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there is that period of time stretching from the moment of death to reincarnation.

we lie / stand / breathe / hold our breaths / while waiting / the old ones / the new ones / the barely born > we shudder as shutters are removed > it begins with a suddenness like a QUAKE then romps merrily into simplicity / classical solos & head(s) lilting loping a non-frag-mental journey of intervals into playful decisive solos that erupt instantly ferociously without warning >

StartFragment   EndFragment > ERG (one unit of applied energy) > there is no shortage of ERGs or urges in this music & one of Michael Moss’ goals is to not just theorize but to figure out how to apply that applied energy… within & without restrictions… bound by yet beyond CATEGORIES & BOUNDARIES…in a sense creating a new category of categories.

 

there is commerce & then there is commencement > where composer/pianist Moss’ journey begins & ends yet doesn’t > there is sudden abruptness / sweet finicky melodic fiddling / but one thing there isn’t > accidents > there are no accidents > oh possibly a mishap here or there > or a well planned accidental collision as things increase / decrease & coalesce / swing from one tempo to the next / at times like “thunderbolts connecting heaven to earth” (as real as they are symbolic) &/or vice verse-a within the freedom of expression that so binds the Accidental Orchestra together \ no blindfolds / heaps of classic servings of jazz all cooking together to form a stew of extremes / tastes varying yet always complimenting / all forms / small slices of kitsch blending with huge portions of irony & seriousness \ a BRIDGE toward the TREE OF LIFE > spanning centuries / moments / seconds / near fatal fates coupled with THE STREAMING MIND OF (a) GOD which may or may not exist / consume / exume \ angels devils wizards they are all here > merry > at times dark tricksters & what Moss refers to as DEATHEATERS – from its very inception we are pulled into a world | perceptions conceived / formulations > dark entities always made lighter by the precarious yet sure footed approach to SOUND > here is prime territory / prime real estate / prime cuts / primal instincts / scored / untethered / unadulterated (un)harmonious \ tabla-d and tabled like time inside outside of itself \ like gourmet magic dragons tailing fires / that never drag on } vintage symbiotic symbols / music not called in  farmed out or  for rent > revealing the prospects of its own vitalized future > heated impassioned intelligent witty / MOVING / never catering to tastes though ever so tasteful / the good life intertwined with heartache and imminent possibilities of our impossible yet inevitable ends / dancing along until theory itself is refueled then runs out of STEAM / a g(h)as(t) or a gasp / where theory itself runs smack into reality i.e. the emotional subtext & texture of BEING / upheaval thru controlled filtering \ cycles of birth & rebirth / a world of (im)precise ever changing voicings toppling upon itself as quickly as it reforms (A CIRCLE constantly consuming itself in its own infiniteness) > OVERDRIVE of the other whirld > dissonant /assonant / accented alternating registers / syntactical structures < instilling grateful foremost mechanism / magnetism / over time sh(r)edding itself then re-organ(ic)izing… beyond labels > what MOSS’ goal as composer/ /author of his own life’s work symbolizes / to promote his ideas with as little hindrance as possible yet to allow for the individual artists to always shine through > how things fit & work & sometimes don’t work within this puzzle / finding musicians who are top notch who like to work together to remain individual while creating the WHOLE > it’s not so much about complications within the compositional framework but straight ahead rhythms that repeatedly find their way inside the sections / tri-tones – way of making sounds that do not resolve…or for that matter dissolve… what delineates the past leads toward the future toward death & to what happens afterward if you happen to be lucky enough to reach that THROWN OF GOLD… where things might be rosy / foggy / GO(l)D-like yet where NO THING is ever quite RESOLVED… where hope & less than hope is always kept alive where the question is the answer… where “don’t hold your breath” means breathe a bit more > there is a renaissance coming whether we see it or not there is always minute second-by-corpuscular second renewal where the Moss writes his ideas within this seemingly unsafe sanctuary of the resolute idea of NO RESOLVE…where illness & rejuvenation are always at odds where music is the healing force hinting always at “intuition & creativity”… “a sense of urgency”…“fluctuating colors shades textures”…”shifting mirrors of distorted reality…pre-psychological mythical tradition… mysterious…foreboding…but ultimately ecstatic… pregnant with possibility… establishing a disturbing atmosphere…” where the music takes you over. where the spirit that is within us & beyond always hovers amongst us. the soul. heroic. quantum. contrapuntal. inspiring. unconscious. where one should take chances but never leap before one looks…never fail to see where one is walking / MOVING \ venturing into … tho contradicting myself as i so often do… LEAPS OF FAITH can oft result in amazing results… as MOSS & the ACCIDENTAL ORCHESTRA more often than not have proven…tripping over a curb can definitely have its rewards. So “challenge your ears…”   get into “an arc of melody”… (a kind of Noah’s ARK)…venture into the music & therefore into “…another state” of BEING.

