Samuel Hayes
This album is very intriguing to me because it makes great use of the spaces between the notes and seems so unrushed and natural. There is clearly a great vibe between these guys as they seem to give each other room to operate and still respond and react to each other real-time. Terrific sound quality and very natural tonally. A+++
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Compact Disc (CD) + Digital Album
Beacause of COVID-19 epidemy Polish Post implemented many restrictions regarding proirity letters’ and parcells’ delivery to some countries like Italy, Spain, USA, Japan and many others. This unfortunately means that for a while we will not be able to send hard copies you ordered.
Situation is changing dynamicly and restrictions may be lifted at every moment.
Dear customers, every CD you’ve ordered is ready for shipping and will ship as soon as possibile. We monitor situation constantly.
We appologize for such invonvenience. And of course, many thanks for your patience, indulgence and suport that in these times are espacially vaulauble. We appreciate it a lot! Please stay with us.
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It is very common today to see musicians from diverse musical and cultural backgrounds converging at some geographical point to improvise together. Collective improvisation is an interactive art. The responses among the improvisers are individual and subjective, but the whole result implies a kind of inter-subjectivity. Subjectivities are historical and embodied. They are configured through successive experiences within concrete contexts and are embodied in the sense that subjectivity can’t exist outside a body. The detractors of improvisation claim that an art based on historicity, subjectivity, and the body can only lead the improviser to known outcomes, a repetition of musical ideas coming from a known, historical repertoire, with no room for the “unforeseeable.” For these detractors the use of more impersonal procedures will allow the “unforeseeable” to emerge rather than improvisation. Contrary to this, I claim that only embodied subjectivities immersed in particular worlds, and their intimate involvement with places, spaces and environments, can produce the “unforeseeable.” In this CD you will listen to Ramón López, an outstanding Spanish percussionist living in France and Guillermo Gregorio, an American clarinetist born in Argentina living in New York who converged in Krakow to improvise with a “local” bass-acoustic guitar virtuoso and iconic figure, Rafał Mazur. The three musicians met in Krakow to play together for the first time. Diversity and subjective interaction are present here indeed!
Music evolves in time, but improvised music is produced in real time. It also evanesces in real time! Our session was obviously recorded. So, you have in your hands only a trace of something that existed ephemerally. However, the important thing about recorded improvisations is that they still can activate the “unforeseeable”!
(Guillermo Gregorio)
All music by Guillermo Gregorio, Rafał Mazur and Ramon Lopez. Tracks on this record are in chronological order of recording.
Recorded June 1st at B&B Studio Niepołomice, Poland by Rafał Drewniany. Mixed and mastered by Rafał Drewniany dtsstudio.pl
Rafał Mazur plays acoustic bass guitar build by Jerzy Wysocki.
Includes unlimited streaming of Wandering The Sound
via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
...more
It is very common today to see musicians from diverse musical and cultural backgrounds converging at some geographical point to improvise together. Collective improvisation is an interactive art. The responses among the improvisers are individual and subjective, but the whole result implies a kind of inter-subjectivity. Subjectivities are historical and embodied. They are configured through successive experiences within concrete contexts and are embodied in the sense that subjectivity can’t exist outside a body. The detractors of improvisation claim that an art based on historicity, subjectivity, and the body can only lead the improviser to known outcomes, a repetition of musical ideas coming from a known, historical repertoire, with no room for the “unforeseeable.” For these detractors the use of more impersonal procedures will allow the “unforeseeable” to emerge rather than improvisation. Contrary to this, I claim that only embodied subjectivities immersed in particular worlds, and their intimate involvement with places, spaces and environments, can produce the “unforeseeable.” In this CD you will listen to Ramón López, an outstanding Spanish percussionist living in France and Guillermo Gregorio, an American clarinetist born in Argentina living in New York who converged in Krakow to improvise with a “local” bass-acoustic guitar virtuoso and iconic figure, Rafał Mazur. The three musicians met in Krakow to play together for the first time. Diversity and subjective interaction are present here indeed!
Music evolves in time, but improvised music is produced in real time. It also evanesces in real time! Our session was obviously recorded. So, you have in your hands only a trace of something that existed ephemerally. However, the important thing about recorded improvisations is that they still can activate the “unforeseeable”!
All music by Guillermo Gregorio, Rafał Mazur and Ramon Lopez. Tracks on this record are in chronological order of recording.
Recorded June 1st at B&B Studio Niepołomice, Poland by Rafał Drewniany. Mixed and mastered by Rafał Drewniany dtsstudio.pl
Rafał Mazur plays acoustic bass guitar build by Jerzy Wysocki.
Photos: (R.Mazur, R. Lopez) Krzysztof Machowina, (Guillermo Gregorio) Jeffrey Shurdut
Cover Design: Małgorzata Lipińska
Executive Producer: Maciej Karłowski
supported by 18 fans who also own “Wandering The Sound”
Simply amazing to hear a new album with Wadada and Ewart!! ...And Reed rounds out this trio beautifully.
Just gave it my first spin. Absolutely magical. jeffrey maurer
Described as “an ecological history of humanity,” this sparse, tense suite of songs perfectly balances melody and chaos. Bandcamp New & Notable Apr 28, 2018