March 8, 2013
THIS IS A VIDEO RELEASE.
LIVE AT AUDIOPOLLEN – Massimo Magee’s Electro-Acoustic Outfit
Alison Blunt – Violin
Matt Earle – Electronics
Max Fowler-Roy – Double Bass
Mitch Green – Bass
Tim Green – Drums
Cameron Kennedy – Percussion
Massimo Magee – Horizontal and Vertical Alto Saxophone, mp3 Player
Henry Mills – Electronics
Sam O’Brien – Alto Saxophone
Jack Richardson – Electric Guitar
Adam Sussmann – Electronics
David Wallis – Harmonica
Filmed by MiHee Kim
Recorded live at Audiopollen on the 3/3/13, with thanks to Yusuke Akai.
Cover Art by Massimo Magee
July 7, 2012
THAT’LL VOID YOUR WARRANTY – Massimo Magee
That’ll Void Your Warranty is a 90-minute audio cassette of solo mostly-VCR improvisation by Massimo Magee. It is being released exclusively in a physical edition of 50 tapes. Each copy is assembled by hand and features deluxe library-style packaging, subtly hand-painted tape shells, and 10 original photographs.
The price is $7 within Australia, and $10 for the rest of the world. Paypal to: ArrayWeb (at) gmail (dot) com
July 9, 2009
SEVEN SOLOS – Massimo Magee
1: Solo Trumpet
2: Solo Tenor
3: Solo Clarinet
4: Solo Harmonica
5: Solo Sopranino
6: Solo Piano
7: Watching the Rain (for kmh)
Total Time: ~78 minutes
Massimo Magee – Trumpet, Tenor Saxophone, Clarinet, Harmonica, Sopranino Saxophone, Piano, Alto Saxophone
Seven completely improvised solos on strictly acoustic instruments. [AR11] Seven Solos is being released as a physical object – a CD-R in a slim DVD case with full original artwork (jacket + CD-R label) by Massimo Magee, with an authentic handmade charm. The price is US$10, and it will be handled through PayPal. If you would like to get a copy of this, the first (and possibly last, we’ll see how it goes) physical release from [Array], please click the ‘Purchase [AR11] Seven Solos’ link below. Please also send an email to ArrayWeb ::–AT–:: gmail.com with your postal address, just in case. The first 7 people to purchase this release will also receive a bonus floppy-disc copy of “Instants I”, a selection of 3 sound instants by Massimo Magee.
I’m not going to be releasing these in any fixed number, just until either I get fed up with making copies, or people stop buying them, whichever comes first.
Purchase [AR11] Seven Solos
April 19, 2009
ALL ANGLES – Lee Noyes and Massimo Magee
1: ‘Round Midnight (Monk) LN + MM 04:39
Part 1: Lo-Fi—
2: Guitar Solo LN 07:40
3: Friction MM 09:18
4: Drums and Sampler Solo LN 11:00
5: Relativity MM 13:59
Part 2: Patchwork—
6: Patchwork Piece LN + MM 30:30
Part 3: Live—
7: Live 2 LN + MM 65:05
8: Live 1 [extract] LN + MM 08:54
9: In A Sentimental Mood (Ellington) LN + MM 05:54
Lee Noyes – Drums, Percussion, Guitar, Sampler, Loops, Tapes, Bells
Massimo Magee – Tenor, Alto and Sopranino Saxophones, Clarinet, Trumpet, Amplifier with Headphones and Preparations, Keyboard, Tapes, Tape Recorder, Laptop, Homemade and Found Drums and Percussion, Cymbals, Radio, Tube, Bell, Jaw
-mix of email and live collaboration with Lee Noyes, recorded late 2007/early 2008
March 4, 2009
STRANGE FRUIT – Massimo Magee
1: Strange Fruit 19:50
Massimo Magee: Amplifier with headphones and preparations, Ukulele, Wooden Flute, Field Recordings, Sopranino Saxophone, recorded to tape
A ‘still life’ in improvised sound
[AR08] is called ‘Strange Fruit’ because it is, at least in part, about choices. Choices and the consequences of these choices. These consequences that flow on from our choices and our attempts (successes/failures) to control them – the pursuit and relinquishing of control. The amplifier feedback is in some parts controlled, and in some parts set up and then left to its own -punintendeddevices to play out as dictated by forces outside of human control (vibrations in the desk, in the air, etc.). The fierce rain outside which can be heard on the recording is not controlled. The field recordings – momentary portals to another place and time – are set in motion, but not controlled. The ukulele, flute and sopranino saxophone are controlled. Thus the pursuit and relinquishing of control as well as the entirely uncontrollable are all happening at the one time. Many elements of the life of the capsicum in the image on the cover, no doubt, were controlled right from where it was grown, likely designed to produce a round, red, perfectly healthy specimen. Many aspects of its presentation in the supermarket, in a specially designed area placed in with lots of other round, red, healthy-looking capsicums [capsicae?] were also, no doubt, controlled to enforce this impression of a normal round, red capsicum. Somehow, however, other forces outside of control conspired to produce this strange, but strangely beautiful vegetable, and a relinquishing of control (nay, quality control) on the supermarket’s part led to its being placed on display in the capsicum basket for the hungry (and forgiving) consumer to find and photograph. This intertwining of the pursuit and relinquishing of control and the uncontrollable, unpredictable forces of nature led to this strangely beautiful object being created and put in a position for its strange, individual beauty to be observed and enjoyed by others who would otherwise not have seen it.
