New York schools of music and art notes

The following are notes that I have taken from a recent book "The New York schools of music and visual arts" edited by Steven Johnson.  I'm working on the possibility of presenting music in art galleries, and having a proposal together to do that.  These notes are the beginnings of the information I'll be using to tie together contemporary music and art.

"New York school of music and visual arts book notes:

STEFAN WOLPE

Wolpe -> Klee

Wolpe was friends with abstract painters, and that’s how Feldman met these artists

Varese and Wolpe were the pioneers of the composer/abstract painter connection

Wolpe was connected to Paul Klee, and both Wolpe and Varese come from Busoni, who music ideas came from the art world.

Picasso’s “Guernia” was like Wolpe’s “Battlepiece,” especially performed by David Tudor.

p. 87  “Wolpe indentifies both strands of music not with a  “theme” but rather by abstract qualities of gesture and behavior.  The dialectic between opposed actions, which breaks the music into nonhomogeneous space, could easily remind one of the similar dialectics in the visual worlds of Franz Kline and Mark Rothko.”

EDGARD VARESE

Varese was a painter, and friends with painters, worked with jazz musicians

Varese was radical, he fathered forth “noise” as john cage puts it

If Varese was stuck working on a music score, he would take a break, paint, and then return to the score

Varese’ electronic pieces were like having an artist’s painting hanging on a wall.  There is a direct access to the public, and is fixed.

p. 57:

“It is many years now since painting freed itself from the constraints of pure representation and description and from academic rules.  Painters responded to the world-the complete different world-in which they found themselves, while music was still fitting itself into arbitrary patterns, called forms and following obsolete rules.”  -Edgard Varese (1963), quoted in L Alcopley, “Edgard Varese on Music and Art”

Varese was friends with Rodin, Duchamp, Man Ray, Joan Miro, and part of the early Dada scene.

“Music is the most abstract of the arts and also the most physical.” –Edgard Varese

Varese’ early pieces and electronic pieces were presented at a Michel Cadoret exhibition with Duchamp on December 10^th, 1960.

MORTON FELDMAN

Morton Feldman “The intellectual weather was just right”

Morton Feldman composed the soundtrack to the Pollock bio film

p. 11:

Morton Feldman:  “I realize now how much the musical ideas I had in 1951 paralleled his mode of working.  Pollock placed his canvas on the ground and painted as he walked around it.  I put sheets of graph paper on the wall; each sheet framed the same time duration and was, in effect, a visual rhythmic structure.  What resembled Pollock was my ‘all-over’ approach to the time-canvas.” 

p. 26:

Morton Feldman:  “The new painting made me desirous of a sound world more direct, more immediate, more physical than anything that had existed heretofore.  Varese had elements of this.  But he was too ‘Varese.’  Webern had glimpses of it, but his work was too involved with the disciplines of the tweleve’tone system.  The new structure requiread a concentration more demanthing than if the technique were that of still photography, wchi for me is what precise notation had come to imply.” 

Morton Feldman -> Rugs (PERFORM THE GESTURES ON THE 2^nd STRING QUARTET AT THE MUSEUM)

p.  179

“I prefer to think of my work as between categories.  Between Time and Space.  Between painting and music.  Between music’s construction, and its surface.”  -Morton Feldman

p.  183

“It would be very much like taking a look at any of your paintings here in the changing light, you see.  The person that did not take the time would be involved with the light of the moment, as they’re looking at it; but the person that did could not help but be distracted by the changes…how the painting looks through the day, and has a very different eye than the person who didn’t take time.”  -Morton Feldman

Art’s surface and depth = Feldman’s avoidance of attack, decay emphasis

The notation and look of Feldman’s scores were very important, like hanging up the graph scores on his walls

Compare the instrumentation of Morton Feldman’s Marginal Intersection for orchestra, piano, electric guitar, oscillators, many percussionist to Jackson Pollock and his sticks, trowels, knives, dripping fluid paint, sand, glass and other foreign material.

Feldman said he used a melody in Rothko Chapel that he wrote when he was 14 (having a “tune” for Feldman is out of place) is like Robert Rauschenberg’s photos on some of his canvases.

Jasper John’s paintings 1970s works influenced late Feldman works, in the patterns and the rugs, like “Why Patterns?”  CHECK OUT “Usuyuki” and “Scent” by Jasper Johns.  “Why Patterns” is the first piece to use this idea.