 

dalachinsky nyc 2017

New York Free Quartet (Michael Moss, Steve Cohn, Larry Roalnd, and Chuck Fertal)

Michael Moss (tenor and soprano saxophones, flute–western and bansuri), Steve Cohn (piano, shakuhachi, Hichiriki, trombone), Larry Roland (bass, words/poetry), Chuck Fertal (drums, percussion)

Music is an art that exists only in time. Unlike painting and literature, it cannot be appreciated without the passage of time. One cannot freeze it to study it. You cannot stand in front of a piece of music and examine every detail for as long as you want, at least not the actual sound element of music. A music score is not music; it is merely a visual representation of how to play a written piece. Therefore, one must enter into a time continuum to experience music, whether it be completely notated/composed music or completely improvised music, as is practiced by the New York Free Quartet.

Why the preamble? Merely to point out that the time taken to create this music is the exact amount of time it will take to hear it. One must enter into a contract with this type of music. Is the time worth it? Absolutely. Consider all the reasons why that is true.

Sensitive listeners attuned to creatively improvised music don’t need to be told that this is an exceptional quartet who has delivered a superb collection of music with “Promotional Copy.” For those who may be coming to this music for the first time, I can only express envy. This experience is like no other.

Carl Baugher January 2017

Monk Meets East Meets West                         11:20  https://www.soundcloud.com/stream

On Their Shoulders                                           13:19  https://www.soundcloud.com/stream

24-8 Aren’t We All?                                            6:03  https://www.soundcloud.com/stream

Fun Key                                                                 5:25  https://www.soundcloud.com/stream

In Between Gigs…Can You Dig?                    12:30  https://www.soundcloud.com/stream

Spirits Here And Not Hear                              8:00  https://www.soundcloud.com/stream

Band Website: https://www.facebook.com/MossCohnRolandFertal/

Hi Friends,On Saturday, July 23, 2022 at 8 PM I am bringing my quartet (for this configuration) ROOTS to SHOOTS to the Bridge Street Theatre in Catskill, NY and will perform the World Premiere of an electroacoustic piece written in collaboration with Rome-based internationally acclaimed electronic composer James Dashow entitled Quantum Butterfly/Adjacent Possibles. 
I am extremely excited to bring this performance to the Upstate Arts Weekend. For the first set ROOTS to SHOOTS will be playing my original compositions as well as pieces by Charles Mingus, Eric Dolphy and Claire Fisher.  
Tickets are $15 at the door.I LOOK FORWARD TO SEEING YOU THERE!
Michael

I am so in shock. I must have marched in that July 4th parade in the High School Marching Band though I have no memory of it. My sister visited Highland Park and ate at Walker Brothers, the actual crime scene, two weeks before the massacre. 

Because I am still outraged and anxious about our future as a country, I have been stimulated to pay attention to Politico and other news outlets, mostly print media, to attempt to grasp just what is happening to our collective society, or at least the society I always thought was collective.

If this were a conversation I would stop here and ask you if you want me to share my thoughts or not. But since it is a blog entry, I’m just going to hope you would have asked me to continue.

These murderers are highly motivated to end everything as we know it. In this case, they are a danger to others. I don’t know if they are suicidal in which case they are a danger to self and others. I do know pyschology has failed for many many years to discern how to tell if someone is a danger to self and others as part of a suicide prevention intervention. How can we expect the state police to figure this out?  No, the solution is to remove guns from the populace, like they did in Australia.

