new recordings + bonus tracks
1. Keeping Still
extended percussion quintet
2. Fields Amaze
homemade gamelan and microtonal keyboard
3. A Visible Track of Turbulence 1
flute, clarinet, and piano 4-hands
4. Everything Distinct: Everything the Same
three keyboards in Gb just intonation and three percussion
5. A Visible Track of Turbulence 2
flute, clarinet, and piano 4-hands
6. Imaginary Horror Film 1
chamber prog ensemble
7. The Weights of Numbers
aka Fractured Fictions
three keyboards and drums
8. Imaginary Horror Film 2
chamber prog ensemble
9. If One Should Happen to Fall
six words vs. thesaurus
“…a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism … the music’s momentum and intricate cross-rhythms rarely let up, making the occasional infectious tunes that emerge all the more beautiful for surprise.” – The Village Voice
Patrick Grant: piano, keyboards, electric guitars, gamelan, percussion – Kathleen Supove & Marija Ilic: keyboards – John Ferrari: drums & percussion – Barbara Benary: additional gamelan – David Simons: Balinese percussion & theremin – Keith Bonner: flute – Thomas P. Oberle: clarinet – Darryl Gregory: trombone – Martha Mooke: viola – Maxine Neumann: cello – Mark Steven Brooks: electric bass – Alexandra Montano: vocalise – Lisa Karrer: lead vocal on If One Should Happen to Fall.
All 2018 production, overdubs, revisions, and new stems recorded at Peppergreen Media, NYC and The Ferrari Factory, NJ. Mixed at Mercy Sound Studios, NYC – Garry Rindfuss: mixing engineer – Sheldon Steiger: album mastering – Patrick Grant: producer
All music © 1997-2018 Patrick Grant and published by Peppergreen Media (ASCAP). This album ℗ 2018. All rights reserved.
Cover photo Cuming Co. Supercell, June 14, 2013 taken by Dave Rebot and used with permission. Album artwork, layout, and design by Eric Iverson. Peppergreen Media logo by Steve Ball. CD image collage created from Elément bleu XII, 1967 by Jean Dubuffet, photo credit: sTRANGE Music Inc.
Thanks and acknowledgements: The Braunschweig Family, Coudert Brothers, Bank Julius Baer, Matthews Panariello P.C., Chris LaBarbiera, Patricia McKenna, Context Studios, Music Under Construction, Philip Glass, Kurt Munkacsi, Jed Distler & Composers Collaborative Inc., Music for Homemade Instruments, Erik Satie, Kyle Gann & The Village Voice, The Bang on a Can Marathon, Stéphane Martin and the musée du Quai Branly – Jacques Chirac, The Ross Institute, The Knitting Factory, Patrick Grant Group, I Wayan Lantir, STSI/ISI Denpasar, Gamelan Son of Lion, Celebrate Brooklyn!, Johnny Reinhard & The American Festival of Microtonal Music, The Fractal Music Lab, James Gleick author of Chaos: Making a New Science, The Margaret Jenkins Dance Company, The Brooklyn Academy of Music, Harvey Lichtenstein, The Mark Morris Dance Group, The Prix de Lausanne, Exploding Music, The Living Theatre, Kalvos & Damien’s New Music Bazaar, Annina Nosei Gallery, John Schaefer, WNYC’s New Sounds, Ralph Valdez, WDET Radio, James Moore & Independent Music Promotions Inc., Jocelyn Gonzales, The NYU Tisch School of the Arts, Roget’s Thesaurus.
“Only classical compositions and that kind of inter-related album architecture could pull together elements of rock, world, and techno into a cohesive whole that goes beyond mere pastiche and that is integrated into its core.” Ljubinko Zivkovic chats to experimental / prog musician Patrick Grant.
Read the complete interview HERE
This is posted in observance of Antonin Artaud (Sept. 4, 1896) – playwright, poet, actor, visionary.
