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.

Outsound New Music Summit: Rubber City and Ralph Carney Memorial Octet

Last Thursday night at the Outsound New Music Summit, musicians and music lovers came together to celebrate the life and legacy of one of our own, Ralph Carney.  He was a fixture of the Bay Area new-music scene who could be spotted performing in many groups and venues, and he also enjoyed success and notoriety in popular music with Tom Waits, the B-52s, and others.  He is also one of the most infamously colorful characters in the scene.  He passed away suddenly at the end of 2017 in an accident, leaving many both shocked and saddened.  This tribute concert featured a performance by Rubber City, of which Ralph was a member, and a memorial ensemble featuring local musicians who performed his compositions.

In the week leading up the concert, we had the chance to speak with David Slusser of Rubber City and Phillip Greenlief, who arranged Carney’s music for the memorial ensemble.  You can hear from them in these videos.

Rubber City opened the evening with a rendition of Beautiful Ohio, sounding much like they did in the video.  It was a fitting opening as Slusser, Carney, and drummer Chris Ackerman were all Ohio expatriates.  They were joined by bassist Richard Saunders and reedist Sheldon Brown.

The second piece, a rather bluesy tune, also evoked their Ohio origins and gave Saunders and Brown a chance to shine in solos.  The next was much darker and more atonal/arhythmic in nature but still had a very playful quality to it.  Another featured Slusser and Brown both playing soprano saxophone at the same time, a rare combination!  For the last piece, they set aside the saxophones for bass clarinet and flute.

David Slusser on flute

Even during moments of seriousness, there was a lot of fun and energy in the music, which was fitting for the artists on stage as well as the one they were paying tribute to.  It was a tremendous performance overall, and one I am not likely to hear repeated soon.

Slusser, Brown, and Saunders returned in the second set for the memorial “octet” that actually had nine members.  They were joined by Phillip Greenlief and Rent Romus on saxophones, Suki O’kane on drums, Myles Boisen on guitar, and Karina Denike and Michael McIntosh from Carney’s “Serious Jass Project.”  The performance was dominated by the horns in what I dubbed the “wall of saxophone.”

Wall of saxophone

The group began on a somber note with Carney’s Lament for Charleston, written shortly after the massacre at the Emanuel AME Church in Charleston, South Carolina in 2015.  But even this dark piece had exuberance and could not fully contain the energy of the large group.  From there, they continued on a rollicking trip through Carney’s compositions, including his oddball marches and an old-timey song about driving down Sunset Boulevard in Los Angeles that was sung by Greenlief with great effect.

In keeping with Ralph Carney’s wide-ranging musical interests, there were a number of vintage jazz-style and mid-century tunes complete with swaying horn-section choreography.  Karina Denike’s singing and vintage presentation added to the overall effect and classic style of the performance.

Many of us were simply caught up in the joy of the music and the celebration.  Upon reflection, one realizes how different this was from the typical Outsound set with its references to swing, bebop, and early rock-and-roll.  But there is absolutely nothing wrong with that – I have long professed that “new” and “experimental” musicians should not feature traditional idioms and structures in their music.  This was an unequivocally great show, and the fact that it was on the Outsound stage was all the better.

Both bands played to a full and very appreciative house.  Throughout the evening, on stage and in the audience, people shared their memories of seeing Ralph play or performing with him, and how much he is missed.   I am confident that he would have loved our musical tribute and celebration, though he probably would have expressed his appreciation in an appropriately dry and confounding way.

Outsound New Music Summit: SO AR and X A M B U C A

The Outsound New Music Summit continued on Wednesday with a night featuring explorations of electroacoustics and noise.  Once again, the two acts were quite contrasting in their interpretations of the night’s theme.

SO AR (formerly Ze Bib) is the collaboration of electronic musician and cellist Shanna Sordahl and percussionist Robert Lopez.  We had the chance to meet with them ahead of the summit and shared our encounter in this video:

The set unfolded as a series of conversations between Sordahl – first on cello alone and then with electronics – and Lopez.  The ups and downs in the pitches, rhythms, and intensities seemed to imply spoken language at times.  This was especially true during the more staccato and percussive sections at the beginning and end of the set.

