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.

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.

Mensa Cat Monday: All Tomorrows’ After Parties 2016

Next Now Presents’ All Tomorrows’ After Parties is a three-day festival of music happening in Berkeley on Friday June 3 through Sunday June 5. Here is our video for the event, courtesy of Jason Berry (J.B.) of Vacuum Tree Head.

Voice credits:
Jason Berry…………Male Mensa Cat, Announcer
Amanda Chaudhary…….Female Mensa Cat, Trump Duck

I will be performing Friday night at 9:30PM as part of Vacuum Tree Head. We have a great new lineup and sound, and I am really excited about the direction of the band.

I am also playing in two additional sets on Saturday June 4. At 5PM, I will be with Mika Pontecorvo and others in Lingua Incognita Project, and at 7PM I will debut one of my new bands, Census Designated Place (CDP) with guest Rent Romus. All three sets I am playing in will be funky!

Please join us, not just for these sets for the rest of the performances as well. It’s going to be some great music for a great cause (all proceeds go to benefit local homeless action projects in the Bay Area).

Outsound New Music Summit: Deconstruction Orchestra and Rakin-Parker/Pearce Duo

We continue our reports from the Outsound New Music Summit with the concert on Friday, August 1. This evening featured two very contrasting sets, both in composition and volume.

The first set featured the duo of Teddy Rakin-Parker and Daniel Pearce. They performed new works by composer Renee Baker that were commissioned for the Outsound Summit.

Rakin-Parker/Pearce Duo

Baker’s compositions “use a wide range of graphics and cued micro-improvisations as a means to denote the various developmental stages of our planet’s evolution.” Musically, the result was a mixture of subtle sounds, often low in volume, with occasional bursts of energy and percussive elements. The latter worked particularly well for this duo, with the cello becoming a percussion instrument alongside the drums.

If the initial set was subtle and focused on details, the second set was the complete opposite. Joshua Allen’s Deconstruction Orchestra was a loud event with no fewer than 22 instrumentalists on stage.

Joshua Allen's Deconstruction Orchestra

The ensemble performed The Structure of Sound and Space, an original deconstructivist-inspired suite of cell structure game compositions. Allen conducted the group through gestures and a series of instructions on sheets of paper. The piece and the ensemble were described in advance as being “cathartic”. That characteristic was hard to discern, but they certainly were loud. It seemed that most of the ensemble was playing at the same time, creating a very thick, intense and sometimes chaotic texture; though there were points where subgroups performed and there were several solos by ensemble members. It was certainly a spectacle that had to be experienced live.

The full ensemble featured Aaron Bennett, Sam Flores, Vinny Golia, John Ingle, Matt Ingalls, Josh Marshall, Dave Slusser, Rent Romus, Cory Wright, Peter Bonos, CJ Borosque, Matt Gaspari, Ron Heglin, Jeff Hobbs, George Moore, Matt Streich, John Finkbeiner, Henry Kaiser, Lisa Mezzacappa, Timothy Orr, and William Winant.

Overall, this was a somewhat shorter program than the other nights, but it packed quite a punch.

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: Fire and Energy

The final concert of the 2012 Outsound Music Summit was Fire and Energy, a night of “improvised-jazz-inspired-music.” Labeling a new-music concert as jazz can often be treacherous, with some people all-too-quick to join arguments about what does and does not qualify as “jazz.” But in the case if this evening’s artists, who all had long established histories in the world of improvised free-jazz, there should be no argument.

The concert opened with a solo set by Jack Wright, a long-time veteran and leader of the Bay Area improvised music scene. His performance began on soprano saxophone with discrete notes and short phrases filled with overtone, microtones, percussive sounds. The were some moments that were quite subtle, with long notes that had deliberate microtonal variations or timbral variations on a single pitch- I found this to be quite expressive. There were other more melodic sections that made reminded me of old popular jazz recordings from the 1930s. Wright communicated a lot of emotion in his improvisations, with some parts sounding quite plaintive, almost a lamentation, while others were bright and happy. The first have of his set ended with some exceptionally high notes.


[Jack Wright. Photo: PeterBKaars.com.]

Wright then switched to alto saxophone. There was something about this piece that just seemed “jazzier” – it’s difficult to pinpoint any one thing, but perhaps it is just the nature and expectations of the alto sax. This piece was also a bit louder and aggressive, with numerous scoops, bends, growls and noises. He employed extended effects with the bell to change the dynamics and timbre of the instrument (including at one point playing with the instrument pointed into his knee), and used key clicks, buzzing and voiced tones.

