The plot of the film is taken from two traditional Portuguese tales: A Donzela que Vai a Guerra ("The Maiden Who Went to War" 15th Century?), of Judo-Iberian origin, and novella, The dead one's hand, orally transmitted, which forms part of Bluebird cycle. Don Rodrigo has to daughters, one legitimate, the other bastard, Silvia and Susana. Growing old, and without male heir, Dom Rodrigo decides to marry off Silvia to his neighbour, a rich nobleman, Dom Paio, with the aim of securing and expanding his domain. After a brief visit from the fiancé, a great glutton and skirt-chaser, Dom Rodrigo leaves for the court to invite the king to the nuptials. Upon his departure, he instructs not to open the doors of the mansion to any stranger. One day a pilgrim arrives, requesting hospitality, and Silvia disobeying her father's orders admits the stranger...

Colorfield Variations is a collection of audio/visual works reinterpreting the Color Field movement by an international array of critically acclaimed sound and new media artists and assembled by curator and sound artist Richard Chartier. Colorfield Field painting, sometimes referred to as "chromatic abstraction" emerged as a new direction in American painting in the 1950s, and is characterized by canvases painted primarily with stripes, washes and fields
This program in its original form with special live audio/visual performances by Ernest Edmonds + Mark Fell and Sawako at the Corcoran Gallery of Art was commissioned by Washington Project for the Arts as part of the citywide ColorField.Remix events which took place in April-June 2007 in Washington, DC, celebrating The Washington Color School. Since its creation, Colorfield Variations continues to be screened internationally.

In the mid '60s Phil Niblock made this experimental film with the Arkestra, very close-up and all in negative - leaving interesting mostly abstract shapes flickering and shifting. The music by the New York Sun Ra Arkestra of the time (now in 5.1 surround) is great, classic mid 60's Ra. (RecRec)

Three Voices, composed for Joan La Barbara and completed in 1982, uses delicate repeating patterns of precise pitches and rhythms and is indicated to be sung very softly. It is a setting of fragments from the poem Wind, by Frank O'Hara (dedicated to Feldman). The composition is sung in vocalise until just before the midpoint of the piece when the text appears. It was first performed in March 1983 at the California Institute of the Arts at Valencia

Body Music is music for Ellen Fullman's unique Long String Instrument, an eighty-foot long instrument with approximately eighty strings. Fullman has been developing this instrument for longitudinally vibrating long strings over the past thirteen years. Having received a BFA in sculpture, her interest in music began with the resonance of materials used in making sculpture. When she started making the Long String Instrument, she saw it as "sculpture as music;" now she has come full circle in conceiving "music as sculpture." For the most part, the music in Body Music relies harmonically on the diatonic scale. Because of the prominence of overtone content, more complex harmony is suggested. Through her studies of extended harmony, Fullman has come to realize that harmony is "dimensional.

Nodal Excitation is a reissue of a key minimalist masterwork. Dreyblatt's documentation in the past has been slim, with albums on Hat Art, Tzadik and (shortly) Table of the Elements. This album features a 39 minute performance by Arnold's group known as The Orchestra of Excited Strings, recorded in 1981/82. Dreyblatt only had one record (Nodal Excitation, on the mostly post-AACM jazz label India Navigation), before he packed and moved to Berlin, were he concentrated on other activities, making only 2 more records over the next 10 years. But for those who caught the action, Arnold was the man. He was more rock than any of the other minimalists combined, and he was also the only one to really tap into that massive proto-minimal sound that Conrad had squelched out of his tin-contact mic violin in the early 60s. Indeed, in the early 70s, after being in school in Buffalo, where Conrad taught, Dreyblatt moved into Manhattan to work for LaMonte Young, where he witnessed first hand, and listened first-ear to those legendary recordings of the Theatre of Eternal Music. He got interested in long string sounds, and bought a bass that he wired with piano wire. By hitting the strings instead of bowing them, Dreyblatt was able to get those ringing overtones, but he also had added something new: pure rhythm...So what you have here is Dreyblatt's freshman record, a slice of minimal history that is as potent now, if not more, as it was then. It was a lighthouse that was aiming the wrong way when the tugboat came by, but now it's shining right in your face." -

The original release featured Charles Amirkhanian’s selections of electro-acoustic works by seven women who were, or would become, prominent composers of their day. Although the 1977 album title (New Music for Electronic & Recorded Media) did not refer to gender, the project sought to raise the visibility of women in classical music. The composers selected were Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and the soon-to-be well-known Laurie Anderson.

An enduring reflection of the essence of time perceptible in its own right, can be established through the act of intimate listening where the self becomes immersed in re-living the experience of a journey or the immortalised passing of something disclosed as streaming images. As with all concrete music composers B. Parmegiani yields to this charm and in his works, it takes on the forms of continuous temptation marked throughout by a sense of the forbidden and by a certain fear. The listener is brought to wonder whether the composer actually intended to finish once and for all with the power of Orpheus.
In any case the train emerges as mans best friend and so it is here for Parmegiani the musician exploring and recasting dreamlike intricacy. Both through the effect of continuum and streaming images time is transformed into space literally transporting us.

The history of attempts to fuse jazz and classical music has been long and ignominious. From the plasticizing efforts of George Gershwin and Paul Whiteman, through the rarefied preciousness of much of the "Third Stream," right on up to today's proliferating concertos for "jazz band and chamber orchestra," the tendency has been to abandon the strengths of both species for the weakness of a mutant. The first thing that needs to be said about Skies of America is that it transcends these previous attempts to such a degree that it has nothing whatever to do with them. It stands on its own as a work worthy of the most serious consideration, and it translates its composer's individuality as an improviser into orchestral terms.

This one is a real treat: two giants of improvisation in pursuit of that enigmatic 'something' on a Canadian stage in 1986. Braxton, clearly derived from the jazz tradition; Bailey, restless occupant of a self-constructed world of non-idiomatic guitar.

Duke Ellington's concert bands broke through this boundary around the turn of the century, with entrancing results. Following on the heels of Masterpieces by Ellington, producer George Avakian introduced the original Ellington Uptown with a flourish. Columbia has bunched this reissue with Masterpieces by Ellington and Festival Session, including original liner notes and heavy essays by historian Patricia Willard. Ellington Uptown is the fourth release of a record which originally came with five tracks, having since been picked over and rearranged repeatedly by Columbia.There's nothing to complain about with this combination of standards ("Take the 'A' Train," "The Mooche," "Perdido"), suites ("Harlem Suite"), and one Louie Bellson original ("Skin Deep") which is essentially a vehicle for lots of drumming. The reissue, containing recordings from 1951-52, sounds good: hi-fi indeed.

Yaadon Ki Baarat is a movie directed by Nasir Hussain in 1973. It was a huge hit and it tells, in true Bollywood fashion, the story of three brothers separated during childhood. The eldest brother, played by Dharmendra, becomes friendly with a Muslim boy and grows up to be a good-hearted criminal; the younger one is adopted by a widower who works for a rich Bombay family, and leads a carefree life with his friends; and Ratan, raised by his family's maid, changes his name to Monto and forms a band, called The Avengers, sweeping Bombay's night scene with his wild tunes and eccentric clothing.