Our latest CatSynth TV focuses on The Last Jedi, the latest episode in the main Star Wars series. It doesn’t cover everything, but it does contain SPOILERS! Please enjoy responsibly.
The Red Robot Show and Vacuum Tree Head are back! This time Jason Berry brings footage from our March show at HSP2017, and is joined by Marlon Brando in this full-length episode.
The members of the band for this performance are:
Jason Bellenkes : Alto Saxophone and Clarinet
Jason Berry: Conductor
Amanda Chaudhary: Keyboards and Vocoder
Richard Corny: Electric Guitar
Michael de la Cuesta: Guitar, Synth, Vibraphone, Sitar, etc.
Richard Lesnik: Bass Clarinet
Justin Markovits: Drum Kit
Joshua Marshall: Soprano and Tenor Saxophones
John Shiurba: Bass Guitar
Cameras by Amanda Chaudhary and Jason Berry
Edited by Berry / Chaudhary
Audio Engineering by Amanda Chaudhary
Animated and Directed by Jason Berry
Brought to you by White Wine. Crisp. And Refreshing.
Mensa Cat Mondays return, with a new comic by J.B. (Jason Berry of Vacuum Tree Head).
He coulda been somebody…
2016 continues to be a year of losses. Below we visit three people whose work has influenced our diverse interests here at CatSynth and who passed away since this holiday weekend.
Alphonse Mouzon was one of the important early artists in jazz fusion, and performed with many of our musical heroes, including Herbie Hancock, Wayne Shorter, and Gil Evans. In 1971, he joined Wayne Shorter and the rest of Weather Report for their debut album Weather Report. The band has a mixed history – something we should write about on another occasion – but those first albums in the early 1970s have a sound that were quite influential and resonate with those of us who love jazz fusion of that era. You can hear some Mouzon’s 1971 work with Weather Report in this video:
Vera Rubin is a name that should be better known that it is in popular culture, as her contributions to cosmology and astronomy are central to our current understanding of the universe. Her work made the case for dark matter and its prevalence in the universe. It was another step in the process of understanding our place in the universe. The earth, then the sun, then the galaxy, all became just small and non-centrals parts in a much larger universe; and the discovery of dark matter showed that the “stuff we are made of”, the ordinary baryonic matter (all the chemical elements and such that we learn about in school) is only a small portion of the mass-energy of the universe. Dark matter has since been eclipsed by dark energy in terms of cosmological composition.
In addition to the grand perspective, Rubin’s work helped us understand why galaxies like our own Milky Way are shaped the way they are and move the way that they do. She was also a strong advocate for women in science, not just in her own career and field but overall in terms of advocacy in inspiration.
From great science facts we move to great science fiction. Star Wars is one of the important mythologies in contemporary world, and many of us who saw the original movie in 1977 remember it vividly. While Carrie Fisher was not one of the comedic droids or Darth Vader, her character Princess Leia was important to the story in ways a kindergarten-age kid couldn’t quite fathom at the time. What also makes Fisher particularly interesting is how she presented herself, flaws and all, completely outside of the mythology of Star Wars. She was brutally honest and with a dark, dry sense of humor that came out in real life and in Princess Leia. Indeed, after she reprised the role for Episode VII, she was very up front taking on the trolls who mocked for simply doing what we all do: age. Her semi-autobiographical Postcards from the Edge was an accidental discovery in a video store – I liked seeing women leading a dark story, and only afterwords realized that Fisher wrote the screenplay and the original book.
We at CatSynth send our regards to the families of Alphonse Mouzon, Vera Rubon, and Carrie Fisher; and to all those taken by 2016.
[Image courtesy of the San Francisco Symphony]
Today we look back at the live soundtrack performance of 2001: A Space Odyssey by the San Francisco Symphony. The performance featured the full orchestra on the direction of Brad Lubman along with the San Francisco Symphony Chorus directed by Ragnar Bohlin.
Kublick’s film is of course a masterpiece, as is the film’s score, which comes from a variety of sources, including Richard Strauss and György Ligeti (one of our musical heroes). Hearing it live in a concert hall with the movie on a big screen is a different experience. The orchestra seats did allow us to both see the film clearly and get spatial effects particularly from the chorus. Indeed, some of most powerful sounds was the choral sections featuring Ligeti’s eerie clouds of pitches. What was also particularly apparent in the live setting was just how sparse the score is. Much of the film has no music at all.
