Posts filed under ‘Bay Area music’
Vocalist Viv Corringham is in the Bay Area this week, joining up with a local band to perform a combination of improvisation, electronics, and Greek rembetika singing.
Rembetika, also spelled rebetika and technically the plural of rebetiko, is an early 20th-century Greek music with genes from the Baltic region and Eastern Europe. But it’s not music born of joy; like the blues, it’s the music of a downtrodden people (outcasts from Asia Minor) and the struggles they faced.
Drugs seem to be a prevailing theme in rembetika, which explains the name of Corringham’s mini-tour: “Life Is Clearer Seen Through Smoke.”
The line comes from a 2011 album, Rembetronika, that pairs Corringham’s singing with the side guitar of Mike Cooper, backed by electronics and joined in spots by legendary British improv players.
Rembetronika — available for free at archive.org — gives you a taste of what to expect from Corringham’s tour. Despite the electronica-sounding title, the album is rich with acoustic sounds of strings and voice, the electronics serving as shading to heighten the drama. (We’re talking laptop-style electronics, not electronic dance music, although a downtrodden dance beat does appear on at least one track.)
Corringham’s Bay Area consort will be an experience beyond that album. The band is all woodwinds — shakuhachi, recorder, and didgeridoo — plus electronics and piano. It’s also going to be a multimedia event, with on-the-spot “film and light abstractions” by Anna Geyer.
You’ve got two more chances to see them:
Tuesday, November 24, 8:00 p.m., Center for New Music (55 Taylor St., San Francisco)
Wednesday, November 25, 7:30 p.m., Canessa Gallery (708 Montgomery St., San Francisco)
Joe Lasqo (playing laptop and keyboards in the band) has blogged a more detailed explanation of the band, the music, and Ms. Corringham.
As for that “clearer through smoke” line — it comes from one of the few Rembetronika tracks sung in English, “White Powder.” And it’s a tough story: a plea for drugs so that the singer can find some escape from this hellish world. “Like is clearer seen through smoke,” Corringham sings, summarizing what seems to be the prevailing attitude in rembetika.
It’s not much different from blues songs about alcohol. It seems there’s something universal about misery and the human condition.
Against those lines, a gentle ramble of off-rhythm guitar drifts like a cloak of madness settling on the singer. Those kinds of unsettling moments are a highlight of Rembetronika. As another example, “Bournovalia” drenches Corringham’s voice in old-timey reverb, backed with a ghostly procession of electronic smudges and untuned chimes for an unsettling effect.
The acoustic sounds of guitar and voice remain at the forefront, though. Pairing a high-toned lilt (think the golden age of radio) with Cooper’s cowboy-style slide guitar — which isn’t the same as the traditional bouzouki but flavors the sound richly.
Those natural sounds take the foreground on the mournful “San Ton Exoristo,” backed by the crackle of faux vinyl and comet-tail slashes of background sound. “Smyrneiko Minore” adds Chris Abrahams’ tumbling, bluesy piano, some slashing guitar, and Corringham’s bright, clear voice singing a wavering, haunting melody. It’s very much the blues.
Cut-and-pasted from the official invitation, there’s news below about KZSU‘s next Day of Noise, happening on Saturday, January 30 at Stanford University.
They’ll be looking for musicians to fill all 24 hours of the day … and for listeners interested in tuning in, of course.
Day of Noise is a 24-hour, on-air celebration of sound in all its abstract glory. Live performances, mostly by local artists, will feature electronics, computers, acoustic instruments, mixing boards, effects — you name it, in sets that will range from relentless harshness to soothing ambience. You can listen to last year’s Day of Noise at archive.org.
Here’s the official missive:
KZSU is having a Day of Noise — 24 hours straight of live improvised experimental / noise music. We’re hosting the event in our studios on Saturday, January 30th 2016, 0000-1159.
This used to be an annual tradition at KZSU in the 90s. We’ve had a successful revival run the last couple of years and we’re going for the 14th annual event this year. Take a look at last year’s website and our archive of last year’s performances to get an idea.
If you’re interested, please email email@example.com with Day of Noise 2016 in the subject line, and give us an idea about the time of day you’re interested in, and whether you’d want a half hour or hour-long performance. Spots go fast, so don’t delay, and be flexible with your desired times. Lastly, please spread the word!
The track “Similitude” opens with a blast from the two horns in Larry Ochs‘ latest group, the Fictive Five, and the steady blare continues for a good nine minutes. Nate Wooley blares out a trumpet solo made of crisp color and passionate growls, propelled by the rhythm section of drummer Harris Eisenstadt and two basses: Ken Filiano and Pascal Niggenkemper.
That track is the opener to another well-crafted improv album by Ochs, playing with a cast of veterans. But there’s another facet to The Fictive Five: The three major pieces that make up the album are dedicated to filmmakers — Wim Wenders, Kelly Reichardt, and installation artist William Kentridge.
