by Todd Reynolds
5.0 1


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Product Details

Release Date: 03/29/2011
Label: Innova Records
UPC: 0726708674120
catalogNumber: 741

Album Credits

Performance Credits

Todd Reynolds   Primary Artist,Violin,Electric Bass,Electric Guitar,Viola,Vocals,Tape,Octave Violin
Ken Thomson   Bass Clarinet
Paul de Jong   Cello
Kid Beyond   Vocals,Vocal Percussion
Eric Singer   Musical Direction
David T. Little   Tape,electronics
LEMUR GuitarBot   Electronic Sounds
Amber Ferenz   Spoken Word

Technical Credits

Utah Phillips   Sample Source
Michael Gordon   Composer
Phil Kline   Composer
Evan Ziporyn   Liner Notes
David Lang   Composer
Todd Reynolds   Composer,Producer,Engineer,Liner Notes,Electronic Realization
Michael Lowenstern   Composer,Engineering,Recording Producer
Ken Thomson   Composer,Engineering
R. Luke DuBois   Production Support
Nick Zammuto   Composer,Engineer,Recording Producer
Paul de Jong   Composer,Engineer,Recording Producer
Kid Beyond   Engineering,Vocal Samples
Paula Matthusen   Composer,Recording Producer
Mark Kingsley   Illustrations
Douglas C. Cox   Instrument Design
David T. Little   Composer,Programming,Recording Producer
Amber Ferenz   Sample Source
Abi Basch   Text

Customer Reviews

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Outerborough 5 out of 5 based on 0 ratings. 1 reviews.
Mike_Maguire More than 1 year ago
This two CD set revolves around the musical exploits of one insanely talented fiddler/composer, Todd Reynolds. The first CD is just his music; the second is Reynolds performing mostly NYC composers. First of all, it's great to get my hands on the 1st CD, as there has been so much buzz! Reynolds is definitely part of the new generation of post-post-minimalist but there is a kind of deeply intuitive, uber-musicality going on here that sets him apart from his peers. I love the pan-diatonic openness, warmth, and generosity usually found in jazzers like Pat Metheny or Keith Jarrett -it's completely disarming. Reynolds' heart is all over this CD-this is no composer/mathematician working out his angst-ridden reason for being. This is a very solid performer/composer expressing himself in the most direct way possible. Let me give you an overview about what all the fuss is about: Track 1.Transamerica The influence here is electronica and minimalism-, but this is no namby-pamby groove. It's very metered electronica with Stravinsky-like shocking inserts. In using a limited amount of material in as many ways as possible, it brings tremendous focus to the music. Of course, it helps that his fiddle playing is scorchingly hot with impeccable intonation, rhythm, and phrasing. All the way through the acoustic element is in perfect balance with the electronics. 2 The Solution It starts with pizz. canons/delays and a very simple modal progression. Polytonal sustain strings enter reminiscent of Reich's string writing (It is also vaguely reminiscing of a Matt McBain CD I reviewed recently). What follows is stereoized arco chords followed by thick, pan diatonic chords which are seriously drop-dead beautiful. Overtop is some very cool Kreisleresque solo violin improv, with constant great jazz detailing in the harmonic writing. The ending involves a pizz. return of the opening with some gorgeous stereo imaging. 3. End of Day Here a renaissance progression is repeated with extremely even bowing. This guy is no sloth as a musician. This soon becomes a theme and variations, again with nice jazz harmonies tossed in at the end of phrases. Gradually the material gets phase/ delayed creating a beautiful, Lassus-like, eastern European, spiritual, minimalism. 4. Task force More amazingly sharp, detailed, colorful playing featuring jette, pizz trems, harmonics and some very heart-felt grooves. The playing is very assured, with very subtle use of electronics. This reminds me a bit of Reich electronic remixes; only here the music is more fluid, less canonic, cookie-cutterish. It just flows seamlessly from one section to the next. 5. Centrifuge This piece is slightly faster, complete with a head one usually associates with death metal. Reading the liner notes this piece was written for a guitarbot(!!) And as I'm reading, it's great the way the piece gradually starts to sound like Deep South blues in very slow motion. 6.Outerbouough Number 6 opens with pizz. delay and right away has a NYC subway feel ---you can hear this without even reading the liner notes. There's a real lightness, transparence and unclutteredness in the writing. Eventually more great solo playing emerge overtop. Although it's more in the trance minimalist bin (it's music for video), there are lots of coloristic delicacies to sink ones' ears into. The percussive sounds are very fresh -they have a homemade crispness. 7. Sleeves of Green Great groove harmonics open the track followed