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Yehuda Yannay Jon Welstead The Ghost In The Machine Yehuda Yannay and Jon Welstead have compiled a collection of collaborative music that explores interactions between electronics and performers. The title 'The Ghost In The Machine' is an homage to Arthur Koestler (it is also the title of one of Koestler's works) and to his writings on the processes of human creativity in which he described a blurred boundary between dispassionate reason and intuition. And the title fits the music, which blurs the roles between electronics and performers. 'The Ghost In The Machine' grew out of music-theatre productions that Jon Welstead and Yehuda Yannay have presented during the past ten years. Works on this recording have met with phenomenal reviews. 'In Madness There Is Order' was called "the most powerful and expressive piece in the program" (Hamburger Abendblatt) and "powerful, original and even visionary" (Wisconsin State Journal, Madison). 'Topochronos' "created a compelling three-dimensional 'soundscape' that bathed David Ignatow's poem ... in deep, rich hues." (Milwaukee Sentinel) and "certainly holds attention, especially with Dan Nelson throwing himself into it as he did ... " (Milwaukee Journal). The compositions include 'Fo(u)r Percusssionist(s)' (1992) by Jon Welstead, for percussion synthesizers; 'In Madness There Is Order' (1988) by Yehuda Yannay, for tenor and electronic score; 'All in a Whisper' (1996) by Jon Welstead, for computer-generated sounds; 'Waiting in Non-Compliance: If We Want It So' (1995) by Jon Welstead and Steve Nelson-Raney; 'Topochronos' (1987) by Jon Welstead, for tenor, harp, computer and electronics; and 'In Between Us' (1989) by Jon Welstead and Yehuda Yannay, for computer and electronics. The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp). The performers include Steve Nelson-Raney (saxophone), Daniel Nelso (tenor), Jason Rodon (percussionist), and Jessica Palalis-Suchy (harp). Buy it!

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