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sketches

Sketch 4 Float

I made Float using all the skills I have learnt throughout this unit: Simpler, Sampler, Drift, Midi controls in addition to Wavetable. I tried a new technique while working on this piece, though out you can hear drum samples which I arpeggiated to add a stuttering effect, I then set each sample to be played with a random LFO which can be heard best from around 1:40 – 1:50. This was also my first time using wavetable synthesis while really understanding it, and I pleased with the outcome, this track is just a vibe. It features a piece that Cameron, Jack and Vic were working on during class though out, but I think the two pieces compliment each other very well. This is the reason why I have enjoyed recording with my phone so much rather than bouncing out the track. My intention is not to have a perfect track but to capture the moment surrounding it.

Categories
creative sound projects

CSP Supportive Text

I am incredibly excited about the release of “Sketches,” a four-track compilation that stands out due to its unique creation process. The journey of “Sketches” began with an unfortunate event but ended with a surprisingly positive outcome. This project emerged from a situation that initially seemed disastrous: my laptop suddenly stopped working and refused to power up, leaving me devastated. My laptop had been my primary tool for composing music, housing several ideas and projects that I had been meticulously developing. My typical approach involved creating music in the comfort of my home, usually in the evening, hunched over my laptop, carefully crafting and refining each piece. I was constantly tweaking sounds as inspiration struck, aiming to achieve perfection.

However, “Sketches” was born under entirely different circumstances. With my laptop out of commission, I was forced to leave my usual creative space and adapt to a new environment. I had to use different equipment and software at the university campus, which significantly changed my workflow. This abrupt shift pushed me out of my comfort zone and into unfamiliar territory, but it also opened up new possibilities.

The resulting sound of the tracks on “Sketches” is fresh, new, and exciting. This project marks my first few ventures into using Ableton, a software I had not extensively worked with before. I found Ableton to be incredibly intuitive, making it easy to experiment and explore new ideas. This new toolset allowed me to incorporate different techniques into each track, giving “Sketches” a distinctive and innovative sound.

The process of creating “Sketches” taught me invaluable lessons about making the best out of bad situations and being resourceful. Faced with the loss of my usual equipment, I had to adapt quickly and find new ways to bring my musical ideas to life. This experience made me less precious about my projects; I became more comfortable with the idea of letting go and deleting files after recording, focusing instead on the spontaneity and rawness of the creative process.

Overall, “Sketches” is a testament to the power of resilience and adaptability. What began as a frustrating setback turned into an opportunity for growth and exploration. The tracks on this compilation are a reflection of the unexpected journey I undertook, characterised by a willingness to embrace change and experiment with new techniques. Each piece in “Sketches” carries a sense of freshness and innovation, born from the necessity to create under different circumstances.

In essence, “Sketches” represents a turning point in my creative process. It embodies the idea that sometimes, being pushed out of our comfort zones can lead to remarkable outcomes. The challenges I faced while creating this compilation ultimately led to a more dynamic and versatile approach to production. As a result, “Sketches” is not just a collection of tracks but a narrative of resilience, adaptability, and the exciting possibilities that arise from embracing the unknown. I am eager for listeners to experience the unique sound and story behind “Sketches,” a project that has redefined my approach to making music and has resulted in something extra special.

Categories
sketches

Sketch 3 no human is an island

In this session we were going through Collision, Ableton’s mallet/ percussion synth. I often use bell sounds within my work and that influenced the way I approached the sound design in Collision, creating a relatively low pitch bell sound with reverb that grounds the track. The other elements were patched in simpler and drift. I set some of the parameters like filter cutoff and LFO rate to be controlled via midi controller to add add to the performance.

Categories
sketches

Sketch 2 I have no mouth and I must scream

In this track, I made use of the jitter function on Ableton’s LFOs to create tension throughout the piece. All throughout this unit I have enjoyed using LFOs to my advantage to create subtle movements within my work and to add interest. As the name of this track suggests, frustration with my situation is the theme of this piece. As I draw closer to the end of term I am learning to make the best of a bad situation, creating these sketches has been fun and I will continue to do so. Using my phone as the recording device has also been a pleasant surprise, talking and clicking become part of the track, not only capturing the piece but the moment surrounding it too.

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sketches

Unused Sketch

Not all the recordings made for this project have been successful. Mixing is often my weak point and this piece showcases that the best. I frequently forget that a mix will have different qualities when coming from different sources. Although this piece sounded great in the headphones, it did not translate well when coming from the built in speakers on the university Macs. Overall the track sounds muddy and a lot of the details are lost. The lowers frequencies can barely be heard, but they are still competing for space in the mix which I think is causing an effect that sounds similar to a filter.

