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.

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.

Outsound Music Summit: Lords of Outland, Lewis Jordan, Kyle Bruckman’s Wrack

The 2013 2013 Outsound New Music Summit concluded last Saturday with an evening of energetic jazz composition and improvisation, including the world premier of two large-scale works.

The concert opened with a set by Rent Romus’ Lords of Outland. Romus was joined by guest artists L.A. Jenkins on guitar and Hasan Razzaq on saxophone, along with regulars CJ Borosque on trumpet and electronics, Philip Everett on drums and Ray Scheaffer on bass.

Lords of Outsound
[Photo: PeterBKaars.com.]

The Lords of Outland performed The Proceedings of Dr. Ke, a suite of original compositions inspired by the essays of experimental psychologist Dr. Charles Ponce on what he termed “Blade Runner Psychology.” The music was high-energy and frenetic, as I have come to expect from this group, but punctuated by unison hits and silences. There were also spaces for each of the ensemble members to come to the front, in particular Jenkis and Razzag, as well as Romus on double-saxophone. One piece in particular centered around CJ Borosque on electronic effects pedals, with an extensive the rest of the group joining in with sounds that matched the noise elements from the electronics.

Lords of Outland was followed Lewis Jordan’s Music at Large. On this occasion, the ensemble included India Cooke on violin, Karl Evangelista on guitar, John-Carlos Perea on electric bass, and Jimmy Biala on drums/percussion.

Lewis Jordan's Music at Large
[Photo: PeterBKaars.com.]

The piece, composed by Jordan, was anchored by text relating to his experiences as an only child. The music was a mixture of scored and improvised material, and ranged from more luscious harmonic sections to fast virtuosic runs by Evangelista, Jordan and India Cooke. It was punctuated by quieter moments where the narrative text (read by Jordan) came to the front. Although there was improvisation mixed in, the music maintained a somewhat melancholy sound throughout. One of the more memorable elements came near the end, with a series of repeated “false cadences” with very idiomatic chords. After each repeat it built up more and added more improvised elements, eventually leading to a completely different section of more atonal sounds, before returning back to the harmonic cadence one more time.

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[Photo: PeterBKaars.com.]

The final set featured Kyle Bruckmann’s Wrack and the world premier of Bruckmann’s …Awaits Silent Tristero’s Empire, a 2012 CMA New Jazz Works commission. This large-scale piece was inspired by the fiction of Thomas Pynchon, specifically three of his novels V., The Crying of Lot 49, and Gravity’s Rainbow. Bruckmann took cues from the many song and song-like elements in these novels, and his composition traverses just about every jazz idiom imaginable along with a variety of other song styles from the early and mid 20th century. Often these style quotes were quite humorous, especially when they took listeners by surprise.

Kyle Bruckmann's Wrack
[Photo: PeterBKaars.com.]

The music never stayed in one place for very long, but there were a couple of extended sections, including a fun one that featured trombonist Jeb Bishop displaying his talent in both traditional and extended techniques. Guest trumpeter Darren Johnston was featured in sections as well. Rounding out the ensemble were Jen Clare Paulson on viola, Jason Stein on bass clarinet, Anton Hatwich on string bass, and Tim Daisy on drums. The group made what was undoubtedly a very complex piece sound rhythmically and timbrally tight.

It was a musically impressive show, but also a very well-attended one with a packed house and possibly one of the highest attendance records for a Summit program. Now it time like to look forward to next year’s festival.

Outsound Music Summit: The Freedom of Sound

The Outsound Music Summit continued on Thursday night with a concert titled “The Freedom of Sound”. It is a rather lofty title that can mean many things – in this case it describes ensembles that have explored and perfected musical improvisation through many years of playing together. The emphasis on experience and discipline is a reminder that “freedom” is a double-edge sword, in music, in politics or any area of life. During the artist Q&A before the concert, Tom Djll of Grosse Abfahrt lamented that bad improvised music can just be “mush” – and any of us who have been immersed in improvisation for an extended period have experienced the mush. But the examples of free musical expression on display this night were very articulate, structured, with musicality and narrative.

Tri-Cornered Tent Show opened the evening with an “operatic improvisational song cycle.” In the Q&A, composer Philip Everett talked about the influence of the Vietnam War and legacy leading up to the seeming perpetual war of today in his piece. The subject was hard to miss as guest vocalist Dina Emerson sang the lines “After war came the barking of dogs” and “After the war came another” among others, allusions to the unending series of wars we have found ourselves in over the past few decades. Behind Emerson’s singing, regular group members Philip Everett, Ray Schaeffer and Anthony Flores provided a foundation of static noise, explosive synthesizer and drum phases and free improvisation that moved between disparate rhythms and lines to a single unified tone. In listening to performance, I was reminded of the traditional oratorio, with the theatrical operatic vocal performance with the dramatics and emotion but without the staging and costumes.


[Tri-Cornered Tent Show, with Dina Emerson. Photo: PeterBKaars.com.]

There were particular moments that I liked, such as the emergence of a funky bass-driven riff with percussion and harmonic support that went on for some time, while some of the electronics remained asynchronous. And then there was the movement of the piece where Emerson’s voice was front and center channeling the sound of a Southern blues or spiritual singer with minimal instrumental sounds, mostly strings and delay effects, and later metallic resonances.

