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Volume 5 of a six volume series (7-CDs) tracing the emergence and development of Collective Autonomy, 1976 ~ 2003


Feeling to Thought
FT-012 : TOTAL TIME = 69:29
FT-013 : TOTAL TIME = 58:20



RECORDINGS:

ABC Studio, Sydney – Live
Engineered by Neale Sandbach
Date : July 16 ~ 17, 2003


RELEASED : November 26, 2013



Of Other Narratives

tracings in the ground of

Collective Autonomy / Volume 5

POETRY–LANGUAGE–THOUGHT

TRIO '03 : Dewhurst Elphick Treloar
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Aus.$ 43.00
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In the words of critic/writer, John SHAND : “I was struck by the wonder of what was being created. cThe splendor of the sounds is matched by a capacity for spontaneously developing narrative and structure via trust, daring and instinctive responses to what each player hears cwith the listener riding serenely on those stunning sounds. Put this through a decent hi-fi system and it will seem you have had an ear transplant”

½ John SHAND, The Sydney Morning Herald, THE AGE, December 14 – 15, 2013


Egalitarian as it is utterly spontaneous, this music is as formal as it is inventive. Recorded over two days, Poetry–Language–Thought documents creative explorations realized by three masters of the art of musical improvisation. These two CDs present the music as it was played in the studio and recorded by ABC's Neale Sandbach.

It offers the most recent recordings in the Of Other Narratives timeframe, drawing upon a single performance event and consisting entirely of spontaneously created music. Unplanned and style free, these tracks exhibit open-hearted passion yet at the same time, restraint that informs the music, making sketch after sketch, painting mural after mural, and expressing musical poetry, language, and thought with direct-from-the-heart feelings. While the music emerges from the exchange of free-flowing ideas it gives abundant space to the individual voices, each of which speaks with clarity and inexorable purpose.

There being forty-three tracks in all, track time varies widely, with the shortest being 37 seconds and the longest, 11 minutes 18 seconds. The tracks here are identical to the order as they were performed at the time of recording. The only editing involved standardized time between tracks. Precisely reproduced, this is spontaneously improvised music as contemporary high art.

The tracks have been numerically identified for easy navigation through the recording as document. All the tracks are entitled Impression 1, Impression 2, and so on. In the case where pieces were rendered as quasi movements, they are designated as such. Thus we have, for example, Impression 8.1 (1st movement) Impression 8.2 (2nd movement), and so forth. These appear as separate tracks even though the music is continuous. Impression 10 comprises twenty-six short pieces each of which is assigned a separate track number.

The music comprising Of Other Narratives volume 5, Poetry–Language–Thought is a unique and powerful expression through collaboration in spontaneous music‐making, emancipated from the dictates of style, and embracing through mutual collaboration, all that is positive in egalitarian, creative engagement.


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Volume 4 of a six volume series (7-CDs) tracing the emergence and development of Collective Autonomy, 1976 ~ 2003


Feeling to Thought : FT-011
TOTAL TIME = 59:12

RECORDINGS:
Track 1: June, 1992 – Live
Track 2: May, 1991 – Live
Track 3: June, 1992 – Live
Track 4: March, 1986 – Studio



RELEASED : February 28, 2013


Of Other Narratives

tracings in the ground of

Collective Autonomy / Volume 4

JOURNEY WITHOUT GOAL
Price
Aus.$ 23.00
Jpn.¥ 2,300
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As laid open in the previous three volumes, Of Other Narratives, vol. 4, explores a different approach to Collective Autonomy. Where volume 1 introduces the creative cast of the Narratives project as a whole, volume 2 focusses directly on the improvisatory ethos of a jazz derived language. While volume 3 illuminates creative potential as explored through the merging, juxtaposition, and interpenetration of notated composition with jazz orientated improvisation, volume 4 draws focus on notated composition and its manifest interpretation. Each volume in the series, then, expands with increasing detail and depth the various modes of music-making as these are put to work in the context of Collective Autonomy.

