Written for the debut performance of the LUMEkestra in November 2016.
There are 7 (subtly) different numbered parts, so ideally that would be the minimum number of pitched instruments, but I think it sounds better with more. The intention was to write something quiet for the 18 piece band of improvisers that Cath and Dee from LUME had assembled, thinking it would provide a nice moment of contrast for the set. Of course, I wasn’t the only one to have that idea! I was really happy with how it came out nonetheless, and in particular the blurriness that is achieved by not having set parts for set players, and having so many players.
The idea with this piece is to rehearse each section in a couple of different ways, maybe with different groups within the ensemble, and then to improvise your way through a structure that is written just before performance. The thinking being to ensure it’s fresh for each performance, and to avoid the ensemble learning a particular set way of navigating the material. This is me exploring an idea from Ken Vandermark’s Resonance Ensemble, according to the liner notes of Kafka In Flight (which is a great album and you should buy it!).
Live recording of the first performance, complete with some cueing mistakes on my part…
And the title; in honour of Leicester City’s premier league title win in 2016 (or rather, the way that everyone suddenly seemed to be a Leicester City fan).
The piece formed part of an hour long concert, the theme of which was responses to Cornelius Cardew’s ‘Autumn 60′. Composers Cath Roberts and Tullis Rennie also contributed pieces and the three of us performed them and a load of improvising with the Vonnegut Collective‘s Gemma Bass and Gary Farr. A lot of fun was had by all.
If anyone fancies playing it, let me know, I’d love to hear it!
Written during my composition masters. This is the start of me trying to build more freedom into large ensemble writing, but, here at least, still starting from a more “traditional” starting point of a melody and harmony. There’s some effects in this I really enjoy, and I think both Ben and Graham’s solos are particularly awesome in this recording. Oh, and the title came from the news that surface-to-air missiles were installed on residential towerblocks during the London Olympics. Who know whether the music accurately reflects my feelings on the subject, but just for clarity, I thought that was a bad thing.
Recorded on 23rd August 2012 at Salford University, by me.
Drums – Johnny Hunter
Bass – Dave Tompkins
Guitar – Anton Hunter
Alto Sax – Kyran Matthews
Tenor Sax – Sam Andreae
Baritone Sax – Ben Watte (solo)
Trumpet – Graham South (solo)
Trumpet – Lucian Amos
Trombone – Ed Horsey
Bass Trombone – Paul Strachan
Originally written for myself and Sam Andreae to perform, and features on the HAQ album ‘Walking Walking Falling’. Since then I’ve performed the piece with guitar, cello, flugelhorn and clarinet (with the 265 Quartet), as well as arranging it for saxophone quartet, and it various other duos. I was inspired by reading about William Burroughs’ cut-ups method of writing, and started thinking about how that could relate to my music. In theory there are many different combinations of how to play this piece (25,396,560 to be precise) but some sound better than others. On this version here we play 1-2-3-4-5-6-7 for the melody and improvisations, and then 7-6-5-4-3-2-1 for the reprise of the melody.
Download the score in four different versions, so you can mix and match your instruments as you see fit.
I’m tentatively putting some scores on here for people to use as they see fit. I’m going to start with a saxophone quartet piece, as it is the first thing I’ve written to be performed in my absence.
About the piece:
Alto/Tenor/Tenor/Baritone piece, written during my MA Composition at Salford University. As with most of my composing, there’s a great deal of freedom for the individual players, making it a rarity in saxophone quartet music. It was inspired by my good friends Trio Riot, and has been performed by the esteemed Madwort Saxophone Quartet, and a version of it made it onto my trio album, but here is the original recording, performed by Sam Healey – alto sax, Simon Prince – tenor sax, Anthony Brown – tenor sax, Ben Watte – baritone sax. (Recorded Jan 6th 2012 at Salford Uni).