Percussionist with a vision, Patti Cudd, announces the release of Cyanotypes, a landmark portrait of five forward looking works for percussion and electronics; all – in a field dominated by men – composed by women. This meticulously crafted collection is a testament to creative risk-taking, subtle technology, collaborative spirit, and the resonant possibilities of struck sound.
Cyanotypes is not just a photo album; it’s an auditory, sensory expedition. Each piece serves as a unique blueprint—a sonic cyanotype—that reimagines the role of percussion. From the rhythmic imprints of a snare drum mapped onto a vibraphone to the cheeky ambitions of a humble wine bottle, the album invites listeners into a world where everyday objects become instruments of profound expression and complex algorithms dance with human gesture.
“The works on this album challenged me to think like an architect of sound, building structures from rhythm, texture, and electronic transformation,” says Cudd. “Each composer presented a unique world to explore, and it was a joy to collaborate with them to bring these vibrant, playful, and deeply expressive blueprints to life.”
The album features five world-premiere recordings from composers based in Ireland, Brazil, and across the US:
1. Cyanotypes by Elainie Lillios: A five-movement study inspired by a natural photographic process, rendering the snare drum’s articulations onto the resonant canvas of the vibraphone.
2. This bottle has notions by Kerry Hagan: A playful and whimsical piece where a simple bottle’s sound is transformed by electronics, yielding its surprising and ambitious ego.
3. Chime by Tiffany Skidmore: An intricate work where rotating pitch constellations and a liquidating rhythmic structure unfold across two snare drums and six crotales.
4. The Meeting Place by Heather Dea Jennings: A cross-cultural dialogue layering Brazilian drum traditions with live electronics, inspired by Yoruba proverbs and composed in memory of Alvin Lucier.
5. Tattoo of a Gesture by Margaret Schedel (with Christopher Howard): A nine-movement collaboration foregrounding the body’s agency, where a single bendir drum and a carry-on case of implements converge with interactive processing in a tattered acousmatic veil.
Minnesota-based Patti Cudd is a versatile percussionist known for her dynamic performances that blur the lines between traditional percussion, electronics, and experimental sound. Equally at home in concert halls, festivals, and innovative multimedia projects, she brings a playful curiosity and deep musicality to every stage. Her collaborations span composers, ensembles (including Zeitgeist), and interdisciplinary artists, exploring rhythm, gesture, and sonic transformation. Patti’s artistry transforms everyday objects into instruments of expression, revealing unexpected textures and colors. A dedicated educator and mentor, she inspires emerging musicians while continuing to push the boundaries of contemporary percussion.
Reviews:
AM:plified Magazine
The JW Vibe
The Recording Artist Guild
Jazz Weekly
Fanfare
Cyanotypes is not just a photo album; it’s an auditory, sensory expedition. Each piece serves as a unique blueprint—a sonic cyanotype—that reimagines the role of percussion. From the rhythmic imprints of a snare drum mapped onto a vibraphone to the cheeky ambitions of a humble wine bottle, the album invites listeners into a world where everyday objects become instruments of profound expression and complex algorithms dance with human gesture.
“The works on this album challenged me to think like an architect of sound, building structures from rhythm, texture, and electronic transformation,” says Cudd. “Each composer presented a unique world to explore, and it was a joy to collaborate with them to bring these vibrant, playful, and deeply expressive blueprints to life.”
The album features five world-premiere recordings from composers based in Ireland, Brazil, and across the US:
1. Cyanotypes by Elainie Lillios: A five-movement study inspired by a natural photographic process, rendering the snare drum’s articulations onto the resonant canvas of the vibraphone.
2. This bottle has notions by Kerry Hagan: A playful and whimsical piece where a simple bottle’s sound is transformed by electronics, yielding its surprising and ambitious ego.
3. Chime by Tiffany Skidmore: An intricate work where rotating pitch constellations and a liquidating rhythmic structure unfold across two snare drums and six crotales.
4. The Meeting Place by Heather Dea Jennings: A cross-cultural dialogue layering Brazilian drum traditions with live electronics, inspired by Yoruba proverbs and composed in memory of Alvin Lucier.
5. Tattoo of a Gesture by Margaret Schedel (with Christopher Howard): A nine-movement collaboration foregrounding the body’s agency, where a single bendir drum and a carry-on case of implements converge with interactive processing in a tattered acousmatic veil.
Minnesota-based Patti Cudd is a versatile percussionist known for her dynamic performances that blur the lines between traditional percussion, electronics, and experimental sound. Equally at home in concert halls, festivals, and innovative multimedia projects, she brings a playful curiosity and deep musicality to every stage. Her collaborations span composers, ensembles (including Zeitgeist), and interdisciplinary artists, exploring rhythm, gesture, and sonic transformation. Patti’s artistry transforms everyday objects into instruments of expression, revealing unexpected textures and colors. A dedicated educator and mentor, she inspires emerging musicians while continuing to push the boundaries of contemporary percussion.
Reviews:
AM:plified Magazine
The JW Vibe
The Recording Artist Guild
Jazz Weekly
Fanfare
