Gráinne Mulvey - phonological loop (2013) Live processing by Gráinne Mulvey

Playing synth with my band, February 2012.

I wrote these pieces in the summer of 2012. The first one is a collage of Charlie Parker solos.

Improvisation recorded in December of 2012.

Plane ride to London This album was a show I did on '2​.​9​.​2013' issuing forth bodies of sound that engulf the senses, broken beats and melodies, unusual time signatures, and dialog from 4 different Documentary sources. If you took your thoughts and dipped them into some ‘viscose liquid’ and pull them out, you would get this, dreamy, escape music, riddled with elements of Retro feelings and techno at times. As if someone tapped into your subconscious and found them there playing infinitely. Or to reach into your past and find them there,’ waiting’ to be heard again in a different light. Like swimming in an endless sea of notes and letters that someone lost, written on old parchment. Thoughts, shapes and vibes all rolled into one. Broken down into album format, each song having it’s own name to fit the mood. Reserving the right to create whatever feel I wanted, you'll also hear influences of Techno, House and other things unknown to the ear. INFO: Setup time took about 2 weeks, due to finding the sources of dialog and setting up these documentary sources in sampler. Great effort was taken to find the right feel. Greater steps were taken to select the right synth sounds, create drum patterns, effects, sequences and the like, not to mention complex routing in ReWire from Renoise to Albeton. Created spontaneously in 1 hour and 30 mn time. Supplemental: When I create these shows I don't know the outcome of the music, so the ending results are always a thrill to listen to. I do however create structured music, and both worlds are different. Enjoy. credits released 29 March 2013 All music, sampling, mixing and mastering by Almark All rights Reserved to Almark 2013 Credits to Documentaries are as follows The Gladiator Graveyard Camp FEMA - American Lockdown Is it Real? Superhuman Powers - National Geographic Why Do We Dream - BBC The rest can be heard on bandcamp --> 1hr 30 mn synthoelectro.bandcamp.com/album/thoug…form-292013

MUSICAL PROJECT: F.ORMAL L.OGIC D.ECAY - song: "Alabama Song [WORK IN PROGRESS/excerpt]" - From forthcoming album "His Master's Void". Concept album focused on deconstruction and re-arrangement in a contemporary way of old XX century songs.

MUSICAL PROJECT: F.ORMAL L.OGIC D.ECAY - song: "Alabama Song [WORK IN PROGRESS/excerpt]" - From forthcoming album "His Master's Void". Concept album focused on deconstruction and re-arrangement in a contemporary way of old XX century songs.

"The Siamese Level" by Cédric Stevens

Nathan Breedlove and Hadley Caliman Quintet. 1988 recording in Seattle featuring Rickey Kelly, Phil Sparks and E.W.Wainwright. The band recorded twice but was never released...

MUSICAL PROJECT: F.ORMAL L.OGIC D.ECAY - song: "Summertime [WORK IN PROGRESS/excerpt]" - from forthcoming album "His Master's Void". Concept album focused on deconstruction and re-arrangement in a contemporary way of old XX century songs.

Talk of the World-Original (Very Old) me and my best friend Luke O'neal.

Jeff and Steve impromptu blues

Echo Beds at Growler Records on 20 May 2012

Echo Beds at Growler Records on 20 May 2012

Echo Beds at Growler Records on 20 May 2012

3339 by Mark Haney

Gráinne Mulvey - Shifting Colours, performed by Joe O'Farrell

An example of "musique concrete"based on the sound of an owl sonically manipulated and based on strict tone-row construction.Influenced by Stockhausen.

New Avante Garde Jazz Saxophone Duo Recording Released June 1, 2011 "Conversations with Erik & I" TrineArc Music Performers Rick Britto - tenor saxophone Erik Van Dam - alto/tenor saxophones Album Art & Design Erik Van Dam Rick Britto ©2011 All Rights Reserved by BMI and TrineArc Music Album Credits recorded mixed and mastered by Rick Britto at Saurus Studio Liner notes by Rick Britto: When Erik and I decided to do this recording we were searching to communicate musically in a whole new way. We wanted our performance to be just like a conversation between two old friends! I sat down and thought of all the ways people converse with each other so we could incorporate all the approaches people use to communicate in a conversational manor. Here are all the concepts of CONVERSATION that became a part of the approach used in recording this music project: Conversation is interactive, more-or-less spontaneous, communication between two or more conversants. Interactivity occurs because contributions to a conversation are response reactions to what has previously been said. Spontaneity occurs because a conversation must proceed, to some extent, and in some way, unpredictably, contrasting with a scripted conversation, which falls outside this definition. For a successful conversation, the partners must achieve a workable balance of contributions. A successful conversation includes mutually interesting connections between the contributors or things that the contributors know. For this to happen, those engaging in conversation must find a topic on which they both can relate in some sense. Objectives Most conversations may be classified by their goal. Conversational ends may, however, shift over the life of the conversation and may include:  Discussion where conversants compare, contrast and evaluate the respective ideas, without an opinion or position as to the correctness of any idea.  Debate where conversants' objectives are to convince others of one's position, usually where the debator assumes that the position of his opponent is incorrect.  Small talk is a type of conversation where the topic is less important than the social purpose of achieving bonding between people or managing personal distance.  Banter is non-serious conversation, usually between friends, which may rely on humor or in-jokes at the expense of those taking part. The purpose of banter may at first appear to be an offensive affront to the other person's face. However, people engaging in such a conversation are often signaling that they are comfortable enough in each others' company to be able to say such things without causing offense.