Categories
creative sound projects

Artist Statement

I am JEZMAN, an artist seeking to document my personal experience and state of mind through sound. My musical journey is constantly evolving, starting out making beats on my dad’s computer as a teenager with no guidance. I had to experiment with the equipment to find out how to use it, now after years of making music, experimentation is key to what I do and most enjoy when creating music.

I find that music allows me to freely express my emotions as it can be very difficult for me to articulate and communicate my thoughts. Music has also allowed me to form meaningful relationships with like-minded people and I am one third of BigRobot, that is a fun music project, creating experimental electronic dance music. We soon realised it’s potential and wanted an outlet for our music so Nasterisk was formed, specialising in music events and videos. The aim is to provide a more holistic, sensory experience, incorporating the crowd, and making special memories.

To date I have released a few albums influenced by nature, philosophy as well as the eclectic selection of music that I enjoy listening to. For me, music is very much the expression of mood and emotion, and it connects in a way that transcends mere words.

I find it so helpful to be able to experiment with sounds and communicate musically to surpass my verbal inadequacies. It allows non-verbal communication from deep within me and hopefully the listener can connect and resonate with my journey.

Categories
reflective writing + essays

GSC Essay

[Jazz, Artistic Practice and Spirituality] 

Introduction 

Music has long been recognised as a powerful medium of expression, capable of evoking deep emotions and transcending cultural and temporal boundaries. Jazz has become a genre played by many musicians that display a profound expression of cultural identity, personal emotion, and, significantly, spirituality; spirituality that encompasses a broad spectrum of experiences and beliefs; that connect individuals to something greater than themselves, whether it be a higher power, the universe, or their own inner depths. 

Emerging in the early 20th century within African American communities, jazz has grown into a global phenomenon, celebrated for its improvisational nature and emotional depth. The relationship between spirituality and music in the context of jazz is especially rich, offering insights into how artistic practice can serve as a conduit for spiritual exploration and expression. 

History Of Jazz 

The roots of jazz are deeply intertwined with African American traditions, which include elements of gospel and blues. These genres were born out of the African American experience, often touching on themes of suffering, resilience, hope, and a longing for freedom, earning the name ‘music of resilience’ (2022) or ‘movement art’ (p. 40, 2016). These elements of spiritual expression were central to the music of enslaved Africans in America, serving both as a means of coping with hardship and as a tool for emancipation. 

The blues, a precursor to jazz, was characterised by its expressive vocals and melancholic melodies. It was a direct reflection of the African American experience, often dealing with themes of love, loss, and hardship. Gospel music, with its roots in black churches, emphasised communal participation and spiritual enrichment. These musical traditions laid the groundwork for the development of jazz, infusing it with a deep sense of spirituality and emotional resonance. 

As jazz evolved, it retained these spiritual elements. The improvisational aspect of jazz, which allows musicians to express their innermost thoughts and feelings spontaneously, can be seen as a form of spiritual practice. This improvisation is akin to a spiritual journey, where the musician navigates through uncharted territories of creativity and emotion, often resulting in moments of profound insight and connection. 

Jazz and Spirituality 

Jazz and spirituality intertwine profoundly, revealing a rich tapestry of cultural, emotional, and philosophical connections. Many jazz artists carry these connections to their artistic practices, and deep connection to one’s instrument can help guide musicians during improvisation to express themselves freely in a state of flow.

Musicians infuse their performances with spiritual significance, transforming music into a medium for transcendent experiences, communal solidarity, and personal reflection. By examining the symbiotic relationship between jazz and spirituality, we uncover the genre’s ability to evoke profound human emotions and connect listeners to broader metaphysical concepts. Two artists whose spirituality is especially interwoven are Alice Coltrane and Pharoah Sanders.

Alice Coltrane’s legacy is often obscured by the shadow of her iconic husband, John Coltrane, however the depths of spirituality that Alice came to know are next to none. Religion played an enormous role in both her life and work ‘…the importance of spirituality of the individual being and diversity in praising God, would permeate her life and music until her death'(p. 76, 2010). After the death of her soul mate, she devoted much of her time to isolation, studying eastern philosophies under Hindu Yogis and reading scriptures. Themes of grief, growth and love ooze out of her work from this period, especially on records like ‘Ptah, the El Daoud’ or ‘Journey In Satchidananda’.

‘Kirtan: Turiya Sings’ is a collection of nine tracks comprised of Coltrane singing in Sanskrit whilst a Wurlitzer organ. Upon first listen, it quite quickly becomes clear that this is music with a higher purpose. Coltrane’s spectacular vocals are consistently the high points of this record, speaking volumes as this was her first release with her vocal takes the fore. This becomes especially evident in tracks like “Krishna Krishna” and “Hara Siva,” where her voice carries a meditative, almost transcendent quality that elevates the spiritual essence of the album. The minimalist arrangement, centered around the Wurlitzer organ, creates a serene backdrop that allows Coltrane’s voice to shine and convey a sense of devotion and peace. This album not only showcases her vocal prowess but also her deep spiritual commitment.

