Flutist
Jessie Isaac has performed throughout the United States, and in Europe.
Growing up in south Florida, Isaac began flute at age ten and was soon performing
in Ids school's orchestra and marching bond. He also studied clarinet and violin.
While attending high school, Isaac played with three Miami area youth symphonies.
At seventeen, he was awarded first place in the Dade County Young Artist Competition.
Later that year Isaac began his professional career with the Miami Beach Symphony
Orchestra. After completing his B. Mus. at the San Francisco Conservatory of Music,
Isaac pursued graduate studies at the Sweelick Conservatory in Amsterdam, The Netherlands.
Jessie Isaac has lived in Oregon since the early 1990s and participates in a broad
spectrum of musical activities, as well as working toward his masters degree at Portland
State University.
A composer and improvising musician
Andrew Hosch (b. 1954, Chicago) has lived in Portland,
Oregon since 1973. Over the past fifteen years, Hosch has produced a large and eclectic
body of music from his home studio, the best of which is now being issued on his Epitonium
label.
Hosch began playing guitar at age 10; as a composer he is largely self-taught. He plays
keyboard and percussion and has been known to experiment with virtually any instrument
(or object) on which he can get his hands, Although Hosch conducts most of his compositional
activity from the keyboard and computer, he considers the guitar his primary instrument.
Early compositional influences stem largely from the progressive jazz and rock of the 1970s.
Subsequent immersion in world music traditions, including those of Africa and Indonesia
have served to expand his musical palette. Hosch also derives much inspiration from 20th
century classical idioms including minimalism. and musique concrete. Through the Persian
Night is a series of five electro-acoustic compositions arising from an improvised flute
solo by Jessie Isaac. All of the musical material on this CD was derived from that single
source. In
Part I, Isaac's solo is presented intact and unedited, but accompanied by a
processed harmonic image.
Part II was created from layers of backward fragments extracted
from the original solo.
Part III is a flute quartet. Here, Isaac's solo has been dissected
phrase by phrase. Each phrase has then been replicated and restructured into a new work.
Part IV is a multi-layered montage built of time-compressed duplicates of the original
flute solo. Finally,
Part V is for eight flutes; copies of Isaac's solo have been offset
with variable intervals of delay. Midway through the piece, all of the sounds begin to
move in reverse, essentially forming a mirror image.
