23 Morning Song 2:00 24 Voice Of America (Part 4) 2:02 25 Too Much Too Little 2:08 26 Too Late 2:23 Credits Design – Peter Bäder Engineer – Benedykt Grodon Photography By [Cover] – Oscar Salgado Recorded By [Field And Live Recordings] – Jean Vapeur Notes Music For The Film by Nicolas Humbert and Werner Penzel. This Music Is Dedicated To The Memory of Mary W.Frith (1921-1989) Barcode and Other Identifiers Matrix / Runout: 8-785 Other versions Category Artist Title (Format) Label Category Country Year Step Across The Border ReCDec 30 Fred Frith RecRec Music ReCDec 30 Europe 1990 (CD, Album) Step Across The Border RecRec 30 Fred Frith RecRec Music RecRec 30 Switzerland 1990 (2xLP, Album) Step Across The Border ESD 80462 Fred Frith East Side Digital ESD 80462 US 1990 (CD, Album) Step Across The Border ReCDec 30 Fred Frith RecRec Music ReCDec 30 Switzerland 1990 (Cass, Album) Step Across The Border ReR Megacorp, ReR/FRO 03 Fred Frith ReR/FRO 03 UK 2002 (CD, Album, RE, Dig) Fred Records Related Music albums to Step Across The Border by Fred Frith / John Zorn Fred Frith / Bob Ostertag / Phil Minton - Voice Of America Forge - Part Man, Part Machine Scottish Border Quartet - Scottish Border Quartet James Brown - Sex Machine Part 1 & Part 2 Various - Murder, Mystery & Suspense Tjere - Blank Slate Various - Studio 33 - Best Of The 80's Step 5 - Part 2 The Upbeats - De-Evolution Part III Space - Magic Flight (Part 1) / Magic Flight (Part 2) Stéphane Brand - Nomad Dick James - Summer Sing-Song Medley - Part 1 Body 13 - #007: And I Will Kill Her Children With Death.

Copy Link

Recommended publications

CNMAT Notes.Indd
CAL PERFORMANCES PRESENTS Saturday, February 11, 2006, 8 pm Hertz Hall CNMAT Presents: Mark Dresser, Myra Melford, Bob Ostertag, David Wessel Th is presentation is made possible, in part, by the generous support of Liz and Greg Lutz. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo. CAL PERFORMANCES 29 ABOUT THE ARTISTS ABOUT THE ARTISTS Jazziz magazine noted, “Th e conﬁ dence to go included the Kronos Quartet, avant-gardists so far into uncharted territory and the ability John Zorn and Fred Frith, heavy metal star to carry listeners along—then bring them Mike Patton, jazz great Anthony Braxton, back—attest to Melford’s vision.” dyke punk rocker Lynn Breedlove, drag diva Myra Melford is currently Assistant Justin Bond, ﬁ lmmaker Pierre Hébert and Professor of Improvisation and Jazz in the others. He is rumored to have connections Department of Music at the University of to the shadowy media guerrilla group Th e California, Berkeley. Yes Men. Bob Ostertag recently joined the Department of Technocultural Studies at the University of California, Davis, where he is an Associate Professor. Myra Melford (piano and electronics) is “the genuine article, the most gifted pianist/ Mark Dresser has been composing and composer to emerge from jazz since Anthony performing solo contrabass and ensemble Davis,” according to critic Francis Davis. A music professionally throughout North composer and bandleader with a “commitment Composer, performer, instrument builder, America, Europe and the Far East since to refreshing, often surprising uses of melody, journalist, activist, historian, kayak instruc- 1972. He has recorded more than 100 CDs harmony and ensemble playing,” according to tor—Bob Ostertag’s work cannot easily be with some of the strongest personalities in NPR, Melford currently leads or co-leads four summarized or pigeon-holed.
[Show full text]
Blabla Bio Fred Frith
BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin.
