In the past few days I have been working with various people on the creation, composition, and recording of over 3 hours of new original music. Creative productivity is a marvelous and rewarding thing.
Here are a few pics from some time in the studio.
Along with working on a collection of songs for children, Chris Lam Sam and I put together this short piece:
And also, the release of this album created in collaboration with Rob Burns (bass) and Robbie Craigie (drums) under the name Days At Sea.The album is called THUS.
It seems a new musical tradition is being set in motion. This time, one year ago I was lucky enough to spent a couple of days with a group of great musicians (Chris Lam Sam, Nick Granville, Nick Tipping, Jeremy Badger, Adam Page) creating and co-composing the soundtrack to the movie – Penny Black. This movie is nearing a release (with an accompanying soundtrack album).
For the second version of this new yearly tradition, I spent the day today in the University of Otago Music Department Albany Street Studios creating new music with Rob Burns (bass) and Robbie Craigie (drums and vibraphone). It is always great to get into a creative space with likeminded musicians and create sound in a space together.
Very much looking forward to getting in and mixing the new music from today… but in the meantime here are some tracks from the Penny Black Soundtrack. It is such an honour and a privilege to be able to make music with all these extremely talented and generous musicians.
Here is part two of my finished PhD Concert footage…
The video for today is the piece that opened the concert.
Not a one way street by J.Mayall
For viola, cello, synth and backing track.
This piece ‘Not a one way street’ is about cyclic but slightly alter journeys that occur through our hectic everyday life. Compositionally, this piece aims to explore the long established tradition of the piano quartet, and fusing those quartet traditions with jazz, minimalism and electronica. It then alters this tradition by removing the piano from the live performance context and then using a pre-recorded and effect-manipulated piano track. Also by replacing the standard violin for monophonic synth (moog little phatty) the characteristic sound of the quartet is knocked around with an even wider pitch range available – particularly in the lower registers. The composition is based around small motivic fragments that are worked and reworked throughout the piece – with a very altered, stumbling sense of rhythm in parts.
Viola: Adam Maha
Cello: Yotam Levy
Synth + Backing Track: Jeremy Mayall