As Ochs explains in his own liner notes (posted on his website and not available with the CD), the dedications reflect his feeling that there’s a visual aspect to the music, a movie of the mind. “I’m inspired to create musical landscapes that the listener when closing her eyes can then imagine her own visual images into, inspired by my music,” he writes. Like a choreographer working without music, Ochs is playing the role of soundtrack composer without a film.
While it’s common for an improvised piece to develop a particular character, what follows in The Fictive Five are well sculpted pieces that do indeed feel like narratives. Ochs is good at this; he’s frequently convened improv groups that work from compositions or skeletal structures that guide the impulses of the moment toward a common goal.
“Similitude” is forceful and bold, evoking a bright energy even as the piece moves to a slower phase in its second half — a bigger-picture view, like a camera panning back, but with plenty of action still playing out.
“By Any Other Name” opens with the groans of arco basses and dark, solemn horn statements. The mood brightens as the group works short passages of small subsets — and eventually, a kind of round-robin forms, with players hopping in and out to form duets and trios of intriguing small sounds. Trumpet and drums take a turn, then there’s a basses-and-drums moment with one bass bowed, the other plucked. It’s a musical game whose pieces fit into a macroscopic novel of music. A fiery group passage lands the piece back in the dark underworld where it began, a satisfying bit of symmetry.
“Translucent,” the Reichardt dedication, has a personality that stands out the most. It starts out choppy and high-strung, with tension surrounded by white space. Ochs abbreviates his sax phrases, a start-stop patter that plays well against Eisenstadt’s forceful snippets of drums. The sound softens as the basses and trumpet come in, building a brisk flow that’s not overwhelming. The final third of the 15-minute piece is a lingering denoument that patiently comes in for a landing.
Be sure to check out Ochs’ website for those detailed notes (again, not available elsewhere) about why he chose the song dedications.
Here’s part of the opening to “Similitude,” dedicated to Wim Wenders, incorporating some two-horn phrasing that seems to be composed:
Glorious Ravage is Lisa Mezzacappa’s “panoramic song cycle,” a set of ambitious tunes inspired by the writings of pioneer women — scientists, explorers, and adventurers.
It might sound incongruous, pitting modern jazz styles against words written a century ago. But with an ace 15-piece band; some thoughtful video from four artists; and Fay Victor on vocals, Mezzacappa has created an exciting an uplifting production.
It really is a production, as I saw on Thursday night. Mezzacappa developed the song cycle during the course of this year, a process that included not only writing and rehearsals, but live previews at the de Young Museum and a research visit to the Louise Arner Boyd archives in Marin. She blogged about it all, and it sounds like it’s been quite a rush for her.
The band combines top-notch musicians from northern and southern California. Alongside a team of Bay Area favorites, it includes Myra Melford, Mark Dresser, and Vinny Golia, along with Nicole Mitchell, a stalwart of Chicago’s AACM scene who now teaches at U.C. Irvine.
Then there’s Fay Victor, who inspired the project after impressing Mezzacappa during a 2011 performance together. Based in New York, Victor sings with a voice like Betty Carter’s but also has a penchant for experimenting. Her albums in the mid-2000s includes elements of psych rock and free improv, and she’s more than willing to experiment with sounds.
The lyrics she’s singing are taken from the writings of women who broke with the customs of the 19th and early 20th centuries to explore, whether for science, for adventure, or “for anything but awaited them in their suffocating Victorian parlors,” as Mezzacappa writes in the show program:
“The fact that there was no contemporary precedent for how they chose to live their lives, and the great lengths they went to live so fully off-script, resonated with me enormously.”
The show got its official debut Sept. 25 at U.C. Irvine, followed by a performance at Los Angeles’ Angel City Jazz Festival. The Oct. 1 and 2 shows at Brava Theater might sound a little less prestigious, but it’s a lovely theater with an expansive stage that suits the video projections well.
Some highlights of the music:
“Heat and Hurry” displayed a quick-stepping, sophisticated kind of jazz. It was one of a few songs backed by the cut-out animations of Kathleen Quillian — think Terry Gilliam with less silliness and with varying landscapes in the background (jungle, mountains, Hawaiian lava bed). The song was inspired by world traveler Isabella Bird, who “literally fell ill whenever she returned home to the British Isles of her birth,” as Mezzacappa’s program reads.
“Taxonomical” made use of Victor’s creative use of sounds and inflections, because the lyrics are just scientific names of plants in Greenland. It’s from the journal of Louise Arner Boyd, a biologist who lived in Marin and developed a fascination for the Arctic Circle. Her list made for some creative vocal babbling, after an introductory duet that contrasted eerie laptop sounds by Tim Perkis with some brisk vibraphone statements by Kjell Nordeson.
