www.peppergreenmedia.com

nEWS

25 NOV 16

CMUSE: Classical Musicians Everywhere
(UK & Canada)
Interview w/ Patrick Grant




Read the interview on the CMUSE web site here:
http://www.cmuse.org/i-see-tilted-axes-as-a-form-of-secular-ceremony/

Read more recent reviews and interviews here:

http://tiltedaxes.com/tiltedaxes.html




01 NOV 16


Tilted Axes @ The 2016 NYC Village Halloween Parade








More VHP photos posted at:

http://photos.halloween-nyc.com/Halloween-2016





30 OCT 16

13 Question for Patrick Grant from the Prepared Guitar Blog
https://themmixdown.com/2016/10/30/13-questions-for-patrick-grant-for-the-prepared-guitar-blog/



Patrick Grant is an American composer living and working in New York City. His works are a synthesis of classical, popular, and world musical styles that have found place in concert halls, film, theater, dance, and visual media over three continents. Over the last three decades, his music has moved from post-punk and classically bent post-minimal styles, through Balinese-inspired gamelan and microtonality, to ambient, electronic soundscapes involving many layers of acoustic and electronically amplified instruments. Throughout its evolution, his music has consistently contained a “…a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism…intricate cross-rhythms rarely let up…” Known as a producer and co-producer of live musical events, he has presented many concerts of his own and other composers, including a 2013 Guinness World Record-breaking performance of 175 electronic keyboards in NYC. He is the creator of International Strange Music Day (August 24) and the pioneer of the electric guitar procession Tilted Axes.

1. What were the first and the last records that you bought with your own money?

When I was 11 years old, I saw a commercial on television for Stanley Kubrick’s “A Clockwork Orange.” The music in that commercial grab my ears right away. I could not figure out what was making those sounds. It was winter so I shoveled snow to earn the money to buy the LP. When I brought it come I put it on my record player and dropped the needle from track to track to find the music I had heard. It was the March section in 6/8 of the choral movement of Beethoven’s Ninth Symphony as performed on the Moog synthesizer by Wendy (then Walter) Carlos. It blew my mind because up until then, to me, classical music was only stuff that was used in a humorous way in cartoons. The sounds of the Moog entirely captivated me. In one moment I was transformed and dedicated my life to music and, in many ways, my personal pursuit to this day is to relive that feeling I had. Now, the last album I actually purchased, on CD, was “King Crimson Live in Toronto, November 20, 2015.” If you also count digital purchases, that would be Frank Ocean’s “Blonde.” Whether you like his music or not, there is a lot to be learned about recording techniques on that album.

2. What’s your musical practice routine ?

I begin every day with the Sitting Practice I have learned from being a part of Robert Fripp’s projects. It wouldn’t be right to call it meditation. The idea is, “How can one do anything if one doesn’t know how to do nothing?” So that’s it, I begin my day by doing nothing, as excellently as possible. The goal is to calm our Monkey Minds (reflex) and replace it with clear aims (intention). From there, I’ll go through a number of exercises on my acoustic Ovation tuned in Guitar Craft’s New Standard Tuning (C – G – D – A – E – G). I go through a number of finger exercises called Primaries. I find that this guitar’s tuning, in 5ths, really stretches out my left hand. Being acoustic, the right hand, playing with a pick, is given an equal amount of attention. There’s no hiding a sloppy right hand technique on an acoustic. If done well, the result is having exercised one’s ability to put attention where it’s needed, when it’s needed, not just in the hands, but throughout one’s being. All of this warms me up and gets me ready for whatever musical tasks I have for the day. If it’s a “keyboard day,” I’ll do all of the same preparation but will run through some of Bach’s Two-Part Inventions. I love the purity of the two monophonic lines working every finger equally.

3. In your opinion, what’s the relevance of technique in music?

If one wants to make a life out of music, the learning of technique never ends. Not just in playing one’s instrument but, in all of the related fields that makes music possible. Understanding musical instrument technology and its constant evolution is one area. Then there are the various techniques of arranging, recording, and producing. So yes, it’s incredibly relevant. I’d rather feel I’m creating on the edge of learning something new rather than repeating myself. Those uncertain waters are a good place for creativity. Where those waters are, metaphorically, depend on how far out our technique can take us before we drown. It’s always good to push ourselves a little further each time we creatively venture out.

4. Tell me one impossible project do you like to realize?

For years, I’ve wished to put together an electro-acoustic ensemble that would work well with projections, films and such. I would like the synchronization between the music and the images to be exact. The difference here would be that there would be flexibility in tempo. There would not be a static tempo connecting these sonic and visual elements but one that would be dynamically controlled by the musical ensemble. In other words, the image would follow the musicians, not the other way around which has been the traditional way. I have done some research into this and I believe I have finally found a way. This ability would have many possible (and impossible) uses on the stage and in alternative venues.

5. What are the challenges and benefits of today’s digital music scene?


It has its pluses and minuses. It depends on what the aims of the artist are and I can only speak for myself. It certainly helps an artist in getting their music out into the world quickly. Where it goes from there is the question. I myself don’t have high expectations on digital sales, I’m more interested in getting the music to the right audience. I have been functioning in a traditional role of composer first, and performer second. That means that most of my music has been commissioned, meaning that I get my money up front. The purpose of my digital distribution is to get it to the people who commission new music and performances. If there are any sales, that’s the gravy. I would also ad that having one’s publishing and copyrights in order is very important if there is any chance of one’s tracks being licensed for use in visual and other media. As a result, I look forward to regular royalty checks from my PRO. Despite the relative ease that one can get their tracks out into the world, I have found that most serious reviewers and serious radio stations still prefer to receive an actual CD. Perhaps that will change but for now, I’m still sending out hard copies to the larger institutions.

6. How do you feel listening to your own music?

Too be honest, a little awkward. The newer it is, the more awkward I feel. Every note reminds me of what I was thinking of or what I was doing when I created it. It’s funny. As time passes and I have some distance to it, I am able to listen more objectively and I’ll get critical of missed opportunities and things I’d like to change. When enough time passes, I can listen to it as if someone else created it and enjoy it for what it is. After too much time passes, to even think about making any changes seems a fruitless endeavor. Let it be what it is and, if there are any remaining criticisms, better to express them in a new piece of music.

7. What is one musical work that has provoked a change in your music?
That would have to be Steve Reich’s “Music for 18 Musicians.” I was 14 years old and received that LP as a birthday gift. Like all music I fall intensely in love with, I didn’t like it at first. I almost hated it. That was because it challenged the way I had been listening to music. I was young and liked music that changed very quickly. Think of how fast the harmonies change in Bach and Bebop. It made me slow down and that took some time to do. When I was finally able to listen deeply, I began to notice all kinds of things going on that my ears were initially deaf to. That ability carried over into all over kinds of music that began to interest me. I was then able to listen to music that I thought I knew well and heard things that I didn’t hear before. This is a skill that all musicians have to acquire but, to me, when I was 14, it was pretty profound. I obviously remember the effect it had on me to this day.

8. What is your relationship with other disciplines, such as painting, literature, dance, theater, etc.?
I have had a good relationship with all of the other arts early on. I can credit my mother, who studied art and drama, for that. As a teenager, I credit Kurt Vonnegut, Richard Brautigan, and Anthony Burgess for saving me from a life of illiteracy. They were so much more interesting than the classics we had to read in school, though I read those too. As a kid, I was leading two musical lives. On one side I was very classical: Bach, Beethoven, Debussy, and Stravinsky. I skipped over much of the Romantic Era. I found that music to be too nationalistic and full of over-orchestrated folk tunes. My other side was drawn to rock, the Beatles initially, even though they were years past. I started playing in Post-Punk and New Wave bands because I loved the immediacy of having an audience and the theatrical element it had that came from smart places like Modern Art and cult films. Later, I was interested in the music of John Cage. His book “Silence” was another ear-opener. I loved how all the arts came together in New York City and so I moved there and live there to this day. By being aware of the city’s history, I found many places to plug my music into besides concert venues: art galleries, theater, dance, film, and began producing my own concerts in alternative spaces. This was due to having a good understanding and relationship with other arts. Not too many musicians have this, or maybe they think they do. I became very involved with avant-garde theater for a number of years as a composer and performer. I have created music for the legendary Living Theatre. They interested me because of the sheer number of great composers that worked with them over the decades. Plus, as a theater composer, you have the benefit of a space to work in. That’s hard to get in NYC. I also created music for the visionary Robert Wilson, most famous for creating “Einstein on the Beach” with Philip Glass. That experience was a prime example of all the arts coming together on stage. Gesamtkunstwerk. Opera. I often say that the theater is my favorite art form because it is the only one that can contain all of my interests under one umbrella. That’s avant-garde theater, I mean. Traditional theater was there for research and technique. I pushed the envelope every chance I had.

9. What are your secret influences? (Non-musical ones, like books, people, experiences, art…)

It’s not so much a secret, well maybe it is, but that would be the influence of science. I did not do well in school when it came to science. The concepts were, at the time, too abstract for me. The math, I mean. That’s strange since all other forms of abstract thought were never a problem. I always loved the short TV programs of Julius Sumner Miller. He was a student of Einstein. He produced short videos called “Dramatic Demonstrations in Physics.” The guy was hilarious. Anyway, he was able to get across some fairly deep concepts through simple physical demonstrations using things that one could find around one’s house. Search for his videos on YouTube. They’re priceless! So, like that, I needed something physical to understand the ideas. Soon after I finished school, I was given the book “On the Sensations of Tone” by Hermann Helmholtz. That was another paradigm shift. As I read it, I realized that I had the electronics to make the sounds he was describing in the math. When I could hear it, when I could see it, then I could understand it. It was physical, sensual, it was not abstract. From there, I started incorporating more and more science into a lot of my work, be it natural (physics and biology) or man made (architecture). These sciences offered many new models for composition. Since then, whether overtly or covertly, these things have informed the compositional elements of my work. I even created a number of concert theater pieces based on science like “Genome: The Autobiography of a Species” (2003) about DNA and “Big Bang” (2006) about the creation of the universe. I would also say that fractals are consciously present at some level in all of my work.

10. If you could, what would you say to your younger self about a musical career?

Besides “learn orchestration,” I’d say stick with positive people. Don’t let anybody tell you what you should be doing. Follow your gut because, yes, life is too short and there’s little time to do anything over. Don’t party too much. You’ll regret that wasted time as you get older. Plus, it takes a toll on your body. Don’t worry about being liked. No matter how good you are, you cannot please everybody. Be a part of a community. Remember, music is a social art. Sure, we need time alone, but don’t isolate. Nothing happens if you do. If what you’re doing creatively scares you a little bit, that’s good. It will keep you sharp. Never say you can do more than you can do. That will take a while to figure out but stick to that ethic once you understand. People will appreciate your honesty even if it initially disappoints them. One axiom from Guitar Craft sticks with me: Honor sufficiency; Honor necessity. It’s more difficult than it sounds. Practicing your ability to maintain and deepen your attention. It requires constant work. Begin now.

11. What is some valuable advice that someone has given to you in the past?

Learn orchestration. No matter what one’s instrument or style of music, learn orchestration. There are some very real reasons why the orchestra has evolved into what it is and, in the end, those reasons are the physics of sound. Yes, science again. This will be especially useful when one begins using electronics. Whether it’s stomp boxes, synthesizers, or digital recording, all of these have their analogs in acoustics. It makes everything so much easier to navigate once you learn the principles of how sound works and how our ears hear. Thankfully, there are not too many things to learn (in essence) but the combinations are infinite. This was said to me and I’ve said it to younger musicians. They’ve all come back to thank me for it just as I thanked my mentors.

