Sunday, September 9, 2007

Compositional Strategies of Dub pt. 2

Jeremiah Hosea and Chris Becker ponder the mysteries of Cubase...(photo by Lewis Barnes)

"...recording technology was beginning to imply for reggae what improvisation had already implied for jazz: the notion that a "composition" must now be understood as a composite of endlessly multiplying, mutating, and potentially infinite elaborations over time." - from Michael Veal's book Dub

Shanty Town Dub (Slow Version)

So again I'm making reference to Michael Veal's excellent book on Dub music. The rough mix I've posted above is slated to become a segue between the second and third movements of my composition Shanty Town Suite which will be premiered here in NYC October 12 and 13 at The Battle Ranch (formerly Studio 111). This rough mix was created solely with material from the previously posted track Shanty Town Dub. Trumpet, trombone and bass as well as other effects heard in the upbeat dub now reappear in a seriously slowed down "version" (at 58 bpm) in a more haunted landscape of sounds, feedback and shouts. I'm considering adding some double time "chicken scratch" guitar and possibly additional live percussion to this slowed down version. As a segue, the audience will hear this track via a "boombox" playing a cassette mixdown of the track. Live playing out of the second movement will dovetail over the boombox playback and then bubble up again to lead the listening audience into the third movement.

The idea here is that the audience is hearing briefly a dub version of the live music they just heard but through technology of our recent past...time and space of course are tools for composition.

More later...

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