Mulatu Astatke w/ Meklit at The UC Theatre

We at CatSynth have long admired the music of Ethiopia from the 1960s and 1970s, with its blending of traditional rhythms and scales with funk, soul, and jazz. And there are few names as synonymous with Ethiopian jazz, or “Ethio-jazz” as Mulatu Astatke. Astatke developed his Ethio-jazz sound while studying in the U.K. and the United States, playing alongside with jazz and Latin artists, including many from Cuba, Venezuela and elsewhere. He combined the melodies and harmonies of Ethiopia with rhythms and instrumentations from his Western training and collaborations, along with his own unique complex system of poly-rhythms. There is also a strong element of funk is some of his work. The bulk of his groundbreaking recordings were made in the late 1960s and early 1970s during the “golden age” of Ethiopian music. After the fall of the Ethiopian Empire and the coup that brought a brutal new regime to power, the thriving music scene in Addis Ababa faded and these recordings fell into obscurity. But they were later prized by record collectors and eventually found a wider audience through reissues and inclusion in the French Éthiopiques series of records in the 1990s. Indeed, that was how he first came to my attention. Since then, Astatke and his music have had a renaissance, with frequent collaborations with musicians around the world, such as his 2008 recording with London based jazz/funk band The Heliocentrics and others. When we learned that he was coming to the U.C. Theater in Berkeley this summer, we know we had to be there.

The evening began with a set by Meklit, an Ethiopian-American musician, songwriter, and bandleader based in San Francisco.

Meklit

Like Astatke, Meklit combined jazz and Ethiopian influences in her soulful and energetic performance. Indeed, she was open about the influence of “Dr. Mulatu” on her own music and waxed poetic on being able to open for him in the concert. Meklit’s voice and movement were backed by a band that featured both a drum set and frame drum tupan, along with horns and bass. The result was continuous energy and rhythm that flowed from one composition to another, even when the tempo was slower. The group performed compositions from Meklit’s latest album The People Move and the Music Moves To as well as her earlier compositions and some more traditional tunes.

Meklit and band

And then it was time for the maestro himself to take the stage.

Mulatu Astatke

Mulatu Astatke

Mulatu began on his signature instrument, the vibraphone, with fast runs in his unique tonality that were picked up by the horn players. But he also played electric piano and drums during the set. The rhythms were intricate and often poly-rhythmic or contrapuntal, with lilting triple time and odd times that propelled the music forward. The harmonies had a dark color but still delivered with energy and exuberance. This was music to dance to, and many members of the audience did (including Meklit who was dancing in the aisle not far from our seat). There was a mixture of newer compositions (I thought I heard at least one familiar tune from his work with the Heliocentrics) as well as classic 1970s compositions. The band was solid and deft at Astatke’s complex rhythms and fit with his more recent work that includes musicians from host countries.

Mulatu Astatke, Jason Lindner, and other band members

We did espy Jason Lindner on keyboards, including synthesizers and electric piano. We had previously seen him with Donny McCaslin a couple of months ago. He brought a similar sense of harmony and tight playing across instruments to this performance. He had a command of the complex rhythms and also provided the lush electric-piano sounds that I quite enjoyed in Astatke’s classic recordings.

It was a wonderful and unique night of music, and the audience at the sold-out concert showed their appreciation for it. And having now seen Mulatu Astatke perform live, I will be hearing his recordings in a new light.

Jean-Michel Jarre at the Greek Theatre, Berkeley

This past Friday, we at CatSynth had the chance to see electronic-music pioneer Jean-Michel Jarre perform live at the Greek Theatre in Berkeley, California. It was part of his ambitious “Electronic World Tour”, which includes his first North American tour in…well, a long time.

jean-Michel Jarre on stage

Jarre is perhaps best known for his innovative albums in the 1970s and 1980s, blending electronics and idiomatic music without veering too much into the dreaded New Age world; and for putting on live concerts that are truly spectacles. He did not disappoint in that regard, with a massive sound and light setup that included three sheets of LEDs, banks of lasers, and a three-piece ensemble that would make any synth nerd very envious. The lights were mesmerizing and captivating at times.