This piece is intended to be listened to at very low volume, with the sounds of the rain on the recording just at the very edge of hearing, and the other sounds very faint, so that they are subsumed into the sounds of the room around them.
December 30, 2008
FILTER – Massimo Magee Solo – and with Barry Chabala
1: Filtered 26:16 – Massimo Magee Solo
2: Acoustic if it wasn’t for the damn laptop 5:41 – Barry Chabala and Massimo Magee
Barry Chabala on (2): Laptop
Massimo Magee on (1): Tape player with recording of sopranino saxophone improvisation recorded immediately prior to the recording of ‘Filtered’, Amplifier with headphones and preparations, radio, signal generator, loops, Cabasa, Woodpecker, Toy Drum, Electric Toothbrush, Harmonica, Electric Fan
Massimo Magee on (2): Trumpet, Tenor Saxophone, Clarinet, Alto Saxophone, Sopranino Saxophone, percussion, cymbal, toy drum, amplified ukulele, keyboard (all overdubbed)
These pieces are both related to the concept of Filtering. In the first, a sopranino saxophone improvisation was taped and then immediately afterwards ‘filtered’ through a second, separate, improvisation process using very different instruments along with the tape.
The second is the result of Barry Chabala radically reworking (with his laptop) a recording called ‘Almost Acoustic’ which I sent to him over the internet. This original recording was composed of nine overdubbed layers of Trumpet, Tenor Saxophone, Clarinet, Alto Saxophone, Sopranino Saxophone, Percussion and Cymbal, Percussion and Cymbal and Toy Drum, Amplified Ukulele, and Keyboard respectively, but has been transformed into something entirely different by Barry’s laptop.
December 1, 2008
1: Any Way you slice It 34:15
Massimo Magee: inside piano, cymbal, tenor saxophone, ukelele, clarinet, radio, tape recorder, signal generator, metronome, loops, recording of an improvisation from the previous day (on Tenor and sopranino saxophones, trumpet, amplifier with headphones and preparations, keyboard, radio, signal generator, loops, tape recorder, metronome )
Note: the recording was used in the improvisation as any other instrument would have been – decisions to start/stop/pause/rewind etc. the recording were taken during the improvisation just as decisions to start or stop playing a particular instrument would have been. This piece is improvised, with no edits or overdubbing.
thanks to Kurt Weill and Bertolt Brecht
October 18, 2008
1: Bulstrode Whitelocke 16:11
Massimo Magee: Amplifier with headphones and preparations, loops,
tape [prerecorded multitracked voice and saxophone improvisation (M.M)], recording from phone, cymbal, tenor saxophone, ukelele, metal, wooden flute
October 3, 2008
1: Music at 2am 22:37
Massimo Magee: Amplifier with headphones and preparations, Sopranino Saxophone, Trumpet, Cymbal. Recorded to Tape
October 3, 2008
1: Evensong (to Evan Parker) 30:55
Massimo Magee: Sopranino Saxophone, Feedback Trumpet
The feedback trumpet was set up on a table, and during the improvisation was not manipulated directly. Instead the feedback was altered by my saxophone playing.