Jordan Glenn’s BEAK

Jordan GlennBEAK (Geomancy, 2018)

jordanglenn-beakJordan Glenn is a ubiquitous Bay Area drummer, playing in so many jazz/improv contexts including the prog band Jack o’ the Clock and his own pranskerish trio Wiener Kids. With BEAK, Glenn showcases himself as a composer, leaving the playing up to others. It’s a set of coordinated rock jams thick with guitar and percussion — four percussionists! Sometimes they combine for a glorious stomp; sometimes it’s an intricate exercise in counterpoint.

Compositions build off of riffs and rhy, with guitars (Will Northlich-Redmond and Grex‘s Karl Evangelista) drenched in fuzz and surrounded by hand drums. Mark Clifford’s vibraphone adds splashes of extra melody. The percussion barrage, so vital to the album’s overall mood, comes from Geneva Harrison on the drum kit and Robert Woods-LaDue and Robert Lopez on hand percussion. Max Judelson on bass rounds out the band.

Glenn’s trademark sense of humor is found more in the song titles than in the music itself. Sublime moments come in the trilogy of “Coda” pieces, with the easygoing odd-time beat of “Coda 2 – This Is Why We Can’t Have Nice Things” and the lingering haze of “Coda 3 – The Games Chickens Play.”

Some of the album’s most satisfying moments are the quieter ones. “Coda 2” is worth another mention in that regard; it’s a slow burn, a moderate tempo that builds momentum as the odd rhythm latches into your brain. That said, the full-blast bombastic tracks are fun. “Flower Fashion Fantasies” announces the band: “We’ve got guitars! We’ve got four percussionists!” and builds into a frenzy. Later, the track returns in a higher-energy reprise.

Day of Noise 2019 Video

KZSU’s Day of Noise — 24 hours of live on-air performances in the studios of Stanford’s college radio station — came and went last month, but you can see and hear the whole thing. Jin, who’s videoed and photographed the event for the past several years, went all-out this time, with two cameras per studio and lighting filters to boot. The full 24 hours were streamed live in two 12-hour segments (YouTube sets a 12-hour limit on streams) that are available now.

Bonus: That’s my voice at the start or Part 2. I was asked to stall for time, to make sure no music got lost as we made the transition between video streams.

Smurph, who handled sound engineering for all 24 hours, made an audio recording of each act separately, and you can find those files on KZSU’s Day of Noise web page.

Surrealist Poet Jazz

Sheldon Brown GroupBlood of the Air (Edgetone, 2018)

brown-bloodoftheairNate Chinen’s excellent book, Playing Changes, devotes a chapter to the many innovations of Jason Moran, including his visual art and his business model post-Blue Note. Among them is Moran’s practice of transcribing spoken word into melodies based on that fluctuating pitches and emphasis of the voice.

I can understand the fascination with exploring the necessarily melodic qualities of speech. I always appreciate the results even if I don’t fully enjoy them — as with many types of art, the process sometimes interests me as much as the final output.

Anyway, I doubt Moran was the first to try setting music to speech, and plenty of others have done it since.

But here’s Sheldon Brown doing something I don’t think I’ve heard before: He adds swing. On “Oraibi,” the two-part opener to Brown’s Blood of the Air, he sets a clarinet melody in step with Lamantia’s recital and gives it a bounce that creates the illusion of Lamantia himself swinging.

(Love the soaring Tyner-esque piano chords after the intro, too, and the feathery sung vocal — that’s Lorin Benedict‘s vocalese.

Blood of the Air is a tribute to Lamantia, and I admit, I dreaded the thought of an overbaked poetry-music casserole. But creative touches (such as a moody theremin introducing “First Star”), along with the bursting enthusiasm and spinning inventiveness of Brown’s band, keeps the mix fresh and intriguing.

Here’s the theme from “To Have the Courage,” built from another of Lamantia’s readings and sped up into a punchy ensemble line. The vocal here is Benedict again, inserting vocalese into the melody of Lamantia’s speech patterns. There’s something very meta about that.