The next set featured Dave Bryant, first performing solo on acoustic piano and then in a trio with drummer Dax Compise and bassist Bryan Clark. Bryant is best known for his work as a member of Ornette Coleman’s Prime TIme group, and as an expert and teacher of Harmolodic Theory. His solo piano work was an impressive virtuosic display, with a barrage of fast moving chords up and down the keyboard that nonetheless were quite expressive. It felt like the music was constantly moving towards something, a bit frantically. Then all at once the energy was released as if in a sigh. He spent a fair amount of time in the often under-appreciated lower registers of the instrument, and kept the velocity of the performance going. The big loud low chords were followed by softer high chords in a moment that was reminiscent of late Romantic piano music. As he continued, he was joined on stage by Comprise and Clark, and in an instant the solo turned into an acoustic jazz trio.


[Dave Bryant Trio. Photo: PeterBKaars.com.]

After a short section, Bryant switch to electric keyboard and the character of music changed considerably. It became softer and dreamier, with the bass setting the tone and pace. But there was still forward motion to the performance, and more of Bryant’s virtuosic high-speed chord work that at times seemed superhuman. The pace slowed down again, with a distinctly blues-like line and then pentatonic glissandi. After another reset, a new harmony and rhythm emerged with Bryant leading the group into heavy, almost final-sounding cadences. In between, there were bass and drum solos and more frenetic work, but the cadences remained as the framework. It all came to a sudden by definite stop.

The following set featured Vinny Golia with his sextet, including Gavin Templeton on alto sax, Daniel Rosenboom on trumpet, Alex Noice on guitar, Jon Armstrong on electric bass, and Andrew Lessman on drums. Of all the performances on this evening, this one most embodied the concert title “Fire and Energy.” There was an intensity to the full ensemble in both fast runs, hits, and the driving rhythm that underpinned the set-spanning piece. It began rather quietly, with Golia on pray bowls. Soon, the other members of the group entered with long drone sounds, along with soft symbols, trumpet noise and a chime harmony. Golia always has a collection of saxophones and other wind instruments at his disposal, and he switched to a smaller instrument that looked like a soprano sax but with a bent neck, which he played together with Rosenboom on trumpet. The music gradually became more animated and evolved in a unison rhythm and eventually into a rather funky groove. I can easily get absorbed into music like this.


[Vinny Golia Sextet. Photo: PeterBKaars.com.]

The rhythm continued for a while, with various interruptions, including some solos – Rosenboom in particular tore it up during his trumpet solo. Then there was a sudden change in rhythm and texture, led by Templeton on alto sax. Rather then the unified driving rhythm, the ensemble played a complex intricate orchestration that still retained a rhythmic structure. There were more extended effects and sounds, such as squeaking and percussive effects, and Noice used a Kaoss Pad with his guitar. Golia switched to bass clarinet for a slower section of music that included a short four-part “chorale”. The ensemble quieted down and the prayer bowls returned, before everyone joined in for a final segment to close the set.

The final set of the evening and of the Summit as a whole was also the largest in terms of personnel. Tony Passarel’s Thin Air Orchestra is a project that brings together a large number of improvising musicians, and on this night the group swelled in number to include several musicians from the previous sets, including Vinny Golia and Dax Comprise, as well as regulars from Outsound. Festival director Rent Romus was able to temporarily remove his directors hat and play saxophones in the ensemble. Other players that evening included Ross Hammond, Randy McKean, Keith Kelly, John Vaughn, Cory Wright, Ken Kawamura, Tom Djll, CJ Borosque, Murray Campbell, Keith Cary, Mike Turgeon, Bill Noertker and Gerry Pineda.


[Tony Passarel’s Thin Air Orchestra. Photo: PeterBKaars.com.]

The first piece began with unison trumpets, soon joined by viola. The texture was very sparse, but they were soon joined by Hammond on guitar and the other instruments followed in a crescendo made of small bits of sound. There was a brief sax-and-flute duo, and playing inside the piano strings by Passarell. The next piece began with the rhythm section (piano, electric bass and drums) in a fast sparse motion, followed by a huge cloud of sound from the entire ensemble. The music became more rhythmic for a bit and then everyone hit one big chord.

