Click here for the full playlist for Friday, March 5, 8:00 a.m. to 10:00 a.m.
I started with the intention of playing just a little bit of Other Minds-related music. (See here and here.) I wanted to show off the new ROVA/Nels Cline and something from Carla Kihlstedt, and figured I’d wrap it up with Kidd Jordan.
But upon searching our awesome KZSU music database (zookeeper.stanford.edu, or better yet, try this out), I was able to about double the amount of stuff I had to play. Here’s the rundown.
* ROVA & Nels Cline Singers — “Trouble Ticket” — The Celestial Septet (New World, 2010)
… Album comes out March 15, but ROVA had early copies on sale at the show. They’ll be there tonight as well, I’d assume. More on this later.
* Minamo [Carla Kihlstedt/Satoko Fujii] — “Kuroi Kawa – Black River” — Kuroi Kawa – Black River (Tzadik, 2009)
… More on this one later, when I’ve given it a full listen. Chamber-like duets of violin and piano, with occasional bouts of violence.
* Kidd Jordan, Hamid Drake, William Parker — “Living Peace” — Palm Of Soul (AUM Fidelity, 2006)
… Ecstatic jazz. Jordan doesn’t just blow fast; the opening is a keening, moaning lament; then things heat up over the next 14 minutes.
* Gyan Riley — “Yubalation” — Food for the Bearded (New Albion, 2002)
… Hadn’t encountered Riley before. His classical guitar has the density of John Fahey and the beauty of Spanish guitar. I picked a track that teams him up with viola and percussion, but he’s fascinating solo as well.
* Tom Johnson — “The 1287 Five-Note Chords [excerpt]” — The Chord Catalogue (XI, 1999)
* Tom Johnson — “The 78 Eleven-Note Chords” — The Chord Catalogue (XI, 1999)
… Couldn’t resist. Johnson is big on using combinatorics as a compositional tool. For instance, his “Combinations” for string quartet, one of the pieces being performed tonight, assigns notes so that each member plays one of four notes, and they cycle through all possible combinations. The Chord Catalogue is of similar mind, but quite extreme: It’s every possible chord in one octave. Played in order. I recall a review in an avant-garde-friendly magazine, and even they had a hard time dealing with this one! I love the idea — seriously love it, and if someone pitched it to me, I’d be all in favor of it. And to play the piece perfectly requires intense concentration on the player’s part. But I don’t know if I have the stuff to listen start to finish.
Luckily, Johnson adds pauses (assigned at mathematically chosen spots) but it’s still monotonous. And written, when you consider the pauses are pre-planned. What’s amusing, when you play the 11-note chords right after the five-noters, is that Johnson had to slow down markedly in order to play them.
* Tom Johnson — “Eighty-Eights” — Music for 88 (XI, 1991)
… A combinatorics piece that’s easier to take: Solo piano, where each of the 88 keys is used exactly once. But Johnson divides the keyboard into sections and patterns, so that you get melody, tempo, and mood variations as the piece progresses.