- Paint the Silence. South. British.
- Small Time Shot Away. Massive Attack. British.
- Spem In Alium (Sing And Glorify). Thomas Tallis. Kronos Quartet. British.
- Largo Ostinato. Lou Harrison. Californian.
- Dirty Love. Frank Zappa. Californian.
- Love and Death. The Stills. Canadian/New Yorker.
- Fantasia in c minor. Bach: Das Orgelbüchlein Vol.2. Wolfgang Rübsam. German. I wish iTunes had predictive capability i.e. if you liked that, you'll like this. Otherwise, I get stuck on the same great tracks.
- Drum solo from Pursuance. A Love Supreme. Elvin Jones. Michigander. To try out the open-source audio editor Audicity, I've extracted Elvin Jones' drum solo as a separate MP3.
- Long Night. Kyle Gann. Texan/New Yorker.
- Little Fluffy Clouds. The Orb. British. Samples Reich's Electric Counterpoint as played by Pat Metheny; sounds like an organic part of the mix (rather than those dodgy remixes on top of Reich's music). Disquiet interviews Steve Reich on Clouds etc.:
- You're the Top. Louis Armstrong. Louisianan. Satchmo singing Cole Porter over a big band arrangement. Delightful.
- I Am Home. Massive Attack. Still British. Fierce.
- Hungaro Viva. Sonic Youth. New Yorker via Neptune (this track anyway).
- Laughing Cavilier. Ladytron. British/Bulgarian.
- Mein Weg hat Gipfel und Wellentaler. Pärt. Christopher Bowers-Broadbent. Estonian. Apocalyptic organ music. Amazon has a clip.
- Valentine from World Outside. Psychedelic Furs. British. and there's no time to set it straight or take a side.
- 2005-08-21. Cinema Volta: Daily Ambience. Podcaster (originally via Kyle Gann). Composed daily. Description for this one:
First of all, a lot of things happened before I was even aware of it, so consequently, no one sent me a copy of "Little Fluffy Clouds" and said, "Is this alright with you." Because at the time they were relatively unknown, we didn't take any legal steps either, when we had that option. This is a field of musical appropriation that depends on the quantity of the music that is used. The little I have heard of the use of my music, I think it's just fine. And I'm interested to see how people will take off on it. There's a tradition in music of people stealing from other composers, quoting and otherwise. I don't know if you saw "Hindenburg," the piece that's the first act of three tales we presented at BAM in the fall. The third scene is called "Nibelungen Zeppelin," which is a stealing of the [he sings the "Ride of the Valkyries" theme] thing in Wagner and putting it into the [mix].
I got a handle on the processing from yesterday and this is the first result. This is the start of a series that are all generated from a single note. That note is run through a stack of processors, some at war with each other. Through the series, the note and the processing will stay the same, just the sound source will change.