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|David Shea||Anthony Coleman||keyboards||Shelley Hirsch||vocals||Ikue Mori||drum machine||Zeena Parkins||harp||Jim Pugliese||percussion||Jim Staley||trombone, didjeridu|
, Playing time 28:55 minutes
publisher not known - number not known
Shea is one of a newer breed of recording artists whose instrument is all samples of other people's music (like Stock Hausen & Walkman, Johns Wall and Oswald, etc.), although the legacy of sometimes using other people's music directly (as opposed to simple quotations in notated music) goes back at least as far as Stockhausen's Hymnen but also the scratch artists who play turntables. The character of the music thus depends a great deal on the samples and what kind of processing takes place on them. Shea's first album contains three pieces, "Shock Corridor", which includes additional performers on keyboards (Anthony Coleman), voice (Shelley Hirsch), drum machine (Ikue Mori), harp (Zeena Parkins), percussion (Jim Pugliese) and trombone/didgeridu (Jim Staley). "Cartoon for Scott Bradley", including Coleman on piano; and "Trio for Samplers". This album is pretty active listening, and as you can tell from the players, very much in the so-called downtown musical scene. The samples on "Cartoon" are from the writing of an MGM cartoon composer, and are instantly recognizable as such. "Shock Corridor" is based on a movie of the same name, and is an attempt to create a cinematic sound experience based on the issues and narrative of the film. This album is short, but I feel that I've heard a lot of music by the time it's over.
Reviewer: Caleb Deupree