Gustavo Aguilar | Unsettled On An Old Sense Of Place

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Avant Garde: Structured Improvisation Classical: Percussion Ensemble Moods: Type: Experimental
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Unsettled On An Old Sense Of Place

by Gustavo Aguilar

Percussion is the primary focus but this creative ensemble also combines composed and improvised music.
Genre: Avant Garde: Structured Improvisation
Release Date: 

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Tracks

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1. Xochicalco (for Julio)
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7:19 $0.99
2. Contrafactum for Scelsi
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4:22 $0.99
3. RoCaMaYoHa
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10:28 $0.99
4. Dirac's Theory
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3:28 $0.99
5. Suprachiasmatic Nuclei
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15:28 $0.99
6. Wendell's History
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6:32 $0.99
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ABOUT THIS ALBUM


Album Notes
GUSTAVO AGUILAR is a percussionist, composer, and improviser. He has been honing his craft as a music artisan for almost two decades. His commitment to combining pre-composed (notated) and present-composed (improvised) musical elements has earned him the reputation as an \"intuitive and a methodical mystic.\" His music has been called \"beautiful, introspective and passionate,\"(The Improvisor) as well as \"thought-provoking and thoroughly fresh\" (Signal to Noise). For well over a decade, Aguilar has dedicated himself to the Creative Musician approach to composition and improvisation with roots that can be traced to the 1960s and to Chicago\'s AACM (Association for the Advancement of Creative Music). He has been mentored by and performed with, Creative Music luminary and AACM member, Wadada Leo Smith, and has appeared as a soloist/group collaborator at major festivals throughout the Americas, Europe, Asia, and the Pacific, including IRCAM\'s Festival Agora (Paris), the Zagreb Biennale International Festival of New Music (Croatia), the Ulrichsberger Kaleidophon International Jazz and Improv Festival (Austria), the Copenhagen Jazz Festival (Denmark), the American Composer\'s Orchestra Improvise! Festival (NYC), the Los Angeles Philharmonic\'s Green Umbrella New Music Series, and the Interpretations Music Series (NYC)

A Brownsville, Texas native, Gustavo has been on faculty at the University of California (San Diego), Del Mar College/Texas A&M Corpus Christi, Korea National University of the Arts, and The University of Akron, and has given lectures and master classes at universities and symposia across the United States and abroad. Over the years, his work has benefited from the support of the Ahmanson Foundation, Arts International, the Korean Ministry of Culture, the Los Angeles Cultural Affairs Department, National Presenter\'s Network, Ohio Arts Council, and the University of California.

Gustavo\'s current projects include the Gustavo Aguilar Get Libre Collective; the Aguilar/Howard Duo with saxophonist and electronics pioneer, Earl Howard; and soNu, an electro-acoustic ensemble that Downtown Music Gallery has called an \"intriguing gem.\" His discography includes solo and collaborative releases on Acoustic Levitation Records, Circumvention Music, Edition Modern, Mode Records, Mutable Music, Nine Winds Records, Samsung-Ak, Sang-Joong-Ha Music, and TaRaGa.

Gustavo holds the position of Music Director with GroundWorks Dance Theater of Cleveland,
Ohio — a position he has held since 1997 — and is Co-founder and Co-Artistic Director of Tug, a documentary production and artist/performance collective that serves as a platform for his critical thinking and creative energies. www.gustavoaguilar.com

The other eclectic and talented musicians on the CD:

Nina Eidsheim (voice) from Norway now living in North Carolina
Mary Oliver (viola) from San Diego now living in Amsterdam
Anne LeBaron (prepared harp) Los Angeles http://www.annelebaron.com/
Phil Curtis (live processing) Los Angeles http://www.philcurtis.org/music.html
Alan Lechusza (woodwinds) San Diego http://www.myspace.com/alanlechuszamusic/


Reviews


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Tamara at CD Baby


The trend in avant garde, improvised music these days is often guided by a sense of a “busting apart,” of pieces being flung outward from a dissolved or imperceptible center, of small shards of ideas with no home or center to come back to. Like thoughts without the mind to think them, like a mind without a body, this tendency often leaves an overall impression of disconnection. However, this is not the case with Gustavo Aguilar. As conveyed by his title, “Unsettled On an Old Sense of Place,” while these shards of sound explore daring and limitless territory, there is an overwhelming yearning in these gestures for their center. While that center is felt to varying degrees, the paths that these shards travel to the nucleus are intangible, but are perceptible. Without being horizontal enough in its structure to touch on the “sound scape” description, and despite the lack of meter or a bar line, Aguilar’s sense of musical development is not lost on the listener who is attentive to form and structure, and who is hoping to be taken some place, rather than simply be bombarded with seemingly-random splinters of noise. Inspired by recollections from his childhood, these pieces are experienced like moving collages, not unlike a kaleidoscope of definitive, vivid fragments, playfully intertwining, rising, falling and transforming.