Saxophonist Rick Britto, guitarist Jim Robitaille, and drummer Chris Poudrier have performed together throughout New England for years in various ensembles, but this is their first recording together. What you have in your hand and in your CD player, is a trio project that has a clear group conception: the compositions (originals and one Clare Fischer piece), the improvisations, and the presentation. In the current landscape of jazz/improvised music that has so many vital and viable threads, sub-genres, and categories, perhaps the challenge of this music is still in creating an engaging synthesis of personal influences. These three musicians have met this challenge. TRINE is the three-sided, three-dimensional percussion instrument that appears on the cover of this recording. That instrument, with its distinctive sound and unique shape makes a durable model, analogy, and name for this ensemble, (more so than the common percussion "triangle"), primarily because of . The 'Trine' image suggests to me the idea of not merely a three-sided (pitched and rhythmic) instrument, but a 3-D sound tunnel. Conceptually, the three sides of this recording, represented by Britto's saxophone, Robitaille's guitar, and Poudrier's drums, are the variety of roles implied and explored by this formation. Listen for the layers, the soloists vs. the supporters, the collective improvisations, the 'comping (by all three), and the melodic/harmonic/intervallic content (and doublings), and much more! When you dig down into this music you'll find that all your listening is rewarded. "Politics", the Robitaille-penned title tune, immediately displays the trio's principal strength: flexibility, as well as the composer statement of 'protest'. This opening track, the longest on the recording at over eleven minutes, shows that TRINE is only focused on the exploration of the music at hand, and not on other concerns. The two Poudrier compositions, "Red Hawk Will Fly" and "Hungry Shark", use references to the natural world, evoking bold, striking creatures and rituals to conjure up different sound worlds. The Fischer work is a 5/4 drum feature that lives up to its title. Robitaille's "Figures" and "Out of Bounds" feature tri-tonic phrases and the "balance of positive/negative space" in the former, and parallel harmonies on a repeated 13-bar form in the latter. This is not a guitar/saxophone quartet without bass. These performances are intended for and shaped by this trio, and with the octave-transposing characteristics of the tenor saxophone and the guitar, and the ever-present highly-interactive Poudrier bass drum, you'll find that nothing is missing. There is no low-register hole in these textures, as all three players move in and out of it freely throughout the music. The guitar, tenor saxophone, and drum set, all have had luminous, powerful histories in improvised (and other) music. Each of these three instruments, in other hands, could easily overpower the trio. The three committed musicians in TRINE strike a superb balance between their individual contributions and the ensemble needs. The disc's title, POLITICS, is a provocative word for these proceedings because this word can be applied to many aspects of our lives: politics in the nation's capital, at city hall, at the work place, and in religious and educational institutions. POLITICS, as a concept, can be thought of as group decision-making and interactions, or in its most direct form, the relationships of power - 'acquired power' and 'applied power'. Music, and specifically improvised music, is perhaps the pinnacle of non-verbal group interaction, and this 'balance of power'. Appreciate this first TRINE recording, seek them out live, and watch and listen for more engaging music. -Andy McWain (September 2007)

