Emily Hay: Like Minds (PFMCD022)

$9.99


This recording represents various musical projects in which I have participated over the past few years. All tracks are improvisations with no overdubs or second takes, with the exception of “A Year and Two Weeks” where a vocal track was added. “Call To Unarm” and “Like Minds” are from live concert performances, and “A Year and Two Weeks,” “Swamp Moss,” “Waiting For Sara” and “Crooked Hopscotch” were recorded direct to two track tape, with no multi-track mixing. Special thanks to all of the musicians who performed on these recordings, to Lee Scott, Randy Fuelle and Wayne Peet for their engineering expertise, to Annette Buhl for her photography and to Jeff Kaiser for his artwork design and support in releasing this disc.

-Emily Hay, 1.1.05
www.emilyhay.com

Emily Hay • Like Minds

1. CALL TO UNARM 8:56
Emily Hay – Flute, Alto Flute, Voice • Ronit Kirchman – Violin, Voice • Brad Dutz – Percussion • Joe Berardi – Percussion
2. LITURGY OF SOUND 5:40
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
3. A YEAR AND TWO WEEKS 4:01
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Synthesizer
4. BOILED CADILLAC 4:35
Emily Hay – Flute • Wayne Peet – Piano • Brad Dutz – Percussion
5. CROOKED HOPSCOTCH 8:18
Emily Hay – Flute, Voice • Sara Schoenbeck – Bassoon • Michael Intriere – Cello • Brad Dutz – Percussion
6. WE ARE 6:16
Emily Hay – Flute, Voice • Marcos Fernandes – Percussion
7. LIKE MINDS 7:09
Emily Hay – Piccolo, Voice • Ronit Kirchman – Violin, Voice • Kurt Heyl – Trombone, Voice
8. WHA’ ‘BOUT 9:32
Emily Hay – Flute, Alto Flute, Voice • Steuart Leibig – Bass • Rich West – Drums, Background Recordings
9. SPAR 2:31
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
10. WAITING FOR SARA 3:06
Emily Hay – Voices • Michael Intriere – Cellos • Brad Dutz – Percussion
11. HIBIKI 5:36
Emily Hay – Flute • Marcos Fernandes – Percussion
12. SWAMP MOSS 2:30
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Melodica

1. Recorded by Jeff Kaiser at Ventura City Hall, Ventura, CA 2004 Mastered by Lee Scott, Glendale, CA 2004
2. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA 2004
3. Recorded by Brad Dutz in North Hollywood, CA circa 1994
4. Overdub recorded/mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
4. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
5. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
6. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Lee Scott, Glendale, CA 2004
7. Recorded by Ronit Kirchman/Jeremy Drake, Asto Gallery, Los Angeles, CA 2003 Mastered by Lee Scott, Glendale, CA 2004
8. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
9. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA
10. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
11. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2003 Mixed and mastered by Lee Scott, Glendale, CA 2004
12. Recorded by Brad Dutz, North Hollywood, CA 1994 Mastered by Lee Scott, Glendale, CA 2004

Photography: Annette Buhl • Art Design and Layout: Jeff Kaiser
(p) Emily C. Hay 2005, (c) Emily Hay Music, publishing administered by Emily Hay Music (BMI). All rights reserved. For more information: pfMENTUM • PO Box 1653 • Ventura • CA • 93002 • www.pfmentum.com

pfMENTUM CD022

PFMCD022

SKU: PFMCD022

Reviews

  1. 0 out of 5

    Hard-working Emily Hay – musician, paralegal, promoter, radio host and heaven knows what else – put together a flamboyant representation of her multiple artistic personality in this articulated and highly enjoyable album, which was completely improvised with practically no overdubbing. Flanked by some of the hottest heads active in the West Coast avantgarde movement (Brad Dutz, Wayne Peet, Rich West, Steuart Liebig, Michael Intriere to name just a few) Emily plays and sings with unstained earnestness through a group of pieces so well accomplished that they made me believe they were charted. Hay’s flute excavates in pluralities of escapes from the obvious, without giving up to the silliness of impulsive gesture per se; her vocal personas, not too distant from the poetic of a Shelley Hirsch, contain sparkles of a fragmented bright look, mere illusions of unrestricted behaviour amidst a severe-looking emptiness of content that this artist tried to fight on her own terms. Needless to say, she won.

