Geometric and texture study from the Port of Long Beach, 2014. You can read more and see more images from my visit here.
Geometric and texture study from the Port of Long Beach, 2014. You can read more and see more images from my visit here.
At the southern edge of Los Angeles County lies the Ports of Los Angeles and Long Beach, the two largest and busiest in the United States. They are in some ways an entire separate city, with their own network of bridges and freeways beyond the regular network of Los Angeles and its environs.
We begin our exploration in a quiet and somewhat industrial section of Long Beach along Willow Road. Seemingly in the middle of nowhere, we encounter the northern California Highway 103, the Terminal Island Freeway which is a major truck route to the port. It might be the heavy truck traffic that accounts for its being in rather poor shape.
Heading south on CA 103, we pass through a flat, industrial landscape. It is a bit desolate, but beautiful in its way. There are only two interchanges, one of which is with CA 1. Continuing past the interchanges, the freeway transitions to California Highway 47 and crosses the Cerritos Channel to Terminal Island the ports on the Commodore Schuyler F. Heim Bridge. This is a massive lift bridge that can accommodate large ships accessing the port.
It has an old industrial and dystopian feel to its architecture, particularly on the foggy morning when I visited. Since then, the bridge has been decommissioned and is in the process of being replaced.
I left the freeway at New Dock Street to get a closer look and to take more photos of the bridge and other details of the ports. Photographing around the working port has its challenges with a great many areas fenced off, and a no doubt a heightened suspicion of odd people wandering around with cameras. I did get a few, some of which are shared here. They have also appeared in Wordless Wednesday posts (and will continue to do so).
CA 47 turns onto the Seaside Freeway runs east-west and bisects Terminal Island. Heading east, the freeway (also known as Ocean Boulevard) the graceful Gerald Desmond Bridge, becoming I-710 heading north through Long Beach.
You can read about our separate adventure along I-710 is this article.
Following CA 47 west along the freeway, one winds up and down between elevated and surface sections before ascending to the photogenic Vincent Thomas Bridge.
There is a small park on the west side of the bridge, which affords one a change to get out, walk, and view both the bridge and the channel. There are families and others here, many probably from the adjacent community of San Pedro. We have in an instant left the industrial landscape of the port and entered the residential landscape of greater Los Angeles. It is appropriate the CA 47 ends here and the freeway turns north as I-110, the Harbor Freeway. But that is a story for another time.
I recently reported on my performance with Tania Chen at Spectrum in New York. However, this was not the first of our New York collaborations. A few days earlier we debuted our set at The Brick Theater in Brooklyn.
First up that evening was our friend Nick Dimopoulos as SMOMID, which is also the name of his invented musical instrument.
The SMOMID is a “Strong Modeling Midi Device” that allowed him to control multiple synthesizers and sequencers. His performance was highly dynamic and uses a lot of familiar performance idioms from the guitar, but in the service of a very different musical style that included fast electronic drum runs and other rhythmic patterns. Overall it was an intense and visual performance.
Then it was time for us to take the stage! We started quietly and a bit tentatively with Tania on melodica and myself on keyboard and synthesizer. As with the Spectrum gig, the principle instruments for me were a Nord Electro and a DSI Prophet 12 (for some reason the Moog Mother-32 wasn’t working that night). After a bit of the sound became thicker and more animated. And then we moved to the central part of our performance: two pop-style songs, the first of which was called “Cheezy Love Song.”
The second was a decidedly more melancholy song called “I Still Love You”, with a darker tone provided by the P12 beneath Tania’s singing. From here we segued directly into another experimental electro-acoustic improvisation that showcased the variety of sounds and objects at our disposal.
Our final piece was a cover of the Jackson 5’s “I Want You Back”, which was of course a lot of fun and allowed me to exercise my pop and jazz keyboard skills. Overall, it was a good first performance, but we did learn a lot of things that we used to make Spectrum a few days later a great performance.
One feature of performing at The Brick is that it is a theater. Indeed, there was a play being staged that week, and all the sets had to accommodate the stage set. But it did make for a fun and unusual setting for the music, and in particular we took advantage of some of it within our performance.
The final set featured Teerapat Parnmongkol performing live ambient electronics along with live electronic video.
The music was reminiscent of electronic dance music in a club setting, but it did go off in other directions with noise hits, breaks in the rhythm and more. In the darkened space, however, one’s attention was squarely drawn to the video.
