George Marsh became a professional drummer in Belleville, Illinois at the age of fifteen. His early experiences included work with Sam Andria, Jimmy Williams, and Barbara Streisand (before she became a super star). Although primarily self taught, he studied percussion with Tom Siwe and Jack McKenzie at Champagne-Urbana and later played with the Lyric Opera, and many great Chicago jazz musicians. Since 1968 he has lived in the San Francisco area where he has performed and recorded with musicians such as John Abercrombie, Mose Allison, Joe Henderson, David Grisman, Terry Riley, Denny Zeitlin, Pauline Oliveros, Allaudin Mathieu, and many others. George teaches at UC Santa Cruz and Sonoma State University, and has written a unique drum instruction book, Inner Drumming, which deals with the flow of energy inside the drummer's body as it applies to four-limb performance. He has composed music for the movies Black Stallion and Never Cry Wolf.
William Allaudin Mathieu is a pianist, composer, teacher, and author. He has composed varied chamber and choral works, made numerous solo piano recordings, and written three books on music. Allaudin was a disciple of North Indian vocalist Pandit Pran Nath for 25 years, and has studied African music with Hamza El Din, jazz with William Russo, and European classical music with Easley Blackwood. In the 1960s, Allaudin spent several years as an arranger/composer for Stan Kenton and Duke Ellington, and was the musical director for the Second City Theater and The Committee Theater. In the 1970s, he served on the faculties of the San Francisco Conservatory of Music and Mills College. In 1969 he founded the Sufi Choir, which he directed until 1982. The last two decades have been devoted to composition, performance, and teaching from his home in Sebastopol, California.
Product Description
Game
No Game George Marsh & W. A. Mathieu Percussion Piano 21 Improvisations Viola Spolin characterized the original theater games she introduced as "…a timeless moment when all are mutually engaged in experience. You don't know what's going to happen, and that's where the joy is, the everlasting spiral." In the 1950s, as theater games emerged in the culture, artists were learning a new definition of the present, which seemed limitless and beckoning. By 1970, free improvisation was in the air, and game playing was well on its way to becoming a standard training method for both actors and musicians internationally. Meanwhile George and I have had four decades of collaboration to develop our work and trust. Game/No Game, recorded between 1999 and 2002, represents not so much the games themselves as their end result: the musical mutuality that games engender. When George and I play together we tend to hear compositionally, that is, we try to weave coherent stories told through musical ideas. Surface texture, which is like the atmosphere of a story, does arise, of course, but strictly musical ideas drive the narrative from the inside. This means remembering (as best we can) what we've been playing. Consequently the pieces are short, typically three or four minutes. In the table of contents on the next panel, we've numbered the pieces, but left them untitled because no matter how hard we try to find names for them, for us they remain simply pieces that sound the way they sound.
Game/No Game - 21 Improvisations,percussion and W.A. Mathieu, piano George Marsh,Mutable,Jazz,Piano/percussion improvisations by two musical geniuses who love to play together.
Jazz Music:
- Get Your Glow On
- Global Standard Time
- Hi Note [Import]
- High Heel Sneakers
- Holiday Guitar
- In Stockholm 1959
- Invisible Bridge
- Jim Dejulio Quintet [Enhanced]
- Joao Donato
- Kelly Blue [Original recording remastered]
Jazz Music
Remodulate: The Numan Chronicles 1984-1995
Pieces De Viole-Marin Marais (Arr. Duruoz)
Tazmania Freestyle: Mega Mix, Vol. 4
That's the Way Love Goes [CD-single] [EP] [Import]
Musica Tradicional Spirituana [Import]
Reger: Variations and Fugue on a Theme of J. S. Bach