He korokoro tūī (remix)

At the end of last year I had the opportunity to create a soundscape for a new contemporary dance work “Whenua” by Karen Barbour.

The work was premiered at a conference at Waikato University.

In the recording and creation of this piece I had the privilege of working with Alistair Fraser playing his selection of taonga puoro. We recorded his parts at the University of Otago Music Department Albany Street Studios with Stephen Stedman.

Have a listen to an edited remix version of the piece below:

Reconstructions

As part of my phd work I writing, reading and refining a lot of text. But I also have been thinking about, and revisiting, my music.

As part of that process, I have been working on a reconstruction of my piece “The Foggy Field”. This is still a work in progress, but I thought I would share it out and see how it sits in the listening world.  Sometimes you get too close to a work and it is important to give it some space, and then come back to it.

So here it is: SOUNDCLOUD

If you have any thoughts about it, drop them in the comments.

Thanks for listening.

The Long White Cloud (video)

This is the final video from the concert recordings.

At the concert this piece was performed under the title “They say a word is dead”. But after some discussions, and a long timing thinking about possibilities… the piece was re-worked, re-arranged and had some new parts written to make the piece better suited to support my PhD. Thus this new version took on a new focus and a new meaning – hence the new title.

The Long White Cloud – by Jeremy Mayall
for chamber ensemble

Featuring:
Lauren Grout – Flute
Adam Maha – Viola
Yotam Levy – Cello
Mike Booth – Trumpet
Chris Lam Sam – Keys
Chris McBride – Guitar
Nick Tipping – Bass
Brad Thomson – Drums
Jeremy Mayall – synths and electronics

and I was fortunate enough to be able to use the sounds and masterful playing of Richard Nunns on Taonga Puoro.

The Long White Cloud is my interpretation of NZ and it’s landscape and soundscape. This piece is a journey through the many sounds and worlds that this small land encompasses.

The piece is in 7 sections: 4 larger movements and 3 interludes.
Movement 1: At dawn with the Korimako
Interlude: The Tui’s call
Movement 2: Sea Chase
Interlude: A flightless night
Movement 3: Along the river Waikato
Interlude: Onomatopoeic Owls
Movement 4: Kokako, the bringer of water

This piece was written for a unique ensemble combining orchestral instruments with those from the worlds of rock, jazz and electronica. This suite combines a large number of genre inspirations, and exists in a world between traditional notation, guided improvisation, and studio construction. Unlike other pieces where the orchestral instruments provide a textural accompaniment (much like an expensive synthesizer) to existing ‘popular’ songs, this piece aims to give all the instruments equal placement in the overall composition. Through amplification and sound mixing the intricate textures from the flute, viola and cello should be able to exist comfortably with drums and distorted guitar.

The Long White Cloud from Jeremy Mayall on Vimeo.

Lighting: Aaron Chesham
Live Sound: Ben Mannell
Post-production audio mix: Jeremy Mayall

Camera Ops: Dan Inglis, Joe Hitchcock, Ben Woollen, Scott Granville, Ashton Ledger
Video Edit: Dan Inglis