It’s been a while since I have been able to attend Outsound’s regular weekly music series at the Luggage Store Gallery, but I was finally able to do so a week ago. The show featured two very different sets focused on electronics.
First up was the New False Gods, a “supergroup” of sorts featuring Eli Pontecorvo , Jack Hertz, Doug Lynner, Tom Djll, and R Duck.
I am quite familiar with all the artists and count them all as friends, but this is the first time I heard them together as this unit. Musically, this was an improvised set, but Jack Hertz’s rhythmic percussion helped provide a structural foundation for the other sounds, which varied from sparse and light to thick noisy pads. Doug Lynner provided intricate sounds on his Serge modular, and Tom Djll had an intriguing setup with trumpet driving a modular synth.
Next up was Charles Xavier, aka The Xman performing a solo set with electronics and small sound makers. The central instrument in his setup was a malletKAT, an electronic MIDI mallet percussion instrument.
The Xman was musically quite different from the New False Gods. In addition to presenting a series of composed pieces as opposed to a set-length improvisation, his music was centered on standard tonal pitches, albeit sometimes in more atonal arrangements. There was a gentle and playful quality to many of the pieces.
Overall, it was a good night to come back to the series. Hopefully it won’t be so long before I attend again.
Last month I had the privilege of seeing the Wayne Shorter Quartet at the SFJAZZ Center.
Over the years, many of his compositions have become standards in the jazz world, and he has had a long and illustrious career with Art Blakey, Miles Davis Quintet, Weather Report, and more. In each case he has reinvented and reinvigorated his music, most recently with an all acoustic quartet featuring Danilo Pérez (piano), Brian Blade (drums), and John Patitucci on bass. It was this band that we saw on this occasion.
This band took a very original approach to Shorter’s compositions, some of which were very recent (there was a suggestion some the material was even new for the show). What made it most interesting was how subtle and sparse the music was, rarely did we hear a head or chord pattern in its entirety. The music was nonetheless extremely intricate and tight. There weren’t defined roles of a rhythm section and solo instrument in a traditional sense, but everyone took on every role, including Brian Blade’s drums. Especially when Wayne Shorter was playing, it affects the whole tenor of the proceedings (no pun intended). He would only play a few notes and then pause for a time, but those few were enough to take command of the direction of the song. But each musician had a role that transcended their instrument. Blade’s drumming could be at times quite forceful and his use of vocalizations quite curious, but these were moments of punctuation and in between he was very metric and even quiet at times with just enough hint of time to keep things moving. Danilo Pérez was a force of nature on the piano, and his pouring through reams of sheet music as he played was a reminder that these were fully formed compositions and not simply free improvisations.
The complexity and subtlety made it challenging even for seasoned fans to pick out the individual tunes. But we are pretty sure we heard an extended workout on Sanctuary (best known version appears on the B side of Bitches Brew); Aung San Suu Kyi (timely given the elections in Myanmar); and we thought that encore was an acoustic and distilled version of Joyrider. It was a perhaps funkier and more accessible way to send the audience off for the evening.
Looking westward out from my office in San Francisco, I can see the entirety of Ellis Street, heading from downtown towards the interior hills of the city. Recently, I finally got a chance to walk the street from one end to the other.
Ellis Street is a relatively modest east-west street, but like many others in this city it traverses a diverse cross-section of terrains and neighborhoods. It begins at the intersection with Market Street and Stockton Street, shown in the photo above. At the corner is the San Francisco’s flagship Apple Store. The large construction project that has taken over the intersection is part of the new Central Subway project, in particular, a series of tunnels that will connect the existing Powell Street BART and MUNI station to the new line that goes up Stockton Street.
At ground level, we can see the mixture of tall buildings, hotels, restaurants and tourist places that dominate the blocks around Union Square.
The street is an exercise in contrasts. As we move just a couple of blocks westward, the cityscape gives way to older ornate buildings house boutique hotels, lounges, dive bars, massage parlors, youth hostels, and apartments of long time residents trying to hold on in a changing and increasingly unaffordable city.
Heading into the heart of the Tenderloin (“TL”) we cross Taylor Street, which we wrote about this summer. The neighborhood has its reputation for being sketchy and having among the last concentrated pockets of poverty in the city, but the diverse neighborhood contains beautiful architecture and a wide range of people and interests.
Friends live here. There are cultural institutions here, such as the “509 Annex” of the Luggage Store Gallery where the regular Outsound New Music Series was temporarily hosted (it is now back at the main LSG building on Market Street). A couple of blocks south is the new home of Counterpulse, an experimental performance arts organization. Glide Memorial Church is a veritable institution at the corner of Ellis and Taylor that serves many in the neighborhood and beyond.
The social and architectural landscape again changes dramatically as we approach Van Ness Avenue, one of the main north-south boulevards in the city. It is lined with both tall (and expensive) apartment buildings as well as quite a few car dealerships.
