Jules and I have been playing wildly creative music together in duo and other formats since 1977. Incredibly, we have never before recorded a duo project - a longstanding oversight that I am glad to finally correct with this release. - Scott Robinson
Jules and Scott gave me a night of music I'll never forget. It was abstract, but at the same time felt utterly composed... changing from moving harmony and melodies to ephemeral sound sculptures. I was blown away... I couldn't tell who was leading and who was following, and I'd bet they couldn't either. This is music not to be missed. Who needs a composer with two masterful and connected individuals such as this? - Grammy-winning composer Maria Schneider
"This CD is so amazing... what a wonderful idea!" - Roscoe Mitchell
TRACK/INSTRUMENT LIST:
1) Nucleus (2:02) JT: bass SR: tenor sax
2) Charged Particles (2:10) JT: Hammond M3 SR: Hammond RT-3
3) Meson (1:22) JT: bass SR: clarinet
4) Stellar Winds (1:49) JT: bass banjo SR: bass sax
5) Spiral Arm (3:57) JT; bass SR: theremin through Leslie speaker
6) Submolecular Structure #2 (2:24) JT: bass marimba SR: bass marimba
7) Nucleonic Dance (2:12) JT: bass SR: tenor sax
8) Molecular Cloud (3:20) JT: electronic harpsichord, wind machine SR: vibraphone, bass marimba, buzz marimba, tuned cowbells, siren, washboard, ratchet, gong
9) Fluxion (1:50) JT: bass SR: slide saxophone
10) Heavy Elements (1:12) JT: bass banjo SR: bass sax
11) Gravitational Lens (3:32) JT: Hammond M3 SR: Hammond RT-3
12) Submolecular Structure #5 (1:52) JT: bass marimba SR: bass marimba
13) Muon (:52) JT: bass SR: clarinet
14) Cosmonucleonics (2:16) JT: bass SR: tenor sax
15) Dark Matter (3:19) JT: bass SR: contrabass clarinet
16) Atomicity (1:18) JT: bass w/ guitar pick SR: sopranino sax
17) Synchrotron (2:19) JT: bass SR: bass sax
18) Proplyd (1:00) JT: bass SR: C-melody sax
19) Nebulosity (3:54) JT: bass drum SR: bass clarinet
20) RF Transmission (5:27) JT: bass SR: R.F. signal generator, RCA test oscillator, optical theremin, muson
21) Time Weeps (4:10) JT: bass SR: alto sax
22) Molecular Space (1:52) (as #8 above, no gong)
23) Isospin (1:00) JT: bass SR: echo cornet
24) Dark Energy (1:07) JT: bass SR: contrabass sarrusophone
25) Ionosphere (3:43) JT: bass SR: trautonium through Leslie speaker, Hammond RT-3
26) Instanton (:10) JT: bass w/ guitar pick SR: sopranino sax
27) Electron Pair (1:32) JT: bass SR: alto sax
All sounds recorded at ScienSonic Laboratories, Teaneck NJ. Tracks 2, 6, 11, 12, 15, 19, 24 recorded Aug. 14, 2007. Tracks 1, 3, 5, 7, 9, 14, 17, 18, 21, 23, 25, 27 recorded Aug. 15, 2007. Tracks 13 & 20 recorded Nov. 8, 2007. Tracks 4, 8, 10, 16, 22, 26 recorded June 5, 2009.
All music was entirely improvised with little or no prior discussion, and is presented without the use of edits or overdubs.
Recorded, mixed and mastered by Scott Robinson. Additional mastering by Jon Rosenberg.
Special thanks to Sharon Robinson, Eddy Davis, Rich Powers, Tair Powers, Jane Frank, Alan Nahigian, Tommy DiPippo, Frank Reilly, Maria Schneider.
RF Transmission is dedicated to Rob Fisher.
All compositions by Scott Robinson and Julian Thayer, published by MultiSonic Music, BMI & ScienSonic Music, ASCAP. Titles by Scott Robinson.
