Rhodri Davies

Online Catalogue | HARP CDs |  Rhodri Davies

Recordings

Over ShadowsOver Shadows Ref: A0238
Welsh harpist Rhodri Davies took the name Over Shadows from Redell Olsen’s book Secure Portable Space. Perhaps he wants us to read the tome, but its title alone suggests an approach route to this austere yet beautiful piece. For compact discs are nothing if not portable, and the marvel of the music encoded on this one derives from the way it opens portals onto dimensions of inner and external space...... (read on below) Bill Meyer writing in www.dustedmagazine.com

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CarliolCarliol Ref: A0364
John Butcher is one of the leading sax players on the free improvisation scene. Rhodri Davies transcends conventional ideas about the harp in his wide-ranging projects. With its multi-hued timbres and textures, sonic beauty, conceptual freedom, experimental spirit and sophisticated structure, this CD dazzles on many levels.
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Live in MelbourneLive in Melbourne Ref: A0540
Perhaps close to what one would expect: scratchy, thin drones punctuated by the rubbing of friction-filled surfaces, much air and space. It is all that, but also injects a kind of mystery--maybe it's the deep tolling that occasionally rises from the cello or a bit more emotive summoning from Rives. So, familiar yes, but fine integration of sounds and well paced, with verdant hills and valleys as well as the odd cwm. Brian Olewnick (Just Outside)

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Price: 10.00


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Valved Strings CalculatorValved Strings Calculator Ref: A0340
Robin Hayward (tuba), Rhodri Davies (harp) and Taku Unami (computer). Tracks 1,2,4 were recorded at Kid Ailack Art Hall on 24 Feb, 2007 and track 3 was recorded at Cafe Parlwr on 22 Feb, 2007. Recording and drawing by Jean-Luc Guionnet.

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Compositions for harp & shoCompositions for harp & sho Ref: A0281
There are differences and similarities, and some striking inversions of expectation in this duo. The instruments themselves, for example, are both constructions of parallel lines: the vertical tubes of the bamboo mouth organ – the sho and the vertical lines of the harp strings. Sounds emerge from the sho largely without attack, as if seeping into the earth’s atmosphere from some far-away place, and though this is diametrically opposed to the customary brittle attack of the harp, Rhodri Davies’s use of E-Bows subverts the passive-aggressive romanticism of the harp, bringing its vibrating strings closer to the sho’s vibrating reeds. David Toop
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3 harp treatments3 harp treatments Ref: A0339
Gregory Büttner and Rhodri Davies met in Hamburg in April 2006 and decided to collaborate. The basis of this recording is a ten minute harp improvisation by Davies. On his return to London, Davies sent his piece to Büttner, who digitally processed and edited it to three different tracks.
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MidhopestonesMidhopestones Ref: A0338
“Would have guessed, wrongly, that a session with Doneda and Minton present would turn into something more rambunctious. Restraint is the order of the day here, however, and it's an excellent day's work. There are actually only a handful of moments when you hear the vocalist (Minton) as such; he otherwise blends amazingly well with the harp (e-bowed, pretty much), soprano sax and amplified objects. Mostly hushed with an great mix of textures, sandpapery to bell-like, sighed to gravelly. Nice, distant foghorn-y effects on the last cut, over whistled saxophone. Solid, mature in the best sense, well worth a listen.” - Brian Olewnick, Just Outside
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Cwymp y dwr ar ganol dyddCwymp y dwr ar ganol dydd Ref: A0337
The Cardiff-based trio of improvising laptoppers, Traw (Richard Llewellyn, Owen Martell, Simon Proffitt), are joined by their fellow countryman Rhodri Davies. A celebrated harpist perhaps best known for his work in free improvisation. In making Cwymp y Dwr ar Ganol Dydd, each member of Traw took away a selection of Davies' harp + electronics material and processed them according to his own lights
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And we disappearAnd we disappear Ref: A0362
"At the heart of the piece is a series of jarring high-pitched tones from Davies, working with an e-bowed harp, and a long answering sequence of double bass from Wastell. Beins provides a sensitive, ever shifting setting for these sounds, housing them in an ambience that moves between recognisable percussion instruments and unidentifiable objects. A feeling of communication through shared spatial and temporal awareness comes to dominate the listening experience.

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Twrf Neus CiglauTwrf Neus Ciglau Ref: A0363
Perhaps close to what one would expect: scratchy, thin drones punctuated by the rubbing of friction-filled surfaces, much air and space. It is all that, but also injects a kind of mystery--maybe it's the deep tolling that occasionally rises from the cello or a bit more emotive summoning from Rives. So, familiar yes, but fine integration of sounds and well paced, with verdant hills and valleys as well as the odd cwm. Brian Olewnick (Just Outside)

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SLWSLW Ref: A0280
"Following on the critically lauded IJ, Formed Records is pleased to announce SLW, a quartet featuring Burkhard Beins, Lucio Capece, Rhodri Davies, and Toshimaru Nakamura. The album captures these improvisors at their finest, blending their unique approaches to improvisation into a dynamic field. The great creative range of these performers gives the single improvisation an episodic feel, with layers of interaction and frames of sound moving around each other." Formed Records

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Poor TradePoor Trade Ref: A0282
In September 2006 a Welshman, Rhodri Davies, travelled to Ireland to play harp with two Irishmen, David Lacey (percussion and electronics) and Dennis McNulty (computer). The trio recorded in St Patrick's church in Dalkey, just south of Dublin as children played in the school playground next door and roadworkers went about their business along the road. Poor Trade, the resulting CD is a rich, colourful swell of detailed improvisation captured in the moment by the skilled microphone of David Reid. Sensually brooding in places, gloriously alive in others this is passionate, joyous music.
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HumHum Ref: A0283
On a first casual listen I seriously undervalued this disc. Many of the microdynamics with which it works were lost on me. But after a couple of more careful listens I could appreciate the truly high quality of this music. It’s certainly not one to listen to in a rush. This is a concentrated music exploring the essence of sounds, certainly reductionist, but not extremely so. Or better, it’s a musical process which moves forward in little jumps and spurts, and is subtly frenetic.
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