There are two versions of ‘Drilling’ on her Dreamt Twice, Twice Dreamt recording. It would be interesting to compare these with the live version you heard. I’d love to see a score!
5:4April 25, 2023 • 15:00 - 15:00
You’re right Julian – i bought a copy of the Dreamt Twice, Twice Dreamt album at the end of the concert, so i’m really looking forward to exploring this further!
JulianApril 25, 2023 • 17:26 - 17:26
I prefer the second version with the accordion… let us know what you think!
Chris LApril 26, 2023 • 11:53 - 11:53
At the risk of seriously outstaying my welcome comment-to-post-ratio-wise, I’d say the album taken as a whole locates Laubrock’s work more firmly than does Drilling on its own within the sphere of “jazz-based experimentation”; that is, experimental music which takes some of the instrumentation, vernacular and tropes of jazz as its starting-point rather than engaging in “anything goes” polystylism. I don’t mean that in any kind of reductive/belittling way — the history of jazz obviously didn’t stop “short — never to go again” when Miles Davis died, and when I use that term I have in mind artists such as Tyshawn Sorey and the late Cecil Taylor, whose music frequently defies easy categorisation; hence, perhaps, the phrase (and my explanation of it!)’s clumsiness.
I’ve always thought she comes very much from the Braxton tradition, and I’ve always thought of him as being ‘jazz’, whatever that means and as much as I hate categorising people. I can’t make my mind up about albums of hers such as Contemporary Chaos Practices, which feels like a stepping stone to ‘something’ not quite achieved. She works with interesting people. Nate Wooley worked with Radigue on an Occam, which I’ve not heard. I find that she is on a really interesting path. I try and listen to everything of hers I can, as I always learn something. Drilling is an example of a part of her oeuvre that she seems to be moving more towards. I find her interests to always be worth exploring
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There are two versions of ‘Drilling’ on her Dreamt Twice, Twice Dreamt recording. It would be interesting to compare these with the live version you heard. I’d love to see a score!
You’re right Julian – i bought a copy of the Dreamt Twice, Twice Dreamt album at the end of the concert, so i’m really looking forward to exploring this further!
I prefer the second version with the accordion… let us know what you think!
At the risk of seriously outstaying my welcome comment-to-post-ratio-wise, I’d say the album taken as a whole locates Laubrock’s work more firmly than does Drilling on its own within the sphere of “jazz-based experimentation”; that is, experimental music which takes some of the instrumentation, vernacular and tropes of jazz as its starting-point rather than engaging in “anything goes” polystylism. I don’t mean that in any kind of reductive/belittling way — the history of jazz obviously didn’t stop “short — never to go again” when Miles Davis died, and when I use that term I have in mind artists such as Tyshawn Sorey and the late Cecil Taylor, whose music frequently defies easy categorisation; hence, perhaps, the phrase (and my explanation of it!)’s clumsiness.
I’ve always thought she comes very much from the Braxton tradition, and I’ve always thought of him as being ‘jazz’, whatever that means and as much as I hate categorising people. I can’t make my mind up about albums of hers such as Contemporary Chaos Practices, which feels like a stepping stone to ‘something’ not quite achieved. She works with interesting people. Nate Wooley worked with Radigue on an Occam, which I’ve not heard. I find that she is on a really interesting path. I try and listen to everything of hers I can, as I always learn something. Drilling is an example of a part of her oeuvre that she seems to be moving more towards. I find her interests to always be worth exploring
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