12. Which instruments and tools do you use?

I’m a guitarist as well as a keyboardist so I have a bit of both. Guitar-wise, my sound is electrically defined by a Fender Jaguar, a Gibson Les Paul, and a Rickenbacker 330. Acoustically, I have an Ovation Balladeer and a Taylor T5. I have other guitars but those are the main ones. You know how in film they have lead actors and character actors? Well, as a guitarist, I’m not really a lead guitarist but, I’m much more than just a rhythm guitarist. I say that I’m a “character guitarist.” I’m the guy who plays the inner voices that you remember, if that’s a thing. I have plenty of top notch lead guitarists in my group to get that job done. As far as keyboards go, I’ve owned so many over the years that I haven’t been able to keep them all. Most every keyboard I’ve lost now exists as a software version. Currently I use a Korg SV-1 electric piano (with a tube!), a Novation MIDI controller, but the best of the best are the two Moog Sub 37s that I use as a pair. There’s nothing like that Moog sound. I mean, that’s what got me started in the first place. Electro-Harmonix and Vox Amps are project sponsors so I have a number of items from both of them for FX and amplification. For recording, I use Ableton Live. When many pieces have to be multi-tracked by different players at different times, I found that its editing capability can really bring everything together into an ensemble sound quite well. My partner Jocelyn is a Pro-Tools genius (she teaches it at the New York Film School and is a podcast producer for the New York Times) so, if I ever have to go there, it’s around. Still, it’s time to upgrade. I’ll need a new MacBook Pro and audio interface soon. For the latter, I’m thinking I’d like to get an Antelope Audio Zen Studio. It has so many inputs and it’s crazy good for taking on the road, so my friend can testify.

13. What projects are you working on now and what does the future hold?

The Tilted Axes album just came out so we’re using that for promotion and planning our next performances. I’d like the next step to be “Tilted Axes: Music for Planetariums” or something like that. “Astronomic” is another working title. That would be a continuation of musical work that has roots in science. Plus, planetariums and museums are idea venues for what we do. My theatrical sense sees many extra-musical applications that could be pursued. A whole new repertoire has been written and I’m ready to begin recording the demos for the group. I like these new pieces because they mark a return to a lot of the polymeters I’ve been known for. I mean, the original repertoire was written for processions so much out it simply had to be in 4/4/. The music will evolve into more complex structures. Also, I am host of the Strings and Things Podcast. We just started that this year and it’s become very popular. The idea is simple: I invite interesting guitarists over to our studio, and we change our strings while talking about all kinds of things. After we have stretched and tuned our new strings, we always end in a short duet. It’s simple, it’s informal, and it’s lots of fun for the listener. On top of all that, I am mixing two more albums. One album is of electro-acoustic chamber works, and another album is of music for theater, video, and electronics. I’m enjoying the finishing up of these recordings since they’ve been building up over the past few years. Every time I get some music out into the world, good things happen. I can never guess exactly what that will be, but it’s always good. I’ll follow whatever path the music presents to me.





19 OCT 16

THE WALL STREET JOURNAL:
‘Tilted Axes: Music for Mobile Electric Guitars’ by Patrick Grant
and ‘Rushing Past Willow’ by Nick Zoulek Reviews

A 17-movement score for guitars and diverse saxophone compositions push back against stylistic labels.



http://www.wsj.com/articles/tilted-axes-music-for-mobile-electric-guitars-by-patrick-grant-and-rushing-past-willow-by-nick-zoulek-reviews-1476827463

By
Allan Kozinn

On a drizzly December night in 2011, the composer and guitarist Patrick Grant and about 20 of his colleagues gathered on East Fourth Street at Second Avenue in New York; strapped on electric guitars and plugged them into the small, battery-powered Danelectro amplifiers clipped to their belts; and marched through the streets for nearly 90 minutes, playing “Tilted Axes,” a piece Mr. Grant composed for the occasion, the first Make Music Winter, an annual celebration of the Winter Solstice.

At the time, “Tilted Axes” was essentially just a cheerful chord progression and a rising, four-note figure, played over and over for a continuously replenishing audience of passersby. Since then, Mr. Grant has expanded the work into a 17-movement score for massed guitars, Chapman Stick, bass and drums, and he has just released a recording, “Tilted Axes: Music for Mobile Electric Guitars” (Peppergreen Media).

Besides documenting the work, Mr. Grant’s album raises a question that has come up repeatedly since Glenn Branca began composing his heavily amplified electric-guitar symphonies in the 1970s: Is this classical music, or rock? Another new recording, Nick Zoulek’s “Rushing Past Willow” (Innova), inspires a similar question: Is it classical music, or jazz? Mr. Zoulek plays the saxophone, arguably jazz’s signature instrument, and the 12 pieces on his album began as improvisations, jazz’s lifeblood.

Both composers have solid classical-music bona fides: Mr. Grant has written conventionally scored chamber music and vocal works, including an opera, and Mr. Zoulek has composed for dance companies and commissioned works from contemporary composers of all stripes. But they are so adept at their chosen corners of popular music that it’s hard not to hear Mr. Grant’s ebullient, guitar-crunching music as unabashed rock, and Mr. Zoulek’s explorations as post-Coltrane, sound- and texture-bending jazz.

The border between avant-garde jazz and certain flavors of modernist chamber music is porous, of course, and Mr. Zoulek’s performance, on saxophones in every range, is stunningly virtuosic, whatever the genre.

It is also, in effect, a comprehensive treatise on updated wind techniques. Circular breathing yields rapidly undulating, swirling figures that seem unstoppable. Overblowing produces sometimes harsh but fascinating chordal figures, as well as evocations of electronic timbres and feedback. And vocalizations, percussive attacks and other idiosyncratic articulation techniques push Mr. Zoulek’s palette far from the mellow timbre Adolphe Sax dreamed of when he created the instrument.

None of that would matter much (except to saxophonists) if Mr. Zoulek were a less imaginative composer. Several of his pieces—“Reconsolidate: In Memories,” “These Roots Grown Deep” and the swirling “Symmetry: In Memories,” most vividly—use repetition as an engine. But each has a distinct character, and in every case, Mr. Zoulek’s repeating figures quickly sprout layers that create an illusion of counterpoint.

Some of his methods are time-honored. He uses Bachian arpeggiations that range so widely, and move so quickly, that you hear them as distinct bass and soprano lines, with accompanimental figuration holding the middle ground. More often, though, his layers are built more inventively, with rhythmic patterns tapped assertively on the instrument’s keys, and bursts of strange timbres—buzzing tones that sound like overheated electrical lines, for example, or brash, sliding multiphonics that suggest an electric guitar with a distortion pedal—becoming second and third voices in expanding dialogues.

Often, Mr. Zoulek’s layering is so dense that you assume he has multitracked them. But the album’s notes affirm that the performances were recorded live, with sonic shaping by the composer and installation artist Jason Charney.
Mr. Grant’s “Tilted Axes” stakes claims in several musical worlds. It begins like a 1960s rock track, with a drum fill and an explosion of bright, layered guitars lines. But if Mr. Grant had dropped the drums and scored his opening movement, “Shapes I,” for orchestral instruments, it would move like a tightly wound post-Minimalist curtain-raiser to a restless tour of modernist styles—post-tonal abstraction in “Circulation in G Maybe” and “Harmonic Revolutions,” a tribute to Steve Reich in the shimmering “Pedal Swells,” and even a touch of neo-Medievalism, in “Tuanna Claonta.”

But there are also times when Mr. Grant gives his inner rocker free reign. The riffy, stomping “Beaubien Blues” would not make the transition to an orchestral fabric as easily as other movements. You hear Pete Townshend-like power chording in several pieces. And two movements—the angular “Kneadle Variation” and the hard-driven closing section of “Corridor 84 + Krimson Coda”—are built on quotations from Robert Fripp’s music for the art-rock band King Crimson.

In a sense, both composers are reframing that old debate about the stylistic labels that listeners find helpful but that composers have long found irksome. It doesn’t matter whether this music is post-Minimalist, indie classical, or not classical at all, they seem to be saying. Style and even genre are increasingly meaningless now, so abandon the categorizing impulse and just listen.

Mr. Kozinn writes about music for the Journal.




14 OCT 16

Interview w/ PROG SPHERE Magazine
http://www.prog-sphere.com/interviews/tilted-axes-interview/



INTERVIEW w/ PROG SPHERE:
"An in-depth conservation with TILTED AXES: Music for Mobile Electric Guitars' creator Patrick Grant by Aleksandar Nikolic from Prog Sphere. They discuss the project's evolution, the NYC arts scene past & present, live performance vs. studio recording, gamelan, prog, sparkly guitars, and more."

Read it here: http://www.prog-sphere.com/interviews/tilted-axes-interview/





01 OCT 16

Recent Reviews - Updated



To read them, follow the links HERE




28 SEP 16

Tilted Review on YouTube by the Amazing AEABIAA



https://www.youtube.com/watch?v=CjQMHEIXfY4





23 SEP 16

TILTED AXES to be featured in the 2016 NYC Village Halloween Parade



Photo from the 2015 NYC VHP

Tilted Axes: Music for Mobile Electric Guitars has been invited to perform at the NYC Village Halloween Parade as a featured act. The VHP is the largest event of its kind in the nation with an annual estimated audience of 250,000. The event will be broadcast in the Tri-State Area.

They said, “You have a blue guitar,
You do not play things as they are.”

The man replied, “Things as they are
Are changed upon the blue guitar.”

And they said then, “But play, you must,
A tune beyond us, yet ourselves,

A tune upon the blue guitar
Of things exactly as they are.”

— Wallace Stevens


More iNFO TBA




20 SEP 16

FIREWORKS MAGAZINE UK - Interview with Patrick Grant

"It's a good thing when "new music" crosses over into other genres and vice versa. Glad to be interviewed by England's FIREWORKS MAGAZINE #76 and contribute a track to its accompanying CD. The magazine is available on newsstands throughout the UK and available at finer bookstores in the USA, Canada, & Europe." - Patrick Grant



by Nicky Baldrian

From New York we find progressive rock artists TILTED AXES, who are based around the multi talented composer Patrick Grant. They have a new seventeen track CD out now called ‘Music for Mobile Electric Guitars’ that is well worth exploring and runs in at just under seventy five minutes long.

The band are Electric Guitars - Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon, Chapman Stick - Jeremy Nesse, Electric Bass - Dan Cooper, Patrick Grant, Drums & Percussion - John Ferrari, Cesare Papetti.

Main man Patrick Grant is from Detroit, Motown. Besides from hearing a lot of local radio, they also had the CBC and the BBC coming through Canada, which is right across the river. Everybody played in some kind of band, so crazy is just a concept. Everybody is somebody’s freak depending upon the backdrop they’re pushed against.

Patrick grew up with a foot in two worlds. On one he was getting prizes for writing classical chamber music since age fourteen, and on the other he was playing original music in post-punk bands developing (his) chops. “I moved to NYC to study composition at the Juilliard School and ended up staying there. I found many experimental theatre companies that needed original music and that was a great place where my rock and classical skills could co-exist. My day job then was working for music publishers. That brought me into the circle of people working with avant-garde composer John Cage. Man, that experience really opened up my ears,” he tells me.

Whether it’s rock, Bach, or Balinese gamelan, Patrick see’s every performance as a ceremony of sorts. “Music, to work, thrives on scenes to come out of. Many of us are too close to the centre of our work to see it for the ritual it is, in an anthropological sense. Whether intended or not, every performance contains elements of theatre. That’s what interested me in creating Tilted Axes: Music for Mobile Electric Guitars. It began as a processional event for the Winter Solstice (hence the astronomical pun in its name) and really caught on. Since then I’ve brought it to three (continents). For me personally, it was also a revenge of sorts to the hardship we share in building an audience. As musicians we put together a show and hope that people will come to the venue. With Tilted Axes, since we wear and move about with our own portable amps, we can go anywhere. We just go and perform where there are already thousands of people. It’s an instant audience. Every track on the album represents a different event, a “tilt,” that we performed in that every one contains some new music created for it,” he explains.

Patrick is interested in anything that can tell a story using non-verbal means. This includes all kinds of visual and graphic art, design, and architecture for example. A well-designed household item can speak volumes. “This spills over into the realm of semiotics and this is a branch of philosophy I use a lot in our work. I’ve written a lot of music for modern dance and for experimental theatre. That last one interests me a lot because it’s the only art form I can think of that contains all of my interests under one umbrella: every aspect of the visual, of music, of movement, of text, live performance, projection, and political commentary,” he says.

