Posts filed under ‘upcoming shows’
KZSU’s Day of Noise is imminent, coming on Feb. 4, as I wrote here.
The full schedule has now been posted to KZSU’s site. Give it a click to see the 40+ artists who’ll be performing live on-air starting at midnight that Saturday.
You’ll also find descriptions of the artists — important for the groups that consist of a few well known local improvisers, such as Revenant Quartet, Oa, Tiny Buttons, and Ear Spray.
You’ll find KZSU (Stanford University’s radio station) at 90.1 FM in the San Francisco Bay Area. The signal, originating near Palo Alto, tends to reach from the city’s SoMa district down to at least San Jose, and possibly eastward to Fremont (I haven’t check that direction in a long while).
And if you’re not local to us, the web feed is at http://kzsu.stanford.edu/live/.
The fun starts at midnight (I prefer to say 12:01 a.m., to avoid ambiguity) on Saturday, Feb. 4. Please join us!
Jack o’ the Clock — Repetitions of the Old City – I (self-released, 2016)
Jack o’ the Clock‘s sixth album is another engaging collection of songs with prog smarts, jazz chops, and a folk/acoustic sheen.
The band’s chamber-pop aesthetic will get an update as of tomorrow, when they perform their first show without bassoonist and vocalist Kate McLoughlin, who has left the Bay Area. It takes two people to replace her: Thea Kelley will handling vocals — often backing frontman Damon Waitkus, sometimes taking the lead herself — and Ivor Holloway will be playing woodwinds. Bassoon isn’t among them, alas. But his sax and clarinet will have a similar effect playing in tandem with Emily Packard’s violin.
As I’ve been noting since 2011, the band has been a laboratory for an adventurous style of pop songwriting, one that uses prog as its base but adds so many other layers. Repetitions of the Old City continues the expansion of that formula and provides plenty to like: a folky twang to the guitar and violin on “When the Door Opens, It Opens on Everything,” or the long, twisting melodies that open “.22, or, Denny Takes One for the Team.”
Waitkus specializes in brainy, poetic lyrics filled with yearning. From “When the Door Opens,” one passage I particularly like: “The sun is like a dying coal, a feeble slap / across the face of February. Now there’s a / vacant house in disarray, the clocks all stopped, / the mirrors face the ceiling.”
The acoustic sounds on Repetitions are lucious, as always, but Jack o’ the Clock is by no means a straight folk band. Modern electronic touches abound. “Videos of the Dead,” for example, is a rather charming tune (despite the title) overlaid with ghostly guitar effects courtesy of guest artist Fred Frith.
It’s wonderful that the band has stuck together for so long. They’re always working on the next set of material, so expect some fresh sounds at the Bottom of the Hill show.
As for the album, it’s been out for about six months and got a good amount of attention. You can see some details on the band’s home page, including a link to an interview with Waitkus on the prog podcast Deep Cuts, complete with thoughts about the meaning of the “Old City” of the album’s title.
You can hear the entire album on Bandcamp.
All day on Saturday, Feb. 4, from midnight to midnight (or 12:01 a.m. to 11:59 p.m., if you want a little less ambiguity), radio station KZSU-FM at Stanford University will present Day of Noise, 24 hours of live, on-air performances of improvisation, electronics, way-out jazz, and just plain noise.
It’s a ritual that’s been kept alive by Abra (who goes by Dr. Information when on-air) for the past several years. She’ll be hosting all 24 hours, as she has for other recent Days of Noise.
We at KZSU take Day of Noise seriously. There’s a green room in another part of the building, isolated from the bustle, where musicians can chill before and after their sets. We provide food. We run two separate performance spaces, so that one can set up while the other is in use — this makes for seamless transitions between acts. And musicians and volunteers get cool T-shirts.
The level of interest from musicians has been off the charts. In past years, we struggled to fill 24 hours; now we struggle to pack everyone in. Most artists will perform in 30-minute shifts, with the exception of a few 1:00 a.m. and 2:00 a.m. types who’ll get a full hour. (So will Karl Evangelista, at 8:00 p.m., according to the schedule I’ve seen.)
If any of this sounds familiar, it might be because I’ve blogged Day of Noise since 2012, including some photos. Check it all out here.
And if you want a sample of the noise to come, KZSU has posted all 24 hours of audio from last year’s Day of Noise. Enjoy.
Tender Buttons performs electronic/computer noise (plus keyboard, frequently) with an aesthetic that seems to emphasize smooth flow. At even-handed volume, they’ll amass sounds, some comforting, some abrasive, and it seems so placid until you realize it’s gained enough momentum to border on harsh. And then they’ll shift back down to a smaller mode.
Here’s the trio in action:
Here’s another performance, from March. This one gets into rougher textures, and you can see Robair, in silhouette, using bows, sticks, and other non-electronic objects.
There’s more to be had on Djll’s YouTube playlist, or you could see/hear the band live very soon.
Gold Age — Gold Age (Singlespeed, 2016)
For the past several years, the Bay Area has been graced with the presence of Aram Shelton, a saxophonist out of the Chicago scene who came here to study at Mills College. He’s moving to Copenhagen in November, so the past few weeks have seen him perform one last spate of shows, kind of a victory lap.