The scenes on the space station – overall an under-appreciated part of the film – popped out more strongly as a result of live score, contrasting the (Johan) Strauss music leading up the docking with sparse texture of dialog and machine sounds of station’s interior. Perhaps, however, part of the fun of these scenes is how dated they look, more like an idealized airport interior from the 1960s. By contrast, the scenes aboard the Discovery seem more contemporary. And the audience of 2016 had quite a bit of fun at HAL’s expense, as we live in an age where computers with both voices and voice recognition are becoming part of our daily lives (”Hey Siri, what do you think about HAL 9000?”).
2001: A Space Odyssey was presented as part of the Symphonies ongoing feature film series. Sadly, we were not able to attend the talk beforehand with professor of music Kate McQuiston, or the appearance by Keir Dullea on an earlier date.
Optical Sounds is a monthly series at the Center For New Music in San Francisco, curated by Tania Chen with Benjamin Ethan Tinker featuring live improvisation to soundless films. We had the opportunity to attend the most recent installment, which featured a trio of Fred Frith, Beth Custer and Christina Stanley interpreting the 1955 dialogue-less film “Dementia” by John Parker.
We at CatSynth often enjoy unusual films, but “Dementia” is weird even among weird films, though the Variety description “May be the strangest film ever offered for theatrical release” seems a bit hyperbolic. The film follows the inner thoughts and actions of a woman as she wanders through dark corners of Los Angeles with even darker characters, while recalling violent events of her childhood. The film is part psychological thriller, part film noir, and part surrealist experiment, constantly jumping between the tropes of all three.
The original soundtrack featured music by George Antheil and a section with Shorty Rogers and his band who also appeared in the film. For this performance however, the original soundtrack was absent with Frith, Custer and Stanley providing the music. The constantly-changing nature of the film was reflected in the music, with eerie vocals by Beth Custer, percussive hits by Custer and Fred Frith, and a mixture of processed violin and analog synthesizer by Stanley. Overall, the music was energetic, with moments of chaos, but also some mellower pads by Stanley on synth. They did blend some film-score tropes into the performance, such as eerie sounds for the internal memories and thoughts of the main character, tense bits of sound for the dark streets of the city, and jazzy cabaret style riffs for the night-club scenes – the latter were definitely my favorite parts of the music.
The dialog-less nature of the film does facilitate such an improvised score, but the oddness of its structure must have made it challenging. But the trio pulled it off. I am glad to have been able to attend the performance and look forward to more in this series.
The final night of the Outsound New Music Summit featured three sets combining music with visuals. The room was dark, with all illumination coming from the visuals on the screen and the sonic elements abstractly arrayed around them.
The evening opened with Mika Pontecorvo’s project Bridge of Crows performing an improvised set to a segment Pontecorvo’s film The Bedouin Poet of Mars: The Last Poet.
The film’s story is a bleak tale of a poet who is the last survivor of a once-thriving civilization on Mars, searching for a home for himself and the last surviving plant. He sees the results of several self-destructive civilizations on his journey. Despite the dark subject matter, the visuals themselves were lively and abstract at times, with lots of interesting visual and image processing.
The music moved in and out of a variety of textures and dynamic levels, though the focus remained on the visuals throughout. Joining the regular ensemble was Bob Marsh, wearing one of his trademark suits and performing on a string instrument made from a tree.
One disadvantage of the darkened environment was that I did not get to see much of Marsh or his instrument, which I would have liked to. Rounding out the ensemble were Kersti Abrams on winds, Elijah Pontecorvo on electric bass, Greg Baker on electronics, hydrophone and clarinet, Mark Pino on percussion, and Mariko Miyakawa on vocals.
Next up was Tender Buttons, a trio featuring Tania Chen on small instruments, with Gino Robair and Tom Djil on analog modular synthesizers. The trio performed sounds against live interactive video by Bill Thibault.