Tilted Axes isn’t a band so much as it is a project. The personnel changes every time they create a tilt, whether in the USA, Europe, or South America. It draws heavily upon local musicians who learn the music and then add their own cultural flavour. “The group on the album is made up mostly of what we call the Tilt Core, musicians here in NYC who know the music well and can perform it as a small ensemble. We’ve had manifestations of the project that included 44 musicians. That’s a big sound. We use Mini Vox amps (they are a sponsor) so we have all the classic amp tones and FXs you’d expect from the electric guitar as an icon. To my knowledge, we are the only project like this out there,” Patrick explains to me. Performing mobile, and often outdoors, never yielded any satisfactory recorded representations of the work. Patrick wanted to make a studio recording of their repertoire created up until this point. “Even though the tracks are meant to stand on their own, the listener could think of the album as one big set of Theme and Variations. Every track is in a different style but, if you listen closely, you can hear how there are thematic elements that tie it all together. It’s been tricky finding a single genre to file it under, so I chose “Post Progressive” because it means everything and it means nothing,” he adds.

It took close to three months to record, spread over the course of a year. Live gigs and other projects would get in the way. Patrick produced it and he did the editing. “I love the recording process even though there are longs stretches of tedium. It was recorded into Ableton Live because it gives me great flexibility in the editing, much more than Pro-Tools. Plus, a number of the guitarists, the true shredders on the album, sometimes recorded at different times.

I needed that flexibility to put it all together as an ensemble sound. The guitarists come from all kinds of backgrounds including with Edgar Winter, Alice Cooper, Robert Fripp, as some examples. My engineer, Garry Rindfuss, came up through the ranks working with the legendary Phil Ramone at the Power Station in NYC. He’s great. Tracking and mixing were done at John Kilgore Sound, Mercy Sound, and in my studio, all in NYC. I couldn’t be happier with the crew thacame together for this album,” he smiles. Since Tilted Axes has performed in a number of cities in a number of countries, that certain of the same things happen at each one. “I always say that the best audience member at one of our tilts is one who did not know that we were going to appear. They have the best reactions! There’s always a large number who react with shock and then with smiles. There’s always a small number who looked angry and scurry off. Many often follow us from location to location as we move through the urban landscape. Many will start dancing or pick up something they can use as makeshift percussion to play along. They’re welcome to do so. The music is purposefully instrumental so that it’s universal wherever the project travels. That so, a lot of young kids will start rapping to the music with great results. These are all real moments of a group of musicians interacting with the public. True, honest, and priceless, we have transformed the city, just for a moment,” he grins.

Another interest of Patrick’s, a huge interest, is science. “I’ve created a number of rocking scores for shows that were about genetics and astrophysics working with actual scientists. Science lends itself to musical structures so naturally. They’re already there if you look. The next phase of Tilted Axes will include music for planetariums. It’s a natural for mobile electric guitars. Most are attached to museums, they’re all over the world, and they’re indoors! I won’t have to worry about the weather for those performances. Wondering whether a Tilted Axes performance was going to take place during a rainstorm, a blizzard, or a heat wave, has, no doubt, taken years off my life. The music for that is already being put together. I look forward to that new work with the group,” he concludes.

Check the band out at
www.tiltedaxes.net/tiltedaxes.html
www.facebook.com/tiltedaxes




19 SEP 16

STRiNGS & THiNGS Episode 10 Trailer



On the next Strings and Things podcast, bass player Jeremy Nesse is on tap to tell us about the albums and musicians who inspired him to pick up the Chapman Stick, and he’ll describe the pitfalls of playing such an unusual instrument. We’ll find out how his Dad handed down his deep love of music…and why Jeremy’s own son hasn’t quite caught the musical bug just yet.

This is the Strings and Things podcast, where guitarists come by to change their strings, shoot the breeze and play some music. Look us up on iTunes, Stitcher, Google Play and YouTube or visit our website at stringsandthingsshow.com.





14 SEP 16

Short and Sweet NYC




New York ~
http://www.shortandsweetnyc.com/2016/09/tilted-axes-music-for-mobile-guitars/
Los Angeles
~ http://shortandsweetla.com/2016/09/14/tilted-axes-music-for-mobile-guitars/


Tilted Axes: Music for Mobile Electric Guitars

By Ralph Greco


The loud, jangly guitar drive, upfront splashy drums, and more guitar layering of “Shapes 1” opens Tilted Axes’ new LP Music For Mobile Guitars. Since its inception, Tilted Axes has evolved as a project with multiple incarnations in New York, Detroit, and Düsseldorf, Germany, all from the composing/electric guitar playing talents and tutelage of composer/performer Patrick Grant. “Pedal Swells” is a layered cutting of effects arpeggiating into infinity. It has nice colors, but is not much of a tune. While “Rivera Court” fares much better, featuring a nice single guitar cutting through (did somebody say Steve Hackett?) and nicely picked signatures behind it that build to heavy strumming. “Asciae Obliquiae” moves at a rock and roll pace. I like the straight-ahead vibe of this one. “Beaubien Blues” is riff-tastic with a few guitars trading. One big, healthy wailing lead and the guitar harmonies of “Tuanna Claonta” reminds one of Martin Barre (guitarist with Jethro Tull and solo now, if you didn’t know) at his best. “The Sound of Burning Chairs” ends this collection with its low, simple base and flights of guitar roiling; it’s another heavy tune that works. Patrick Grant enlisted a bunch of players to help out here: electric guitarists Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, and Larry Simon as well as Chapman Stick player Jeremy Nesse, electric bassists Dan Cooper and John Ferrari, and Cesare Papetti playing drums and percussion.





12 SEP 16

2016-17 Schedule



TBA ASAP
We're currently promoting the new album,
rehearsing new music, and preparing for live events!
Keep posted - check back soon!




11 SEP 16

Iconic Rock Quarterly THE BIG TAKEOVER's Album Review, In Print and Online



Tilted Axes - Music for Mobile Electric Guitars

by Cody Conard

If you’re not familiar with Patrick Grant and his Tilted Axes project, it’s basically a mobile rock concert—a marching band of sorts where the horns are swapped for electric guitars plugged into portable amps. Grant assembles a group of guitarists, and they then, as in a procession, perform original material together around streets, city squares, and even museums. You might be wondering how a project that is essentially intended for live performances could hold up in a studio setting, but their latest release Music for Mobile Electric Guitars proves the band is just as captivating recorded as it is live.

Occasionally, the instrumentals feel like they’re itching to be augmented with vocals on more traditional tracks such as “Shapes 1” or “Beaubien Blues,” but it’s on the far more experimental tracks, when the band reaches into atmospheric Durutti Column territory, that the concept works best. Songs like the jazzy “Kneadle Variation” extend into the far reaches of guitar music, celebrating the very instrument itself, and could have comfortably found a home on a record like Television’s Marquee Moon. The democracy and runtime of this album needn’t necessarily have been set to 11, but Music for Mobile Electric Guitars is nevertheless high on concept, ideas, and, overall, execution.

http://bigtakeover.com/recordings/tilted-axes-music-for-mobile-electric-guitars-self-released




06 SEP 16

11 is Louder Than 10 - Album Review



By Rich Ward

Although Music for Mobile Electric Guitars sounds like the title for an instructional DVD about a new Android app, its actually an invigorating collection of 17 progressive instrumental tracks put together by classically-trained composer and performer Patrick Grant as part of his Tilted Axes street theatre collective.

The New Yorker’s inspiring and innovative project sees a large number of individual guitarists and percussionists come together for collective street performances where they process through the chosen city armed with portable amplifiers playing the tunes Grant has composed.

Cool stuff, but what about the music itself? Pleasingly, Grant has put together a very varied album with a range of genres and styles explored, from rock to prog and classical to world music, and fans of Rush will certainly approve.

He has certainly made full use of the 14 guitarists and two percussionists who contributed to the album – to say there’s a lot going on in each track is an understatement.

Another plus is that, despite the complexity of the songs, with all tracks clocking in at less than seven minutes and most around the three to four-minute mark, the album is constantly evolving and shifting, so it never stagnates.

With so many genres and tracks to choose from I’m loathe to name favourites, but I particularly enjoyed the speeding riffs and screaming solos of ‘Beaubien Blues’ – a delightful contrast to the classically inspired atmospheric harmonics of ‘Circulation in G Maybe’.

I’m looking forward to catching Tilted Axes on procession in a city near me soon.

Music for Mobile Electric Guitars is out now.





05 SEP 16

Guitar Sphere - Album Review



By Steve Burton

Usually, the first artists that comes to mind when I hear “experimental” are Frank Zappa, Tom Waits, King Crimson and David Bowie. Experimental isn’t all that much of a rarity, though I can’t help but have an inkling that there are more bands that I need to be aware of and give them a good scrutiny. Luckily, New Yorkers Tilted Axe are the newest experimental prog group to be added into my iTunes library with their recently releases full-length Music for Mobile Electric Guitars.

The haunting guitar sounds of suspense drift as “Shapes 1″ vibrate before the main procedures head underway with “Tilted Axes Theme” and “Pedal Swells,” where the idiosyncratic diversity takes place with a collection of odd time signatures, jazz and prog-inspired riffs and licks, followed by some funky jams on the guitar and a few eerie notes that spread themselves throughout the tracks. “Rivera Court” comes as a blend of indie, alternative and psychedelic rock while being accompanied by some clean, but also sharp tones on guitar and builds up to a slightly more abrasive personality as the song continues to move forward.

“Techno Tilt” proceeds with a chaotically driven and noisy introduction that follows through with a very abrasive nature in the spotlight of a King Crimson-like routine. Speaking of King Crimson, two tracks on Music for Mobile Electric Guitars are variations on material by King Crimson’s mainman Robert Frip, and it’s something that definitely threads through the songs. Tilted Axes often switches between odd and regular time signatures which multiply into more with tumultuous rhythmic scales involved.

“Alamo Tilt” lingers with a discreet, yet chilling rock number that shifts into post-progressive rock in its approx. seven-minute length, while “Polymetric Patterns” comes with a dangerous personality on the bass that helps orchestrate more potency in being one of the “heaviest” pieces of the record.

The production and the execution of the instruments and the album’s mixing is all very rich together. Tilted Axes manage to avoid the unnoticeable frequencies of making each song sound identical. In fact, it’s one of the few points that makes this group special. This band embraces the concept of expanding their minds by allowing all of their influences take advantage of them in order to create something more than unique.

Riddle me this – why do the good bands have the least exposure? I can’t help but feel that this needs to be up in my 2016 list in the top ten. Either way, I have to give it to Tilted Axes for all of the blood, sweat and tears that went into making this great body of work.




04 SEP 16

National Public Radio's Fresh Air with Terry Gross



A big thank you to NPR and Fresh Air with Terry Gross for making TILTED AXES: Music for Mobile Electric Guitars featured music in your recent programming.
This is good news. Happy to be a part!




30 AUG 16

Recording Project at Legendary London Bridge Studio in Seattle



This will become the office this coming Labor Day weekend, Seattle's London Bridge Studio, birthplace of recordings by Soundgarden, Alice in Chains, Pearl Jam, et al.

Patrick Grant
will be a guest producer and a performer on a number of tracks during a 3-day lockout with GREAT players and good friends.


Project
TBA






29 AUG 16

***** Five-Star Album Review from NEW NOISE Magazine



An album of instrumental progressive rock… usually that would make me shudder and skip right past it, but sometimes you need to take a chance and see if this might not be a monstrosity. The good news is that Tilted Axes’ Music For Mobile Guitars is actually quite good and has enough going for it that it holds your attention for all seventeen songs.

This was put together by Patrick Grant who was inspired by his background in gamelan music and vanguard theater work. Classically-trained Grant conceived of Tilted Axes in 2011 as part of Make Music Winter, an event which transforms New York’s cityscape with participatory musical parades in honor of the winter solstice. When a festival or other institution wishes to stage a Tilted Axes event, a call is put out to local guitarists to apply to participate. When an ensemble is selected from the applicants, they are given via MP3s and PDFs the music to be performed at the event so they can learn it in advance. A week before the event, Grant arrives with members of Tilt Core (an ensemble drawn from the larger group of NYC performers as a means to explore and experiment with new material), and rehearses the local musicians in the various techniques of musical performance, improvisation, and staging that make up the procession itself.

