Program: [01] 01:35 Perplexe 1 (R. Monteiro) [02] 10:28 L'Homme chaussure (J. Rühl) [03] 01:35 Perplexe 2 (C. Canonne) [04] 06:22 Mr Daïra (N. Nageotte) [05] 01:35 Perplexe 3 (J. Rühl) [06] 14:49 Squirrel 27 (C. Canonne) [07] 01:35 Perplexe 4 (N. Nageotte) [08] 07: 37 Villeuses Volutes (R. Monteiro) [09] 01:35 Perplexe 5 (J. Bruyère) [10] 07:40 Excusez–moi Thomas F. (J. Rühl) total time 55:30 Jérémy Bruyère, contrabass and electric bass Clément Canonne, piano and […]

Program: IN-BETWEEN blues pieces [01] 08:11 rise [02] 05:21 impasse [03] 05:08 plosion [04] 08:17 lapse [05] 05:20 submerged [06] 05:26 nite out [07] 05:21 washed over [08] 05:20 cwm [09] 08:08 in-between total time 56:51 Jens Joneleit: drums, bass, and piano Recorded using multitracking with each individual track recorded live without editing session dates: January 31, […]

Program: MAZE drum solo [01] 26:29 intro … [02] 28:46 … wall-of-sound homage to Sunny Murray [03] 14:51 energy piece … total time 70:01 This recording is dedicated to my friend and teacher Famoudou Don Moye Jens Joneleit, drums Recorded live on July 2, 2004 at Audio for the Arts Studio, Madison, WI, USA The recording was engineered […]

Info text: Elliott Sharp: Spring & Neap – RE:ITERATIONS Spring & Neap In 1996 I went on tour with Orchestra Carbon to Japan; A highlight was the Music Merge Festival in Tokyo. A colorful selection of wonderful musicians from the international scene met there for three days at the Shinjuku Pit Inn: Michiyo Yagi, Otomo Yoshihide, Sachiko M, Jim O'Rourke, […]

Info text: Elliott Sharp: Orchestra Carbon – Rheo~Umbra “Schattenflut”: this is how I would translate the unconventional title of this piece that I composed for Orchestra Carbon in 1997 - and this is also how I would describe the musical movements that occur in it. Rheo~Umbra has seven parts; In them, through-composed passages, algorithmically controlled ensemble playing and solo improvisations overlap. Regarding the algorithmic […]

Info text: Illuviation is an attempt to start and think ahead exactly where it becomes “dangerous” for many makers and listeners of jazz to exceed a certain tolerance limit. Illuviation is also an attempt to let initially seemingly incompatible styles and sound worlds collide, but not to mercilessly blur them, as with cross-overs, or to let one “world” replace the other […]

Info text: Elliott Sharp: Orchestra Carbon – Larynx Larynx is an analogy; the orchestra as a throat. A reversal of the fact that the throat can also be an orchestra: as in the throat songs of the Inuit in the Canadian Arctic, in the Khöömej songs of Mongolia, or even in the distantly related oral cavity technique of the Jew's harp, which is called [ …]

Info text: Elliott Sharp: SyndaKit I wrote SyndaKit in 1998 for my ensemble Orchestra Carbon. The piece translates images from biology into music; it creates a constantly changing breeding ground of rhythms and timbres. It has an improvisational character and works with algorithms, but it is not improvisation. SyndaKit is primarily a changing organism, consisting of 144 […]

Info text: The word “arbitrary” means free, arbitrary and arbitrary – in other words, that would have to be jazz first and foremost. However, the improvisation here is not with small musical material such as phrases or themes, but with musical auras. In Arbitrary the musicians “take possession” of auras that are clear and to the point: mainly the aura of the Electric period of […]