Jacob David Sudol(b. Des Moines, Iowa 1980) writes intimate compositions that explore enigmatic phenomena and the inner nature of how we perceive sound. He recently finished his M.Mus. at McGill University and currently resides in La Jolla, CA where he is working towards a Ph.D. in composition at the University of California at San Diego with Roger Reynolds, Chinary Ung, Philippe Manoury, and Rand Steiger.
Over the last five years some of Jacob's mentors in composition have included John Rea, Denys Bouliane, Philippe Leroux, Sean Ferguson, Dan Asia, and Craig Walsh. He has also participated in master classes with Danish composer Bent Sørensen and German composer Manfred Stahnke.
During 2005-2006, Jacob was the first-ever composer-in-residence for the McGill Contemporary Music Ensemble under the direction of Denys Bouliane, in collaboration with the McGill Digital Composition Studio. He has also written music for the Nouvel Ensemble Moderne, the Contemporary Keyboard Society, percussionist Fernando Rocha, saxophonist Elizabeth Bunt, and clarinetist Krista Martynes. As an undergraduate at the University of Arizona, he composed the music for a collaborative dance project with choreographer Hillary Peterson, and he was the principal composer and pianist for El Proyecto de Santa Barbara, a chamber Latin jazz ensemble.
During the 2005 and 2007 Montréal/Nouvelles Musiques and 2006 MusiMars festivals Jacob was an electronic assistant for performances with Court-Circuit, Matt Haimovitz, Sara Laimon, Martin Matalon, Moritz Eggert, Manfred Stahnke, the Caput Ensemble, and the McGill Contemporary Music Ensemble. These concerts were broadcast by the CBC and the European Broadcasting Union in over fifty countries throughout the world. He is currently a studio research assistant for Pulitzer Prize-winning composer Roger Reynolds.
During his free time Jacob takes an active interest in religious phenomenology, cinema, acoustics, literature, poetry, and visual art. As a composer and performer, he always attempts to bring insights from these other fields into his work.
All music posted on this blog is posted out of love and the idea that for the truly great music of our time(s) to be known it must first and foremost be heard. If you like what you hear please support the artist by buying the recordings, scores, and/or encouraging the performances of the music in every way possible.
If you are the composer, performer, performing organization, artist or directly represent the composer, performer, performing organization, or artist of anything posted on this website and would like your material removed please contact me and I will happily oblige.
Admittedly, it’s taken me a long time to figure how what to include and write for the final part in my “trilogy” of Bob Dylan mp3 mixes. I wanted to make them in a chronological order, but after exhausting the 60’s through the mid 70’s, I had the most trouble choosing material from the last thirty years. Personally, I prefer to keep Bob Dylan as the changing enigma he has often sought to put forward and because of this, I continue to ignore a large portion of his material between Slow Train Coming and Oh Mercy. In my opinion, he has only really come into his own again on his last three albums Time Out of Mind, ”Love & Theft”, and Modern Times. So, as a result, for this last Bob Dylan mp3 mix I decided to just include my favorite version of a perennial favorite – “One Too Many Mornings” – and selections from his last three albums.
At this point, I’m hesitant to say anything about the music or lyrics that Bob Dylan has been writing lately. When I first got into Bob Dylan about ten years ago, his current image and music was a joke in many minds including mine. Back then I couldn’t conceived the easy transformation he’s undergone – from hollow shell of the singer and song-writer he used to be to the living undying culmination of his influences and constantly shifting self.
Oh yee, of little faith…
I think that in his last three albums – and more particularly ”Love & Theft” and Modern Times – Bob Dylan’s songs (in large help to recording with what he calls “the best band I’ve been in”) have become as natural and, arguably, as simply inevitable, as the best material he’s ever done. Oh yeah, and dig the fine bluesman’s voice that he’s developed
Okay now, for the time being I’ve got nothing more to write about Bob Dylan.