Comments on: Wednesday 17th June http://www.thewatchfulear.com/?p=1166 the gathered thoughts of Richard Pinnell Thu, 09 Sep 2010 23:02:17 -0700 http://wordpress.org/?v=2.8.4 hourly 1 By: franlopez http://www.thewatchfulear.com/?p=1166&cpage=1#comment-1239 franlopez Fri, 19 Jun 2009 01:12:40 +0000 http://www.thewatchfulear.com/?p=1166#comment-1239 Richard: Yes, I know it's a common place. For some reason it's been bothering me a lot these last couple of weeks... When I wrote that comment, I saw a really clear link between what you were saying, what I remembered Diego saying and what I was thinking. Now, that link seems a lot blurrier. Anyway, the important thing about the comment was Diego's article, everything else was some ramble I'm absolutley not sure about. Richard:
Yes, I know it’s a common place. For some reason it’s been bothering me a lot these last couple of weeks…
When I wrote that comment, I saw a really clear link between what you were saying, what I remembered Diego saying and what I was thinking. Now, that link seems a lot blurrier.

Anyway, the important thing about the comment was Diego’s article, everything else was some ramble I’m absolutley not sure about.

]]> By: Alastair http://www.thewatchfulear.com/?p=1166&cpage=1#comment-1234 Alastair Thu, 18 Jun 2009 12:36:27 +0000 http://www.thewatchfulear.com/?p=1166#comment-1234 Angharad is standing in on a violin chair? Angharad is standing in on a violin chair?

]]> By: Richard Pinnell http://www.thewatchfulear.com/?p=1166&cpage=1#comment-1232 Richard Pinnell Thu, 18 Jun 2009 10:25:09 +0000 http://www.thewatchfulear.com/?p=1166#comment-1232 Fran, many thanks for sharing that. I often enjoy what Diego writes and that is an interesting piece about an interesting CD. Getting into the question of why there are so many CDs is perhaps an unrelated (and already much discussed) question, but I do like what Diego has to say about Formnction refusing to follow the normal "logic" used by musicians. The second track is indeed like a patchwork quilt, but an interesting thing for me is that the musicians used a formula to decide which patches to place where, they did not just choose the "best" ones. This leads me to wonder how they feel about what could have been the stronger parts of their improvisations left on the virtual cutting room floor? This method rejects the usual pattern of going through recordings looking for the strongest parts to put together a CD, reinforcing my thoughts on how this release seems to be denying the normal more "human" processes involved in music from taking place. Fran, many thanks for sharing that. I often enjoy what Diego writes and that is an interesting piece about an interesting CD.

Getting into the question of why there are so many CDs is perhaps an unrelated (and already much discussed) question, but I do like what Diego has to say about Formnction refusing to follow the normal “logic” used by musicians. The second track is indeed like a patchwork quilt, but an interesting thing for me is that the musicians used a formula to decide which patches to place where, they did not just choose the “best” ones. This leads me to wonder how they feel about what could have been the stronger parts of their improvisations left on the virtual cutting room floor? This method rejects the usual pattern of going through recordings looking for the strongest parts to put together a CD, reinforcing my thoughts on how this release seems to be denying the normal more “human” processes involved in music from taking place.

]]> By: franlopez http://www.thewatchfulear.com/?p=1166&cpage=1#comment-1230 franlopez Thu, 18 Jun 2009 03:52:17 +0000 http://www.thewatchfulear.com/?p=1166#comment-1230 I remember reading Diego Chamy's comments on this record some time ago: http://sites.google.com/site/diegochamy/texts/articles/textos/CommentforthebookletofFormnction%2CaCDbyMarcBaronandLo%C3%AFcBlairon.pdf?attredirects=0 It's interesting. I haven't heard the actual thing, so I don't have an opinion, or anything to say about the record, but it's interesting that you are wondering: "if, when music gets this minimal, when the palette contains only very few colours and the sounds are somewhat oblique does the collage method of its creation really show? Were the original, sparse improvisations any more coherent than the final piece we hear on the album?" And Diego asks: "What is happening in between these 5-minute extracts? Why aren’t we able to experience 5 minutes all at once? Would it be better to scratch this CD before playing it? And what about any other CD?" Reading your blog and some other places, I get the feeling that there are a lot of releases every week. I can only wonder, what's the point? (Yes, I know that's not what you were saying and neither was Diego, it's just a feeling I'm having. And yes, I realize that the fact that we are asking the question because of a record should say something about the answer itself. But still, I think it's good to think about this.) I remember reading Diego Chamy’s comments on this record some time ago:

http://sites.google.com/site/diegochamy/texts/articles/textos/CommentforthebookletofFormnction%2CaCDbyMarcBaronandLo%C3%AFcBlairon.pdf?attredirects=0

It’s interesting. I haven’t heard the actual thing, so I don’t have an opinion, or anything to say about the record, but it’s interesting that you are wondering:

“if, when music gets this minimal, when the palette contains only very few colours and the sounds are somewhat oblique does the collage method of its creation really show? Were the original, sparse improvisations any more coherent than the final piece we hear on the album?”

And Diego asks:

“What is happening in between these 5-minute extracts? Why aren’t we able to experience 5 minutes all at once? Would it be better to scratch this CD before playing it? And what about any other CD?”

Reading your blog and some other places, I get the feeling that there are a lot of releases every week. I can only wonder, what’s the point?
(Yes, I know that’s not what you were saying and neither was Diego, it’s just a feeling I’m having. And yes, I realize that the fact that we are asking the question because of a record should say something about the answer itself. But still, I think it’s good to think about this.)

]]> By: gohleekwang http://www.thewatchfulear.com/?p=1166&cpage=1#comment-1229 gohleekwang Thu, 18 Jun 2009 02:04:25 +0000 http://www.thewatchfulear.com/?p=1166#comment-1229 i have a demo from Marc Baron which he called it "conceptual instrumental work" in his email. very interesting works too, the first listening was a challenging / funny one (and very refreshing too), atleast 3 times i have go and check my cd player see if it is working properly, and question if the sound is coming from the recording or just the noise outside, and look for his email to find out what instrument he actually play on the recording. i have a demo from Marc Baron which he called it “conceptual instrumental work” in his email. very interesting works too, the first listening was a challenging / funny one (and very refreshing too), atleast 3 times i have go and check my cd player see if it is working properly, and question if the sound is coming from the recording or just the noise outside, and look for his email to find out what instrument he actually play on the recording.

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