Next up was Positive Knowledge, the duo of Oluyemi Thomas and Ijeoma Thomas. opened with free improvisation with bass clarinet and voice. They were able to make their disparate instruments sound quite a like a times, and if I wasn’t watching the performance I could have mistaken them for a saxophone duo. The unity diverged a bit as Ijeoma Thomas moved from free vocals to poetry. In the gaps between lines of the text, the clarinet provided squeaks, growls and other noisy sounds.


[Positive Knowledge. Photo: PeterBKaars.com. ]

The instrumentation shifted throughout the performance, with recorder and whistle, expressive pentatonic humming, a walking gong, and poetry set against metallic percussion. The shifts in timbre and texture and movement between words and abstract sounds gave the sense of a story unfolding.

The final performance of the evening, featured Grosse Abfahrt. Regular ensemble members were joined by guest artist Kyle Bruckman. It began with a large balloon, which Tom Djll inflated and then placed over the mouthpiece of a trumpet. The resulting squeaky but steady sound served as a basis for the first part of the performance, and given the size of the balloon continued for quite a while. Kyle Bruckman on oboe matched the pitch of the balloon and trumpet quite closely, but with enough imprecision to leave interesting beating and timbral effects. The other performers entered into the mix, complementing the tone of the balloon and filling in the void when it finally expired. Tom Djll provided a number of creative noisy tones on the trumpet as well as other custom one instruments: a purple hose that could be played like a brass instrument but also spun around like a whirly. He also had a pair of long orange pipes that looked like didgeridoos and were played both trumpet-like and with air canister that is usually used for cleaning keyboards. Gino Robair continued percussion sounds such his signature oddly-shaped bowed cymbal and chaotic electronic sounds from the blippo box. Tim Perkis’ electronic sounds had a delightful liquidy quality that added a lot of fullness to the ensemble. John Shiurba’s guitar and effects pedals rounded things out with a harder sound closer to Djll’s trumpet than to the other electronics.


[Grosse Abfahrt, with giant yellow balloon. Photo: PeterBKaars.com.]

After all the performers joined in, the music gradually built into a thick noisy metallic texture – mostly a drone but with different shorter sounds in front. Then things shifted to softer, staccato sounds. I liked the empty space in which I could hear details like the distinctive timbre of the blippo box. There were other moments of soft, uniform tones among all the performers, register movement between high and low, wind noises and scratches, tiny sounds and loud drones. It was a powerful, energetic performance that went by rather quickly.

In total, it was a strong show, with three very different ensembles and styles that nonetheless fit together musically beyond simply the theme of free improvisation.

The Edge of Dark: Lords of Outland, Vinny Golia and Mutual Aid Project

About a week ago I attended The Edge of Dark, a special Saturday-night performance in Outsound’s SIMM Series. This performance featured a live recording session of the Lords of Outland with special guest Vinny Golia, and an opening set by the Mutual Aid Project Trio.

On the Edge of Dark was a “series of new works inspired by the writings of Frank Herbert’s epic Dune series of books, Philip K. Dick’s ranting and H.P. Lovecraft’s darkest fears.” It was interesting to mix free jazz with allusions to classic science fiction (and I have actually read all six books in the Dune cycle). In addition to Vinny Golia on saxophones and other wind instruments, the performance featured CJ Borosque on no-input pedals and trumpet, Philip Everett on drums, Ray Schaeffer on electric bass, and Rent Romus on saxophones, voice and electronics.

The music itself moved back and forth between driving modern jazz rhythms and sections of atonal and arhythmic free movement, with very fast runs on the wind instruments supported by analog noise and strong drumming. The ensemble was very tight, and could stop on a single accented note together after various long runs and meanderings. Within the framework of the science-fiction inspired pieces, the music also did seem to have a narrative and dramatic feel to it.

Boroque’s electronics featured whistles and other longer slow-moving high-pitched tones that matched the saxophones quite well, where both the acoustic and electronic elements seemed to blend into a single horn trio. Another notable moment was a “double double-saxophone,” where both Romus and Golia each played two saxophones simultaneously.

As a bonus the third movement “Night Nova Into Dune” references Lovecraft’s Cats of Ulthar. (It is CatSynth, after all.) Indeed, in that particular piece, there was a section towards the end where the more intense ensemble music cut out briefly and a series of emotive horn and vocal squeaks and moans filled in the void.

This was a live recording session, so I would expect to see a version of it out sometime in the not-so-distant future.

The Lords of Outland were preceded by Mutual Aid Project Trio, a trio consisting of Trammel (drums), Tracy Hui (guitar/objects) and Nick Obando (tenor/alto saxophone). The set opened very quietly, with just tongue noises on the saxophone, moving flutter tonguing and whistle tones. Hui joined in with threaded metal bowls on top of his guitar. The overall effect was very computer-music like, even though no computers were involved, with the sound moving between very inharmonic metallic and major arpeggios. Gradually, the music moved to loud tonal notes on the saxophone and free sound picking on the guitar, and eventually the drums as well. There was a moment which reminded me a a lot of a version of Summertime from one an Elvin Jones CD that I have in my regular rotation (enough to mention it here). The music eventually become more active, moving into a more rhythmic jazz fell, even frenetic. Then back into a quiet section with just cymbals and saxophone.

The middle of the set featured a Haitian chant “for all families to come together”, a positive and supportive sentiment, particular for a country that has been through so much tragedy this year.