The Outsound Music Summit continued on Thursday night with a concert titled “The Freedom of Sound”. It is a rather lofty title that can mean many things – in this case it describes ensembles that have explored and perfected musical improvisation through many years of playing together. The emphasis on experience and discipline is a reminder that “freedom” is a double-edge sword, in music, in politics or any area of life. During the artist Q&A before the concert, Tom Djll of Grosse Abfahrt lamented that bad improvised music can just be “mush” – and any of us who have been immersed in improvisation for an extended period have experienced the mush. But the examples of free musical expression on display this night were very articulate, structured, with musicality and narrative.
Tri-Cornered Tent Show opened the evening with an “operatic improvisational song cycle.” In the Q&A, composer Philip Everett talked about the influence of the Vietnam War and legacy leading up to the seeming perpetual war of today in his piece. The subject was hard to miss as guest vocalist Dina Emerson sang the lines “After war came the barking of dogs” and “After the war came another” among others, allusions to the unending series of wars we have found ourselves in over the past few decades. Behind Emerson’s singing, regular group members Philip Everett, Ray Schaeffer and Anthony Flores provided a foundation of static noise, explosive synthesizer and drum phases and free improvisation that moved between disparate rhythms and lines to a single unified tone. In listening to performance, I was reminded of the traditional oratorio, with the theatrical operatic vocal performance with the dramatics and emotion but without the staging and costumes.
[Tri-Cornered Tent Show, with Dina Emerson. Photo: PeterBKaars.com.]
There were particular moments that I liked, such as the emergence of a funky bass-driven riff with percussion and harmonic support that went on for some time, while some of the electronics remained asynchronous. And then there was the movement of the piece where Emerson’s voice was front and center channeling the sound of a Southern blues or spiritual singer with minimal instrumental sounds, mostly strings and delay effects, and later metallic resonances.
Next up was Positive Knowledge, the duo of Oluyemi Thomas and Ijeoma Thomas. opened with free improvisation with bass clarinet and voice. They were able to make their disparate instruments sound quite a like a times, and if I wasn’t watching the performance I could have mistaken them for a saxophone duo. The unity diverged a bit as Ijeoma Thomas moved from free vocals to poetry. In the gaps between lines of the text, the clarinet provided squeaks, growls and other noisy sounds.
[Positive Knowledge. Photo: PeterBKaars.com. ]
The instrumentation shifted throughout the performance, with recorder and whistle, expressive pentatonic humming, a walking gong, and poetry set against metallic percussion. The shifts in timbre and texture and movement between words and abstract sounds gave the sense of a story unfolding.
The final performance of the evening, featured Grosse Abfahrt. Regular ensemble members were joined by guest artist Kyle Bruckman. It began with a large balloon, which Tom Djll inflated and then placed over the mouthpiece of a trumpet. The resulting squeaky but steady sound served as a basis for the first part of the performance, and given the size of the balloon continued for quite a while. Kyle Bruckman on oboe matched the pitch of the balloon and trumpet quite closely, but with enough imprecision to leave interesting beating and timbral effects. The other performers entered into the mix, complementing the tone of the balloon and filling in the void when it finally expired. Tom Djll provided a number of creative noisy tones on the trumpet as well as other custom one instruments: a purple hose that could be played like a brass instrument but also spun around like a whirly. He also had a pair of long orange pipes that looked like didgeridoos and were played both trumpet-like and with air canister that is usually used for cleaning keyboards. Gino Robair continued percussion sounds such his signature oddly-shaped bowed cymbal and chaotic electronic sounds from the blippo box. Tim Perkis’ electronic sounds had a delightful liquidy quality that added a lot of fullness to the ensemble. John Shiurba’s guitar and effects pedals rounded things out with a harder sound closer to Djll’s trumpet than to the other electronics.
[Grosse Abfahrt, with giant yellow balloon. Photo: PeterBKaars.com.]
After all the performers joined in, the music gradually built into a thick noisy metallic texture – mostly a drone but with different shorter sounds in front. Then things shifted to softer, staccato sounds. I liked the empty space in which I could hear details like the distinctive timbre of the blippo box. There were other moments of soft, uniform tones among all the performers, register movement between high and low, wind noises and scratches, tiny sounds and loud drones. It was a powerful, energetic performance that went by rather quickly.
In total, it was a strong show, with three very different ensembles and styles that nonetheless fit together musically beyond simply the theme of free improvisation.