Shanna Sordahl
[Shanna Sordahl]

The long tone sections brought in more of the electronics – Sordahl’s rig featured a Korg MS-20 and iPad.  The percussion once again seemed to match the longer tones, with extended rolls, long drum tones, and additional percussion.  But there were also moments where the texture diverged, between long electronic tones and rhythmic percussion runs.

Robert Lopez
[Robert Lopez]

Even at its most intense, there was a quiet quality to the music that seemed fit with the starkness of their stage presence and the darkened hall.  Even at low volume, the moments of silence stood out, with a bit of tension in the air.  Space and breath are an important part of how the duo approaches their music, and this comes out strongest in the quietest sections.

X A M B U C A is a solo electronic project by Chandra Shukla.  We had the opportunity to first see him perform last year with Hans-Joachim Roedellius at The Chapel in San Francisco; we were glad to see him join the lineup for this year’s Summit.

X A M B U C A
[X A M B U C A]

On a completely darkened stage, X A M B U C A delivered a set that was simultaneously rich and minimalist.  There were segments of long drones cut with high-pitched sweeps, and sections of fast drum-machine runs.  The styles of various sections (which segued from one to the next continuously) included fragmented dance-music patterns, elements of rock, and noise.  It is, of course, hard for me not to consider electronic music without also considering the instruments used.

Shukla’s rig was anchored by an Elektron Analog Keys, along with a Korg Electribe, a Stylophone, and sundry pedals.  Looking at these instruments, I can better understand how he was able to move so freely from drum patterns and hits to long tones and dense pads to distortion and noise.  It was quite a dynamic performance, showing the more “experimental side” of X A M B U C A compared to what we had experienced previously.

It was a solid night, and perhaps the most “out” of the Outsound Summit shows this year, as subsequent nights embraced more idiomatic forms of musical expression.  We hope to bring you those reviews over the next few days.

 

Outsound New Music Summit: Tim Thompson and Pet the Tiger

Musical innovation can arise from pushing the boundaries of traditional musical instruments or inventing entirely new instruments.  The opening concert of the 2018 Outsound New Music Summit featured two groups whose work falls squarely in the latter category.

Tim Thompson is a longtime innovator in the space of expressive control of music using custom hardware and software.  His latest creation is the Space Palette Pro, a panel with four highly sensitive touchpads that control sound and visuals via MIDI.  You can hear Tim’s explanation of his invention in this video:

The Space Palette Pro is an evolutionary step from the original Space Palette, which allowed users to move their hands through holes in a large panel to drive music and visuals via a Kinect motion sensor.  The newer incarnation is smaller in size and replaces the space with pads, but in many ways uses the same principles of three-dimension gestural control.  Indeed, much of the software from the original was repurposed for the new version.  But the Pro is definitely more of a performance instrument, rather than a “casual instrument”, as Thompson explained both in the video and at the concert.

Musically, his performance was a series of several movements that segued from one to the next.  Each had its own sonic and visual palette which Thompson performed in real time.  So in a sense, this was an improvised performance, but one that was constrained by the sound, visuals, and patterns in each section.

Tim Thompson Space Palette Pro

The first section was soft with spare graphics, while the second was more pointed and percussive with geometric shapes.  Further movements featured lush timbres and graphics, and popular-music idioms with synthesizers and electronic drums.  Many of the segments were “quantized” to fixed scales and harmonies (as well as rhythms), though Thompson could introduce new pitches and scales into the mix using a MIDI keyboard, along for more melodic and harmonic variety.

The focus during the performance was squarely on the screen and the live visuals.  These were beautiful and captivating.  I would have liked to be able to see more of the performer and the instrument as well, as it was for me an important part of the set.

The second set brought us (mostly) out of the electronic world and back into the realm of acoustic musical instruments, albeit instruments of unique design.  Pet the Tiger is a Bay Area collective of musical instrument inventors.  Their recent work has centered around a set of instruments that use strict harmonic-series tuning.  Together the instruments and musicians comprise a “harmonic-series gamelan.”  You can see a demonstration of some of their instruments in this video.

