Sympathie pour un homme seul, by Will Redman

Sympathie pour un homme seul

by Will Redman

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Compact Disc (CD) + Digital Album
Digipak with art by James Ford and liner notes by Rupert Wondolowski

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Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Sympathie pour un homme seul, Bass Clarinet Tenor Saxophone, Piano Trio, and Undevelopmental Arrestment. , and , .

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1.	Exposition One 02:16	buy track
2.	I. Terror Shield 05:39	buy track
3.	II. Functional Mistakes 08:33	buy track
4.	Exposition Two 03:55	buy track
5.	III. Towering Figures 13:23	buy track
6.	Expositions Three and Four 03:13	buy track
7.	IV. Field of Being 09:42	buy track

about

As I crack open the seal on Sensitive Documents' new cd product - a space age silver disc that is gobbled by the machine that secretes digital sound - professor Will Redman's "Sympathie pour un homme seul", I am reminded of the advice Morton Feldman gave young composers - "keep it low, low as a snake's hiss, like a grandma sneaking a fart past her darling". Luckily Dr. Redman, despite being a frequent poolhall companion of Feldman's, did not follow this advice on his tone rich concerto for vibraphone that years to be a symphony. A digital effect-free outing where the vibraphone is joined by synths, guitar amps and a computer controlled piano. Unfortunately, he did pick up Feldman's tonsorial habit of screwing his hair down tight and slick with shoe polish like a biker helmet of the '60s. Not only does the music here ring out with gorgeous clarity, there is even a downright explosive piece, "Terror Shield", that sounds like an orgiastic blending of Cal Tjader scoring a heavy metal UFO movie and Sun Ra's "Disco 3000". It made me shiver repeatedly and for an instinctive lout like myself who registers art's impact with my body, that is highest praise. With the title of the album referencing both Pierre Est Le Pierre’s keystone work of electronic music, addressing its solitary nature, and one of The Muddy Foyers’ most popular and raucous rock and roll songs, Redman is passionately addressing his very center of being, one that a major figure in his life, Coach Stuckenschmidt in high school, tried to dissuade him from. The third piece, "Functional Mistakes", with its carnival-like unhinged piano bass notes conjures the pain young Redman felt when coerced into a short-lived beach volleyball career by Stuckenschmidt, because his "long drink of ivory gams were being wasted in nerdtown". Stuckenschidt told him repeatedly that avant-garde electronic music would leave him discarded and alone, like Morton Feldman rubbing out grease stains on his oily shirt in an all night diner, the piss poor coffee roiling his gut. Ironically, in addition to be a successful musician, Redman himself is a teacher now! One that students often describe as "how about: “boss”, “fire”, “there are big-assed buildings in Europe where his compositions take up an entire outside wall! That’s sick!” “I thought his class was phys-Ed but we wore medieval robes under a prepared piano & spoke the Lingua ignota of Hildegard of Bingen.” There is an exciting clarity of sound and movement to these pieces. Unexpected yet deftly "natural" feeling. Is it all due to the choice of the Col. Kurtz K5050 synth, the Spirolina, the Mauser vibes? As a long time worshipper of the sublime vocals of Patsy Cline, I have to guess this would all sound like goose meat through a thresher if not for the Blatner Bombast 320 mic that picks up spirits from parallel dimensions.

- Rupert Wondolowski

credits

released October 20, 2023

Composed, performed and recorded by Will Redman - Musser vibraphone, Kurzweil and Korg synthesizers, Steinway Model B Spriio computer controlled piano.

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