    Massimo Ricci, Touching Extremes, Feb 2005

    I recognize a few of these names mostly from discs on Nine Winds like Steuart Liebig, Brad Dutz & Wayne Peet, as well as Kurt Heyl another wandering improviser from New Mexico, originally, as well as Bay are based bass great Lisle Ellis. ‘Like Minds’ contains 12 short improv sections, all with varying personnel. All tracks but one are improvised, live and in the studio with no overdubs. Emily’s great flute and slightly twisted voice shine throughout, as do the various combinations of fine improvisers known and unknown. Some of these pieces are melodic, some haunting and some out there, but all are fascinating, well chosen and pretty focused. There is a nice playful quality to some of this making it a joy to hear, rather than a chore to endure.

    – BLG, Downtown Music gallery

    If you merely glance at the cover of this CD (featuring an extremely normal looking young blond lady) you might think that the disc would contain soft folk music…or soft, synthetic pop. Looks can be deceiving, however…and Emily Hay’s looks are most definitely deceiving (!). Even though she may look like a young housewife or even an elementary school teacher, nothing could be further from the truth. Ms. Hay is an extremely far out, esoteric, adventurous, avant garde musician and vocalist. Like Minds contains recordings spanning from 1997 to 2004 which were recorded at a variety of locations. Hay surrounds herself with other like-minded, adventurous musicians…and the results are bewildering and peculiar. Most of the music is accidental and spontaneous. But what stands out the most are the vocals. Sounding something like a very young Yoko Ono, Hay uses her voice in ways that most people cannot. Instead of singing or speaking words, she utters and yelps…whispers and yeeps…gargles and heaves… Basically, whatever feels right she does. Vocally, Emily seems to just let it rip. This is an odd collection of recordings that will lose most people completely. Sad, but true. But for those with an adventurous spirit, there’s a lot to grab onto here. These strange atmospheric recordings have strange passionate qualities that make them sound better with each repeated spin. Strange creations include “Call To Unarm,” “Crooked Hopscotch,” “Spar,” and “Swamp Moss.” Truly odd material. (Rating: 5+)

    http://www.babysue.com/

    You’ll have to have a “like mind” in order to like this musical excursion… but then, if you didn’t have a “mind like that”, you probably wouldn’t be here looking for the newest & most exciting improvised musics… true enough, right? Well, when you listen to Ms. Hay’s flute works, & begin to absorb the intricacy that here improvised compositions have, you will know you’ve “arrived”. This sounds like it was recorded in a large auditorium, or a concert hall… & the full range of the instruments, vocals & energies are captured for your sonic enlightenment. One other impression that comes vividly to my “front brain” is “zoo”… though I doubt she intended it, I felt like (at certain moments), I was hearing what it would be like (for the animals) waking up in the morning. Contrary to what you often hear on improvised music CD’s like this, there is a sense of “full-body”… I’m not sure how to explain that, but you’ll know what I’m talking about when you purchase this album. An absolute pleasure to listen to, yet a challenge, even for seasoned improv veterans. I don’t just give this a “nod”, I give it a MOST HIGHLY RECOMMENDED for listeners who aren’t afraid to try something that’s different.

    Rotcod Zzaj, Improvijazzation Nation, April 2005

    This are tracks taken from different musical projectas where Emily Hay participated in the last ten years. Emily is a musician that has no boundaries when comes to her flute playing. She goes from playing some atmospheres in tracks like “Call to Unarm” to melodic lines, and also to extreme sounds taht go beyond imagination. She also uses her voice in a really original way, as another instrument with which she improvises. On this tracks she works with great improvisers such as Rich West on drums, Michael Whitmore on guitars, Lisle Ellis on electronics and many others. This is a really mind opening experience because this people are constantly experimenting with pghrases and sounds and maybe within a composition you will have hundreds of ideas. And you can feel how tight she is playing here, interacting clverely with the other musicians. Lovers of improvisation and experimental music will be delighted with Emily´s skills!!