Feldman got the idea of “shape” from Wolpe, which comes from art.

“The collision with the instant…this is the first step to the abstract experience.”  - Morton Feldman

Feldman’s graphic scores look visually like Piet Mondrian’s paintings.

“Music is not painting, but it can learn from this more perceptive temperament that waits and observes the inherent mystery of its materials as opposed to the composer’s vested interest in his craft…  The painter achieves mastery by allowing what he is doing to be itself.  In a way, he must step aside in order to be in control.  The composer is just learning to do this.”  -Morton Feldman

“Painters seemed to believe in infinite options”  - Morton Feldman

Morton Feldman and Turkish rugs -> slight variations of repetitions and patterns, not precisely symmetrical but close, like an illusion.

Feldman strove for an “in betweeness confusion of construction and material, like Cezanne’s surface and what it has developed from. 

CAGE/WOLFF/BROWN/TUDOR

Cage -> Duchamp

Earle Brown ->  Mobiles

Earle Brown -> Jazz improvisation

Both NY schools were “unfixing” traditional parameters (like in music the rhythm, pitch and duration)  John Cage’s “Carillon no. 1” or “water music” is like Rauschenberg’s work.  It challenges the convention of the medium.

New York School musician/composers:  Feldman, Wolff, Cage, Brown and Tudor

4’33 -> Rauschenberg’s all white and all black canvases

Cage helped Feldman see music as an ART form, not just a MUSIC form.

PAINTERS/COMPOSERS CONNECTION

New York School painters:  Pollock, De Kooning, Motherwell, Rothko, Newman, Still, Kline, Gusto and then a little later Jaspher Johns and Robert Rauschenberg (abstract expressionists)

Artists and musicians were striving for something new, something that was not based on tradition

Abstraction and physicality were the goals of the artists/painters

“What was to go on the canvas was not a picture but an event.”  -Harold Rosenberg

Composers who were painters:  Schoenberg, Ruggles, Earle Brown, Gershwin, John Cage, Hindemith, Varese

Titles of pieces are similar:

Feldman’s “Projection,” Clyfford Still’s “1947-Y,” Franz Kline’s “Painting number 7,”  Pollock’s “Untitled (1946)

There were art exhibitions where both art and music scores were shown at the same time

Early 8^th st. art and composer meetings were made up of Cage, Varese, Wolpe and Feldman

Graphic notation was coming out of the art school, and they kind of looked like Mondrian works

1949 to 1962 was the organization “The Club” The club treasurer was Philip Pavia, club for artists and composers.  There was also the 8^th st. club and the Cedar Tavern. 

Schoenberg -> Kandinsky

Painting was ahead of music and composition

Improvisation = Pollock, Hans Hoffman, Miro

FIND

FIND PIECES DEDICATED TO PAINTERS:  FELDMAN’S ROTHKO CHAPEL, FOR FRANZ KLINE, DEKOONING, FOR PHILIP GUSTON, ETC…

LOOK AT FELDMAN ESSAYS, ESPECIALLY FROM THE 1950S AND 1960S

I didn’t see Clyfford Still on the list at the Cedar Tavern, 8^th st. club or “The Club,” but he probably was there some, have to research this in his own bio."

New records out on the Dazzle Jazz Label!

The restaurant and lounge, "Dazzle" in Denver has a great jazz record label, which you can check out here. Several of my friends and fellow Colorado musicians have put out new records on the label.

*EDIT* (Adding Dazzle Jazzfest)

Dazzle Recordings will be hosting a two day festival in April, 2012 that will feature the amazing recording artists that record under the Dazzle Recordings record label name. The Festival will take place at Dazzle Jazz (930 Lincoln in Denver, CO).

