Bookmarks from July 26th through August 1st
“Actually, the budget issues facing LA and the State aren’t all that different than the “crisis” brewing here. As part of its “austerity” efforts the government is pushing hard for a radical restructuring of the Danish workforce. They want to push the maximum work week 37 to 38 hours. Can you imagine? 38 hours! To [...]
Retrace Our Steps (Emusic Review/John Schaefer)

i was very happy to see that WNYC’s John Schaefer wrote a great review of Retrace Our Steps for the E-Music website.*
“Composer Paul Bailey winningly describes his ensemble as an “alt-classical garage band.” With 4 singers (two of whom also speak), strings, winds, piano, electric guitar, vibes, and electric bass, it’s as good a description as any. Retrace Our Steps is his “secular oratorio in 4 acts,” and while the opening notes of Act I and of Act IV sound like they might have come from Arnold Schoenberg’s Transfigured Night, the dominant musical references are to Philip Glass and Michael Nyman. Bailey’s pulsing, tonal chamber music is married to texts by Gertrude Stein, Guy Debord and Jenny Bitner. All four acts are highly rhythmic affairs, but each has its own character: Act I insistent, Act IV a more reflective cousin (a neat trick since the rhythm seems to be the same); Act II with a stinging electric guitar part leading the way; Act III with an elegant combination of vibes and rocking strings and guitar. Rather than providing a narrative in a traditional oratorio sense, Bailey gives us a series of aural snapshots dealing with isolation, alienation, and the irony of modern communication (that when it is so easy to communicate, it is still so hard to communicate effectively). A further irony is that this message is carried by some immediately accessible music; if the message is that instrumental rock and new classical music are not so far apart, that message comes through loud and clear.”
and last week WNYC recently replayed the original show that featured my music.
*i’m not sure what is going on but it looks like Act II hasn’t been uploaded properly on the emusic site. If you have had problems and have downloaded an incomplete track please email me and besides giving you a link to Act II, i’ll also be happy to send you a special “surprise”.
and of course you can download the whole album right here for free at anytime
Retrace Our Steps, Act 1
Retrace Our Steps, Act 2
Retrace Our Steps, Act 3
Retrace Our Steps, Act 4
(download graphic libretto)
(download Graphic Libretto and Mp3′s)
Minimalist Music Theatre: WNYC New Sounds Podcast (2008)

Minimalist Music Theatre (originally aired May 20, 2008)
“Hear some music theatre pieces on this New Sounds show. Listen to Philip Glass’s recent release “Waiting for the Barbarians,” adapted from the novel by the South African writer and Nobel Prize Winner John Coetzee. Also, there’s music by Paul Bailey – his post-minimalist music theatre piece “Retrace Our Steps.” He describes it as a four act vocal/instrumental spectacle based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. The “alt-classical garage band” Paul Bailey Ensemble performs the work. And more.”
we cannot not change
my apologies up front for posting a political blog. you know i’m not the type to get “the sky is falling”. i have had enough of being cynical about our political system. if you were like me and 8 years ago thought that politics didn’t matter then this post might be for you. as you [...]
Life (We Cannot Retrace Our Steps)

