MP3 Song Fwaa - Ligeti's Goat
Joyous music from three of Australia’s finest improvisors. Melodies, sometimes pretty, sometimes catchy, and occasionally abstract and angular, collide with improvisations chattering and emoting, propelling the listener on an exciting express.
13 MP3 Songs in this album (65:47) !
Related styles: Jazz: Avant-Garde Jazz, Classical: Chamber Music, Instrumental
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Song Fwaa (from the French sangfroid; literally cold blood, colloquially coolness under pressure).
Original, unusual and conversational music from three of Australia’s finest improvisors; Martin Kay on alto sax (Fantastic Terrific Munkle/Continuum Sax/SSO), David Reaston on guitar (leader of the Ten Guitar Project), and Jamie Cameron on drums (20th Century Dog/Luke Escombe/Amphibious/Tim Stocker/Adam Ponting). Melodies, sometimes pretty, sometimes catchy, and occasionally abstract and angular, collide with improvisations chattering and emoting, propelling the listener on an exciting express. A fascination for texture and unusual tunings and forms led to a consensus to improvise and compose as a chamber ensemble. Song Fwaa views music as an open vessel into which ideas are dropped and stewed. One is as likely to encounter a ragged ragtime or a postbop scronk as much as a munted groove or a dodecaphonic row. Transcending the trio’s eclectic curiosity and its diverse stylistic range, Song Fwaa demonstrates a unity of purpose: creating passionate music that resonates in both mind and body.
* Mugwump (Martin Kay) has a Morroccan desert feel with shimmering guitars, yearning saxophone overtones and scrapes and rattles from the drums. Dedicated to William Burrough’s fascinating creatures who sated their customers’ every desire.
* Teacakes Often Fry (David Reaston) is in the form of a musical mirror, cracked in the middle by a group improvisation.
* Ligeti’s Goat (Martin Kay) is in three sections. The first, Goatweed, is based on a 7:4:3 groove. The second, Digesting Carrots, features improvised guitar battering against a structure constructed from a Messiaen tone row. The third, How Did I Get Here and Where’s the # Kitchen?, morphs the tone row into reggae for a saxophone improvisation.
* Tacet Suite (David Reaston) is based on silence with the silence maintaining a flow.
* Motility (Martin Kay): having the power to move spontaneously