Outsound Music Summit: Opera Wolf, KREation, Wiener Kids

The concerts of the 2013 Outsound Music Summit opened with an evening of acoustic ensembles that combined improvisation and composition, each to quite different effect.
The evening opened with a performance by Opera Wolf, a trio featuring Crystal Pascucci on cello, Joshua Marshall on saxophone, and Robert Lopez on drums. They performed four pieces: one composed by each member of the group, and a free improvisation.

Opera Wolf
[Photo: PeterBKaars.com.]

One structural quality that carried over all four pieces was the use of strongly punctuated phrasing. The initial opening sounds with harmonics and sparse arrhythmic hits was separate by a delineated silence before switching texture completely to growls and intricate cello runs, and then again into more melodious bowed phrases accompanied by the sounds of metal on a drum head. This punctuation continued into the second piece as well, which began quite noisily with scratching and unusual harmonics, but after a pause changed suddenly into jazzy runs followed by vocal effects and whistle tones. Other interesting sonic moments included Marshall cooing and purring with his saxophone against long bowed towns on the cello by Pascucci, and an extended run by all three members with scraping, tapping and clicking sounds.

Next up was KREation, an ensemble led by Kevin Robinson. KREation features a varying lineup, and this evening was somewhat different from the previous time I had encountered them. Along with Robinson, there was Christin Hablewitz, John Schwerbel and Tony Gennaro.

[Photo: PeterBKaars.com.]

Their performance was a single continuous flow of music, starting with a modal and quite serene recorder duet of Robinson and Hablewitz. This gave way to percussion and prepared piano, and then to more fast runs on sax and piano accompanied by loud key clicks on the bass clarinet. The more melodious feel gave way to darker and more tense textures, but then got quite jazzy and rhythmic, especially when John Schwerbel switched over to a Rhodes Stage 73 electric piano (yes, it is one of my favorite instruments).

Rhodes Stage 73

The textures and energy levels came in and out over the course of the performance like waves. There were some intricate counterpoints, including between recorder and saxophone, some pretty piano runs, and sections that moved between slower dramatic tones and bursts of fast motion.

The final performance of the evening featured Wiener Kids, a trio of Jordon Glenn, Aram Shelton and Cory Wright. Ostensibly, the group is a drummer with two masters of reed instruments, but on this occasion all three members also employed a wide selection of percussion.

Wiener Kids
[Photo: PeterBKaars.com.]

This was a bit different from the previous Wiener Kids performances I have heard, which usually took place at clubs along side avant-rock bands. A couple of the pieces did employ the same sparse but rhythmically complex and driving sound I recalled, but there was also more detail and variety. The performance started with a somewhat humorous ensemble sound, like an odd-meter march. But it soon morphed into a solid four-beat funky rhythm with Wright on baritone saxophone acting as the all-important bass. The group came back to this funk idiom throughout their performance, and I thought it was their strongest element. They also employed complex polyrhythms and extended techniques as well as long melodic runs – one piece in particular featured a virtuosic saxophone solo by Wright.

The set ended with back-to-back songs starting with a more jazz rhythmic sound combining sax and drums, then moving into a second piece that was more percussion oriented, with polyrhythms and a focus on metallic percussion that gave the music a gamelan-like quality. Then it was back to the driving funkier 4/4 sound up to the finish.

In all, it was a strong start to this year’s Summit concerts, with dynamic performances. And it is quite a contrast to what comes next.

Reconnaissance Fly and KREation, Luggage Store Gallery

Last week, Reconnaissance Fly returned the Luggage Store Gallery, with selections from our upcoming album Flower Futures, featuring songs based on spoetry (or spam poetry). We were joined on stage by the piƱatas which I reported on at a previous show, including the manatee and the “pyramonster” that appears on the US one dollar bill.

We have played this music often enough now to feel confident, even routine, with what is still a challenging set. As always, we opened with Small Chinese Gong and wound our way through prog rock, jazz and more experimental styles to the closing catchy riffs of An Empty Rectangle.

[Photo by Tom Djll]

The acoustics of the Luggage Store Gallery once again presented a huge challenge for our performance, which requires tight rhythmic integration between players. But I thought we did a great set despite the challenge, including the syncopated unisons in sanse is crede nza and the abstract event-driven Oh! Goldfinch Cage.

We were followed on the program by KREation (Kevin Robinson Ensemble). It was interesting that their line-up for the evening was very similar to ours: two wind payers, keyboard, bass and drums. Neither group had a guitarist. But the music was quite different. Compared to Reconnaissance Fly’s structured set of composed songs, KREation’s performance was free-flowing, shifting between different levels of energy and texture in a continuous whole.


They started off with the sounds of key clicks, scratches and other soft percussive sounds in a cloud of staccato noise, before shifting in a more tonal free-jazz sound. The rhythms, harmonies and textures shifted every few minutes, with a few instrument changes along the way, and different members of the band taking turns with abstract vocals.

It was a strong performance that kept my attention for the entire duration of the set, and I am glad we had the opportunity to share the bill with them.