Tag Archive: process


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

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What is Urban: city. What is Folk: artistically cultural tradition of the city. What is music: aural organized sound expression. What is Urban Folk Music: A genre of world music inclusive of art forms gestated in the creative cauldron of seething anxiety and suffering artists express when coming into collaborative work wit other urban based musicians, dancers, hiphopsters, poets, performance artists, story tellers, ad infinitum of the city.

About the suffering of artists: Artists suffering—a subgenre—is the physical, emotional, mental and spiritual self or center of the universe singleton/singularity which spawns the music of our urban culture. Pain, angst, fear, sex, drugs, and espresso drive urban musicians to produce pop music, blues, rock, classical both ancient and current and especially jazz to play with ideas.

Without artists—dancers, performance artists, poets, musicians, graphic artists, painters, sculptors—there would be cultural expression restricted to the thinking, feeling, sensation Jungian functions—no intuitive, nonjudgmental creative thinking or feeling, extraverted or introverted attitudes. We as a group form a culture shared across spacetime in an archetypal collective conscious that when expressed represents our inner selves.

The subgenre of music has numerous sub sub genres nesting within and one of those, jazz, blues, and western music spikes, when musically expressed, represents our oral and aural mindful experiences which raise the abstractive and emotional aspects of the experience of the audience—live and analogue or virtual and digital.

Over the past 50 years we have played with many musicians in a plenitude of cities. Finally resting in New York City we nonetheless have cultural baggage of many cities. Going back to the source, I (Moss) more and more feel consciously the father archetype. I feel older than people around me. Up till my latest illness, I even felt young in all the facets and faces I wore. Yet plans have a way of changing with circumstance and I find myself in a more reflective mood. I spend a lot of time to myself, practicing for my return to interaction. There is a difference between process and performance wherein process produces practice and performance produces quick or slow notes. The process rather than the performance rules my existence though I am getting out.

Interestingly, when I (Moss) started playing the flute after a 3-month hiatus because I got a strep G blood infection called bacteremia that caused me to go into sepsis, my musical sensibility had reverted to a 16th/17th century preoccupation with 4ths and 5ths. I am working my way through the music until I hear once again 21st c. feelings and musical expressions, progressing into more facile note manipulation. As for performance I believe it is enough to play a note. Note/s is/are implied in the note so quantum superposition is the rule here. That is, Schrödinger’s implication that nothing is real until realized forces any improvising musician to open to the infinity of possibilities—this is the fun part.

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