Bookmarks for June 7th through June 12th
These are my links for June 7th through June 12th: Class, power & ideology – – the illusion of control causes people to over-estimate the chances of them escaping the working class through their own efforts, and so under-estimate the importance of collective class action . – the in-group heterogeneity bias (which is the flipside [...]
Bookmarks for May 6th through May 10th
These are my links for May 6th through May 10th: The first sign that humans are on the verge of evolving into another species [Evolution] – “What Carlson’s work suggests is that species whose brains are evolving fairly rapidly – hello, Homo sapiens – are likely candidates for speciation under the right circumstances. The key [...]
Alt-Classical (2011)
What is Alt-Classical?
DIY, open instrumentation, alternative venues, mix of amateur and professional performers, music lies somewhere between art music (music meant to be contemplated) and pop music (music meant for mass consumption).
Alt Classical EP (2011) by pbailey
tracklist
Fearless Leader, (2006, revised 2007)
was partially inspired by a quote from the Hungarian composer Gyorgy Ligeti: “ Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, its just not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I cannot escape.”
An Eye for Optical Theory (Michael Nyman Cover)
It is interesting to note that the although all of Nyman’s music from the Peter Greenaway film The Draughtsman’s Contract was derived from a Purcell chaconne, the ground bass (on which this piece is built) was subsequently discovered to have been written by a lesser-known contemporary of Purcell. This arrangement uses most of the melodic materials from the original piece, freely combining them to create a bizzaro world second cousin of the original.
Life’s Too Short (2006)
is a lighthearted meditation of life, death, and nihilism based on the writings of Friedrich Nietzsche (iconic German philosopher) and John Sinclair (Los Angeles based writer).
Cheap Admiration (2005)
Is loosely based on a harmonic deconstruction of Sonata Ciacona by Johann Pezel (1639-1694) who worked as a musician in Germany and was promoted to town stadtpfeifer (band director) in Leipzig in 1670. Later in his career he applied for and was turned down for the job of Cantor of St. Thomaskirche, a job that J.S. Bach would hold 50 years later.
myinnersatan (2005, revised 2006)
started as a cross between counterpoint exercise and a contemplation of the soul crushing emptiness of desk work.
Principal of Sufficient Irritation (originally titled 11/25/05)
is three sections of five melodic/ostinato gestures that can be performed in endless variety. in rehearsals a unique roadmap and orchestration is decided upon and explored during the performance. The title is based on an interesting concept in P.K. Dick’s “Ubik”.
Undone (The Sweater Song)
Weezer cover FTW!
Paul Bailey Ensemble (PBE)
is an alt-classical garage band that plays the music of a variety of living and dead composers. The group was created in 2002 as DIY forum outside the usual and limited channels of art music presentation.
credits
released 16 February 2011
Paul Bailey, Trombone
Bruce Gallego, Electric Guitar
Eric Hendrickson, Keyboards
Scott McIntosh, Clarinet
Ryan Nunes, Vibraphone
Carl Stronach, Bass Guitar
With Special Guest Piano
John Marr on “Undone (The Sweater Song)”
Life’s Too Short Vocals
Nicole Baker, Mezzo Soprano, Spoken Word
Sean McDermott, Tenor
Paul Cummings, Bass
Life’s Too Short Graphic LIbretto
Recorded, Edited, and Mixed by Paul Bailey and Marlon Luna
Mixing and Mastering Consultant/Coach/Head Cheerleader Jon Brenner
Recorded at California State University Fullerton, Swing House Studios Hollywood, and Because They Are Dead Studios, Highland Park
Hiding the Rest In the Seams
a week ago i thought i was actually done with the alt-c album. well… almost. i thought i was done mixing had a few tracks mastered and was feeling pretty good about the whole thing, that is before i started listening to the music on a variety of other sources (earbuds, car stereo, ipad speakers). [...]
making the seams disappear
didn’t get a lot of mixing done today. i have been finishing up mixing my ‘life’s too short’ track and needed a break from it so i decided to get started mixing my cover of weezer’s “sweater song”.
the arrangement pretty much evolves contrary to what you are probably expecting, swapping mandolin for electric guitar and passing the melody around through the ensemble gives it a real boho feeling and it’s been a fun way we have been ending most shows since the group started
the main problem today was that i got sidetracked worrying about whether the trombone fit well into the mix and since the the arrangement is pretty light and frothy i originally recorded it a bit away from the mic to get a more transparent sound (which i have since learned i could easily create with reverb plugin). so i spent my afternoon re-recording trombone, but now am having 2nd thoughts since the new recording that doesn’t sound much different.