So now that all that background about the group is out of the way, what does it sound like? The album has a touch of Devo in the opening song “Shapes” that really grabbed me right away. It was catchy and fresh sounding and set things up for the rest of the album. “Polymetric Patterns” has the feel of “Baba O”Riley’s” instrumental parts and was a definite highlight. Although it is progressive rock, the best thing is that it does rock and that is important, something a lot of bands forget and just try to be “out there.” Case in point, “Beaubien Blues” is a great blues rock song that really gets in your ears and fills them with glorious sounds that you don’t want to ever stop. The band is top notch with so much feeling and emotion, as well as fun emanating from this album; it is infectious and got a smile on my face that didn’t go away. The band on this recording is composed of Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon, all on electric guitar…….wow! On chapman stick is Jeremy Nesse, with Dan Cooper, and Patrick Grant on electric bass and on drums/percussion are John Ferrari and Cesare Papetti. As you can see, this is one fully loaded band and they use their talents with such expertise and precision that it makes you want to see this performed live.

This was an unexpected pleasure with songs that stand out and no histrionics from the players, just a great performance and songs that are actualy catchy and interesting, and worth hearing over and over again. If you think, like I did, that this kind of music couldn’t possibly be good, you are in for as much of as shock as I was……get it!





27 AUG 16

Album Review from England



Review: Tilted Axes – Music for Mobile Electric Guitars
By Progger

Whenever I hear someone throw around the term “instrumental prog,” my mind instantly conjures images of bearded men bludgeoning multi-stringed monstrosities with metronomic precision. Either that or I expect streams of lithe arpeggios and endless guitar histrionics (sometimes these elements are even combined into one song!). This saturation of like sounds in modern prog makes it easy to forget that there are artists out there who have chosen solely instrumental music as their muse and who do truly strange and innovative things within their subscribed genre. To that end Tilted Axes’ Music for Mobile Electric Guitars is one hell of a strange journey, and an invigorating breath of fresh air for experimental instrumental music.

First of all, I have to mention that Tilted Axes is a brainchild of composer and guitarist Patrick Grant, who gathered a team of other guitarists, percussionists, bassists and a Chapman Stick player to produce this varied record.

Nestled somewhere amongst the maelstrom of jazz fusion, classical/orchestral, alternative, and progressive rock lies the core of the sound of the album. No two tracks sound alike, and this refusal to bow to any particular genre convention makes for an intriguing and multifaceted listen. Rich orchestral strains surround the listener like a cosmic blanket, and the overall vibe is spacey and contemplative. The soundscapes at play, ambient at times and at others wholly supportive of the melody, grab the listener and refuse to let go. A tasteful and emotive guitar screams for attention above the din.

That is a victory of this record then, that it can at once be many things while also retaining a unique identity all its own. The songs demand the listener’s full attention, and a casual “one headphone on” experience this is not. There aren’t many egregious displays of technique on hand here (although make no mistake, this music is expertly played) only a masterfully constructed ode to dynamics and atmosphere. Every solo feels necessary and earned, every bend and run emotive, which is refreshing to see in a genre where that sense of restraint isn’t always apparent or heeded.

The record ultimately won’t be for everyone, as this group of 15 men takes their time developing these songs and atmospheres (although track lengths are kept surprisingly brief). The music rarely feels as though it meanders too long before finding its theme and stride, the soundscapes and melodies kept each other in check and supported each other well. For all of the genre and stylistic hopping going on, the overall package is very concise and the mix of disparate elements really works. This is good, because with so much hinging on experimentation this overall cohesion is key. Finally, I would highly recommend listening to the record in sequence, as I feel it is a more complete experience from beginning to end when digested in this way.


More iNFO HERE




24 AUG 16

Today is International sTRANGE mUSIC dAY



Listen to some music you've never heard before. Stretch your ears. Build an instrument. Play it. Play it in public. Make people smile. For a good reason. Celebrate the power of the new, the unusal, the strange. Everything is strange the first time. Move forward.




23 AUG 16

WNYC's NEW SOUNDS: #3890 ~ Echoes of Crafty Guitar



On this episode, we explore music patterned like that of Robert Fripp's League of Crafty Guitarists project, which emphasized rhythmically interlocking composition and which spawned acclaimed practitioners around the globe. Hear from Patrick Grant's rock-forward (and cleverly-titled) Tilted Axes group, and explore selections from the more restrained and classically oriented quartet Instruments of Happiness. Enjoy a deep instrumental cut from the on-again-off-again British rock group Kitchens of Distinction. And marvel at the multi-layered strings of Valérie Milot as she recontextualizes Steve Reich's "Electric Counterpoint" for the harp. 






22 AUG 16

ALBUM REVIEW on Rocking Charts UK





http://www.rockingcharts.com/album-review-tilted-axes-music-for-mobile-electric-guitars/


Album Review: TILTED AXES – Music for Mobile Electric Guitars
August 22, 2016 #experimental, #fusion, #jazz, #King Crimson, #Music for Mobile Electric Guitars, #post-progressive rock, #progressive rock, #Robert Fripp, #Tilted Axes

The creation of an experimental album is not an easy task, as those who try to accomplish it are tasked with blending the three essential elements which define the sound of this genre (heaviness, dynamics and atmosphere) without relying one particular one too much. If it isn’t perfectly centered, the whole thing will go lopsided. In terms of experimental music, the slightest imbalance in your sound might throw off the whole album and break the listener’s immersion. Fortunately, the New York-based project, conducted by guitarist and composer Patrick Grant, Tilted Axes handled this balancing act with great sensitivity and skill in creating their gorgeous piece of experimental music, Music for Mobile Electric Guitars, which came out in July this year.

Clocking at almost 75 minutes, Music for Mobile Electric Guitars doesn’t feel long, given the genre’s usual album lengths. This album is filled to the brim with great moments within its perceived runtime. “Shapes 1”, the opening track, kicks off the record firing up on all cylinders.

It is in the third track, “Tilted Axes Theme” where ensemble starts giving away what a listener can expect from the group. Each song on the 17-track album contains remarkable sections which are moving from one to another without the feeling of fatigue.

Other highlights (if a multicoloured release like this one knows for the term highlight) include “Rivera Court” with its combination of a repetitive melody formatted in a psychedelic/indie vibe; swirling “Techno Tilt,” which has a classic Rock feel to it; nothing less electric “Asciae Obliquiae.” “Polymetric Patterns,” as its name suggests, tirelessly goes forth and back to further explorations within the jazz and rock circles.

“Kneadle Variation” and “Corridor 84 + Krimson Coda” include variations on material by King Crimson’s Robert Fripp. Overall, the album does bring the feeling of being connected with the experimentalism of King Crimson. According to the press release provided by the publicist, Patrick Grant has previously collaborated with Fripp on the Robert Fripp & The Orchestra of Crafty Guitarists project.

Mixing-wise, Music for Mobile Electric Guitars is really well-made as well. The guitars are crisp and clean, the drums have a lot of punch and sound roomy, the bass is actually audible. There obviously was great attention to detail involved, and the album is much better because of it. Get it from Bandcamp.

Follow Tilted Axes on Facebook.




21 AUG 16

STRiNGS & THiNGS Podcast w/ James Moore


photo credit: Isabelle Selby

STRiNGS & THiNGS Ep. 9: On this show, our host Patrick Grant sits down with James Moore, of the Dither Quartet, John Zorn, etc., and his National Steel String Guitar. They change their strings, talk about things, and even play a Chet Atkins ballad (!).

Listen to it on the link below or go to: http://www.stringsandthingsshow.com/







19 AUG 16

Tilted Axes Hits the Airwaves



Tilted Axes' new album gets its first airplay on WDET 101.9 FM's Modern Music with Jon Moshier on Friday, August 19th, 8-10pm EDT and immediately repeated at 10-12 midnight EDT.

Worldwide listeners can listen live or after-the-fact via podcast at the station's web site: http://wdet.org

Show page: http://wdet.org/shows/modern-music/





18 AUG 16

Let's Get Physical - in a CD Kind of Way




CDs have arrived and are going out into the world. A big thanks to Eric Iverson for the great graphics work. Looking good.




09 AUG 16

United Kingdom ~ Tilted Axes' Album Release News on PROG SPHERE



Read Prog Sphere's album release news HERE

EPK download
Album Release ~ Electronic Press Kit


available on
iTunes
BandCamp
Google Play
Amazon MP3s


listen on
Tidal
Spotify
SoundCloud


download
Album Release ~ Electronic Press Kit




04 AUG 16

AUGUST 24 is INTERNATIONAL sTRANGE mUSIC dAY



International Strange Music Day
(August 24) was created by Patrick Grant, a New York City musician. The premise is simple: to get people to play and listen to types of music they have never experienced before. The ‘strange’ part can mean either unfamiliar or bizarre – the choice is entirely yours. Patrick believes broadening people’s musical spectrums can also change the way we look at other aspects of life – his mantra is ‘listening without prejudice’. This growing movement has concerts, a record label and strong support from summer schools, where it is appreciated as a great way to stimulate young minds. Have you ever wanted to combine a tight Wonder Woman costume, a frozen turkey drumstick and an inflatable wildebeest into a percussion concert? International Strange Music Day gives you the perfect excuse. What you do with these items once the music stops, of course, is your business…

More
iNFO TBA ???

29 JUL 16

TILTED AXES - ALBUM RELEASE - 29 JULY



EPK download
Album Release ~ Electronic Press Kit

available on
iTunes
BandCamp
Google Play
Amazon MP3s


listen on
Tidal
Spotify


Tilted Axes: Music for Mobile Electric Guitars

01. Shapes 1
02. Circulation in G Maybe
03. Tilted Axes Theme
04. Pedal Swells
05. Theme Variation
06. Rivera Court
07. Techno Tilt
08. Kneadle Variation
09. Asciae Obliquiae (Anthem)
10. Alamo Tilt
11. Polymetric Patterns
12. Beaubien Blues
13. Corridor 84 + Krimson Coda
14. Shapes 2
15. Tuanna Claonta
16. Harmonic Revolutions
17. The Sound of Burning Chairs

Electric Guitars
:
Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Nick Didkovsky, Gene Pritsker, Howard Glazer, Anthony Mullin, Larry Simon

Chapman Stick:
Jeremy Nesse

Electric Bass:
Dan Cooper, Patrick Grant

Drums & Percussion:
John Ferrari, Cesare Papetti

Produced by Patrick Grant

Recorded at John Kilgore Sound NYC, Peppergreen Media NYC, and the Ferrari Factory NJ

Recording engineer for Kilgore sessions: Garry Rindfuss
Guitar and amp consultant for Kilgore sessions: Nick Didkovsky

Mixed at Mercy Sound Studios NYC
Mixing engineer: Garry Rindfuss

Mastered by Sheldon Steiger

Tilted Axes logo revamp by Eric Iverson

All titles by Patrick Grant except for Track 8 & Track 13 which include variations on material by Robert Fripp and used by permission of Discipline Global Mobile (DGM)

All titles published by Peppergreen Media (ASCAP)

Thanks & Acknowledgements: Aaron Friedman (Make Music New York), D'Addario Strings & Planet Waves, Danelectro, David Singleton (DGM), Electro-Harmonix NYC, Frank Sheldon, Korg USA/Vox Amps, James Gill (Mercy Sound), Jocelyn Gonzales (audio consultation), Michael Spudic & Cia Toscanini (ASCAP), Rivington Guitars NYC, Robert Fripp, Tony Geballe, Vasko Dukovski, and not to forget: Max & Melody

© Peppergreen Media, 2016. All Rights Reserved.




27 JUL 16

Album Mastering Completed



Even the building was tilted. Release info coming soon!




23 JUL 16

"The Emperor Responds to Mozart's Request for a Raise (Freedom's Ever Relative)"
music by Patrick Grant, text adapted from Anthony Burgess' Mozart and the Wolf Gang



performed by

Charles Coleman - baritone
Patrick Grant - klavier & Sprechstimme
John Clark - French horn
David Taylor - bass trombone
Lynn Bechtold - violin
Dan Barrett - cello
Dan Cooper - electric bass

this recording produced by Patrick Grant
mastered by Sheldon Steiger
for Composers Concordance Records' The Mozart Influence

**********************************

Emperor:
Johannes
Chrysostomus
Wolfgangus
Theophilus
Mozart
is hereby appointed
Kammermusicus
at an annual salary
of eight hundred gulden

Mozart:
Ha! Eight hundred?
Gluck received two thousand!