Track 1: Journey Without Goal – for solo cello. Composed by Phil Treloar 1992 (1987). Performance: Christian Wojtowicz. Duration, 20:29

Track 2: A Hymn to the Creator of All – a cappella. Composed by Phil Treloar 1987 (1981). Performance: the ASTRA Choir, Dir. John McCaughey. Duration, 10:37

Track 3: Building a Golden Wheel – for trombone and double string trio. Composed by Phil Treloar 1992. Performance: Simone De Haan, tromb.; Pipeline Strings. Duration, 15:18

Track 4: String Quartet No. 1. Composed by Phil Treloar 1984 ~ 85. Performance: Sydney Conservatorium Student String Quartet. Duration, 12:46


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Volume 3 of a six volume series (7-CDs) tracing the emergence and development of Collective Autonomy, 1976 ~ 2003


Feeling to Thought : FT-010
TOTAL TIME = 72:40

RECORDINGS:
Track 1: June, 1988 – Live
Track 2: May, 1989 – Live



RELEASED : July 10, 2012


Of Other Narratives

tracings in the ground of

Collective Autonomy / Volume 3

PRIMAL COMMUNICATION
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Track 1: Primal Communication: version two – for improvising quartet and string orchestra. Composed by Phil Treloar (1988). Duration, 34:51

Track 2: Variations on 'Directions Changing' – for ensemble and improvising quartet. Composed by Phil Treloar (1989). Duration, 37:47

Foundational to an emerging interactive ethos with a truly Australian frame of reference, the two extended compositions heard here excavate the terrain on which improvised and composed/notated music dwell. These "Works" have each been significant at major points in the development of Collective Autonomy, providing vibrant fields for creative exchange between people as expressed through musical performance.
In formal terms these two "Works" offer a very different perspective on Collective Autonomy. Structured under a single arc, Primal Communication : version two explores the idea of 'development' as a functional hinge-pin while Variations on 'Directions Changing' is a thorough working out of the centuries-old principle, 'variation form'. Intrinsic to these processes is the juxtaposition of, and alternation between, modes of thoroughly notated composition and improvisation, with interaction between these being crucial moments in the formal shaping.

A selected highlight for 2012 – Gerry Koster, ABC, Jazz Up Late

“Superbly as Treloar plays, his major achievement is in bringing together such excellent players, and setting up situations in which they can share and develop their ideas, the compositions skillfully combining and contrasting the notated and improvised/developed passages. Some of the best Australian jazz of its era, and still worth hearing today.

Adrian JACKSON, RHYTHMS, December, 2012


[Primal Communication] “the inexorable flow of the piece – a river passing through wildly differing country. c It is a pivotal work in combining composition and improvisation, and remains light years ahead of much that has been attempted since. c A must”

John SHAND, The Sydney Morning Herald, THE AGE, October 6 ~ 7, 2012.


gThis is substantive work. cAn insight into the level of connectivity achieved between the artists, the composition and the live Tasmanian audience. cTreloar is unerringly focussed on creativity and the generous spirit within his music.h

Peter WOCKNER, Jazz & Beyond. August, 2012


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Quantity:

Volume 2 of a six volume series (7-CDs) tracing the emergence and development of Collective Autonomy, 1976 ~ 2003


Feeling to Thought : FT-009
TOTAL TIME = 43:54

RECORDINGS:
Tracks 1 ~ 4: April, 1979 – Studio



RELEASED : December 7, 2011

Of Other Narratives

tracings in the ground of

Collective Autonomy / Volume 2
Australian Art Ensemble — Trio '79
Gebert - Simmonds - Treloar
Price
Aus.$ 23.00
Jpn.¥ 2,300
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Volume 2 is a studio recording from 1979 of original music never before available on CD by the A.A.E., offering a program of extraordinary improvisational journeys based on two compositions by Bobby Gebert, Nexus and Chugginf, a group composition, Dream Time, and finally, C.O.D., an Ornette Coleman original.
The highly spontaneous, interactive music played here by Bobby Gebert, piano; Mark Simmonds, tenor saxophone; and Phil Treloar, drum-set and electronics, is testimony to the fecund creative environment characteristic at the time of Morganfs Feedwell, a small restaurant run by Craig Morgan in Glebe, Sydney, Australia, that gave uncompromising support to contemporary jazz.
Though having floated round the eundergroundf since the time of its recording, this remarkable music is published here for the first time ever; a historically unique gem at the very forefront of an emerging, genuine and uncompromising Australian voice in improvised music.