But the solution to this is wedded to an understanding that there is a war going on. The fringe is now the center of a very powerful political party. People with a lot of money are funding every Republican and Republicans reward them by voting in a fascist bloc to block gun legislation, the freedom to choose how to bear babies or if babies should be born at all, to block helping those mothers bear the babies, and starving and degrading all people who are not white, who are Muslim or Jewish, or just “other.” Radical Catholics and Evangelical nationalists want power over all of us, just as they have had for hundreds of years and they are pissed off, well-funded, and vote. They have already taken away the right to vote and the Trump coup is just the most obvious example of this. They have taken away the right to choose and SCOTUS’ decision is the nail in the coffin. It is getting darker and more violent because we are about to lose the last vestiges of a democracy and they smell blood. The Timothy McVeigh’s and this Highland Park, Illinois pathological shooter share a bed with the pathological liar in chief, the NRA, and the Koch brothers.

That’s the short answer. I am very afraid. I am Jewish with roots in Eastern Europe and my grandparents left Russia—yes that Russia which is pounding Ukraine mercilessly—because of pogroms and forced servitude.

I hope I’m not being too dark or paranoid. The actions by Nazis who feel they are being “cancelled” might cancel the rest of us. So what was the reason our memories of a rather idyllic upbringing in Highland Park, Illinois have been polluted by violence? And what can we do to stop it from happening again and again? I’m guessing it will take a movement similar in size and energy to the movements that grew out of the Viet Nam war. I do feel that kind of energy building. At this stage of my life I can support them and cheer them on, but my most important contribution has to be through music which is what I am focused on. I have been composing, playing, learning, and expanding my creative understanding of the music. The World Premiere on July 23, 2022 of my latest piece Quantum Butterfly/Adjacent Possibles is partially based on Leon Thomas’s song in Pharoah Sanders album Tauhid with lyrics: “The Creator Has A Master Plan; Peace and Happiness for Every Man.”

We must work to make this happen. 

I am always on the lookout for new metaphors to assist me to improvise jazz. My latest efforts have been in the area of quantum physics. Unfortunately, quantum physics has no direction, no aesthetics, and no love. It is strictly probabilistic and functional. Cubism, on the other hand, is an artistic and geometric concept which combines physics (planes, dimensions) with perspective, shape, and artistic creative energy. Besides, cubist art is my favorite form of art. While I’m attracted to 12-tone music, I’m a real novice at it and need to work more on treating it in terms of improvisation. Cubism might be a way to improvise from the perspective of shifting tonalities, rhythms, meter, scales, and atonality as a vehicle to effective, moving expression.

Let me sketch out some brief ideas. There is an interpretive structure to improvisation which is a form of spontaneous composition. What if we structure improv musically to include things from different perspectives to bring together objects as seen from different dimensions, utilizing elements of music assembled with an arc designed to hear something as a metaphor for visual things seen as if the musician were a cubist? What would the musician use in her attempt to create a sonic representation of different elements? What would some of those elements consist of?