The music is anchored by the harmonic compass, a set of metallophones designed and built by Stephen Parris and commissioned by group director David Samas.  However, there were a wide variety of instruments, including string and wind instruments by Bart Hopkin and Peter Whitehead, and even a series of meticulously tuned loose plastic tubes.

Pet the Tiger

Peter Whitehead

For this concert, the ensemble performed an interpretation of the fairies’ subplot of A Midsummer Night’s Dream, which includes many of the plays most memorable lines (including Puck’s final soliloquy).  The text was subdivided into several songs, and they were indeed songs with melody and harmony, albeit in the slightly alien world of the harmonic series, which can be simultaneously soothing and anticipatory at the same time – it always feels like it is waiting to go to the next note.  The songs were in a variety of styles and alternately song by Samas, Hopkin, and Whitehead.  The instruments and their playing gets most of the attention, but I think the singing deserves praise as well.  All three have great singing voices, and working in an alternate tuning is no small feat.  I was particularly impressed with Bart Hopkin’s return to his songwriting roots, singing against a harmonically tuned guitar of his own making. And David Samas’ voice is always rich and sonorous.  I have known this group and its members for several years now, and I have watched not only the instruments grow in precision and sophistication, but also musicianship in putting together an entire performance like this.  The audience were very clear in their appreciation and approval as well.

In all, it was a beautiful night of music and instrumental innovation.  We conclude with an exchange that occurred during the pre-show question-and-answer session when Outsound director Rent Romus asked the performers “why bother with the complexity of creating entirely new instruments?”  I found Bart Hopkin’s answer quite memorable.

There are a lot of reasons to stick with conventional instruments. You could write a pretty convincing paper on why to stick with convention instruments including ones you might not normally think of…When you work with conventional instruments and you write for it, you can simply hand someone the score because there are trained musicians who can keep one eye on the score, one eye on the conductor, and “another eye” playing the instrument. They don’t have to look at their hands. There are a million advantages you wouldn’t even think of to working with conventional instruments.  BUT, you know, with unconventional instruments you find musical territory you probably wouldn’t have found otherwise.  And that really makes it worthwhile.

We at CatSynth agree and look forward to more unconventional musical territory in the future.

Outsound New Music Summit: The Breath Courses Through Us

This past Monday, the Outsound New Music Summit featured a screening of The Breath Courses Through Us, a documentary by Alan Roth about the New York Art Quartet.  From the Outsound Summit website:

The Breath Courses Through Us” (2013) is a documentary film about the early 1960s avant-garde jazz group, the New York Art Quartet. The film focuses on the group’s 35-year reunion, while reaching back through their recollections of their foundations and innovative musical ideas. The year 2014 is the 50th anniversary of this group, and a revolutionary period in jazz music, which declared its existence in the October Revolution in Jazz, in October 1964. “The Breath Courses Through Us” mirrors the newly open improvisationary style of “free jazz” that subverted the traditional structure of jazz. Unfolding in free time and enveloped in their music, the film helps the viewer better understand the human element of the creative process, by focusing on their interactions in the present.

It was an interesting experience on multiple levels, as the structure of the documentary mirrors that of our musician- and band-focused CatSynth TV episodes, but on a larger scale.  It weaves interviews with members of the ensemble with archival footage, live performances from the early 2000s, and even scenes from a casual dinner among the members of the group discussing their music and plans for their reunion in 1999.  In many ways, the latter is the foundation for the history and interviews, and we keep returning to the dinner throughout the film.

Musically, it connects the current scene of free and avant-garde jazz to the creative foment of 1960s New York.  We hear from the founding members: John Tchicai, Roswell Rudd, and Milford Graves, along with one of the original bassists Reggie Workman and poet Amiri Baraka.  The five reunited for the early 2000s concerts as well as the documentary.  We get to hear their distinct personalities.  Tchicai brings a serious and brooding discipline, Rudd an exuberance and enthusiasm for playing, and Graves his quirky and humorous character. Workman was one of three bassists that performed with the group during its brief existence in 1964 and 1965; Baraka often read poems to the quartet’s improvisations, including his famous “Black Dada Nihilismus”, parts of which are included in the documentary.  It seemed like an improbable coming together that depended on a series of coincidences and connections, but together they informed a style and practice of music that was “revolutionary” in its time, and still in many ways sounds fresh.

