Aviary is reviewed in the current issue of The Flutist Quarterly:

“Robinson is joined by Emlyn Johnson, Carmen A. Lemoine, Erin K. Murphy, and Nicole Riner for the ensemble tracks, and the group’s playing is magnificent, with gorgeous blend, impeccable intonation, and complementary vibrato between the players. They seem to be uniformly comfortable with the many extended techniques required, and their sensitive and enthusiastic interpretation brings this music to life in a satisfying, exciting way. Particularly notable is Robinson’s piccolo playing, which is lively and virtuosic with a flexible delicacy. The low flutes in the “Featherbrained” movement of Osberg’s Fowl Play” have no trouble taking the spotlight with their melodies, building a rich, harmonic sound world that is even more exciting in the section of pizzicato tonguing about halfway through the movement.

Aviary is worth a listen, and these composers and performers are definitely worth watching.”

- Jessica Dunnavant, The Flutist Quarterly

Thank you Jessica Dunnavant and The Flutist Quarterly! If you’re a member of the National Flute Association, read the rest of the review here.

Listen to the album here.

Thank you to George Grella (Kill Yr Idols) and Tone Madison for including Oneira on your “Best of” lists for 2022!

Check out their lists:
Kill Yr Idols: Best Classical Recordings 2022
Tone Madison: Tone Madison’s top 20 records of 2022

Thank you textura for reviewing “Oneira” by Clocks in Motion!

“While it's possible to detect traces of Classical Minimalism and Balinese Gamelan in the material, [Bellor] possesses a natural gift for eluding reductive categorization. Stated otherwise, her writing is more identified by an expressive personal signature than allegiance to a particular genre or tradition. Without restricting itself necessarily, the music eschews dissonance for a vibrant, harmonious sound that dovetails excellently with the quartet's vibrant playing.”

Read the rest of the review at textura.

Listen to Oneira.

This article originally appeared in Issue 43:2 (Nov/Dec 2019) of Fanfare Magazine.

Because Patterns • Isaac Schankler • Aerocade 011 (42:11)

Sometimes, not often, a sound just gets you. There is an immediate resonance that impels further listening. Such was the case with the opening of Isaac Schankler’s Because Patterns/Deep State. While the idea of using a prepared piano carries inevitable echoes of John Cage, and indeed there are certain passages that may reference Sonatas and Interludes, Schankler’s world is unique. It’s good to see Aron Kallay there, too, as he pretty much blew Fanfare reviewer Robert Carl’s mind with his disc Beyond Twelve (which included a piece by Schankler that reimagined a Chopin étude, entitled Alien Warp Étude). Schankler’s piece Pheromone was reviewed by myself in Fanfare 40:2. 

The idea of this disc is to explore three ways in three pieces of manipulating patterns. Because Patterns carries with it resonances of Feldman’s Why Patterns. This is rule-generated music in which a system of parameters used on one measure generates the next, a process referred to as cellular automaton. Here, it is mixed with a performance of Deep State for double bass and electronics. Whereas the upper frequencies move swiftly, with clear Minimalist tendencies, the lower stratum seems to reference an eternal. Because Patterns was commissioned by the present performers, the Ray-Kallay duo. The best electronic music shared with the best Minimalist music a sort of emotional cleanliness, and that is precisely what we get here. Even the ruminative, deep moments (both in pitch area and emotional intent) and the ruminative ones pitched high on the spectrum exhibit that cleanliness. In a sense, this changes the way we listen: Instead of a straightforward beauty experienced from music, there is an element here of beauty examined like an object held out at an arm’s reach and then beauty experienced. 

Cellular automaton is a process that, while simple on paper, can generate highly complex results in a number of areas of which music is only one. Although the idea was developed in the 1940s, it was in the 1970s that the idea was brought to popular science via Cambridge mathematician John Horton Conway’s book The Game of Life. Although a seemingly dry mathematical construct, the concept of cellular automaton can be found in nature in sea shells; and a reflection of that beauty is, perhaps, its appearance in music here. 

The performance is wonderful: clean-cut, perfectly calibrated both rhythmically and in the cut-crystal recording. Let that not imply there is no subtlety; the quiet re-emergence of the piano from an atemporal electronic hum later in the piece is beautifully managed. Out of the final droplets of sound emerges a throaty violin note. The piece Mobile I has the electronics reacting to violinist Sakura Tsai’s playing; an ongoing spectral analysis that initially is hardly even felt, only whispered, but becomes more insistent as the piece progresses. The composer, in the liner notes, acknowledges Tsai’s mastery, “improvised and polished at the same time.” 