The set was anchored by Chen’s piano, which ranged from intricate and complex to loud and aggressive, augmented by small toy instruments. The piano interlaced with Thibault’s abstract visuals, which started out simply but grew more complex over the course of the set. Throughout, the visuals displayed words from Gertrude Stein’s poem Tender Buttons, but were increasingly mixed with the more complex elements.
Robair and Djll provided a variety of adept sounds from modular synthesizers and circuit-bent electronics to complement the piano and video.
The final set featured live interactive video by Bill Hsu with James Fei on reeds and Gino Robair returning on percussion.
I am quite from the minimalist quality in Bill Hsu’s visuals. The began with very simple geometric elements, but soon hope added a bit of controlled chaos that led to very organic elements on the screen.
Befitting the visuals, the music in this set was more sparse, with moments of quiet and loud solo bursts from Robair and Fei. Robair percussion worked best with the early geometric elements, and Fei’s complex runs on saxophone worked well with the more organic visuals.
I enjoy sets that integrate visuals and music into a single unit. It can sometimes be a challenge to take everything in, much less write about it afterwards. But I hope this gives a little insight into the evening. It was a good closing concert for this years Summit, and was appreciated by those who came only that night as well as the loyal audience members who were there most or all days. This concludes the 2015 Outsound New Music Summit, and I look forward to its return next year.
If you have followed our past coverage of the annual Outsound New Music Summit you have encountered the photography of Peter B. Kaars. Indeed, his photos appear on many of our reviews of Outsound events and beyond. This year, his work was the subject of an evening of the summit, with a gallery installation and reception.
[Image by Rent Romus, Outsound Presents]
For this event, Kaars selected images that were single portraits, each capturing an aspect of the performers’ musical personality.
I was particularly happy and honored to be the subject of one of his selections: a close-up of my hand on a modular synth.
The exhibition was a chance to see Kaars’ work as an artistic endeavor independent of the performances being documented. Or as Executive Director Rent Romus put it: “an artist making art of artists making art.”
The evening also featured a screening of Tim Perkis’ film Noisy People, which documented the Bay Area new-music and free-improvisation scene in the period 2002-2007 by following a collection of familiar artists.
Indeed, all of the artists featured in the film are people and I know and in many cases played with, either during the period chronicled or through countless events after I moved to San Francisco in 2008. It was fun to see some folks I know now in an earlier incarnation, and how their music has collaborations have changed. Of course, seeing it in an audience comprised of members of scene made the experience that much more fun.
You can find out about the concerts for this year’s Summit at the official website.
Today we look at a recent performance by Amy X Neuburg at the Center for New Music featuring a new interpretation of Jerry Hunt’s “Song Drapes.” This project was part of commission Neuburg received from the Cultural Department of Cologne, Germany to reinterpret the piece, which was originally a collaboration between Hunt and the performance artist Karen Finley.
We at CatSynth are immersed in a world of unique and often odd artists. But Jerry Hunt stands out as exceptionally odd and enigmatic. The evening began with screenings of his video work that is rarely shown in public. Many of them featured the artist alone in a dark room with his strange homemade electronic controllers and bits of electronic sound.
There were other departures among his videos, including one powerful piece featuring a close-up of Hunt reciting what seems like a stream of random but intense thoughts; and other where he takes the viewer on a tour of his home in Texas pointing out the behavior of local wildlife and a customized homebrew toilet. Both of these pieces seemed to portend his tragic death by suicide while suffering from cancer. But there were also humorous at times.
A similar mixture could be found in Neuburg’s live performance, which followed the screenings. “Song Drapes” includes Hunt’s original electronic background recordings and instructions to the performer to perform text of his or her own choosing with a live percussion rhythmic layer. The elements of electronics, percussion and voice were a perfect match for an “Amy X Neuburg treatment.”
The result was unmistakably her sound and style, filled with rhythmic hits, dramatic vocals and delightfully sardonic texts. Some were quite dark in keeping with the original work, but some of the best moments were the most quirky and humorous, including a tribute to Nebraska as the place one often flies over between frequent trips between California and New York (something which is part of my life as well), and her dance to a catchy rhythmic tune entitled “Little Legs”.
The performance lasted exactly one hour, but was engaging throughout. I am glad to have attended it. I do also hope to see more exposure for Jerry Hunt and his work. You can read more about him here. You can also find out more about Amy X Neuburg’s interpretation