Saturday, April 21

1:45 - 2:30 - East High School Jazz Combo (Dining Room)

2:30 – 3:05 – Colorado Conservatory for the Jazz Arts Messengers (Lounge)

3:15 – 4:05 – Metropolitan Jazz Orchestra (Dining Room)

4:10 – 5 – Shawn Costantino Quintet (Lounge)

5:05 – 5:55 – Julie Monley (Dining Room)

6:05 – 6:55 – Denver School of the Arts Workshop Orchestra (Lounge)

7:00 – 7:50 – John Lake and Shirley (Dining Room)

7:55 – 8:45 – The Teaching (Dining Room)

8:55 – 9:45 – Josh Quinlan "Mountain Time Standards" Quintet (Dining Room)

9:55 – 10:45 – Greg Harris Vibe Quintet (Dining Room)

After party in the Lounge with the Funky Fresh Trio (11 – 1:30)

-----------------------------------------------

Sunday, April 22

1:45 – 2:35 - Carmen Sandim Sextet (Dining Room)

2:40 – 3:30 – Steve Denny Trio (Lounge)

3:35 – 4:25 – Adam Revell and Essence Rider (Dining Room)

4:30 – 5:20 – Ben Haughland Sextet (Lounge)

5:25 – 6:15 – Peter Sommer Quartet (Dining Room)

6:20 – 7:30 – Matt Smiley Quartet Art (Lounge)

7:40 – 8:30 – Dave Devine Relay (Lounge)

8:35 – 9:50 – Ninth and Lincoln (Dining Room)

After party in the lounge with Manuel Lopez Latin Jazz Trio (10 pm)

You can check out more details at either here or here.

ALBUM REVIEWS OF SOME OF THE ARTISTS ON THE DAZZLE LABEL

Raincheck

Featuring:

Steve Kovalcheck on guitar

Ben Markley on piano

Marty Kenney on bass

Chris Smith on drums

From the cdbaby website:

"For fans of well-played guitar, piano, bass and drums quartet, the new release from Raincheck will indeed be in heavy rotation! This fine ensemble - led by guitarist Steve Kovalcheck and pianist Ben Markley - will delight the listener with their solid and exciting brand of straight-ahead jazz. This group has garnered much attention for their tight group interplay and consistent sound, and this record attests the continuance of the group in their endeavor. The band swings hard out of the gate on Markley's composition "Right There." The energy level and band communication remain high - as noticed immediately on the track "M.O." - which features the fine writing and incredible guitar playing of Kovalcheck. Besides the high energy, a well-balanced program contributes to the success of this album. Markley's lyrical piano introduction on his composition "My Home" is not only beautiful, but a wonderful change of pace after his inspired playing on "Shadow Valley." Throughout the entire album, the musical connection of bassist Marty Kenney and drummer Chris Smith creates an undercurrent of energy that results in some enthralling moments of interaction that never take away from the feel and swing of the band. These musicians are preservers of the swinging hard bop music of the 1960s. Of course they bring their own compositions and interpretations to the fold, but the fire of their musical heroes burns bright! This is a swinging, musical album that is sure to please.

I personally finished listening to the album today, after starting it yesterday. I highly recommend it, there are great compositions, varied grooves and feels, incredible solos, all with a real sense of a group cohesion and unique sound. BUY THIS RECORD!

Josh Quinlan: Mountain Time Standards

Featuring:

Josh Quinlan on saxophones

John Lake on trumpet

Ben Markley on piano

Kells Nollenberger on bass

Ed Breazeale on drums

You can go to Josh's website here. The cdbaby site has the simple quote that "The music of Mountain Time Standards reflects on the beauty of living in the Rocky Mountain region of the United States."

This record I listened to when it first came out, and I really enjoyed it! The interplay between the two horns immediately hit my ear, the great interaction with the rhythm section also, and some really great compositions! Not like the typical jazz record of "inhead" solos and "outhead," the compositions really take the listener to different places, and different moods. This is a beautiful record, so BUY THE MUSIC!!

Josh has played on my CD release concert for Quartet Art, helped me get on the Dazzle label, and plays as one of the rotating soloists at "Ace Gillett's" my house jazz gig in Fort Collins, CO. He's a killer player, and will be playing on another Quartet Art gig at Dazzle, for a recording artist weekend coming up, April 21st and 22nd.

Ben Haugland: Point of No Return

Featuring:

Ben Haugland on piano

Dick Oatts on alto saxophone

Greg Johnson on tenor saxophone

Adam Bartczak on trombone

Jay Anderson on bass

Chris Smith on drums

This record just came out this week. I haven't heard it yet, but Jay Anderson borrowed my bass for the session, so I was in the studio when they recorded it. The band sounded incredible, the saxophones really had a great blend and interplay. I play with Ben every week at my house jazz gig, so I know his charts are impeccable, and the arranging and writing is really top notch. There is also the mix of older established musicians like Oatts and Anderson, with these younger virtuosic musicians who really stepped up to the plate on this. I can't wait to listen to the record, and am very happy for all involved, it's awesome. BUY THE MUSIC, DO IT!!!