On a different plane, at least on an immediate level, is Future Feelings for piano, played with real understanding by Nadia Shpachenko. The piece was written at the time of the birth of the composer’s first child, and Schankler wanted to create “a quiet, soothing version of noise music.” So the first part of the piece is actually built around a decidedly Romantic sound world, exuding a sense of nostalgia only underlined by the musical bedfellows on this disc. There is a sense at one point that any rose-tinted spectacles come off in an acknowledgement that a return to that past is impossible. 

Unique and thought-provoking, Schankler’s voice needs to be heard. Often restful and thoughtful and yet often subtly disturbing in its way of destabilizing fields of calm, this music offers myriad ways to reflect on the nature of how one expresses oneself via the medium of sound. And all that in just over 40 minutes. 

Colin Clarke

This article originally appeared in Issue 43:2 (Nov/Dec 2019) of Fanfare Magazine.

Donut Robot! • Post-Haste Reed Duo • AEROCADE 010 (59:30)

Yes, you read that right: Donut Robot!: a celebration of the combination of saxophone and bassoon. The title comes from Ruby Fulton’s charming piece, which for just shy of 10 minutes explores a somewhat unsurprisingly mechanistic soundworld. The title comes from that scourge of contemporary life, autocorrect, in a text message between the two members of the Post-Haste Duo. A musical representation of the state before and after communication breakdown (unison passages cede to all sorts of fun), it has a more serious side as it examines also some of the dark side of such breakdowns (Pokemon Go! causing accidents and deaths, Y2K, and so on). It is the ideal ushering-in of this new sound universe of sax and bassoon, and the cartoon illustrations on the disc of a metal donut with pink icing and hundreds and thousands of sprinkles are amazing. The performance needs to be preternaturally accurate for this to work, and so it is. 

The keening, microtonal high opening of Drew Baker’s First Light and its continuing exploration of that soundspace are an intended depiction of the time between dawn and sunrise. The idea is to live within the texture and at the same time observe its changes, however small they may be. The three Soundscapes of Michael Johanson are inspired by two vistas: the hills of southern Italy and snowfall in Oregon. There is a spring in the step of the first, “The Hills of Basilicata,” an artist community the composer visited in 2014. There is much beauty here, enhanced by the perfect ensemble of the two players (at times they sound as if they are two stops on an organ, perfectly articulated by the organist). The central “Snowscape” is a musical depiction of the peace after a snowfall the composer witnessed in Oregon, while the joyous, multi-meter “Moto perpetuo” does what it says on the tin, and well. 

Another great title is for Edward J. Hines’s piece Hommage: Saygun et Bartók en Turque, subtitled “Chanson de Hatice Dekioğlu.” The piece refers to the visit in 1936 by the two composers Bartók and Saygun to a Turkish village, where the 13-year-old Hatice Dekioğlu sang a folksong for them. The two players at one point intone the words of the song “I came to this World from Istanbul / My affection is for the daughter of the Armenian / Don’t eat, don’t drink, but look at the eyes of the young one / Take me to the saddle, oh son of the Kurd, and let us go.” Hines’s piece is a set of variations on the original recording, but it is also a tribute to the two composers—especially Saygun, perhaps, as Hines studied composition and ethnomusicology with him on a Fulbright scholarship in the mid-1980s. Towards the end, we hear the original recording above sustained notes on sax and bassoon; the instruments react to the sound, too. It is an unbearably touching moment when one is aware of the basis of the piece. 

The inspiration for Andrea Reinkemeyer’s In the Speaking Silence comes from a poem by Cristina Rossetti, Echo. Written in 2018 in memory of the composer’s mother, there is an inevitable touching aspect to this piece of sonic mourning. There is a rhythmic underlay derived from the Christian hymn It is Well with my Soul in tribute to the deceased’s love of the hymnic tradition. There is the most remarkable multiphonic on saxophone here—remarkable for both its veracity (multiphonics so often misfire and sound like something grinding when it shouldn’t be) and its perfect control. In performance, the performers should be located as far away from each other as possible, to enhance the echo effects; space in musical terms is also utilized, as the players begin in unison and end far apart. 

