{"product_id":"sglsa15802-ways-means","title":"Ways \u0026 Means","description":"\u003cblockquote\u003e\r\n\u003cp style=\"font-weight: 400;\"\u003e\u003cem\u003eBlending analogue keyboard textures with the horns of trumpetist Ralph Alessi and saxophonists Peter Epstein and Tony Malaby, pianist James Carney weaves elements of jazz, rock, funk, classical and world music into a tightly-orchestrated soundscape.\u003c\/em\u003e\r\n\u003cem\u003e- Mark Werlin\u003c\/em\u003e\u003c\/p\u003e\r\n\u003c\/blockquote\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003e\u003cem\u003e\u003cstrong\u003eGreen-Wood\u003c\/strong\u003e\u003c\/em\u003e, the \u003cstrong\u003eJames Carney Group\u003c\/strong\u003e’s first album, received many accolades for Carney’s distinctive aesthetic – one which, in Troy Collins words, “blends classic modernism with knowing futurism.” \u003c\/span\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003eLike Green-Wood, \u003cem\u003e\u003cstrong\u003eWays \u0026amp; Means\u003c\/strong\u003e\u003c\/em\u003e explores the border regions of styles and genres, from jazz, rock, and funk to classical and world music: Carney: “The differences between approaches, styles, and eras of music are almost meaningless to me, and in fact I see more of a continuum between everything than I ever did before.\"\u003c\/span\u003e\r\n\r\nIn \u003cem\u003eWays \u0026amp; Means\u003c\/em\u003e, Carney further pursues his vision of jazz as virtual cinema. From the outset, Ways \u0026amp; Means (a Chamber Music America commission) was designed as a movie in sound:\r\n\r\n\u003cem\u003e“I really did think about a 70-minute dramatic narrative film, and how the individual compositions would intertwine, because there is a different sort of approach with film scoring, in that the music should always complement and enhance the onscreen action and emotion. I wanted to create music that could function as the complete score for an edited sequence of images – music that would have themes, sound effects, atmosphere, shock value, drones, periods of time with no established tempo, and dynamic range surprises that are usually a component of scores. And I continually visualized the end result during the process. I didn’t think of a specific story, but I did ponder and focus on abstracted collages of scenes from many films I admired in the past.\u003c\/em\u003e\r\n\r\n\u003cem\u003eBut in traditional film scoring it’s rare to have the music be jazz-based, or improvisational in nature, and usually when it is, it’s a single or specific type of jazz like bebop or ragtime, big band or cool. And, almost always, the music becomes sliced and diced. When I scored projects in the past, they never featured group improvisation, and they never used all the sonic tools I now have at my disposal. It’s not just blending electronic instruments [an Alesis Andromeda analog synth and a Fender Rhodes] and acoustic instruments in a jazz context – it’s the ability of my band members to coax very unique and sometimes completely unpredictable sounds from their instruments because of their musicianship and their open aesthetic. And most importantly, it’s the blend of all of those sounds, intervals, chords, and their related partials that I wanted to exploit, coming from both the composed passages and the open sections. You can’t plan it, and you really can’t orchestrate it, either.\"\u003c\/em\u003e\r\n\r\n\u003chr\u003e\r\n\r\n\u003cspan data-sheets-root=\"1\" data-sheets-value=\"{\" the james carney group first album received many accolades for distinctive aesthetic one which in troy collins words classic modernism with knowing futurism. like green-wood ways means explores border regions of styles and genres from jazz rock funk to classical world differences between approaches eras music are almost meaningless me fact i see more a continuum everything than ever did before. further pursues his vision as virtual cinema. outset chamber america commission was designed movie really think about dramatic narrative film how individual compositions would intertwine because there is different sort approach scoring that should always complement enhance onscreen action emotion. wanted create could function complete score an edited sequence images have themes sound effects atmosphere shock value drones periods time no established tempo dynamic range surprises usually component scores. continually visualized end result during process. didn specific story but ponder focus on abstracted collages scenes films admired past. traditional it rare be jazz-based or improvisational nature when single type bebop ragtime big band cool. becomes sliced diced. scored projects past they never featured improvisation used all sonic tools now at my disposal. not just blending electronic instruments alesis andromeda analog synth fender rhodes acoustic context ability members coax very unique sometimes completely unpredictable sounds their musicianship open aesthetic. most importantly blend those intervals chords related partials exploit coming both composed passages sections. you can plan orchestrate either. data-sheets-userformat=\"{\" music:=\"\" carney:=\"\" sound:=\"\"\u003e\u003cstrong\u003eJames Carney Group\u003c\/strong\u003e\r\nJames Carney, acoustic and electric pianos, analog synthesizer, glockenspiel\r\nPeter Epstein, soprano \u0026amp; alto sax\r\nRalph Alessi, trumpet\r\nTony Malaby, tenor sax\r\nJosh Roseman, trombone\r\nChris Lightcap, contrabass\r\nMark Ferber, drums\r\n\u003c\/span\u003e","brand":"Songlines Recordings","offers":[{"title":"FLAC 96 kHz \/ 2ch Stereo","offer_id":56740458234180,"sku":"SGLSA15802-7","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 5ch Surround","offer_id":56740458266948,"sku":"SGLSA15802-9","price":20.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 96 kHz \/ 5ch Surround","offer_id":56740458299716,"sku":"SGLSA15802-10","price":19.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 2ch Stereo","offer_id":56740458332484,"sku":"SGLSA15802-14","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 2ch Stereo","offer_id":56740458365252,"sku":"SGLSA15802-15","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 2ch Stereo","offer_id":56740458398020,"sku":"SGLSA15802-16","price":29.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 64 \/ 5ch Surround","offer_id":56740458430788,"sku":"SGLSA15802-17","price":23.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 128 \/ 5ch Surround","offer_id":56740458463556,"sku":"SGLSA15802-18","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 256 \/ 5ch Surround","offer_id":56740458496324,"sku":"SGLSA15802-19","price":27.99,"currency_code":"EUR","in_stock":true},{"title":"DSD 512 \/ 2ch Stereo","offer_id":56740458529092,"sku":"SGLSA15802-21","price":35.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 2ch Stereo","offer_id":56740458561860,"sku":"SGLSA15802-22","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"DXD 24 Bit \/ 5ch Surround","offer_id":56740458594628,"sku":"SGLSA15802-23","price":25.99,"currency_code":"EUR","in_stock":true},{"title":"FLAC 192 kHz \/ 2ch Stereo","offer_id":57342817599812,"sku":"SGLSA15802-6","price":20.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0966\/7900\/2436\/files\/SGLSA15802.jpg?v=1790632372","url":"https:\/\/www.nativedsd.com\/products\/sglsa15802-ways-means","provider":"NativeDSD Music","version":"1.0","type":"link"}