Emperor:
Gluck was Gluck, Mozart's Mozart
Gluck produced eternal art
Yours is a diff'rent circumstance
You merely have to help the court to dance
Provide a background to its chatter
What does music really matter?

Mozart:
Cannabich at Mannheim earns eighteen hundred
Dittersdorf gets two thousand seven hundred
And what are they?

Emperor:

Learn decorum, sir.
I may remove this honor right away
It is not fitting to discuss
what a mere Kammermusicus receives,
what a Kammermusicus receives,
it is not fitting to discuss
what a Kammermusicus receives
from the Emp'ror's Trust

Mozart:
With all due deference, sire,
I bow and even grovel
But is not Europe changing now?
May not musicians join the throng,
at last respected,
the honored fonts of honest song,
no more dejected
as mere discardable machines
wound up to tickle
the ears of emperors and queens
whose tastes are fickle?
I realize that what I say
seem rank sedition,
but let me hail it while I may,
the coming dayspring of his day:
the Free Musician!

Emperor:
Horror!
Horror!
Treasonous!
Thus a Kammermusicus
risen from the ranker ranks
gives his thanks

Freedom's ever relative
Emperor's are free to give
You have freedom to refuse
and may choose

Freedom to eat humble pie,
Freedom to decay and die,
Pen your bass or treble clef
for the deaf

Write your music,
hold your tongue
You are young
(but not too young)

The gold mouth
that is in your name
Learn to tame

Freedom's ever relative.
I have freedom to forgive.
Freely I extend it, so, so, so…
So I must go!


****************
music © Peppergreen Media (ASCAP)
text used by permission





11 JUL 16

Mixing Complete for the New Album



Studio mixing on the new album has completed. Soon it's off to be mastered. Until then, it's "tweak now or forever hold your piece."





09 JUL 16

STRiNGS and THiNGS Episode 8 ~ Daniel Reyes Llinas



STRiNGS AND THiNGS Episode 8
~ Guitarist/composer Daniel Reyes Llinas drops by to talk music, food, and perform an arrangement of a piece from his upcoming album. He'll take us back to his first 10 dollar guitar and trace his evolution as a musician through some of his favorite genres: classical, pop, new wave, metal, jazz, and how King Crimson's "Starless and Bible Black" became a major game changer.

Listen here:



Check it out and all other STRiNGS AND THiNGS episodes at: http://www.stringsandthingsshow.com/
Produced by Jocelyn Gonzales





05 JUL 16

STREAMING II (for Nikola Tesla)


STREAMING II (for Nikola Tesla)
by Daniel Rothbart and Milica Lapcevic
with music by Patrick Grant
Sunday, July 10th | 1-6 pm EDT

Presented by
Francine Hunter McGivern | The Frank Institute @ CR10

STREAMING II (for Nikola Tesla) is a video work by Daniel Rothbart and Milica Lapcevic with music by Patrick Grant. Blending archival footage of Tesla’s hydro-electric power plant at Niagara with new winter imagery of the Niagara River Whirlpool and Falls, STREAMING II celebrates the 160th anniversary of Nikola Tesla's birth. Protean forms of water, from mist to torrent, intermingle with imagery of turbines and power lines, evoking themes of science, art, nature, and spirituality. USA and Serbia, 2016, 11:54.

Simultaneous screenings will take place at the Tesla Science Center at Wardenclyffe, New York (USA), Belgrade Nikola Tesla Airport (SERBIA), the Musée national de Kragujevac (SERBIA), Ozalj Hydroelectric Power Plant (CROATIA), Jaruga Hydroelectric Power Plant (CROATIA), and the Univerza v Mariboru Library (SLOVENIA). Thanks to Manuela Graf of Cluster of Cultural Routes.

https://www.facebook.com/events/219931011733770/




20 JUN 16

Strings and Things Episode 7: Angela Babin



On this episode of Strings and Things, Angela Babin drops by to work on a Melody Maker that hasn’t been out and about in years, while our host Patrick Grant restrings his studio-weary Les Paul. They’ll swap stories about the weirdest gigs they’ve played in New York City, and talk about how numbers and math inspire Angela’s current compositions. Then they’ll amp up for a special Strings and Things duet.

Listen here:






16 JUN 16

#TBT Double Throwback ~ Silent Treatment

New York Times ~ June 15, 1990
http://www.nytimes.com/1990/06/15/arts/new-works-and-slides.html




New York Magazine ~ May 29, 1989

http://bit.ly/28HHQ9w






12 JUN 16

Robert Fripp & the Orchestra of Crafty Guitarists performs and Finds Completion in the Midwest & Detroit





To Those Who Know And Who Are Known...

The Guitar Craft Workshop is in process of being dismantled.

Guitar Craft, The Guitar Circle, The League Of Crafty Guitarists and The Orchestra Of Crafty Guitarists will cease to exist on Sunday 25th. March, 2017.

In a traditional model, apprentices served in a workshop, grew in personal stature, capacity and understanding, left the place of their instruction, and moved out into the world to establish a studio or workshop of their own, or form a partnership with others.

Perhaps some of you feel called upon to continue to act in service to the creative current we recognize acting in and through Guitar Craft and its several forms. You have my support and encouragement.

If this is so, put your own name, and/or find the right name, for that work. It is legitimate to present your lineage; and the extent, degree and participation in Guitar Craft and Guitar Circle courses, projects and activities. It is illegitimate for anyone to claim authorization or mandate, moving forwards, to formally represent and/or direct forms of Guitar Craft and The Guitar Circle.

I have seen claims made, in the professional arena, to have been a student of Robert Fripp. No “student of Robert Fripp” would claim to be a student of Robert Fripp.

Robert Fripp
Sunday 12th. June, 2016;
St. Mary’s Retreat Center, Oxford, Michigan






07 MAY 16

NEWS: Summer Album Release



TILTED AXES: Music for Mobile Electric Guitars

01. Shapes I
02. Circulation in G Maybe
03. Tilted Axes Theme
04. Polymetric Patterns
05. Theme Variation
06. Rivera Court
07. Techno Tilt
08. Kneadle Variation
09. Asciae Obliquiae (Anthem)
10. Pedal Swells
11. Alamo Tilt
12. Beaubien Blues
13. Corridor 84 + Krimson Coda
14. Shapes II
15. Tuanna Claonta
16. Harmonic Revolutions
17. The Sound of Burning Chairs

Electric guitars: Patrick Grant, Matt Grossman, Daniel Reyes Llinas, John Halo, Randolph Hudson III, Reinaldo Perez, Gene Pritsker, Howard Glazer, Nick Didkovsky, Anthony Mullin
Chapman Stick: Jeremy Nesse
Electric bass: Dan Cooper, Patrick Grant
Drums & percussion: John Ferrari, Cesare Papetti

Recorded at John Kilgore Sound, Peppergreen Media, and various remote locations.
Mixed at Mercy Sound Studios NYC
Recording & Mixing Engineer: Garry Rindfuss
Guitar and amp consultant for Kilgore sessions: Nick Didkovsky

Acknowledgements and thanks: Jocelyn Gonzales, Aaron Friedman & Make Music New York, Rivington Guitars, Danelectro, St. Marks Church-in-the-Bowery, Brooklyn Battery Works, Marshall Amplification, Alex Baxter, Exploring the Metropolis, Steve Carter, The Con Edison Musician’s Residency, Emon Hassan & Guitarkadia, Thomas Deneuville & I Care If You Listen, Cia. Dos Atores, Gael Grant, P. J.’s Lager House, Michael Jackman & The Metro Times, Sue Mosey & Midtown Detroit Inc., The Detroit Institute of Arts, WDET, Cafagna Entertainment Network, The Detroit Artists Market, Inn on Ferry Street, Ann Delisi, Skeeto Valdez, The Majestic, Ron Knevels, The Charles H. Wright Museum of African American History, Wayne State University, Eric & Mary Iverson, Motor City Brewing Works, Glenn Cornett & Spectrum NYC, Pignose Amps, Korg USA, Vox Amps USA, GAMA/Discover Guitar, The Music Building NYC, Lester St. Louis, D’Addario Strings, Strings by Aurora, Down & Dirty DV, Mayor Bill de Blasio & the City of New York, Bob Sadler & The Detroit Historical Society, Dean Western, GHS Strings, The Funk Lab at United Sound Systems Recording Studios, Dan Tatarian & Showtime Clothing Detroit, Steve Ball, Sandra Bain Cushman, Kathrin Tiedemann & The Forum Freies Theater Düsseldorf, Musik Kunz, Landes Hauptstadt Düsseldorf, John Hicks, Rodrigo Marçal, Robert Fripp & The Guitar Circle of North America, Tony Geballe & The New York Guitar Circle, The Alchemical Theatre Laboratory, Harry Smolowitz, Carta Azul, Frank Sheldon, Jude Closson, Le Marche du Nain Rouge, Paula Messner & The Bestest Concert Ever, Jeff Adams, The Detroit School of Rock and Roll, Ralph Valdez & The Dearborn Community Arts Council, Ismael Ahmed & The Arab American National Museum, The Concert of Colors, Walk Thru Walls, The Don Was Detroit All-Star Revue, Sally O’Mally & The Tiltmobile, The Village Halloween Parade, Natalia de Campos, Fractured Atlas, Electro-Harmonix NYC, Sean & Laura Biggs, Leslie Stevens, Chad Ossman, Richard Wise, Thiago Cury & The Festival Música Estranha São Paulo Brazil, Vox Amps Brazil, David Singleton, Max and Melody

All titles © 2011-2016 by Patrick Grant/Peppergreen Media (ASCAP) except for Track 08 © 2016 Fripp/Grant Track 13 © 2016 Grant/Fripp by permission of Discipline Global Mobile

TILTED AXES: Music for Mobile Electric Guitars
Official web page: http://www.tiltedaxes.net/tiltedaxes.html
Email - General Contact tiltedaxes@peppergreenmedia.com
Facebook Fan Page: https://www.facebook.com/tiltedaxes
EZ Press: http://tiltedaxes.net/Tilted-Axes-EZ-PR.html
Follow us on Twitter @tiltedaxes

www.tiltedaxes.net
www.peppergreenmedia.com


More iNFO TBA




22 APR 16

"New" Work for Chamber Orchestra



It has been a 30 year journey to get a "world premiere" by an actual chamber orchestra (only non-MIDI electronic demos have existed up until this point), so, the news is, my Baroque Variations (1986) gets its debut next month on May 21st courtesy of Composers Concordance and their annual Generations Concert.

Pictured here is the original sketchbook (upper right), the first printing I made of it when I worked at Edition Peters Group (C.F. Peters) 1987-1989 (upper left), and the current Sibelius drafts in short score for the upcoming performance in the lower half. In the original sketchbook, you can make out address 1520 York (Ave.). This is because most of this piece was written when I was driving a car service by night while being a student by day. I often jotted down my pick-up addresses into the score as they came to me over the car radio.

Though it could be thought of as a "student work," it's more like my purging and parody of all things polyphonically imparted up until that point. I still hold the Fugue and Finale to be solid stand-alones and serve well to indicate where I'd be and what I'd be working on three decades later.

It is fitting that it appears on CompCord's annual "Generations" Concert where awards are given to the youngest and the oldest composers involved. Thankfully, I remain in neither of these two categories though the work presented does indeed cover the span of at least a single generation. A full circle experience.


Lincoln Square Neighborhood Center
250 West 65th St., New York City

More iNFO TBA
http://www.composersconcordance.com/





07 APR 16

Robert Fripp & the Orchestra of Crafty Guitarists XIII to Perform in Detroit



Robert Fripp & The Orchestra of Crafty Guitarists XIII

June 10, 2016
Friday 7:00 PM - 10:00 PM
Saint Anne de Detroit Catholic Church
1000 Ste. Anne St., Detroit, Michigan
http://bit.ly/1RRIrgj

Tickets on sale now
!
http://www.brownpapertickets.com/event/2524561


ALSO
- related performances in
St. Louis Park, MN - June 02
Madison, WI - June 03
Chicago, IL - June 04





17 MAR 16

TUANNA CLAONTA - St. Patrick's Day Mix



HAPPY ST. PATRICK'S DAY!

