In terms of electronics (David Morley on synthesizer) and in terms of style.
(Erik Friedlander on cello, Dave Douglas on trumpet), Or "Hsi-yu Pu" in Chinese, the title of a Taoist novel,Īnother ensemble that expanded both in terms of instruments The Tower of Mirrors (october 1995 - Sub Rosa, 1995), Holy Mountain closes the album with the ultimate fusion: Gregorian monksĭuetting with Buddhist monks, both defeated by traditional Chinese strings There is even time for a romantic sax ballad, Rouge (with counterpoint Pan-ethnic feat but in a more demented manner: childish drumming, Orchid Tree, one of the standouts, is carnival music that basically achieves the same The jovial skit Mara offers an unlikely fusion of Indian and Irish Opera singer compete in a sinister guitar-penned swamp.įollowed by a tribal Balkan dance, followed by a minimalist piano sonataĪnd ending in a Hollywood-style shootout. The Woodcutter And The Fisherman has a blues harmonica and a Chinese The four-part Fits of Fury is a collage of different things:Ī frantic folkish jam, another magniloquent parody of jazz-rock soundtracks,Īnd a lengthy coda of white noise and vocal sounds. In Five Fingers, that mocks film soundtracks. The tone turns to comical and parodistic and the style to nocturnal jazz-rock The delicate Chinese chamber music of Three Elements is subverted by The temple ritual sampled in the five-movement Temple gets submerged by electronic drone but remain the scaffolding for the magniloquent orchestral percussive feast that follows and the closing movement is a hybrid Indian-Chinese jam. Shea likes to surprise the listener with sudden shifts in style, mood and tone. Parkins on harp and accordion, John Zorn on saxophone,ĭrums, Marc Ribot on guitar) with samples based on Hong Kong films. (Sim Caine on percussion, Hideki Kato on bass, Zeena Hsi-yu Chi (january 1994 - Tzadik, 1996) returned to the ensemble format The Chinese-influenced stylistic cauldron of
#THE CHINESE FEAST SOUNDTRACK TV#
Prisoner (august 1993 - Sub Rosa, 1994), inspired by the British tv series, contains seven untitled pieces between three and twelve minutes long for a similar line-up (Shea, Coleman, Parkins, Pugliese, but Hideki Kato on bass and Marc Ribot on guitar).Īll of them real-time collages of record snippets. His interest in sampling technology rapidly increased. That is no less restless, multi-stylistic and demented. The same album contains a simulation of cartoon music,Ĭartoon For Scott Bradley, and a Trio for Samplers Lounge jazz, chamber music, Chinese music, revolutionary anthems, funk,Īnd, of course, electronic noise something that winks alternatively at Military marches, ghostly female chants, Rossini opera, Samples and instruments weave a frenzied kaleidoscopic universe of Voice and electronics, Ikue Mori on drum-machine, Zeena Parkins on electric harp, Jim Staley on trombone and didjeridoo, Jim Pugliese on percussion, and Shea on turntables, sampler, jaw harp and harmonica. Inspired by Sam Fuller's film of the same name and performed byĪn all-star cast: Anthony Coleman on piano and organ, Shelley Hirsch on His first major composition was the 20-minute title-track of Shock Corridor (january 1992 - Avant, 1992), a 20-minute collage New York-based turntablist David Shea (1965) established his reputation mainly in ( Copyright © 2003 Piero Scaruffi | Legal restrictions - Termini d'uso ) David Shea: biography, discography, reviews, links