Charmed Elixir Coffee Mug - $12.99
Assorted James Combs Gear
Charmed Elixirs Mug
iTunes Shuns James Combs
Dear iTunes,
Explain again what genre this work from “charmed elixirs” fits in. New Age? Go figure.
Signed,
The Saxman Asshat
Available for download:
I Joined Facebook
I have little idea how to use it yet. If you are on it, you can find me there: My facebook. Feel free to invite me!
Amaranth artists need to get out there on the web, especially the composers. I am pretty sure that within the next couple of years online is going to be 80% of retail sales. Musically, probably 95%. Just 10 years ago I would have thought that was a crazy notion.
A Minor Annoyance - iTunes
I was informed today that my CD, “Charmed Elixirs” was insufficiently “classical” by iTunes “strict” standards. So I was given a choice of several other genres (actually every other genre). I could go with Alternative, Blues, Children’s Music, Comedy, Country, Dance, Electronic, Folk, Hip Hop, Rap, Holiday, Christian & Gospel, Jazz , Latin, New Age, Pop, R&B, Soul, Reggae, Rock, Soundtrack, Spoken Word, Vocal or World.
I found it odd, being locked out in a sense. Chilling. Who are these judges at iTunes in the “classical” genre? Are they sitting around a large granite table with Haydn playing in the background, dusting off their wigs. Do they know about me? Are they worried this “amaranth” thing might just catch on?
Well readers, life goes on and I went with iTunes suggestion of “new age.” But just remember, I don’t agree with it and in fact I don’t think a new age listener would either. I’ll try to not let it get to me, its a minor annoyance. I’ll go visit Michael G. Breece’s “the study of dipshit’s on speed” to ease my mind.
Article on Myself and “Charmed Elixirs”
I was very fortunate in having a very cool write up over at Sequenza21. Steve Layton authored it. I want to make a quick mention of him and his music. Layton is humble about his compositions and does more than outstanding selfless promotions of living composers. That will not overshadow his music in the least. He is simply one of those composers, the rare ones who can balance unbelievable amounts of work within the avant, contemporary community writing up articles, reviews, and staying on top of his own works. In the same vein as Liszt, Schumann, Varese, great contributors to their contemporaries, his music too stands out of the crowd.
A Word with David Toub, Postminimalist Extraordinaire
Postminimalist composer, David Toub, took some time out of his busy schedule to tell us a little about his start up in to composition and what we can look forward to from him in the future. I think people generally look over the detail, “when did you start composing and what triggered it.” I would suspect that is because a good number of composers are straight out of a college of the arts and it streamed from childhood. Directed. I personally find it more interesting when someone has “a calling” without any direction. The individual working/studying, etc., to succeed in a competitive society, yet pulled into the arts, towed in by a force, that being a creative outlet in the mind, a predefined set course maybe or simply a natural talent discovered and utilized to its fullest. Be sure to visit the links and check out his works.
Combs: How old were you when you started composing?
Toub: I can’t remember the age, but I know I started writing something by the seventh grade. It was pretty bad, and I knew nothing about theory, not even how to write proper notes (backward noteheads, etc.). I got more involved during ninth grade.
Combs: What attracted you to minimalism?
Toub: Initially, I had zero interest. I had heard some early Reich (Come Out, Four Organs, Drumming, etc.) and thought it was weird and unlistenable. I was writing freetonal and 12-tone music at the time. However, I remained intrigued. In 12th grade (1978-1979), I heard the radio premiere of Einstein on the Beach and was hooked. But it was about two years before I actually wrote a postminimalist piece. I wanted to make sure I was writing in my own voice rather than plagiarizing.
Combs: You practiced medicine for many years. How in the hell did you compose hour long works while attending medical school?
Toub: That was tricky. I made the time during off-hours. I also would copy my scores by hand during down time between surgical cases as a fellow. The biggest challenge was finding a piano. I made use of a lot of practice rooms under less than optimal circumstances. In the early 90’s, my wife got me a synthesizer that I still use, and that was invaluable.
Combs: Who is your favorite composer?
Toub: Too many to count, but certainly Feldman, Scelsi, Riley, Shostakovich and Reich are up there.
Combs: What project is on deck for David Toub?
Toub: I am currently almost done digitizing my first postminimal work from 1981. It’s around 2 hours for piano. The percussionist Bill Solomon has asked me for a piece, and I will write it eventually. I just took a great position with a medical device startup in Silicon Valley, so I spend a lot of time flying to work from Pennsylvania. But I have a MIDI keyboard controller in my office in California, so I’m managing to get something done after the workday.
Launch of Indie Record Label “Cellar Door Productions”
Dear Readers,
I have launched an independent record label entitled “Cellar Door Productions.” I think J. R. R. Tolkien was on to something when he claimed that word combination as one of the most beautiful in the English language and I am happy it was available to use.
“Charmed Elixirs” CD Has Arrived
I am proud to announce the release of my debut album, “Charmed Elixirs,” a month ahead of schedule due to a surge in creative production.
“Charmed Elixirs” CD Pieces
Charmed Elixirs
1. The Gathering
2. Agrimony
3. Lotus
4. Fuchsia
5. John the Conqueror
6. Valerian
7. Elixir Intermission
8. The Saxman Asshat
9. Lady’s Mantle
10. Antihero Beaker
11. Provisions
12. Peste d’Esprit
James Combs