What's quasi-modal, moves in similar motion, and has a title that only the kissing of the Blarney Stone would make easier to pronounce? It's TUANNA CLAONTA ("Tilted Axes" in Irish Gaelic), a promotional track for the group's forthcoming album release due later this spring.

Performed by Patrick Grant, Matt Grossman, John Halo, Daniel Reyes Llinas - guitars, Dan Cooper - bass, and Cesare Papetti - drums.

(c) 2016 Patrick Grant /Peppergreen Media (ASCAP)





23 FEB 16

Now Available on iTunes ~ Strings and Things



Listen HERE




15 FEB 16

Studio Work: Tracking, Mixing, Mastering



For the next 8 weeks: studio work and project completions of all sorts, long time coming.




12 FEB 16

Podcast Premiere - "Strings and Things" - stringsandthingsshow.com

At some point every guitarist has to do it, so why not hang out with some friends and have fun while you're at it? This is Strings and Things, the show where musicians come by to change their strings, talk about all kinds of things and make some music. We hope you'll join us for the new Strings and Things podcast, a Peppergreen Production for Headstepper Media. Listen at http://stringsandthingsshow.com





Bi-weekly podcasts of musicians changing their strings while talking about things.




22 JAN 16

NEW RELEASE - A Musical Micro-Drama with Libretto by Anthony Burgess



NEW RELEASE: January 29 - "The Emperor Responds to Mozart's Request for a Raise," a musical micro-drama with libretto by Anthony Burgess (A Clockwork Orange, Mozart and the Wolf Gang) and music by Patrick Grant for vocalists and chamber ensemble, part of Composers Concordance's new release "The Mozart Influence." This celebratory album has music by Gene Pritsker, Dan Cooper, Milica Paranosic, David Taylor, John Clark, W. A. Mozart, and more.

Performed by The CompCord Ensemble: Charles Coleman - voice, Chanda Rule - voice, Milica Paranosic - voice & gusle, Patrick Grant - voice & harpsichord, Lynn Bechtold - violin, Dan Barrett - cello, John Clark - horn, David Taylor - bass trombone, Gene Pritsker - guitar, Dan Cooper - bass, Javier Diaz - percussion & voice, Gernot Bernroider - drums, Franz Hackl - trumpet, mixed & mastered by Sheldon Steiger


For complete info or to pre-order on iTunes, go to: https://itunes.apple.com/us/album/the-mozart-influence/id1071080236




05 JAN 16

The Detroit Music Awards April 29, 2016



Honored to become a voting member of the Detroit Music Awards!

2016 25th Anniversary Detroit Music Awards to be held on Friday, April 29th at the Fillmore Detroit. The Detroit Music Awards Foundation is a Michigan non-profit corporation, whose mission is to recognize Detroit area musicians working on a national, regional and local level. Its purpose is also to support and nurture the musical community in the Detroit metropolitan area, and to create a network for musicians that cuts across genres and styles.

www.detroitmusicawards.net




04 JAN 16

ASCAP Plus Award for 2015



Happy to receive an ASCAP Plus Award today reflecting 2015's work. The award "...rewards writer members of all genres whose works were performed in unsurveyed media as well as writer members whose catalogs have prestige value." Either way, that sounds about right. So, the New Year's off to a good beginning. Thanks, ASCAP, you rock! http://www.ascap.com/ - Patrick Grant, NYC




29 DEC 15

We Made It!



A huge thank you to all the individuals and organizations that helped TILTED AXES: Music for Mobile Electric Guitars achieve its 2015 fourth quarter fundraising goal. This generosity will not only be put toward the free concerts and events we are known to give to a wide ranging public, but will also be applied to:

1. Furthering our outreach both locally & globally
2. The development and the rehearsal of new material
3. The completion and release of Tilted recordings & video
4. Strings & Things - the winter launching of a podcast series featuring conversations with musicians talking about strings…and things
5. The Astronomy Project - a 10th anniversary continuation and expansion of a performance collaboration between musicians and astrophysicists begun in 2006 and currently destined for planetariums

Wishing everybody a very Happy New Year and a unprecedented 2016!

TILTED AXES: Music for Mobile Electric Guitars
Web page: http://www.tiltedaxes.net/tiltedaxes.html
Email contact tiltedaxes@peppergreenmedia.com
Facebook Fan Page: https://www.facebook.com/tiltedaxes
Press, photos, info: http://tiltedaxes.net/Tilted-Axes-EZ-PR.html
You can now also follow us on Twitter @tiltedaxes


Tilted Axes: Music for Mobile Electric Guitars
is a sponsored project of FRACTURED ATLAS, a non-profit arts service organization. Contributions for the purposes of Tilted Axes: Music for Mobile Electric Guitars are tax-deductible to the extent permitted by law. Individuals may donate by credit card at the following link: DONATE





21 DEC 15

Happy Anniversary, TILTED AXES: Music for Mobile Electric Guitars!




Four years ago today, Tilted Axes made its debut at Make Music New York's 1st annual Make Music Winter on Wednesday, December 21st, 2011 in New York City.

Now, 1,461 days past, the project has been produced in a number of cities on three continents. More to come in the New Year. Thank you to all the musicians, presenters, and sponsors who have make everything possible. Guitarists, bassists, and percussionists - you are the most awesome.

Here's to the future tilts that await!
https://www.facebook.com/tiltedaxes/
http://www.tiltedaxes.net/tiltedaxes.html





16 DEC 15

Expanding in 2016...

Tilted Axes'
ASTRONOMIC




More iNFO TBA HERE




02 DEC 15

Video by VOX Brasil #MusicaEstranha15



VOX - Tilted Axes no Festival Música Estranha em São Paulo

Published on Dec 2, 2015
Patrick Grant, criador e compositor do Tilted Axes, é um grupo de guitarras ambulantes que se apresentou no festival Música Estranha, um dia antes de se apresentar na Av. Paulista.




05 NOV 15

General Call for TILTED AXES: BRAZIL Guitarists is Now Open



[OFICINA — INSCRIÇÕES GRÁTIS ATÉ 14/11]
http://www.musicaestranha.me/#!oficinas---tilted-axes/v3zdf

Você toca guitarra e se vê em uma apresentação diferente e única, pelas ruas de São Paulo? Então acesse agora mesmo o link abaixo e veja como participar da oficina 'Tilted Axes: Música para Guitarras Ambulantes', proposta pelo compositor e músico americano Patrick Grant. Uma combinação inusitada de música contemporânea, música para teatro e performance de rua. Inicia-se em formato de workshop, culminando em apresentações.

Oficina nas manhãs de 24 até 27 de novembro, em São Paulo. Performances dias 28 e 29 de novembro, também em SP.

São somente 12 vagas. Inscrições gratuitas até 14 de novembro. É bom correr!

http://www.musicaestranha.me/#!oficinas---tilted-axes/v3zdf





02 NOV 15

Tilted Axes NYC - Halloween 2015



Front row:
Reinaldo Perez, Natalia de Campos, Cesare Papetti, Patrick Grant, Gael S. Grant, Marlon Cherry, Gene Ardor. Back row: Michael Joseph, Dan Cooper, Jeremy Nesse, Leslie Stevens, Jocelyn Gonzales, Aileen Bunch, Rob Knevels, Steve Carter, John Lovaas, Angela Babin, John Halo, Kevin Pfeiffer, Sarah Metievier Schadt, Daniel Reyes Llinas, Chad Ossman, Matt Grossman.




28 OCT 15

Electro-Harmonix Joins as Tilted Axes Supporter




EXTREMELY
happy to announce that Electro-Harmonix will be a supporter of TILTED AXES' future work (The Astronomy Project).
Thank you, EHX! You rock!
http://www.ehx.com/





21 OCT 15

Audience Numbers Expected to Reach 250K By Year's End



IT WOULD BE NO EXAGGERATION to say that, in 2015 alone, Tilted Axes: Music for Mobile Electric Guitars will have performed for over 250,000 people. This includes Tilt Core performances, appearances at the Marche du Nain Rouge and the Concert of Colors Festival in Detroit, the NYC Village Halloween Parade, and the upcoming series of Tilts in São Paulo & Rio de Janeiro in late November/early December. Still weighing our options on how best to complete this landmark year and to begin the next.




19 OCT 15

TILTED AXES @ Village Halloween Parade Oct. 31st



"Monster Riffs & Creepy Chords"

"The children of the night! What music they make!" - Dracula (1931)


Tilted Axes: Music for Mobile Electric Guitars
(http://peppergreenmedia.com/tiltedaxes.html) has been invited to be a part of NYC's world famous Village Halloween Parade (http://halloween-nyc.com/) and for 2015 is bringing back the classic no-holds-barred big-time Tilt.

For more iNFO, send an email to: tiltedaxes@peppergreenmedia.com

Performers
COMPOSER & DIRECTOR: Patrick Grant
GUITAR: Gene Ardor, Angela Babin, Aileen Bunch (Philadelphia), Matt Grossman, John Halo, Michael Joseph (Philadelphia), Rob Knevels (Detroit), Daniel Reyes Llinas, John Lovaas (Chicago), Chad Ossman, Reinaldo Perez, Kevin Pfeiffer
CHAPMAN STICK: Jeremy Nesse
BASS: Dan Cooper, Sarah Metevier Schadt (Chicago)
PERCUSSION: Cesare Papetti (groove leader), Marlon Cherry, Gael Grant (Detroit)
TILT MANAGER & FRAMING DEVICES: Steve Carter
STANDARD BEARERS: Jocelyn Gonzales, Harry Scott
SATELLITES: Natalia de Campos, Leslie Stevens

New York's Village Halloween Parade is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City."





15 OCT 15

PG INTERVIEW ON MANHATTAN TV NYC



AIRING TODAY Oct. 15th on Manhattan Cable TV NYC and streamed worldwide via the web at 11:00 AM EDT (1500 UTC/GMT): My interview on "Conversations with Harold Channer." Wow, he gave me the whole hour. Since that was way too long for me, it'll be without doubt, way too long for you, too. What-a-workout. I managed to keep the ball in play and still, it was great practice for things ahead. In Manhattan, that's 11:00 AM on Channel 34 on Time/Warner, Channel 82 on RCN, & Channel 33 on Verizon FiOS Cable Television. It will also be streamed simultaneously in HD at http://www.mnn.org - click on Channel 1 at the site.





27 SEP 15 ~ 09 OCT 15

TILTED AXES @ Village Halloween Parade Oct. 31st




"Monster Riffs & Creepy Chords"

Tilted Axes: Music for Mobile Electric Guitars
(http://peppergreenmedia.com/tiltedaxes.html) has been invited to be a part of NYC's world famous Village Halloween Parade (http://halloween-nyc.com/) and for 2015 is bringing back the classic no-holds-barred big-time Tilt.

For more iNFO, send an email to: tiltedaxes@peppergreenmedia.com


Performers
COMPOSER & DIRECTOR: Patrick Grant
GUITAR: Gene Ardor, Angela Babin, Aileen Bunch (Philadelphia), Matt Grossman, John Halo, Michael Joseph (Philadelphia), Rob Knevels (Detroit), Daniel Reyes Llinas, John Lovaas (Chicago), Chad Ossman, Reinaldo Perez, Kevin Pfeiffer
CHAPMAN STICK: Jeremy Nesse
BASS: Dan Cooper, Sarah Metevier Schadt (Chicago)
PERCUSSION: Cesare Papetti (groove leader), Marlon Cherry, Gael Grant (Detroit)

TILT MANAGER & FRAMING DEVICES: Steve Carter
STANDARD BEARERS: Jocelyn Gonzales, Harry Scott
SATELLITES: Natalia de Campos, Leslie Stevens


New York's Village Halloween Parade
is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City."




29 AUG 15

BASHER (Shape 1) from THREE SHAPES - Tilted Axes



Because, sometimes, only power chords in 4/4 will do.




