Order 3 or more physical items and get 1¢ shipping
Mike Rivett | Digital Seed

Go To Artist Page

Recommended if You Like
Ben Wendel Kurt Rosenwinkel Rudder

More Artists From
AUSTRALIA - New South Wales

Other Genres You Will Love
Jazz: Contemporary Jazz Jazz: Jazz Fusion Moods: Featuring Saxophone
There are no items in your wishlist.

Digital Seed

by Mike Rivett

Debut Album by Sydney-based saxophonist and electronic music producer, Mike Rivett. A detailed blend of acoustic and electronic sounds.
Genre: Jazz: Contemporary Jazz
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
just a few left.
order now!
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
clip
1. Cape Tribulation
8:21 $1.69
clip
2. Monsoon
4:34 $1.69
clip
3. Sinister Nostalgia
8:39 $1.69
clip
4. Teriyaki Bowling
4:55 $1.69
clip
5. Digital Seed
6:01 $1.69
clip
6. Staring Into the Sun
4:32 $1.69
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Featuring: James Muller, Carl Morgan, Matilda Abraham, Evan Atwell-Harris, Steve Barry, Alex Boneham, Desmond White, Ben Vanderwal. Mixed by Andre Houghton and Mike Rivett. Mastered at The Exchange, London by Simon Davey.

The music is punchy, organic, detailed and moody. A journey from the acoustic to the electric. Enjoy!

Read more...

Reviews


to write a review

John Shand (Sydney Morning Herald)

Mike Rivett-Digital Seed
What to do? You’re across all the literature of jazz, fusion and electronics. You’ve studied composition, and are familiar with the labyrinth of rhythmic options thrown up across diverse styles of music in the last century. But none of that inherently bequeaths answers to the big questions of how to escape the thrall of the genius of others, and how to make music that eschews artifice; music that is honest and heartfelt. And that’s before you confront the issue of doing something that is your own, and perhaps opening up new possibilities for others. Sometimes it’s all too confronting, and it is easier to retreat into playing a flawless solo on ‘All Blues’ for the hundredth time.
Or you can be a little daring. You could start, for instance, by not accepting that the last word in fusion has been spoken. Start writing tunes that have rhythmic knots built into them, and program all the parts into a MIDI sequencer, which will later be copied by live musicians. Imagine textures in which the melodies and solos dance around full-frontal drumming, while electronics whisper at the fringes like the voice in your head.
To say that Mike Rivett‘s Digital Seed sounds like no other album would already be a compliment. That it is also stunningly good is a bigger one. Rivett has broken cover not with yet another musical artefact from a schooled and accomplished improvising musician, but with a true work of the imagination. His tenor saxophone is not a featured instrument so much as one of many colours he swirls together to bring his edgy compositions to life. He has dared to record the bass (Alex Boneham) and drums (Ben Vanderwal) separately to the other instruments, which, although common enough with rock albums, is generally perceived to reduce the dialogue in jazzier music. I suspect that Rivett has done this not just for sonic or pragmatic reasons, but so that the rhythm section steams through the tunes on parallel rather than routinely interactive courses, and only converging according to the dictates of a composition, rather than the whims of the improvisers.
So the pieces have a not-to-denied bullishness to them, even when the rhythms are tying those knots around the striking melodies, aided by the fact that Boneham and Vanderwal play their parts like demons.
The other musicians, too, seem singularly attuned to serving Rivett’s conception. James Muller is present for two tracks, his guitar adding little pointillistic improvisations in primary colours. Fellow guitarist Carl Morgan doubles melodies and plays his own flurrying solos, and André Houghton thickens up the electronics. Others, including Evan Atwell-Harris (flutes), Matilda Abraham (vocals), Steve Barry (Fender Rhodes) and Desmond White (bass) just look in for a track or two.
The compositions include ‘Cape Tribulation and ‘Monsoon’ with their edgy insistent ‘A’ Sections and deft releases. ‘Sinister Nostalgia’ is especially interesting with is changes of mood and texture, and an enchanting melody (primarily carried by Rivett’s clarinet) that partly reminds me of early Frank Zappa. A pool of breathy vocals and bowed bass in the middle is the precursor to a more belligerent finale that arrives as unexpectedly as a helicopter landing on your roof. Rivett’s keen instinct for how long a given section of a song should be to maintain impact is there again on the chattering rock of ‘Teriyaki Bowling’, and ‘Digital Speed’, as the title suggests, is partially like the soundtrack to a computer game with its blend of repetitions and stream of sonic surprises. The closing ‘Staring Into The Sun’ is a reverie cleverly combining programming and woodwinds, so that the end result is like chilled-out techno more than any jazz.
It may not always be music to engage the heart, but for delighting the listener with a brave new world of sounds and textures it’s a must.