LED light patterns

Jean-Michel Jarre in lights

Robots

When the lasers were operative, it was sometimes most interesting to turn away from the stage and look into the crowd; and towards the back of the theatre and the trees behind it, where undulating patters of warm-colored lights danced among the leaves that were barely visible in the night sky.

Lasers across the Greek Theatre

Jarre’s music has long included rhythmic elements (often shunned by contemporaries in the academic electronic-music world), which made him a major influence for techno, electronica, and EDM genres. But his current performance fully embraces the contemporary EDM aesthetic, with intense pulsing beats, as well as a performance style with stomping and pointing as one sees with younger electronic performers and many DJs. Perhaps even a little macho. However, not only does he do it better, it is on a much grander scale. Even assuming much of the sound and visuals are sequenced, the complexity to pull this off cannot be underestimated. And Jarre’s performance was quite physical, often jumping and sometimes coming out in front to perform on keytar.

Jarre on keytar, musicians on vocoder

It was nonetheless an ensemble performance, with his fellow musicians providing live electronic drums as well as vocoder-based harmonies.

The concert, which lasted about 90 minutes, included some of his classic works such as selections from Oxygene, but with the newer EDM sound as described above. He also presented newer pieces, including a collaboration with Edward Snowden that mixed Jarre’s music with clips of Snowden’s statements. The piece was very well received by the Berkeley audience.

One of my favorite moments and one of the most technically challenging – even Jarre himself joked that it may not work – was when he stepped forward to play a giant light harp consisting of towering green lasers.

Jean-Michel Jarre Light Harp

It went off flawlessly – or at least it looked and sounded that way from the audience perspective.

I am glad I was able to be there for this event, as it doesn’t happen often. Having seen this performance, it is leading to go back and review some of his classic recordings as well; and draw inspiration for my next electronic-music adventures.

Hardly Strictly Personal 2017 Day 2

We continue with our temporally reversed coverage of the Hardly Strictly Personal 2017 Festival that took place at the Finnish Kaleva Hall in Berkeley in March. Today we look at day 2.

The evening began with Oa, the voice-and-electronics duo featuring Matt Davignon and Hugh Behm-Steinberg.

Oa

Oa’s music involves the processing and manipulation of vocal sounds, often based on Hugh Behm-Steinberg’s words and voice. But on this occasion they featured vocal samples of Captain Beefheart. It was an appropriate twist given that HSP2017 is officially billed as “A Celebration of Post-Beefheart Art.”

Next up was Skullcrusher, a solo project of Phillip Everett.

Skullcrusher

Skullcrusher featured a variety of sonic implements, some processed and amplified, along with an Arturia Microbrute synthesizer. There were harsh noise elements throughout the set, but also snippets of melodic and harmonic material mixed in. Interestingly, the set elided into the next one featuring Joshua Allen on saxophone, with the two playing together in a frenetic improvisation before Skullcrusher faded out and Allen continued on his own as a solo set.

Joshua Allen

There were several solo sets featuring wind instrumentalists on this evening. Joshua Allen was followed by Jaroba, who played an exceptionally inspired set with bass clarinet and percussion.

Jaroba

Jaroba coaxed very subtle and intricate sounds from his instruments, but with dramatic moments as well. The dynamic range, phrasing and narrative structure made it very musical indeed. His sounds managed to remain punctuated even in the complex and bizarre acoustics of the Finnish Hall. The music also had a emotional and spiritual dimension to it, which added to the listening experience. It was a joy to hear, and we congratulated him after the set.

Jaroba

Next up was Dire Wolves, featuring Sheila Bosco on drums, Brian Lucas on bass, Arjun Mendiratta on violin, and Kelly Ann Nelson on voice and electronics. There was also video projection along with the music, which mixes “space music”, folk, and other elements into an undulating flow of rhythms and harmonies.

