Originally release date: 1996. With Gerry Hemingway (percussion), Mark Dresser (bass), and Phil Minton (voice). Third cd from the Say No More project.
This is the third CD in the Say No More series. For the first CD, I asked the musicians to separately record solo improvisations. I put the resulting solo recordings into an early digital audio editor, brake them into fragments, and reassembled them as a "band." Next, gave the musique concrete composition I had created back to the musicians and asked them to learn their parts from the recording. We rehearsed the music and toured it as a live group, finally recording a concert that became the second CD in the Say No More series, titled Say No More in Person.
Then I took that recording, put it back into the computer, broke it apart, and created a new musique concrete composition which is this recording here: Verbatim.
Finally, I created a score of Verbatim, and the live group toured it extensively and recorded the concert version, Verbatim, Flesh & Blood, in Gent, Belgium in January 1998. This is the last CD in the series, the culmination of seven years of work.
My interests in this project were several. First, it allowed me to apply the compositional techniques common to musique concrete (sculpting and shaping a composition in the actual audio medium) to the work of composing for live ensemble.
Second, I was interested in creating a new sort of bi-directional flow between composer and instrumentalist, in which the result of one's work immediately becomes the raw material of the other's.
Finally, I wanted to use technology to alter the relationship between the instrumentalists and their own music. Each musician was asked to learn parts derived directly from his own improvisations. In effect I was sitting each player down in front of a mirror image of his own music. But the mirror was curved into prisms and lenses which were the results of the transformations I had made in the process of creating the "band" from the original solos.
- Bob Ostertag
"Thoroughly attuned to life in the mid-90s, [Say No More] is more than an experiment and much more than merely sensational. Astonishingly, the music never seems artificial. With acute sensitivity, Ostertag catches the strengths of his partners and lifts them up to a new level, magnifying the skill and intensity of these extraordinary virtuosos. The border between live improvisation and computerized manipulation blurs and if finally made irrelevant by the music which results."
-- Jazzthetik (Germany)
"A trip into another dimension of music, and into a world as full of clashes and conflict as the one in which we live."
-- Forum (Germany)