my long life, my long life
RETRACE OUR STEPS is essentially a secular oratorio; a collection of thoughts, feelings, and opinions about modern life (consumerism, idealism, and alienation)
Traditionally oratorios functioned as a musical sermon, coordinated to biblical calendar to enhance the worship service. by setting these conflicting themes in a non-narrative format allows the contradictions and grey areas to become illuminated.
Instead of creating an “official” set of PROGRAM NOTES to accompany this recording (like the ones you are reading right now) I decided that a GRAPHIC LIBRETTO would far better bridge the gap between the trepidation many people feel today when listening to ART MUSIC (music meant for contemplation)
listen and download RETRACE OUR STEPS I-IV:
act 1
retrace our steps, act I
act 2
retrace our steps, act II
act 3
retrace our steps, act III
act 4
retrace our steps, act IV
download graphic libretto and retrace our steps mp3′s (66mb zip file)
Retrace Our Steps (2008)
ABOUT THIS ALBUM
Retrace Our Steps is a secular oratorio in 4 acts (2004) based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. the work explores the relationships between idealism, alienation, and consumerism.
TRACK LISTING
Retrace Our Steps, Graphic Libretto
CREDITS
recorded, edited and mixed by marlon luna and paul bailey (released jan, 2008)
mastered by johnathan marcus (opharion recordings)
musicians:
nicole baker, mezzo-soprano soloist and speaking parts, karen hogel, soprano, nike st. clair, alto,
sean mcdermott, tenor and paul cummings bass
sam formicola and sam fischer violins, victor lawrence, cello, sean ferguson, electric guitar, matt menaged, electric bass, kyoko kamei and carl stronach vibraphone, eric hendrickson, keyboard, scott mcintosh, bass clarinet.
(commissioned by the cerritos center for the performing arts)
NEWS AND REVIEWS
John Schaefer, WNYC/EMusic Review
WNYC CD Pick of the Week (May 08 2008)
WNYC CD Picks of the Year (2008)
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License.
This music free to share under a Creative Commons Music Sharing License.
Ensemble's Mix Is A Classic Alternative: Josef Woodard/LAtimes (2005)

Los Angeles Times, January 21st, 2005
(Copyright (c) 2005 Los Angeles Times)
“After his concert at the Cerritos Center for the Performing Arts on Wednesday, Paul Bailey spoke to the audience about his ongoing adventure, the Paul Bailey Ensemble — an “alternative classical garage band.”
Fair enough: The cheeky description points to the group’s self- reliant, can-do spirit and its intention to mix high and low culture, art and pop. Fittingly, the setting was the casual Sierra Room, where the audience sat at tables as if in a new-music cabaret.
A balanced grouping of strings, woodwinds, guitar, bass, keyboard, vibraphone and sometimes vocalists, the ensemble consists of classically trained and impressively focused players who create an appealing, collective sound. Bailey, a trombonist, educator and composer, formed the group in 2002 as a do-it-yourself forum outside the usual and limited channels of classical music presentation.
Stylistically, the ensemble is very much locked into the Minimalist groove. The Cerritos concert was well-stocked with repetitive lines, easygoing tonalities, and undulating cascades of eighth notes, reminding us of the comforting, even old-fashioned, charm of the Minimalist style.
In the concert’s first half, instrumental pieces from Bailey’s suite “Summerland” and guitarist Sean R. Ferguson’s “Chopping Tool” offered their rhythmically chugging energies, more about ensemble machinery than melodic or thematic development. These fed directly from the inspirational trough of such classic Minimalist recordings as Steve Reich’s “Music for 18 Musicians” and Philip Glass’ “Glassworks.” The inclusion of electric guitar ( Ferguson ) and bass (Matt Menaged) nudge the sound more toward a rock aesthetic, thanks to our associative connection with those tools.
This program’s main attraction came after intermission, with the world premiere of Bailey’s ambitious “Retrace Our Steps,” ostensibly written for mezzo-soprano Nicole Baker. She sang key parts in the four-movement work, with text that included cryptic poetics by Gertrude Stein and socio-philosophical tracts by Guy Debord and Jenny Bitner. But Baker ultimately became a team player and folded into the democratic mesh of the ensemble’s conjuring of nine instrumentalists and four additional vocalists.
One unsettling aspect of an otherwise engaging concert was the canned texture of sound processed through microphones, allowing acoustic instruments to compete with electronic ones. Then again, that is a hallmark of Minimalism, which borrows from pop’s sound palette and equipment list on the path to a new classical paradigm. In short, the Paul Bailey Ensemble is out of the garage and on the way up.”
"Let's Burn that Puppy Down" Rex Reason/OC Weekly (2005)