Dire Wolves

Dire Wolves was followed by Arrington de Dionyso on saxophones, part of his epic “This Saxophone Kills Fascists” tour.

Arrington de Dionyso

There is nothing subtle about the message, or the music. de Dionyso’s playing is loud, strong, frenetic, no-holds-barred. But he also had some soft moments that broke things up. While in large part a solo set, he also performed as a duo with drums, and a trio that included Rent Romus on saxophone.

Arrington de Dionyso Trio

The final set of the evening brought Voi! Maa! to the stage. This group features event-organizer Mika Pontecorvo on flute, guitar, and laptop manipulating sounds from other members of the band, which included Kersti Abrams on winds, Mark Pino on drums, Eli Pontecorvo on bass, Adrienne Pontecorvo on cello, and Jaroba sitting in on bass clarinet.

Voi! Maa!

Thet music unfolded with Mika cuing the other members of the group in various configurations, with loud hits, noise pads, but also some more subtle sounds, particular from Adrienne Pontecovero, Abrams and Jaroba. In the middle of the set, the music quieted down as Meg Pontecorvo read selections from her science-fiction writings. Overall it was a fitting close to the evening, especially as it brought the folks whose hard work made this event possible onto the stage.

There is one more day to present in this backwards progression: Day 1. We will share that in a separate article soon.

Hardly Strictly Personal 2017 Day 3: CDP and More

We finally catch up on the remaining show report in our backlog: the Hardly Strictly Personal 2017 Festival that took place at the Finnish Kaleva Hall in Berkeley about two months ago. We will be presenting it out of order, with Day 3 first. This day featured my band CDP (Census Designated Place) among many other artists.

We had our full four-member lineup for this event, including myself, Tom Djll on synthesizers, Joshua Marshall on saxophones, and Mark Pino on drums. We played three tunes with extended improvisation sections. The energy on stage was great, and the music just seemed to flow. This was the band and style of performance I always wanted. You can here a bit in these two videos, featuring our tunes White Wine and North Berkeley BART.

CDP Playing White Wine at Finnish Kaleva Hall from CatSynth on Vimeo.

CDP "Playing North Berkeley BART" at Finnish Kaleva Hall from CatSynth on Vimeo.

Mark and I form the rhythm section, where I lay down vamps over his solid drums. The interplay of Tom and Josh on melody and open solos wasn’t planned per se, but adds a lot to the sound of the group. We got a great reception from the audience, and definitely looked forward to our future shows.

The evening opened with Alphastare performing a solo electronic set.

There were a lot of interesting timbres that I liked, some quite thick and noisy, that were woven into a narrative.

We were on second, and then followed by United Separatists, featuring Drew Wheeler on guitar and Timothy Orr on drums.

The instrumentation can sometimes be treacherous in an experimental-music setting, but I like what I’ve heard from this duo whenever I have heard them. There is phrasing, punctuation and space that gives it a captivating feel. Sometimes Orr’s drums are the melodic instrument and Wheeler’s guitar is the percussion. This photo of Wheeler framed by Moog Theremini (not mine) and a water phone was a fun coincidence.

Next up was ebolabuddha with their unique combination of black metal and improvised literary readings.

In addition to the musicians on stage, including Eli Pontecorvo on bass, Mark Pino on drums, Plague, Tom Weeks, Lorenzo Arreguin and Steve Jong, there always a wide selection of books scattered about. Members of the band read from them at various points, but the audience is encouraged to participate as well.

An ebolabuddha performance is always an intense experience but it was even more so in the Finnish Hall with its delightfully bizarre acoustics and the friendly audience. Here is Mark having a quintessential “ebolabuddha moment.”

They were followed by Double-A Posture Palace , a trio featuring Andrew Barnes Jamieson on keyboard and voice, Joshua Marshall returning on saxophones, and Aaron Levin on drums.