26 AUG 15

AMSTERDAM FRINGE FESTIVAL - SEPT. 6-10



AMSTERDAM FRINGE FESTIVAL
September 6-7, 9-10

I AM AN OPERA

written & performed by Joseph Keckler
directed by Uwe Mengel
with musical arrangements by
Patrick Grant & Dan Bartfield

For venues, times, & tickets, go to:
http://amsterdamfringefestival.nl/en/programma/i-am-an-opera/

More iNFO HERE




25 AUG 15

And So It Was...



... INTERNATIONAL STRANGE MUSIC DAY 2015. Thanks to everybody who set aside some time yesterday to expand their aural horizons, to point out new music worth our attention, and to all those who took the initiative to create new things for us to listen to. From all over. I myself have been sent enough tracks and links to keep me busy catching up for a year. I'll do so happily with a curious ear. Onward and into the world!

#InternationalStrangeMusicDay #StrangeMusicDay #StrangeMusic





24 AUG 2015

International sTRANGE mUSIC Day, August 24, 2015
this year dedicated to children (young and old)




Greetings People of Earth,

It's been 17 years since I first flew the Strange Music banner during our inaugural concert at the Knitting Factory in New York City. Since then, 'Strange Music' has become many things: a record label, concert series, a social irritant, but most famously, a day to stretch one's ears by either listening to or playing music that is new to you. It's all relative.

Since this holiday observance came into existence during an otherwise holiday-less month, it's actually been picked up by a number of small organizations around the world: a blog here and there, a growing throng of adventurous radio stations, but mostly by a number of summer school programs searching for a creative way to occupy idle hands and ears. An internet search will turn up pages and pages of such schools.

I urge you to spend a moment with your young ones and blow their little minds with something exceptionally challenging to listen to, especially if you do not normally do so. If there are some instruments around, make up a song for the day. If not, make an instrument from stuff you have in the house.

A small gesture such as this would provide memories lasting a lifetime. The evidence of the benefits of engaging children in music has filled volumes. No reason to keep it simple: the stranger the better. Young ears have no prejudice.

You say that you don't have any kids around?
Then do it for yourself.
It will keep you young.
Really.

-Patrick Grant

http://www.strangemusic.com




01 AUG 15

Just Announced:
TILTED AXES: SÃO PAULO




TILTED AXES: SÃO PAULO
- Now it's official and can be announced: The 3rd Música Estranha – International Exploratory Music Festival, to be held in São Paulo, Brazil, from 25th to 29th of November 2015, has invited Tilted Axes to create a series of events for their city. Exactly how it will manifest itself is still in development (there's much work to do) but, it's very exciting to think of how things will sound with Brazilian musicians added into the post-progressive mix. Very.

More iNFO TBA




31 JUL 15

TILTED AXES TO PERFORM IN NYC's VILLAGE HALLOWEEN PARADE OCT. 31st




"Monster Riffs & Creepy Chords"

New York's Village Halloween Parade
is an annual holiday parade and street pageant presented on the night of every Halloween in New York City's Greenwich Village. Stretching more than a mile, this cultural event draws two million in-person spectators, more than sixty thousand costumed participants, dancers, artists and circus performers, dozens of floats bearing live bands and other musical and performing acts, and a world-wide television audience of one hundred million. The Village Halloween Parade, initiated in 1974 by Greenwich Village puppeteer and mask maker Ralph Lee, is the world's largest Halloween parade and the only major nighttime parade in the United States.

Among the parade's signature features are its pageant sized puppets — giant rod puppets "articulated" by teams of puppeteers — and its open participation to anyone in a costume who wishes to march. It has been called "New York's Carnival." Although the parade is currently not as informal and wild as it was in its earliest years, it is in effect still an alternative festival.

The parade has been featured in many national magazines and travel guides, and has been a subject of study by leading cultural anthropologists. According to The New York Times, "the Halloween Parade is the best entertainment the people of this City ever give the people of this City." "Absolutely anything goes," says USA Today. "Be prepared to drop your jaw."


More iNFO to come at: https://www.halloween-nyc.com/




19 JUL 15

TILTED AXES @ CONCERT OF COLORS IN THE PRESS



Here's a collection of some of the press and photo coverage that came out of it (videos & recordings asap):

FLICKR Photos - TILTED AXES @ Concert of Colors - photos are all downloadable - credit: Jocelyn Gonzales
Dress Rehearsal in the Funk Lab at United Sound: https://www.flickr.com/photos/kimba2/sets/72157653692200003
CofC - Tilt 1 - July 11: https://www.flickr.com/photos/kimba2/sets/72157653722014784
CofC - Tilt 2 - July 12: https://www.flickr.com/photos/kimba2/sets/72157656035775272

IXITI - The Experience Engine - Interview with PG of Tilted Axes
http://www.ixiti.com/20150707447/stories/detroit-music-takes-the-stage-at-the-concert-of-colors/

DETROIT FREE PRESS - Coverage of the Concert of Colors w/ Tilted photos:
http://www.freep.com/picture-gallery/entertainment/2015/07/13/concert-of-colors-series-finale-featuring-don-was/30101333/

OAKLAND PRESS - Revue of Don Was' All-Star Revue w/ Walk Thru Walls (members of Tilted Axes)
http://www.theoaklandpress.com/arts-and-entertainment/20150713/review-don-was-revue-electrifies-mojos-legacy-at-concert-of-colors

The adventure continues. With the completion of our this project, we are already planning the next events for the 2015-2016 in the USA and abroad.
Thanks again to everyone who made this recent work possible and a reality. Count on us moving forward and hoping to see you at our next Tilt.
We can be anywhere!

TILTED AXES: Music for Mobile Electric Guitars
Web page: http://www.tiltedaxes.com/tiltedaxes.html
Facebook fan page: https://www.facebook.com/tiltedaxes
Follow us on Twitter @tiltedaxes




11 JUL 15

POLYMETRIC PATTERNS No. 10




POLYMETRIC PATTERNS is a piece whose intention is to be a form of kinetic audio sculpture. Nothing much changes on the surface but the layers can run deep. On our Saturday Tilt we "installed" ourselves in front of Orchestra Hall as one of the stops on our procession thru the Concert of Colors' venues. This is what happened. (video from Jocelyn Gonzales) P.S. - Check out the street dancer and penny whistle obbligato ca. 2:20.




01 JUL 15

TILTED AXES ROSTER ANNOUNCED FOR 2015 CONCERT OF COLORS



On July 11, Tilted Axes: Music for Mobile Electric Guitars will be performing and processing in the vicinity of the Wolverine Outdoor Stage from 5:00 pm to 8:00 pm. At approximately 6:45 pm, Tilted Axes will take the stage to officially premiere one of the new pieces commissioned by the Concert of Colors 2015.

On July 12, Tilted Axes: Music for Mobile Electric Guitars will be performing and processing in the vicinity of the Wolverine Stage from 3:00 pm to 5:00 pm. A special finale is being planned for somewhere in the neighborhood.

Performers
COMPOSER & DIRECTOR: Patrick Grant
GUITAR: Jeff Adams, Sean Biggs, Aileen Bunch (Philadelphia), Jude Closson, James Keith La Croix, Erik Grant, Eric Iverson, Bob Kaufman, Rob Knevels, John Lovaas (Chicago), James McGlinnen, Chris McGorey
BASS: Dean Western, Sarah Metevier Schadt (Chicago)
PERCUSSION: Skeeto Valdez (groove leader), Gael Grant, Jocelyn Gonzales (NYC)

TILT MANAGER & FRAMING DEVICES: Beth Landry
STANDARD BEARERS: Irina Goldman, TBA
SATELLITES: Emma McGlinnen, Diane McGorey
TILTMOBILE: Sally Omally Schroeder


Click Here for Performer Bios


@TiltedAxes #CofC2015

Complete iNFO HERE




17 JUN 15

TILTED AXES & FRACTURED ATLAS



Tilted Axes: Music for Mobile Electric Guitars @ The Concert of Colors
has been approved for 501(c)3 not-for-profit fiscal sponsorship through Fractured Atlas (how fitting). All contributions will now be tax-deductible to the fullest extent of the law. Today marks the beginning of a new level for the project within the USA.

Project Page:
https://www.fracturedatlas.org/site/fiscal/profile?id=12774


Tilted Axes: Music for Mobile Electric Guitars
is a sponsored project of FRACTURED ATLAS, a non-profit arts service organization. Contributions for the purposes of Tilted Axes: Music for Mobile Electric Guitars are tax-deductible to the extent permitted by law. Individuals may donate by credit card at the following link:
DONATE






16 JUN 15

PROGRAM GRANT AWARDED



GAMA, the Guitar Accessories & Manufacturing Association & Discover Guitar, has awarded a Program Grant to Tilted Axes: Music for Mobile Electric Guitars for its participation in this year's Concert of Colors in Detroit. That's much appreciated recognition & financial support. Thank you!




15 JUN 15

THE GUITAR CIRCLE - B&I ORCHESTRA - Directed by Robert Fripp - Hope, NJ - June 13, 2015






09 MAY 15

TILTED AXES to Perform at Detroit's CONCERT OF COLORS July 11 & 12


Various locations in Midtown, Detroit
Saturday & Sunday Afternoon

The Concert of Colors is metro Detroit’s free annual diversity music festival. It is produced by the Arab American National Museum with partners Detroit Symphony Orchestra, Detroit Institute of Arts, Charles H. Wright Museum of African American History, ACCESS, Midtown Detroit Inc. and University of Michigan – Detroit Center. The goal of this five-day festival is uniting metro Detroit’s diverse communities and ethnic groups by presenting musical acts from around the world. Over its 23-year history, the festival has become a artistic highlight of metro Detroit’s summer festival season, and one of the few free-admission music festivals remaining locally.

World music, including the indigenous music of the Motor City, is the major focus of the Concert of Colors, but not the only focus. The festival also offers ethnic food and merchandise vendors and an annual Forum on Community, Culture and Race, which examines the role of arts and culture in overcoming racial and ethnic barriers.

The Concert of Colors was established by Ismael Ahmed – then head of the Dearborn, Michigan-based human services organization ACCESS – and New Detroit in 1993 as a one-day event at Chene Park on Detroit’s riverfront. The inaugural event drew a modest crowd to Chene Park, but by 1999, some 10,000 music lovers were coming out each year. The festival expanded to three days in 2001, when it was part of the official festivities for Detroit’s 300th birthday, drawing an audience of 100,000. In recent years, annual attendance at the Concert of Colors has been about 80,000.



More iNFO @ www.concertofcolors.com


TILTED AXES
appearance at the Concert of Colors 2015 is made possible through the extra support of The Dearborn Community Arts Council, Korg USA & VOX Amps, Midtown Detroit Inc., United Sound Systems Recording Studios, Showtime Clothing Detroit, and the ASCAP Plus Awards.







05 MAY 15

WALK THRU WALLS Reforms to Perform at Detroit All-Star Review Concert 2015



TILTED AXES DETROIT
members Eric Iverson, Patrick Grant, Jude Closson, & Dean Western reform the original WALK THRU WALLS new wave band as part of the DON WAS DETROIT ALL-STAR REVUE 2015 CONCERT on July 12th.

This year's revue honors 80s Detroit radio personality THE ELECTRIFYING MOJO whose on-air journey of musical and social development shaped a generation of music-lovers in Detroit and throughout southeastern Michigan and Canada and was of importance to the development of Detroit techno.

Presented by
The Concert of Colors

Max M. Fisher Music Center
3711 Woodward Ave.
Detroit, MI
8 PM


More iNFO TBA

WALK THRU WALLS
was a new wave band on the Detroit scene from 1981-1984. The nucleus of the group was songwriters Patrick Grant (synthesizers & vocals) and Eric Iverson (guitar & vocals). Grant is a composer and performer living in NYC since 1985 and is the creator of Tilted Axes: Music for Mobile Electric Guitars. His work history includes John Cage, the Philip Glass studio, Billy Joel & Quincy Jones, avant-garde theatre visionaries Robert Wilson, The Living Theatre, and he is currently an active member in The Orchestra of Crafty Guitarists lead by Robert Fripp. Iverson is an artist, musician, and programmer from Detroit. His other musical collaborations over the years include creating techno music with Ex Machina, making effects pedals with Red Panda, and he is also a founding member and regular performer with the Detroit branch of Tilted Axes. Dean Western (electric bass) has been playing in Detroit bands for over thirty years. He has had the pleasure of working with many creative and dedicated people during this time and is pleased to be a part of this event. Jude Closson (percussion) has played drums and guitar with rock/alternative bands in the Detroit area since the 80s. He started out on drums with new wave group Walk Thru Walls and moved on to many other punk/rock groups and into the present day with Celtic Rock group Bill Grogan’s Goat. WTW thanks everybody involved.




