THE DEBUT ALBUM "HOMMAGE AN KLAUS KINSKI" IS AVAILABLE HERE!!!
from Art lange's liner notes to "HOMMAGE AN KLAUS KINSKI"
(SOUL NOTE)
In their collaborative duo, pianist Nobu Stowe and electronic sound manipulator Lee Pembleton call it “Total Improvisation on Sonic Canvas.†The first part of their description, total improvisation, speaks for itself. But the idea of a sonic canvas may suggest several approaches to the conceptualization of their improvised music. While the relationship between music and visual imagery has been explored by many musicians and artists over centuries, the most common practice has been to use a particular visual image to provoke a musical response. Most, if not all, forms of musical notation grew out of this practice, and gradually the use of graphic scores and indeterminate, non-systematic material became common—to the extent that some musicians could find corresponding musical inspiration in non-musical imagery, like a Kandinsky painting or a chart of stars above Australia.
But, conversely, early in the 20th century the concept of Visual Music emerged—whereby artists used musical qualities, or the actual sounds of music itself, to shape their visual images, whether on canvas, in transformational objects, or as film or video projections. The idea of a Sonic Canvas, then, could be interpreted as either a visually informed impetus for musical activity, or a concrete, kinetic, or cinematic setting for musically inspired imagery.
Of course, no such images, allusions, or evocations are meant to be exact, uniform, or consistent to any or all listeners. But, as the music tenuously yet tautly balances emotional, musical, and extramusical impulses, the energy that passes from musician to listener may generate something more than a conventional response. Any music can and may do this, but the music of Stowe, Pembleton, and the others attempts to take that response to another level, another place. Ultimately, the music is in the eye of the beholder.
--Art Lange, Chicago, July 2007
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