To celebrate the 10-year anniversary of my first project Boxing, I will donate ALL proceeds of your $10 CD purchase to Programa Sueños. This is a new charity created to assist and promote education for low-income children in Guatemala spearheaded by my friend Jazmin Carrillo. You can read all about it here.
What is Boxing? Now for the history.
Boxing was recorded in NYC between 1999-2001. Here is the original synopsis from my first website.
“Boxing is a recording of instrumental music for guitar, bass, and drums. The idea originated in 1998 out of necessity/want for timekeeping while [literally] boxing. It eventually became a piece about format, overstimulation, and polytonality. The recording has nothing to do with sports, but uses boxing [metaphorically] as a parallel [re: vehicle] to transcendence. I wanted to do all that and still rock.”
My present-day edits are in brackets. I’ve become a better writer since then.
The format depicts a 12-round match via 3-minute “rounds” and 1-minute “breaks”. Pieces are titled as they are numbered 1-12. There (also) is an overall arc of activity: the bombast/exposition of Round 1, the open-throttle chaos of Round 6, the utter blackout of the last 11 minutes. One should refer to this graphic: it is the play-list.
The instrumentation is intentionally singular: guitar, bass, and drums. There is quite a bit of processing/design to it and (as much as I tried to stretch it) its monochromaticism is intentional theme-glue. Boxing takes genre cues from (only the many) punk, shoegaze, motorik, minimalist, noise/ambient areas. The iTunes Store files it under Classical and you can get it there as well.
There are some production flaws but you don’t rewrite your diary.
As if this wasn’t ambitious enough, I’ve decided to make a Boxing film. Here is Round/Break 1. You can also see it on my Vimeo and YouTube pages.
Thanks and enjoy!
Here’s some new sound-film action. Also on Vimeo. Enjoy!
I created my first Kickstarter campaign this past Monday 3/19/12. Here’s what it is.
I’ve known and worked with singer/songwriter R.M. Charde (‘Bob’) on various music and art projects for over 20 years. In 2007, I produced a song of his called “Good Morning”, which David B. Levy animated into a short film. The film was a success; it airs on Nick Jr, and made the rounds at every major kid’s film festival.
Here’s some extra back story you won’t read on Kickstarter. In 1998, Bob and I co-scored David’s first film Snow Business, which placed second for Best Score at the ASIFA Festival of the same year. I believe it was John Canemaker’s Bridgehampton that took first. It was at this after-party that I first met Don Duga. I was living in the Hamptons at the time and actually gave Don a ride out east. We’ve cast Don Duga to be our next animator for Bob’s song “When I’m With You” and everything else you need to know is on the Kickstarter page. You can also pledge monetary support via Paypal. Click and enter your amount. The charge will be listed as “March Kickstarter Campaign”.
Legal note: Paypal DOES NOT work like the Kickstarter model of all-or-nothing. Once you submit any money to CA70 Music, INC. (a for-profit S Corp) you support the endeavors of CA70 Music, INC. via a non-refundable pledge. Paypal pledge = I trust Chris Jones/CA70 and his projects without Kickstarter. I do not expect to/WILL NOT see my money back if the Kickstarter campaign fails. For Paypal’s complete legal dossier, click here. In the event that a Paypal pledge arrives to an under-funded Kickstarter campaign, I will be converting said funds to Kickstarter pledges. I will do my best to align that individual to corresponding incentives but CA70 is NOT legally required to do so.
Planetarium was conceived in 2001 after attending a lecture at the Lowell Observatory in Flagstaff, Arizona.
The idea was to create representations of planetary orbits in a “musical” way so they could be sensed or (in this case) heard. Each planets’ size (diameter) is represented by a tone (sine) within a fixed spectrum. Initially, this spectrum was too large (first experiments were set at 40-10k Hz) and resulted in sounds (even) I thought to be unlistenable. I decided to limit the spectrum to the current 2-octave range of 415-1660 Hz (Jupiter and Pluto being the extremes). The “years” are reduced to 1/10,000,000.
Note: This was before Pluto’s reclassification and exile to the Kuiper belt.
Many iterations of this project happened in the last 10 years. Tone duration was once a/2 and in the original spectrum of 40-10k? 6 minutes of 10k = not pleasant. There were planet specific “remixes”. The original “piece” represented 2 Plutonian years (approx. 496 Earth years), divided the Earth year (3.16s) into a 2-bar phrase and had 1/4-note kicks. At 151.89 BPM, a 1/4-note would equal about 45 days + 8 hrs.
I decided to re-examine the whole idea recently; I just couldn’t let it go. The expression of “music” didn’t seem to serve the concept. The intent is philosophic, not musical. To remove boundaries of macro/micro/faith/science. Kubrickian Zen.
I added two other (new) attributes to the tone-loops: Pan is assigned in relation to each planet’s average distance from the Sun (3.67 billion miles : 127). Gain is assigned based on a fixed range of 40 dB and each planet’s average distance from Earth (Earth = 0 dB). Durations are: a/4 + linear fade.
So now you know. This is why Planetarium is now (completed and) an online installation that loops forever if you want.
Start time is chaotic re: loading tone-loops. Consider it a Big Bang.
Above: Original graphics for Planetarium.
Above: At Meteor Crater, Arizona 2001.
This is a record I worked on with Robin Danar back in 2008. It’s called Altered States and you can read about it here on the Shanachie website. Guest artists included Paul Buchanan, Pete Yorn, Kinky, Minibar, Rachael Yamagata, Jesca Hoop, and Lisa Loeb. There’s also an L.A. Times article here and you can buy the album on iTunes here. Our track is called “Fool” (feat. Andy Levin and Holly Palmer).
The song is written (even though the content of AS is mainly covers) by Andy (lyric/mel) and myself (music/arr). It was a demo from years before that I thought was long dead to be honest; Andy met RD somehow, played him the song, and he loved it. I immediately wrangled stems via a Macintosh PPC 6500 with (lol) Studio Vision. I could not throw out that computer because that glorified jump drive (3GB!) cost a lot in 1997. That’s me singing back-ups as Scatman Ruffin via Fat Albert. Originally recorded in 2002.