That would have been a poignant way to end, but one in dissonance, perhaps, with the pink-frosted metal donut, so the closing word is left to Takumah Itoh’s Snapshots, which comprises four short movements: “Grotesque,” “Chain,” “Haunted,” and “Early Bird Special.” Fragmented Minimalism makes “Chain” particularly fascinating, especially after the harsh sounds of the short “Grotesque.” The title “Chain” refers to Lutosławski’s series of works of that name, and controlled aleatorism is the link between the two. Itoh concentrates on the glissando for “Haunted,” but his way is far from straightforward or hackneyed. It is, moreover, a study on where how and where the directionalism of a glissando flowers. It morphs into “Early Bird Special,” bebop influenced (think of Charlie Parker’s “Bird”) and also reminiscent of Raymond Scott’s mechanistic, cartoonish music. 

Detailed notes on the music is available online. Intriguing and strangely satisfying from first to last, this is a most unexpected treat. 

Colin Clarke 

Photo: Charlotte Suarez

This article originally appeared in Issue 43:2 (Nov/Dec 2019) of Fanfare Magazine.

Quadrivium • Elizabeth A. Baker • AEROCADE 008 (118:00)

Elizabeth A. Baker, based in St. Petersburg, Florida, refers to herself as a “New Renaissance Artist,” which means in part that she works in a variety of forms and media. A 16-page zine accompanying this release includes her poetry and art, and it helps to put her work in a broad perspective. It also includes a “Manifesto” in which Baker decries exclusivity in the presentation and dissemination of modern concert music (and art in general), and in which she observes that such exclusivity can be created unintentionally by well-meaning promoters who try to attract new audiences with “trendy” or “curated” experiences. This resonates with me, and not just because “curated” has lately become my least favorite buzzword! “Art,” she writes, “belongs to all mankind.” Right on. 

Baker, who is now 29, is a graduate of St. Petersburg College’s Music Industry Recording Arts program; she started out as a classical guitarist before discovering her true creative voice, in which the piano plays a central role. Quadrivium is the latest of several commercial releases (available, like Quadrivium, on Bandcamp), and the most varied yet in both instrumentation and style. An early, all-piano collection is called Imperfect Improvisations for Possible Probable Ghost Listeners, and some of the music on that release sounds eerily like Debussy, or like Scriabin on Quaaludes. Quadrivium is nothing like that. Its first half, while devoted to the piano, opens with the Minimalist and tightly controlled Sashay by Nathan Anthony Corder, and continues with Baker’s own works, looser and more improvisational in style, which call for the piano to be prepared in different ways. The title Command Voices, used in two of these works, alludes to the voices heard by individuals experiencing psychosis. These voices direct them to behave in certain ways, including in ways that can cause harm to the individual or to the community. One of the implements used in these works is a vibrator—yes, that kind of vibrator. (The feminist implications of that are fascinating.) The second half is devoted to works in which electronics and spoken word feed off each other, and here Quadrivium takes on an appealingly science-fictionish vibe—a little William Gibson and a little Samuel Delany. Baker addresses social issues, such as the transactional nature of love in the digital age, and the alienation of the “silent webcrawler,” sometimes electronically altering her voice to emphasize that alienation. A recitation of URLs and IP addresses, punctuated by a slow and stuttering electronic heartbeat, is chilling. Baker is a talented composer and performer, and Quadrivium, taken as a whole, is a pretty impressive release for someone still so young. Perhaps Baker will be the Pauline Oliveros of her generation, and perhaps she will be more than that. 

Quadrivium also is available as a digital download from Bandcamp, where you can buy the CD, and a separate copy of the zine, if you so desire. It’s not easy listening in any sense of that phrase, but its difficulties are anything but gratuitous. Adventurous listeners might find it to be a provocative and intriguing ride. 

Raymond Tuttle 

Many thanks to textura for reviewing Isaac Schankler’s Because Patterns!

“Benefits accrue to composer and performer alike from this presentation of three electroacoustic works by Los Angeles-based Isaac Schankler. Currently Assistant Professor of Music at Cal Poly Pomona, Schankler is a composer, accordionist, and electronic musician whose material is realized exquisitely on the forty-two-minute recording by pianists Aron Kallay and Vicki Ray, double bassist Scott Worthington, violinist Sakura Tsai, and pianist Nadia Shpachenko. The Ray-Kallay Duo appears alongside Worthington on Because Patterns/Deep State, whereas Tsai and Shpachenko present solo performances of Mobile I and Future Feelings, respectively. Describing them as such isn't perhaps entirely accurate, however, when the pieces seem more like collaborations between the performers and electronics. Regardless, the material benefits mightily from the high-level artistry of the musicians, and one's impression of Schankler's composing ability is enhanced in turn by their performances. All five players bring impressive credentials to the project: Shpachenko, for example, is, like Schankler, a Professor of Music at Cal Poly Pomona University, whereas Ray is head of keyboard studies at the California Institute of the Arts.”