Heading west from Van Ness on Ellis we continue up an incline to Cathedral Hill. Not surprisingly, there is a cathedral here: specifically St. Mary’s, a beautiful gem of modernist architecture. They also have a huge modern pipe organ and I have heard several concerts there.
Several of the apartment buildings in these blocks are quite tall, and remind me more of 1960s/1970s New York City apartments than those typically associated with San Francisco. I particularly like this cylindrical building.
Continuing westward, we enter a more low-rise residential neighborhood, and the first of a few continuity gaps in Ellis Street. It stops at block of schools anchored by Rosa Parks Elementary School before picking up again a block later.
This section of the street has quite a few gaps, actually, some of which are probably from the redevelopment of the Fillmore District. Indeed, Ellis is mostly pedestrian walkways at its intersection with Fillmore in the middle of the “Jazz Heritage District”. A block south is the building Fillmore Heritage Center that housed the ill-fated San Francisco branch of Yoshi’s.
It still has a restaurant and concert venue under various managements, as well as the larger-than-life photos on its facade.
When Ellis Street resumes two blocks to the west, it is a smaller, treelined residential street with pretty two-story residences of the classic San Francisco style.
The next large crossing is Divisadero. I have never quite figured out exactly what it is that Divisadero is dividing.
In recent years Divisadero has been a destination street in itself. I have done a bit of photography here a few blocks south, and had one of my photos from that set displayed in a show at Rare Device.
Just past the intersection is the final uphill block that I had been able to see from the office window.
It is the steepest block of the street, and the houses reflect that. This is a rather archetypical San Francisco street scape.
Ellis Street ends at the top of the rise at an unassuming intersection with St Joseph’s Street.
St Joseph’s is one of several streets here that is confined to the small hill neighborhood of Anza Vista. Over a century ago, this area was a large cemetery. All the plots have long since been moved to Colma, and it is now a fancy hilltop neighborhood whose apartment buildings and houses look more like the Berkeley hills or Daly City than the traditional parts of San Francisco.
The architectural dissonance is not surprising as Anza Vista was developed after World War II.
The walk was quite a nice one, not too long or strenuous and it was a lovely warm autumn day. But I was ready for a break, and caught a 38 Geary Express MUNI back downtown and plotted future walking adventures for the city.
Kearny Street Workshop’s APAture 2015 festival continued this past weekend with more showcases in multiple fields. I was able to attends parts of two of them, and share these brief notes.
The Music Showcase took place last Friday at Bindlestiff Studio in the SOMA neighborhood of San Francisco (it’s our home neighborhood at CatSynth). There was a wide range of musical styles present.
The evening opened with reggie-infused sounds and rhythms from Iridium.
Next up was ebolabuddha, an intense metal band that featured reading of books in addition to the playing of instruments (quite loudly).
The band featured some familiar faces, including Eli Pontecorvo on bass/vocals and Mark Pino on drums with Steve Jong on guitar and vocals.
Combination of the forceful and physically driving music with the book readings (in addition to guest performers, everyone was invited to come up and read) was quite fun.
The tone and energy changed abruptly with MC a.K.aye (aka Ahmed Kap Animo), whose words with both playful and at times featured strong messages that resonated with many in the audience.
Next was The Vibrant Things featuring Amy Dabalos on vocals. Dabalos had a fantastic and inspiring voice that worked well the group’s mixture of jazz, R&B and cabaret sounds. I also always enjoy seeing other groups with Nord keyboards.
One of the more unique showcases of APAture is the Comics and Illustration showcase, which took place on Saturday at the main branch of the San Francisco Public Library.
At first glance, the event has a nerdy vibe and many familiar styles and tropes of popular Asian comics. But many of the artists also featured strong messages in their work. Artist Bo explores queer and transgender identities in his comics. Pixelated follows the experience of a biological female passing as a male and suddenly being assumed to have strong technical skills, poking fun at gender stereotypes around technology.
Featured artist Thi Bui presented meticulously drawn art including her graphic novel The Best We Could Do, an “immigration epic” about her family. She also made drawings of visitors to the event as a fundraiser for Kearny Street Workshop.
[© Kearny Street Workshop/ Shuntaro Ogata]
I particularly enjoyed Cecilia Wong’s colorful illustrations, many of which featured cats. I of course had to purchase a copy of one. I look forward to seeing more of her work in the future.
Wong also gave a presentation of color, with tips on both theory and practice. It gave me a few thoughts for color in future graphic designs to complement my usual black&white styles.
Also present at the event was the Comic Book Legal Defense Fund, a “non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community of retailers, creators, publishers, librarians, and readers.” I was not familiar with them, but on reflection I’m not surprised that many comics artist may need such defense, especially when the challenge traditional norms and authority (something that we at CatSynth wholeheartedly support).