Shirley: From a Bright Clearing

Featuring:

John Lake on trumpet

Serafin Sanchez on saxophones and abelton live

Andrew Moorehead on keyboards

Paul McDaniel on electric bass

Ed Breazeale on drums

I haven't heard this record yet, and am not 100 percent sure if it is out yet, but I think it is coming out soon, if not already available. John is a great trumpet player, he's on the Josh Quinlan record mentioned above, and this group sounds like it'd be amazing! I'll have to edit this post when I get a hold of the record and hear it, but I guarantee it is one bad ass album, so go out there, contact John Lake, and BUY IT ASAP!!!! I'll put more info in here once I've heard it.

EDIT: (adding this record to the list)

Steve Denny Trio: Life in the Basement

Featuring:

Steve Denny on piano

Marty Kenney on bass

Ben Waters on drums

Steve gave me a copy of the record last weekend whilest both on a straight ahead jazz gig at Ace Gillett's. I have listened to it twice already, and it is a GREAT record of a trio of folks I've had the pleasure to know since I moved to Colorado. All these guys are incredible in their own right, and together they form this powerful triforce of jazz individuals that are taking over! Steve's compositions on the record go through a real transformation from the melon collie "Finn's Sick" to the upbeat "Stacie," and running through humor, swing, and few quirks along the way. You're in for a great musical ride with these guys, BUY THE ALBUM!!!

That's all the promo for now with my posts. I've got two album reviews coming up soon to be on the lookout for, and more Malaby posts, so stayed tuned to the blog!

Bryan Beninghove's Hangmen

Bryan Beninghove’s album “Beninghove’s Hangmen”

Rick Parker – Trombone

Kellen Harrison – Bass

Dane Johnson – Guitar

Eyal Maoz - Guitar

Shawn Baltazor – Drums

Bryan Beninghove – Sax and compositions

http://beninghoveshangmen.bandcamp.com/

http://www.beninghoveshangmen.com

Track 1: Jack Miller

I’m already stuck with a John Zorn Naked City Film Noir feel, with the guess that at any time now it all may end up falling apart into madness. The electric guitar and drums stick out in the mix as elements that might bring the craziness, bring the noise. It’s almost tongue and cheek, while also sounding syrupy and dark. It’s jazz in a haunted house!

Track 2: Xopo

I hate to keep adding the Zorn references, but this reminds me of a mix of Electric Masada and the Secret Chiefs, with it’s electric and odd meter groove, mixed with “ethnic” sounding scales (for lack of a better term). I’m already amazed at how large the group sounds, with only a sextet. The guitar is very present, but never overpowering, really nasty tone that fits this band perfectly! Some of the horn play towards the end of the track, takes me back to the “Italian Instabile Orchestra,” probably just the unique sound of trombone and saxophone. Now we are going even more metal for the outhead, I’m really digging this record!

Track 3: Rave Melodique

I go back to my tongue and cheek observation earlier, it sounds Parisian, and then slightly off, like a warped visit to a French surrealist theatre, and the absinthe is coming in short waves. It still seems on the verge of breaking totally out, but stays on the fine edge of inside-ish.

Track 4: Tarantino (a tarantella)

I dig the play on words with the title, I always image a tarantella as a quick piece, because on string instruments it means the hand is supposed to look like a spider. The spider imagery works nonetheless with this piece. It’s so many things currently, kind of a whirlwind adventure of sound. This could be part of the Beetlejuice soundtrack! The pieces on the album all sound very unique to one another, while all having the same kind of compositional cohesiveness, which is this dark and slightly humorous sound, with a bit of quirk thrown in for good measure. The writing on here is really incredible, how it can make it all balance out in this musical statement of a record. This seems to have the most “classical” sounding melodic statements, and with the marching snare drum it gives it a certain air. Nice, the end of the tune did speed up and break apart for a second, into a dirge like ending.

Track 5: Reject’s Lament

It’s night, starting to rain, you’re on a street by yourself, a pretty dame walks under a light and you catch a glimpse of her…. Man this screams of film noir! Great writing, nice harmonies with the two horns, and the guitar adding that Marc Ribot touch. The saxophonist is coming in and out of some klezmer sounding ideas, segueing into a nice guitar solo. We’re working with multiple guitar parts, and the sounds coming out are perfect, they way it was mixed to have the different sounds and the noise coming together like it is. I see there is a later track titled “film sketch 1,” but I think this has a lot of potential for film scoring music (and of course is great stand alone music!).

