{"product_id":"pwsgl16092-at-the-reception","title":"At The Reception","description":"\u003cblockquote\u003e\n\u003cem\u003eComposer Wayne Horvitz adapts the large-ensemble ‘conduction’ method of musical innovator Butch Morris to create vital new jazz. Listen for traces of Ellington and Mingus in these vividly recorded performances.\u003c\/em\u003e\r\n- Mark Werlin (HRAudio, All About Jazz, NativeDSD Music)\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003eThe \u003cstrong\u003eRoyal Room Collective Music Ensemble\u003c\/strong\u003e started off as a fairly loose collective of \u003cstrong\u003eWayne Horvitz's\u003c\/strong\u003e favorite Seattle improvisers playing his music at Seattle’s Royal Room, the club he co-owns and books.\u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003e The essential ingredient is Wayne’s adaptation of Butch Morris’s Conduction system for free improvisers into a language for spontaneously arranging and reconstructing his music on the fly, using numbers for a piece’s written motifs, and other hand signals (to individuals or shifting groupings) to indicate how to treat their material. While maintaining the spontaneity of small group performance, he uses it to structure complexities only possible with a larger ensemble: \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" rrcme started off as a fairly loose collective of wayne horvitz favorite seattle improvisers playing his music at royal room the club he co-owns and books. essential ingredient is adaptation butch morris conduction system for free into language spontaneously arranging reconstructing on fly using numbers piece written motifs other hand signals individuals or shifting groupings to indicate how treat their material. while maintaining spontaneity small group performance uses it structure complexities only possible with larger relates was exciting me in that could be very malleable some points but times also work up riff-based similar charles mingus even count basie. harmonically gratifying constantly re-inventing arrangements. when players misinterpreted things would happen taken advantage developed. course knew well new york considers him an important set create totally really radical approach. not so what i am doing. ways doing now then abandoned more david murray had big band conduct charts break those starting point. later we made cd world records took own tunes used fact involved many if most zorn game pieces same time first working certainly helped develop alternative approach creating live. this record two redux are closest pure asked musicians have score from specific tune available did play arrangement per se. arrangements one might occasionally flash ellington gil evans gerry mulligan terms voicings way elements played against each plus marshalled energies bring mind anthony braxton george lewis misha artists whose love. after putting together start hear similarity someone else mingus. love never considered influence do say cecil taylor art ensemble chicago kind makes sense. up-tempo often simple riffs them all kinds ways. loved ballads i. data-sheets-userformat=\"{\" ensemble:=\"\" mentor:=\"\" mengelberg:=\"\"\u003eAs Wayne relates, \u003cem\u003e“It was exciting to me in that it could be very free and malleable at some points but at other times could also work up a riff-based music similar to the music of Charles Mingus or even Count Basie. Harmonically it was very gratifying to constantly be re-inventing the arrangements. Even when the players misinterpreted hand signals things would happen that could be taken advantage of and developed.”\u003c\/em\u003e\u003c\/span\u003e\r\n\r\nWayne of course knew Butch Morris well in New York in the 80s and considers him an important mentor: \u003cem\u003e“Butch was using the improvisers’ language set to create totally new music, it was really a fairly radical approach. Not so with what I am doing. In some ways I am doing now what Butch started doing and then abandoned for his more ‘pure conduction’ approach. In the 80s David Murray had a big band that Butch would conduct, and he would work with David’s charts, and break things up with those charts as a starting point. Later we made a CD for New World records that took his own tunes and used a similar approach. And the fact that I was involved in many if not most of Zorn’s game pieces at the same time that I was first working with Butch certainly helped me develop an alternative approach to creating structure live.”\u003c\/em\u003e On this record the two Redux pieces are closest to pure conduction,\u003cem\u003e “except I asked the musicians to have the score with the motifs from a specific tune available, but we did not play the arrangement per se.”\u003c\/em\u003e\r\n\r\nAs for the arrangements, one might occasionally flash on Ellington, Gil Evans or Gerry Mulligan in terms of voicings, and the way the elements are played off against each other plus the marshalled energies of the performance could bring to mind Anthony Braxton, George Lewis, or Misha Mengelberg: \u003cem\u003e“All of those are artists whose music I love. Only after I started putting this band together did I really start to hear a similarity to someone else – Mingus. I love Mingus’s music but I never considered him an ‘essential’ influence the way I do say Cecil Taylor or The Art Ensemble of Chicago, but it kind of makes sense. Mingus’s up-tempo tunes often took fairly simple riffs and ‘re-purposed’ them in all kinds of ways. And then he loved ballads, as do I.”\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cstrong\u003eWayne Horvitz, Conductor \u0026amp; Composer\u003c\/strong\u003e\r\n\u003cstrong\u003eThe Royal Room Collective Music Ensemble\r\n\u003c\/strong\u003eTrumpets: Al Keith, Samantha Boshnack, Steve O’Brien\r\nTrombones: Naomi Siegel, Jacob Herring, Willem de Koch\r\nClarinet: Beth Fleenor\r\nSoprano Saxophone: Kate Olson\r\nAlto Saxophone: Ivan Arteaga\r\nTenor Saxophone: Skerik\r\nBaritone Saxophone: Greg Sinibaldi\r\nPiano: Ryan Burns\r\nBass: Geoff Harper\r\nDrums: Eric Eagle\u003cstrong\u003e\r\n\u003c\/strong\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740451123524,"sku":"PWSGL16092-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740451156292,"sku":"PWSGL16092-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740451189060,"sku":"PWSGL16092-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740451221828,"sku":"PWSGL16092-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740451254596,"sku":"PWSGL16092-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740451287364,"sku":"PWSGL16092-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"WAV  88.2 kHz \/ 2ch Stereo","offer_id":56740451320132,"sku":"PWSGL16092-72","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342812520772,"sku":"PWSGL16092-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/PWSGL16092.jpg?v=1790631709","url":"https:\/\/www.nativedsd.com\/products\/pwsgl16092-at-the-reception","provider":"NativeDSD Music","version":"1.0","type":"link"}