“We do not mean to bore the audience to death with transcendental cosmic preoccupations. Audiences are not interested in whether there are profound clues to the show’s thought and action, since in general this does not concern them. But these must still be there and that concerns us.” – Antonin Artaud
a tone-poem for gamelan, strings, and 2 synthesizers by Patrick GRANT after a scenario by Antonin ARTAUD (La Pierre Philosophale – 1931), commissioned by the Cornell Gamelan Ensemble 2003
The Picasso Connection
tHE pHILOSOPHER’S sTONE
music for gamelan, strings, and 2 synthesizers – 2003
PDF Score – 120 pp – 8 MB
Musical Instruments: These will be used as objects, as part of the set. Moreover they need to act deeply and direct on our sensibility through the senses, and from the point of view of sound they invite research into utterly unusual sound properties and vibrations which present-day musical instruments do not possess, urging us to use ancient or forgotten instruments or to invent new ones. Apart from music, research is also needed into instruments and appliances based on refining and new alloys which can reach a new scale in the octave and produce an unbearably piercing sound or noise.
Theater of Cruelty – First Manifesto (1931) – Antonin Artaud
One could say that one of the main reasons that Theaterlab is presenting The MMiX Festival of Interactive Music Technology is to make good on Antonin Artaud‘s vision on the future of music and sound in the theater. There is no doubt that Artaud’s manifestoes were ahead of their time and, like most visionaries who are born into that situation, he paid the price, mentally-spirtually-and physically, of not seeing many of his ideas become reality in his lifetime. As a result, his writings and his work have become inspiration for generations of artists that followed, myself included.
One of the projects I undertook was a commission from The Cornell Gamelan Ensemble when I was a visiting composer there during 2002-2003 in a joint venture of the Digital Music Lab (David Borden) and the Dept. of Enthomusicology (Martin Hatch). Through that I was able to create a tone poem for gamelan, keyboards, & strings based upon The Philosopher’s Stone (La Pierre Philosophale – 1931), a scenario by Artaud in which I tried to fused his passion of the Balinese theater with the vision of new musical sounds via the synthesizers as laid out in the excerpt above.
As curator of The MMiX Festival, and in doing it at Theaterlab, I hope that we can show how close we’ve come to Artaud’s vision, how far we have yet to go, and can look forward to its multi-disciplinary application on the stage in the future work of all artists. For right now, enough theory. Let’s see where were at in 2009 (MMIX) and have a blast doing it!
Antonin Artaud (September 4, 1896, in Marseille – March 4, 1948 in Paris) was a French playwright, poet, actor and theatre director.
Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance.
In his book The Theatre and Its Double, which contained the first and second manifesto for a “Theatre of Cruelty,” Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. He admired Eastern theatre because of the codified, highly ritualized and precise physicality of Balinese dance performance, and advocated what he called a “Theatre of Cruelty“. At one point, he stated that by cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. He believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.
This blog wouldn’t exist if not for Les Paul (1915-2009). So many know of his innovations in the development of the solid body electric guitar, but there is also his work in the advancement of multi-track recording, tape delay, sound-on-sound looping, reverb etc. that we take for granted today. Before the software replicants that we use today, there was a time where, if something didn’t exist, you went into a machine shop and made it out of wood, metal, vacuum tubes and electrical components. That’s hardcore analog. That calls upon a wider range of skill sets than most of us have today and, in Les Paul’s case, than most anyone ever had.
Video: Les Paul and Mary Ford are hosted by Alistair Cooke on a 1953 broadcast of the legendary CBS show Omnibus doing a “sound-on-sound” performance of “How High the Moon.”
I’d been thinking a lot about him this week before his passing. I haven’t owned a guitar in years and I had just gotten tired of either borrowing my friend Gerald’s Gibson SG for recording or playing clean guitar sounds on my keyboard and running them through guitar FX plug-ins, that I decided to get one of my own again. The first electric guitar that I bought for myself was a silver Les Paul Standard copy made by the Cortez (!) company when I was a freshman at Wayne State University in Detroit. I’d decided to skip school that semester but still lived in the dormitory keeping up the pretense of going to classes. Money that was supposed to be spent on books was quickly converted into the cash needed to buy that guitar and an amp, so I could make spending money playing in original music bar bands at night. My days were spent giving myself a crash course in guitar playing that, thanks to years of violin, piano and theory that came before it, went very quickly. After moving to NYC and fully embracing the new paths that MIDI technology was taking us to, my bar band aspirations became a thing of the past. The guitar broke and was never replaced. Plus, I was surrounded by friends who were/are guitar wizards now so, why bother?