  • Here’s a brief list of some of the ways musicians could approach the problem of creating music cubistically:
    • Texture
      • Continuum from rough to smooth
      • Granular and gritty to liquid and fluid
      • Layers reminiscent of geological layers as seen on the walls of a chasm or on mountainsides        
    • Rhythm
      • Continuum from classical and unaccented through all variations of popular rhythms including jazz swing and all forms of jazz historically beginning with 19th century forms into the present
      • Electronic jazz to electroacoustic
      • All forms of rock
        • Hip hop
        • Funk
        • Ska
        • Reggae
        • Metal
        • Blues
      • Rhythms of different cultures
        • Indian
        • African
        • Asian
        • Middle eastern
        • South American
        • Indigenous and tribal
    • Meter
      • Western meter used in jazz
        • 4/4
        • ¾
        • 6/8
        • 2/4
        • 9/8
    • Non-western meter
      • 5/4
      • 7/4
      • 11/4
      • 13/4
    • Chord changes
      • Complex bebop changes
      • Simple postbop changes
      • Drones
    • Musical notes
      • Continuum from tonal to atonal/12-tonal
      • Continuum of intervals from consonant to dissonant
        • Large intervals
        • Small intervals
        • Close intervals
        • Scalar intervals
          • Major
          • Minor
          • Whole tonal
          • International scales
            • Different ragas
            • Persian scales
            • Scales from a variety of folk musics used for example by Bartok, Tchaikovsky, Spanish, French, English, Celtic, German
    • Blues
      • Country blues
      • Funky blues
      • Bebop
      • Cool
      • Honky tonk
      • Roots
    • Emotion
      • Meditative
      • Warm and sweet
      • Soulful
      • Negative
        • Anger
        • Rage
        • Fury
        • Defensive
        • Reactive
        • Fear
      • Positive
        • Joy
        • Happy
        • Light
        • Fluttery
        • Warm
    • Abstract to primitive
    • Different instruments
      • Strings
      • Reeds
      • Brass
      • Percussion
      • Combinations of different instruments
        • Solo
        • Sections
    • Musical metaphors
      • Weather
        • Stormy
        • Rain
        • Wind
        • Sunny
        • Cold
        • Warm
        • Lightening
        • Thunder
      • Cosmic
      • Quantum
      • Cubist
    • Psychological
      • Jungian
        • Functions of personality
          • Thinking
          • Feeling
          • Sensation
          • Intuition
          • Judgment
          • Perception
        • Metaphysical
          • Unconscious
          • Collective unconscious
          • Myth structure
          • Alchemy
          • Dreaming
      • Freudian
        • Unconscious
        • Abreaction
        • Wish fulfillment
        • Sexual fulfillment

Flattening, deconstruction, rearrangement of perspective, elimination of depth, monochromatic color—all these typify cubist painting. Ultimately, abstraction from reality marks the demarcation of cubism from more representational art. But, as far as I can tell, performance art is less represented than sculpture, painting, collage, all visual art forms at least regarding cubist expression. In fact, aside from Merce Cunningham and his movement strategies which do not rely on programmatic notes or references to anything but movement, I cannot think of any performance art which relies on cubism to inform its realization. And, I’m not sure Merce, or John Cage for that matter, would agree with me.

I cannot find any musical representation of cubism aside from visual art utilizing musical instruments and musicians playing them. No composers I have discovered attempted using cubism as a source of inspiration. No musical forms appear to consciously utilize cubist principles. I have asked others to comment on cubist principles of music—no one answers.

How is it, then, that I can hear cubism almost every time I listen to free jazz? I can hear planes, dimensions, interacting perspectives, dissonance, complex rhythm, different musical schools, colors, and emotion all coming together in different performances of small, medium, and large ensembles made up of every musical instrument whether western, non-western, found objects, electronic, or uniquely made by an individual. In fact, I have been attempting to understand improvisation from so many different perspectives that my abstraction of these arguments has become a cubist expression all by itself! Lately I’ve been considering physics—Einsteinian and quantum, string theory and quantum chromodynamics—as springboards for hypothesis generation. The overarching issue for me is “where do all the notes come from?” 

My personal experience of improvisation lies in the sense that when I abandon myself to the process they come from somewhere other than my conscious decision to play particular notes. Personal example:  for years I have considered myself to be a poor player of chord changes. I get stuck on playing specific notes in a chord and can’t think quickly enough to make the changes. If the changes are simpler and I can think quickly enough, I lose something in terms of inventiveness. It is only once I have warmed up to a musical structure (a tune for the uninitiated) can I let go enough to have some fun. It is faster than thought. If it is a tune with chord changes and I let go I find new and inventive ways to play the changes. The danger for me is repetitiveness. I can start to play everything the same so different tunes begin to sound the same.  That is why I am now on the lookout for a way to structure improvisation and composition which will guide me when I take off. For a while I conceived of playing a solo as riding a wave as if the music was a wave and I was surfing it. I have also tried to expand meter by using Indian raga time such as the Tin Tal—a 16 measure segment in 4/4. If instead of 16 4/4 measures I think of it as one long measure in 4/4 the entire structure opens up. My latest infatuation has been the idea I got from string theory of superposition. That is quantum physics for allowing notes to appear by a process of probability. I also borrowed Feynman’s concept of the subatomic particle being in every potential place and speed until it appears—the wave again—when the wave crashes, or as physicists put it, when the quantum wave function collapses. This all felt soulless and didn’t allow for the spiritual or emotional to enter into the equation. Plus, there is no aesthetic I know of that doesn’t allow for human intervention—even Dali relied on the unconscious and its predilections to “determine” his dada.