Read the rest at textura.org.

The Gapplegate Classical-Modern Music Review says:

“No person is an island and perhaps every piece of music connects in some way to every other piece of music whether local or world-widely, contemporary to ancient. That may be more to chew off on this rainy morning than I can safely address on the blog, but it explains my feeling listening to Because Patterns (Aerocade Music 011). I get a distinct window on experiencing a piece of today that is electroacoustically enmeshed with what has happened in Electronica and the Post-Progressive in Rock, on one hand, soundscaping ambiance, and the whole spectrum of the Modern Contemporary Classical on the other.”

Read the rest of the review here.

Thank you Grego Applegate Edwards for taking the time to listen to and review Because Patterns!

Many thanks to I Care if You Listen and Nick Stevens for taking the time to review Isaac Schankler’s Because Patterns!

“Because Patterns has it all: killer liner notes, evocative performances from musical dream teams, and balance between coherence and variety. The impeccable recording, engineering, and mixing by Schankler, Vanessa Parr, Ben Phelps, Scott Fraser, Barry Werger, and others certainly help. Four years and eleven records into its existence, Aerocade Music can claim another victory with this release.”

- Nick Stevens, I Care if You Listen

Read the entire review here.

Thank you Paul Muller and Sequenza 21 for reviewing Isaac Schankler’s Because Patterns!

“The entire album is remarkable listening and represents a new benchmark of just how highly evolved the combination of acoustic instruments and electronics have become in the service of musical expression.”

- Paul Muller, Sequenza 21

Read the entire review here.

“Anyone doubtful as to the range of creative possibilities a bassoon-and-saxophone duo might offer should come away from Donut Robot! convinced otherwise. Its virtuosic performances by Fredenburg and Rodriguez show the combination to have as unlimited a potential as a violin-and-piano coupling, the significant difference between them the size of the repertoires associated with the pairings. As this recording shows, Post-Haste Reed Duo is doing its part to make that difference smaller.” - textura, April 2019

Read the whole review here.

Thank you Gapplegate Classical-Modern Music Review for recommending Donut Robot!

“There are album concepts and cover illustrations that grab my attention and I will admit that the art on Donut Robot! (Aerocade Music 010) by the Post-Haste Reed Duo is a favorite.What's wrong with a bit of outlandish humor? Nothing at all as far as I am concerned. All the better of course if the music turns out to be very much worth our ear-time. That is the case here as limber-timbred saxophonist Sean Fredenburg and bassoon stalwart Javier Rodriguez take us on an imaginative journey through six compositions and compositional suites.”

Read the rest of the review on the Gapplegate Classical-Modern Music Review site.

Stephen Smoliar reviews the new Post-Haste Reed Duo album :

“The album consists of six new works, each by a different composer. In “order of appearance” on the album, the composers are Ruby Fulton, Drew Baker, Michael Johanson, Edward J. Hines, Andres Reinkemeyer, and Takuma Itoh. Perhaps the most salient impression left by this album is how diverse these six contributors are in their approach to composition. However, that diversity is reinforced by the virtuosity of the performers.

That virtuosity is evident immediately through the choice of instrumentation. One might think that a saxophone would overwhelm a bassoon. However, the full extent of the album is matched by a wide dynamic range, with just the right balance of the two instruments at any level of loud or soft blowing. Thus, some of the most engaging moments are the subtle ones, such as the shimmering sonorities of Baker’s “First Light,” in which subtlety emerges through microtonal oscillations that demand seriously attentive listening.”

Read the rest at The Rehearsal Studio.

Listen to the album.

“Pianist/multi-instrumentalist Elizabeth A. Baker’s new album Quadrivium – streaming at Bandcamp – is extremely long and often extremely dark. Her music can be hypnotic and atmospheric one moment and absolutely bloodcurdling the next. Erik Satie seems to be a strong influence; at other times, it sounds like George Winston on acid, or Brian Eno.“

Read the rest at New York Music Daily!

Grego Applegate Edwards reviewed Elizabeth A. Baker's Quadrivium:

"...after five listens I must say I am mightily impressed with it all.