It was a quieter set (especially in comparison to what preceded it), but the gentle piano sounds in the opening belied the extremely clever and snarky nature of what was unfolding, as Jamieson sang an ode to performing experimental music that simultaneously celebrated it and pointed out some of the musical shortcomings that many of us discuss only privately. It was truly funny and ingenious, and I congratulate all three members of the set on this performance.

The final set of the evening, and of the festival as a whole, featured the latest incarnation of Instagon is an ever changing set of musicians, never the same. For this version, project creator Lob was joined by Rent Romus on saxophone, Hannah Glass on violin, Leland Vandermuelen on guitar, and Mark Pino on drums – Mark once again demonstrating why I refer to him as the “hardest working man in the new music scene.”

Overall the third day of the festival went well and showcased a variety of music. I am glad that CDP played early so I could relax and enjoy the sense of accomplishment while listening to the subsequent sets. The festival is a fundraiser for EarthJustice and the Homeless Action Center, both fine causes that many of us stage are proud to support. I would also like to give a special thanks to Mika Pontecorvo for organizing the event, and to Eli Pontecorvo, Kersti Abrams, Rent Romus and others who worked hard to make it happen.

The Amy X-Perience at the Jewish Community Center, Berkeley

As we are in the middle of Passover, it seems like a good time to look back at a Jewish-themed show in which I participated earlier this year. The Amy X-Perience brought together a mix of artists in solo, duo and ensemble sets at the Jewish Community Center in Berkeley, California. The evening was curated by our friend and collaborator Amy X Neuburg.

The night began with a piece by Neuburg featuring electronics and potato chips. Yes, potato chips. Small vending-machine-sized bags were distributed to the audience, who were instructed to on cue open the bags and start chewing the (edible) contents loudly, as Neuburg manipulated the sounds and added additional musical layers.

Amy X Neuburg

I was up next. Regular readers have likely already heard part of my solo set from this show – I posted the performance of piece White Wine in this article a couple of weeks ago. I also performed a live version of my piece Donershtik (Yiddish for “Thursday”), which you can see below.

Amanda Chaudhary performing "Donershtik" at JCC East Bay from CatSynth on Vimeo.

I was quite happy with how both solo pieces came out, but the real treat was having Amy join me in a duo of my piece North Berkeley BART, humorously appropriate for the location that evening.

North Berkeley BART w/ Amy X Neuburg – JCC from CatSynth on Vimeo.

I have always been impressed with Amy’s musicianship, discipline and ability to learn songs quickly, and very much appreciated her joining me. We also performed an avant-garde rendition of the American standard All of Me later in the evening.

Amanda Chaudhary and Amy X Neuburg

Between the two of us, there was quite an impressive collection of musical electronics on stage.

My solo set was followed by Alex Kelley, a veritable one-man band on cello and electronics.

Alex Kelley

His music blended jazz, klezmer and rock influences with experimental sounds. His cello acted not only as a melodic instrument, but also as the rhythm section, with Kelley striking it like a drum at times, and recording bass lines into a live looper and then riffing on top of that. His performance was both tight and humorous and a lot of fun to watch. You can hear a little bit in this video:

Next up was Solstice: A Female Vocal Ensemble. Sadly, several members of the group were unfortunately absent that evening due to illness, but that didn’t stop the remaining trio from delivering a strong performance.

Solstice’s repertoire spans a variety of styles and languages, and their set that evening included pieces from several places. I was quite impressed with their ability so sing in so many languages.

The second half of the program brought together the various artists in different combinations. I already mentioned my duo rendition of All of Me with Amy X Neuburg. She also performed show tunes with Alex Kelley, and joined Solstice for a virtuosic rendition of an Eastern European song. And finally, all of us joined together for a rousing rendition of Mein Herr from Cabaret. It was a fun and fitting conclusion to the evening.

Second half brought many voices in many languages and showtunes #AmyXNeuburg

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All of the performances were well received by the enthusiastic full house. Thank you to Amy X Neuburg for inviting all of us to participate in this event, and to the Jewish Community Center of the East Bay for hosting! Please visit their website to find out about the many performances and other cultural programs hosted by the JCC.

