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Bret Hart - Amy Denio: IMPROVISED DUETS [2001 - digital]

by Bret Hart - Amy Denio

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1.
1 HARMONIC REVERSAL 02:47
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2.
2 EPIC ROLE 03:50
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3.
3 ENGLISH AS A SECOND LANGUAGE 01:49
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4.
4 POPPY 02:34
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5.
5 LOOP IN 5 01:28
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6.
6 PLATON[ARCOT]IC 04:21
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7.
8 ARCHAEOPTERYX TAILFEATHER 09:42
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8.
8 A TRAIL OF BONES 06:56
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9.
10 MOTHRA 08:08
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10.
11 HappSlappy 04:35
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about

Excerpted from Free-Improv Case Studies: Bret Hart's Duets Series
by Jerry Kranitz

Q: Tell me about your experience doing this project. Were you the "initiator" or "finisher"? If you were the finisher, were you surprised or feel challenged by what Bret sent you? If you were the initiator, were you surprised by the results after Bret finished it? If the result was something very different from what you're accustomed to could you offer some comments or thoughts?

Amy Denio: Finisher. It had lovely, noisy things, and felt quite open, so I treated all the tracks as a single piece. I didn't pre-listen to it, so it was a very fresh experience of improvising. When I recorded my bits, I just did one take, and lots of wonderful synchronous things occurred with tonality, rhythm, natural dynamics, etc. I felt like we were together in the same room, having conquered the time/space continuum!

Q: Most of the Duets projects have been done by snail and email. Was this a new experience for you? Can you offer any thoughts about what it's like to collaborate on a musical project this way?

Any Denio: I've been collaborating with a few people like Mike Hovancsek through snail mail and email through the years. It definitely takes improvising to a new level! Destruction of the Time Space Continuum!

Q: Is it correct to assume that it's always preferable to be physically in the same place when collaborating, or did you find advantages or benefits to collaborating in this manner?

Any Denio: I guess the act of improvising was freer in a way, because I was alone when playing. When I'm playing together physically with someone else, there are countless variables which affect the interaction - facial expressions, smells, eye contact, and pheremones. All of these things affect the intellect somehow. Without those, the experience of playing to a recording is somehow purer, because my actions are more intuitive.

Q: Do you have a specific thought(s) or image(s) in mind when improvising? Or are you really just freely "letting ‘er rip"? That is, do you typically apply any rules or guidelines to the process or does the music come straight from the soul?

Any Denio: Usually I try not to, unless a specific structure has been set up. I judge the experience of improvising music to be best when I'm not thinking or rationalizing or justifying or controlling or depending. The less I remember from an improvised session, the better I feel about tapping my intuition. We gotta go with the fo(rward) mo(tion) flow.

[SEE ALSO: Amy Denio: http://www.amydenio.com]
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Amy Denio: voice + electronics, percussion

Bret Hart: MIDI instrument (1), stereo guitar/voice samples/percussion (2), ambient field recording (3), water/stainless steel bowls/mallets (4), prepared acoustic guitar (5), prepared telephone answering machine (6), aeolian harp/4-string guitar (7)

Bret's parts recorded at HipWorks Mobile Tone-Magnet, Eden NC 2001
Amy's parts recorded at SPOOT MUSIC, Portland, OR 2001

credits

released September 2, 2017

Bret Hart - Amy Denio: IMPROVISED DUETS [2001]
Amy Denio: voice + electronics, percussion

Bret Hart: MIDI instrument (1), stereo guitar/voice samples/percussion (2), ambient field recording (3), water/stainless steel bowls/mallets (4), prepared acoustic guitar (5), prepared telephone answering machine (6), aeolian harp/4-string guitar (7)

Bret's parts recorded at HipWorks Mobile Tone-Magnet, Eden NC 2001
Amy's parts recorded at SPOOT MUSIC, Seattle, WA 2001

[SEE ALSO: Amy Denio: http://www.amydenio.com]

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Bret H. Hart Eden, North Carolina

Bret Hart is a musician, artist, and child of God living in North Carolina.
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"Life is too short to spend it making nothing."

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