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previous artist: massimo toniutti		there are 3 titles featuring liz tonne in stock. they are listed below.		next artist: tono-bungay

$12.61

back in stock as of
september 9th, 2010

first in stock on
may 18th, 2003

threads:
free-improvisation
electro-acoustic-improvisation
experimental-instruments

sedimental (usa) #sed 030 cd

james coleman “zuhitsu” compact disc

this castle keeps me
burial of the combs
katydid
muddy kemaris
lady of the combs
flying water shrine
each spire an animal
events at the laurel pond
zwittering maschine
tsunekos’ dream
the singing sword
stick & stone i
sticks & stone ii
kokin mystery birds
released to the stars

debut album from james coleman; long boston’s sole creative improvising thereminist, also progenitor of the lowercase_sound mailing list.

sedimental press release...

james coleman: theremin 1-15
greg kelley: trumpet 4, 7, 11, 14, 15
tatsuya nakatani: drums, percussion, bowed percussion 1, 4-6, 8, 10-14
vic rawlings: amplified cello, aluminum cello, sarangi, electronics 2, 7, 15
bhob rainey: soprano saxophone 3, 9
liz tonne: voice 5, 7, 10, 15
the undr quartet appears on tracks 7 and 15.

in our continuing quest to bring you new and young talented experimental musicians, sedimental is proud to release the debut cd from boston improv heavyweight, thereminist james coleman. featuring bhob rainey, greg kelley, liz tonne, tatsuya nakatani and vic rawlings this dynamic cd not only sheds new light on an instrument historically relegated to novelty but also provides a superb forum for experiencing an aesthetic that can be heard in much of boston's underground. these improvisational settings and collaborations, carefully selected by james himself, reach a place beyond their instrument individually and do so with subtlety and elegance. we recommend listening to zuihitsu at several different volume levels to experience these qualities. this release also features the creativity of five other excellent improvisers (bios provided below).

james' intense involvement in the boston underground includes the six-piece free improvisatory group saturnalia, and the experimental chamber music group, the undr quartet. he has also performed with nmperign, joe mcphee, john voigt, peter kowald, eddie prévost, dan decellis, david gross, dave bryant (ornette colemans' primetime) and composer & pianist john thomas. he has presented lecture-performances and master classes at the berklee college of music, tufts university & the george eastman house archive of motion pictures. he is also list owner and moderator of lowercase-sound, an internet discussion group devoted to low volume/low velocity experimental music & associated media, director of autumn uprising-a three-day annual festival of improvisatory practice in the greater boston area, as well as producer of a weekly live contemporary music series at the zeitgeist gallery, cambridge, ma. before re-locating to boston, james wrote and recorded numerous electronic sound environments & installations in perth, western australia, including an architectural site/sound installation at gotham artists studio, and drone piano, a collaborative sound installation at the perth institute of contemporary arts with chris mann.

the music, the compositional strategies and origins of his work on this release are unique amongst current electro-acoustic improvisors in that it is very gestural. coleman is working from a position of electronic music making as an activity of the body. it strives to fuse the intricacy of experimental technique with clarity & simplicity along with a sense of narrative.

coleman draws inspiration from the unique spatial and timbral elements found in morton feldman, giancinto scelsi, john cage and the british improvisatory group amm; the stylistic and phrasing innovations of miles davis, traditional japanese music, minimalist art forms, fluxusism and the sounds and movements of birds and other animals. the artist has a long held interest in the austere compositions of feldman, which often display the slow, unfolding of a single note(s) in space, which in turn, relates to the 'quietness' & spareness inherent in traditional japanese art forms. the artist sculpted a particular theremin sound for the recording of the two undr quartet pieces, each spire an animal and released to the stars, incorporating japanese aesthetic concepts of wabi (rustic simplicity), and sabi (loneliness, weathered surfaces). the theremin in these two pieces has a burnt, irregular, grainy sound using amp noise to achieve this sensibility. this sound in combination with the sound of the undr quartet suggests vulnerability, beauty, potential of life, energy in transition, and epiphany.

zuihitsu means 'running brush,' 'miscellany' in japanese. zuihitsu is a particular school of traditional and classical japanese literature in the form of short paragraphs wandering from subject to subject. the title calls attention to the brevity of the tracks, as the artist sought to achieve compact, poetic forms and pieces for this release. he considers the 'running brush' description as being analogous with his personal improvisational practice as 'spontaneous composition'.

$8.41

back in stock as of
september 9th, 2010

first in stock on
may 17th, 2005

threads:
free-improvisation

sedimental (usa) #sed 010 ep

david gross / liz tonne “performing sunday 7:30” ten inch single record

houston november 11 2001
atlanta november 14 2001

... saxophone/voice duos from these two prominent (ex) boston-area improvisers ...

sedimental press release...

a tour document highlighting two exemplary excursions by these leading boston improvisors. gross(reeds) and tonne(voice) teamed up in their hometown of boston in the spring of 2001 for their first ever duo performance. based on the success of this one date gross invited tonne to join him on the southern part of his two month tour across the us later that year. they gave six performances in as many cities. this 10" documents two exceptional and unedited improvisations from atlanta and houston.

