By New Times
By Derek Askey
By Mark Deming
By Serene Dominic
By Jason Keil
By Robrt L. Pela and Amy Silverman
By Jeff Moses
By Serene Dominic
"At first we thought this would be easy," Yanez says. "We'd just sequence a lot of stuff. But I was like, You know what? That's not the way the jazz I like is,' and when I hear all the turntable stuff that Radar's been exposing me to, that stuff is live also. We're entering a new world, creating a new world, and a lot of this is still kind of rough at the edges."
"It's live, rough and raw," Radar interjects.
Yanez continues, "I've been studying jazz for, shit, I don't even know how long now, and that's really where I come from. It's just cool to get out of that whole scene and view music in a whole new other way. It breaks a lot of monotonies for me, a lot of jazz clichés."
"This is complete freedom; there's no standard," Radar concludes.
While discovering themselves anew in their fresh montage of styles, Radar and Yanez continue to work on Concerto, which has two movements yet to be unveiled. They recently finished work on a studio recording of the first movement, enlisting some of the Valley's most accomplished musicians. They're also busy adapting the arrangements for ensembles other than the orchestra, such as brass bands and concert bands.
"We're just trying to reach out to other genres and pull from them and make the exchange again," Radar says. Concerto is also being adapted for performance by an all-turntable ensemble, and Radar says that the CD will contain several different remixes of the first movement.
Together Radar and Yanez have succeeded in completely defying labels, creating hybrids far more innovative and interesting than rote combinations like record-scratching in rock songs.
"I'm trying to push turntablism into a different realm, experimenting with the acoustic world, and I think that's the next step. It's acoustic projects like these that are gonna take it to other places," Radar asserts. "[The Concerto project] has been well-received by all my peers; it's a great feeling for something I've been working on for so long to be accepted by the academia world and the turntablist world. It's a balance between trying to stay true to both of those."