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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. Conductor: Moe! Staiano Musicians for Conducted Improvisation Piece No.6: Depleted Uranium: Guitars: Myles Boisen , Lucio Menegon Bass: Vicky Grossi, Allen Whitman Violin: Jeff Hobbs Cello: Marika Hughes Contrabass: Devon Hoff Drums: Ches Smith Voice: Carla Kihlstedt Musicians for Conducted Improvisation Piece No.11: Two Orchestras in Separate Rooms: Tenor Saxophones: Alan Anzalone, Michael Perlmutter C-melody Saxophone: Rent Romus Clarinet: Aaron Bennett, Chris Broderick Bass clarinet: Scott Rosenberg, David Slusser Trumpet: Darren Johnston Trombone: Jennifer Baker Violins: Jeff Hobbs, John Shuirba (+ banjo) Cellos: Robin Reynolds, Theresa Wong Contrabass: Christopher Brown, George Cremaschi, Lisa Mezzacappa Guitars: Lucio Menegon, Pat Moran, Daryl Shawn, Robin Hiroko Walsh, Bill Wolter Bass: Vicky Grossi Drums: David Mairs Mini drum set: Allen Whitman Percussion: Michael Guarino, Jason Levis (+ bowls), Sam Ospovat Cymbal, dumbek: Peter Valsamis Marimba: Suki O'Kane Hand percussion: David Leikam Accordion, tap shoes: Bob Marsh Turntable: Matt Davignon Buy at Bandcamp Buy at Apple Music Buy at Amazon MP3 "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, Smother |
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