For the next couple of pieces, vocalist Loren Benedict joined the group. After an intro with ponderous piano and then a funky rhythm, Benedict launched into an impressive stream of fast highly rhythmic scat singing. The other musicians joined in the rhythm with him. Rent Romus also had a particularly crazy double-sax solo in this piece.

One of the last pieces was softer and did not have as intense a rhythm. The guitar and viola were rather bluesy and were joined by Tom Djll with extended-technique trumpet noises. Hammond’s hard-driving guitar and minor chords combined with the others made this the ensemble’s “Miles Davis Moment” (with apologies to Raskin and Haryman from the Sonic Poetry Night). Benedict came back and joined the group for a big finale.

This was once again a long concert, but it went by rather fast given the energy and vitality of the music. It was a very strong final concert in what was a particular strong Outsound Music Summit this year.

SIMM Series: Hay/Honda/Kuehne trio and Forward Energy

Today we look at a recent show in Outsound Presents’ SIMM Series that featured two different but energetic ensemble performances. Jim Ryan’s Forward Energy was back for a CD release performance. And they were preceded by a trio of Emily Hay on flute+vocals, Motoko Honda on piano, and New-York-based Valerie Keuhne on cello.


[Emily Hay and Valerie Kuenhe]

Before the show, I went up to the piano to take a closer look at the array of gear arranged on top, including a Korg Kaoss Pad and 4ms Noise Swash. These were used by Motoko Honda during the set, though she mostly used it to control audio from the other performers.

The set opened with cabaret-style piano (no electronic effects yet), joined by flute trills and melodies. Keuhne’s cello complemented Hay’s flute, but then grew more intense and frantic, eventually reaching high-energy “bow-wrecking” levels. Hay switched from flute to vocals that nonetheless retained a flute-like quality. The rhythm of the voice and piano were set strongly against the cello.

Keuhne started the second piece, again with fast bowing, harmonics and percussive effects. Her performance was forceful and featured rich tones. The piano and flute came in more subtly, with processing by the Kaoss Pad. It was easier to hear the electronics with the flutter technique on the flute and percussive vocal effects, with a variety delays, pitch bends and harmonizations. While controlling the effects, Honda continued her vigorous piano performance, using the inside of the instrument in addition to the keys.

Hay opened the next piece with flute mouthpiece and electronic effects. Here I think the 4ms pedal was being used, particularly on the buzzing effect of the low drone from the cello. The overall texture became quite noisy, but the vocals and scraping effects from the cello came through. The final section featured the full ensemble, and particularly forceful piano performance by Honda that included shaking the instrument. The ending was a little quieter from all, but nonetheless still vigorous.

After a short break between sets, Forward Energy took the stage in a performance celebrating the release of their new CD The Awakening. The group featured Jim Ryan on voice and saxophone, Rent Romus on saxophones, CJ Borosque on trumpet, Scott Looney on piano, Eric Marshall on bass, and Timothy Orr on drums.

The set started off immediately with a burst of energy. After this opening fanfare, the music relaxed into a fast jazz rhythm with repeating atonal patterns. The horns (Ryan, Borosque, Romus) took turns with solos separated by ensemble improvisation sections. There were passages where the three horns played together as a single instrument; and Rent Romus’ solo had a more soulful and deep quality compared to the overall frantic and anxious quality of the piece. Scott Looney’s piano solo switched back and forth between rhythmic chords and fast runs that I couldn’t possibly play myself. The bass solo by Marshall was accompanied by scraping metallic percussion and prepared piano, including drumsticks and metal percussion on the strings.

The rhythm section opened the next piece, with resonances in the piano and slow percussion tones. This eerie mixture was set against slow trumpet. Then all at once the ensemble started playing loud and fast. Then a sudden silence followed by prepared piano. It kept going back and forth this way, soft versus angry. I found myself particularly noticing the various gongs that Looney was using inside the piano to both visual and aural effect

The final piece was where the reeds pulled out their virtuosic techniques. Rent Romus played double saxophone (similar to a few nights earlier at the Music of Invention concert), and Jim Ryan launched into his poetry (one friend on Twitter referred to this as “Jim going bore poet”) with lines ranging from “Naked on the plane of full being” to “Did you ever see an elf die?” I can with all honesty that I have never actually seen an elf die. It was delightfully weird, and I think some of the lines took the other musicians by surprise. The prepared piano accompaniment was noisier and scratchier than in the previous piece, which gave the overall background a more staccato and pointed texture.