Overall it was a great show and we here happy to share the bill with these other artists. I would also like to extend a thank you to The Brick Theater and to Craig Flanagin for hosting us and making sure things ran smoothly. Hopefully I will be performing in Brooklyn again soon.
Today we look back at my performance with Tania Chen at Spectrum in New York, a little over a week ago.
[Photo by BC]
Our duo is built around a mixture of experimental improvisation with electronic instruments and other elements, and songs with lyrics, melodies and chords, often segueing seamlessly from one to the other. Spectrum has a wonderful Steinway grand piano, which allowed to Tania to exercise her piano skills while I focused on chords and rhythm with a Nord Electro keyboard and DSI Prophet 12 and Moog Mother-32 synthesizers. At times the sound was dark and droning, others very sparse, and many times quite humorous – after all, we did sing a “Cheezy Love Song.” The songs themselves were quite structured, but there as well as the improvisations in between we were able to play off one another to create patterns and textures.
[Photos by BC]
I particularly like the sections combining the acoustic piano with the Prophet 12, and our dueling Casio keyboards. And yes, we had a lot of fun. You can see our full performance in this video below.
Overall we had a great time performing and it was quite well received by the audience. It wasn’t actually our first show together in New York. That was at the Brick Theater in Brooklyn and will be discussed in a separate article.
Our performance was in the middle of the bill. The evening began with a set by Hey Exit, a solo project by Brooklyn-based Brandan Landis.
Using guitar, electronics and video, Landis created a dark soundscape, sometimes noisy and drawing from his backgrounds in punk and noise, but at other times quite haunting and ethereal. The room was particularly dark, with light only from the video screen and a nearby candle.
Hey Exit was followed by a solo set by Jeff Surak featuring sundry electronic and acoustic sound sources.
Much of the set featured long drones with rich timbres, but also details such as beating patterns and occasional breaks in the sound. The timbres could be tense at moments, but overall tt was a very meditative performance; and a perfect sonic segue into our very different set.
We were immediately followed by Jarvis Jun Earnshaw performing with guitar, voice and electronics.
His sound at times was reminiscent of cafe folk singers, but his voice was anxious and abstract. The entire performance mostly followed the pattern of combining these elements with high-feedback delay and other effects.
The final set Jenn Grossman, another Brooklyn-based musician and sound artist.
[Photo by BC]
Her electronic set featured vocal experimentation with electronics, including rhythmic and ambient elements. Although also making use of drones, it was very different from Jeff Surak’s sound, more harmonic and thicker, more like a dreamy movie scene versus a tense dark space. There were percussive hits and noisy bits as well, which gave the music a defined texture.
It was overall a great experience being back at Spectrum and performing along with all the other acts. And we had a sizable and appreciative audience, despite the space being a little hot that evening. Thanks as always to Robert Pepper (Alrealon Musique) and Glenn Cornet for hosting us, and hopefully I will play there again soon.
Tania Chen and I take our duo to the Ambient Chaos series tonight at Spetctrum in New York. We had a great show on Tuesday at The Brick Theater, and looking forward to another one tonight. If you are in New York and would like to join us, the full details are below:
Ambient-Chaos is back with it’s May edition.
121 Ludlow St, Fl Second, New York
$10-20 dollar floating donation.
Acts: Load in is at 6:30pm, 30 minute sets.
7:30 pm sharp start time!
Live video by Jim Tuite!
Acts in the order below.
1) Hey Exit
“Beginning as a free improvisation project in 2009, Hey Exit was restarted in 2015 with a focus on modern pop and electroacoustic composition. Led by Brooklyn’s Brendan Landis, Hey Exit draws on his background in punk, harsh noise, and traditional Japanese music.”
2) Jeff Surak
Improvised electro-acoustic musique concrète.
“We always enjoy his restrained yet unwavering approach, fearlessly exploring dark zones of implied violence and subdued terror.” ~ The Sound Projector
3) Amanda Chaudhary and Tania Chen
Tania Chen is a pianist, experimental musician, free improviser and sound artist, working with pianos, keyboards, found objects, toys and vintage and lo-fi electronics.
Amanda Chaudhary is a composer and performer specializing in contemporary and electronic music; an artist; and a developer of advanced software for creativity. She performs regularly around the Bay Area and beyond, both solo and with various bands and ensembles. Her solo work involves experimenting with innovative sounds via analog synthesis and custom software with computers and mobile devices for new modes of expressive musical performance. She often incorporates folk and toy instruments from around the world, along with jazz, dance music and other idiomatic styles into her visually captivating performances.