I must say I do very much love this very living work. It is as contemporary as anything you will hear, and it is not afraid to combine deftly timbral and sound-color beauty in striking ways. The music is visceral. The words are frank yet poetic."

Read the rest of the review at Gapplegate Classical-Modern Music Review

This article originally appeared in Issue 40:4 (Mar/Apr 2017) of Fanfare Magazine.

VARIETY SHOW • A/B Duo • AEROCADE 005 (61:41)

MCGOWAN  Ricochet. DICKE  Isla. REINKEMEYER  Wrought Iron. BAKER  Limb. BROWNING  Sol Moon Rocker. FREDERICKSON  Breathing Bridge. RANDALL-MYERS Glitch.

A previous disc by Meerenai Shim on the Aerocade label (001, Fanfare 40:2) was mesmeric and fascinating. Here, Shim is joined by percussionist Christopher G. Jones: Together they fashion a sequence of soundscapes the like of which you may not have encountered before. 

First, a warning. Make sure, if you are listening on headphones, that the volume is set nice and low for the first track. I didn’t, to my cost. The disc announces itself assertively with a conversation between staccato contrabass flute (used in the manner of a percussion instrument) and percussion. This opens Ned McGowan’s Ricochet for contrabass flute, floor tom, three suspended cymbals, three woodblock, triangle, and flexatone. It is worth reproducing the scorings for each piece, as they give some idea of the sounds each one works with. The idea of ricochet evokes both the idea of game and of conversation, although if it is the latter this is a pretty full-on, wide-eyed discussion. Rhythms are fantastically (sometimes frantically) taut. The A/B Duo commissioned this work, a measure of their commitment to widening the repertoire and to fresh, vibrant new music. 

A remix of Isla Ferrari’s Isla de Niños, Ian Dicke’s Isla for flute, vibraphone, and live audio processing takes a line that is itself relaxed and garlands it with a plethora of active, energy-laden lines. The tension between the two elements forms both the starting point and the basis of the piece. Effective use of audio processing in the sampling and juxtaposition of syllables at one point forms the backdrop to a vibraphone solo. 

Andrea L. Reinkemeyer’s Wrought Iron for flute, vibraphone, bongos, tambourine, triangle, china cymbal, and splash cymbal is a musical response to a building, the Troy Savings Bank Music Hall. In a rather neat conceit, the various shapes used in the hall itself determine the types of instruments used: triangles are the obvious instance, but circles also (cymbals, bongos, tambourine) and rectangles (vibraphone). The architect also tried to make metal look like stone, and in the spirit of referencing others, the composer invokes the ghosts of Beethoven and Chopin, both of whom are to be found within the confines of the hall itself. There is an intricacy to the players’ interactions that seems, to the present writer at least, to invoke or reflect some sort of physical design. Ensemble between the two players needs to be particularly tight in this piece, and the result is indeed magical. 

Drew Baker’s Limb for flute/piccolo, vibraphone, Thai gong, wind gong, and three crotales, finds cymbal evoking the crashing waves of the ocean. It opens quietly, hesitantly. The work is a response to the “scribble line drawings” of Sol LeWitt. Both LeWitt and Baker are involved with what Baker refers to as sensuality of gesture, and through simple but effective means Baker draws up an imposing, and imaginative, soundscape. As the booklet notes, state, “this piece is exceptionally soft and loud.” And although the track has been compressed “to save your eardrums,” it is still worth pointing out that you have been warned. If you wish to serve your masochistic side, there is an uncompressed version available by request and the email address is given in the documentation. Simple but effective, the piece paints gestures over relatively large durations. 

Scored just for flute and vibraphone, Sol Moon Rocker by Zack Browning is another A/B Duo commission. It has a philosophic basis, the dynamic between yin and yang, between Moon and Sun. Intriguingly, the second part of the work is generated by applying Feng Shui principles to the birth dates of both present performers. It gets deeper still: the section “Meerenai’s Moon Flight” is generated also by the Magic Square of the Moon; “Sol of Chris” has a similar basis, using the Sun Magic Square. References to relevant popular music are there, too: It’s a Man’s World (James Brown), Ladies’ Night(Kool and the Gang), and The Sun and the Moon have Come Together by The Fourth Way. It’s quite the tapestry, and it works brilliantly. There is actually a spirit of joy that suffuses the musical surface of Browning’s piece; quotations have a sort of exuberance about them. The final section offers a synthesis between male and female. The idea is wonderful: One wonders if some elements of alchemical theory could have been worked in there also? 