Many different aspects of experience have gone into my lifetime of composition. I have borrowed from the Kabbalah, quantum physics, and jazz to compose a 12-movement piece I performed in 2019 entitled Qabbala::Entanglement. I have used the Torah and poetry to compose a double string quartet with double SATB chorus entitled Abyss. And I have played with Finale, a music software program, to write pieces that were suggestive but not totally specific about what the musical structure was. I am looking for the next muse to my music. Perhaps it will be cubism.

Ain Soph Aur

Sorry for the break in my postings.  Presenting the initial concert of Qabbala::Entanglement on June 21, the summer solstice, by the Accidental Orchestra soaked up all my creative energy.

I’d like to present to you one of the results of that surge.  In order to introduce the entire 12 movement suite I have composed a free piece which starts Ain Soph which I call Ain Soph Aur. It should be self-explanatory so I am presenting it to you here.

The next in the series of three concerts of the Accidental Orchestra playing the next four sephirot of the Tree of Life takes place on the autumnal equinox, Friday, Sept 20, 2019, also at Westbeth in the Community Room.  The final concert in the series is on the winter solstice, Saturday, December 21, 2019.

Here is Ain Soph Aur:

AIN SOPH AUR

OPENING THE GATES OF HEAVEN

I SCINTILLAE—non-western instruments

II  BEATS–rest of orchestra enters

III CONSOLIDATION–concert E

 

I SCINTILLAE

The  Kabbalah states that the initial form consists of flashes of light which are unable to find sustaining form.  They flash in and out of existence before fading away.  I hear these scintillae musically as very brief if intense sounds emanating from the primitive nature of the phenomena, played initially by non-western instruments to reflect the prima materia.  They are joined eventually (cued) by western instruments playing in a non-western manner, also in short, intense sounds.  There must be space to allow the softer instruments to be heard.  I have called this pointilistic as a descriptor. There really is no development as the emphasis is on the eternal and not the arrow of time.  Another way to conceptualize it is to use the metaphor of quantum foam in which space is empty until a superimposed particle flashes in and out of existence.  These particles don’t really exist in spacetime and do so only as potentially existing.  Percussion plays throughout and is extremely important.

 

II  BEATS

Strings, then oboe, then flutes, followed by reeds, brass, vibes, guitar, piano, and finally bass enter (no cue–they enter intuitively) playing the highest notes in their range or outside their range but as softly as possible–ppp piano-pianissimo.  After some time they begin to descend from the heights and finally end on the lowest notes in their respective ranges.  It is musical–no screaming–dissonance.  Notes must beat–musicians seek out notes played by others that beat when they play, e.g. minor 9ths, minor seconds, identical but slightly out of tune with each other.  The entire orchestra beats–creates pulsations.

 

III CONSOLIDATION–AIN SOPH AUR

Ain Soph Aur is the reappearance of the light.  Ain Soph, the without end, the unmanifested spiritual principle, is now beginning to enter existence in the form of light, the Ain Soph Aur.  Musically, they appear at the bottom of the range of the beating orchestra on cue with the entrance of the shofar or the multiple shofars (or shofarot).  At their entrance the orchestra opens up the space by remaining silent.

There are three shofar notes.  Teki’ah–one long blast, followed by shevarim–three broken sounds, and finally teru’ah–nine staccato notes. The shofar blasts follow a prescribed pattern:

teki’ah‑shevarim teru’ah‑tekiah;

teki’ah‑shevarim‑teki’ah;

teki’ah‑teru’ah‑teki’ah.

The final tekiah is prolonged (it is called teki’ah gedolah, a “great blast”). Some people have been known to watch the clock during the teki’ah gedolah and time how long it lasts.

The purpose of the blast of the shofar is to awaken spiritual awareness, to heighten consciousness.

Following the teki’ah gedolah,the orchestra plays a concert E long tone (cued).  At this point we begin the written part of Ain Sophat LETTER A.

