Miranda according De Robina: Improvisation, Experimentation and Electroacoustics Andrs De Robina, Marcos Miranda, and Alejandro Cayetano Side A Improvisation, Experimentation and Electroacoustics 1. Vuelo y canto (Flutes) 4.14 2. Burbujas de metal (Zither, and Plastic Bottles) 4.56 3. Recorrido (Bass Clarinet, Alto Clarinet, Khen, and Cordophone) 6.58 4. Plegaria (Ney) 5.12 5. Free Sax (Soprano Saxophone) 7.28 6. Torrente (Bass Saxophone, and Khen) 4.30 7. Ungento propagante (Didgeridoo, Alto and Contralto Clarinets, and Saxophones from the Andes) 7.04 8. Borboteo (Mouth Harps) 7.15 9. Rondando (Rondadores) 1.36 10. Madera de frica (Kalimbas) 6.06 Side B Acoustic-Polyphonic Intervention 11. Avasallamiento 2.56 12. El empoderamiento 10.01 13. Segundo avasallamiento 3.51 14. Abandono 7.29 -Marcos Miranda: Bass, Alto, and Soprano Saxophones; Bass, Alto, and Contralto Clarinets; Khen; Ney; Hose; Saxophone from the Andes; Flute; Rondador; Mouth Harps; Kalimbas; Zither; and Toys. -Alejandro Cayetano: Didgeridoo; Cordophone; Mouth Harp; Plastic Bottles; Saxophone from the Andes; Rondador; Flute; Kalimba (B Side only); Marimbol; Bendir; Cajn; Toys; and Drums on 11 and 14. -Andrs De Robina: Toys, and Drums on 11, 12, and 13. Side A Improvisation, Experimentation and Electroacoustics This project was born out of my intention of making a record in collaboration with Marcos Miranda, and to produce it for the Cero-Records label. The idea we came up with was to utilize Marcos exceptional skills on multi instrumental improvisation (through the recording of extended solo improvisations), and to mix them with my own on choosing, editing, combining and processing recorded materials. Marcos used all his ethnic instruments for the sessions, along with several saxophones and clarinets, recording more than seven hours of material; most of it consisted on solos by Marcos, another considerable portion consisted of improvisations by Marcos and Alejandro, and then a small part, some duet improvisations for drums and bass saxophone by Marcos and me, and some trio improvisations in which the three of us played toys. Afterwards, it was my turn to work on the recorded material in order to select, process, and build it on to a series of pieces, that were constructed around the idea of using one or two instruments per piece, contrasting the acoustic version of the instruments with their processed versions, sometimes using the same improvisation. I used complete unedited improvisations, edited fragments that were relocated, along with electroacoustically processed material. All this to create a net of things happening between the improvisation and the electroacoustics. Side B Acoustic-polyphonic intervention This part of the record was integrated with the same improvisations, but with an entirely different approach; improvisations were layered upon each other until getting up to 16 simultaneous layers, without the use of electro-acoustic processing, the result are overloaded atmospheres of information, in which a peculiar sense of coherence is intended, in the midst of saturation and chaos. Andrs De Robina Impro-Vision. Improvisation as a tool for the enlightenment of the dark side of the being... Individual-Society = Language-Structure. Composition as a vision of improvisation. Tool that enlighten the living being. Each sound as a reflection of a consolidation process into a personal language... Composition-Structure = Society-Individual. Instinct, certainty, pleasure, trust: music for the universe; music from the universe. Bytes, notes, noises, and frequencies manipulation: 'As much unisons as stars on the sky.' Music from the invisible for the invisible. In the pupil of the cosmos. In the heart of the sky. Marcos Miranda Credits Concept: Andrs De Robina, and Marcos Miranda Edition, electroacoustics, and production: Andrs De Robina Musicians: Marcos Miranda, Alejandro Cayetano, and Andrs De Robina Recording, mixing, and mastering: Estudio de piedra Graphic Art: Mamut Photos: Gabriel Hernndez Tinajero.