Scored for flute with glissando headjoint, glockenspiel, and vibraphone, Brooks Frederickson’s Breathing Bridge carries an entreaty: “If you’re ever in Brooklyn, listen to or imagine this piece while walking on pedestrian bridges around Red Hook.” On this bridge, one feels viscerally the vibrations of passing vehicles; lines in Frederickson’s piece represent the bridge’s structure. There is much delicacy here; the performance is simply beautiful. If one were to make that walk (no opportunity to research that; I’m afraid as I’ve never been to even America, never mind anywhere as specific as Brooklyn), one can only imagine an altered experience, a different and enriching way of experiencing the environment. 

Finally, there comes Brendon Randall-Myers’s Glitch for flute, vibraphone, and drum set. In contrast to the lulling aura of the preceding track, Glitch is colorful. Written for the A/B Duo’s “quirkiness, virtuosity, humor and groove,” it imagines a “prog-punk video game music cover that can’t decide what tunes to play or what tempo to play at” resulting in some “bizarrely hilarious musical collisions.” That promise is certainly lived up to in this rather garish ride. It does rather sound as if the players are having fun, too. The notes make a point of announcing that Christopher G. Jones plays the vibraphone with his left side and the drum set with his right side. Patting one’s head and rubbing one’s tummy at the same time? There is a slower, more shaded section that provides contrast, as if offering cool shade before re-entering the bright sunshine. 

The booklet notes for this disc can be found at both abduo.net and aerocademusic.com. Colin Clarke

Thank you Oregon Arts Watch for reviewing Post-Haste Reed Duo's album!

Brett Campbell writes, "The unlikely combination of bassoon and saxophones (sometimes with electronic enhancement) makes a surprisingly diverse and intriguing combo on this release by the duo of Sean Fredenburg and Javier Rodriguez."

Read the rest at Oregon Arts Watch.

This article originally appeared in Issue 40:4 (Mar/Apr 2017) of Fanfare Magazine.

VARIETY SHOW • A/B Duo • AEROCADE 005 (61:41)

MCGOWAN  Ricochet. DICKE  Isla. REINKEMEYER  Wrought Iron. BAKER  Limb. BROWNING  Sol Moon Rocker. FREDERICKSON  Breathing Bridge. RANDALL-MYERS Glitch.

With this duo release, the Aerocade label continues along its path of presenting excellent recent compositions in excellent sound. I’ll admit to unfamiliarity with the composers whose works are on offer here, but their quality and intrigue is matched by first-rate performances and a very warm but detailed recording. 

One of the most satisfying pieces on this well-filled disc is Ian Dicke’s Isla, composed in 2012. Dicke follows in the footsteps of such composers as Scott Johnson and Pierre Boulez in that he integrates acoustic and electronic soundworlds quite convincingly into this widely varied piece for flute, vibraphone, and live audio processing. Like Johnson, speech is an integral component, but in this case, it is chopped up into micro-fragments that mirror and drive the instrumental rhythms and timbres forward. The A/B Duo creates an integrated yet somehow also heterogeneous sound, and this is also the case on the rhythmically dizzying Glitch, by Brendan Randall-Myers, composed in 2015 and commissioned by the Duo. There, the electronic world has a direct influence on how acoustic instruments are played, bringing those early Stockhausen visions to some kind of fruition. The electronic soundscapes on which this constantly changing piece is based recall the improvised music of trios such as Phronesis, Meerenai Shim, and Christopher Jones, and the intimate familiarity here with those sounds is like a Classical-era ensemble handling the rhetoric of contemporaneous dance forms, to site only one example. 

If all of this sounds too far afield of the classical music mainstream, take heart, as there’s even some of what Frank Zappa called “a bit of nostalgia for the old folks.” Andrea Reinkemeyer composed Wrought Iron (2012, on a commission from the Albany Symphony and for the Troy Savings Bank Music Hall, an acoustically marvelous space I’ve loved for many years). The piece takes on tropes like Debussy and Ravel, and possibly a little Stravinsky thrown in for good measure; it’s hauntingly melodic and fun, dancing and almost running its way forward. There may even be a little Zappa in the syncopation and in the whimsical handling of modes. 

While I single out these works for discussion, every piece in this program is well worth hearing. As with the other discs on this new label, programming is superb, the instrumentation creating unity while variety is maintained by the order of pieces and of composers. I await future Aerocade releases with eager anticipation. Marc Medwin