    Federico Marongiu, music extreme, http://www.musicextreme.com

    The other release is from vocalist/flautist Emily Hay – Like Minds (cd022) –
    which has been recorded over 10 years (although most in the last 5) with
    different combinations over the 12 tracks. This leads to a varied set, from
    a lo-fi garage grunge of A year and two weeks where she sings over acoustic
    rhythmic guitar and synth taking a flute line through to the next track,
    Boiled Cadillac, a delicate weaving of flute, piano and percussion that
    approaches a modern classical tradition. The best tracks for me are the more
    instrumental improv/jazz tracks – the invocation of Call to unarm or
    electronica growling under the flute on Liturgy of sound or the scattered
    improv in Crooked hopscotch. The other side of Hay is her vocalising which
    is close to glossolalia/scat which while obviously skilful does not do much
    for me. It some tracks it is more restrained, such as interweaving well with
    the flute and percussion in Hibiki or more musical on Wha’ ‘bout, but other
    times is not my cvup of tea (We are, for example). So a curate’s egg for me,
    but those who like vocal improv in addition to instrumental it will be a
    stronger album.

    jeremy, ampersand

    O nome tem uma sonoridade britânica, mas a menina é americana. Toca piano, flauta e canta. Mantém desde há anos intensa actividade na Costa Oeste dos EUA, onde, além de tocar, promove eventos musicais, tem um programa de rádio, produz filmes e programas de televisão, trabalha na empresa que representa artistas como Beck, Foo Fighters, Goo Goo Dolls e Metallica. Depois disto tudo, ainda arranja tempo para participar no Ockodektet, de Jeff Kaiser, e num sem-número de formações baseadas em Los Angeles, nas áreas da new music, rock alternativo, improvisação livre e mistas. U Totem, The Motor Totemist Guild, The 5 UU’s , Otherparts, I Am Umbrella, Adam Rudolph’s Go Organic Orchestra, o Emily Hay Collective, o Rich West Ensemble e o Vinny Golia Large Ensemble, são alguns dos grupos em que participa ou colabora.

    Hay publicou já este ano na pfMENTUM um disco como líder.

    Like Minds, é uma obra interessantíssima, que recolhe uma série de projectos em que a improvisadora participou nos últimos anos. É deste modo que podemos ter uma panorâmica da sua actividade mais recente, expressa em 12 temas totalmente improvisados, qualidade esta de que só se dá conta lendo o texto do folheto, tal a concentração e sentido espácio-temporal das composições espontâneas.

    Emily o que faz bem é utilizar as técnicas que aprendeu durante a formação clássica. Explora até ao limite as possibilidades tradicionalmente atribuídas aos instrumentos que toca, e incorpora aqueles elementos num discurso mais vasto, em que a improvisação é senhora e rainha. As suas vocalizações são de extrema versatilidade na cor, textura e registo, entre o canto world à base de onomatopeias, a spoken word, a paródia a vários estilos e diferentes formas operáticas.

    São seus cúmplices, alternando ao longo dos temas, Ronit Kirchman, Brad Dutz, Lisle Ellis, Marcos Fernandes, Michael Whitmore, Wayne Peet, Sara Schoenbeck, Michael Intriere, Ronit Kirchman, Steuart Leibig e Rich West. Emily hays assina um disco variado, cheio de motivos de interesse. Para ouvir muitas vezes.

    Eduardo Chagas, http://jazzearredores.blogspot.com/2005/02/emily-hay.html

    This album features Emily Hay [flutist, vocalist, pianist, radio host/DJ, and media paralegal] on flutes [and more] and voice, with Lisle Ellis and Steuart Liebig on basses, Ronit Kirchman on violin/voice, Kurt Heyl on trombone, Michael Intriere on the cello, Wayne Peet (piano), Michael Whitmore on guitar, Sara Schoenbeck on bassoon, Brad Dutz, Joe Berardi, Rich West, and M. Fernandes on percussion, among other artists.

    With this whole assembly of creative and experimentally-leaning musicians we get a CD that presents a dozen tracks. These range from a short 2:30 all the way to cut #8 which runs for 9:32. There’s also two other numbers that are over eight minutes in length. “Like Minds” the title track plays for over seven minutes. For the album, it’s well over an hour of experimental and edgy avant garde freestyle and improv.

    What make this project different than many other instrumental/experimental CDs, is that here the vocals from Hay add a strange dimension. An example is “We Are” cut #6. It is a bizarre trip into vocal sounds. In places it may be scat, chat, or maybe this is speaking in tongues[?] or the sounds/babbling of a mellowed-out J. Joplin on acid?!

