Off-Hour Wait State, by Tom Hamilton

Off-Hour Wait State

by Tom Hamilton

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	1.	Jamaica Center 18:24
	2.	Queens Plaza 08:08
	3.	Lexington - 3rd Ave 09:29
	4.	42nd St - Port Authority 02:58
	5.	23rd St 04:52
	6.	Canal St 04:09
	7.	World Trade Center 11:12

about

The music on this recording is continuous, but some interesting points along the way are marked by the track names.

A Passenger:
Thomas Buckner, voice

The System:
Roscoe Mitchell, alto saxophone
Ralph Samuelson, shakuhachi
Peter Zummo, trombone
Jonathan Haas, percussion

Electronic environment created by Tom Hamilton

OFF-HOUR WAIT STATE uses the New York subway system as a basic design tool. After gaining some new experiences by traveling, listening, and waiting, I composed an electronic sound environment using various measurement and transformation techniques. The sounds in this environment originate with analog synthesizers; neither site recordings nor samplers were used here. Improvising musicians were asked to interact with this environment at certain designated times. Their role was to regard this sound as and ‘aural score’ and to respond to its prompting of their own musical sensibility.

I have asked these musicians to invent their characters and develop my premise using their own initiative and imagination. Their performance is an act of selflessness that leaves me in their debt. I am grateful and privileged to rid the same train with them.

- Tom Hamilton, June 1996

Recorded by Dante DeSole and mixed by Mark Plati at The Looking Glass Studios, NY. Assistant engineer: John Billingsley.

Mastered by Alez Noyes at Mercer Street Sound, NY.

Electronic environment created at The Pickle Factory, NY.

Commissioned by Mutable Music Productions for Thomas Buckner.

Published by Data Day Music (ASCAP). © Tom Hamilton, 1995

To the memory of my uncle, Sidney A. Sutton.

credits

released March 3, 2023

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about

Tom Hamilton New York, New York

Tom Hamilton has composed and performed electronic music for over 40 years. His ongoing series of concerts, installations and recordings contrast structure with improvisation and textural electronics with acoustic instruments. He often explores the interaction of many simultaneous layers of activity, prompting the use of “present-time listening” on the part of both performer and listener. ... more

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