Although the documentary has been out for a few years now, this was its first public screening on the west coast.  Hopefully, this will lead to future screenings.  Even immersed as I have been in the music influenced by the New York Art Quartet, I was not as familiar with them as I should be.  I think it will be a valuable experience for those who perform and listen to free jazz, as well as though who are new to it.

More information on the film, including screenings, can be found at the official website.

Outsound Benefit Dinner with the Actual Trio

We are just a few weeks away from the 2018 Outsound New Music Summit!  And as always, we kick off the countdown with the annual benefit dinner featuring live creative music by local artists.  This year we were pleased to have Actual Trio perform.

Actual Trio is led by composer and virtuoso guitarist John Schott and features John Hanes on drums and Dan Seamans on upright bass.  To simply label them as a “contemporary jazz trio” would be a disservice to all three musicians, who bring a wide range of compositional and performance experiences to this group.  Their music ranges from laid-back grooves to fast frenetic runs to sparse percussive punctuated passages.  Overall, they delivered a highly dynamic performance that was well received by all in attendance.  You can hear a bit of it in our recent CatSynth TV video.

As Schott states in the video, there is something special about the trio format.  Trios are three-legged stools which depend on the contributions of each member and their ability to listen and perform together.  But it is still relatively sparse and spare compared to larger ensembles.  Actual Trio has a very small toolset of drums, bass and guitar (although Schott brought quite a few bits of vintage and modern electronics along as well).  But they get a lot out of what they have.  Schott and Hanes function together as a rhythmic and melodic unit, and they seemed to be able to finish each others lines, whether fast runs or vamps.  Seamans brought a melodic sensibility to his bass performance even while providing a solid foundation for the music.  And they were just fun to watch and listen to.


[Vintage amp and spring reverb units used by John Schott]

The Outsound Benefit Dinner is a “thank you” of sorts to our core supporters in the community – an instance of the time-honored tradition of plying supporters and donors with food, drink and entertainment.   All in attendance enjoyed the performance by Actual Trio and the food provided by Slippery Fish Catering.  But this year, Outsound owes an even greater debt of gratitude to its individual donors and supporters as grants for small arts and music groups becomes even harder to come by than it has in the past.  But we are looking forward to another excellent summit this year.  Please visit the website for tickets and to find out more about the shows, which take place at the Community Music Center in San Francisco from July 22 through July 28, 2018.

UnPopular Electronics (Robair + Djll), Lx Rudis, Franck Martin at Robotspeak

It’s been a little while since we last attended Church of Thee Super Serge at Robotspeak in San Francisco, but we made a point of going this past weekend.  For those who have not been there or read our past reviews, it’s an almost-ever-month show on a Saturday afternoon with live hardware-synthesizer performances.  As the name suggests, some acts do include Serge synthesizers, but it is not required, and a wide variety of instruments are used.  All three sets are featured in our most recent CatSynth TV episode.

The first set featured Lx Rudis performing on an Oberheim Xpander, a somewhat underappreciated instrument from the 1980s.

Lx Rudis on Oberheim Xpander

At its heart, the Xpander is a 6 voice analog synthesizer, but with a complex array of digital controls that can be programmed and applied independently to each voice.  Lx Rudis took full advantage of these, especially the LFOs and lag generators, to create subtle and minimal metric patterns.  He constantly moved voices in and out, configuring them on the fly, in a way that was very expressive and musical.  I particularly liked the sections which had staccato rhythmic textures against slowly moving timbres deliberately out of sync with one another.

Next up was Franck Martin, who performed a solo set on a modular synthesizer with several standalone instruments.

Franck Martin

Martin’s setup included a Moog Subharmonicon, which he built while attending Moogfest this year (we at CatSynth are a bit envious), as well as a DFAM (Drummer From Another Mother).  There were also additional voices provided by Braids and Plaits modules from Mutable Instruments that he could bring in and out using a touch-plate interface.  The result was a slowly changing beat pattern with an eerie inharmonic voicing and gentle undulation.