Amanda Chaudhary: Two White Wines

Over the past month I had performed my piece White Wine twice in very different settings. We present them both below.

The first is with my band CDP (Census Designated Place) in early March. Performing with me are Tom Djll on synthesizers, Joshua Marshall on tenor saxophone, and Mark Pino on drums.

CDP Playing White Wine at Finnish Kaleva Hall from CatSynth on Vimeo.

This version follows a basic jazz structure of a head, follow by solos, and finally a recapitulation. But the solos are much more free form, not defined by a specific number of bars. The rhythm and tonal center remains constant, although the pitches and timbres move around quite a bit. I think it’s fair to say the whole band was happy with the way this turned out. And for me is what a chance to play I style of music that I most want to. The performance reminded me of early Miles David fusion albums, or late Soft Machine.

One week earlier, I performed the same piece at the Jewish Community Center in Berkeley, part of a program curated by Amy X Neuburg.

White Wine JCC February 2017 from CatSynth on Vimeo.

The melody – this time accompanied by a Casio SK-1 as part of a solo performance – is unmistakable. The open section even starts out with the same four-on-the-floor pattern. But it quickly diverges to more abstract electronic sounds. This is direction I am taking much of my solo work, mixing the jazz/funk elements into the more abstract electronics that I have long done. Astute listeners might spot the cat at the end.

I will be writing about both shows, including the other artists who participated, in upcoming articles. For today, I just wanted to raise a glass of White Wine.

Ensemble Signal Performs Steve Reich in Berkeley

The time between NAMM and this past weekend’s performances has been quite busy for music, not only performing but also attending a variety of concerts. Today we look back at a concert featuring the work of Steve Reich by Ensemble Signal at Hertz Hall in Berkeley, California.


[Ensemble Signal performs music by Steve Reich on Sunday, January 29, 2017 in Hertz Hall. Photo by EMPAC Rensselaer, courtesy of Cal Performances.]

We also had the opportunity to hear a full concert of Steve Reich’s music last year by the SF Symphony – the composer has been receiving a great deal of attention since his 80th birthday. Two of the pieces from that concert were on this program as well, including Clapping Music and Double Sextet.

Clapping Music opened the evening, with the composer himself joining Ensemble Signal conductor Brad Lubman. Similar to last year, I consider it quite a treat to here Steve Reich performing this piece. Double Sextet closed the concert. It is a large and complex work, with the two quartets performing similar but non-identical parts that come in and out of phase rhythmically and harmonically.

Vibraphones feature prominently in Reich’s music and in this concert in particular, including the second piece Quartet for two pianos and two vibraphones. Interestingly, the use of two pianos featured prominently this concert as well. The piece has many of the characteristic elements of interlocking harmonies and repeating patterns, but there were more sudden changes and gaps in this piece (composed in 2013) than in some of his earlier works, where the changes only occurred gradually.

However, the two pieces immediately before and after the intermission were what made this concert unique. First, there was the U.S. premiere of Runner a piece for large ensemble co-commissioned by Cal Performances (who hosted the concert). It featured winds, percussion, piano and strings in a series of rhythmic patterns over five movements, played without pauses. It forms a rhythmic palindrome of sorts, with even sixteenths followed by irregularly accented eighths, and then a standard bell pattern from Ghana before returning backwards to the eighth-note patterns and finally the even sixteenths. It’s a long and complex piece, and was undoubtedly an endurance test for the musicians, but Reich’s music in the hands of the right performers can sound effortless.

Radio Rewrite had perhaps the most interesting backstory of any piece in the concert. It was composed by Reich in 2013 after hearing Jonny Greenwood of Radiohead (who had made backing tracks for Reich’s Electric Counterpoint). The piece, also in five moments, draws upon two Radiohead songs “Everything it its Right Place” and “Jigsaw Falling Into Place.” It’s not a set of variations or quotations in the traditional sense, although bits of the original songs to make their way into the melodic and harmonic material. And the instrumentation is quite unlike a standard rock band, save for the inclusion of electric bass. Musically, this was probably the most distant from the idioms of Clapping Music, but a powerful contrast to the other pieces on the program. It was lush, intense, and once again quite an endurance test at 17 minutes.

