The pieces he wrote in this style often had intentionally provocative titles intended to reinterpret the minorities Eastman belonged to in a positive light: for example, Evil Nigger, Crazy Nigger, and Gay Guerrilla (all circa 1980). Applying minimalism's additive process to the building of sections, he developed a composing technique he called 'organic music,' a cumulatively overlapping process in which each section of a work contains, simultaneously, all the sections which preceded it. In his book American Music in the Twentieth Century, composer/author Kyle Gann briefly sums up Eastman's work and its importance: 'Born in New York, he graduated from the Curtis Institute in composition and was discovered by Lukas Foss, who conducted his music, including Stay On It (1973), one of the first works to introduce pop tonal progressions and free improvisation in an art context. This comprehensive and definitive document, which comprises almost all of Eastman's signature works, will undoubtedly be a revelation for those who have thus far been unable to hear his work. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy.This three-disc set marks the first appearance on disc of the music of the African-American composer Julius Eastman (1940-1990), who died under unexplained circumstances and whose musical legacy was thought lost. During Winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned-including scores and recordings. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic-undoubtedly also one of the most powerful. There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. He was among the first composers to combine minimalist processes with elements of pop music. Julius Eastman (1940-1990) was an American composer, pianist, vocalist, and dancer whose work fell under minimalism. Winner of the Hewlett-Packard Foundation and the Montsalvatge International Piano Competition, he brilliantly won the First Prize in the 2006 Orléans International Piano Competition.

His two recordings for La Dolce Volta (Prokofiev and de Falla) have been highly acclaimed by critics.

Wilhem Latchoumia embraces both new music and the classical repertoire with success and charisma.

Stephane Ginsburgh, a tireless surveyor of the repertoire but also explorer of new music, collaborated with composers such as Philippe Boesmans, Jean-Luc Fafchamps, Stefan Prins, Frederic Rzewski and Matthew Shlomowitz of whom he premiered works, as well as with choreographers such as Anne Teresa De Keersmaeker (Rosas) and recorded Feldman, Duchamp and Satie for Sub Rosa and the complete set of Prokofiev piano sonatas for Cypres. Melaine Dalibert, a French composer and pianist, fascinated by natural phenomena which are both expected and unpredictable, has developed his own algorithmic procedures of composition which contain the notion of stretched time evoking Morton Feldman, minimal and introspective, adopting a unique concept of fractal series. He has collaborated with Lustmord on the Deconstruction of November by Dennis Johnson. Pianist and electroacoustic composer Nicols Horvath is known for his boundariesless musical explorations-he has collaborated with leading contemporary composers from around the world, including Alvin Lucier, Alvin Curran and Valentyn Silvestrov-the recordings of his complete works for piano by Phil Glass made a lasting impression.

Julius eastman works