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Between / Waves

Two improvisations by Philip Gelb, recorded in live 1998 performances. 'The Space Between' (Berkeley, CA) features Philip Gelb (shakuhachi), Pauline Oliveros (accordion, conch), Jon Raskin (saxes), and Dana Reason (piano). 'Waves' by Chris Brown is a duet (at Mills College) by Philip Gelb (shakuhachi) and Chris Brown (electronics). 'the space between' is an apt metaphor for the sensitive, yet complex musical interaction between these wonderful musicians. Delicate gestures are generously passed back and forth; each player contributes a group of notes to an emerging collective texture; at times, clusters form, giving way to silence or, in the end, to a single note drone. In 'waves', Chris Brown offers a wondrous, ever changing timbral context for the traditional melodic shapes of the shakuhachi. The interplay of sampled and processed shakuhachi sounds with the untreated acoustic instrument is eery and striking. Further along, a rhythmic-based improvisation seems to seamlessly arise out of what came before. Here, the shakuhachi sounds dart in and out of the percussive texture; yet do so in a way that is respectful of the nature of the instrument. 'waves' is improvisation very much alive in the moment of its creation.
Sparkling Beatnik Records => SP300 $16.00

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	Between / Waves Two improvisations by Philip Gelb, recorded in live 1998 performances. 'The Space Between' (Berkeley, CA) features Philip Gelb (shakuhachi), Pauline Oliveros (accordion, conch), Jon Raskin (saxes), and Dana Reason (piano). 'Waves' by Chris Brown is a duet (at Mills College) by Philip Gelb (shakuhachi) and Chris Brown (electronics). 'the space between' is an apt metaphor for the sensitive, yet complex musical interaction between these wonderful musicians. Delicate gestures are generously passed back and forth; each player contributes a group of notes to an emerging collective texture; at times, clusters form, giving way to silence or, in the end, to a single note drone. In 'waves', Chris Brown offers a wondrous, ever changing timbral context for the traditional melodic shapes of the shakuhachi. The interplay of sampled and processed shakuhachi sounds with the untreated acoustic instrument is eery and striking. Further along, a rhythmic-based improvisation seems to seamlessly arise out of what came before. Here, the shakuhachi sounds dart in and out of the percussive texture; yet do so in a way that is respectful of the nature of the instrument. 'waves' is improvisation very much alive in the moment of its creation. Sparkling Beatnik Records => SP300 $16.00
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