Scott Robinson plays Vandoren reeds and mouthpieces.
Scott Robinson photos by David F. Robinson; Julian Thayer photos by Daniela Bathina.
Cover painting by Richard Powers; used by agreement with the estate. Artwork copyright © The Estate of Richard M. Powers.
Album cover concept and design by Scott Robinson.
Graphics and layout by Kathy Ridl.
Also available from ScienSonic Laboratories: Live at Space Farms, SS01-1&2
HOW TO USE THIS CD
Years of planning and effort have gone into the production of this ScienSonic recording. Science and Sound have been skillfully brought together by our team of experts to craft a unique listening experience. We at ScienSonic Laboratories think of this CD as more than just an audio document. To us, it is also a means of transportation, and we want you, our valued listener, to have as transporting an experience as possible. With that in mind, we provide a few helpful guidelines for its optimal use:
-- Use of this CD in the stereo system of a moving vehicle is not recommended, as this can be detrimental both to the auditory experience and to vehicular safety.
-- This recording is best listened to in a quiet, distraction-free environment, free from other activities or tasks, through high-quality stereo speakers or headphones. Complete concentration will yield best results.
-- We respectfully suggest that the listener experience each entire disc from beginning to end without interruption, as great care has been taken to ensure that the programming provides an optimal listening experience.
-- The high-quality artwork accompanying all ScienSonic releases has been carefully selected for its beneficial effects upon the imagination. Keep it handy when listening!
-- Our ScienSonic products have been carefully designed with you, the creative and adventurous listener, in mind. Anyone can be a creative listener! All that is required is a healthy imagination and a willingness to let this music guide you wherever both you and it seem inclined to go. Concern for such categorical distinctions as “music/non-music”, “tonal/non-tonal”, etc., would likely hinder this process.
-- After listening, a brief “cooling down” period, free of strenuous activity such as operating heavy machinery, is suggested.
-- Repeat listenings are encouraged. Listeners are kindly invited to share their experiences with us at: www.sciensonic.net
We at ScienSonic Research Laboratories hold our adventurous and high-spirited listeners in high esteem, and we humbly thank you for your interest in our work. Please “keep an ear out” for our future endeavors which will include many exciting and far-reaching projects.
Thank you, be safe, and have a good trip!
- Your ScienSonic Research Laboratory Technicians
“Worlds of Tomorrow through Sound”
A SCIENSONIC STATEMENT OF PURPOSE
ScienSonic Laboratories was founded on the idea that creative and challenging music is not for an elite few with some special knowledge, training or insight, but for anyone. No prior experience, Ph.D., or decoder ring are required for the adventurous and open-minded listener to experience and enjoy this music. It need not be “understood” or “figured out”, but rather is designed to be experienced, and for this reason we have created the term “experiential music” to describe our efforts.
We further contend that science has a place in music and vice versa, and that the two disciplines often share similar aims and methods. We are interested in the application of scientific methodologies to creative music-making, as well as the examination of scientific materials from an aesthetic perspective. Many of our projects at ScienSonic Laboratories will explore these aesthetic interrelationships between science and sound – hence our name.
We reject the oft-repeated notion that music must come from either “head” or “heart”, as if these could somehow be separated, and that a great chasm yawns between the “intellectual” and the “emotional” in art. We contend that, throughout history, the great scientists, thinkers, and mathematicians have been deeply passionate, even mystical, people. There is no dry intellectualism in the work of Pythagoras, Tycho or Euler, any more than in the work of poets, artists or musicians. Many great scientists have, in fact, been musicians or artists themselves. Einstein (himself an amateur violinist) stated that “imagination is more important than knowledge”. We agree! Indeed, imagination and creativity are key to achieving great things in the sciences, just as they are in the arts... and imagination will always be the guiding force here at ScienSonic Laboratories.
The great composer Gustav Mahler once famously remarked that “a symphony must contain a world”, and it is in that spirit that we offer these “Worlds of Tomorrow through Sound”... worlds that we hope will be welcoming, as well as challenging, to the creative listener.
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