Boyd and Bird showed up again in “Shut Out the Sun,” which set one of Bird’s poems against actual video footage that Boyd took in the Arctic Circle. The song featured swaying horn harmonies and attractive piano chords — and later, a sublime flute solo from Mitchell to go with the ice floes and glaciers of Boyd’s journey.
“Soroche” drew from the weird rivalry of Annie Smith Peck and Fanny Bullock Workman, mountain women who were intent on setting world records and got into some heated arguments in the Scientific American letters-to-the-editor column. Victor read just a few phrases, repeating them and twisting them all about with her voice. Later, Mezzacappa and Dresser got into a brief duet, the two basses battling in a frenzy as if to replicate the argument. That was a fun moment, and Dresser continued playing for an equally fun duet with Victor.
“City of Wonders” closed the show with some upbeat music and somber thoughts. The writings, by Ida Pfeiffer and Marianne North, reflected on the negative aspects of the California gold rush and the carving up of redwood forests, respectively — two subjects familiar to anyone who grew up around here. The bouncy and brisk piano/vibraphone lines soon cut away to a swinging, old-timey jazz theme with some cool solos from John Finkbeiner (guitar) and Dina Maccabee (violin).
With professional lighting by Allen Willner and with Bay Area musician Suki O’Kane controlling the video, Glorious Ravage had the look that a major work deserves. There’s one more chance to catch it. And check out Mezzacappa’s interview with KALW-FM to learn more about the show’s historical aspects.
It promises to be a great sampling of local artists and a full celebratory evening, from 4:00 p.m. to whenever. Don’t sleep on the Jon Raskin set that concludes the festival. Raskin is a member of ROVA Saxophone Quartet and certainly has lots to say with his horn.
Here’s the program, as copied from BayImproviser.com:
MiniWatt String Trio:
Myles Boisen – guitar
Jon Preuss – guitar
Joh Ettinger – violin
Steven Lugerner Quartet:
Steven Lugerner – Saxophone
Danny Lubin-Laden – Trombone
Matthew Wohl – Bass
Britt Ciampa – Drums
Rob Ewing/ Jason Levis Duo:
Rob Ewing – trombone
Jason Levis – drums
Jon Raskin – solo sax.
Aram Shelton, Fred Lonberg-Holm, Frank Rosaly — Resounder (Singlespeed, 2015)
Resounder is a bustling trio improv session with electronic enhancements added by saxophonist Aram Shelton after-the-fact. But the effect can be subtle. In fact, the players are so adept at wringing sounds from their instruments that you have to wonder if some of the exotic sounds are coming from the original session.
I say that because I first listened to Resounder blind, not knowing about Shelton’s post-processing. Once I knew it was there, my ears started playing tricks on me, particularly on “Bring Focus.” That buzzing tinge in the sax — is it acoustic or electronic? Did the sax just echo a few notes artificially, or was that my imagination? Now there, that was definitely a sax looped back into the mix … you get the idea.
“Fading Memory,” with Fred Lonberg-Holm‘s cello altered to spit ribbons of metal — that’s a more obvious example. Drummer Frank Rosaly gets his turns too, I think. One segment (which I now can’t find) has his toms and bass drum melted together into a low-flying tonal hum. Or was that just my imagination again?
Some of the electronics are more overt, which is good fun. Longberg-Holm gets plenty of electronics treatment to create dull roars and guitar-hero antics. There’s a passage later on “Bring Focus” that’s a long ramp to a crescendo, a nice slow burn of rumbling with a buzzy edge to the cello. And when it’s done, the band drops out, leaving behind a tinny sine wave — it’s a good dramatic moment.
Shelton had planned this to be a regular trio recording, just three good friends getting together in Chicago, and they turned in a crackling set. It’s only afterward that Shelton started considering enhancing the sounds, and it adds depth to what was already a densely packed session. Sometimes there’s some playback that literally adds another voice to the group. More often, though, it just sounds like more than three people, as Shelton’s processing creates new surfaces for the ear to cling to.
Listen to an excerpt of “Hope of Symbioses” on YouTube:
… Or to “Fading Memory” on Soundcloud:
Lacy is the band’s collective hero and was also a friend. And for them, Saxophone Special stands out in Lacy’s catalogue because it’s a saxophone quartet album, recorded from a one-time concert with three other sax players, guitar, and synthesizer. The “three others” aren’t just others — they’re giants of the improvised music genre: Evan Parker, Steve Potts, and Trevor Watts.
The Sept. 16 concert, with Kyle Bruckmann on electronics and Henry Kaiser on electric guitar, serves as both an encore and a warm-up, because ROVA performed Saxophone Special once already, in July, and is scheduled to record its own version of the album next week.
Saxophone Special is out of print — both the orignal LP and Emanem’s expanded CD version. Close to its orbit, however, is the newly reissued ROVA album Favorite Street, a 1984 collection of Lacy tunes. Here’s a link to that album on eMusic.