COMMANDMENT
FOR THE SCULPTURE
OF ALAIN KIRILI

Billy Bang Solo
Preis / Price : 15.08 €
Bestell-Nr. / P/O No. : No More Rec. No.5
  Warenkorb
 
Billy Bang violin
 
01.
Intro 01:04
02.
Pietà 07:57
03.
Bama Swing 07:15
04.
Commandment 07:15
05.
Daydreams 12:39
06.
Swing Low Sweet Chariot (trad.) 08:59
07.
Bama Swing Again 07:32
08.
They Plan To Leave (Sun Ra/Enterplan/BMI) 11:33
09.
Music For The Love Of It (Lawrence Douglas ´Butch´ Morris /Advance Systems/BMI) 07:07
 
Total time:  71:21

Produced by Alan Schneider © + ® 1997 No More Records
Recorded by Daniel Goldaracena on March 30, 1997 @ the loft of Alain Kirili and Ariane Lopez-Huici
Digital editing and mastering by Chris Flam @ Mindswerve Studios, NYC Photographs by Ariane Lopez-Huci
Photo scanning by Jill Schneider and Liz Leggett
 
All songs by Billy Bang
Published by Ghazal Music (GAMMA) except for:
Swing Low Sweet Chariot (trad.), They Plan To Leave (by Sun Ra / Enterplan/BMI), Music For The Love Of It (by Lawrence Douglas ´Butch´ Morris/Advance Systems/BMI)

 
 
This solo violin date on an Easter Sunday afternoon is considered to be one of the best recorded performances of Billy Bang and his unique acoustic sound. Originals, spirituals and Sun Ra to boot, Bang wows an invitation only audience with stories and music.
Producer´s note
 
Excerpt from an interview with Billy Bang conducted by Alain Kirili
The concert was given on Easter. We decided to do something that was a communion of my sculpture and your music. Can you comment on what you decided to do on that day?
 
I couldn´t tell initially what the material was that the sculpture is made out of. It looked hard, metallic, but then it looks like it is made of wood. It is the combination of the softness, the hardness and the shapes that helped inspire me to play. This is where I get my connection from, particularly for solo violin. In solo, you try to acquire as many artistic references as you can. You try to get the separate influences in the environment around you and channel it internally and execute it as a meaningful expression. Aside from the artistic levels of that day, it did bring religious and spiritual qualities that I try to encompass in my music. (…)
 
All the sounds of the concert were acceptable to the ear. There was a human touch from very deep to very light, when it got abstract, it was very different from John Cage. Cage would use a sound that would equal the material of an object to the voice. In your music, the human material is superior and a priority.
 
The symbols that I use in my music are contrary to the western pre-conceived concepts. Perhaps it is something embedded in me over a long period of time that comes out. The more I deny my western education, the more I understand the alternative or an optional understanding of life. I try to blend them both because I am western, particularly American, and at the same time I have a lot of Southern African roots in me and I really try to incorporate them all, not deny them, but when you bring the two together to find a harmony with both of the cultural differences, then you come up with something that is not the norm for most people. (…)
 See booklet
 
About No More Records:
The underground/underdog American label documenting the current movements in the NYC Jazz/Improv scene. The label specializes in less commercial recordings that would go undocumented but we feel that these recordings are the defining aspects of an artist’s career. The emphasis has been in utilizing the best recording techniques to capture solo, duo and small groups; highlighting the great uniqueness of the artist with their sound and visions.
Alan Schneider
 


FMP FREE MUSIC PRODUCTION Distribution & Communication
Lachmannstr. 1, 10967 Berlin | Tel. +49 30 3237526 | Fax +49 30 3249431
fmp.distribution@t-online.de