The word from Mr. Horvitz:
As I look back on 60 years on the planet and 35 years making and releasing music, I am humbled and frankly a little dazed.
I meet new people all the time, and some of them have come to know my music. Many are younger, and only know the music I have made recently, some are fans from NY in the 80’s, and haven’t heard my newer music; some have never heard of The President, or the Horvitz Morris Trio. Others may have no idea I have a CD of string quartets. So I thought it would a blast to do the following:
Starting today, and each Tuesday for the next 52 weeks, I will be releasing a free download from my back-catalog. Today’s is titled I’m A Fool from my 1997 release Monologue, on the Cavity Search label. You can download it here:
Even those of you familiar with my work have likely missed certain releases. So these selections will include favorites, deep cuts, unreleased tunes, live recordings, and more – spanning the last 35 years.
Next week’s download comes from the 4+1 Ensemble (Reggie Watts, Eyvind Kang, Julian Priester, Skerik and Tucker Martine). The following week my favorite movement I’ve ever written for string quartet. And week #4 will be from my very first release; up until now only available on vinyl, a track entitled Art Police.
Each download will only be available for free for a week, and then available for streaming only the rest of the year.
We will be posting an announcement for each new track on my Facebook artist page every week. If you haven’t, join here:
We will also post on Twitter (@waynehorvitz). The downloads will be available via Bandcamp.
Looking forward to sharing this, and I hope you enjoy the music!
All the best,
“Seattle keyboardist and composer Wayne Horvitz is bringing more than a briefcase full of charts to this weekend’s Vancouver Improvised Music Meeting. In spirit, at least, he’ll be accompanied by his late mentor, Butch Morris, one of the unsung heroes of the American avant-garde.
Morris, who died of lung cancer in 2013, possessed a singular voice on an unusual instrument: his cracked, enigmatic cornet playing built on Miles Davis’s minimalistic trumpet, but added a bluesy edge honed, perhaps, by his experiences as a U.S. army soldier during the Vietnam War. It was on a conceptual level, however, that Morris truly advanced contemporary music, by devising a system of “conduction”—his shorthand term for “conducted improvisation”—that allowed complex free-form structures to emerge from simple musical motifs.
As a long-time bandmate of Morris’s, Horvitz watched Morris develop his approach first-hand, and will present two different looks at the cornetist’s legacy during the Meeting’s initial night. First up will be a loose re-creation of Horvitz’s influential trio with Morris and drummer Bobby Previte, this time with JP Carter playing trumpet and festival organizer Dylan van der Schyff in the percussionist’s chair. After that, Horvitz will lead a nine-piece band of Vancouver all-stars through some of his own compositions, using Morris’s conduction techniques.
“Conduction involves someone who is like a conductor, who stands in front of the band and waves his or her arms around,” Horvitz explains, on the line from his Seattle home. “But the conductor is giving signals to the musicians that are structural or musical ideas—things that control the improvisation might be the best way to put it. You might tell the musicians to play a certain thing over and over again, or you might tell one musician to imitate another musician, or you might tell a musician to play a long tone.”‘ > read more
Friday, October 11 – 8pm
5000 Rainier Ave S
Wayne Horvitz’s “conduction” employing large ensemble plays the Earshot Jazz Festival tonight, in a double bill with an exceptionally beautiful young brass quintet: the Westerlies.
Really, any opportunity to hear Horvitz’s music is special, but hearing him compose in real time with this ensemble of stellar players can really be alchemical.
“Mr. Horvitz kept his attention on the band with microscopic focus, quick-cutting between contrasts, putting something free or rippling against a fixity. It held your attention, and when it was perverse, it was just perverse enough.” (NY Times)
To learn more about the project, check out this NY Times article from their residency in New York last spring: http://www.nytimes.com/2013/05/23/arts/music/wayne-horvitz-and-royal-room-collective-at-the-stone.html?_r=0
FRANKLY MONDAYS (can be awesome)
CRYSTAL BETH & THE BOOM BOOM BAND
WAYNE HORVITZ + BETH FLEENOR DUO
Monday, September 30 – 8pm
The Royal Room
5000 Rainier Ave S
With the reflexes of a mongoose and the swagger of leftist John Wayne, Crystal Beth* (aka: Beth Fleenor) brings her personal brand of posicore purge-pop-punk-hop ritual trance psychedelia to the Royal Room. Expect intense currents of bethnic chanting, propelled by the ferocious beating of the Boom Boom…
*Crystal Beth is psychoactive stimulant that increases alertness, concentration, and energy, and in high doses, can induce euphoria, enhance self-esteem, and increase libido.
Wayne Horvitz (piano/keyboard/electronics) & Beth Fleenor (clarinets/voice/electronics) start the evening with an improvised set of music ranging from pastoral to raucously visceral.
“Mr. Horvitz kept his attention on the band with microscopic focus, quick-cutting between contrasts, putting something free or rippling against a fixity. It held your attention, and when it was perverse, it was just perverse enough.”
photo by Michelle V. Agins/The New York Times