Outsound New Music Summit: CDP and Dire Wolves

While I thoroughly enjoyed every night of this year’s Outsound New Music Summit, last Friday was special because I was on stage with my own band CDP.  We shared the bill with Dire Wolves for a night of contrasting retro styles within the context of new and experimental music.

I often get asked what “CDP” stands for.  And while it does stand on its own as a name, it does come from the initials of the original three members: Chaudhary, Djll, Pino.  That’s me on keyboard and vocoder, Tom Djll (synthesizers), and Mark Pino (drums).  Joshua Marshall joined the band in 2017, bringing his technical chops and versatility on tenor and soprano saxophone.  As a road-and-map geek, it also stands for “Census Designated Place”.

CDP at the Outsound New Music Summit

We had five tunes for this concert.  Three of them were from the series I call “the jingles”, including White WineNorth Berkeley BART, and our newest song, Rambutan (it’s a fruit from Southeast Asia).  Marlon Brando and Konflict Mensch rounded out the set.  Each featured a melodic and harmonic head followed by open improvisation – no fixed solos, even listens to one another and comes in and out.  Our style is a blend of funk, fusion and experimental music reminiscent of Herbie Hancock’s Mwandishi and Head Hunters bands or Soft Machine 5 & 6, with a bit of 1970s Frank Zappa / George Duke mixed in.  The music is a joy to play and I’m so glad to be able to be on a stage playing it.

Amanda Chaudhary and Joshua Marshall, CDPWe got off to a somewhat shaky start with White Wine, but we settled down quickly as we headed into the improvisation section.  From that point on, things only got better with Marlon Brando and North Berkeley BART (which is always a local crowd pleaser).  Rambutan was a lot of fun, including the funky 7/4 jam and the call-and-response chant with the audience.  Mark held up the metric foundation, working with both me and Tom who took turns on the bass roll.  Tom also got some great sounds in his solos, as did Josh who moved easily between growls and mellifluous melodic runs.

Tom Djll's synth

The vocoder, a Roland VP-03, held up pretty well – in some ways, I felt the scatting went even better than the lyrics – though there is still work to do keeping the voice intelligible in the context of the full band.   I was exhausted and satisfied after the set, and look forward to doing more with our band.

You can read Mark Pino’s perspective on the set on his blog.

For the second set, Dire Wolves brought a completely different energy to the stage.  Where CDP was exuberant and even frenetic at times, Dire Wolves welcomed the audience with a mellow and inviting psychedelic sound.

Dire Wolves

[Photo by Michael Zelner]

There was a sparseness to the music, with Jeffrey Alexander (guitar + winds), Sheila Bosco (drums)Brian Lucas (bass) and Arjun Mendiratta (violin) each staking claim to a distinct orchestral space within the soundscape.  Alexander and Mendiratta had lines that melted seamlessly from one to the next; Brian Lucas’ bass was sometimes melodic.  Bosco’s drums provided a solid foundation, but she also contributed voice and other sounds to the mix.

Jeffrey Alexander Sheila Bosco

[Photos by Michael Zelner]

My mind was still processing the set we had just played, but the trance-like qualities of Dire Wolves provided a space for a soft landing and to return to a bit of balance.  Sadly, it seems this was the band’s last performance for a while, at least with the current lineup.  But I look forward to hearing more from each of these musicians in their other projects.

Both groups played to a decently sized and very appreciative audience – not the capacity crowds of the previous or following nights, but respectable.  And I got quite a bit of positive feedback from audience members after our set.  We still have one more night of the summit to cover, and then it’s onward to future events.

John McLaughlin and Jimmy Herring at the Warfield, San Francisco

Today we look back at the recent concert by John McLaughlin and Jimmy Herring at the Warfield in San Francisco. We at CatSynth were fortunate to have been in attendance for this event.

It was billed at as “The Meeting of the Spirits Tour”, and the two groups, officially Jimmy Herring & The Invisible Whip and John McLaughlin & The Fourth Dimension were far more connected musically than in many bills. This connection was established with the first song from Herring’s set, the Miles Davis composition “John McLaughlin.” There were other covers in the set as well, including a tune from The Allman Brothers Band and another Miles Davis tune “Black Satin.” But there were also several of Herring’s originals, including “Matt’s Funk” which I quite enjoyed. It was an extremely tight funky number, which harkened back both to the 1970s and to Herring’s own musical heritage from the jam band era of the 1980s and 1990s.

After a break, the maestro himself took the stage with the other members of The Fourth Dimension.

John McLaughlin
[John McLaughlin]

They played selections from their recent album Black Light but then launched into classics from Mahavishnu Orchestra to the delight of us at CatSynth and many others in the audience. In true “Mahavishnu” style, these were extended jams with everyone taking turns providing solos and rhythm-section work. And this led up to “Meeting of the Spirits” and bringing Herring and the members of The Invisible Whip back on stage for an extended third set.

Meeting of the Spirits
[Jimmy Herring & The Invisible Whip join John McLaughlin and The Fourth Dimension]

A “supergroup” set like this can be treacherous, even with master musicians. This is especially true when combining multiple bassists and drummers. But it worked, and worked well, as the two bands blended together into a Mahavishnu tribute. And the doubled bass and drums locked in together into something reminiscent of a live King Crimson set. (See our review of King Crimson at the Fox in Oakland from earlier this year.). I suspect this collaboration got better over time and coming near the end of the tour we probably got to hear one of the best versions.

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.

Ornette Coleman, 1930-2015

Ornette Coleman

By Geert Vandepoele (Ornette Coleman) [CC BY-SA 2.0], via Wikimedia Commons

We lost another of our musical heroes today. Orientate Coleman was deeply influential in the development and blossoming of jazz in the era-after bebop, where the music went in different, surprising and (for some) controversial directions. From the seemingly mathematic transformations of bop idioms in songs like Zig Zag to the driving funk of Jump Street from Of Human Feelings (a personal favorite of mine), his music and professional example were inspiring.

In addition to his composition and playing, he was an accomplished band leader, bringing together disparate performers to play complex music that remained rhythmically tight. There was the Ornette Coleman Quartet that cemented his reputation as an experimenter, and later his band Prime Time, which took on electronic elements and fusion idioms while retaining oblique rhythms and counterpoints.

I also find myself identifying the descriptions of him as soft-spoken and taking a deeply intellectual (perhaps bafflingly so) approach to describing music. Many jazz greats are sons and daughters of the South, and Ornate Coleman was no exception – but it is interesting to see him and others transcend that heritage to something of a different time and place, or perhaps no particular place at all. We should follow his example and keep jazz an alive, evolving, and often challenging music.