Hosana: The Messe de Nostre Dame
Effectively an abstracted cover of Medieval French composer Guillaume de Machaut’s Messe de Nostre Dame, Hosana is aesthetically profound, centering minimalist weavings of harpsichord, guitar, synthesizer, saxophone, bass clarinet, voice, and the tuning fork organ (played by its inventor, Davy Sumner). Quebbeman-Turley’s extensive use of what they call rhythmic harmony creates a sense of infinite sonic combinations of cycling, hypnotic sounds –– pulsing, loping, often subtle but ultimately ecstatic and intimate.
Quebbeman-Turley's extensive work as a session drummer, recording with artists Cherry Glazerr, Eyvind Kang & Jessika Kenney, Buck Meek, Meernaa, The Army The Navy, Jerry Paper has connected them to the musicians on this recording: Patrick Shiroishi, Luke Williams, Gregory Ulhmann, Logan Hone, and Davy Sumner. The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
Original: $19.99
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$6.00Hosana: The Messe de Nostre Dame
Effectively an abstracted cover of Medieval French composer Guillaume de Machaut’s Messe de Nostre Dame, Hosana is aesthetically profound, centering minimalist weavings of harpsichord, guitar, synthesizer, saxophone, bass clarinet, voice, and the tuning fork organ (played by its inventor, Davy Sumner). Quebbeman-Turley’s extensive use of what they call rhythmic harmony creates a sense of infinite sonic combinations of cycling, hypnotic sounds –– pulsing, loping, often subtle but ultimately ecstatic and intimate.
Quebbeman-Turley's extensive work as a session drummer, recording with artists Cherry Glazerr, Eyvind Kang & Jessika Kenney, Buck Meek, Meernaa, The Army The Navy, Jerry Paper has connected them to the musicians on this recording: Patrick Shiroishi, Luke Williams, Gregory Ulhmann, Logan Hone, and Davy Sumner. The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
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Effectively an abstracted cover of Medieval French composer Guillaume de Machaut’s Messe de Nostre Dame, Hosana is aesthetically profound, centering minimalist weavings of harpsichord, guitar, synthesizer, saxophone, bass clarinet, voice, and the tuning fork organ (played by its inventor, Davy Sumner). Quebbeman-Turley’s extensive use of what they call rhythmic harmony creates a sense of infinite sonic combinations of cycling, hypnotic sounds –– pulsing, loping, often subtle but ultimately ecstatic and intimate.
Quebbeman-Turley's extensive work as a session drummer, recording with artists Cherry Glazerr, Eyvind Kang & Jessika Kenney, Buck Meek, Meernaa, The Army The Navy, Jerry Paper has connected them to the musicians on this recording: Patrick Shiroishi, Luke Williams, Gregory Ulhmann, Logan Hone, and Davy Sumner. The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
The pleasures of rhythm pervade all of Quebbeman-Turley’s work and their playing on Hosana –– particularly of the harpsichord –– is certainly the playing of a percussionist. But it is also the playing –– and the compositions –– of an artist whose sense of eternity and matters of the spirit is vividly animated.
