Stanley Schumacher and the Music Now Ensemble | No Technique (feat. David Taylor)

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No Technique (feat. David Taylor)

by Stanley Schumacher and the Music Now Ensemble

Contemporary Art Music composed by Stanley Schumacher and performed by bass trombonist David Taylor
Genre: Classical: Contemporary
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  Song Share Time Download
1. No Technique
42:03 $4.99
Downloads are available as MP3-320 files.


Album Notes

Upon hearing “No Technique,” a composition by Stanley Schumacher, Professor Musikmacher was heard to remark: “The Prophet has spoken!”

Forget 1984. It is 2084, and Artificial Intelligence has achieved parity with Human Intelligence. The long-dreamed-of totalitarian utopia is in place. This piece does not seem “robotic” but rather is the normal order of things (art, music). After all, it can last from 21 minutes to eternity because each 21-minute segment is a retrograde of the previous 21-minute segment. Perfect symmetry for perfect order.

Trombones, long considered a boil upon the rump of music, rule in this texture-based piece. No technique in the traditional sense, but rhythmic activity keeps it moving. Scored for three trombones, the piece consists of a single six-minute segment of music which is repeated and overlapped multiple times. The completed composition exists in two versions, a shorter version which is 21 minutes long and a longer version which is 42 minutes long, with the second half being a mirror of the first half. On this recording we have the 42-minute version (long) with all the trombone parts being played by David Taylor, a State-Approved Trombonist.

A word of caution – a rumor has surfaced that the listener might create his own “segments” of the piece by starting at any arbitrary point, listening for any arbitrary duration, and stopping at any arbitrary point. Professor Musikmacher has determined through his research in the Experimental Music Lab that “segmentation” is entirely doable, revolutionary, and permitted; however, he has publicly stated that an individual should listen to the entire 42 minutes of the CD. Is this an example of holding two contradictory ideas at the same time? Is this “doublethink”?

Attention: “No Technique” has been approved by Big Brother and is required listening each day. The Thought Police will be monitoring all listening habits.

----Steven Eversole

STANLEY SCHUMACHER: God, Freud, students’ evaluations of their professors, the artwork of Robert Ryman, text from Herman Hesse, a “not so hip” jazz trio, whining narrators, indecipherable text, and unusual combinations of instruments are just a few of the elements in Stanley Schumacher’s unique compositions. Consisting primarily of theater pieces and works for small ensembles, his compositions use both determinate and indeterminate elements. Several of them employ narrative texts which often exhibit a humorous theatrical element.

A trombonist and vocalist as well as a composer, Mr. Schumacher actively combines these skills to perform improvised contemporary art music. He is director of the Music Now Ensemble and founder and president of Musikmacher Productions, which produces recordings of contemporary art music. His compositions are available from Media Press and have been included in the American Music Center Collection at the New York Public Library for the Performing Arts. Learn more at

DAVID TAYLOR: Versatile bass trombonist David Taylor brings to his performance of “No Technique” both his classical training at The Julliard School and his wide-ranging performance experience as a studio musician, playing classical, jazz, and popular music. Mr. Taylor’s career has been multifaceted from its inception. Upon leaving Julliard, he began the classical side of his career with Leopold Stokowski’s American Symphony Orchestra and the New York Philharmonic under Pierre Boulez. At the same time, he became a member of the Thad Jones - Mel Lewis jazz band and subsequently recorded with Frank Sinatra, Quincy Jones, and Charles Mingus among others. Following this varied path, he has more recently played with the Chamber Music Society of Lincoln Center and the Niederoesterreichische Tonkuenstlerochester. Stokowski, Boulez, Sinatra, Mingus, the Niederoesterreichische Tonkuenstlerochester, and now “No Technique”! For more information visit