I’ve been rehearsing my newest compositions with the Accidental Orchestra, and the sounds are entering my consciousness which before have been mostly in my mind as intellectual exercises which are intended to invoke a certain meditative state. As I meditate on my meditation it occurs to me that there is in the music exactly what I intended, a quantum superposition of notes hovering around a musical structure that implies rather than specifies what is to come next.

They are deceptively simple, structured to be easily played, leaving plenty of room for improvisation which I encourage to be abstracted from the dense chordal dissonances I introduce. Let me attempt to get inside my musical-philosophical-quantum mind and let out what I hope happens when musicians hear this, play this, and what you as an audience hear and experience when you enter the domain of Qabbala from the point of view of quantum entanglement.

Direct experience of the soul
entanglement with all notes and musically organized sound
establishment of structure in which there are implied infinite possibilities of musical superimposition
the ultimate in associative reasoning bordering on free association
mystical breakthroughs into alternate universes

I’d better stop here so you can generate your own fields. Which you can do by listening to my initial offering by the Accidental Orchestra, the cd HELIX. https://store.cdbaby.com/cd/michaelmoss1
http://www.michaelmoss.bandcamp.com
https://michaelmoss.hearnow.com/helix

On Friday, May 18, 2018 I will be presenting some pieces from HELIX and from a suite of ten works based on the Tree of Life of the Kabbalah: I Kether–Crown/I Am, II Binah–Intelligence, and IX Yesod–Foundation/Basis. Please come to the
HELIX cd release party held in Westbeth in the

Please enter through the courtyard which is located on Bank Street between West St. and Washington St in the West Village to avoid the construction at Westbeth.
All my recent cds will be available for purchase and/or download.

We are on an adventure in superposition! Where all things are created equal and anything is possible! Held together by love where disorder and dissonance are a figment of the imagination. Or as Albert Einstein once is purported to have said, “imagination is greater than knowledge.”

composer Michael Moss

http://jazzquad.ru/index.pl?act=PRODUCT&id=489

For more than one decade, the name of the multi-instrumentalist-witch and composer Michael Moss is connected with the avant-garde jazz music of New York, the so-called downtown stage. He led projects such as 4 Rivers, Free Energy, Zone, he could be seen on stage with Sam Rivers, Dave Liebman, Paul Bley, Alvin Jones, McCoy Tyner. The music and albums of this native of Chicago are always distinguished by their originality, originality, and often the use of elements of various ethnic musical cultures. Very original and his new project Helix.

For its implementation, Moss collected a very solid, both in size and in terms of performers composition – as many as 22 people. This improvisational orchestra received the strange name Accidental Orchestra in honor of the event that occurred when Moss composed one of the tracks for the upcoming album, an event as prosaic as it was unpleasant – Michael broke his leg. Hence the name of this composition also occurred. What is this orchestra? A very large and representative group of strings, worthy of chamber academic composition. From its participants I will single out such a master as Jason Kao Hwang. A large group of wind instruments, in which the saxophones, trumpet and trombone, which are characteristic of the big band, together with Moss’ not-so-common version of the clarinet, are combined with the oboe and the holographic character characteristic of the symphonic composition. Here, immediately attracts the attention of a powerful (in all senses) saxophonist Rasa Moshe Barnett. And, finally, a large rhythm group, which includes traditional and ethnic instruments, including a tabla musician from Bangladesh Badal Roy. To me this orchestra in composition resembles a real Noah’s Ark, containing a variety of instruments that seem at times poorly compatible with each other. It’s clear that Moss called his 4th Stream Records label. “Fourth stream”, polemicizing in absentia with Gunter Schuller, the inventor of the term “third stream” for music, where jazz meets with classics.

In Helix, there were only two, but very large, compositions. The first, a suite in five parts, each of which is separated into a separate track, is called The Old One. So in due time God was called by the great physicist (and partly philosopher) Albert Einstein. The author himself describes this work as “initiation into the sacred land” and brings it to the music of different peoples associated with communication with the other world – from Buddhist funeral rites and rituals of the Indians of North America and to Mass Bach and the Jewish memorial prayer Kadish. However, the thoughts and feelings of the author of the suite are expressed in the language of free jazz, which does not make listening to The Old One easy. If this composition clearly showed the tightness and elitism of free jazz, the twenty-minute See Sharp or Be Flat / C # or Bb reflects another of its features – humor. Indeed, listening to this thing where the Accidental Orchestra swings, beating Norwegian Wood of Lennon and McCartney, I Feel Good of James Brown and Bags Groove from the Modern Jazz Quartet, is noticeably more fun. In general – an excellent album for advanced fans of jazz music and, probably, quite a complex work for neophytes.