so the plan for tomorrow (or monday b/c i have a few rehearsals) is to give it a fresh listen and see how things sound before i start making any big changes. right now i’m thinking i’ll probably use both tracks with one mixed low and slight delay (which will give it more stereo spread) and go from there. overall i think i the whole song is mixed too low (in the 2nd half) and need to get a better idea how to make the seams disappear (just like in counterpoint!)
until then enjoy the sweater song intro
i have been sitting in a room
this recording has been a long time in the making and i have avoided blogging much about it until i knew i was close to being able to release it. a lot has happened since i started recording it in 2007, but in many ways that is the reality of making DIY music; you go ahead one step at a time.
as i have alluded to in a previous post i’m in the final stages of mixing and in general it’s very strange to be spending so much time listening to recording sessions that are from a few years ago. i feel like i’m spending all my time hanging out with a holodeck version of my band that i start up on my macbook every morning. the other day when i was talking to scott mcintosh (clarinet) i hadn’t realized that we really hadn’t spoken for a few weeks since i have been listening to him play every day.
the most surprising thing about editing and mixing music is the strange intimacy you develop with the performances. during the process you become aware of everybody’s musical strengths and weaknesses which goes far beyond our relationship as bandmates in rehearsals. it’s a strange place to be in, repeatedly listening to a single moment of time when in reality the all of the band have moved on with their life (i have to remind myself of that in rehearsals). as for editing and mixing my playing, having that kind of self awareness is problematic and is a big reason why i need to take a 3-6 month break between each stage of the process (recording, editing, and mixing) so that i can get some emotional distance from my own performance (and in general each composition). it’s not easy and i’m not usually happy with my trombone sound, but the good news is that on this album i finally have found a ‘good enough’ trombone sound where i don’t cringe everytime i hear myself play.
at this point of the summer it feels like i have been rehearsing every day (with my holodeck band) and i’m getting pretty excited as i get closer to taking this recording from ‘rehearsal’ to ‘performance’. i’m also looking forward to finally being in a place where i feel comfortable sharing more about my DIY process and the how this album was made
Cleaning Out the Garage
summer is here and i’m actually think it might be productive. it’s not like i don’t need the break, i’m just not that productive when i don’t have any real structure to my day. overall the last few years have been a little too much drama for me and it’s time to “get my house in order” (literally as well as figuratively).
1st up is cleaning out my garage and turning it into a rehearsal studio/performance space. over the last few years i have definitely outgrown my “office” and now that i’m teaching private students at the house i need a bigger space to work in. after editing and mixing three albums (not to mention most of the composing that i do at home)i also have to admit that i really need a change of scenery. even though i wasn’t writing that much music this past year i found it very hard to want to sit down at my desk to do anything creative so i ventured out anywhere i could think of as an alternative creative space (including different rooms in the house) and came to the conclusion that having a larger space in my garage should do the trick for now. it will also allow me to setup and properly practice with the all the gear i’m using with my “music for controllers” setup. instead making music through headphones i really have needed to spend the time figuring out how to play these pieces “live” and have come to realize it’s much more involved than when I just played trombone.
the main problem is getting a proper balance when you are mixing live acoustic instruments (trombone, voice) and controllers (kaossilator, drone/scruti box, buddha machine, ableton live, launchpad, etc…). i also have realized that mixing electric and acoustic instruments without sound reinforcement can be very a very disjointed listening experience in a live performance and in many ways my even though much of this music is not technically hard to perform my “practicing” centers around how to setup gear, mics, and amps which means that i have to pretty much be practicing/performing with a stereo/PA system to make my performances aurally make sense.
with all that being said (and after trying to mostly “practice” at other locations) the reality is that the setup and teardown of this technological spectacle (a few amps, mic/stand, laptop/keyboard stand/table, MOTU traveller(digital/audio interface), and 2 pedal boards) can take almost as long as the rehearsal so for the time being i’m going to be only performing solo or with whomever musicians that can make it to the 90042 for a weekly rehearsal.
after driving down to fullerton and back for the last 20 years for PBE and DIE rehearsals can really take it’s toll and at this point in my life i think it’s only natural to change things up and make music in a different way. to me it’s kinda funny b/c on one hand i know there are a lot of people who over the past few years have been introduced to my “Retrace Our Steps/PBE 1.0″ music who really wish i was making more music with the larger group and really like the strings/winds/rock band orchestration. there are also another group who have only seen the “PBE 2.0 rock band” (as we jokingly called it) and keep asking when that group is going to perform again. all i can say is that part of making alt-classical music is not really having the control to make those choices which leaves me to make music with the equipment and musicians that are available (and not continually banging my trying to fit a round peg in a square hole)
the good news is that if all goes well I should be performing on a regular basis soon. when and if there will be a PBE 3.0 is yet to be seen. right now one step at a time is fine with me.