[Show full text]
Music, Politics, People, and Machines
Critical Studies in Improvisation / Études critiques en improvisation, Vol 6, No 2 (2010) Book Review Creative Life: Music, Politics, People, and Machines Bob Ostertag Urbana: U of Illinois P, 2009 ISBN-10: 025207646X ISBN-13: 978-0252076466 194 pages Reviewed by Rob Wallace The title of Bob Ostertag’s third book is more accurately rendered as Creative Life Music Politics People and Machines—a continuous stream of concepts connected precariously only through Ostertag himself. The key term is “creative,” along with the equally important “people.” For while Ostertag’s book is on the one hand a collection of essays touching on various aspects of his own biography and artwork, it is also a series of engaging and at times very moving portraits of his contemporaries. Profiling such figures as Anthony Braxton, David Wojnarowicz, Jim Magee, “Maria,” Aleksandra Kostic, and Justin Bond, Creative Life is a story of many creative “lives” that in some way have intersected with the creative life of the protagonist, Ostertag. Some of these lives may be familiar to readers, some not so familiar, and that latter fact is one of the book’s greatest strengths: as an advocate of artists in particular and interesting people in general, Ostertag’s narrative makes the individuals he meets seem intriguing and potentially life-changing, regardless of their level of “fame” in their respective worlds. The information about Texas-based artist Jim Magee, for example, is reason enough to read the book (and if you are unfamiliar with Magee, as I was, take my word for it and read Ostertag’s profile).
[Show full text]
Fred Frith (Filmmusik)
Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video.
[Show full text]
Variations #6
Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline.
[Show full text]
Larry Ochs' Interview with Luca Canini for Allaboutjazzitalia.Com Via Email in Winter 2013.(Published April 2013.) Questions
Larry Ochs’ interview with Luca Canini for AllAboutJazzItalia.com via email in winter 2013.(published April 2013.) Questions in bold. Some years ago, when I first listened to “Electric Ascension”, I was shocked by the intensity and power of the performance: past/future, tradition/innovation. That disc and the few concerts around the world are a deep reflection on jazz, history, improvisation, sound. But everything started back in 1995, when Rova decided to celebrate the 30th anniversary of John Coltrane’s masterpiece. Can you tell me something about the birth of the project? How do you decide to approach such a “problematic” piece (if you consider Ascension a “piece”)? And do you remember the first time you listen to Ascension? I think Coltrane’s “Ascension” is one of the great jazz compositions of all time. A great formal structure; a great piece. Not that I consider myself an expert on all jazz music. I really don’t. But I am an expert on the greatness of that composition. We have played it 11 times as “Electric Ascension.” And yes it is true that we re- arranged the piece and changed the instrumentation, but the basic composition “Ascension” is absolutely at the center of “Electric Ascension;” it totally influences all the music we play in the spontaneous performance. There is no doubt of that. I remember seeing John Coltrane live at the Village Vanguard with his late great quartet in 1967. I was 18. The music overwhelmed me completely. There were maybe 20 people there for that second set of their night.
[Show full text]
John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and Much, Much More
The World’s Greatest Comic Magazine of Art, Literature and Music! Number 9 $5.95 John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and much, much more . SENSITIVE SKIN MAGAZINE is also available online at www.sensitiveskinmagazine.com. Publisher/Managing Editor: Bernard Meisler Associate Editors: Rob Hardin, Mike DeCapite & B. Kold Music Editor: Steve Horowitz Contributing Editors: Ron Kolm & Tim Beckett This issue is dedicated to Chris Bava. Front cover: Prime Directive, by J.D. King Back cover: James Romberger You can find us at: Facebook—www.facebook.com/sensitiveskin Twitter—www.twitter.com/sensitivemag YouTube—www.youtube.com/sensitiveskintv We also publish in various electronic formats (Kindle, iOS, etc.), and have our own line of books. For more info about SENSITIVE SKIN in other formats, SENSITIVE SKIN BOOKS, and books, films and music by our contributors, please go to www.sensitiveskinmagazine.com/store. To purchase back issues in print format, go to www.sensitiveskinmagazine.com/back-issues. You can contact us at [email protected]. Submissions: www.sensitiveskinmagazine.com/submissions. All work copyright the authors 2012. No part of this book may be used or reproduced in any manner whatsoever without the prior written permission of both the publisher and the copyright owner. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. ISBN-10: 0-9839271-6-2 Contents The Forgetting
[Show full text]
A Zeitgeist Films Release Theatrical Booking Contact: Festival Booking and Publicity Contact
Theatrical Booking Festival Booking and Contact: Publicity Contact: Clemence Taillandier / Zeitgeist Films Nadja Tennstedt / Zeitgeist Films 212-274-1989 x18 212-274-1989 x15 [email protected] [email protected] a zeitgeist films release act of god a film by Jennifer Baichwal Is being hit by lightning a random natural occurrence or a predestined event? Accidents, chance, fate and the elusive quest to make sense out of tragedy underpin director Jennifer Baichwal’s (Manufactured Landscapes) captivating new work, an elegant cinematic meditation on the metaphysical effects of being struck by lightning. To explore these profound questions, Baichwal sought out riveting personal stories from around the world—from a former CIA assassin and a French storm chas- er, to writer Paul Auster and improvisational musician Fred Frith. The philosophical anchor of the film, Auster was caught in a terrifying and deadly storm as a teenager, and it has deeply affected both his life and art: “It opened up a whole realm of speculation that I’ve continued to live with ever since.” In his doctor brother’s laboratory, Frith experiments with his guitar to demonstrate the ubiquity of electricity in our bodies and the universe. Visually dazzling and aurally seductive, Act of God singularly captures the harsh beauty of the skies and the lives of those who have been forever touched by their fury. DIRECTOR’S NOTES I studied philosophy and theology before turning to documentary and, in some ways, the questions I was drawn to then are the ones I still grapple with now, although in a different context. Two of these, which specifically inform this film, are the relationship between meaning and randomness and the classical problem of evil.
[Show full text]
4 Úvod 6 1. DUNAJ
OBSAH Úvod 6 1. DUNAJ – brněnská hudební alternativa 7 1.1 Magické slovo alternativa 7 1.2 Brněnská alternativní hudební scéna 7 1.3 Prapůvod Dunaje, paralely a proměny 9 1.4 Poetické texty písní 12 1.5 Dunaj jako časoprostorové prolnutí a východisko 13 2. IVA BITTOVÁ 14 2.1 Nejen Divná slečinka 14 2.2 Lidová hudba a folklorní inspirace 15 2.3 Akustická společnost Čikori 16 2.4 Pohrávání si se slovem, zvukem a hlasem 17 2.5 Rozprostraněnost hudby 18 3. PAVEL FAJT 20 3.1 Rozrůzněné spolupráce 20 3.2 DrumTrek a Ladakh 22 3.3 Slet bubeníků a Autopilote 23 3.4 Putování s Václavem Cílkem 23 3.5 Hudba a experimentální divadlo 25 4. VLADIMÍR VÁCLAVEK 26 4.1 E a Domácí lékař 26 4.2 Muzikantská duše 27 4.3 Multikulturní šelest Rale a Klar 28 4.4 Spolupráce s Milošem Dvořáčkem 29 Závěr 31 Resumé 32 Seznam pramenů a literatury 33 Přílohy 36 4 Dlouhá je řeč, dlouhá je řeka a má láska uplývá den za dnem. Bílá je ulita, bílý je měsíc, i hvězdy zblednou v ranním slunci. Jednou zemřeš a jen vítr bude hrát na píšťalu z kosti píseň mé touhy. (Píseň, Klar – Motten, 1995). 5 ÚVOD Tato práce se pokouší o uchopení rozsáhlé a pestré šíře umělecké činnosti trojice hudebníků, kteří jsou spjati s brněnskou alternativní hudební scénou 80. (a počátku 90.) let 20. století, kdy společně působili ve skupině Dunaj. Jsou jimi zpěvačka a houslistka Iva Bittová, perkusista Pavel Fajt a kytarista Vladimír Václavek. Jako východisko jsem zvolila jejich společné působení ve skupině Dunaj, které se věnuje první část práce, k čemuž se ovšem neodmyslitelně pojí rovněž duo Bittová a Fajt a paralelní projekty členů skupiny v době existence Dunaje (jako E, Domácí lékař, Rale, Pluto atd., které zmiňuji až u jednotlivých hudebníků).
