Posts filed under ‘upcoming shows’

Grosse Abfahrt, the Latest Version, in San Francisco Tonight

Grosee Abfahrt and Birget Ulher at what looks like 21 Grand

Grosse Abfahrt, in a combination that does appear to include Birget Ulher. Source: sfSound.

The improv collective Grosse Abfahrt will be convening tonight — Saturday, Sept. 27 — in San Francisco at the Center for New Music. It’s a 7:48 p.m. show that will include out-of-town guest Birget Ulher on trumpet.

The general idea is that there’s a core group of GA players, Bay Area residents, who play occasionally and always bring outside guests into the fold, usually creating a largish ensemble of eight to 10.

You can read more about the group, and hear a sound sample, in this post from last year.

For this year’s show, I thought I’d ask Tom Djll, via email, something that’s been gnawing at me about this group — and about free improv in general, really — for a few years. Namely: If you’ve got a rotating cast of characters, how do you define a group “sound?” Or do you even bother; is it a matter of picking the people you know and trust?

Here’s what he said:

GA has not really kept its “core sound” over the years. It has definitely changed since 2004. It changes with every new iteration, really. You may hear the same language bits from the individuals over a long period of time — I certainly do — or you may not. I definitely told the players what I had in mind on the first few gatherings. There have been scores on at least two occasions, #1 and #10. I tend to think of the player mix as a big part of “the score.”

There have been at least two occasions where I felt the group sound was so far away from my conception of what it’s supposed to be that I hesitated to call it a “Grosse Abfahrt.” #2 was one of those, which was a live show done at CMC. I don’t remember the year. Sometimes all it takes is for one player to take over to tip the thing over into the zone Where Tom Is Unhappy With the Esthetic. That happened on #2, #5 and #13. #11 was too dense — too many players in a tiny space. Yet on each one of those occasions there were moments and passages of The Sublime. And that’s just my judgement, which is only worth exactly what any other person’s judgement is worth.

But, as you say, it is all very much “a matter of trust, knowing that [we] all know each other and have the same general concept in mind.” But just that would be boring. There has to be some disruption from time to time. That’s my specialty!

So, as you’d expect with free improv, there’s an element of unpredictability, and it’s up to the players to mold the piece as a whole into the right form.

Here’s the lineup for tonight’s show:

Birgit Ulher (trumpet)
John Shiurba (guitar)
Gino Robair (percussion/electronics)
Tim Perkis (electronics)
Kanoko Nishi (koto/piano)
Bill Hsu (video)
Jacob Felix Heule (percussion)
Tom Djll (trumpet/electronics)
Kyle Bruckmann (oboe/english horn)

September 27, 2014 at 10:58 am Leave a comment

Bass Clarinet Quartet: Late Classic Era

We are witnessing the Late Classic Period of Edmund Welles: The Bass Clarinet Quartet, apparently. You can bear witness to the last days of this period on Sept. 12 when the quartet plays in a bass-clarinet-heavy concert at the Center for New Music in San Francisco.

The show includes the bass clarinet duo Sqwonk and a performance of a bass clarinet nonet by Jonathan Russell. If you don’t like the sound of the bass clarinet, this will not be the place to be.

As for Edmund Welles’ different eras, bandleader Cornelius Boots lays out the whole chronology on his blog. This wasn’t a decades-long master plan; it’s more that, with benefit of hindsight, he sees the phases of his musical development. He’s been nurturing the idea of a heavy bass-clarinet band since the late ’90s (the Inspirational Era), developing some songs as part of hard-rock band Magnesium. I got turned on to Edmund Welles during the band’s Early Classic Era, as the album Agrippa’s 3 Books came out, and what I’ve written on this blog has covered the Classic Era and beyond.

Boots’ other foci have included teaching — the Edmund Welles album Tooth and Claw now has a companion book that teaches you how to play the songs — and the shakuhachi, the Japanese bamboo flute. He recently recorded a shakuhachi album, Mountain Hermit’s Secret Wisdom, in a cave, exploiting the acoustics to produce meditative pieces such as “Banshiki” — listenable on Bandcamp.

But he’s also playing metal on the shakuhachi, making clever use of athletic tongue-trilling and the instrument’s ability to bend notes. Here’s his cover of “Run to the Hills.”

September 6, 2014 at 1:49 pm 1 comment

Fred Ho Memorial Concert, Sunday in Oakland

The world had better damn well miss Fred Ho. Radical, revolutionary, bandleader, writer, philosophizer — he was a brash, larger-than-life character, the type who doesn’t come into jazz’s orbit much any more. He championed the baritone sax specifically for its loud, unyielding sound.

