See the thing is my dad taught me most of what I know about music and he’s a fairly picky guy with a particular taste that can be tough to crack. This clip is just a very brief idea I had today but it got a “very interesting” out of my dad! Do you know how high that praise is coming from a 65 year old Jewish man!!!!!! He basically just asked me to run for president
Steve Lehman & Orchestre National De Jazz — Ex Machina (Pi)
When you think big, there’s no substitute for resources. Alto saxophonist and composer Steve Lehman’s ideas are typically broad and deep, but Ex Machina is especially massive. The project combines big band jazz, spectral composition, and interactive electronics. Any one of these elements takes study and skill to master, and while Lehman has the instrumental chops and integrative intellect grasp the parts, it takes a lot of time in a well-stocked kitchen to assemble them all into something that isn’t just a lumpy influence stew. requires a lot of time in a well-stocked kitchen.
In order to pull off this project, Lehman collaborated with the Orchestre National de Jazz, a big band funded by the French government. He also involved IRCAM (the Institute for Research and Coordination in Acoustics/Musics) to incorporate electronics that respond to the live musicians in real time. After years of composing and workshopping, Lehman and his long-time American collaborators, trumpeter Jonathan Finlayson and vibraphonist Chris Dingham, joined the orchestra for eight concerts, and then settled into the studio for four days at the beginning of 2023.
The time and resources have not gone to waste. This music feels not only sui generis — the only records it really sounds like are Lehman’s earlier octet recordings — but lived-in. The exchanges between dopplering horn sections and single soloists, and the meshing between orchestrated frequencies and precisely mutating rhythms, is spot-on.
But enough about how impressive it is; what is it? Essentially, it’s a transfer of Lehman’s spectral jazz concept, in which an understanding of frequency relationships yields access to alien sounds and an engagement with rhythm concepts spanning the ages of bebop and hip-hop makes the whole thing swing, to a post-Gil Evans orchestral environment. It has plenty of big brass punch, crips rhythms, and abrupt shifts in velocity and tone, all of which create fertile opportunities for adroit soloists to assert both structure-oriented and emotion-evoking responses. Ex Machina is everything it set out to be. And if you’re looking for a recording that’ll give you new things to hear every time you play it, it is without peers.
If you have the spoons to watch it, I think you’d really enjoy this retrospective about Mob Psycho 100.
https://youtu.be/kfxhrOYAXqs
It’s like an hour long by Mother’s Basement, but it’s really good and goes over the themes and ideas of the series.
Thank you!! I finally had the energy to watch this the other day and I really enjoyed it! (I also really like the videos he did about the S1 and S2 openings, which were really interesting to me as someone who knows very little about animation!) I especially liked some of the stuff he talked about with Claw, like going into more depth about the proverb their name comes from and how Touichirou is wildly misinterpreting it.
Also. I want that man's Dimple shirt.
However! I was really excited to hear his thoughts on the structure of the show (at the beginning of that segment when he talked about it having a "chiastic ring structure" I gasped aloud in delight because I am a predictable nerd), but I feel like that's one thing I disagree with him on. Conceptually he's right, but his actual breakdown of the arcs and structures suffers because he needed to create something that would make a nice graphic (thus ignoring or glossing over a lot of complexity), he incorporates various flashbacks into "arc 1" instead of actually engaging with the structure of the show as written, and also he, like many people, doesn't seem to understand the importance of the aliens arc (it's not even mentioned in his structure graphic!! A failing!). The structure talk/graphic starts at about 20:37 in the video if you want to see what I'm talking about.
I might make a proper post on it at some point but my very basic thoughts on the chiastic structure are:
Club Recruitment (I don't think we have a name for this one specifically bc it's only one episode but it sets up Literally The Entire Show so) mirrors Aliens/Telepathy Arc
Lol Cult and Black Vinegar mirror Divine Tree
Big Cleanup and 7th Division mirror World Domination (Big Cleanup is a little messy and I feel like fits less neatly into this than most other arcs; parts of it are more closely tied to Divine Tree's themes of getting carried away, but the Ritsu and Shou plot during World Domination is very much in dialogue with Ritsu's Big Cleanup plot)
And the middle of the ring is the back-to-back mirrors of Mogami Arc and Separation Arc
Now, Confession is specifically outside of the ring composition; it's a synthesis of a bunch of important themes and character arcs that it revisits in order to provide resolution. Tbh it deserves a structural breakdown of its own; it has so much going on and it's SO GOOD.
Also obviously there is a lot more going on than the ring structure because the themes are very consistent and the parallels are EVERYWHERE; I have yelled at length about the Mogami/Divine Tree parallels and tbh you could probably do the same with any combo of arcs. But I Just Think Chiasmus Is Neat.
The Mexico City duo of Mabe Fratti and Héctor Tosta break with the hushed beauty of the cellist’s earlier work, exploring sprawling new directions in modern composition, jazz, and art song.