BERTOLOZZI, J.: Bridge Music (Bertolozzi)

$12.99 (COMPACT DISC)

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Bridge Music (more info)


1. I. Meltdown - 05:48
2. II. Bridge Funk - 02:19
3. III. Dark Interlude - 02:08
4. IV. Toward the Horizon - 04:01
5. V. The River That Flows Both Ways - 01:39
6. VI. Landfall - 05:05
7. VII. Bright Interlude - 02:09
8. VIII. Steel Works - 04:44
9. IX. Rivet Gun - 02:22
10. X. Silver Rain - 07:36


A Music Audio Tour (Bridge Music) (more info)


11. A Music Audio Tour (Bridge Music) - 10:33

Reviews

JOSEPH BERTOLOZZI (Jul 31, 2009)
Reviewer:Matthew
Joseph Bertolozzi is unofficially credited for making a recording of the largest musical instrument known. Bridge Music involves the clever use of sampling sounds made by striking a bridge (yes, an actual bridge) with various mallets and sticks. The sounds are then processed in the studio, which I personally feel takes away from the listening experience. The constant repetition of processed... Joseph Bertolozzi is unofficially credited for making a recording of the largest musical instrument known. Bridge Music involves the clever use of sampling sounds made by striking a bridge (yes, an actual bridge) with various mallets and sticks. The sounds are then processed in the studio, which I personally feel takes away from the listening experience. The constant repetition of processed sounds makes parts of the composition seem tedious and cold at times.
That said, I thought the idea was very creative. Bridge Music can be enjoyed when experienced as a work of sound art, and not as a strictly musical, or percussive, piece. The recording might have been more enjoyable as a live performance, with multiple performers. This would have made the piece less rigid, allowing more creativity through improvisation. Extraneous noises could actually enhance the recording.
The liner notes are extensive and informative, and the final track of the CD is an audio tour of the different aspects of the creation and recording of this unusual, but “rivet”-ing piece (sorry, I just couldn’t help myself). Bertolozzi is gifted and creative, with a strong ear for acoustics. Fans of percussion works of Cage and Xenakis need not hesitate.
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Playing a bridge like it's a party! (Jun 11, 2009)
Reviewer:Tym
Composer Bertolozzi commemorated the 400th anniversary of Hendryk Hudson's river voyage by playing an entire bridge itself as the instrument. He was recorded banging suspender cables, raking gates, dropping BBs, firing plastic pellets, and hitting steel panels. Samples of these sounds were then layered into compositions with narrative themes. The lack of sustained notes led to a rhythmic... Composer Bertolozzi commemorated the 400th anniversary of Hendryk Hudson's river voyage by playing an entire bridge itself as the instrument. He was recorded banging suspender cables, raking gates, dropping BBs, firing plastic pellets, and hitting steel panels. Samples of these sounds were then layered into compositions with narrative themes. The lack of sustained notes led to a rhythmic dynamic that makes the finished music propulsive and contrapunctual. As pure sound and rhythm it defies sonic boundaries. "Bridge Funk" sounds like funk drummer Zigaboo Modeliste (The Meters) jamming with a gamelon group. "Toward the Horizon" has the haphazard swagger of Tom Waits banging on old barn equipment, in the best sense. At times the 'metallic drill' percussion is evocative of the terse iterations of german progressives Neu or industrial pioneers Einsturzende Neubauten and Throbbing Gristle. But the surging tides of hypnotic rhythm also suggest Fela Ransome Kuti and James Brown in the more melodic and 'organic' passages. ("Take it to the bridge" indeed!) It is fluidic music that pinballs assuredly between the palettes of Reich and David Van Teigham, between Varese and Adrian Sherwood (Tackhead, Mark Stewart Maffia), from kodo and gamelon to Eno & Byrne. Bertolozzi weds these sonic possibilities to distinct songs that play as memorable and surprising music anyone can enjoy, whether a fan of modern classical, industrial, postpunk, world, or hiphop. How often can you say that? (read more)