His musical work spans from free improvisation to nearly straight jazz, as a leader and as a sideman. His final shows here have toured different parts of that history, including Wiener Kids, the trio led by drummer Jordan Glenn (it was standing room only, reportedly) and Tonal Masher, Shelton’s experimental project based on saxophone feedback and computer-generated sound.
Gold Age is up next, with a show at the Woods Bar & Brewery this Friday. The band, whose debut album came out in July, is a free-jazz quartet with all four members contributing compositions and showing off plenty of improvisational prowess.
Their easy, liquid sound is colored by the cool hand of Mark Clifford on vibraphone. But it’s also a product of the expert work of Safa Shokrai on bass and Britt Ciampa on drums, holding that balance between a straight groove and outright anarchy.
A good example is “The Docks,” where the solos fly over a rhythm that’s bustling and full of sparkling details.
That track and Clifford’s “Levity Faction,” with its broken-swing melody, might be the album’s closest examples to conventional jazz. One of the more swerving departures is “The Hand That Might Mend Itself,” written by Ciampa, which breaks into full-on group improv that intensifies until it’s coalesced into the song’s final theme. It’s a nice display of creative energy honed toward a purpose.
“Show Jumping” is a nice chance to hear Shelton’s bass clarinet in a bouncy, lively setting. “Peach Orchard,” written by Shokrai, opens with sour-toned fluttered notes that slowly build a melodic line; it’s the jumping-off point for a lively midtempo vibraphone solo, followed by Shelton doing some of his most adventurous playing on the record.
You can sample the entire Gold Age album at Bandcamp. Here’s the itinerary for Shelton’s final three shows — until he comes back for a visit, of course.
October 28: Gold Age. Woods Brewery, Oakland. 9pm
October 30: Shelton/Ochs/Walton/Nordeson. The Back Room, Berkeley, 8pm.
November 1: Aram Shelton, Chris Brown, Jordan Glenn. Tom’s Place, Berkeley, 8pm.
In June, Lisa Mezzacappa performed three concerts in Europe with different ensembles, showing off ORGANELLE, her latest concept for an improvising ensemble.
Mezzacappa has initiated so many interesting projects over the years. The electro-acoustic chamber ensemble Nightshade comes to mind, and more recently she adapted her Bait and Switch quartet for a concept called avant-NOIR.
Last year’s Glorious Ravage was an ambitious and successful project combining composition, history, narrative, and visual elements. Parts of it are preserved on the gloriousravage.com website, captured with professional photography and video.
Now there’s ORGANELLE, an improv concept that draws from the natural sciences and, in a physical sense, the universe. Here’s how she describes it on her news page:
ORGANELLE is a “set” of pieces inspired by diverse scientific processes – some enormous and unfathomable, others impossibly microscopic – that form a whole through the insights and explorations of fantastic improvisers. The composition draws its musical ideas from the different ways that the human body, the natural world, and the cosmos mark the passing of time. The rhythms, the musical relationships, the melodies, and structures in the work are each connected to a theory of cell biology, astrophysics, paleontology, zoology, or neuroscience, exploring these otherwise-imperceptible phenomena through sound.
Performances took place in Naples, Rome, and Cologne in June, and now Mezzacappa is going to perform ORGANELLE here in the Bay Area. There’s an open rehearsal on Sunday, Sept. 11 at the Berkeley Art Museum, followed by the full performance at the museum on Friday, Sept. 16 (a show that includes ’90s dub/funk stars Broun Fellinis).
Each performance has featured a different set of four or five local musicians alongside Mezzacappa. Here’s the lineup for the Berkeley Art Museum shows:
It’s a busy week for Mezzacappa, who’s also performing some solo compositions tonight (Sept. 10) as part of Philip Gelb’s music and food series. (In an intimate setting, a small audience is served a vegan gourmet meal during the show — it’s an intriguing concept.) She’s also appears with an improvising quartet on a newly released CD called Shipwreck 4, which sounds really good (more on that later).
Larry Ochs (sax) and Donald Robinson (drums) will play a rare show as a duo on Thursday, Sept. 8, at the Luggage Store Gallery (1007 Market St., San Francisco).
They put out a CD fairly recently, called The Throne, which I wrote up here. (Was that really more than a year ago?) I also find myself thinking about Robinson’s recent duo concert with Oliver Lake — a highlight of this year’s Outsound New Music Summit.
Ochs and Robinson have played together for more than 20 years in more ensembles than I can count. In the Throne writeup, I’d neglected to mention What We Live, the improvising trio (or more) spearheaded by bassist Lisle Ellis, with Ochs and Robinson. Then there’s also Ochs’ Sax and Drumming Core, with Ochs and Robinson joined by second drummer Scott Amendola. And going back to the ’90s, they were both in the Glenn Spearman Double Trio.
That’s a lot of history, not to mention a nice scenic path through the last two decades of Bay Area creative music. Their show on Thursday will be just another in a long series — but in a way, it’s also worth celebrating.
Here are Ochs and Robinson live from a show three years ago hosted by GRIM (Groupe de Recherche et d’Improvisation Musicales — which actually translates nicely into Group for Research and Musical Improvisation). It’s a brief excerpt with a regal, Coltrane-shaded feel.
And Ochs himself has posted a track from The Throne on Soundcloud. Called “Breakout,” it’s an Ochs composition enhanced by a nice hard snap by Robinson.