A new composition for multimedia for viola, electronics and video. “La Caja de Música” (the music box) proposes a journey through an imaginary world filled with memories tinted with the sounds of nostalgia. Embracing the metaphor of machine-made sounds, the piece offers an opportunity to glide away.
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Virtual Composition Program @ SSMF – Sewanee Summer Music Festival
It is no secret that the evolution of COVID 19 has completely upset life as we know it. While we still grieve the loss of the 2020 Sewanee Summer Music Festival as planned, we are excited to offer various online options for students to continue their studies with SSMF faculty this summer. Nothing can replace a summer on the mountain, but we hope these programs will allow you to continue your studies, engage with our faculty, and connect with students from across the country and around the world!
Each area is different, with some faculty more able to offer an online program than others. Please look to see what is available in your program area, as well as general masterclasses and seminars applicable to all instruments.
Each area is different, with some faculty more able to offer an online program than others. Please look to see what is available in your program area, as well as general masterclasses and seminars applicable to all instruments.
In a nutshell …
Monday-Tuesday: Individual Lessons (1 hour)
Each student will receive five online individual lessons during the four weeks.
Each student will receive five online individual lessons during the four weeks.
Wednesday: Group Sessions (1 ½ hour)
Each student will participate in four composition seminars. These meetings will consist of a Zoom group meeting and will be dedicated to a specific composer or work. Some of these sessions will be lead (live) by guest composers, conductors, and performers.
Each student will participate in four composition seminars. These meetings will consist of a Zoom group meeting and will be dedicated to a specific composer or work. Some of these sessions will be lead (live) by guest composers, conductors, and performers.
Thursday Group Orchestration Class (1 ½ hours)
Each student will participate in four orchestration sessions. The study materials will be provided.
Each student will participate in four orchestration sessions. The study materials will be provided.
Friday Electronic Music Seminar (1 ½ hours)
Each student will participate in five sessions dedicated to electronic music. In these sessions, we will discuss aspects of recording and mixing, digital transformation and sound processing, and more. The fifth session of the seminar will be a concert showcase of everyone’s works.
Each student will participate in five sessions dedicated to electronic music. In these sessions, we will discuss aspects of recording and mixing, digital transformation and sound processing, and more. The fifth session of the seminar will be a concert showcase of everyone’s works.
Drunken Raccoon – UNRELEASED
The EP Drunken Raccoon features Jorge Variego (clarinet, soprano saxophone and compositions), Jon Hamar (double bass) and Keith Brown (drums). It was recorded live on 12-16-19 at the University of Tennessee, Powell Recital Hall. Recording engineer: Chris Jerger.
Drunken Raccoon is the ensemble’s most recent exploration in trio format that fuses elements of tango, jazz, free improvisation and electronics. The EP includes two new works that feature the soprano saxophone, Drunken Raccoon and Polish Vodka, a Tango Blues, a personal homage to Anthony Braxton in Free Fugue, and a newly commissioned work by a young composer, The March, by Kris Monson that incorporates live electronics.
All original compositions by Jorge Variego except The March by Kris Monson.
Domino Ensemble review – On The Verge series GSU
Music filled the air as drumsticks crashed onto the cymbals and each string on the bass was strummed swiftly to melt into the soprano saxophone as each instrument crescendoed. This trio of instruments took the audience on a journey from “Polish Vodka,” all the way to “Drunken Raccoon.” This journey was led by the Domino Ensemble.
GS Department of Music’s On The Verge Series for new music presented The Domino Ensemble Wednesday night at the Carol A. Carter Recital Hall. The Ensemble was able to grace the audience with music from their newest album “Drunken Raccoon.”
The Knoxville-based ensemble is comprised of Hunter Deacon on the drum set; Rob Linton playing double bass; and Jorge Variego on clarinet and soprano saxophone. Variego also acts as the trio’s composer.
The trio played music from their newest album “Drunken Raccoon,” which contained a bluesy and contemporary feel to each song. Beginning with the “Polish Vodka” leading into “Tango Blues” followed by, “The March,” “Glove Assault,” “Tango Fugue alla Braxton” and finally concluding with their title piece “Drunken Raccoon”.
Variego said the inspiration behind the uncanny title, “Drunken Raccoon,” was thanks to his neighborhood watch group, who said they witnessed a raccoon break into someone’s trash and drink that person trashed alcohol. This led to others in the neighborhood witnessing a drunken raccoon.
The Domino Ensemble’s music was not the only music presented Wednesday night. Two composition student compositions were chosen to be debuted at the concert by The Domino Ensemble. Francisco Corthey’s piece, “Inmersiones,” was premiered, as well as Alex Ferré’s piece “What sixe genre do you wear?”
