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Glenn Weyant

... New directions in taking it further...

Seven Transharmonic Explorations In Multitonal Omnivibrationalism: Volume Six

About this recording:

Application of intuitive-now reactions and chance processes developed in a slow multi-tracking environment were implemented throughout, allowing Glenn Weyant to respond and create unpremeditated, organic and chaos driven sonic solutions as if newly heard.

Weyant increased the potential for non-deterministic happenstance by performing upon found, unique and traditional instrumentation.

It is the intent of this recording to offer listeners sonic possibilities beyond the confines of their own being and circumstance.

Listen deep and experience.

Track Background:

1. As Dawn Forms: This piece began as a blind duet between running water and an upright piano cluttered with cultural ephemera such as picture frames and statues. The left/right microphones were placed upon a tile floor at either end of the piano during the recording to emphasize the keyboard's extremes. Strings were suspended to enhance natural drones. A second pair of microphones were situated beside a ceramic glazed iron sink into which water poured from a 50 year old chrome faucet. Six days later an accompanying track for processed tenor saxophone was added. A month later a track for guitar prepared with bolts, paper clips and strung with industrial steel wire of various gauges was added.

2. These Thoughts Reel: A monaural improvisation on the Kestrel 920 (see below) served as the foundation for this piece. The Kestrel 920 was modified to utilize one bungee chord instead of the usual seven. In so doing, a section of iron mattress buttress suspended from a satellite dish mount was given greater leeway to create bell-tone harmonics when played in conjunction with the tuned dust pan. The following day the guitar track was added utilizing traditional tuning and strings but prepared with two one-inch galvanized steel washers. A week later the clarinet, Tibetan death mask flute, chimes and brass bell were included within one hour of each other usually after a short meal or lite snack.

3. Across Forgotten Meadowlands: Following an unusually wind-driven morning spent watching leaves and birds this piece was recorded. Each track was added separately but never as a whole. IE: A.Guitar solo/ B.Flute played while listening to guitar/ C.Alto played while listening to flute/ D.Clarinet played while listening to alto/ E.Chimes while listening to clarinet/ F. Singing bowl played while listening to chimes. While the wind instruments were played without modification, the microphones were strategically placed to enhance spatiality. Locations included: suspended from the ceiling, inside a brick fireplace, facing an adobe brick corner and inside a tin can. The guitar was prepared with a child's metal hair clip.

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