Track 6: The Puppetmaster

This one starts off nasty and heavy, and there is more of an old school gangster sound. The mix of the guitar and its effects works really well with the sound of this group, I keep listening over to hear what the guitar is doing under all of this, and I really like it! The trombone with mute adds a good sound to this tune, keeping it nasty! The outhead is a little more whimsical, as this tune winds down, like a freaky merry go round.

Track 7: Sushi Tango

This band is great at playing different genres, as we’re now digging into a gypsy tango vibe. I’m still listening for the “sushi.” Woah, maybe now we’re in sushi land, as the tempo picked up, and it’s very island themed now! That came out of nowhere, yet still fits the tune well. It started as a delicate tune, and with all the intent and heavier dynamics and feel, it still seems to remain that in the end. Back to the islander theme to end the piece!

Track 8: H Bomb

Dick Dale surf rock licks, but heavy and dark and some odd meter thrown in for good measure. Regardless of the accompaniment or solos on any of the tunes, they always stay true to the feel and style of the tune. Never does the solo seem to overshadow the composition, it is more of a musical element that adds to the overall piece. Some more sick guitar layers, that sounds like a robot having a seizure in the background, gaining more and more feedback and volume. H Bomb on the beach is my guess, with the surfer appeal that the tune has. Awesome!

Track 9: Quatro Loko

Spanish four loko, I dig, thinking high energy and some odd meter. The mean part came in for only a second, maybe that’s finding you’ve run out of four loko, and you NEED to have more. About one minute into the track and I can’t help but think of Marc Ribot and his Cuban band. This piece proves how tight this band is, more intricate parts, quick transitions, killing group!

Track 10: Hangmen’s Waltz

I’m expecting more darkness to come out of this. So far it’s a short, simple and beautiful tune, beautiful with this cloud hanging over it. All through composed start to finish, and elegant track, possibly a precursor to madness (let’s see what follows this up).

Track 11: Roadhouse

I heard the beginning as a chain saw, before the bluesy shuffle tune came in. The guitar plays an important role here, filling out the sound, where normally you might hear an organ in the mix. There’s some howls, some growls, some wolf sounds, and it’s getting to a point of running out of steam, and might break down completely. The theme slowed, and picked up again, and quiets down a little, and picking up even more. This is sounding Mingus inspired, better get hit in yo soul music, like a preacher in the middle of a bar, savin’ some souls. One of my favorites so far I think!

Track 12: Film Sketch 1

I like this guitar effects heavy intro, lots of non-traditional sounding things going on, and with the quick cut like that, it’s like early zeppelin or pink floyd using the studio as an instrument. Into a beautiful trombone feature, and some bowed bass coming in from the background. I wonder if this is written for an actual film, or the story behind this piece. The saxophone comes in and takes off the melody from the trombone, with some nice dialogue in the guitar. It’s good to hear the bass with the melody, this track seems to feature everyone (except the drums) coming out to the forefront. This is a weighted piece that I would like to know what the film element is, but can only guess.

This is a great record from the group Beninghove’s Hangmen. You should BUY THIS ALBUM, good music to fit your film noir needs. Perfect driving music, put on a scary black and white silent film and listen to it, or party music! Do it, buy the music, you won’t regret it!!

Next up on the blog, more Tony Malaby articles and transcriptions, and more CD reviews coming your way!

"Self Promotion"

The following is an email I sent to a "new coffee shop" posting on craigslist, wanting to bands to provide music and play only for tips, for the sake of self-promotion.

"Hello

I am writing to you as I have just read your posting on craigslist. As a professional and gigging musician, it is unfair to boast a performance venue for "self promotion" sake. Musicians need to make money to live and survive, just like any profession. There would be no difference between that and for me to host a private party, and have your employees at the coffee shop come by and provide food and drink for "self promotion," for your business, while not paying you, but letting you put out a tip jar. Musicians have to take lessons, pay for their equipment, and spend countless hours practicing and rehearsing to hone a craft. It is dishonest and condescending to play up "self promotion" when all you are doing is hoping that the band brings in clientele, at little to no charge for your own business, to make money off of them. You need to pay your musicians if you are going to have live music, otherwise you are undercutting the rest of us out there who are trying to make a career out of music. The more this happens, the more the product of music suffers as younger and more amateur players are providing less than satisfactory music for free to venues around town, and professional musicians are out of work. I hope you read this note and think about the bigger picture, as Fort Collins and Colorado is a beautiful and thriving area to make music, and there is nothing positive that you are doing by providing "self promotion" opportunities to these musicians, unless you are paying them.