Ferré described the experience in hearing his song for the first time as weird because they “work with synthesizers a majority of the time, so it’s strange to hear it on actual instruments, but hearing something you made out of nothing be performed is just a great feeling.”
Variego said performing tonight was very meaningful to him as this was his second time performing at GS since his first appearance at one of the first editions of the On The Verge Series in 2013.
Since 2012 the Georgia Southern Department of Music has been presenting the On The Verge Series to introduce students and faculty to new music from across the country and abroad.
A review of Purple Ego in INK 19 – check it out!
Domino Ensemble’s new album features 11 new songs, which blur the lines between a wide variety of styles and genre definitions. From experimental jazz musings, down to funk, fusion, and progressive, anything goes. The line-up explores a wide variety of interesting sounds, making me think of artists as diverse as Bill Frisell, Marc Ribot, as well as John Zorn, and many others.
Some of the album highlights include “Common Features,” a song that combines a distinctive rhythm section with atmospheric distorted guitar chords in the background and some incredible textures. I love how this song brings something truly memorable to the table in terms of allowing different elements to clash and collide so seamlessly. The fuzzy radio voices in the background are almost like a glue, holding it all together. The song “Not Exactly” what I mean is another highlight for me. I love the brushed snare tones, as well as the ever-evolving melodic landscape of this track. From uplifting melodies, to soaring dissonances, anything goes. “Gritty Throat” is another awesome song, which begins with a playful theme, with the double bass following along, but later drifting out on its own. This is a very minimalistic piece, which only has an understated arrangement. However, it serves as a sort of interlude, allowing the album to breathe and gain even more interesting dynamics, going out in full blast with the following track Domino, showcasing an atmosphere that makes me think of albums by Tom Waits in some ways. I love the ways in which the rhythm comes together and falls apart so many times, eventually giving the song a dreamy tone and a more experimental feel.
Ultimately, what I love the most about this album is the incredible variety of textures and organic sounds within. The ensemble has a warm, roomy tone which reminds me of old jazz records. On the other hand, the band is not afraid to experiment with distortion effects, li-fi dynamics and many other elements adding a grittier character to the mix. The sheer variety of sounds and influences in this release is also quite fantastic, giving the tracks a unique and memorable feel that truly stands out.
La Yapa – Live
The live version of the world premiere of “La Yapa” by Cole Bartels (trombone).
Interview: Jorge Variego of Domino Ensemble in Jazz Corner
Q: What initially sparked your interest in music and how old were you?
A: Many, many years ago, when I was 11 or 12 years old, I wanted to play the saxophone because it was extremely shiny 🙂 but in the music school where I went there wasn’t a saxophone teacher so I got stuck with the clarinet. No choice. That’s how my interest in music started. My grandfather was a tango musician, a bandoneón player, I think that influenced me too.
Q: Were you surrounded by music growing up? Where there are any musicians in your family?
A: Not really. My parents always supported my love for music, but I don’t think they ever understood it (even today!)
Q: As an artist, how would you say you have evolved over the years?
A: From the very beginning I was interested both in classical music, jazz, tango and improvisation. I would say that my journey begun as a performer and improviser, focused on getting a “classical” training. In my Early 20s I started taking formal composition lessons, which was a huge leap for me. Since then my imagination started to work very differently.
Many years later, after finishing school, teaching and living in the US, my music is going back to my roots. I am writing pieces that tell a story, my story. Pieces that are about my country, my experiences and images, I’m looking for a voice to express my love for jazz, tango, classical music and free improvisation. That’s were I am now. Purple Ego is part of it.
Q: What are some of the challenges you have faced, both personally and professionally, in your musical career? How did you overcome them?
A: Musicians face challenges every day! We always want to get better and better! That said, the challenge that comes to my mind is related to the uncertainty that I experienced after finishing my college degrees. In school you acquire a great deal of tools but nobody tells you what to do with them! It took me some time (years) to find spaces where I could be a performer, composer and improviser. Most of the time I had to create those spaces in order to put my toolkit in action.
Q: How would you describe your new album, Purple Ego?
A: Purple Ego is both a culmination and a starting point. The repertoire summarizes my artistic search for the last few years and the beginning of the new one.
The album transits between the cracks, it is very hard to put in a box, it has its own voice. It incorporates elements of improvisation, jazz, tango, rock and roll, all filtered through my vision as an “academic” composer.
I actually enjoy listening to it!
Q: What are your goals as a musician?
A: I am always looking to be the best performer, improviser and composer that I can be.
Q: How did the band form and who is in it, what instruments do they play?