[Show full text]
COMPLETED FINAL WRITE up 10.6.14 with Original Scores
RADAR Research Archive and Digital Asset Repository A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music Samuel C Roberts (2013) https://radar.brookes.ac.uk/radar/items/2170e787-93d7-4739-a7cd-ef6105beab6d/1/ Note if anything has been removed from thesis: fig. 36, p. 82; fig. 37, p. 83 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder(s). The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, the full bibliographic details must be given as follows: Roberts, S C (2013) A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music PhD, Oxford Brookes University WWW.BROOKES.AC.UK/GO/RADAR A Portfolio of Compositions Expanding the Role of the Electric Bass Guitar in Contemporary Western Art Music Samuel Christian Roberts Commentary A portfolio of compositions and accompanying commentary submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy to Oxford Brookes University Oxford Brookes University October 2013 Abstract My original contribution to knowledge is a portfolio of work that, through composition, improvisation and performance, expands the role of the electric bass guitar in contemporary Western art music.
[Show full text]
Human Bodies, Computer Music Author(S): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), Pp. 11-14 Publis
Human Bodies, Computer Music Author(s): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), pp. 11-14 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513343 Accessed: 23/07/2008 16:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Human Bodies, Computer Music ABSTRACT The authorconsiders the absenceof theartist's body in electronicmusic, a missing BobOstertag elementthat he finds crucial to thesuccess of anywork of art. Inreviewing the historical developmentof electronic music frommusique concrete to analogand then digital synthe- sizers,the author finds that the attainmentof increased control iierre Hebert, a frequent collaborator of mine, use outside of research institutions.
[Show full text]
Bad 6 4 Alchemy
BAD 64 ALCHEMY 1 BA GOODIES 2009 CHEER-ACCIDENT – FEAR DRAWS MISFORTUNE (CUNEIFORM) CIRCULASIONE TOTALE ORCHESTRA – BANDWIDTH (RUNE GRAMMOFON) FLAT EARTH SOCIETY - CHEER ME, PERVERTS! (CRAMMED DISCS) FRED FRITH – IMPUR II (ReR MEGACORP/FRED RECORDS) LAND OF KUSH – AGAINST THE DAY (CONSTELLATION) METALYCÉE – IT IS NOT (MOSZ) NIOBE – BLACKBIRD’S EYE (TOMLAB) QUINTE & SENS – COPEAUX (MADRECORDZ) GEDHALIA TAZARTES – REPAS FROID (TANZPROCESZ) WHEN – YOU ARE SILENT (JESTER) A musician is: a cartographer, a cook, a scavenger, a diviner, a preacher, an auctioneer, a hoarder, a thief, a diplomat, a dictator, an historian, an oracle, a travel agent, an organizer, a storyteller, a chemist, an alchemist, an epiphanist. Carla Kihlstedt: Confessions of a Sensualist Der WÜRZBURGER HAFENSOMMER lockte am 31.07.2009 allerhand Volk an, das sich im Midlifealltag nicht ungern zurück in Teenagerzeiten versetzen lässt. Was sind schon 40 Jahre? ‚Hendrix in Woodstock‘ war angesagt. Als Zeitmaschine stand das HENDRIX PROJECT auf der schwimmenden Bühne - STUCKY, DO- RAN, STUDER, TACUMA. Allesamt sind das Würzburg-vertraute Gestalten, der Bassist Jamaaladeen Tacuma war erst im März mit Brewed By Noon im Omnibus, wo Christy Doran & Fredy Studer schon vor Jahrzehnten öfters mit - kein Witz - mit OM gespielt hatten, 1972 - 1982 das Schweizer Electricjazzspitzenprodukt; die Stucky trieb das dritte Jahr hintereinander ihr exaltiertes Unwesen auf der Ha- fenbühne. Und: Wo Stucky drauf steht, ist auch Stucky drin. Ist ein größerer Gegensatz zu Jimi denk- bar? Oder ist dieses wie per UFO oder auf einem Besen aus dem Electric Ladyland angeflogene We- sen nicht auch die konsequente Er- füllung seiner Beschwörungen? Hendrix-Fans bekamen jedenfalls Einiges zu schlucken: Ein ‚Voodoo Child‘, das als Droge nur Musik und sich selber braucht - Stucky verkör- pert jeden Ton als hip-shaking Mama im swingenden Fransenkleid.
[Show full text]