Black lab puppies.
3. Would you rather…watch your favorite move on repeat for a full day or watch Nick and Nora's Infinite Playlist once?
Groundhog day, all day.
4. You’re trapped on an island. There is one electrical outlet connected to a boombox from 1992. When you were stranded here you only had time to save one cassette out of collection of singles. What is the one pop song you will listen to for the rest of your life?
"Kiss" by Prince.
5. Who are 3 composers from the past -AND- 3 of your own generation whose music you respect, enjoy, inspires you, etc
Past: Claudio Monteverdi, Arcangelo Corelli, Morton Feldman
Present: Anastassis Philippakopoulos, Dan Tramte, Marc Codina
For Chaz, I am listening to two pieces that, I think, from checking out his catalog, are very different in character, technique, etc. Chaz has a series of his Nocturne's that feature field recordings which are a big part of his aesthetic. Again - for the first piece, I was simply drawn to the title.
"crayons on the wall: the brothers j make mischief" is for Bb Trumpet, Amplified Contrabass Clarinet, Bass Trombone and Electric Guitar. Chaz elicits all the sounds from the ensemble that I want to make in my music. The bass trombone grittiness. The contrabass clarinet multiphonics. Gorgeous beginning to revel in sounds.
The piece loses a lot of steam in the midst of the bass trombone solo. But, the air of sonic mystery comes back around the 6 minute mark. The muted trumpet writing is very nice. I'm kind of a sucker for really fast repeated notes in brass that create a texture instead of a drive. Boulez does this kind of thing in Repons. Chaz does it here as well. This piece has my brain working overtime trying to figure out where the sounds are coming from and how they are being made in the loud sections. And...ugh. Beautiful ending.
Nocturne 1 is a studio version of a piece "set" in Denton, TX. You hear a field recording and two electric guitars. I absolutely love this piece. I like listening to field recordings. I think it engages your brain in a completely different way than if you were listening to instrumental music. You are constantly trying to assign a source to the sounds you hear. It suggests atmosphere, space, character, etc that you, as the listener, are trying to reconstruct in your head as you listen.
The guitar writing is perfect. I love how in the first five minutes of the piece the guitars are just murmurs and moans that fit perfectly into the field recording. You cannot tell what is recorded and what is instrumental. The piece as a whole is spacious and contemplative. It slows your breathing down and makes you concentrate.
All in all these two pieces are not all that different when you consider what is at the core of each: sound as fetish.