Preparing for Tonight’s Show at The Lab

I have been busily preparing for tonight’s solo set at The Lab here in San Francisco. As usually happens, I initially plan to simplify the setup, but then as I work on the set musically, more instruments and equipment end up part of the rig. And this one may be one of the largest to date.

In addition to the Nord Stage (aka “The Big Red Keyboard”), there is the newly reconfigured modular synth, the Prophet 12, the Moog Mother 32, Casio SK-1, and iPad. The modular path features multiple voices, including some processing external audio from the Nord and the SK-1, respectively.

Why so big? Well, it comes out the current musical direction, which mixes jazz and funk with experimental electronics. That means a full-size keyboard is always present. And the electronics has to provide rhythmic and harmonic support in addition to timbral support. This always adds significant complexity, but provides for a richer musical experience.


Here are the details on the show, including the other acts. I am excited to have a group improv with my friends Joshua Marshall, Jaroba, and Christina Stanley. And the evening will begin with an orchestra of invented instruments from Pet The Tiger (David Samas, Tom Nunn et al.) with dance by Christina Braun. If you are in the Bay Area tonight, please consider joining us.

Thursday, June 22, 8PM
The Lab
2948 16th St SF

A special evening of funky and noisy sounds, invented instruments, whimsy, and more 😺 🎶

8:00PM Pet The Tiger Inventors Collective performs Arc Weld
8:40PM Amanda Chaudhary solo. Funky and experimental electronics
9:20PM Amanda Chaudhary with collaborators Joshua Marshall, Jaroba, and Christina Stanley

door: $5-10

Additional info on BayImproviser.

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.

Amanda Chaudhary Solo Set at Second Act, San Francisco

We pick up our reports from the epic musical month that was June.

Amanda Chaudhary at Second Act

On June 15, I performed a brand new solo set at Second Act in San Francisco, part of a monthly evening of experimental electronic music. It was a bringing together of my more experimental electronic work with the jazz and funk direction my music. The modular and Moog Theremini were featured heavily, but so were the Moog Sub Phatty as my “left hand” bass, and of course the Nord Stage, aka “The Big Red Keyboard”. I also used a Casio SK-1 extensively. You can hear the entire set in this video.

Amanda at Second Act June 2016 from CatSynth on Vimeo.

I thought it went quite well musically. I like how the funk bass worked with the Sub Phatty and Phonogene on the modular. The venue was full, and I got an enthusiastic response from the audience. I don’t think they were expecting this level of jazz and funk, but seemed to really appreciate it. I will definitely continue working in this direction in future solo sets.


The concert began with a noise set by Passions Nouveau, who performed with synthesizers and sundry electronics.

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The set unfolded as a single continuous soundscape, with noise pads and drones, but occasional loud swells and complex details.

I was followed by bran(…)pos. It had been a few years since I shared a bill with him, but has excited to hear what he had come up with recently. As per his pervious appearances, he performed inside a tent onto which a mixture of live and processed video was projected.

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And once again the performance centered around the use of his face and voice visually and sonically. But the instrumental accompaniment was a new direction, mixing sounds from the turn of the 20th century with pitched synthesizers and beats. It was a very polished and complex sound overall, bringing a tightness to his unique style of performance and presentation.

Overall, it was a great performance, and I was happy to be a part of it. Performing at Second Act is always a great time, and I would like extend my thanks to the folks who continue to make this venue and series work for the musical community.

CDP and Lingua Incognita Session at All Tomorrow’s After Parties

Last week we reported on the the first night of NextNow Presents All Tomorrow’s After Parties that featured a performance by Vacuum Tree Head. Today we look at the next night of that festival, which took place on June 4 in Berkeley.

CDP Trio

That event marked the debut of one of my new bands, Census Designated Place (or CDP). For this set, I was joined by Mark Pino on drums and Rent Romus on alto sax. The concept for this group is to combine my increased focus on jazz and funk with experimental sounds and ideas. We did two compositions of mine, plus an improvisation based on a graphical score painted by Mark. You can see and hear our full performance in this video.

CDP at Berkeley Arts, June 2016 from CatSynth on Vimeo.

Overall I was quite pleased with the set, and we all had a lot of fun. There is still some work to do tightening up the tunes (particularly White Wine), but that will come with time and practice. We were at our best with the rhythmic and idiomatic improvisation sections in all three pieces, especially the straight-eighth jazz and “disco” sections. And Rent did a tremendous job sitting in with the group, bringing a unique sound and style that I hope to continue in future performances.