CD Review:  http://jazzquad.ru/index.pl?act=PRODUCT&id=4892

By Leonid AuskernLost in Translation (Russian)

Midwest Record review of HELIX

MICHAEL MOSS/Helix:  The loft jazz mainstay puts together an Accidental Orchestra, in which the gang is all here, and sets out for places only hinted at in “Metal Machine Music’.  Using Einstein’s name for God as the jumping off point, I’ll bet this how things sound in heaven when Metatron dawdles over a second cup of coffee.

CHRIS SPECTOR, Editor and Publisher

N.B.  Metatron or Mattatron is an archangel in Judaism and in Christianity as well as the Chancellor of Heaven (effectively making Adramelech his infernal counterpart). According to Jewish medieval apocrypha, he is Enoch, ancestor of Noah, transformed into an angel.

Wikipedia

Accidental Orchestra imaginative fresh free jazz

CD Review: http://contemporaryfusionreviews.com/accidental-orchestra-accidental-orchestra-helix/

Accidental Orchestra imaginative fresh free jazz Accidental Orchestra – Helix
Dick Metcalf, editor, Contemporary Fusion ReviewsFebruary 27, 2018
Accidental Orchestra imaginative fresh free jazz Accidental Orchestra – HELIX: Michael Moss is a multi-instrumentalist with free-jazz creds that can’t be claimed by many players… he has over 50 years of playing with names like Sam Rivers, Dave Liebman & scores of others who knew him (self-described) as “the farthest-out cat”… strangely enough, you’ll hear snatches of “regular jazz” on tunes like the 2:44 “The Bridge“… it’s still free-form enough, though to qualify as “out enough”.
If it’s etherspace you’re craving for in your listening adventures, you’ll find “Mind Of God” the perfect blend of cool and cacophonous, but be sure and listen to this piece with your headphones on. The orchestra Michael assembled for this stunning trip is amazing in and of itself… Jason Kao Hwang, Rosi Hertlein, Fung Chern Hwei (violins), Stephanie Griffin (viola), Lenny Mims, Carol Buck (cellos), Steve Swell (trombone), Vincent Chancey (French horn), Waldron Mahdi Ricks (trumpet), Richard Keene (oboe), Elliott Levin (flute, tenor saxophone), Ras Moshe Burnett (soprano and tenor saxophones), Michael Lytle (bass clarinet), Michael Moss (Bb clarinet), Steve Cohn (piano), Billy Stein (guitar), Rick Iannacone (ambient guitar), Larry Roland (string bass), Warren Smith (percussion, vibraphones), Badal Roy (tabla), Chuck Fertal (drums), Michael Wimberly (djembe, African bells and percussion)… over fifteen minutes of far-out fun for all.
The 20:37 “C# or Bb” is not only my choice from this album, it’s also my personal favorite improvised set (yet) in 2018! All the players in the orchestra challenge the boundaries on this one, & I’ve no doubt that those of you who thrive on music that stimulates creativity (in many different directions at once) will be playing this one over & over & OVER again!
This fantastic album gets a MOST HIGHLY RECOMMENDED from me, with an “EQ” (energy quotient) rating of 4.99. Get more information, and purchase direct from the artists on Michael’s page for the album. Rotcod Zzaj
#Accidental #Orchestra #imaginative #fresh #free #jazz

Michael Moss uses experimental jazz to bring “Helix” to life

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thenameofthisband

mossteinmeyer

 

Thirteen: a mathematical representation of the one and the three. The three in one. A trio of musicians playing free jazz. Free jazz is the concept of many as one. The musicians play together as individuals and as a group. On the highest level the individual and the group are entangled and the action of one is the action of all. The idea of the highest level is this concept of one for all and all for one. It is a very common idea and if you look for it you can see it everywhere: the herd, squadrons of birds in flight turning as one, the body in which all organs work as one, minds thinking as one, dancers dancing as one. Mathematically 13 is just as easy and just as hard as leading and following at the same time. 13 is the number of the trio, 14 the number of the quartet, 122 the number of the 22 piece Accidental Orchestra. The reason this concept of simultaneity is so hard to understand is because it represents dimensions that are not obvious to how we appear to live in the three-dimensional world. We feel alone but seek belonging. Belonging in the sense of 13, or 14, or 122 for example represents the number of dimensions. It is a religious concept of belonging in the spiritual sense to a force larger than oneself.