    ” Boiled Cadillac” has a mysterious, eerie sense to it. Clever piano by Peet and solid percussion balances out the work. It blends the experimental to a more recognizable instrumental sense. On the title track Hay does piccolo and voice, with Kirchman on violin. Here they seem to have fun making new sounds and voices, just trying to see where they can go.

    The long “Wha’ ‘Bout” has bass, drums, and flutes. On it they journey to a world of creative improvisation. It has edges of jazz, blues, World, experimental, and more. A cool tune it has much potential for backgrounds, beds, commercials, airplay, etc. The ‘wha a bout’ playful sense makes the song enjoyable. There’s lots of varied directions the song takes, so it isn’t one long monotonish track. I really liked the bass work too.

    ” Spar” may be a vocal boxing match–with herself. Clearly different from jazzy to operatic, to just weird. On “Waiting for Sara” we get gobs of improv explorations. I liked the feel of “Hibiki” where it is Hay’s nice clean flute and the nuanced percussion of Marcos Fernandes. At times the vocal parts detracted from the magical music. The cut has the feel of a Chinese martial arts movie in places. A lot of sound from just two players.

    This project closes with “Swamp Moss” a short selection that has melodica, guitar, and voice. Here the vocals and instruments work well. It is actually one of the best tracks on the album–it should have been much longer as the meeting of these three artists was a really good one.

    ‘Like Minds’ highlights these similar musical brains. It is improv that incorporates electronic stuff. Less electronica, I think, would have made for a stronger album but none the less, it was an interesting listen.

    Copyright 2005 A. Canales eyeear7@Hotmail.com The CRITICAL REVIEW Service P.O. Box 3593 El Paso, TX 79923

    The kind of creative improvised music sponsored by pfMentum leaves plenty of room for interpretation. What do you feel when you sit and enjoy an afternoon of avant garde music? Does it lift you spiritually? Does it move your bones in a rhythmic parade? Do you feel uplifted, or blue? It’s all a matter of personal interpretation.

    Veteran flutist Emily Hay gives you much to ponder. All of her improvisations lead to a positive outcome. By its very nature, the flute demands an uplifting quality.

    Recorded at various Southern California performances over the past ten years, these twelve tracks feature different artists accompanying Hay, who pursues flute melodies that she dresses up with unique vocalizations. As a wind-blown instrument, the flute relies on the human voice as much as it does on mechanics. Hay takes advantage of this quality by wailing and moaning expressively as a singer who relies upon tones instead of lyrics. Like a folk singer or traditional blues belter, she lets her voice soar with passion. It works.

    ” Like Minds” merges piccolo, trombone and violin with the voices of three creative artists. Hay, Ronit Kirghman and Kurt Heyl improvise with energy and a deep passion for their sport. Free to explore and to say whatever is on their minds, the three musicians use wordless shouts and melodic snippets to frame their conceptions. The album brings many like minds together for these improvised sessions, leaving interpretation to the listener.

    Jim Santella, http://www.allaboutjazz.com/php/article.php?id=16714

    An expert in vocal performance, the artist offers us an interesting series of sonic experiments. The music is of an experimental character, with certain passages within the New Music, some entering avantgarde Jazz, and the presence of elements typical of sound art and other trends. The result is a journey through hypnotic sonic worlds, that appear to have been taken out of surrealist dreams.

    DOMINIQUE CHEVANT, http://www.amazings.com/reviews2005.html

    KFJC On-Line Reviews
    4/10/2005
    Hay, Emily – “Like Minds” (pfMENTUM)
    Filed under:
    Jazz
    CD
    — outlier @ 1:46 pm
    A collection of various projects undertaken over the decade by the phenomenal Emily Hay, experimental vocalist-flutist from SoCal. Pieces range from surging winds and street smart rhythms in experiment (1,5,7,11) to free vocals with percussion and/or electronics (6,8,9,10) to song structures of Dadamah-like magic (3,12) to post-classical virtuoso conversations (2,3). The lyrical phrasing and instrumentation keep the experimentation in the musical dimension. Hay’s vocals are about hearing what the voice can do as an instrument. Infusion of unrestrained vocal energy into the trio/quartet creations thru evocative utterances over and in between flute expressions bring you intimately into her soundspace, moving beyond words to true emotive convergence between artist and listener as the sounds are shared.
    3w: Emotive Evocative Expression

    – Outlier

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