All three of us also participated in the Lingua Incognita Session a project conceived by Mika Pontecorvo that also debuted at this event. The large ensemble featured two bassists (Eli Pontecorvo and Robert Kehlmann ), two drummers (Mark Pino and Aaron Levin, four wind players (Rent Romus, Kersti Abrams, Jaroba and Joshua Marshal, trumpet (Tony Passarell), keyboard (myself), and experimental electronics (Jack Hertz).

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This was quite a cast of characters to put together in a single group, let alone a purely improvisational group that had not rehearsed together before. And it could have pure cacophony, but everyone did their part to make this work. We started with a concept based on A Love Supreme, with different performers moving in and out of the texture, which moved between sections of rhythmic jamming and more abstract tones. I know I had a lot of fun, as did others, and we hope to do this again sometime.


The day began quite a bit earlier with Shiva X, which featured Tony Passarell on tenor saxophone and Robert Kehlmann – both of whom were part of the Lingua Incognito set – along with Jim Frink on drums.

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This group has some conceptual similarities with CDP, combining noisy elements with steady rhythmic drums and bass, but with a more freeform upper layer provided by Passarell’s saxophone. My favorite moments were when things converged on a groove.

Shiva X was followed by Trois Chapeaux. The group featured Jaroba, Kevin Corcoran and Jorge Bachmann (with regular member Tania Chen absent on this occasion).

Trois Chapeaux

This was a much more abstract sound, combining both small electronics and acoustic elements along with Bachmann on modular synth. Recognizable sounds and fragments came in and out of focus throughout the set, while clouds of noise and complexity coalesced and then dissipated.

Jack Hertz was next with a solo electronic performance. Sitting alone and unassuming at the from the room, he brought forth a variety of sounds from synthesizers, recordings, and other sources into a continuous force of music and noise. There were some soft but still delightfully crunchy moments in there as well.

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The following set shifted from electronic to acoustic, but in such a way that many of the same sonic elements were preserved. There is probably few acoustic duos that sound as “electronic” as T.D. Skatchit, featuring Tom Nunn and David Michalak on sketch boxes.

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The sounds of the sketch box are quite unique, and particularly tuned with the musicians who play it the moment. But there is still a tremendous variety.

Then it was time for Reconnaissance Fly, featuring the new lineup that now includes Brett Carson on keyboards along with Polly Moller (flute, guitar, voice), Tim Walters (bass), Rich Lesnick (winds) and Larry-the-O (drums).

Reconnaissance Fly

The played a variety familiar tunes from the band’s catalog, including a couple from the first album, the recent regular rotation, and a couple of brand new songs. The overall sound of the group has coalesced into something that has strong jazz elements also quite whimsical and esoteric.


After CDP was v’Maa, a “drone band based upon Sami shamanism and spider mythology” (as described on Mark Pino’s blog). The group featured video and music with Mika Pontecorvo, Eli Pontecorvo, Kersti Abrams and Mark Pino. They were joined on this occasion by Lau Nau on voice.

v'Maa

After the intensity of many of the previous sets (including CDP), there was a more subdued quality, a bit more floating and meditative. The swells and ebbs in the overall texture worked will with the changes in the video; and it was a great way to relax musically after performing.

Next up was the “Bill Wolter Project”, featuring Bill Wolter on guitar, Moe! Staiano on percussion, Ivor Holloway on horns, and Ron Gruesbeck on synth.

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The entire set, which was shrouded in mystery ahead of the evening, focused on made-up tunings anchored by Bill on fretless guitar. The music unfolded truly as an experiment, as the performers moved in out of various sounds within the confines of the new tuning.

The Bill Wolter Project was followed by Earspray, featuring Ann O’Rourke, Carlos Jennings and Mark Pino, who is definitely the hardest working man in the new music scene.

Earspray

The set was a full explosion of noise, lights and video, made more stark by the performers’ lab coats. The sounds were a mixture of samples, synthesis and drums.

The final set of the evening was Tri-Cornered Tent Show. The current line-up for band features Philip Everett, Ray Shaeffer, Anthony Flores and Valentina O.

Tri Cornered Tent Show

As with previous times I have heard the group, there was a foundation of explosive electronics and drum phases and free improvisation that moved between disparate rhythms and melodic lines. And there is a theatricality to the performance. But this performance with Valentina O was more cabaret style with humor and a certain intimacy. Between vocals, drum hits, and electronic sounds from Everett there were bits of quiet and silence perfectly timed for the theater of of the set.