4) Jarvis Jun Earnshaw
Born in London 1982, Jarvis Earnshaw spent most of his childhood in Japan, and graduated Bunka Gakuin Art School and is a graduate of the Pratt Institute. His musical career as well as his Art career has been recognized worldwide, having solo exhibitions, residencies and performances throughout Europe, Japan, India to New York and LA. His work is often described as a cinematic experience, utilizing guitar, sitar and audio cassette tapes provoking memories of past and beyond, warm and rich as does the noise from a record needle touching an LP; at times violently explosive yet soothing and irresistible. Currently based in Brooklyn, New York, he has been engaged in numerous projects throughout the Art and Music scenes including performances and collaborations with: Walter Steding, Kenny Scharf, Amazing Amy the contortionist, Rumi Missabu of the Cockettes amongst many others, and currently also plays bass in the punk band Question. His photos have been featured in Asahi Camera Magazine, has had a solo exhibition at the New York Public Library Thompkin Sq. branch and will be performing at the Bruno Walter Auditorium/Lincoln Center on April 21st 2016 in celebration for the inauguration of the “Rumi Missabu Papers” to the NYPL.
5) Jenn Grossman
Jenn is a sound and experiential media artist based in Brooklyn. Her interests lie in modes of heightening emotional, social and sensory awareness through ambient soundscapes, multichannel composition, vocal experimentation, public sound intervention, and collaborations with dancers and filmmakers. She has installed and performed at venues such as Harvestworks, the MoMA PS1 Printshop, the New York Transit Museum, Reverse Gallery, Open Source Gallery, Club 157, for the Deep Listening Conference’s Cistern Dream Session, Brown’s OPENSIGNAL Festival, the Gallatin Arts Festival, amongst in everyday spaces such as the park archways and tunnels, garbage cans, street vents and stairwells.
The South Bronx still gets a bad rap. And I do remember what it was in the late 1970s and 1980s. But for us at CatSynth, it has become a place of great curiosity and surprising forms of beauty. A few years ago, I noticed some changes along the southern stretch of the Bronx River in Google Maps. In particular, there was a brand new park.
Concrete Plant Park is literally that, a park built around the ruins of an old concrete plant along the river’s edge. I had to see this for myself. And since 2013, I have gone to see it several times.
To get there via subway from Riverdale is a bit of a challenge. There have never been east-west subway lines traversing the borough, only north-south to and from Manhattan. So a subway trip from the western end of the Bronx to the southeast requires a trip into Manhattan and a few transfers (there is no crosstown subway in Harlem, either). Finally, one reaches the 6 IRT, which heads north into the south and east Bronx. It’s a long ride underground eventually emerging onto an elevated structure over Westchester Avenue, one of the main thoroughfares through the South Bronx. I alight at the Whitlock Avenue stop.
Between the station and the park is the Sheridan Expressway (I-895). This is a strange little highway that hugs the western edge of the Bronx River from the Bruckner Expressway (I-278) north to East Tremont Avenue with connections to the Cross Bronx Expressway (I-95) and the Bronx River Parkway.
It is sort of a connector from the Bronx Zoo to the Triborough Bridge, though one that isn’t really needed given the other larger freeways in the vicinity. It only has one exit between its termini: Westchester Avenue near the Whitlock station and Concrete Plant Park. One can see the entry ramps leading down to the highway while walking towards the park.
Another ramp leads down from the street level to the park itself. It’s a flat piece of land with grass concrete paths dotted by the refurbished structures from the former concrete plant.
Although it seems to be a trend to incorporate reclaimed industrial elements into public spaces, the structures are still fairly unique for an urban park, and quite photogenic. Here are just a few of the photos I have taken.
The Bronx River itself is an important element of the park’s identity and landscape. The section south of Bronx Park has long been more industrial, and the river and its banks still bear the visuals of that past. A major effort to clean up and restore the river has been underway for a while. And it is much cleaner than it was in the 1980s, though one can still see a lot of detritus collecting along the berms.
Looking north alongs the river towards the 6 Elevated and Westchester Avenue is quite beautiful with filtered lighting.
Although I visit this park for its visuals and geographical placement, it is a local park enjoyed by the local community. On a summertime visit, I saw a lot of families and individuals there, playing sports, relaxing along the river, and even barbecuing. It seems that this park is a successful one, and I wouldn’t be surprised if I visit again.