to write a review

Stuart Marshall, The Sound Projector

Schumacher and Orwell Transporting Us to 2084
‘Perfect Symmetry for Perfect Order’ runs the ironic tagline for this interesting composition, which consists of exactly forty-two minutes of technique-free, texture-based antics for ‘State-Approved Trombonist’ David Taylor. While one might infer Douglas Adams from this figure, composer Stanley Schumacher riffs instead on George Orwell, transporting us to 2084, where ‘the long-dreamed-of totalitarian utopia is in place’ and ‘Artificial Intelligence has achieved parity with human intelligence’. The piece follows an almost respiratory rhythm – one ever widening albeit – consisting of three main constituents: a resonant tone, suspended and rolled out to lung capacity, which then submits to a grunt of relief and a long metallic inhalation before beginning anew. The cycle lasts for six minutes, but is gradually and repeatedly overlaid, assuming a peculiar form of artificial autonomy over time. The ‘completed’ composition theoretically lasts for twenty one minutes, with the second half – perhaps arbitrarily decided by the listener – being a ‘mirror’ and/or a ‘retrograde’ of the first. Listeners are tacitly advised to create their own ‘segments’ by starting and stopping the piece according to personal preference, and thus exercising some form of armchair anarchy against the stricture of Big Brother-approved composition.

Reviews for Radio

A Rolling Epic Composition
Stanley Schumacher has quite a repertoire: jazz trombonist and improvisational music theorist, doctorate of music theory from the Ohio State University, director of the Music Now Ensemble, and founder of Musikmacher Production. “No Technique” is part of Schumacher’s New Composition Series on freeform and contemporary art music in jazz. Six trombones create a rolling epic composition of avant-garde jazz. It’s extremely spacious, borderlining empty – there are no noticeable rhythms, just trombones and the ambiance of recorded space. The composition is 21 minutes, but this CD version is 42 minutes, with the second set being a retrograde of the first. Each phrase (from what I can distinguish) is a six-minute section of music that is repeated and overlapped several times. All trombone parts were played by David Taylor, a Julliard graduate whose résumé includes Leopold Stokowski’s American Symphony Orchestra and the New York Philharmonic. I’ve never listened to virtuosic trombone before, but this is probably what it sounds like.

Zach Schwartz, KSPC (Pomona College)

I’m really enjoying it
I am the Classical Music Director here at KSPC, Pomona College's radio station. I just wanted to let you know that we received the copy of No Technique that you sent to us and I am really enjoying it! Please feel free to send us any other compositions or new releases that you may have, as I would love to get more of them on the air here!

Dave Howell, The Morning Call (Allentown, PA)

Professor Musikmacher would be proud. He is the alter ego of trombone player Stanley Schumacher, composer of “No Technique.” The Professor, who was educated at Berlin’s Moravian Academy and St. Ursula’s Home for Delinquent Girls, has long lurked in the back of Schumacher’s mind, but he seems to have finally taken control with this CD. It is the aural equivalent of an experiment by a mad scientist who does not compromise. . . . . .“No Technique” is one 42-minute track performed by David Taylor on bass trombone. It is a series of buzzing drones that often remind you of the humming of a bee. The drone sounds are interrupted by Taylor’s breathing and playing notes at the ends of phrases. The notes vary from melodic calls that could come from a classical performance, to an occasional slurred bleating as he explores the lower range of his instrument. . . . . .It will be off putting to anyone who expects conventional music (with technique), but it has a hypnotic quality that can grow on you if you give it a chance. The CD sleeve says that with this texture-based piece, you can begin listening at any point. Scored for three trombones, it is a single six-minute segment of music that is repeated and overlapped multiple times. . . . . .Despite the influence of Professor Musikmacher, this CD is serious stuff. Taylor is a graduate of the Julliard School of Music. His amazing credits include appearing with the New York Philharmonic, being a member of the Thad Jones Mel Lewis Jazz Band, and recording with Duke Ellington, The Rolling Stones, and Blood, Sweat, and Tears. He has appeared and recorded chamber music with Yo Yo Ma, Itzhak Perlman, and Wynton Marsalis. He has also recorded four solo albums (or maybe five, if you include this one.) . . . . .
Incidentally, if you play the CD on your PC and go to, the sample music that plays on the website fits right in with this CD, so hearing the music from both sources adds to the listening experience. It is kind of like listening to Pink Floyd’s “Dark Side of the Moon” and watching “The Wizard of Oz.” . . . . .There might be a film you can watch with this combination, also. Perhaps Schumacher will tell us on his website -- if he ever recovers from Professor Musikmacher’s mental domination.