Taut
Bach, blues, and improv guitar are the sources in this synthesis of bone, muscle and plastic sound. Extrapolations of several studio performances by the composer provide materials for this investigation of music as a plastic art. The more lucid kernals of several spontaneous improvisations, a long familiar blues riff, and a Bach Gavotte, are atomized and reforged in the studio to explore the physicality of the composer's relationship to the guitar. Both the studio and the guitar can be found at the surface of this work. Nothing is hidden.
The choices for sound sources were 'strategically chosen' as a sort of filter system. Their differences and similarities were considered such that what might show through would be the contact point between player and instrument. In this way it is much like Cross Country Runner, Transatlantic Half-Pipe, and Gravity's. It's about the juncture of body and environment. The big difference here is that the music itself was used as the source and therefore considered to be part of the "expanded grain" of observation in which perception is defined (and illuminated).