Blac Buc, Blac Buc!!!

Bassist Jair-Rohm Parker Wells composes “Blac Buc” on the Buchla 200e

The realization of the multi-disciplinary work “Blac Buc” on the EMS Buchla 200e system.

Stockholm, Sweden

NS Designs bassist/Composer Jair-Rohm Parker Wells, in residency at EMS in Stockholm, Sweden, has crafted a significant social/political work utilizing the Buchla 200e modular synthesizer system.

The 50 minute multi-media/multi-disciplinary work is called “Blac Buc”. The title is a play on words referencing the Reconstruction era racial slur “Black Buck” and the name of the modular synthesizer system that the piece was realized on: the Buchla 200e modular synthesizer. The work promotes and inspires the consideration that Booker T. Washington’s “Atlanta Compromise” rather than W.E.B. Du Bois’ “Niagara Movement” held the best solution for post-Reconstruction America and the advancement of its Black people. The work was produced entirely using GNU, free and open source software. The completed work will be presented live as a fixed media performance incorporating projections, the voices of Ayn Rand, W.E.B. Du Bois and Booker T. Washington, dance and live NS Designs bass. A CD of the music as well as digital downloads/streaming will also be available.

Quotes:

…thinking man’s hip hop with cascading political indignation BEN WATSON (Music journalist/AMM-All Stars)

Let it now be known that the modern day “Freak-Bass Philosopher” has arrived – Jair-Rohm Parker Wells. I remember the Buchla well from my days at NYU (in the mid-80s!), so to hear it today through Jair-Rohm’s impassioned and well-informed “techno-logical touch” is a welcome sonic sandwich. Blessings for Bass. Thank you, Mr. Parker Wells. MARQUE GILMORE the inna-most (DRUM-FM / Kult-U-Real™) – April, 2017

“For Jair-Rohm, being called a virtuoso is too limiting. It’s being current that makes what he does so relevant. I think the measure of an artist goes beyond the hands that make the art. Jair-Rohm just doesn’t play the instrument, he creates a language using it.” — JEFFERY HAYDEN SHURDUT (artist/ producer/ director)

…an innovative mix of electronica, EDM, jazz and spoken word that will move your feet and open your mind.” – KARL FURY (electronic musician)

Music where acoustic and electronic instruments meet ,and where you sometimes can´t hear the difference will be tommorrows music. This is a good example of it. Nice bassplaying. It fits perfectly into the machines groove.” — THOMAS KLINTEBY (Composer , musician in ‘Upside’)

…we experience the full range of pitch, timbre, precision, warmth, harmony and chaos, Whiteness, Blackness, noise and music that mirrors the complexity of 150 years of post-slavery social evolution. Prepare for a ride, and not one that brings you back safely to rest. It is meant to shake and move you to a different place, and regain lost momentum.” — LAWRENCE DE MARTIN (acoustic luthier)

“This is a fearless confrontation of history and music technology. It builds on the works of pioneers like Sun Ra & Joe McPhee in terrms of both the embeded social issues as well as the boundless experiments with sound.” — DAMON SMITH

Trailer

blac_buc

Jair-Rohm Parker Wells and NS Designs WAV electric upright bass at the Buchla 200e system at EMS Stockholm, Sweden. (Photo credit: Henrik Jonsson)

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Modelling…

I’m surprisingly satisfied with the sound of the Zoom B3. Digital modelling has arrived. I actually made the decision this week NOT to invest in any more sexy analog gear because on listening back to recordings from my last gigs, i’m not only impressed with but also surprised at how good it sounds. My current insights fly in the face of even my own prior principals.

Life can be like that…

 

The Zoom B3 with continuous control pedal.

The Zoom B3 with continuous control pedal.

Dynamics…

As with all Music, dynamics play a very important role in improvised music. Dynamics can (and should) be used very effectively as a structural/organizational device. We’re not just talking about volume here.  Getting back to an earlier post on this blog, eleven aspects of improvisation are delineated. Each of these parameters can be dynamically modulated. In other words, one can vary the amount of any of the defined parameters one utilizes in a phrase, note or statement. This is to apply Braxton‘s eleventh (of the twelve types) “Gradient Formings” – the serialization of dynamics.

One very, very good illustration of this is the “Pulse Track” of Braxton’s Composition #108B. This graphic score may be freely applied to volume and/or pitch.

Braxton describes #108B as “a series of possible curve line sounds or curve line dynamic changes” (311), implying that the lines can indicate pitch and/or volume… – Graham Lock

 

Composition 108B Pulse Track

Another album…

Here’s an album that i’m featured on. It’s by the German saxophonist Biggi Vinkeloe. There is some really amazing music by some of the most inspired improvisors around. The entire album is available as a free download. Check it out 🙂

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