Weary Already of the Way
Document Chicago #4 Weary Already of the Way examines cross-currents in improvisation, composition and electronic studio manipulation. The pieces were first created in live performance, and then for this recording constructed through layering and extensive editing. The production techniques are at times subtle, and at other times central to the finished product. Bauder's compositions are realized by some of the most active and respected musicians on the Chicago improvised scene. Musicians: Matt Bauder (tenor saxophone, clarinet), Aram Shelton (alto saxophone, clarinet), Jeb Bishop (trombone), Todd Margasak (cornet), Rob Mazurek (cornet), Fred Lonberg-Holm (cello), Jason Roebke (bass) Notes by Matt Bauder: 'In 2000 I composed the four pieces for sextet (two reeds, two strings, two brass) that more or less apear on the disc. While I was composing I was aware that I was asking the players to play as if their sounds were being electronically manipulated. While writing the music I was thinking of a recording where the before imagined electronic processes would be actually constructed electronicly. The music on the disc was recorded in segments with solos and small ensembles and later edited and layered to construct my compositions. Very little was actually played live with everyone together... One of my main interests was non-interaction within a specific texture. We did this in a few different ways. One was to give instructions to each player and record them separately while not listening to what the others had recorded, and then layering. The beginning is probably the most electronic sounding part. It was made by recording all of the players separately playing long tones, and then I spent quite a long time cutting them into those blips by hand (by cursor I guess) on the computer. One distinction I should make is that there are no electronic sound sources (there is a Hammond organ bass line at the end, but I didn't want to make a big deal out of it by saying that I play organ on the record), and very little signal processing (some distortion on the cello, and plate reverb). '
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