The final set featured our friends Gino Robair and Tom Djll teaming up as the brilliantly named Unpopular Electronics.

They had a wide variety of gear, including Serge panels in addition to Eurorack modules and standalone instruments from Bugbrand and others.  In addition, Gino had an interesting small case that included touchpads.

The music was frenetic and intense, an avalanche of pops and hits and loud cloudlike tone clusters.  And there were trumpet sounds entering into the mix at various points.  But there was an exquisite detail to the madness with changes among the different instruments and sounds, and musical pauses and rests before the pair dived back into the frenzy.  There were also many moments of humor and not just Djll’s book about why there aren’t any Zeppelin-style airships in the United States.

In between sets, it’s fun to browse around Robotspeak and see what’s for sale, or on display in the big glass case.

It’s also quite dangerous, as I am often tempted to leave with another module or instrument.  On this occasion, I exercised restraint, but probably not next time…

Denny Denny Breakfast at the Luggage Store Gallery, San Francisco

A couple of weeks ago we saw a fun and intriguing performance by Denny Denny Breakfast at the Luggage Store Gallery in San Francisco.  It was the subject of a recent CatSynth TV.

Denny Denny Breakfast is an ensemble project led by Robert Woods-LaDue.  The personnel changes per event, but on this occasion, it included Sarah Dionne Woods-LaDue (dance),  Mark Clifford (vibraphone), Crystal Pascucci (cell0), Jordan Glenn (drums), David Young (keyboard), Max Judelson (upright bass), and Rent Romus (alto saxophone).  They had recorded an album together in December 2017 and the mix of improvisations and noted sections informed the live performance at the Luggage Store.

Several of the parts were improvised once again, but others were relatively fixed, including the final piece that was a note-for-note transcription of an improvisation from the recording sessions.  There was also a piece originally conceived while the group was playing in the Finnish Hall in Berkeley but did not make it onto the album.  It was a simple concept of repeated patterns slowly changing in speed between two groups of performs, creating a phase pattern in the acoustic space.  The Finnish Hall has very unique acoustics, and so does the third floor of the Luggage Store Gallery, making it an ideal location to recreate the piece.  Throughout there was a large variation in the music between pieces, ranging from melodic and theatrical to noisy and percussive, to minimal with large amounts of empty space.  Each of these styles and textures left room for the dancers Sarah and Robert Woods-LaDue to be front and center.

We were happy to have been introduced to Woods-LaDue’s work, and are enjoying his recordings as well.  There is a wide variation in style among the different albums, but that will be a topic for another review in the not-too-distant future.

Voltage and Verse: Ruth Weiss/Doug Lynner/Hal Davis, Pitta of the Mind, Ramon Sender at Adobe Books

It’s been a busy season for Pitta of the Mind!  We had three shows in the span of two months, beginning with our blue set at Pro Arts and culminating with ¡Voltage and Verse! at Adobe Books in San Francisco.  You can get a taste for the show in our CatSynth TV video.

It was an honor to once again share a bill with ruth weiss.  A Holocaust survivor and founding member of the San Francisco beat poet scene in the 1950s, she is still going strong, performing and supporting local institutions and artists.

Maw Shein Win, ruth weiss, Amanda Chaudhary

We were glad to see that she is continuing her collaboration with our friend and synthesizer virtuoso Doug Lynner.  Together with log percussionist Hal Davis, they performed a set of poetry and music that simultaneously evoked earlier eras and the latest electronic experiments.  Davis’ log drum provided an expressive metronome, undulating between a trot and a gallop.  Lynner’s synthesizer lines filled in the spaces, sometimes with rhythmic appeggios and at other moments with long eerie drones.  The synthesizer timbres and phrases complemented the words in multiple ways, sometimes underpinning the narrative in the manner of a good film score, at other times emphasizing the rhythm of the words and making them into a musical whole.

ruth weiss and Doug Lynner

Our Pitta of the Mind set was part of a month-long celebration for the release of Maw Shein Win’s new book of poetry Invisible Gifts.  The book is divided into four sections based on different colors.  This works perfectly for our use of color themes in our performances.  For this night, we chose silver and performed selections from the silver section of the book.  There were some familiar poems that we have performed before, and some that were new to me.  There were a variety of styles and subjects in the words that inspired different musical backings, from jazzy electric piano (my favorite) to abstract synthesizer explorations.  I was able to reuse some of the modular patches I had developed for my recent show in Portland and make them work with the rhythm of the texts.