10 APR 15

Judith Malina, a visionary of the theater, has left us. A mentor, collaborator, and friend. RIP (1926-2015)



Judith Malina and Living Theatre composer Patrick Grant in 2007.



The Zero Method
by Hanon Reznikov (1991) based on Wittgenstein's Tractatus Logico-Philosophicus. Peformed by Judith Malina & Hanon Reznikov. Directed by Judith Malina. Original score & live soundscapes by Patrick Grant.




27 MAR 15

TILTING IN DETROIT ~ MARCH 21-22








15 MAR 15

Next Weekend: TILTED AXES DETROIT


Friday, March 20 - Equinox Procession
Downtown Royal Oak - various locations

Pop-up performances in the evening
If you're there, you won't miss us!
#tiltedaxes for our location

Saturday, March 21 - 4th Annual The Bestest Concert Ever
5:00-8:00 PM - Royal Oak Farmers Market

316 E 11 Mile Rd, Royal Oak, MI
w/Horse Cave Trio, Motor Honey, Candy Band, Evenin' Gentlemen
Activities Include: Rockin the Red Carpet photos, Crazy Hair Salon, Zany Face Painting and a haute couture dress-up station. You can also get your hand immortalized in wax with Creative Arts Studios or play all the instruments you can imagine at the Mccourts Musical Petting Zoo. New this year is Gem Mining with the Miners Den!! Also play games with the Royal Oak High School Drama Club and Band Boosters!! Hungry and thirsty? There will also be some super yummy food available for purchase including Detroit BBQ, Treat Dreams and The Market Cafe. Milking It Productions will also be on hand with their famous AXL Pale Ale and BRIK Red Ale for the over 21 set. $5 admission - kids welcome

FB event page: http://tinyurl.com/pfrlou8

Sunday, March 22 - Marche du Nain Rouge
1:00-3:00 PM - Midtown Detroit

Beginning at Traffic Jam & Snug (Canfield & 2nd Ave.)
Ending at the Detroit Masonic Temple, 500 Temple St.
Procession route map: http://tinyurl.com/k4ecvlg
Supposedly, for 300 years, on the Sunday after the Vernal Equinox, Detroiters have celebrated liberation from the Nain Rouge, the fiendish embodiment of all that holds us back. Revelers dressed in costume converge at or near Cass Park and hope for better things for Detroit’s future, celebrating whatever is good and working in the city: happiness, success and freedom from the antagonism of the Nain in the new year. Unfortunately, on occasion, the Nain Rouge is able to manifest, and reveals himself to the revelers, taunting them with tales of his evil machinations and plans meant to bring the city down. Just in case, revelers are advised to come in disguise, so the Nain can’t exact revenge.

More info at: http://marchedunainrouge.com/

Performers include: Patrick Grant (NYC), Paula Messner, Skeeto Valdez, Howard Glazer, Rick Matle, Jeff Adams, Erik Gustafson, Bob Kaufman, Chris McGorey, Dean Western, Eric Iverson, Gael Grant, James McGlinnen, John Halo (NYC), John Lovaas (Chicago), Jude Closson, Rob Knevels, Sarah Metevier (Chicago), Erik Grant, Sean Biggs, and others TBA

Tilted Axes: Detroit 2015 is powered by the help and support of VOX amps, KORG/USA, Discover Guitar, Peppergreen Media (ASCAP), Strange Music Inc., Candy Band, Showtime Detroit, The Metro Times, McCourt’s Music Royal Oak, & The Detroit School of Rock and Pop
.




11 MAR 15

Demand TILTED AXES in Your City



Go to www.WeDemand.com/TiltedAxes




10 MAR 15

Tilted Axes & Bestest Concert Ever IV Previewed



Get Ready to Rock at 'Bestest' Concert
The Observer & Eccentric Newspapers
by Diana Wing, Guest Columnist

This year's fourth annual "Bestest Concert Ever" at the Royal Oak Farmers Market is sure to be the "bestest" by far. Royal Oaker Paula Messner, guitarist and songwriter for Candy Band, has a great eclectic lineup of live music, plus kids' activities, and food and beverages for this family-friendly event that runs, 5-8 p.m. Saturday, March 21.
"It's going to be so fun this year," she said.

Rockin' the Red Carpet photos, a Crazy Hair Salon, Zany Face Painting and a haute couture dress-up station will get the fun started. Kids can make a wax replica of their hand with Creative Arts Studio, try out a range of instruments at the McCourts Musical Petting Zoo, go gem mining with the Miners Den, and play games with the Royal Oak High School Drama Club and the Band Boosters.

Messner has planned an eclectic lineup of performances for the night. Of course, the Candy Band moms will be playing children's favorites, along with original songs. Their music is a blast for adults, too. The intensity will grow with Horse Cave Trio, known for their high energy roots rock, also characterized as high-octane roadhouse blues or outlaw country rock 'n roll. Motor Honey is a five-piece band fronted by Sara Covatta whom Messner describes as having a "beautiful voice." The group performs a mix of rock, soul and funky grooves – American Soul.

Messner also invited Evenin' Gentlemen who have a collective 100-plus years as active members of the International Barber Shop Harmony Society. They currently sing with the Detroit Oakland Gentlemen songsters and provide "wholesome and pleasing entertainment across a range of genres in the barbershop style."

Guitar procession

No doubt the headliner for this year's "Bestest Concert Ever" will be Tilted Axes: Music for Mobile Electric Guitars. Founded in 2011 by composer/performer and Detroit native Patrick Grant, Tilted Axes is an electric guitar procession of upwards of 30 performers who wear portable amps strapped on their sides or backs. It has the energy of rock and it's part street theater as guitarists walk through the downtown New York City art scene and other communities.

"We have a bit of a guerrilla esthetic," said Grant in a highly entertaining promotional video. "We're able to go where the public is. That is the beauty of being mobile."

Messner invited Grant to perform at the "Bestest Concert Ever" because she had taken part in a Tilted Axes procession last summer in Detroit.

"We started outside the Detroit Historical Museum and we did a song. We marched up Woodward. We went outside of the library and the DIA and around the Wayne State campus," she described. "We went into a restaurant where people were having lunch and drinking a beer … and we just filled the place. We all stood there and played a song and everybody (at the restaurant) their jaw hit the floor, and then we left. They never knew what hit them!"

One bass player and a snare drum player usually perform with the group. Grant writes the original music for guitar. There are four-six parts, so not everyone plays the same thing.

"One guitar might be playing chords, one might be playing notes. They all go together," Messner said. "There are certain songs where I break out in a lead and it will be my solo, and I can do whatever I want and everybody backs me up. Then somebody else will come out and do a solo.

"Some of the songs are complex and everybody's got notes taped to their guitar and clipped on, so it's a little crazy. But it's a lot of fun and I was really glad to be a part of it last year."

Messner expects about 15 performers in the Tilted Axes Detroit crew will play at the "Bestest Concert Ever." She and fellow guitarists will rehearse the week before when Grant come into town. If the weather is permitting the mobile electric guitarists might wander around downtown Royal Oak the night before the concert, Messner said. Spring, and possibly an equinox procession, is just around the corner.

Admission to the "Bestest Concert Ever" is only $5 (children 3 and younger are free), with 100 percent of profits going to the Royal Oak Optimist Club which organizes and helps to support numerous youth activities. The Royal Oak Farmers Market is located at 316 E. 11 Mile. Call 248-246-3276. Visit http://www.tiltedaxes.com/tiltedaxes.html to watch a video of Titled Axes in action.

http://www.hometownlife.com/story/life/columnists/diana-wing/2015/03/09/get-ready-rock-bestest-concert/24450339/




01 MAR 15

Upcoming Tilted Axes: Detroit Shows Previewed in the Metro Times



Tilted Axes to return to Detroit — and Royal Oak?
By Michael Jackman

"Remember Tilted Axes? It's the brainchild of Detroit native and New York experimental composer Patrick Grant, a procession of electric guitars playing compositions in public places. Grant has brought the performance, which he's staged in Germany and New York, to Detroit's Cultural Center, and returned last year for the city's 313th birthday.

This year he's back, and his choices are even more interesting, in that he's chosen to participate in larger events that perhaps match the creative spirit of his endeavor. 

The axes will be rocking in the Detroit area for three days this March, including March 22, at the Marche du la Nain Rouge (this iteration of Tilted Axes will become the decidedly Francophone "Haches Incliné"), adding to the insurrectionary spirit of the event. His schedule also includes the Bestest Concert Ever IV, on March 21, at the Royal Oak Farmers Market, and something called the Equinox Procession in downtown Royal Oak on March 20…"

Read the full article HERE




27 JAN 15

TILTED AXES ~ VIDEO 2015






07 JAN 15

TILTED AXES ~ 2015




TILTED AXES: Music for Mobile Electric Guitars

Combining the energy of rock, the creative discipline of theater, and the experimental spirit of the downtown NYC arts scene, Tilted Axes is both a processional event, and an ensemble of mobile electric guitarists created by composer/performer Patrick Grant.

Inspired by his background in gamelan music and vanguard theater work, classically-trained post-rocker Grant conceived of Tilted Axes in 2011 as part of Make Music Winter, an event which transforms New York’s cityscape with participatory musical parades in honor of the winter solstice. Tilted Axes was a way of untethering the electric guitar from both heavy stage amps and traditional band structures, as well as bringing live music directly to its audience.

The guitarists of Tilted Axes perform original compositions written specifically for the event by Grant as well as those from the Tilted repertoire, using portable amplifiers strapped to their sides as they walk through the city streets. The outdoor procession of musicians moves along predetermined routes in selected areas, in honor of an event, landmark, or organization unique to that community.

Since its inception, Tilted Axes has evolved as a project with multiple incarnations in New York, Detroit, and Düsseldorf, Germany. In 2015 the project will manifest itself in performances in the USA, Europe, and South America.

The musical pieces themselves, with their interlocking sections, make room for many kinds of genres and grooves. A democratic approach to interpretation allows the musicians - soloists, rhythm players, and percussionists - to shine in an ensemble of uncommon textural power. Flexible in number, Tilted Axes adapts itself to the environment or occasion, and feeds on the energy of a constantly shifting audience.

Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into sonic narratives. As a form of street theater, the ensemble brings potent, ecstatic riffs, and an element of surprise, to an unsuspecting public. Tilted Axes is always in motion; striding in, rocking out, and moving on.

The process is simple: When a festival or other institution wishes to stage a Tilted Axes event, a call is put out to local guitarists to apply to participate. When an ensemble is selected from the applicants, they are given via MP3s and PDFs the music to be performed at the event so they can learn it in advance.

A week before the event, Grant arrives with members of Tilt Core (see below) and rehearses the local musicians in the various techniques of musical performance, improvisation, and staging that make up the procession itself.

A procession route within the host city is predetermined. The routes often include city squares, centers of transportation, and indoor structures like museums. The procession is accompanied by posters and placards which let the public know more about the event, sponsors, the hosting organization, and its purpose.

Above all: it rocks.

TILT CORE is an ensemble drawn from the larger group of NYC performers as a means to explore and experiment with new material.

Its smaller size, 5-9 members, enhances musical and practical possibilities. Outside of the larger processional projects, Tilt Core is a more agile and easily presentable ensemble as well a its members serving as the creative catalysts for future Tilted Axes work.

More iNFO at ~

https://www.facebook.com/tiltedaxes

Contact: tiltedaxes@peppergreenmedia.com

Tilted Axes and Tilt Core are powered by VOX amps through the help of KORG/USA and Discover Guitar

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