Overall, this was a great concert in a gem of a concert hall, and it’s always great to see composers like Steve Reich on hand. We will continue to follow his music and hope to see new works.

Vacuum Tree Head and Census Designated Place at HSP2017

It’s been a busy musical time for us at CatSynth. Last week I performed a solo set and collaborative pieces with Amy X Neuburg at the Jewish Community Center in Berkeley. This weekend, I have two more performances, again in Berkeley, as part of Hardly Strictly Personal 2017. It’s a three-day event featuring a wide range of experimental and adventurous music, and benefits EarthJustice and the Homeless Action Center. You can see the full updated schedule, as well as ticket and location info here.

Vacuum Tree Head will be playing tonight, and my fusion/experimental project Census Designated Place (CDP) will be playing on Sunday. I have been busily preparing to make my debut on the Roland VP-03 Vocoder in both bands. Needless to say, between that and the various everyday tasks of an adult in San Francisco, we haven’t had as much opportunity to post here. Regular (?) CatSynth pics and more resume next week.

Igor Stravinsky, Esa Pekka-Salonen and the Philharmonia Orchestra of London

On October 8 at Zellerbach Hall in Berkeley California, the Philharmonia Orchestra of London performed a program dedicated entirely to the work of Igor Stravinsky. We at CatSynth were in attendance at this event.

Philharmonia Orchestra 6 March 2013 Esa-Pekka Salonen  Lutosławski rehearsal; RFH  commissioned by Alice Walton
[Photo by Benjamin Ealovega. Courtesy of Cal Performances.]

The second half of the program featured one of his most famous works, The Rite of Spring. But it was the first half that was the most interesting and inspiring, as it featured some of later and infrequently performed works, culminating in the masterpiece Agon. In fact, the concert opened with Fanfare for Three Trumpets, which was originally intended as an opening for the piece that became Agon. The fanfare puts many of the elements that characterized Stravinsky’s later music in a compact form, including more atonal and serial elements, and some of the sparse sounds and character from pre-Rennaisance European music.

The Fanfare was followed by Symphonies of Wind Instruments. I definitely enjoyed this focus on wind instruments, as it is more in my background than the strings that dominate orchestral music. But the piece also shows the combination and contrasts of musical style and discipline that cross both his middle and late periods. It has some of the elements that one might call “neo-classical”, and has a very systematic structure. It does pay homage to Claude Debussy, whom Stravinsky had known and admired when the two were together in Paris. But it also includes elements attributed to his Russian heritage (in particular, liturgical elements from the Orthodox church) and complex mixing of meters and tempi. The orchestration for wind instruments gives the overall piece a more austere quality.

The increased abstraction in Stravinsky’s later work in the U.S. after World War II in many ways culminates with Agon. The piece borrows elements from the serialism of both the Second Viennese School as later composers like Stockhausen and Messiaen, but especially combination of pitch and orchestration found in the work of Anton Webern. Indeed, characteristics Webern can be heard throughout the piece, including the use of mandolin in the orchestra. It was originally a dance piece, but an abstract “dance about dance”, and it worked even in a purely concert setting. It features strong rhythms and texture that pair with dance, but it mixes in complex counter-melodies in meters such as 5/16 or 7/16. The use of twelve-tone series is not orthodox, and mixed with folk and even jazzy elements. We can hear some of the ritual qualities that characterized Symphonies as well. It is indeed a very complex piece, but also a playful one and one that was great to hear performed live. It is unfortunately not performed that often.

By contrast, the Rite of Spring, which followed in the second half of the concert, seemed quite tame and familiar. In addition to being one of Stravinsky’s most recognized works, it also has an overall sound that influenced (directly or indirectly) orchestral film scores in the coming decades. As such it has a comfortable quality even while being forceful and intense. It has hard in 2016 to imagine what about this piece would cause concert-goers to riot in 1913.