Pitta of the Mind

Maw and I have performed together so many times now that it has become almost second nature to realize a new set; our three shows this season went off (nearly) flawlessly, and have been among the best we have done in our nearly seven years of collaboration!  We have developed a toolset and pallete of instruments (including the Nord Stage and Prophet 12) and sounds that we can quickly turn to with each new text, which makes the process of learning new pieces both simple and fun.  I certainly hope we can keep up the momentum in the remainder of the year, even as I turn my own attention to other musical projects.

In between our set and weiss/Lynner/Davis, we were treated to a presentation by Ramon Sender.  Sender was a co-founder (along Morton Subotnick and Pauline Oliveros) of the San Francisco Tape Music Center in the early 1960s, but on this evening he regaled us with stories of his time at the Morning Star and Wheeler ranches in Sonoma County in the late 1960s and early 1970s.  Morningstar, founded by Lou Gottlieb, was a radical experiment in communal living, populated by an interesting cast of characters along with folks who “commuted” between San Francisco’s Haight-Ashbury district and the ranch west of Sebastopol.  It only existed in its communal form for a short period of time before being shut down by Sonoma County. Sender and others then moved to the nearby property of artist Bill Wheeler, who followed Gottlieb’s lead and opened his ranch as a commune open to all.  I found myself fascinated by Sender’s stories, and would love to learn more about the history of the area and these communal experiments.

It was a fun night of music and words that lived up to its billing, and I certainly hope to have a chance to perform with everyone again.  And thanks to Benjamin Tinker and Adobe Books for hosting the event!  Please support your local bookstores and performance spaces.

[Photos not marked “catsynth.com” in this article courtesy of Maw Shein Win.]

Life’s Blood Ensemble at the Ivy Room

It’s time for another round of catch-up on recent musical adventures around the Bay Area.  And so today we look back at last month’s performance by Rent Romus’ Life’s Blood Ensemble at the Ivy Room in Albany, California, where the celebrated the release of their new album Rogue Star.  It was the subject of a recent episode of CatSynth TV.

As Romus explained on stage (and in our video), Rogue Star is a deliberate reference and homage to David Bowie’s final masterpiece Black Star.  In particular, it is inspired by the work of saxophonist Donnie McCaslin (Romus’ brother-in-law) on Black Star.  Indeed, the title track of the new album as performed that night did reference the style and material of McCaslin’s work.  But this was a point of departure, and the ensemble moved in different directions as they performed other tracks from the new album.

Life's Blood Ensemble

Several of the band members contributed compositions to the album and to the performance that evening, including “Think!” by Heikki Koskinen (e-trumpet) and “Space is Expanding” by Safa Shokrai.  Shokrai’s piece picked up on the theme of space and cosmos that winds through many of Life’s Blood Ensemble pieces as well as through Romus’ other projects.  Koskinen’s composition offered frenetic ensemble runs punctuated by silences and small staccato hits from his e-trumpet as well as other instruments.

Rounding out the ensemble were Mark Clifford on vibraphone, Timothy Orr on drums, and Joshua Marshall on tenor saxophone.  As always, I was impressed at the way the ensemble functioned as a unit, whether in the middle of a swinging “cool jazz” idiom or more seemingly free and chaotic sections.  In some ways, it is in the silences between phrases where this is most apparent.

Before closing, I should also say something about the Ivy Room.  This venerable institution has gone through multiple incarnations in the ten years since I moved to San Francisco and started playing and attending shows there.  Of course, I had a lot of fun performing at “Hootenannies” back in 2008, 2009 and 2010, and enjoyed the kitschy decor.   But from a musical point of view – and especially a jazz-ensemble point of view – this current incarnation is the best, with a sizable stage, lighting and sound reinforcement.  I hope to bring my current band there sometime soon.