Pharoah Sanders is renowned for his meditative offerings to free jazz, especially in his 1977 album ‘Pharoah’ and his contributions to the 2021 project ‘Promises’. Sanders has also become a master of timbre and will go down as one of the most guttural saxophonists in all of jazz, with works like ‘You’ve Got To Have Freedom’, ‘Black Unity,’ and ‘The Creator Has a Master Plan’ showcasing his deep spiritual and musical intensity thanks to his multiphonic technique. His work embodies a deep sense of spiritual quest and the pursuit of transcendence through music.

Artist Practice, Improvisation and Healing 

Many jazz musicians view their art as a form of spiritual practice. The act of improvisation can be seen as a meditative process that requires deep concentration, presence, and a connection to something greater than oneself. Musicians often describe moments of transcendence while playing, where they feel a sense of unity with their fellow musicians and the audience. This state, sometimes referred to as being “in the zone” or experiencing “flow,” is akin to the spiritual experiences described in various religious traditions, ‘there is a sense of something bigger than the musicians that is outside of them, but that they can access.'(2023). 

Andre 3000 followed in the footsteps of spiritual jazz with his new album ‘New Blue Sun’ and is often seen in public parks or laundromats practicing his flute. In an interview, Andre 3000 described how stepping improvisation was both a way of seeking inner peace and facing the expectations of changing styles drastically after a long career in hip-hop. This shift allowed him to be confident in his expression once he reached a state of flow, ultimately improving his mental well-being and creating a deeper connection to himself and the other musicians who were part of the process. His public performances demonstrate how spirituality and artistic practice can intersect in daily life, creating opportunities for personal growth and communal connection.

The improvisational nature of jazz makes it particularly effective in therapeutic settings, as it allows for flexibility and adaptability in addressing individual needs. It can provide a sense of comfort and solace, offering an emotional outlet for those dealing with trauma or grief. The expressive and cathartic qualities of jazz make it a powerful medium for processing complex emotions and finding inner peace. This therapeutic potential highlights the deep connection between jazz, spirituality, and healing. Jazz has also been used as a tool for healing, both physically and emotionally. Music therapy, which often incorporates jazz elements, has been shown to reduce stress, alleviate pain, and improve overall well-being.  

Conclusion 

The relationship between spirituality and jazz in artistic practice is profound and multifaceted. Jazz, with its roots in African American spiritual traditions, has always been more than just a musical form; it is a means of exploring and expressing the deepest aspects of the human condition. Through its improvisational nature, jazz allows musicians to engage in a form of musical transcendence, where they can enter states of flow and connect with the collective unconscious. 

The works of iconic jazz musicians like Alice Coltrane and Pharaoh Sanders exemplify how jazz can serve as a medium for spiritual exploration and expression. Contemporary artists, like Andre 3000, continue to draw on these traditions, incorporating elements of spirituality into their performances and compositions. Jazz festivals and communal performances further highlight the genre’s ability to foster spiritual communion and collective celebration. 

In conclusion, jazz is a powerful medium for spiritual expression, offering a unique pathway for individuals to connect with themselves, each other, and the transcendent. As the genre continues to evolve, its spiritual essence remains a vital and enduring aspect, reflecting the timeless and universal quest for meaning and connection through music. 

References

https://www.npr.org/2023/11/14/1212661071/andre-3000-album

Brown L. (2010). John Coltrane and Black America’s Quest for Freedom: Spirituality and the Music. United States: Oxford University Press, USA.

Edgar W. (2022). A Supreme Love: The Music of Jazz and the Hope of the Gospel. United Kingdom: InterVarsity Press.

Rabaka R. (2016). Civil Rights Music: The Soundtracks of the Civil Rights Movement. United States: Lexington Books.

Reynolds, N. (2023). Charting the Spiritual Experience in JazzReligions14. 842. https://doi.org/10.3390/rel14070842

Categories
sketches

Sketch 1 (click and drag)

This piece was my introduction to using the Ableton synthesiser Drift. I quickly got used to its simple design and stripped back UI. I enjoyed adding LFOs to most of the parameters leading to a dreamy meandering soundscape. I even added LFOs to the LFOs to create even more movement for each element. Making this track was also my first time using virtual audio driver blackhole to send information between Logic and Ableton. This made controlling a patch I had created in Logics synth Alchemy easy to perform on Ableton’s session view along with the other patches I had made in Drift as I recorded the piece.