Overall, the performance did live up to the name of ensemble, and it was clear that everyone, especially Jim Ryan, had a great time with it.

Outsound GearExplore at Chamber Music Day

Back in mid-October, a few of us from the crew at Outsound Presents participated in Chamber Music Day at the De Young Museum in San Francisco.

There were over 140 musicians participating, with performances and demonstrations scattered around the museum. And “chamber music” was defined quite expansively to include a wide variety of instrumentation and genres, ranging from traditional classical music to experimental avant-garde ensembles and crossover groups. Our contribution was a demonstration of electronic-music gear – a mini version of “Touch the Gear Night” from the Outsound Music Summit. I primarily focused on software-based sound generation, with an iPad and a Monome connected to a MacBook running Open Sound World. Matt Davignon presented his setup featuring drum machines and effects pedals. CJ Borosque demonstrated her input-less effects change where the noise in the signal chain is the source for sound manipulation; and Rent Romus demonstrated live sound processing with a setup that included a Korg Monotron.

There was quite a large turnout overall for Chamber Music Day, and we had a lot of traffic at our demonstration table. Reactions ranged from mild curiosity to deep technical conversations. We were a particularly big hit with children, who are naturally attracted to hands-on demos and electronic gear.

[Amar Chaudhary and Matt Davignon demonstrating gear for young attendees at Chamber Music Day. Photo by Scott Chernis.]

This trio of young ladies spent a lot of time at the table exploring the various devices in great detail.

[Exploring the gear. Photo by Scott Chernis.]

They were particularly interested in the iPad. Here they are trying out the Korg iMS-20 app.

[Playing the iPad.  Photo by Scott Chernis.]

I would like to think that some of the kids (as well as a few of the adults) went off and downloaded some music-making apps for their devices and started playing. Or perhaps a casual guitarist found a new way to make sounds with his or her pedals.

Overall it was a great experience, and an opportunity for us to share what we do with musicians outside our small “new-music” community and with the general public. Thanks to the San Francisco Friends of Chamber Music (SFFCM) for inviting us to participate. To find out more about Chamber Music Day and their other events and programs, please visit their website.

[All photos in this article by Scott Chernis and provided courtesy of SFFCM.]

Rent Romus and Emergency String (X)tet, Meridian Gallery

Last month, I attended the CD release of Emergency Rental at the Meridian Gallery. Emergency Rental is a collaboration between the Emergency String (X)tet and Rent Romus “exploring sound in and outside the elements of free improvisation between saxophone and strings.”

The personnel for the Emergency String (X)tet changes (hence the “x”), but does have a stable core of regulars. Founder Bob Marsh was joined by Doug Carroll on cello, with Adria Otte, Angela Hsu and Jonathan Segel on violins, Kanoko Nishi on bass koto, and Tony Dryer on contrabass.

Overall, the music moved back and forth seamlessly between free improvisation with extended techniques and passages that borrowed from more idiomatic jazz ideas. Early on, there was a bit of a shuffle beat and jazz-like saxophone lines set against more anxious tones from the strings, a mixture of both long tones and pizzicato. There were times when the saxophone and strings seemed to match one another in both tone and musical structure, such as a section that featured glissandi and scraping tones. The next section featured long bass notes and more scratching melodies set against a very lyrical saxophone line. This gave way to loud growling saxophone against a rich pad of strings.

One piece focused on extended techniques, including prepared strings with chopsticks and other items placed between the strings and bodies of the instruments – something I have often seen the Emergency String (X)tet do. Doug Carroll also reoriented his cello upside-down and sideways at various times. Romus played his saxophone without a mouthpiece, blowing directly into the body the way one might on a brass instrument. He also used a sound that I dubbed the “angry breath noises.”

The second half started off very percussive, and even though the ensemble was entirely acoustic, this section reminded me of the analog electronics in early electronic music like Stockhausen’s Kontakte. This segued into a more idiomatic duo of saxophone and walking bass was set against atonal glissandi from the other strings. There were other interesting sections, such as a syncopated rhythm that came together and broke apart, and a section of pure percussion by all the instruments that reminded me of tapping and bouncing balls.
Emergency Rental, which marks Romus’ 25th album release, is available from Edgetone Records.