Bookmarks for November 28th through December 3rd [del.icio.us]
![Bookmarks for November 28th through December 3rd [del.icio.us]](http://www.paulbailey.us/wp-content/uploads/2009/12/just-do-it1-150x150.jpg)
Bookmarks from November 28th through December 3rd:[del.icio.us]
- www.wanderingear.com – [del.icio.us]
- furthernoise.org issue November 2009 – [del.icio.us]
- Stasisfield.com : sonic planar analysis : experimental audio and visual art – [del.icio.us]
- The Narrowcast Future « Alan Furst’s Program Director Blog -
“Like it or not radio and all media are changing. There is no choice. Technology is the reason. Technology is changing the way we live, how we use our time, and what is available to us. We once thought of ourselves as ‘radio people’ or ‘TV people‘, now we are now simply in media. The web changed how we do our jobs and more importantly what those jobs are today. A person who concentrated on audio must know about written content and video. Radio news reporters now produce video pieces for their websites. The lines have blurred. Here’s the big one. Narrowcasting will replace broadcasting.”
- What is on the other side of Siberia? The Jewish Autonomous Region. (1) – By Masha Gessen – Slate Magazine -
“BIROBIDZHAN, Russia—Never have I heard so many snide comments about an upcoming trip. “Don’t bother coming back,” said a co-worker, laughing nervously. Birobidzhan has a way of making people laugh. Several of my colleagues were convinced I was joking. The word itself is not inherently funny, but the idea for which it stands is bizarre enough and its history is macabre enough that it makes people giggle. It is also ridiculously far away.”
- Facebook | Kronos Quartet: In C Interviews: Morton Subotnick -
“Can you give me a bit of background about the Tape Center and your relationship with Terry? Okay, well the tape center was a co-op, a very early electronic music studio that Ramon Sender and I started in 1961, I think it was. We also had a couple of performance spaces, so we did lots of performances. And we were a group of us, it was Terry, Pauline Oliveros, Ramon, myself and several other people were doing concerts together….”
- Writer Evan Ratliff Tried to Vanish: Here’s What Happened | Vanish | Wired.com -
“In Wired issue 17.09, Evan Ratliff wrote a story about how people disappear in the digital age. Then he went on the run himself, with Wired readers trying to track him down. His story in Wired issue 17.12, Gone, tells what happened. This blog shows the history of the hunt.”
- Seth’s Blog: Getting meta -
“Wikipedia contains facts about facts. It’s a collection of facts from other places. Facebook doesn’t have your friends. It has facts about your friends. Google is at its best when it gives you links to links, not the information itself. Over and over, the Internet is allowing new levels of abstraction. Information about information might be worth more than the information itself. Which posts should I read? Which elements of the project are at risk? Who is making the biggest difference to the organization? Right now, there’s way too much stuff and far too little information about that stuff. Sounds like an opportunity.” bpb (i’ts all about curation)
- Helicopter Parents: The Backlash Against Overparenting — Printout — TIME -
“Dr. Stuart Brown, a psychiatrist and the founder of the National Institute for Play — who has a treehouse above his office — recalls in a recent book how managers at Caltech’s Jet Propulsion Laboratory (JPL) noticed the younger engineers lacked problem-solving skills, though they had top grades and test scores. Realizing the older engineers had more play experience as kids — they’d taken apart clocks, built stereos, made models — JPL eventually incorporated questions about job applicants’ play backgrounds into interviews. “If you look at what produces learning and memory and well-being” in life, Brown has argued, “play is as fundamental as any other aspect.” The American Academy of Pediatrics warns that the decrease in free playtime could carry health risks: “For some children, this hurried lifestyle is a source of stress and anxiety and may even contribute to depression.” Not to mention the epidemic of childhood obesity in a generation of kids who never just go out and play. “
- Los Angeles Eat+Drink – Fried in East L.A.: Antojito’s Carmen and the Breed Street Band of Mexican Vendors – page 1 -
“Until recently, the center of the Eastside street-food universe was located in a small parking lot on Breed Street in Boyle Heights, a nocturnal band of vendors drawing customers from as far away as Riverside and San Diego, serving sticky, sizzling, crunchy, meaty snacks from all over Mexico; salsas hot enough to burn small, butterfly-shaped patches into the leather of your shoes; and quart-size foam cups of homemade orange drink. Over here were huaraches; over there Mexico City–style quesadillas; crunchy flautas; sugary churros; gooey tacos al vapor. The vendors never stayed open quite late enough, but Breed Street had become something of an institution, a place to take out of town visitors, a great quick dinner before a show. Sometimes there were even clowns.”
