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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.”

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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)

  1. THE OLD ONE (35:54)

I INCEPTION (9:32)

II BRIDGE/DORJE (2:45)

III QABBALA / TREE OF LIFE (3:33)

IV BARDO THÖDOL / ANGELS AND DEVILS // WIZARDS AND DEATHEATERS (3:42)

V THE MIND OF GOD / STREAMING–>THRONE OF GOLD (15:42)

 

  1. SEE SHARP OR BE FLAT/C# or Bb (20:29)
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