Or you can be a little daring. You could start, for instance, by not accepting that the last word in fusion has been spoken. Start writing tunes that have rhythmic knots built into them, and program all the parts into a MIDI sequencer, which will later be copied by live musicians. Imagine textures in which the melodies and solos dance around full-frontal drumming, while electronics whisper at the fringes like the voice in your head.

To say that Mike Rivett‘s Digital Seed sounds like no other album would already be a compliment. That it is also stunningly good is a bigger one. Rivett has broken cover not with yet another musical artefact from a schooled and accomplished improvising musician, but with a true work of the imagination. His tenor saxophone is not a featured instrument so much as one of many colours he swirls together to bring his edgy compositions to life. He has dared to record the bass (Alex Boneham) and drums (Ben Vanderwal) separately to the other instruments, which, although common enough with rock albums, is generally perceived to reduce the dialogue in jazzier music. I suspect that Rivett has done this not just for sonic or pragmatic reasons, but so that the rhythm section steams through the tunes on parallel rather than routinely interactive courses, and only converging according to the dictates of a composition, rather than the whims of the improvisers.

So the pieces have a not-to-denied bullishness to them, even when the rhythms are tying those knots around the striking melodies, aided by the fact that Boneham and Vanderwal play their parts like demons.

The other musicians, too, seem singularly attuned to serving Rivett’s conception. James Muller is present for two tracks, his guitar adding little pointillistic improvisations in primary colours. Fellow guitarist Carl Morgan doubles melodies and plays his own flurrying solos, and André Houghton thickens up the electronics. Others, including Evan Atwell-Harris (flutes), Matilda Abraham (vocals), Steve Barry (Fender Rhodes) and Desmond White (bass) just look in for a track or two.

The compositions include ‘Cape Tribulation and ‘Monsoon’ with their edgy insistent ‘A’ Sections and deft releases. ‘Sinister Nostalgia’ is especially interesting with is changes of mood and texture, and an enchanting melody (primarily carried by Rivett’s clarinet) that partly reminds me of early Frank Zappa. A pool of breathy vocals and bowed bass in the middle is the precursor to a more belligerent finale that arrives as unexpectedly as a helicopter landing on your roof. Rivett’s keen instinct for how long a given section of a song should be to maintain impact is there again on the chattering rock of ‘Teriyaki Bowling’, and ‘Digital Speed’, as the title suggests, is partially like the soundtrack to a computer game with its blend of repetitions and stream of sonic surprises. The closing ‘Staring Into The Sun’ is a reverie cleverly combining programming and woodwinds, so that the end result is like chilled-out techno more than any jazz.

It may not always be music to engage the heart, but for delighting the listener with a brave new world of sounds and textures it’s a must.
Read more...

John McBeath

Mike Rivett Digital Seed
Ex-Cairns saxophonist and electronic music producer Mike Rivett is now Sydney-based and lectures at the Sydney Conservatorium, having studied extensively in the US and performed there, as well as in Europe and Japan. This debut album is a blend of acoustic and electronic sounds. One track, Staring Into The Sun, is compiled entirely by Rivett’s programming using his own playing of various woodwinds and additional synthesis producing pleasant harmonies and a slow, strong beat over a bobbing- along synthesizer sound. Other tracks use more conventional instrumentation of four to six personnel and some outstanding names: guitarist James Muller, bassist Alex Boneham, pianist Steve Barry, Ben Vanderwal on drums and several others. Themes throughout are quite melodic and strongly rhythmic. The opener Cape Tribulation is a good example where a tropical sound is established with a Latin beat and Muller’s solo arrives to push it along, followed by the leader’s floating, then quickening tenor. The title track has a broken beat rhythm introduced by synth and bass against percussive effects to underpin travelling passages of unison Rhodes and sax by the leader. Sinister Nostalgia, another impressionistic piece utilising broken rhythms, has Rivett on clarinet, sax, flute, and synth while featuring Barry’s elegant contributions on Rhodes and a relaxing guitar solo from Carl Morgan. The most invigorating sax work by Rivett is on Teriyaki Bowling where he also plays Rhodes, Wurlitzer, and synth. On the rhythmic side tracks have a broken-beat similarity but undoubtedly Mark Rivett is an accomplished composer and leader with an ability to employ electronics that do not stray into the overly abstract
Read more...