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For Your Consideration

Julius Eastman Vol. 1: Femenine

Eligible for GRAMMY® nomination in multiple categories:

  • Best Chamber Music/Small Ensemble Performance
  • Best Engineered Album, Classical
  • Producer of the Year, Classical — Lewis Pesacov

Reviews

“Singularly jubilant... Wild Up's new rendition of Femenine takes a page from Eastman's personal playbook: It's exuberant, a bit in your face, sometimes capricious, and always surprising.”

— NPR Music

“A masterpiece... There’s a uniquely complex freshness to the Wild Up recording.”

— The New York Times

“Instantly recognizable... an immersive, jazz-inflected chamber piece, which slowly builds into a textured soundscape of interwoven strings, horns, piano, and synthesizer.”

— Vogue

“It is the sound of stepping out of yourself.”

— LA Times

Julius Eastman portrait_Chris Rusiniak

About Julius Eastman Vol. 1: Femenine

Julius Eastman Vol. 1: Femenine is the opening entry in our multi-volume anthology celebrating Eastman, the late composer whose amalgamated musical vision was repeatedly dismissed during its day, but is now being unearthed to critical acclaim.

Femenine is the epitome of Eastman’s longform “organic music” — where phrases live inside of phrases, multiple layers ebbing and flowing with the passage of time. Within Femenine, Eastman, whose music The New Yorker hailed as “brazen and brilliant,” evolves material based on a two-note, 13-beat “prime” melody — a cosmic clamoring of bells. Simultaneously static and active, Femenine lulls listeners into musical reverie.

Eastman was young, gay, and Black at a time when it was even more difficult to be young, gay, and Black. He swerved through academia, discos, Europe, Carnegie Hall, and the downtown experimental music scene. And in 1990, at age 49, Eastman died in Buffalo, New York, less than a decade after the New York City Sheriff’s Department threw most of his scores, belongings, and ephemera into the East Village snow. In our unique 70-minute interpretation of Eastman’s open score, we’re challenged to work in dialogue with the composer’s own creative impulses; channeling his individualistic spirit, augmenting Femenine with strategically placed solos — individual cantor-like proclamations. The recorded performance reflects a blend of strict adherence to Eastman’s specific instructions with an embrace of individual and collective decision-making within the ensemble, a continuous three-way conversation between Eastman, our individual members, and the group as a whole.

This album represents a departure for New Amsterdam Records, which until this point has exclusively released new music by active, living composers. Eastman is a special case, a composer whose music shines like a retroactive beacon to today’s musical creators. Any term used to characterize today’s musical landscape — “genre fluid” or the like — was anticipated by Eastman decades before; yet he was punished for being ahead of his time, both in the treatment of his music and, tragically, his person. Eastman’s music flowed freely from — and through — his myriad influences, and was terribly served by the musical infrastructure of his day. (At the time of his death, it took some eight months for a newspaper — any newspaper — to run his obituary). It makes sense, then, for Femenine to arrive on New Amsterdam Records — a sort of loving backwards embrace of a musical forefather to 21st century composers.

Eastman sometimes gifted copies of his musical scores. Now, over three decades since his death, his work is being regifted by those whose lives he touched. For us, to play Eastman’s music is to feel we are in, of, and visiting his world at the same time. Though the band worked with scrupulous care to realize this project, part of the joy of performing it is accepting that Julius Eastman’s precise intentions for this elusive score will always remain something of a mystery — just a little out of reach. Still, in the frenzied ecstasy of performing his work, we feel a little more alive, a little more connected, a little more free, and by embarking on this anthology, we endeavor to carry this freedom forward.

Album Credits

Wild Up

Richard Valitutto, piano / bells / leader

Seth Parker Woods, cello / leader

Sidney Hopson, vibraphone / prime

Andrew Tholl, violin / bells

Mona Tian, violin / bells

Linnea Powell, viola / bells

Derek Stein, cello / bells

Jiji, guitar

Odeya Nini, voice

Jodie Landau, vibraphone / marimba / synth / voice / bells

Lewis Pesacov, bells

Jonah Levy, flugelhorn 

Allen Fogle, horn

Shelley Washington, baritone saxophone / alto saxophone / bells

Erin Rogers, baritone saxophone / alto saxophone

Brian Walsh, tenor saxophone

Marta Tiesenga, baritone saxophone

Isabel Lepanto Gleicher, flutes / piccolo / bells

Erin McKibben, flutes / piccolo / bells

Christopher Rountree, music director / bells

 

Produced, recorded and mixed by Lewis Pesacov

Engineered by Clint Welander and Lewis Pesacov

Assistant engineer Nate Haessly 

 

Recorded at Sunset Sound Recorders

Mixed at Ahata Sound 

 

Mastered by Reuben Cohen
at Lurssen Mastering, Los Angeles, CA

Album Designer: Andrea Hyde

Cover photo: Julius Eastman in the Water © 1975, 2017 Chris Rusiniak, (published in Performing the Music of Julius Eastman) cropped for record dimensions

Called “a raucous, grungy, irresistibly exuberant … fun-loving, exceptionally virtuosic family” by Zachary Woolfe of the New York Times, Wild Up has been lauded as one of classical music’s most exciting groups by virtually every significant institution and critic within earshot.

The GRAMMY® nominated ensemble was started by Artistic Director Christopher Rountree, his vision of a group of young musicians that rejected outdated traditions and threw classical repertoire into the context of pop culture, new music, and performance art. In 2020, the group celebrated 10 years of bringing people together around the belief that no music is off limits, that classical music concerts can defy convention and address the need for heart-wrenching, mind-bending experiences.

Over the past decade the group: accompanied Björk at Goldenvoice’s FYF Fest; premiered David Lang and Mark Dion’s “anatomy theater” at LA Opera; played the scores to “Under the Skin” by Mica Levi and “Punch Drunk Love” by Jon Brion live with the films at L.A.’s Regent Theater and Ace Hotel; premiered hundreds of new works including: a new opera by Julia Holter at Brooklyn’s National Sawdust, new pieces from avant-pop icon Scott Walker and celestial loop-maker Juliana Barwick at Walt Disney Concert Hall, and the West Coast premiere of Ragnar Kjartansson’s “Bliss” a 12-hour epic at REDCAT during the LA Phil Fluxus festival. They played a noise concert as fanfare for the groundbreaking of Frank Gehry’s new building on Grand Avenue and First Street in downtown L.A.; toured the country with their original projects “Future Folk,” and ”We the People;” championed the music of Julius Eastman; and founded the solstice series “darkness sounding.” They held residencies at the Los Angeles Philharmonic, the Colburn School, Los Angeles Chamber Orchestra, National Sawdust, and the Hammer Museum, and taught at dozens of educational institutions across the U.S.