Bonefied: Trombone Revenge

Bonefied: Trombone Revenge

$12.00 USD

Xerx CD, 2000

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BONEFIED:Trombone Revenge
Zerx 018
BONEFIED 
J.A. Deane: tenor trombone, bass flute, shakuhachi, percussion
Steve Feld: tenor, bass, and valve trombones, euphonium, sousaphone, words
Kurt Heyl: tenor trombone, flutes, percussion, chants
Gary Sherman: soprano and tenor trombones, flugelbone, tuba
Jefferson Voorhees: drums, percussion
Mark Weaver: tuba, tenor trombone 
1. MUSIC IS PROPHECY8’19
Musings on a passage from Noise: The Political Economy of Music, by Jacques Attali, 1985, University of Minnesota Press. 
“Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future. For this reasons musicians, even when officially recognized, are dangerous, disturbing and subversive; for this reason it is impossible to separate their history from that of repression and surveillance.”

2. DAVE’S LINES7’27
Kurt’s version of a graphic improvisation exercise by Dave. The players follow a diagram of horizontal lines that cue their entrances, overlaps, and exits.
3. PRIMAL SLIDES (THE ROSWELL INCIDENT)7’09 
Roswell Rudd tailgated a UFO to New Mexico and used his Yankee No-How to spawn us little bonefied slide aliens. Everywhere. 
4. AZURE2’09
A Duke Ellington & Irving Mills song from 1937, bonefied in honor of the Duke’s 100th birthday.
5. DI TSUNG IZ DER FEDER FUN HARTZ12’00  
The trombone player’s favorite Yiddish proverb: the tongue is the pen of the heart.
6.WHITE LINES1’41
Number 2 again, as fast as we can play it.
7. BONEFIED LIVE SAMPLING8’20
Trombone theatre. The players "sample" various CDs, using them as mutes, trombone appendages, percussion devicefls, and sonic frisbees in interaction with each other and the audience.   
8. FLUID MECHANICS 6’42
Another theatrical piece. Starting with a rhythmic texture of mouthpiece slaps and pops, each player progressively plays his instrument in various stages of disassembly. The piece ends with the cadences of case zippers and latches when the trombones are packed. 
9. IN THE STILL OF THE NIGHT2’38
A bonefied memory lane treatment of a bona fide 1956 doowap classic by The Five Satins. This is just how we first played it in high school, in those reverb rich stairwells outside the band room.
1, 2, 4, 5, 6 recorded live at The Outpost Performance Space, Albuquerque, March 21, 1999
# 3, 7, 8, 9 recorded live at The Railyard Performance Center, Santa Fé, June 6, 1999
1, 2, 3, 5, 6, 7, and 8 © Bonefied are collectively composed improvisations  
4 by Duke Ellington and Irving Mills © International Music Publishers, arranged by Steve Feld
9 by Fred Parris © LLEE Corp., arranged by Steve Feld
Produced by Steve Feld with Bonefied
original DAT recordings of live performances by Tom Guralnick (Outpost) and Al Faeet (Railyard)
Editing and Premaster: J.A. Deane and Steve Feld 
Master: Manny Rettinger 
Design:  Michael Motley
Zerx contact - Mark Weber:  zerxpress@aol.com

 

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