Sincerely,

-Matt Smiley"

Quartet Art CDs are in AND CD RELEASE SHOW!

The "Quartet Art" CDs are in! Also, playing the first CD Release concert this Wednesday night, at 7pm at Dazzle in Denver, CO (details here), featuring Ryan Fourt and Josh Reed who are on the album, and featuring Ben Waters and Josh Quinlan. The band sounds great, and it's going to be a killin' show! Eventually I will upload, if the audio turns out well, of the show onto my bandcamp page.

If anyone is interested in a CD of Matt Smiley's "Quartet Art," you can email me at 1smileymn + @ + gmail.com.

Tony Malaby "Cosas" Version One

This is my first in depth post on the music. Go here to the scribd site to see my uploaded PDF transcription of Tony Malaby's "Cosas" from the 1993 album "Cosas" with Joey Sellers on trombone, Michael Formanek on bass, and Billy Mintz on drums.

Here's the analysis with time markings in the 9 minute and 14 second track:

0:01 -> 0:43

Free, playful dialogue between the tenor sax and trombone, and after a short melodic cue from the trombone, the bass enters.

0:44-> 0:57

During the free trio, the bassist Formanek goes into a repetitive drone, and eventually the trio hits a chord together. There is a brief pause and then some free playing, using parts of the melody, which I've notated out in bar 10.

0:58-> 2:13

The drums come in to set up bar 17, and 4 bars later at marker A is where the form begins. There is an active melody, rhythmic unison with tenor sax and trombone, melodic unison, and double bass playing off of line, in time. The melody fits over the form of "All the things you are," but I want to listen to more versions of the tune before I spell out any specific harmonies. There are dissonant ends of phrase, more held out chords, more harmonies with the horns, back to first melodic statement.

2:14 -> 3:20

Marked at letter B, bar 57 in my chart, there is a breakdown to bass and drums, seems kind of free, trombone comes in once with a line that starts on the 9th bar of the form. Now there are lots of space between the drums and bass, bass solo, and I can hear the "All the things you are form, with the Cosas melody quoted some.

3:21 -> 5:25

The tenor solo enters, still seems free, with the hinted at form of "All the things you are," quotes one of the melodic figures. Formanek is playing some definite Charlie haden-isms, and there are some hinted at Ornette lines with Malaby, quoting off of the melody, and building into figures.

5:25 -> 6:49

The tenor sax and trombone play an interlude melody which is at 62 in my chart. There is a trombone solo with arco bass (the bass plays mostly long tone chords/harmonics) freely i.e. David Izenon, with drums accompaniment. The trombonist Sellers uses several of quotes of the Cosas melody in his solo, which is over the form.

6:50 -> 7:43

The tenor sax comes in, and plays a unison melody with the bowed bass to accompany the trombone solo. The tenor and bass are freely accompanying the trombone during the rest of the solo.

7:44 -> 9:13

The band plays the four bar melody that is at the end of the form, the same way the inhead is played. Formanek's arco bass plays some melodic figure unison/harmony with the horn players, while also playing some harmonics. It sounds like it is still over the form of "All the things you are, and ends with a long held out chord.

That's it, my first analysis, on this version of "Cosas." Next up is the recorded version from the record "Sabino" seven years later in 2000, with Malaby, Formanek, Marc Ducret on guitar, and Tom Rainey on drums. If anyone has trouble getting the pdf off of the scribd site, email me at 1smileymn + @ + gmail.com and I'll send you the pdf.

Start of a series: Tony Malaby

Part ONE, TWO and THREE here of Tony Malaby's Apparitions Quartet live, with John Hollenbeck, Tom Rainey and Drew Gress! I'm working on a long term study/transcription blog process comparing different versions of Malaby's compositions, performed with different ensembles. Be on the lookout for "Cosas," and for now enjoy the music!