His fight with colorectal cancer, which ended early this year, drew generous platitudes from the media, not for the tragedy of the story but for his inspirational energy and determination. He released CDs and was awarded a Harvard Arts Medal, and he managed to get one final master work onto the stage.

The ROVA Saxophone Quartet commissioned a work from Ho, back when. “Beyond Columbus and Capitalism” appeared on The Works (Volume 2) in 1996, and they’ll be revisiting it for a concert Sunday afternoon at the Oakland Asian Cultural Center.

The piece plays like a big-band suite, with those same tight horn harmonies and some aggressive swinging rhythms. Like most of Ho’s work, it’s a fun ride — and it includes a burly, unaccompanied solo for the baritone sax, of course.

For more about Ho, check out his Big Red Media web site (which automatically launches a music player, so be forewarned); an early 2014 NPR interview; a detailed, pre-cancer, 2005 interview for Harvard Magazine, and his elegant obituary in The New York Times.

Here’s the info about the concert, cut-and-pasted from ROVA’s mailer.

STRUGGLE FOR A NEW WORLD: Fred Ho Memorial

Sunday, September 7, 2:00 – 4:30 PM

Oakland Asian Cultural Center
9th Street #290
Oakland 94607

The memorial will feature performance by many of the forward-thinking artists touched by Fred Hos significant cultural contribution. Rova will perform Hos 1992 composition, Beyond Columbus and Capitalism, a work commissioned by Rova through The Meet the Composer / Readers Digest Commissioning Program.

Other performers include: Ben Barson, Royal Hartigan, Mark Izu, Jon Jang, Masaru Koga, Genny Lim, Hafez Modirzadeh, John Carlos Perea, Akira Tana, Marty Wehner, Francis Wong, Brenda Wong Aoki, with speaker/emcees: Diane Fujino and Matef Harmachis.

September 3, 2014 at 9:34 pm 1 comment

Grex Brings Monster Music on Tour

GrexMonster Music (Brux, 2014)

grex-monsterGrex has already toured a little big around Monster Music, hitting some shows on the east coast in July. They’re now in the middle of a west-coast swing:

August 4, Sacramento, CA, 7:30pm at Luna’s Cafe (Nebraska Mondays, w/Luis Clifford Childers

August 5, Sacramento, CA, 8pm at The Witch Room (w/Practice, The Lurk)

August 6, Sacramento, CA, (Grex at 10pm), Live Broadcast on v103, at Marilyn’s on K (w/Devon Galley, Ken Koenig)

August 7, Portland, OR, 9pm, at Slabtown (w/U SCO, The Sarcastic Dharma Society, Drunk Dads)

August 8, Seattle, WA, 8pm, at The Woodshed (w/Insistent Caterpillars, Honey Noble)

August 10, Seattle, WA, 7:30pm, at Cafe Racer (at Racer Sessions)

August 15, Long Beach, CA, 8pm, 4th Street Vine (w/Don’t Trip)

August 16, Los Angeles, CA, 8:30pm, at Curve Line Space (w/Dead Air Trio feat. Joe Berardi)


Monster Music, which came out in February, is a nifty package of pop/prog characterized by bubbly and dreamy electric piano, swinging chords, and regular doses of fiery guitar. Rei Scampavia and Karl Evangelista, the wife/husband team who both contribute vocals, augment the Grex duo with other instruments, but this time, drummer Robert Lopez is a fixture on every track, which somehow makes the songs feel more, well, songlike.

grex-yellowmouseI think of Grex as a prog band, but really it crumples musical styles into one multicolored mix, willfully dropping jazz melody, experimental improv, or rock attitude. A track like “Romancing Stone” reminds me a lot of Pierre Moerlen’s Gong with that pleasant, floating keyboard sound, although here it gets augmented with the more tangly, grumpy free improv that’s also a Grex ingredient. “Christmas Song” is a quirkier brand of prog, with a stringy melody spelled out on warbly keys and/or guitar to introduce Scampavia’s smooth, airy vocal.

Rock elements show up on “Hurdles,” a swirling, jamming piece that pairs fuzzed-out guitar and weighty electric piano, and on the psych jam “Guinea,” with its towering piano-chord theme.

This is the kind of album that’s easy to digest but has a lot going on under the surface, making for multiple rewarding listens. It probably makes for a good show, too, so if you’re on the west coast, don’t sleep on this one.