labeled as "one of boston's steadfast explorers," by bob blumenthal of the boston globe, saxophonist david gross has been transforming the saxophone, for nearly a decade, into exactly what it is: a metal tube with keys, mouthpiece, and a reed. he has worked with a wide range of internationally recognized musicians including le quan ninh, eddie prevost, steve roden, john olson (of wolf eyes), gino robair, martin tetreault, kaffe matthews, glenn spearman, raphe malik as well as members of the boston free-improv scene including bhob rainey, greg kelley, and laurence cook. reviews of his recordings have been as varied as "the range of textured noise that he cajoles from his instrument is impressive" to "lengthy episodes of fingernails ripping at a blackboard". he has performed throughout the us including at festivals as diverse as the knob (witchita, ks), big sur festival of experimental music (ca), high zero (baltimore, md), improvised and otherwise (nyc) and autumn uprising (ma) which he created in 1997.

liz tonne is a vocal artist inspired by the unorthodox use of the human voice. her work explores the infinite possibilities of the human voice, unmodified by electronic effects and typically without amplification. as an improviser, she deconstructs the traditional role of the singer as both story teller and “melodic center” using her voice purely as a sound source. removed from it’s historic context the voice begins to resonate hidden languages, passions, stories and emotions that are buried within our collective memories.tonne is originally from pueblo, colorado having moved to boston in 1985 where she became immersed in boston's underground rock scene. in the 1990's she joined mile wide, an eclectic art-rock ensemble. whose experiments in improvisation led tonne to collaborate with other improvisers, performing regularly with jonathan lamaster's saturnalia in the late 90’s. tonne is a member of the undr quartet, formed with james coleman, greg kelley and vic rawlings in 1998. she is also a member of the bsc, a group of boston improvisers directed by bhob rainey. liz tonne has been invited to perform in four seasons of boston's autumn uprising music festival, as well as steven drury’s sicpp summer institute series with the bsc, and has performed as a soloist at intersect six in austin texas.

tonne can also be heard on james coleman's sedimental recording "zuihitsu" and with the bsc on a forthcoming cd on grob.

$6.72

back in stock as of
november 1st, 2011

first in stock on
april 8th, 2010

threads:
free-improvisation
electro-acoustic-improvisation
experimental-instruments
concert-recordings
lo-fi

semata productions (usa) #sem-009 cs

vic rawlings / liz tonne “interference” c34 cassette

vic rawlings - the middle of three days
liz tonne - b
liz tonne - arsonist

april 2010 release ; nice to (finally) get solo sets from two of the greater boston area’s more committed free-improv stalwarts ... on the a-side vic rawlings gets to task via his array of self-built “bent” (always love the open-backed guitar pedal array played with a wire brush) gadgetry pushed into the air via a set of dedicated / crossover speakers (usually placed in a line, free of enclosures, leads dangling) ... then on the flip liz tonne lets loose with a pair of solo vocal exorcisms, each a pause-pregnant study in cracked-throat hysteresis ... great stuff all around ...

semata productions press release...

sem-009 vic rawlings / liz tonne 'truck krone' c34

vic rawlings and liz tonne have been working together for the better part of 2 decades, spanning various genres of music(s) including indie/art rock, country, and that nebulous nexus: "experimental". they continue to work together in the electroacoustic-improvisation octet the bsc and the undr quartet, both of which have been pushing the limits of extended technique and aesthetics for over a decade. one thing that both vic and liz have always brought to the table is an interest in experience and a lack of fear in the face of potentially uncomfortable or unsettling aesthetic territories. their distaste for comfort zones, "coolness", flash and the familiar have led some to refer to their work as alternately "frustrating," "harrowing," and/or "exhilarating." which adjective you choose depends on how far out on the plank you're willing to walk with them. but if you go the whole distance you realize the plank doesn't lead to shark-filled waters or a horrible void, but to a naked, (nearly hyper-) aware present.

vic's piece, "the middle of three days," occupies "classic vic territory": an unhurried pace which blurs the lines between intentional and arbitrary, "cracked" electronics, beautifully tarnished bowed tones, beautifully stretched out memory man sonorities and plenty of what-the-fuck elements (coughing, "five-oh," wind machine ??). it ends as suddenly as it arrives following the classic show biz dictum, "leaves you wanting more."

liz's "b" is a tonal/character study of the title letter (in flattened form), showcasing liz' unique sense of song craft (or anti-song craft if you prefer). using timbral variations (mostly slight), flutters, and modulations, liz presents a shadowy, skewed version of standard song form where a very stripped down content is presented in nearly traditional repetitions. in a parallel world, someone is singing a standard with too much melisma. with "arsonist," this process is further distorted and fragmented towards abstraction, functioning almost as an extended coda or question mark.

vic and liz have appeared on numerous recordings for various ensembles and have collaborated with a who's who curriculum of improv heavy weights; surprisingly, this is the first solo release for both artists and it's a privilege to have it as part of our catalog.

edition of 100: pro-dubbed on red type ii high bias cassettes with 2-panel jcard, silkscreened shells & shrink-wrapping.

previous artist:
massimo toniutti

...and that's everything in stock featuring liz tonne.
(why not take a look at the previous and next artists?)

next artist:
tono-bungay