A note on this delightful work from the composer, Tanner Menard:
Joe's last mix was begun in the summer of 1999 and completed early in the year 2000. It was commissioned by a great friend, Stuart Sims, in memory of his stepfather Joe Sullivan. At the time, Stuart and I spent many hours listening to a variety of music, especially the minimalistic orchestral works of John Adams, he a graduate student at the University of Michigan and I, a 19 year old undergraduate at Louisiana State. We decided that i would compose a work that would be a celebration of Joe's life rather than a requiem in his memory.
At the time, I was highly involved in the electronic dance scene that was rapidly reaching its peak in the U.S. It seemed fitting to combine my infatuation with minimalism with the thumping music that had taken over the underground night life of cities all across America.
Throughout the work you can hear many things that are at least reminiscent of artist such as Aphex Twin and Squarepusher. Joe's last mix was my first attempt at orchestrating techniques common in electronica into a setting for traditional instruments and you will find many sections that seek to imitate delay, reverb and filtering. I was able to achieve this by using compositional techniques that would have been impossible with out the aid of a computer. One of the aspects of the work that still fascinates me is my cyclical use of isorhythms both in motivic and orchestrational material.
Joe's last mix has taken on a life of its own since then, being played at concerts and festivals around the world, by professional and amateur ensembles, and has been recorded professionally in Japan by Kafua Records.
A note on this fun re-composition from the composer, Robert McCarthy:
Joe's Last (re)Mix is a reworking of Tanner Menard's piece for wind ensemble, joe's last mix. JLrM came about as a submission for a call for scores hosted by Stuart Sims at the Loose Filter Project (www.loosefilter.com/jlm). Stuart commissioned the source piece, jlm, from Tanner Menard, and I am thankful for their collaboration; without them, none of this would be possible. My (re)Mix, like the original, owes much of its style and pacing to the format of a live DJ mix. Because of this, most of this remix, and all of the original, are laid out in strict 4-bar phrases with repeating background figures to provide a steady foundation over which to develop new material. The electronic adjustment of acoustic instruments gives this piece a true electronic quality common in most remixes of popular music.