Prelude to the first act of the play Le fils des étoiles, Josephin Peladan.

tigress and the u-fraidees adaptation.

Le fils des étoiles

note the planed fourths in the opening.



Sounds like McCoy Tyner or something. 1891!

edit = revision; some felicities that were absent from SC upload and of course this is a higher resolution file.

Act I [Prelude and Theme] seguing into Act II [Prelude]:

http://soundcloud.com/notevenhardly/le-fils-des-toiles-secti ons-1
Last edited by jancivil on Thu Feb 28, 2013 9:52 am; edited 10 times in total

The link doesn't work, keep getting:

"Sorry! Something went wrong"

Wow. It works for me. SC has been f**king me today, a number of times on facebook clicking on the image resulted in 'not available' when it was right there.



the widget has worked every time I tried it here as well.
Last edited by jancivil on Sun Feb 03, 2013 10:31 pm; edited 2 times in total

I've told you this before, but there's a bagpipe move you make occasionally on the guitar that I love... in here at :24.

Your fractured jazz opera never fails to intrigue, but I still want to hear you cut loose on a groove some day.

The piano was beautiful, why does the chord at 3:17 hit an emotional button for me... I don't know.

What is that reverb on the guitar? Sounds sorta spring-y.

Sorry, I'm jumping all over the place, but I really enjoyed this.

In many ways, this is your most accomplished piece to date. You have broadened your horizons imho (especially since the Satie assimilations, which were mesmerising), but the Stranger series took your work to another level. (What would I know, I am just an interested, and let's be honest, a casual, but keen observer). Every piece of yours that I have heard over the last couple of years has been most impressive, and this is no exception. The way you have combined seemingly unsuited instruments is so reminiscent of FZ, but you manage to achieve a similar effect without employing a 10-piece band.

Anyway, the guitar is gritty, almost to the point where pieces of it get caught between the upper and lower teeth whilst biting down upon the previous phrase. The piano is most impressive, but forget about Mr. Tyner (yes, really). It stands on its own. Jazz/Rock/Classical - they're merely labels. I don't particularly care for them and this track could certainly do without them too. There was a sustained organ around 1:15 that was sitting in the background. Seemingly inconsequential, but it's effect was fundamental to the feel of the piece. The last two minutes of piano were grandiose, but requisite.

I loved it

I know exactly what you mean. he makes that transition really happen right there; the middle section sets that up structurally and he melds the questioning section preceding it into that style.

the verb on the guitar is VSL Hybrid Reverb, "algorithmically-spiced version of the GrosserSaal of Wiener Konzerthaus". It's kind of bright for my tastes today. there is a kind of long predelay is what you're sensing.
Last edited by jancivil on Fri Feb 01, 2013 7:15 pm; edited 1 time in total

I literally choke up at that moment... glad it's not just me.

I think this piece meant something to Satie, in his kind of religion. the subtitle 'La Vocation' means 'the calling', eg., perpetual adoration. 'Child of the Stars'...

there are three peculiar organs here out of Vintage Organs 'special' folder. I read that this was supposed to have been for orchestra but that never happened and there is no published version. other works at the time read: 'harmonium/flute-harp' which is believed to be designation for the stops. I didn't know that until I had arranged it but it is essential to the first part and the middle I think has to have it. I encountered it as piano solo; the first part with the parallel stacked quartal structures STUNNED me, which is where I get McCoy out of it. or Lennie Tristano.

there were others doing new things with chords in the late 19th century but to me that blatant stacking, eg., 'C F Bb Eb A D' is visionary, like time travel.



this:
[@2:08] is some true genius. It's simple, it's transparent, and it's tremendous.
Last edited by jancivil on Sat Feb 02, 2013 6:44 am; edited 1 time in total

thank you for the good words. it's interesting particularly to see what other people think. this was one of these projects that took like four days in all, for me it's quick work. But I had lived with the idea in the back of my mind. the Satie adaptations are refueling exercises when I'm ready for a change of direction. I still think the next thing could be hip hop and a static groove but I'm very curious about things. This seems mature because of the adult feel of jazz to me.

Excellent! Very musically accomplished with a bit of kick ass guitar. Who says you can't have your cake and eat it too?

thank you FrantzM

I do it all the time. it's just a quality of a strong hammer/pull, typically such as 'tapping' provides. especially with a pick, which Zappa did and in fact called his Bulgarian Bagpipes approach.
Stranger 'n' - #5
gets into stretches of 4/4 with a consistent backbeat... there is lead guitar from start to finish.

This is indeed bizarrely modern jazz in tone for a piece that was written 10 years before Louis Armstrong was born.

How much of this 'adaptation' is original material?

In any case it is both interesting and well-crafted. An engaging listening experience.