saxophone, composition, ethnomusicology
David Borgo
Expert response of a US improvisation researcher to the “paradox of simultaneity” in Pepl’s multitrack recordings. He read the appraisal, dipped into the recordings and considers that playing with one’s own, previously recorded tracks may be less difficult or surprising than it first seems, provided the tracks were made in quick succession: one is attuned to the cues that are otherwise negotiated within an ensemble (breath, phrasing, dynamics, attacks, releases, tempo).
American saxophonist, composer and ethnomusicologist, professor in the Department of Music at the University of California San Diego (California, USA). His book “Sync or Swarm: Improvising Music in a Complex Age” (Continuum 2005, revised edition Bloomsbury Academic 2022) was awarded the Alan P. Merriam Prize of the Society for Ethnomusicology (the field’s professional society) in 2006. After reading the appraisal The paradox of simultaneity, he gave the archive permission to use his comments on Pepl’s home-studio recordings.
More about David Borgo: sites.google.com/ucsd.edu/davidborgo
Voices
… one is attuned to all the little ‘cues’ that normally would be negotiated in a chamber performance (breath, phrasing, dynamics, attacks, releases, tempos, etc.)
The US improvisation researcher and saxophonist David Borgo (University of California San Diego) after reading the appraisal “The paradox of simultaneity”, from an email to Daniel Pepl. In essence, Borgo suggests that playing with one’s own, previously recorded tracks may be less difficult or surprising than it seems, provided the tracks were made in quick succession