Comparing the process of music creation to the formation of geological strata, these sessions were conducted continuously at intervals ranging from three to ten months. The recorded material, gathered after a period of “dormancy,” exhibits complex interactions with one another. This is an intriguing piece of minimalist music centered on the clarinet, in which the artist experiments with polyphonic and extended techniques in each recording; these differences ultimately coalesce into a single musical whole!
Following the excellent album from MUSEUM OF NO ART, COSIMA PITZ is back with yet another unique concept. This minimalist jazz work by Spanish wind instrumentalist JORDI SANTANACH focuses on the formation process of “strata” (a term used in geology and related fields to refer to layers of rock or sediment) and applies a similar approach to his composition. He held four recording sessions in the morning, spaced between three and ten months apart. His unique compositional method involves layering this source material to form a single piece of music (much like sedimentation). The varied and subtle playing techniques paint a fascinating landscape that is constantly shifting.
(Original Japanese text by Akie)
Following the excellent album from MUSEUM OF NO ART, COSIMA PITZ is back with yet another unique concept. This minimalist jazz work by Spanish wind instrumentalist JORDI SANTANACH focuses on the formation process of “strata” (a term used in geology and related fields to refer to layers of rock or sediment) and applies a similar approach to his composition. He held four recording sessions in the morning, spaced between three and ten months apart. His unique compositional method involves layering this source material to form a single piece of music (much like sedimentation). The varied and subtle playing techniques paint a fascinating landscape that is constantly shifting. (Original Japanese text by Akie)