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Cerberus Reigning

by Jason Robinson

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    The second of three albums in the "Cerberus" trilogy. Beautiful 4-panel gatefold eco-wallet. Graphic design by Andrew West.

    Includes unlimited streaming of Cerberus Reigning via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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1.
Broken Seals 04:24
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2.
The Betrayal of Charon (Synchronous Aether) 04:25
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3.
Syrynx at the Edge of Nightfall 06:46
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4.
Stillness Shattered 01:26
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5.
Hope is Lost (Synchronous Aether) 04:00
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6.
The Inner Wave 07:03
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7.
Cerberus Reigning 07:41
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8.
A Darkness So Piercing 01:00
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9.
Serpentine Gaze 04:11
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10.
Among Goliaths 02:34
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11.
Rising Tide for Humanity 05:48
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12.
Some Shall Fall 00:38
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13.
Syrynx Song for the Fallen (Synchronous Aether) 02:35
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14.
The New Resistance Unveiled 04:30
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15.
Smoldering Ruins 01:43
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16.
The Final Horizon 02:29
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about

(c) 2010 Accretions
Cerberus Reigning is the second in a series of three recordings dedicated to exploring various approaches to solo saxophone performance. For me, on a philosophical level, “solo saxophone” means more than simply the saxophone by itself--indeed, this installment of the Cerberus trilogy begins to push this definition towards a more expansive notion centered more on the performer and less on the instrument(s). The inclusion of alto flute and computer, the latter a vehicle for manipulating the sounds of my acoustic instruments, signals this expanded definition.

This recording was made in realtime with no edits or overdubs. The repertoire is drawn from my recent work in electroacoustic improvisation and multisite networked performance. In many respects, the music contained here is like a “live” performance; there are no asynchronous revisions, changes or edits and I’ve only used the coterie of effects, sampling and other processes that I’ve developed for use in live performances. I work with Ableton Live and Cycling ’74’s Max/MSP, both software platforms that can be used for sound manipulation, among other things. One might notice the three pieces sharing the “Synchronous Aether” subtitle. This subtitle refers to special software I’ve designed that “listens” to the performer, “decides” when and how to sample the performer and then “decides” to play back the samples with or without effects. The three pieces containing the “Synchronous Aether” subtitle are products of this process and are, in effect, duos with the computer.

For me, Cerberus Reigning continues the storyline started in Cerberus Rising, the first in the trilogy of releases. A fan of Greek/Roman mythology and science fiction, I’ve been interested in rethinking certain stories in order to create new myth-science narratives. At the center of the Cerberus trilogy’s narrative is a three-belled horn of sorts, the Cerberus saxophone, portrayed in Andrew West’s graphic design. This recording begins as Cerberus betrays Charon, steals his boat to cross the river Styx and embarks on a destructive reign...

Jason Robinson
July 2010

credits

released October 5, 2010

Jason Robinson - tenor and soprano saxophones, alto flute, computer

Recorded June and July 2010, North Park, San Diego, California.
Mastered July 2010 by Steve Langdon at Langdon Productions, El Cajon, California.
All compositions by Jason Robinson (Circumvention Music/ASCAP).
Graphic design: Andrew West, www.cadmiumgreen.com

Recorded in real time with no overdubs or edits.

My deepest thanks to Marcos Fernandes and Hans Fjellestad of Accretions for their encouragement and faith over the years. Many of my earliest forays into realtime electroacoustic music occurred with Marcos and Hans as collaborators in the Trummerflora Collective, a San Diego-based musician organization dedicated to supporting creative music. Other members of Trummerflora who have been especially supportive of my electronic music include Marcello Radulovich, Damon Holzborn, Nathan Hubbard, Robert Montoya and Al Scholl. I’m also deeply grateful to Jeff Kaiser, Maxwell Suechting, Henry White, Michael Dessen and Andrew Pask, all of who provided crucial assistance, advice, and know-how at important moments during the development of this project. Many thanks also to Dan Richardson, Michael Klayman, Jim White, Andrew Emer, Chris Webb, Cosmologic, Bruce Diehl, Lisle Ellis, Bob Weiner, Ken Aldcroft, Greg Call and the Amherst College Department of Music. As always, my greatest thanks go to my closest confidant, Stephanie Robinson.

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Jason Robinson

The music of American saxophonist and scholar Jason Robinson ("rugged and scintillating," New York Times) thrives in the fertile overlaps between improvisation and composition, acoustic music and electronics, tradition and experimentalism.

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