Martian Gardens Episode 904

Episode 904
Recorded at Max’s home studio,
Amherst, Massachusetts
October 12, 2017
Contact Max Shea:
(or just leave a comment below)
Listen: Where and When

Hour 1

Mari Kimura: Canon élastique
Voyage Apollonian
Innova Recordings/2017
violin, bow motion sensor, computer processing: Mari Kimura; composed and recorded at IRCAM, 2010; time: 3:22

Paul Chihara: String Trio
I. 10:11
II. 3:38
III. 7:06

Take the A Train
Bridge Records/2017
The Gavin String Trio (violin: Jesse Mills; viola: Masumi Rostad; cello: Raman Ramakrishnan); recorded at the American Academy of Arts and Letters, New York City, May 31, 2013; composition year: 1985; time: 20:54

Roger Reynolds: Autumn Island
The Paris Pieces
Neuma Records/1996
marimba: Steven Schick; recorded at Warren Studios, University of California San Diego, composition year: 1986; time: 12:46

Jin Hi Kim/Gerry Hemingway: Windtails
Auricle Records/2010
komungo, electric komungo: Jin Hi Kim; percussion: Gerry Hemingway; recorded in Shutesbury, Massachusetts, August 18, 2009; time: 7:17

Daniel Koppelman: Voices (In Memoriam) (J. Mobberley)
(for piano and computer); piano: Daniel Koppelman: recorded at The Center for Music Engineering Technology, Ball State University, Muncie, February 27-28, 2003; composer: James Mobberley; composition year: 2001; time: 6:34

Hour 2

Annea Lockwood: Immersion
Tiger Balm/Amazonia Dreaming/Immersion
Black Truffle Records/2017
marimba, tam-tams, gong: Dominic Donato, Frank Cassara; composition year: 1998; time: 14:40

Elaine Barkin: Aria for Harp
Open Space/2012
harp: Ursula Kwasnicka; recorded at the Everson Museum of Art, Syracuse, New York, April 23, 2003; composition year: 1990; time: 5:32

Ron Nagorcka: Finite Differences
Atom Bomb Becomes Folk Art
Pogus Productions/2014
pipe organ duet: Graham Cox, Ron Nagorcka; composition year: 1973; time: 17:01

John Cage: Some of “The Harmony of Maine” (S. Belcher) (selections)
a. Alpha C.M. (1:35)
b. Majesty C.M. (3:29)
c. Harmony C.M. (3:30)

The Works for Organ
Mode Records/2013
original hymns: Supply Belcher; arr. John Cage; pipe organ: Gary Verkade; recorded at Nederluleå Church, Gammelstads kyrkstad, Luleå, Sweden, November 8, 2008; composition year: 1976; total selections time: 8:34

Michael Vincent Waller: selections from Visages
I. A Lonely Day (1:58)
II. Year of the Ram (1:44)
VI. Obviously (2:40)

Recital Records/2017
piano: R. Andrew Lee; b. cello: Seth Parker Woods; recorded at the University of Missouri Kansas City, White Hall, August 11-12, 2016; total selections time: 5:42

Hour 3

Langston Hughes:
a. Democracy (2:31)
b. Neighbor (2:15)

The Dream Keeper
Mode Records/2017
intoning voice: Eric Mingus; piano: David Amram; soprano saxophone: Catherine Sikora; alto saxophone, soprano saxophone, contra-alto clarinet: Don Davis; flute, Native American flute: Cynthia Chatis; Hammond organ: Scip Gallant; bass: Chris Stambaugh; drums: Mike Barron; percussion: Shawn Russell, Frank Laurino; guitar, music director, arranger: David Simon; texts: Langston Hughes; recorded at Thundering Sky Studio, South Berwick, Maine, April 2012; total time: 4:46

Langston Hughes:
a. I’m Gonna Testify (2:33)
b. Dreams (0:54)
c. Youth (0:19)

The Voice of Langston Hughes
Smithsonian Folkways/1995
a. The Porter Singers (piano, director, Hugh E. Porter; organ: Hampton Carlton; guitar: Yvonne Cumberbatch; tambourine: Benjamin Snowden; saxophone: Carl McWilliams; vocals: Ernest Cook, Audrey Ryan, Ellen Courts, Florence Strachen); composer: Jobe Huntley; recorded for Hughes’ and Huntley’s play “Tambourines to Heaven,” 1958; b. spoken voice: Langston Hughes, first publ. 1932; c. spoken voice: Langston Hughes, first publ. 1924; total selections time: 3:38

Leonard Bernstein: Non Troppo Presto
Complete Solo Works
Bridge Records/2017
piano: Andrew Cooperstock; recorded at Grusin Recital Hall, University of Colorado, Boulder, August 2015; composition year: 1937; published 2010; time: 2:23

Sterling A. Brown: Puttin’ on Dog
The Poetry of Sterling A. Brown
Smithsonian Folkways/1995
spoken voice: Sterling A. Brown; 2:14

Conlon Nancarrow: Study No. 8
The Complete Studies for Player Piano, Volume One
1750 Arch/1977
player piano rolls: Conlon Nancarrow; recorded at the composer’s studio, Mexico City, 1977; time: 4:21

Amiri Baraka: War Clouds Over the World*
recitation: Amiri Baraka; recorded at Just Buffalo Literary Center, December 8, 1978; time: 4:30
*edited for profanity

Neil Rolnick: The Real Thief of Baghdad
Shadow Quartet
Innova Recordings/2005
intoning voice: Tyrone Henderson; lyrics, computer music: Neil Rolnick; composition year: 2003; time: 4:54

Art Ensemble of Chicago: Hail We Now Sing Joy (J. Jarman)
The Meeting
Pi Recordings/2003
winds: Roscoe Mitchell; bass, percussion: Malachai Favors Moghostut; winds, whistles, percussion: Joseph Jarman; recorded at Audio for the Arts, Madison, Wisconsin; time: 4:54

Jerome Cooper/Thomas Buckner: All Out
Alone, Together, Apart
Mutable Music/2002
voice: Thomas Buckner; keyboard, tonal rhythmic activator, bass drum, sock cymbal: Jerome Cooper; time: 4:06

Anthony Braxton: Composition No. 107 (excerpt)
CDCM Computer Music Series Volume 10 (various artists)
The Virtuoso in the Computer Age I
Centaur Records/1991
Challenge band (saxophone: Anthony Braxton; piano, computer music systems: David Rosenboom; percussion: William Winant; Recorded at Crowell Concert Hall, Wesleyan University, further processing by David Rosenboom at the California Institute of the Arts; composition year: 1982; excerpt time: 7:07

Jonty Harrison: selections from Going/Places
a. Near and Far — Railroad sounds from Ohio and Australia (3:34)
b. Circular Quay — Port sounds from Sydney, Australia (5:14)
c. Floating quays near Sydney Opera House (1:35)

empreintes DIGITALes/2016
(electroacoustic music on 30-track tape); realizedat the composer’s studio in Birmingham, UK, 2014; premiered at the Klang! électroacoustique 2014 festival in Montpellier, France, June 7, 2014 (stereophonic Ambisonic UHJ Encoded recording was produced and mastered by Joseph Anderson in February and March 2016 at the Sound Lab of the Center for Digital Arts and Experimental Media (DXARTS) of the University of Washington, Seattle, using the Ambisonic Toolkit); composition year: 2014; time: 10:23

— FIN —

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