 

13 is the name of our trio. It means three in one. The three of us play as one and music is the result. When we do not play as one, when we are not practicing close listening, it is no longer music but noise. To reach the higher dimensionality of 13 the members of the trio have to lead and to follow, trusting that the others are leading and following at the same time.

 

Free jazz artistically and aesthetically means entanglement of individuality within a dimension that always exists in potentia yet must be attained. This is why it is hard to play freely. Free is not free unless the individuals play as a group–simultaneous and at the same time individual; individual and at the same time simultaneous. The quantum physics mathematical representation of entanglement in which the part and the whole are one thing in itself, Immanuel Kant’s philosophical concept of the ding an sich, on the level of particle physics is the simultaneous participation of entangled subatomic particles interacting at a speed which is faster than light. They are no longer time-like or space-like because the action of one entangled particle or of more than one entangled particles is also the instantaneous action of all the other entangled particles. The action of entanglement is FTL, super luminous, acausal. The action of musical entanglement is that of the one and the many all acting as one.

 

The reason free jazz is so hard to play, to listen to, or to understand is that the individual must lead and follow simultaneously. The ego and the lack of ego must simultaneously exist. There is a dissolution of ego into a larger ego and the music on this level moves and exists as one. Time becomes relativized. Time is not linear but non-linear–free jazz strives to inhabit this experience of non-linearity, where the past is present, the future is present, and notes do not just line up but open up into the higher dimensions. Higher in sense of not our familiar three plus one dimensions in which spacetime exists but higher because these three plus one dimensions of three dimensions plus the dimension of time are enfolded within a higher number. The accomplishment of improvisation in a group is to bring this mathematical dimensionality into our common world. Any performing group does this–orchestras, dance troupes, country music festivals, music festivals. Where you have individuals becoming entangled there is this mystical sense of belonging to a larger group.

 

This is what I mean when I name our trio 13. We are individuals acting as one on the higher dimensionality of the three in the one and are entangled. It is also what I have referred to as faster than thought. I cannot think fast enough to improvise and to make music. I cannot act alone. I have abandoned myself to this higher purpose. It is the army, the navy, the act of war. In the musical sense 13 is the act of peace, understanding, sensitivity to others, respecting others, living with others both as an individual and as a group. As with any mathematical concept of dimensions there is no moral sense and action as one can be as good or as evil as we want or wish it to be. We act consciously to make it so. If our intent is to take this mystical acting as one and to destroy we are Lucifer and His armies. If we are bringing life and spirit into the world we are God and His legions of angels. God in the mathematical sense is not moral. It is our humanity which makes God into an avenging God or a merciful God. It is up to us to act as one to be good or to be evil. The difficult part is acting both consciously to bring something good or evil into the world at the same time we act unconsciously as a group to do so.

 

Once we decide to go in a direction the forces act upon us and we are no longer in control. Which is why it is so hard to maintain the level of musicality on what we instantly recognize as being on the right level. Good music, what I call music, not sound or noise, brings together not only the musicians but all who participate in the listening to this music. We have mirror neurons in our brains to facilitate the coming together of individuals, which fire sympathetically in the presence of others and allow us to speak, to mimic, to feel the feelings of others, and to express our feelings so that others can feel how we feel. We are usually unconscious of the action of mirror neurons so to make them manifest in conscious ways takes an act of courage and sacrifice; courage to take that first step, sacrifice to abandon ourselves to forces that are normally unconscious and out of conscious control.

 

So it all comes down to mathematics as a foundation and humanity as a moral force, dance and music as manifestations of entanglement, and feeling good when we belong to something greater than ourselves.

 

13=1 + 3=4=1

 

13=mossteinmeyer

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