Conductor Esa Pekka-Salonen has been quite the noted interpreter of Stravinsky’s music, conducting many of his pieces with the Philharmonia Orchestra (and the Los Angeles Symphony Orchestra before that) and presenting a year-long Stravinsky series. It is great to hear these interpretations, especially of the later and less-known American period. Hopefully some in attendance at Zellerbach Hall that night left with more curiosity about these works.

Vinny Golia Large Ensemble

To mark the composer, multi-instrumentalist and band-leader Vinny Golia’s 70th year, over 70 musicians gathered together for the largest of Vinny Golia Large Ensembles. The event took place at the Finnish Kaleva Hall in Berkeley, California.

Vinny Golia large ensemble
[Photo by Charles Smith]

The ensemble was arranged into sections based on instrument group, e.g., percussion, guitars, winds, brass, electronics. I was in the “piano” group rather than the electronics, since I had opted to read standard notation rather than graphical scores. None the less, I brought a tiny setup to this “yuge” ensemble: a Roland “Boutique” JP-08 and a Moog Mother-32.

Mother 32 and Roland JP-08

The two-hour long performance consisted of 25 or so pieces composed by Golia, a mixture of standard notation, graphics and instructions. He conducted the ensemble quite closely, selecting pieces, encouraging sections to emerge, and singling out folks for solos. Musically, the sound has a film-score-like quality. Given the length and duration, there was the hazard of the ensemble degenerating into a loud morass of free improvisation. Golia’s conducting – which he was quite meticulous about with us during rehearsal – and the various solos punctuating the sound helped prevent that from happening.

Golia himself performed during the set, using his trademark array of reed instruments, including the multiple saxophones and the visually striking contralto clarinet.

14614301_10207932643896890_1496287900_o
[Photo by Charles Smith]

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Not surprisingly, the woodwinds were featured prominently. But he also made extensive use of the guitars – something I was able to experience up close given my position behind them.

Overall, it was quite an experience to be part of and to hear this ensemble, which brought together so many familiar faces from the Bay Area new-music scene, and some new artists I had never met.

Here is the official list of musicians from the program. It includes some who were not there, and unfortunately misses a couple who were.

Composer, Director:
Vinny Golia

Saxophones:
Aaron Bennet, Beth Schenck, Collette McCaslin, Dan Plonsey, David Slusser, Henry Juntz, Isaac Narell, John Vaughn, Jon Raskin, Joseph Nobel, Josh Allen, Joshua Marshall, Kersti Abrams, Phillip Greenlief, Rent Romus, Steve Adams, Tom Weeks.

Woodwinds:
Frances Rodriguez, Jaroba, Michelle Hardy, Phillip Gelb, Rachel Condry, Tom Bickley

Brass:
Ben Zucker, George Moore, Heikki Koskinen, Ron Heglin

Drums & Percussion:
Aaron Levin, Donald Robinson, Jason Levis, Jordon Glenn, Mark Pino, Tim DeCillis, Vijay Anderson, William Winant

Strings and Basses:
Henry Kaiser, Kelley Kipperman, Matt Small, Neal Trembath, Steve Horowitz, Gabby Fluke-Mogul, Tara Flandreau, Shanna Sordahl

Guitars:
Alex Yeung, Amy Reed, Aaron-Rodni Rodriguez, Bill Wolter, John Finkbeiner, Leland Vendermeulen, Myles Boisen, Peter Whitehead, Robin Walsh, Roger Kim, Ross Hammond

Other Instruments:
Amanda Chaudhary, Andrew Jamieson, Andrew Joron, Bryan Day, Cheryl Leonard, David Samas, Derek Drudge, Gregory Scharpen, Jake Rodriguez, Philip Everett, Scott Looney, Soo-yeon Lyoh, Tania Chen, Thomas Dimuzio.