A: I conceived the instrumentation of the group for Purple Ego some years ago when I was living in Europe. The sound of the quartet with clarinet, electric guitar, double bass and drums is extremely open and versatile. The players in the recording are Keith Brown (drums), Jon Hamar (double bass), Mark Boling (guitar) and myself in clarinets, compositions and some electronics). It was a pleasure to work with Keith, Jon and Mark, they bring so many things to the ensemble, a sum of beautiful intangibles that I could have never composed.
Currently I am exploring with a trio formation with clarinets, double bass and drums. Even more open than the quartet! In some compositions I am incorporating the soprano saxophone. We are recording new works for the next EP in December. I’m very excited about that too.
Q: Did you study music in school?
a: Yes, I did graduate studies in performance and a PhD in composition. I currently teach in college, at UT in Knoxville.
Q: Which musicians have inspired you and how?
A: The list is long but the fire of Ligeti, Stravinsky and Piazzolla is always fueling and inspiring. Eric Dolphy is also an inspiration. Harry Sparnaay of course! I guess that the general answer would be all musicians that take (or took) risks. As a composer-performer-improviser Antony Braxton is also an inspiring figure. For the next EP I wrote a piece alla Braxton.
Bob Brookmeyer, Gil Evans, Maria Schneider.
The Bad Plus trio is also a reference for me, their rendition of “The Rite of Spring” is conceptually outstanding.
Q: Are there any artists who influenced you to change your approach to music and how?
A: Yes, in the early ’90s I heard bass clarinetist Harry Sparnaay play a solo bass clarinet recital with electronics in my city (Rosario) in Argentina. That experience was extremely moving and influential for me. I remember leaving the concert thinking “I want to do that, I want to do that!”.
Astor Piazzolla has been (and still is) an important influence in how approach music. He managed to reinterpret tango, one the pillars of Argentine tradition. That is in itself extremely powerful.
Emily Leopin’s “Modified impressions” with the Domino Ensemble
On Monday 11-11 we had the privilege to premiere Emily Leopin’s new work “Modified impressions” at the Pilot Light, in Knoxville. The new work was specifically composed for the ensemble and is part of the activities partially sponsored by the Nora Roberts Foundation.
As founding Director of the Ensemble, it is an extreme satisfaction to see the Domino Ensemble develop a space that connects young composers with their future audiences! Much more to come.
In the picture, from L to R: Jorge Variego, Emily Leopin (composer), Rob Linton (double bass) and Hunter Deacon (drum set).
“La Yapa” for trombone and piano premieres in Wisconsin
Trombonist Cole Bartels will premiere the recently commissioned work “La Yapa” for trombone and piano at the Hamel Music Center, University of Wisconsin Madison on November 17th @ 3PM.
The program also includes Four Themes on Paintings of Goya by Anthony Plog, Struggle by Evan Hause, Three Pictures by Dolores White, Caravaggio by John Stevens and a premiere by Steven L. Makela.
About the piece:
“La Yapa” represents something extra that is given as a plus for no ostensible reason. Sometimes parents and grandparents do it. The work proposes a sonic world with elements of traditional tango and improvisational and rhythmic textures alla Robert Muczynski. It is an intense trip through an imaginary space with the urban colors of El caminito in Buenos Aires.
A review of Purple Ego in Jazz Corner
Domino Ensemble impresses with an astonishing new release. The album has a strong focus on unique tones and forward-thinking arrangements, elevating modern jazz music to a status of pure art form.
The sound of this release has really beautiful production, which brings class and smoothness to each cut. The instrumentals are highly dynamic and touching, and in particular, the amazing twist of the lead clarinet really brings a sense of identity to each track. It’s a true joy to hear this amazing ensemble of world-class musicians interact with one another, feeding off of each other’s chemistry and ability to create massively infectious, yet classy and understated melodies.
Whether you are a fan of modern jazz, or you prefer the old guard, you’ll certainly be impressed by Domino Ensemble. This group has got so much to offer, and they bring an unprecedented level of charisma to this genre today.
More Purple Ego
Purple Ego is OFFICIALLY out!
A year after we finished the recording and at the same we started the sessions for the new material, Purple Ego (Centaur) came out, what a fueling surprise! Check it out in Spotify, Amazon and others. All new music with outstanding playing by Mark Boling, Keith Brown, Jon Hamar and Jorge Variego / Un año después de haber terminado de grabarlo y al mismo tiempo que arrancamos con las sesiones para el material nuevo, salió Purple Ego (Centaur). Toda música original, con un excelente laburo de Mark Boling, Keith R Brown, Jon Hamar y Jorge Variego. A por más!
Cover design: Emory Hensley Art