The Duke Ellington Orchestra was one of many great bands that inspired the scaled down big band sound of OCTET.
OCTET
thoughts on a contemporary music ensemble
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2012-04-16
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Where does the concept of OCTET and a scaled down big band come from and is there an association to the music of 1930s -1940s swing era?
I played in big bands and combos as a teenager. I know the music and how the instruments work together. Beyond the instrumentation, there might be associations to the swing era, but they are not conscience ones.
Our instrumentation is similar to the early swing era big bands that included sections of saxophones, trumpets, and trombones, a rhythm section of piano, bass, drums, and guitar, and often a vocalist.
OCTET does one each of the brass (sax, trumpet, trombone), rhythm section of piano, bass, drums and electric piano, plus vocals.
I play the electric piano and what’s nice about it is its flexibility. For example, if I want sustained chords I can use an organ sound. If I want a punchy sound I can use a Fender Rhodes sound and so on.
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2012-03-15
Our recording engineer, John Kilgore, mixing tracks from OCTET in his studio in NYC.
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What do we mean when we say “we push boundaries?”
We mean many things by it. In OCTET try to create, perform and record music that challenges the imagination of the performer and listener. We are interested in forming collaborations with other artists in other mediums that will challenge us as music creators.
Each new work and recording we make pushes us to ask questions about what we are trying to do and how best to accomplish it.
As an example, when we were mixing some of my songs recently in New York, our recording engineer, John Kilgore and I were trying to figure out where best to place the instruments in the balance. We discussed the interaction of the lines and John suggested spacing them in the left and right channel to compliment and enhance the musical dialogue. John’s ear is exceptional.
I look at the recording and mixing process as a part of the overall collaboration in the composition of the music. The way it is recorded and mixed directly effects how the music will be perceived.
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2012-03-09
Source: SoundCloud / OCTET
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Source: SoundCloud / OCTET
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Source: SoundCloud / OCTET
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Camille
Originally, I composed Camille for the Italian Ensemble PIccola Accademia degli Specchi (PADS).They gave a brilliant performance of the work in Middelburg, Netherlands at an acoustically exceptional venue, Zeeuwse Concertzaal. You can here this live recording and view the score here.
Subsequently, I arranged Camille for OCTET and recorded and mixed the piece at Kilgore Sound in NYC with some additional mixing by Stephen Hart at The Site in San Rafael.
The piece takes on a different quality when performed by OCTET. Some features that stand out in the OCTET recording is the fact that we have a drummer (Greg Zuber). Also, In movement II of the PADS version there are string harmonics. For the OCTET arrangement, the violin harmonics are given to vocalist Mellissa Hughes. She also creates a powerful effect in the finale of the III movement “Triumph”.
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2012-02-25
OCTET taking a bow after premiere of Piano Concerto at Carnegie Hall (photo courtesy of Ken Goodman)
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2012-02-23
An Excerpt from the Opus One Memphis Interview
Do you find that modern audiences are excited to hear premieres of works? After all, that’s how all the great Classical composers got their start!
It all depends on the venue and the vibe. I think it’s vital that audiences meet composers at a concert. Audiences always have an opportunity to see and, or meet a conductor, soloist or orchestra members yet it is ironic that composers are often overlooked. I think audiences would get more excited about new pieces if they were given an opportunity to have some sort of human connection even if it’s only to see the composer take a bow. Question and answer sessions before or after a concert also help foster communication.
So, in answer to your question, I do not really think audiences are generally excited about hearing premieres of new works, but they could be. It’s all about communication, reaching out and saying hey, check this out, it’s something new, meet the composer, hear him talk about his music, we think you might connect with his sound or what inspired him, etc. I think it’s also helpful when the musicians performing the music get a chance to meet the composer.
I think the MSO’s Opus One Series is making a great step forward in reaching out to audiences. A smaller, relaxed venue can create a more personal connection for the audience and performers.
I’m interested in hearing more about your chamber music group, OCTET. For all of you readers who aren’t familiar with OCTET, it’s an awesome New York-based music ensemble dedicated to performing contemporary compositions that push boundaries. What inspired you to start OCTET?
What inspired me to start OCTET was the need to hear my music. It’s always been a challenge to get performances. I wanted to take control of getting my music performed and recorded. I also wanted to create a distinctive ensemble sound. Our instrumentation is sax, trumpet, trombone, drums, piano, keyboards, vocals, and bass. We are a scaled down big band playing contemporary classical.Source: opusonememphis.wordpress.com