OC Weekly January 13, 2005 By Rex Reason
“Paul Bailey saw a lot of space between pop art and high art and decided to fill it, rather than just rant about it over fish tacos and soda—although he does a pretty good job at that, too. The jovial, articulate composer/trombonist/bandleader is just as likely to talk about Wes Anderson or Love & Rockets comics as elements of the baroque chamber music his nine-piece ensemble—two violins, cello, vibraphone, synthesizer, electric guitar, bass guitar, clarinet and trombone, augmented by vocalists as necessary—draws on. It’s classical instrumentation and architecture, but the amplified guitars are front and center, enough to scare off the furs-and-tiara set. And that’s fine for Bailey, who’s proud of a distinctly un-academic—though definitely not uninformed—take on classical composition, something between Weezer and Wagner. With many of his musicians coming from Cal State Fullerton, his ensemble is familiar with gigs at local art galleries, churches and other impromptu performance spaces; this month, however, Bailey will debut Retrace Our Steps , a work based on writings by Gertrude Stein, Guy Debord and Jenny Bitner that was commissioned by the Cerritos Center for the Performing Arts in what Bailey describes as a happy accident.
OC Weekly : So you left Kansas to become a professional musician in California, and you ended up . . . at Disney. How was that?
Paul Bailey: It’s Disney. Anything anyone else has said? It’s true. I was trained to be a musician, I practiced very hard, and I got there, and I basically had to make farting noises on my trombone and play show tunes. At Disney, you don’t have a choice. We played the same 12 songs for four years.
Is that what drove you to become a teacher?
Being a teacher is the only way I can be a composer and a musician and not have my soul taken out of me. Being paid to play trombone or being paid to write music, I have to worry about who’s going to pay me next. Now, in a sense, I have no filter. I can write whatever I want. It can be shitty, but at least it’s what I want.
So explain why you want to do what you do.
I’m 36. Are people my age supposed to listen to pop music their whole lives? The whole music industry is set up to please a 17-year-old kid. I don’t mind listening to that stuff, but am I supposed to live my life through the eyes of a 17-year-old?
But you told me earlier how much you like Weezer.
I love Weezer. They’re one of my favorite bands, but it would be false of me to write pop songs or rock songs. Is rock and pop music the only way you can express yourself in today’s culture? If I had drums, we’d be a rock band. Right now, it’s very deliberate—I’m not a rock band, although I use rock instruments
So is this something closer to an orchestra?
Fuck the orchestra. Let’s burn that puppy down and start over. The orchestra’s proper place is the museum. The idea you’re getting some cultural experience that’s going to make your life better and it’s going to expand your mind is total bullshit.
Then how do you reconcile the two forms?
There’s the technical aspect where I can say, academically, we’re not modernist music. We believe in stuff that has the same chords as Weezer, the Beatles or Radiohead. I’m choosing to deal with music I grew up with and that interests me. But I don’t want to make people go through all these things to decide whether they like it or not. In my latest work (Retrace Our Steps), there might be a message, but the actual music takes very little to understand. You don’t need to listen to Michael Nyman or Steve Reich or Phillip Glass to listen to my music—although it’s based on them. You don’t need to understand hundreds of years of music history in your mind to listen to stuff I write.”
Retrace Our Steps, Jenny Bitner/Guy Debord

The second movement of my latest piece, Retrace Our Steps, is a combination of texts by Jenny Bitner and Guy Debord. These texts represent a juxtaposition between consumerism, apathy and idealism. The final libretto is a small part of both works; here are links to the original texts. The Pamphleteer starts out as almost a nonfiction essay but takes a wonderful fantasy turn near the end. The Society of the Spectacle is a large essay/manifesto on the nature of man and society.
Enjoy
the pamphleteer-The Best American Nonrequired Reading 2002
Society of the Spectacle



Bookmarks for July 16th through July 19th [del.icio.us]
Bookmarks from July 16th through July 19th:[del.icio.us]
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