Saxophonist Rick Britto, guitarist Jim Robitaille, and drummer Chris Poudrier have performed together throughout New England for years in various ensembles, but this is their first recording together. What you have in your hand and in your CD player, is a trio project that has a clear group conception: the compositions (originals and one Clare Fischer piece), the improvisations, and the presentation. In the current landscape of jazz/improvised music that has so many vital and viable threads, sub-genres, and categories, perhaps the challenge of this music is still in creating an engaging synthesis of personal influences. These three musicians have met this challenge. TRINE is the three-sided, three-dimensional percussion instrument that appears on the cover of this recording. That instrument, with its distinctive sound and unique shape makes a durable model, analogy, and name for this ensemble, (more so than the common percussion "triangle"), primarily because of . The 'Trine' image suggests to me the idea of not merely a three-sided (pitched and rhythmic) instrument, but a 3-D sound tunnel. Conceptually, the three sides of this recording, represented by Britto's saxophone, Robitaille's guitar, and Poudrier's drums, are the variety of roles implied and explored by this formation. Listen for the layers, the soloists vs. the supporters, the collective improvisations, the 'comping (by all three), and the melodic/harmonic/intervallic content (and doublings), and much more! When you dig down into this music you'll find that all your listening is rewarded. "Politics", the Robitaille-penned title tune, immediately displays the trio's principal strength: flexibility, as well as the composer statement of 'protest'. This opening track, the longest on the recording at over eleven minutes, shows that TRINE is only focused on the exploration of the music at hand, and not on other concerns. The two Poudrier compositions, "Red Hawk Will Fly" and "Hungry Shark", use references to the natural world, evoking bold, striking creatures and rituals to conjure up different sound worlds. The Fischer work is a 5/4 drum feature that lives up to its title. Robitaille's "Figures" and "Out of Bounds" feature tri-tonic phrases and the "balance of positive/negative space" in the former, and parallel harmonies on a repeated 13-bar form in the latter. This is not a guitar/saxophone quartet without bass. These performances are intended for and shaped by this trio, and with the octave-transposing characteristics of the tenor saxophone and the guitar, and the ever-present highly-interactive Poudrier bass drum, you'll find that nothing is missing. There is no low-register hole in these textures, as all three players move in and out of it freely throughout the music. The guitar, tenor saxophone, and drum set, all have had luminous, powerful histories in improvised (and other) music. Each of these three instruments, in other hands, could easily overpower the trio. The three committed musicians in TRINE strike a superb balance between their individual contributions and the ensemble needs. The disc's title, POLITICS, is a provocative word for these proceedings because this word can be applied to many aspects of our lives: politics in the nation's capital, at city hall, at the work place, and in religious and educational institutions. POLITICS, as a concept, can be thought of as group decision-making and interactions, or in its most direct form, the relationships of power - 'acquired power' and 'applied power'. Music, and specifically improvised music, is perhaps the pinnacle of non-verbal group interaction, and this 'balance of power'. Appreciate this first TRINE recording, seek them out live, and watch and listen for more engaging music. -Andy McWain (September 2007)

ANDY McWAIN, pianist - improviser - composer Resemblance © 2007 Fuller Street Music (634479731464) MP3 price: $8.99 Andy McWain Ensemble: RESEMBLANCE (fuller street music, fsm 3146) is NOW AVAILABLE from Apple iTunes and as a complete mp3 album from CD baby, and will be available soon from a number of other digital download sites (emusic, rhapsody, napster). This project features music from two separate recording sessions: one with Assif Tsahar (tenor sax/bass cl), Albey Balgochian (elec upright bass), and Chris Poudrier (dr/perc) with Andy McWain on acoustic piano; and another session with Sofia Koutsovitis (voc), Rick Britto (sax). Jeremy Udden (sax), David Landoni (acoustic bass), and Chris Poudrier (dr/perc) with Andy McWain on elec. piano...). Recorded, Mixed and mastered (Saurus Studio) at three studios around Massachusetts, this will be a digital distribution/digital download-only project. Sounds, etc. also at http://www.myspace.com/andymcwainensemble Andy McWain Ensemble: RESEMBLANCE TRACKS: 1. Uptown/Downtown (McWain) 7:51 2. Ritual (McWain/Tsahar) 3:19 3. Metal Dog/Earth Monkey (McWain) 6:59 4. Ideology (McWain/Tsahar/Balgochian/Poudrier) 4:22 5. Interlude I (McWain/Koutsovitis/Poudrier) 0:40 6. Resemblance (McWain) 11:17 7. Resemblance [solo pno] (McWain) 7:17 8. Twice (McWain) 7:08 9. Wild Duck (McWain) 4:04 10. Interlude II (McWain/Koutsovitis/Poudrier) 0:27 11. Dream Dance (McWain) 10:07 12. Union (McWain) 6:08 Andy McWain Ensemble: RESEMBLANCE Publishing: McWain/Fuller Street Music (ASCAP); Tsahar/Tohuvavohu (ASCAP); MUSICIANS: Andy McWain acoustic piano (1,2,4,7,8,12); electric piano (3,5,6,9-11) Assif Tsahar tenor saxophone (1,2,4,8,12) Rick Britto tenor saxophone (3,6,9,11) Jeremy Udden alto saxophone (3); soprano saxophone (6) Sofia Koutsovitis voice (3,5,6,9-11) Albey Balgochian electric upright bass (1,4,8,12) David Landoni acoustic bass (3,6,9,11) Chris Poudrier drums/percussion (1,3-6,8-12)

Denis Charles IVtet - In Walked Monk movie.mov

Live solo performance of dVine from quinni.

You Disappear - Jeremy Gluck and Jean Montag

Kevin Donohue - guitars, bass, piano Mark Lind-Hanson - guitars, bass, piano, dulcimer Remixed 1988

Horns jammin'

I wrote this piece in November of 2011.