"COUNT this among the momentous albums of Australian jazz.
"c this music is partly about staring at oblivion; about daring to shout that the triumph of life is to exalt in the face of death, rather than be cowed by it.
"It is torrential and utterly gripping."

½ John SHAND, The Sydney Morning Herald, THE AGE, The Brisbane Times,
FEATURE REVIEW – January 7, 2012


"Given the open, exploratory nature of this music, they may seem like strange bedfellows c But this recording shows that, at that time, they were perfectly attuned to each other. Their interactions are thematic rather than simply 'free'."

½ Adrian JACKSON, Limelight, April Edition, 2012.


“There is precious little of Simmonds' playing currently available on record, and this is the only recorded example I know of Gebert playing in this vein. Likewise, not enough of Treloar's work is readily accessible for today's listeners, so this one is well worth looking for.

Adrian JACKSON, RHYTHMS, March, 2012

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Quantity:

Volume 1 of a six volume series (7-CDs) tracing the emergence and development of Collective Autonomy, 1976 ~ 2003


Feeling to Thought : FT-008
TOTAL TIME = 59:42

RECORDINGS:
Track 1: September, 1976 – Live
Track 2: June, 1992 – Studio
Track 3: August, 1996 – Studio



RELEASED : August 15, 2011

Of Other Narratives

tracings in the ground of

Collective Autonomy / Volume 1 INTEGRATIONS
Price
Aus.$ 23.00
Jpn.¥ 2,300
{ shipping

Volume 1 presents three pieces, offering an overview of the creative territory covered by Collective Autonomy. The first of these is a spontaneous improvisation from 1976, performed in the Concert Hall, Sydney Opera House, during a tour by British double bass virtuoso, Barry Guy, and includes Roger Frampton, alto sax & piano, and Phil Treloar, percussion and electronics.
The second piece, Integrations 1, is performed by the esteemed trombone virtuoso, Simone De Haan, with percussionists, Daryl Pratt, and Phil Treloar. It explores relationships between thoroughly notated composition and similar materials structured for improvising.
The final piece, cWomb of Paradigm, is a fully notated, large-scale gWorkh performed by acclaimed clarinetist & contemporary music specialist, Ros Dunlop, with the remarkable pianist, David Miller.


Finalist, Best Jazz Album, 2011. Selected together with albums by Keith Jarrett, Charles Lloyd, and Paul Motian (winner).

Bernard ZUEL, THE AGE – December 16, 2011.


"Treloarfs fully notated cWomb of Paradigm for bass clarinet and piano was so complex itfs hard to believe it was not fully improvised."

Peter WOCKNER, Limelight – January Edition, 2012. See also Jazz & Beyond.


"However dense the music, it emits light in its clarity of ideas and carries overwhelming forward momentum. cBinding the three tracks is Treloar's preoccupation with freeing music of adherence to tyrannical relationships, whether of rhythm, role or anything else.

John SHAND, The Sydney Morning Herald, October, 2011.


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Quantity:

3-CD set and extensive essay included.


RECORDED May 10 ~ 12, 2009, at Toyama Art Creation Center, Toyama Prefecture, Japan.


