Barry Schrader

Profile:
American electro-acoustic composer.
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Artist

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Albums

Number 93 Trinity / Emergence / Voicemask — Barry Schrader Barry Schrader / George Todd Barry Schrader / George Todd - Trinity / Emergence / Voicemask(LP) Opus One Number 93 US 1983 Sell This Version
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LR-139 Lost Atlantis — Barry Schrader Barry Schrader Lost Atlantis (Album) Laurel Record LR-139 US 1986 Sell This Version
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innova 575 EAM — Barry Schrader Barry Schrader EAM(CD, Album) Innova Recordings innova 575 US 2002 Sell This Version
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innova 640 Beyond — Barry Schrader Barry Schrader Beyond(CD, Album) Innova Recordings innova 640 US 2005 Sell This Version
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innova 654 Fallen Sparrow — Barry Schrader Barry Schrader Fallen Sparrow(CD, Album) Innova Recordings innova 654 US 2006 Sell This Version
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innova 703 Monkey King  — Barry Schrader Barry Schrader Monkey King (CD, Album) Innova Recordings innova 703 US 2008 Sell This Version
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innova 830 The Barnum Museum — Barry Schrader Barry Schrader The Barnum Museum(CD, Album) Innova Recordings innova 830 US 2012 Sell This Version
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PDR005L Galaxy Of Terror (Original Motion Picture Soundtrack) — Barry Schrader Barry Schrader Galaxy Of Terror (Original Motion Picture Soundtrack) (Album) Pure Destructive Records (2) PDR005L US 2017 Sell This Version
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PDR 004 Barry Schrader Galaxy Of Terror (Original Motion Picture Soundtrack)(LP, TP) Pure Destructive Records (2) PDR 004 US 2018 Sell This Version
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Singles & EPs

1001 Pacific Light And Water / Wu Xing - Cycle Of Destruction — Barry Schrader Wadada Leo Smith, Barry Schrader Wadada Leo Smith, Barry Schrader - Pacific Light And Water / Wu Xing - Cycle Of Destruction(CD, Single, Ltd) Ex Machina (3) 1001 US 2020 Sell This Version
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Compilations

CRC 2490 Transmigration Music — Barry Schrader David Behrman, David Rosenboom, Barry Schrader, Morton Subotnick, Mark Trayle David Behrman, David Rosenboom, Barry Schrader, Morton Subotnick, Mark Trayle - Transmigration Music(CD, Comp) Centaur Records CRC 2490 US 2000 Sell This Version

Reviews

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BWS1

BWS1

December 19, 2020
During the 20 minutes of \”Pacific Light And Water\/Wu Xing - Cycle Of Destruction\" Wadada Leo Smith shows off his ability to seamlessly transition from a descriptive register to a raging one, inflaming an electronic base that seems to want to describe an odyssey into the future. Barry Schrader builds multidimensional worlds: an expanding universe that uses the grammar of electro-acoustics to define the boundaries of a moving reality, boundaries that Smith's trumpet seems to easily cross every time he encounters one.
- Roberto Mandolini
— Ondarock

Perhaps the most distinguishing factor of the track is its use of space. This would not be a surprise to anyone familiar with Smith’s style, but Schrader adeptly provides a quiet – almost ambient – background. Tones hum and buzz, while gentle percussive elements arise from time to time. Over this Smith provides what is most likely a structured improvisation, with long-held notes in various registers as well as rapid runs. His playing is often textural and discordant, reflecting the dual architectures of nature and philosophy on which the recording is based.
- Mike Borella
— Avant Music News

We should expect eclecticism: it is the surface of our time. A better doorway might be to notice that several of the pieces explored common themes, while differing widely in style and execution. For instance, one of those themes was structural counterpoint, the merging of two separate entities into one. A very literal and tour de force example was”Pacific Light and Water/Wu Xing-Cycle of Destruction” by Barry Schrader and Wadada Leo Smith. This piece literally merged two separate works into a new composition. Schrader’s is an electronic composition that deftly changes texture as it progresses through the Chinese five elements; Smiths is an intricate trumpet improvisation that follows a colored map of waters off the Pacific coast that chart the penetration of light frequencies. Both the electronic work and the free-jazz trumpet solo were complete compositions. How fascinating that they integrated so smoothly, forming a third work when played simultaneously. As with contrapuntal lines, we listeners noticed moments of parallel, contrary, and oblique motion between the two structures. - Russell Steinberg
— www.russellsteinberg.com

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