The yearning, glacial sound of Norwegian musician JAN GARBAREK’s tenor saxophone. It’s traveled far and wide from his home base at the Arctic edge of Europe. He was the very first artist on the indispensable ECM label. In fact, it’s hard to imagine ECM without Norway; many of the musicians are based there, and Oslo is ground zero for Rainbow Studios, home of the crystalline, passionate ECM sound.
In its three hundred year history, the piano has grown both larger and smaller, gone electric and then electronic, and been the anchor and reference point for a sizeable fraction of Western music. Through it all, the range, versatility, rhythmic clarity and melodic appeal of the instrument has kept it at the forefront of music from pop, to jazz, to classical.
Electronic music has been evolving for the better part of a century now. The novelty has come and gone, and in recent years, electronics have found their way into dozens of genres. But there’s one place where it really feels like home: electronic spacemusic.
Whether cruising across distant starfields, drifting through clouds of interstellar dust, or just floating peacefully in the good ole cosmic soup, spacemusic takes us to a galaxy far, far away. That may be escapism, but hey, we like it. We might even need it. On this transmission of Hearts of Space, we harvest a nice crop of melodic/chordal spacemusic on a program called ELECTROSPHERE.
For a few rare artists, the piano can be magically transformed into a personal voice — a heart to heart communication channel direct to the listener. On this transmission of Hearts of Space, we listen for that personal touch, on a contemplative journey called PIANOSCAPES 3.
Cold, clear and quiet, we drift through frozen lakes and glacial terrain on a journey to the heart of winter. It’s a sound of tiny movements locked within great static masses, deep drones and crystalline accents, punctuated by the reverberation of great natural events
Back in 1990, we did a program called “Mostly Infinite Guitars” celebrating MICHAEL BROOK’s effort to dematerialize the electric guitar. The title was kind of cute, and we found more music, so three years later we followed it up with an even cuterone called “More Infinite Guitars.”
Fast forward to 2006. Other guitar shows have come and gone, and once again we have lots of great material for a new show. We_could_call it “Still More Infinite Guitars,” but you know, we didn’t really start this series properly. On this transmission of Hearts of Space, a retro-future-ambient-guitar journey called just plain “INFINITE GUITARS.”