summertime news and notes
for me summertime is the only of the year to time to catch up on some projects and get a little housecleaning done (professionally and personally). after a relaxing camping trip in catalina (hiking around two harbors was great!) i finally started going through my many “summer todo” lists that i made throughout the year. for whatever reason i always feel that i have to have “something tangible” completed by the 4th of july. so here is my list:
- unfortunately this website had to be burned to the ground and reinstalled. for some reason my template stopped working and it took me a while to figure out how reinstall from scratch. luckily it wasn’t as hard as i thought (thanks @vansgirl12)
- also most of this site should be quite useful now. scores (.pdf, .mus (finale), and .mid) to most of my music is now available through creative commons. all that means to me is that you can use it however you want; as long as you attribute me, and the work is not for resale.
- i started mixing the ‘alt-classical’ CD/EP again. i have to admit that doing all of the recording and editing alone (mostly) is too much of a narcissistic experience for me. eventually i’d really like to be able to hire somebody to do it, but until that day comes i have to get some distance and be able to disassociate myself from the music i wrote and we (the pbe performed). the good news is that 2 years after the fact (recording) i can now listen to that music and enjoy it (i totally understand why some actors can’t see themselves on film). currently i’m pretty close to finishing 3 tracks (principle of sufficient irritation, cheap admiration, myinnnersatan), and i’m thinking of downsizing it into an EP just to get it done. at this point i can only anticipate more problems getting clearance to release my covers of Weezer’s Sweater Song and Radiohead’s National Anthem.
- and finally, it was great to get an email (thanks caryn!) that a few weeks ago the PBE’s 1st album “Music from Summerland” was featured on John Schaefer’s New Sounds (WNYC) radio show “The Pulse of Minimalism, 060909” podcast download. its our 2nd featured spot on the show and i’m really ectastic to have interest in my “back catalog”. along those lines i have made the 7 summerland mp3′s freely available to download. enjoy! (i also learned a great lesson about making a special page for “press photos” so gig photos like this never see the light of day again)
like i said in some previous posts its hard not having a group to write or perform with right now, but mixing is keeping me plenty busy and if things go well i’m also hoping to get in the studio to record my Requiem for a High Homicide Enclave (2008)
Really??
“Heard around the world moments before Barack Obama was sworn in as the 44th President of The United States of America, Air and Simple Gifts is now available for sale exclusively through iTunes. The piece, written by American composer John Williams for the Inaugauration (sic) of Barack Obama, premiered in Washington, DC, and on simultaneous broadcasts around the world in a performance by Yo-Yo Ma, Anthony McGill, Itzhak Perlman and Gabriela Montero.
Since January 20th, we have received a multitude of requests to purchase the piece performed by the quartet at President Obama’s inauguration. We are now pleased to make available “Air and Simple Gifts” exclusively on iTunes.Below please find the press release and link to listen to Air and Simple Gifts for your review. Please let me know if you would like to set up contests or features on this release.
If you decide to cover this, I would greatly appreciate you forwarding me a link to the coverage.”
All the best,
DanaMUSIC FROM PRESIDENTIAL INAUGURATION
RELEASED ON SONY MASTERWORKS
YO-YO MA JOINED BY ITZHAK PERLMAN, GABRIELA MONTERO & ANTHONY MCGILL IN NEW WORK – AIR AND SIMPLE GIFTS – WRITTEN ESPECIALLY FOR BARACK OBAMA’S INAUGURATION BY JOHN WILLIAMS
AIR AND SIMPLE GIFTS AVAILABLE FEBRUARY 11, 2009
Air and Simple Gifts, the classical work composed to celebrate the historic inauguration of Barack Obama as President of the United States, has been released on Sony Masterworks via iTunes. The work, written especially for the talents of cellist Yo-Yo Ma, violinist Itzhak Perlman, pianist Gabriela Montero and clarinetist Anthony McGill by the American composer John Williams, was first heard at noon on January 20, 2009, by millions of people around the globe, as Barack Obama officially became President. The recording of Air and Simple Gifts is available to the public on February 11, 2009.