Feeling to Thought
FT-005 : TOTAL TIME = 65:35
FT-006 : TOTAL TIME = 72:49
FT-007 : TOTAL TIME = 67:03



RELEASED : November, 2009

Pathways of the Mind:

exploring sympathetic resonance — third series

of Paradox Once Found
Price
Aus.$ 80.00
Jpn.¥ 7,000
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Conceived of as a unified, large-scale gWorkh of Paradox Once Found explores transformations of textual readings and their interpretation into interdependent expressive forms rendered as written text and spontaneous improvisations for solo marimba.

gOrganic in his approach, at the heart of the equation is the relationship between the improvised and the composed using the seeds of sound creation and sound byte relationships. Spontaneous improvisation can be sometimes erratic or over zealous. Not Treloar. His is a steady-handed measured approach, although the spiritual might consider him a medium for sound creation by a greater force.h

Peter WOCKNER, Limelight – April Edition, 2010. See also Jazz & Beyond


gThe Japan-based Treloar's instinct for real-time devising of form is phenomenal. c Binding the work is the magnificently-recorded resonance and warmth of Treloar's marimba and the pervading meditative mood – echoed in an accompanying perceptive, candid and affecting essay on cultural imperialism.h

John SHAND, The Sydney Morning Herald, February 27, 2010


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RECORDED June, 2008,
at The Lazy Curl, Milton, NSW, Australia.


Feeling to Thought : FT-003
TOTAL TIME = 66:04


RELEASED : December, 2008

Shades of There

Converging Paths

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Aus.$ 23.00
Jpn.¥ 2,000
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“Dueting as Converging Paths, Phil Treloar and Hamish Stuart generate a feast of interaction across all facets of their intimate music-making.… Stuart, long considered among the grooviest drummers in the land, here displays a splendor of textual invention to rival the great free drummers … Outstanding.”

John SHAND The Sydney Morning Herald, December, 2008

“I can’t imagine a recording which could capture more extemporization and random acts of giving from the human spirit. …interactions which at times boarder on telepathic. … Neither courageous nor self-indulgent but honestly and faithfully expressed, clearly influenced by the over-arching maze of sound found in bushland near Milton, NSW.”

½ Peter WOCKNER, Limelight – April Edition, 2009. See also Jazz & Beyond

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RECORDED LIVE, August, 2006, Kanazawa, Japan.


Feeling to Thought : FT-002
TOTAL TIME = 70:24


RELEASED : February, 2007

Pathways of the Mind:
exploring sympathetic resonance — second series
Phil Treloar solo percussion recital
Price
Aus.$ 23.00
Jpn.¥ 2,000
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“Some art defragments the mind. Rather than cluttering, it seems to promote orderliness and clarity through its very grace, space, and serenity. Hermann Hesse’s The Glass Bead Game, J.S. Bach’s music for solo instruments and some Japanese pottery are examples. Much of this second album of Phil Treloar solo percussion has that effect.
“Treloar offers improvisations for marimba, drums and metal, and extended drum set. With his silken touch and self-made mallets, his marimba sounds are unique. Sometimes it can be as finely rounded as bamboo chimes being rustled by an easterly breeze, the note clusters shimmering into a harmonic heat haze out of which can emerge a stream of crystalline melodic invention.
“His approach to playing drums is remarkably similar, the main difference being that the music is darker and more dramatic, even as he combines his glorious sounds with chord-like rigor.”

John SHAND, The Sydney Morning Herald, February, 2007

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RECORDED LIVE, August, 2005, Kanazawa, Japan.


Feeling to Thought : FT-001
TOTAL TIME = 70:57


RELEASED : June, 2006

Pathways of the Mind:
exploring sympathetic resonance — first series
Phil Treloar solo percussion recital
Price
Aus.$ 23.00
Jpn.¥ 2,000
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“Until moving to Japan some 15 years ago, Phil Treloar was Australia’s key creative percussionist. His disciplined study of sonic, improvisational and compositional concepts and possibilities continues, and this, his first CD, captures the magic to flow from all that work.
“The eight pieces are improvisations within predetermined and very different sound worlds, each providing startling evidence of the beauty of Treloar’s conception and execution.
“No other percussionist can extract more music from a single drum yet make conventional concepts seem brutally primitive.
“Close your eyes and be entranced. This is improvisation at its most pure.”

John SHAND, The Sydney Morning Herald, June, 2006

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