Today we look back at two Reconnaissance Fly performances in early January. The first was a return to Luna’s Cafe in Sacramento, and the second was at Revolution Cafe in West Oakland. By coincidence, we shared the bill on both nights with guitarist Luke Westbrook who was visiting from New York.
This was Reconnaissance Fly’s third gig at Luna’s – we like playing there and not just because it shares my cat’s name. But the stage was once again a bit cozy for a band of our size, even more so now that we have a fifth member, Chris Broderick on reeds (saxophone, clarinet, bass clarinet). This was our first public performance with the new quintet lineup. So it was a bit of puzzle trying to get the bass, drums, keyboard and bass flute on the stage, and still find room for the people who play them. But somehow we managed.
[Photo by Tom Djll]
Our set went well – at least, I was pretty happy with it. Our opening graphical score improvisation piece Small Chinese Gong went off without a hitch. As Neat As Wax is becoming our most consistently well-played song, as it is not too difficult and it is quite lyrical and rhythmic. Electric Rock Like a Cat and Sanse Iz Crede Nza are our most difficult, but also the most energetic and got a great response from the small but enthusiastic audience when we hit the final notes.
After striking the stage, it was time to relax with beer and guacamole and other treats and enjoy the next sets. Luke Westbrook took the stage for a solo guitar performance.
He has a very intense stage presence and a virtuosic technique, but the music itself has a certain ease to it. It began with gentle arpeggios that had a consistency even as they were constantly changing. These evolved into more defined repeated phrases over time that were occasionally punctuated by the occasional chromatic tone or blues-like bend. Later on, the music become more distorted with noisier and more percussive elements. There was a passage of single repeated tones that provided an increasingly anxious vibe before settling down again.
Westbrook was followed by Philip Greenlief and Jorrit Dykstra on saxophones with Tim Perkis on electronics. On the things I look for in electro-acoustic combos is how well the electronic and acoustic parts blend. In the case of this trio, they blended quite seamlessly from the start with long tones of subtly different intonation. The music soon became more animated, with syncopated saxophone rhythms set against low gurgly electronic sounds.
There were many humorous moments with matching squeaks and bleats, and richly textured moments with multiphonics against electronic pads. Perhaps the most amazing moment of the entire set was a long virtuoso noise solo by Dykstra. It is hard to describe in text, but it was one of the most impressive saxophone performances I have heard in a while. The later sections of the performance featured more percussive saxophone sounds, key clicks and striking of the metal hardware set against contrasting electronics with vocal and wah-wah effects.
Revolution Cafe is located deep in West Oakland, not far from the rebuilt I-880 freeway, which makes for an interesting exterior environment. The interior is something altogether different, with every surface adorned with vintage and eclectic artifacts. There were street and highway signs, political posters (from old Oakland Mayoral elections to the most recent Jean Quan recall announcements), vintage keyboard instruments, strange dolls and even a shrine of sorts of Frank Zappa. I spent quite a bit of time just photographing the space before even considering the music.
The show was actually the latest incarnation of Karl Evanglista’s Light A Fire series. I had performed in this series last year with solo electronics. This even opened with another solo guitar set by Luke Westbrook.
Westbook’s performance was actually quite different from the one he did two night’s earlier. While his technique was on display both nights, this one was more virtuosic and more diverse in terms of material and sound. This performance was mesmerizing. I had a sense of warmer colors as he played, though that may have been a kinesthetic combination of the cafe’s ambience and Westbrook’s harmonies.
Next up was Grex, the duo of Karl Evangelista on guitar and Rei Scampavia on keyboard, voice and flute. Their music covered quite a bit of range, some more song-like with voice, keyboard and guitar, some closer to free-jazz with fast-moving improvised lines. One memorable moment featured featured a mellow guitar solo – Evangelista is quite a versatile guitarist – that morphed into in a driving loop pattern with distortion that produced its own harmony.
I believe at least some of the material was from Grex’s recently release CD. You can follow the link above to find out more info.
Finally, it was our turn to take the stage. I had toyed with the idea of using the Cafe’s B3 for An Empty Rectangle, but in the end decided it would have been a lot of effort, especially with a stage that seemed to be even smaller than Luna’s Cafe We had a lot of fun and played with a lot of energy that matched the intensity of Revolution Cafe’s decor. It didn’t feel as tight or accurate as we would want for a Reconnaissance Fly set, but it did have the humor that has become part of our band’s character.
Additionally, the visuals of the space and the presence of the old keyboard instruments did inspire me to consider a future solo performance or installation there. I don’t have much more to say about that yet given everything else that is going on this season, but something to consider for later…