Air and Simple Gifts is the first classical quartet to be played at a Presidential inauguration. Williams based the piece on the familiar nineteenth-century Shaker hymn “Simple Gifts” by Joseph Brackett. The source piece is famous for its appearance in Aaron Copland’s score for the ballet Appalachian Spring. Williams chose the selection knowing that Copland is one of President Obama’s favorite classical composers.
“We are thrilled to be able to make this historic piece of music available to the public as a special memento of the inauguration,” commented Alex Miller, General Manager of Sony Masterworks and the Victor label. “The public’s response to Air and Simple Gifts was as immediate and dramatic as the occasion itself, and captured the optimism and hope of the nation at a pivotal moment in America’s history.”
“I was deeply honored to be invited to participate in the Presidential inauguration with Itzhak Perlman, Anthony McGill and Gabriela Montero,” Yo-Yo Ma stated. “I am thrilled that this composition by John Williams, which so beautifully expressed the magnitude and emotion of the occasion, can continue to inspire people everywhere.”
Yo-Yo Ma has been enjoying one of the most successful recordings of his illustrious 30-year career with Sony Masterworks. The release of Songs of Joy & Peace debuted at #1 on Billboard’s Classical Overall and Classical Crossover Charts and reached #20 on Billboard’s Top 200 chart, Ma’s highest position ever. It also had the unusual distinction of selling more recordings in one week than any other in the history of his recording career.
Yo-Yo Ma is a world-renowned cellist, educator, and ambassador for the arts. His awards include the Avery Fisher Prize, the Glenn Gould Prize, and the National Medal of the Arts. Appointed a CultureConnect Ambassador by the United States Department of State in 2002, Yo-Yo Ma has met with, trained, and mentored thousands of students worldwide. In 2006, Secretary General Kofi Annan named him a U.N. Messenger of Peace, and in 2007 Secretary-General Ban Ki-moon extended his appointment.
Sony Classical, RCA Red Seal and deutsche harmonia mundi are labels of SONY MASTERWORKS. For e-mail updates and information regarding Sony Classical, RCA Red Seal and deutsche harmonia mundi artists, promotions, tours and repertoire, please visit Sony Masterworks
updated 1:10pm
sony music’s dana saltzman replied to my email this morning.
Thank you Paul. It is always good for us to stay in touch with what people are saying. We will always have people who love and people who hate the music that we release. I am glad that people have forums to speak their mind, but I do have to say, we have had such a large demand for this track that Yo-Yo’s site crashed from a high volume of traffic.
All the best,
Dana
Dana Saltzman
Sony Music Commercial Music Group
Manager, Digital Marketing
550 Madison Avenue # 1671
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reamping guitar parts
reamping guitar parts Originally uploaded by pbe fullerton, ca 11.24.07 Be the first to like. Like Unlike
recording sesson 1
the recording went well on thursday. like most recordings it took a while to warmup and get used to the room. i was pretty worried that we were going to run out of time and complete only half of the session. between 10pm-midnight we made it through most of acts 3 and 4 only needing [...]
Music From Summerland (2002)
ABOUT THIS ALBUM
Music from Summerland explores the juxtaposition of pop song forms and harmonies through post-modern and minimalist gestures. summerland refers to a mythical-emotional place where we escape daily routine by making music; composing, rehearsing and performing. this music lies somewhere between art music (music meant to be contemplated) and pop music (music meant for mass consumption).
TRACKLIST
CREDITS
musicians:
sam formicola, violin
andy greybill, violin
fernando vela, viola
sean ferguson, electic guitar
bruno cilloniz, vibraphone
nelson ojeda, keyboard
matt menaged, bass guitar
chris searight, baritone sax
paul bailey, trombone
recorded summer 2002 @the bakery in north hollywood, ca
engineered, glen fujiwara
mixed, paul bailey
mastered, j. marcus (orpharion recordings)
NEWS AND REVIEWS
WNYC Soundcheck “The Pulse of Minimalism” June 09, 2009
Ensemble’s Mix Is A Classic Alternative: Josef Woodard/LAtimes (2005)
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.