A San Franciscan by birth who would later hang out with the Beat movement, Lamantia is described as “surrealist,” but he wrote in normal English phrases and sentences, not the random word clusters I was expecting. His recital voice is homey, less stern than I expected, with an affected accent, equal parts Oxford and Brooklyn.

Here’s a full Blood of the Air set from the group, performed at the 2017 Outsound New Music Summit, with Lamantia contributing via recordings. You can sample much of the album on Bandcamp.

Trio HLK

Trio HLKStandard Time (Ubuntu, 2018)

triohlk-standardYou can see why Steve Lehman and Evelyn Glennie want to hang out with these guys. Trio HLK is full of glitches in the matrix, playing smoothly rapid clockwork music that’s full of hiccups. With all the start-stop unpredictability, it’s fitting that one song is titled “Stabvest.”

The effect comes from rapid-fire shifts in time signatures — take a look at the blips of 13/16 and 15/16 in the sheet music for “Extra Sensory Perception Part II,” below (full score available here). Pianist Richard Harrold, guitarist Ant Law, and percussionist Richard Kass run this obstacle course with slick aggression, with Law’s eight-string guitar doubling as bass. The effect is like a sped-up minimalism, with lots of jump cuts between phrases that are repeating but not really repeating.

trio hlk sheet music

The result is music that feels ultra-modern but still sounds pleasant, between the chiming jazz-club chords and the occasional acrid-but-friendly touch of guitar. “TWILT,” a brainy twist on a jazz standard (you can figure out which one), is a good demonstration of what the trio can do. But their guest musicians add some sparkling fun. Lehman add his angular sense of cool to three tracks, and Glennie dances airily on songs like “Extra-Sensory Perception,” a thrill ride that culminates in a hard-driving succession of rising chords shared by piano and guitar.

Here’s a video of the gentle Part I of “Extra-Sensory Perception,” followed by the more intense Part II.

 

Motoko Honda at CJC, Berkeley

Previously, I had only heard the experimental side of Motoko Honda’s music. That was in Los Angeles, where I’d seen her perform live in the improvised setting of Polarity Taskmasters, a quartet co-led by Emily Hay on flute and vocals.

But Honda has a classical background and a rigorous interest in jazz, and those sides take the fore with her band, Simple Excesses. The music is genteel enough to fit the programming at Berkeley’s California Jazz Conservatory, where Honda’s band was presented recently by the Northern California nonprofit Jazz in the Neighborhood, but it also had exploratory and subversive sides — creative fusion at work.

Late in the set, a piece called “Umba” really caught my attention. I remember Honda hammering away at fast triplets and continuing that pattern during Wright’s solo — manic stuff, until it ran into a shift in mood. This video excerpt, from a different concert in Los Angeles, must begin after that shift, but it gives you a feel for Honda’s skill at scattery jazz spontaneity applied with classical precision.

Getting back to the Berkeley show: Cory Wright provided a lead voice on a battery of woodwinds — saxes and clarinets, but also flute. One piece early in the first set combined piano and harmonized flute in a fast-running river of notes — a nice effect, sonically, and chiseled out with precision.

Like Wright, Jordan Glenn on drums was a familiar face that was good to see. (I haven’t been out to many shows in the past year or so.) He played a support role loyally, adding different shades of color and a spark of personality to each track. His spotlight moment came on “The Jumping Mouse,” the closer, where he and Honda dueled in a joint solo that had them bounding rhythms off one another with increasing intensity.

I hadn’t heard bassist Miles Wick before, but he was a strong presence throughout both sets. He got a long solo during the opening piece, full of rubbery melody; maybe it was the strength of that solo that prodded me to keep him in focus for most of the show.

Honda’s brand of jazz comes with a firm grip and confident strides in her chording and soloing, but we also got generous samples of her traditional classical side, the kind of piano evoking images of gentle snowfalls or wide, quiet fields. I’m thinking especially of one emotional piece about her late music teacher.

