Two Rooms of Uranium inside 83 Markers
EDT-4050
Released May 25, 2007
$13 USD
Two Rooms of Uranium inside 83 Markers
EDT-4050
Released May 25, 2007

This album documents two live performances at the former venue, the Oakland Box Theater, in Oakland California. The first show was a fun, fast and quick performance with a small group of about 10 musicians, small by standards, compared to the more desired 25-40+ ensemble the Moe!kestra! is known for. The evening was part of a benefit show ‘LET’S USE OUR CRANIUM AND LEARN ABOUT DEPLETED URANIUM’ back in May of 2003. The event called attention to the health and environmental effects of depleted uranium (DU) weaponry being used by the US military in Iraq and Afghanistan. The performance featured a few notations Moe! had composed a few hours before the show that he handed to all the musicians, which as always puzzled and concerned the performers prompting them to ask if they need to play their parts perfect and note-for-note. Moe!’s answer to that is normally a coy shrug.
One of Moe! Staiano’s most challenging performances to date, the second part of this CD were recorded in two separate rooms connected by a short hallway conducted simultaneously. Each room is assigned to either the left or right channel giving the listener a true live sound experience.
Overall, the end result is a directed improvisation composition that, with two separate, yet combined orchestras, produced clusters of sound interlocked with each other. If one was to walk anywhere during the live performance an experienced in fragments would have been the result. Here on this record you get to experience the unity of Moe!’s creation with all the individual groupings from each corner of the performance space performing as one.

  • Moe Staiano - Conductor
  • Myles Boisen - guitar
  • Lucio Menegon - guitar
  • Vicky Grossi - bass
  • Allan Whitman - bass, mini drum set
  • Jeff Hobbs - violin
  • Marika Hughes - cello
  • Devon Hoff - double bass
  • Ches Smith - drums
  • Carla Kihlstedt - voice
  • Alan Anzalone - tenor saxophone
  • Michael Perlmutter - tenor saxophone
  • Rent Romus - C-melody saxophone
  • Aaron Bennett - clarinet
  • Chris Broderick - clarinet
  • Scott Rosenberg - bass clarinet
  • David Slusser - bass clarinet
  • Jennifer Baker - trombone
  • John Shuirba - guitar, banjo
  • Robin Reynolds - cello
  • Theresa Wong - cello
  • Christopher Brown - double bass
  • George Cremaschi - double bass
  • Lisa Mezzacappa - double bass
  • Pat Moran - guitar
  • Daryl Shawn - guitar
  • Robin Hiroko Walsh - guitar
  • Bill Wolter - guitar
  • David Mairs - drrums
  • Michael Guarino - percussion
  • Jason Levis - percussion, bowls
  • Sam Ospovat - percussion
  • Peter Valsamis - cymbal, dumbek
  • Suki O'Kane - marimba
  • David Leikam - hand percussion
  • Bob Marsh - accordion, tap shoes
  • Matt Davignon - turntable
Press Quotes

A lumbering postlude features chromatic hunting-horn-like flourishes from the brass, serpentine whines and split tones from the reeds plus martial beats from the percussion and low-pitched strings. Finally each section masses and explodes concurrently, leaving aviary reed tones and percussion rattles to echo in the silence. If lower case improv exists, perhaps Staniano has pioneered exclamation point conduction.

Ken Waxman, JazzWord

Repeated moments of mayhem, improbable (de)synchronizations, clanging chords, shouting voices and percussive devastation are barely a few of the hundreds of entertaining occurrences defining this (a-hem) score as quite interesting, not only as an oddity but with a precise artistic value.

-Massimo Ricci, Touching Extremes

…the music of Staiano stands on its own big feet of dinosaur proportions. A challenging and successful work

Vital Weekly

Incredibly intricate compositions that are a whirlwind of chaos and intrigue.

J Sin, Smothered

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