You can download Monster Music on Bandcamp.

August 5, 2014 at 5:58 pm Leave a comment

Rabbit Rabbit, Back Visiting in Berkeley

Screen Shot 2014-07-04 at 12.00.59 AMNow in their third year of monthly song releases, the Rabbit Rabbit duo of Carla Kihlstedt and Matthias Bossi are building up quite a catalog. Their second album of songs, Swallow Me Whole, is due out on July 8, and they’ll be coming to the Bay Area with a show at the Freight & Salvage on Thursday, July 10, augmented by Myles Boisen on guitar and George Ban-Weiss on bass.

The songs on come from the Rabbit Rabbit Radio web site, a kind of online multimedia magazine that showcases a new song each month, with an accompanying video, photographs from the couple’s life adventures (including their ever-growing children), and some user-generated input.

And the songs are something else, drawing from pop and Americana but also laced with the edgy experimentalism that’s defined much of Kihlstedt and Bossi’s careers. The styles range from delicate piano ballads to raw-nerve rock. They’ve been getting some deserved notice, too; “After the Storm,” from Year 1 of Rabbit Rabbit Radio, won in the “eclectic” category at this year’s Independent Music Awards.

You can sample the Rabbit Rabbit catalogue on YouTube. They haven’t yet posted this month’s knockout punch (“Nameless,” featuring Shahzad Izmaily on guitar) but here’s a video for “Falling Awake,” with guitarist Joel Hamilton, issued a few months ago.

Rabbit Rabbit is trying out a couple of new ideas. For this year’s songs, they’ve been working with a guitarist each month, and Kihlstedt has set aside her trademark violin, which helped make her name in groups like Tin Hat and Sleepytime Gorilla Museum.

Here’s something even more different: In lieu of being a CD, Rabbit Rabbit, Volume 2 — Swallow Me Whole is being sold as a limited-edition poster featuring all the lyrics and credits, and a download code for the songs themselves.

It’s an interesting idea. I’ve been thinking that people buy CDs at shows more as souvenirs than anything else. Even in a digital age, it’s nice to walk away carrying something — so, why not a poster instead of a CD?

Rupa, of local world-music faves Rupa & The April Fishes, will be opening the Freight & Salvage show. The full Rabbit Rabbit itinerary looks like this:

July 4, 2014 at 12:17 am 2 comments

Outsound Festival: One Weekend Left to Contribute

Source: Outsound; click to go thereIf you want to donate to the Outsound New Music Summit, you might want to do it before Sunday night.

I assume they’d take your contribution no matter what the date. But Sunday night is the deadline to contribute via Indiegogo and, for $100 or more, get a ticket to the dinner held each year for organizers and donors. Held at Berkeley Arts Festival, the dinner will include a set of music by percussionist William Winant and another set by Thea Farhadian (violin) and Amy X. Neuburg (vocals, loops, maybe electronics).

No, I don’t know what’s on the menu. But I do know it’s all for a good cause, a locally produced festival for creative music. Rent Romus has kept the fire burning going on 13 years now.

The Outsound Summit runs July 29 through August 2 at San Francisco’s Community Music Center.

Here’s the lineup:

July 27- August 2, 2014, Co-Presented with KFJC 89.7FM
Community Music Center, 544 Capp Street San Francisco, CA
Advance Tickets:  Brown Paper Tickets
The Bay Area’s New Sound Festival Features Underground and 
Experimental Jazz, Electronics, Noise Art, Spoken Word, Poetry, 
Workshops, and Hands-onInteractive “Touch the Gear” Expo.

Sunday July 27th 1:00 PM
Pianist, composer, and educator Thollem McDonas will lead a
collaboration/improvisation workshop for musicians and non-
musicians alike. 

Monday, July 28th 8:00 PM
Thollem McDonas and participants from the Sunday improvisation 
workshop will perform a set of structured and free improvi-
sation.  This event is free to the public.

