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Hegarty, Steinbeck & Robles (HS+R) is an avant-garde jazz trio uniquely born of roots in the St. Louis/Chicago and New York avant-garde scenes and flavored intensely with the spirit of south Texas. A native Chicagoan and now living and working in the St. Louis incubator of free improv, Hegarty draws upon influences as wide as Stockhausen and Zorn, Hancock and Shipp. Steinbeck spent time in the hallowed canyons of the NYC and Brooklyn experimental scene – working with AACM members George Lewis and Fred Anderson. Robles interjects a nearly encyclopedic knowledge of the jazz tradition flavored with the rich multicultural sounds and rhythms of his native El Paso.
This debut from HS+R is and exciting album of unified vision. Their music spans the sonic landscape of the driving manic montuno feel of the opening track, Potential, to quiet, lyrical contrapuntal textures.
Each member brings a unique and varied background. Paul Steinbeck can be heard on six recordings, including three CDs released by the Brooklyn contemporary-music label Engine Studios: Nine Ways (2004), Three Fifths (2005), and Sun Set (2007).
2 new videos from Guillaume Gargaud:
Published on Sep 13, 2013
extract from recording session “Guitar solo in chapel”
Recording with ableton live, max for live, apogee duet, guitar Saint Blues, softstep Keith McMillen, St. Blues 61 South P90
Published on Sep 11, 2013
Recording with Martin Guitar, softstep Keith McMillen, Ableton Live, Apogge Duet
Site/Sound is a collaborative art experience by composer-in-residence Eric Hall at Laumeier Sculpture Park, featuring audio contributions from different musicians to be paired with sculptures in the park’s permanent collection. Collaborators include Kvist Records artists Raglani and John Tamm-Buckle. Visitors can pick up a map of the park and an ipod containing the playlist from the shop.
Jim Hegarty has been conducting a series of video interviews on the subject of creativity as a companion to his new book, The Creative Rush. He spoke with John Tamm-Buckle while walking down the Delmar Loop in St Louis, MO. There is a 60 second edit, and a full version of the interview available.
60 second edit:
“…the lively character of Tom Hamilton’s discoveries … shines throughout the 77 minutes of this edition, bringing back to light recordings that were otherwise destined to remain buried under the mantle of invisibility of the extremely limited editions on which they came out from 1973 to 1980. And it would have been a real shame, for this is stuff that predates – and defeats – a good chunk of today’s dabblers’ output.”
Read the full review here.
Kvist 006 – Pieces for Kohn/Formal & Informal Music appears in Startling Moniker’s Top 12 Best Happy Neat-O List of 2010!
From the post:
Tom Hamilton — “Pieces for Kohn/Formal & Informal Music” — Two-disc anthology of early Tom Hamilton works on the Kvist label, and a surprising entry into this year’s list in regards to the age of some of these pieces, each of which has its roots in the early to mid-1970s. Regardless, I had a blast listening to this one, particularly the “Crimson Sterling” series on disc two. Kvist thankfully gives Hamilton the proper treatment, with thorough liner notes and smart packaging.
Thursday Dec. 2, 2010
8.00 PM – 10.00 PM
20 Greene St.
New York, NY 10013
World-renowned pianist and composer Muhal Richard Abrams has been in the forefront of the contemporary music scene for half a century. A co-founder of The Association for the Advancement of Creative Musicians (AACM), Abrams celebrates his 80th birthday this year. This concert will feature Abrams in two ensembles: with the percussion of Adam Rudolph and electronics of Tom Hamilton, and with vocalist Jay Clayton, bass clarinetist Marty Ehrlich, and bassist Brad Jones.
Fans of the music of Robert Ashley will know Tom Hamilton as the guy behind the consoles who has mixed the voices and processed the electronic soundtrack in real time for all of Ashley’s performances for the past twenty years. Others might be aware of his multifaceted production work and some of his fascinating electro-acoustic collaborations with free jazz improvisers such as Bruce Eisenbeil and Bruce Arnold. The truly lucky have also been exposed to Hamilton’s own fascinating compositions, such as London Fix, an algorithmically generated electronic score based on the vagaries of the London stock market, or his remarkable works for acoustic instruments and processors employing an electronic harmony generator that were collected on last year’s Local Customs.
Read the whole article here.