Yes, after moving to NYC with one of the number one bands in Detroit, that all fell apart. I returned to “serious” music, as I understood it at that time (I had classical training, J.S. Bach to Steve Reich, but the bands were a more immediate form of expressing Cold War angst, for this young man). I worked for John Cage’s publisher and then later, his editor, so that, coupled with my incipient work in avant-garde theater, saw me through a phase of trying everything possible: indeterminate music, serial music, prepared piano, percussion quartets, electronic soundscapes, etc. This led to a World Music phase in the 90s that was followed by a Neo-Minimalist phase because, with my keyboard-based ensemble, I was able to use non-tempered gamelan tunings within the guise of pattern-driven mini-epics for chamber ensemble. Still, it wasn’t completely ‘me’ yet. One of the best compliments I received from a live performance of a piece of mine for microtonal keyboard and gamelan at Celebrate Brooklyn! came at me like the kid who speaks up in The Emperor’s New Clothes: “I really liked your piece. It reminded me of The Who.” I laughed them off. But later, when I thought about it, when the piece was removed of all the ‘new music’ trappings, they were right. The road I chose may have been different, but the destination was the same. Since then, it’s all been about returning to who I was all along. My music has become a synthesis of everywhere I’ve been and everything I’ve done and that includes restoring the sound of the solid body electric guitar to my work, though with a lot more history behind it this time.
When I arrived in NYC, I almost felt I had to hide my punk rock/new wave ‘detour’ when I re-entered the classical world. I guess I was embarrassed about my incomplete music school pedigree. Worse yet was the embarrassment I felt (and still feel) for the Ivy League composers who dominate the NYC scene when they try to “rock out,” or decide to get all “downtown” on us. I guess it works both ways. To see it you gotta be it and, well, I don’t see it. Much. If hanging-in-there has brought me anything, it has made me come around full circle and feel comfortable in my own skin again with what I’m doing and where I want to go now musically, and there ain’t no degree you can get for that.
So here I am last Sunday, 20+ years after that silver Cortez, looking at all the electric guitars hanging on the walls at Guitar Center on 14th Street in Manhattan. So many new models and guitar gadgets since I last looked. My trips to music stores had always centered around the keyboards, electronics and software. So, if I’m coming full circle, why not go all the way? After a half an hour of trying out different ones, I decided on a particular Les Paul Standard that seemed to call my name and felt just right.
Mind you this was before Les Paul’s passing today. I’m sure I’m not special. I’m sure that there were millions of musicians somewhere thinking about him every day. In the months, weeks, and days leading up to that moment, I’d been talking about him with my guitarist friends, building up the courage to get another Les Paul some day soon. My research led me to remember all the innovations that he’d made besides the solid body electric guitar: multi-tracking, overdubbing, looping, tape delay, reverb etc. Now these live on in the little machine before me that I’m typing into.
I had an Akai APC-40 to control my laptop on order from B&H Photo since late May, until they emailed me that it would not be shipped within the quoted 2-4 weeks. I would have to wait until September! Screw it, I’ll make do with how I’ve been doing things up until now. I canceled the order and put that money towards the Les Paul Standard sitting beside me right now. Sometimes musical expression has to be more immediate than a chain of gear that needs to be turned on, booted up, opened up, mixer on, speakers on, controller on… sometimes it has to be something you can just reach out and grab, touch, pound on if you must, and make some music with, dammit. Like now. That’s classical and that’s rock’n’roll.
Thank you, Les Paul for always keeping a beautiful and musical balance between man and machine, and for an electric guitar that will sustain a note almost as long, but not quite, as your legacy surely will.