This was an exhausting day of music, both as a performer and an audience member, but a rewarding one. I’m glad we stayed around for the entire day to hear everyone and the wide variety of sounds and styles. Thanks again to Mika Pontecorvo and Eli Pontecovro for putting on this evening, bring together so many musicians for a good cause.

Vacuum Tree Head and More at All Tomorrow’s After Parties 2016

No sooner was I back from New York than I found myself preparing for another series of performances, this time in various groups for NextNow Present’s All Tomorrows After Parties 2016 at Berkeley Arts in the town of the same name. The three-day long festival was both a musical showcase for the community and a benefit for homeless action and support in the Bay Area. This article focuses on the first evening which featured a performance by Vacuum Tree Head.

Vacuum Tree Head
[Photo by Polly Moller]

The band is ever evolving, with a changing cast of musicians joining Jason Berry and Mike de la Cuesta. On this night the band included Amanda Chaudhary on keyboards, Justin Markovits on drums, Richard Corny on guitar, Galen Stagner on bass, and Jason Bellenkes and Joshua Marshall on horns. From just the images alone, one can tell this is a new incarnation of the band, with a well-dressed frontline coincidentally featuring “Nord red”; and a funkier, jazzier sound anchored by a tight rhythm section. You can hear our entire set in this video.

While the funky finale EMS Deluxe might be the most memorable of the set, each song was played well and had something unique to offer. This was my favorite rendition of Nubdug to date. The “Mystic Chord” and Gnostic Charms medley was our most abstract, featuring synth, a Waterphone and complex tones evolving into a driving rhythmic finish. And Hegemony Cricket opened things up with a bang. The set was well received by the audience; and I think everyone in the band that night was very happy with the performance. We hope to play together again as a unit in the not-too-distant future, so please look for updates here on CatSynth and elsewhere.

Vacuum Tree Head closed out an evening that was primary focused on music with words, although like us the first set was entirely instrumental. Joshua Allen and Rob Pumpelly combined forces in a frenetic duo.

Pumpelly / Allen Duo

Joshua Allen brought his virtuosic saxophone techniques to the performance; and between the two of them the energy never let up for the entire duration of the set. Their set reminded me a bit of the Coltrane album Interstellar Space.

Next up was Cartoon Justice, a noise-jazz project featuring Mika Pontecorvo on guitar, flute, and electronics, Kersti Abrams on winds, Mark Pino on Drums, and Elijah Pontecorvo on bass. They were joined by Meg Pontecorvo who read some of her science fiction writings.

Cartoon Justice

The music moved though a variety of sounds, but had a “space” vibe that complemented that texts. The concept brings to mind Sun Ra, though the sound was more reminiscent of Musica Elettronica Viva, a 1970s Italian improvising group that sometimes featured the likes of Steve Lacy and Frederic Rzewski. Of course, their sound is their own, particularly with Mark Pino’s unique drum style, Eli Pontecorvo’s bass bringing a bit of a rock/metal sound to the mix, Mika Pontecorvo’s electronic manipulations, and Meg Pontecorvo’s words.

Cartoon Justice was followed by Poetics of Narrative, a trio with guitar, electronics, and voice. I spied experimental writer Andrew Joron on theremin.

Poetics of Narrative

This group was fun and I liked there sound. It ranged from more noisy moments to playful songs with complex lyrics and melancholy melodies. In addition to the theremin, the performance featured accordion and other instruments among the ever-present small electronics. The combination of elements was reminiscent of the Tone Dogs and other avant-prog groups of that era. And the costuming and theatrics were a welcome addition.

Poetics of Narrative

I regret not being able to see the set by Oa, the duo of my friends Matt Davignon and Hugh Behm-Steinberg. But I know that their unique mix of electronic processing and poetry fit into the evening’s theme while taking the concept of music and words in a very different direction from the previous sets.

Overall, it was a wonderful evening of music, and in some ways I am still glowing from our Vacuum Tree Head set. We had a good and appreciative audience, and raised some good funds for the causes. We are grateful to have participated, and in particular would like to thank Mika Pontecorvo, Eli Pontecorvo and Mark Pino for all their help with both our set and the entire event.

Amanda Chaudhary / Tania Chen, SMOMID, Teerapat Parnmongkol at Brick Theater, Brooklyn

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.

Amanda Chaudhary and Tania Chen at Spectrum, New York

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.