Wednesday, July 30th 
Q&A Sessions 7:30 pm, Performance 8:15 pm
PoetryFreqs, a night of spoken word and poetry with electro-
acoustic music.
* Pitta of the Mind (Maw Shein Win – poetry and Amanda 
Chaudhary – electronics)
* Original jazz beat poet Ruth Weiss with electronic pioneer 
Doug Lynner – Buchla Synth,  Hal Davis -  hollow log
* Watkins/Trammel/McZeal (Zachary James Watkins - 
electronics,  Marshall Trammell – drums  with award winning 
poet Amber McZeal)

Thursday, July 31st 
Q&A Sessions 7:30 pm, Performance 8:15 pm 
Guitars, a night showcasing seven talented and provocative 
guitarists Henry Kaiser; Amy Reed & Ross Hammond; Noah 
Phillips & John Finkbeiner; Sandy Ewen & Jakob Pek

Friday, August 1st 
Q&A Sessions 7:30 pm, Performance 8:15 pm
Constructions will bring two extremes together
* Teddy Rankin-Parker/Daniel Pearce Duo,
premiering new works by renowned composer Renee Baker 
* The Deconstruction Orchestra, a mass ensemble of 25 leading 
Bay Area improvising musicians led by tenor saxophonist and 
composer Joshua Allen, who will perform the debut of The 
Structure of Sound and Space, an original deconstructivist-
inspired suite of cell structure game compositions, melding 
together post-modern, free jazz and non-idiomatic improvisa-
tion. Saxophones: Aaron Bennett-as, Sam Flores-ts, John 
Ingle-bs, Matt Ingalls-as/c, Josh Marshall-ts, Dan Plonsey-bs, 
Dave Slusser-ts, Rory Snyder-as, Rent Romus-as, Cory Wright-bs 
Brass: Peter Bonos-trpt, Collete McCaslin-coronet, Matt 
Gaspar-Flugel, Ron Heglin-tuba, Jeff Hobbs-trpt, George 
Moore-trpt, Matt Streich-trombone Rhythm: Henry Kaiser-guitar, 
John Finkbeiner-guitar Timothy Orr-drums, William Winant-drums, 
Lisa Mezzacappa-bass, Matt Montgomery-bass

Saturday, August 2nd 1:00pm
Transformational Voice, an afternoon vocal workshop with 
bodywork/energywork master Jill Burton.
Register at the door or Pre-Register @ Brownpaper Tickets

Saturday, August 2 
Q&A Sessions 7:30 pm, Performance 8:15 pm
Improvisations, featuring three different
groups of improvisers exploring the language of the unknown.
* Obstreperous Doves (Karl Evangelista – guitar, Bill Noertker - 
bass, Nava Dunkelman - percussion, Christina Stanley - violin, 
and Jordan Glenn - drums)
* The Emergency String (X)tet (violins: Mia Bella D'Augelli, 
Jeff  Hobbs, Christina Stanley; lap steel guitar: David 
Michalak; cello: Doug Carroll; bass koto: Kanoko Nishi-Smith; 
and cello/director: Bob Marsh); who will premiere a new work 
in celebration of Bob Marsh’s 70th birthday
* Jill Burton Trio (Jill Burton - voice, Tim Perkis - 
electronics, and Doug Carroll - cello) debuting their 
first-time collaboration

… and here’s what I wrote about last year’s Summit:

June 28, 2014 at 1:14 pm Leave a comment

Maxine Gets an Album

Maxine concert: Thursday, June 26, 2014Maxine, the artificial-intelligence musician that’s been has reached a milestone: her debut CD.

Ritwik Banerji has been developing (I think he would prefer to say “raising”) Maxine for several years now, posting the results on Bandcamp and Soundcloud. They’re mostly duets between Maxine and Banerji’s own saxophone playing, the idea being that Maxine learns and progresses as she plays more.

The Maxine/Banerji duet is now called Maxine and the Astromusicologist, and their album is Palmer Square, on Jeff Kaiser’s pfMentum record label.

To celebrate, Maxine and a gathering of local friends will perform Thursday, June 26, at the Center for New Music and Audio Technologies (CNMAT) in Berkeley. It starts at 5:00 p.m. with an art installation featuring Maxine and some graphical computer programs called Maxineans. (Banerji has posted two representatives to Vimeo: Antoine and Bart.) Visitors are encouraged to bring an instrument and interact with Maxine and her friends.

A concert will follow, with Kaiser playing an opening set, followed by Maxine performing in varying improvising ensembles.

I first came across Maxine in the context of a concert with Maxxareddu, a similar artificial intelligence developed by Joe Lasqo. Here’s more about that:

June 26, 2014 at 8:20 am Leave a comment

Older Posts


Calendar

October 2014
M T W T F S S
« Sep    
 12345
6789101112
13141516171819
20212223242526
2728293031  

Posts by Month

Posts by Category


Follow

Get every new post delivered to your Inbox.

Join 37 other followers