Jazz in the Neighborhood also supports emerging artists, granting them a stipend and a chance to perform with the concert artists. Under those auspices, violinist Eva Piontkowski sat in on a couple of songs, adding the airy melody that a violin can offer but also showing some edgy creativity in her soloing. She also got to play a challenging duet with Honda: a graphical score, around which they built a piece that was warm and lyrical but far from sappy. It later turned out this was Piontkowski’s first attempt at playing a graphical score, and she’d received no prior instruction — which is a legitimate and, if you think about it, once-in-a-lifetime way to perform this music.

Secret Codes of Guitar and Drums

The Lie DetectorsPart III: Secret Unit (Chant, 2018)

maoz-3The Lie Detectors could be classified as a jazz duo, but in fine downtown fashion, it’s jazz with hefty shots of bombast: the heavy crunch of “Rice;” the light touch of “Go” that descends into a sinister, shamanistic guitar sounds; the echoey and folky strains of “Closer” mixed with sparse improv. Punk and metal get their say in the next track, “Here and There.” Those four track are the way Secret Unit starts.

Eyal Maoz (guitar) and Asaf Sirkis (drums) have known each since age 10. Now living in New York and London, respectively, they’re charting impressive musical careers. Maoz is a member of the Lemon Juice Quartet and Shanir Blumenkranz’s Abraxis (which got to record one of John Zorn’s Masada Book II albums), and he leads bands including Edom, Wild Type and the eclectic power trio Hypercolor. Sirkis has been playing with jazzsters including Larry Coryell, Dave Holland and John Abercrombie.

They’ve released two other duo albums: Elementary Dialogues (Ayler, 2006) and Freedom Has Its Own Taste (Fasson, 1998). They don’t seem to have used the Lie Detectors name with those releases, and maybe with good reason — the name is the top secret organization that they formed at age 10. Apparently they’ve decided it’s time to reveal the secret.

Maybe that means more Lie Detectors records to come. Secret Unit‘s varied styles are held together by a cosmic constant of jagged energy and wide-grinned attitude. “Flying Horse” gets into a catchy little groove, but not after a nifty intro of spackled non-rhythm. “Circles” plays like an improv-minded mutation of surf music, with Maoz echoing away against Sirkis’ continuous wave of rolls and snare.  Then there’s the relatively quiet noodling of “Sting” and the choppy rock anthem of “Green Shirt.” But it feels cohesive, like two people speaking the language of a decades-old secret society.

KZSU’s Day of Noise: Saturday, February 9, 2019

dayofnoise2019

It’s here again: The KZSU Day of Noise, 24 hours of live noise/improv performances, broadcast across the free airwaves, streamed over the Interwebs, and stored for posterity on YouTube.

From midnight to midnight (Pacific time) on Saturday, February 9, 2019, musicians will be performing live at the KZSU studio, playing laptop electronics, analog electronics, acoustic instruments, electric guitars, and whatever other noisemakers they decide to bring. Artists will perform for 30 or 60 minutes apiece. See the full lineup here.

In the Bay Area, tune in to KZSU on the good old-fashioned radio at 90.1 FM. Elsewhere in the world, stream the show live at kzsulive.stanford.edu. We’ll probably have a live video feed running as well (in the past, it’s been on YouTube).

The last few Days of Noise have been archived on the KZSU site in both audio and video forms, so you have plenty of material to get acclimated for the big event.

We have loads of fun putting this on every year, and I’m so grateful to the KZSU staffers who make it happen. Abra masterminds the whole thing — many thanks to her for keeping the idea alive — while Smurph does the bulk of the audio engineering and Jin documents the event in video and photos. Other DJs like me chip in where they can, moving gear, delivering food, giving directions over the phone. And the musicians have loads of fun. Please do tune in, any way you can.

I’ve posted Day of Noise photos a few times before. Have a look:

2017
2013
2012