Author: Steve Layton

Click Picks, Composers, Concerts, Contemporary Classical, Festivals, Online

An Other Mind is a Terrible Thing to Waste

Other MindsLazy, hazy summer days… Not much really happening, unless you hoof it to some festival or other… Or, for the price of simply wearing out your finger clicking, you could spend the better part of the next couple weeks feasting on the treasure trove that is the Other Minds website.

Founded in 1993 by Jim Newman and Charles Amirkhanian, the Other Minds Festival has become a San Francisco Bay-area institution, supporting the exposure for and exchange between a vast array of new-music and musicians important these last twenty-plus years, on or off the beaten path. The festival doesn’t simply rely on the concert-hall, but spreads to initmate, open places where the audience and artists can truly feel free to interact. 

More significant for us, early on Other Minds realized the value of the web for not just presenting but also archiving and sharing the music and ideas that flowed from the festival. They began to offer snippets, then entire concerts, from all of the festivals; added special articles and tributes to important musicians; and now even sell their own CDs, videos and books. I should also mention sometime-S21-visitor Richard Friedman’s related “Music from Other Minds” bay-area radio program, which also streams each broadcast and is linked at the OM site. There’s lots of news on their homepage, too, making well worth becoming one of your regular bookmarks.

It’s futile for me to even attempt to list all of the wonderful musicians documented at the site; so just go, see, hear, listen and learn. What else were you doing with your summer anyway? Maybe it’ll even get you thinking about how you can make it to next year’s festival…

Chamber Music, Click Picks, Concerts, Contemporary Classical, San Francisco

What Will $5 Get You in San Francisco?

Sure, a short latte, or a couple humbows & a coke… Or, just about any couple weeks through this year, that or even less will get you into any of a slew of great concerts in the sfSound series. Beginning tomorrow (!), when you can hear Steve Reich’s Four Organs (1970), Giacinto Scelsi’s Kya (1959), Salvatore Sciarrino’s Muro d’orizzonte (1997), Tom Dambly performing Mauricio Kagel’s Atem (1970) for trumpet and tape, violist Alexa Beattie performing Alan Hilario’s kibô (1997), and a new collaboratively-created piece by sfSoundGroup, directed by Matt Ingalls.

The sfSound Group consists of a central core (currently David Bithell – trumpet; Kyle Bruckmann – oboe; George Cremaschi – bass; Matt Ingalls – clarinet; John Ingle – saxophone; Christopher Jones – piano, conductor; Monica Scott – cello; Erik Ulman – violin) augmented by a whole constellation of Bay-Area-and-beyond collaborators. Together they put on a stellar (constellation-stellar… cute, huh?) series of concerts; some upcoming shows include:

  • A sampling of theatrical compositions from the 1960’s San Francisco Tape Music Center by Pauline Oliveros, Morton Subotnick, Ramon Sender, Robert Moran and others; plus Brian Ferneyhough’s In nomine a 3, Bernd Alois Zimmermann’s Intercommunicazione, Chris Burns’s Double Negative, and the premiere of a new work written for sfSound by local composer Erik Ulman.
  • Toyoji Tomita Memorial Concert (wonderful trombonist and sfSound collaborator who died this year) – work(s) by John Cage, improvisations, and more.
  • Morton Feldman’s 80+ minute composition For John Cage (1982), performed by violinist Graeme Jennings and pianist Christopher Jones.
  • sfSound’s saxophonist John Ingle in a recital of new solo and ensemble compositions, improvisations, and a concerto by local composer Josh Levine; plus, NYC-based percussion duo Hunter-Gatherer (Russell Greenberg and Ian Antonio) perform the West Coast premiere of a new work by David Lang, David Bithell’s Whistle From Above for percussion and robotics, and Gérard Grisey’s Stele for 2 bass drums.

Details & dates for all these and many more are listed on their series webpage. So spend that pocket change where it counts…

Contemporary Classical, Critics

Let the Ennui and Angst Begin

Nothing for those slooow summer days like another round of “everything sucks/everything’s fine” wars… Courtesy of The Guardian, Joe Queenan kicks it off with an article on how he just can’t take any more, what we “high priests of music” have been pawning off as art these last couple-three generations or so… While Tom Service tells Joe he needs to unbunch his underwear a bit… Or is that Tom getting in a bunch over Joe’s blow-off?… Read both sides; and there’s plenty of room in the comments both here and there, to thoroughly reach no consensus or conclusion whatsoever. Ah Summertime, and the livin’ is easy…

Update: A propos this little dust-up, and also related to Frank’s opera post just above, venerable art-imp-rocker David Byrne caught Zimmermann’s Soldaten and writes about it on his blog. Along the way, he echoes a few of Joe Queenan’s criticisms.

Broadcast, Click Picks, Composers, Contemporary Classical, Online

They’re Officially In The House

A little while back on S21, I mentioned the good news that the indomitable / indubitable / inscrutable / incontinent Kalvos & Damian were bringing back an online-only version of their (ASCAP Deems Taylor) award-winning broadcasts. Though the name has changed from New Music Bazaar  to In The House, The show retains all of its trademark off-the-wall storytelling, banter, and enthusiasm for sharing the music and thought of all kind of interesting NON-POP musicians at work today. Our duo may be out in the wilds of rural Vermont, but there isn’t anything backwoods about their awareness of the new-music scene. Each show is provided in both a high- and low-bandwidth version, so there’s just no excuse to not be listening, hear?

[Note: Happy as I am about this return, I’d be remiss not to also acknowledge the New Music Bazaar’s different yet fine replacement, Noizepunk and Das Krooner. Since 2005 Gene Pritsker and Charles Coleman have been running their own mostly-monthly show, with lots of the same type of K&D-worthy guests. All of their shows are archived for listening at the K&D site right along with the New Music Bazzar’s vast archive.]

Art JarvinenThough Kalvos (Dennis Bathory-Kitsz) and Damian (David Gunn) last appeared in 2005, they more or less pick up just where they left off, with an fun interview of the muy importante left-coaster Art Jarvinen. Art has been a big factor in helping shape what’s come out of CalArts (and Cal, period) lately, and Art’s own music and interview heard in this show perfectly show off much of what California/West-Coast/Southwest music has been concerned with these last 30+ years (hint: it ain’t set-theory or the New Complexity… oh, they probably know it, but “thanks, no thanks”; life’s just too short and sweet…).

Shame on you if you’ve never bookmarked the K&D site; but all is forgiven if you do it now, and be sure to check back regularly for all the fun to come. …Oh, and send ’em a check every so often too, OK? Pure love and enthusiasm can’t pay those production costs and server bills, and Paypal couldn’t be simpler to use. They’re doing this for you, so do a little back.

Click Picks, Composers, Concerts, Contemporary Classical

PBE/LA/OC

Paul Bailey EnsembleThe Paul Bailey Ensemble is a self-described “alternative / classical garage band” busy these last few years in and around Los Angeles. Though Bailey (The bulky but sharp-looking fella in the center of the photo, surrounded by some of the PBE posse) gets naming rights and creates a large amount of the featured music, the ensemble performs works by a number of other like-minded composers, too — most living, a few dead guys as well. That “like-mind” is post-minimal, with equal parts 1980s minimalism, 1680s Purcell, and heavy doses of the rock-band riff factor (though there’s usually no drumkit in the ensemble, there’s almost always electric bass and guitar).

The way Bailey tells it, he’s …had an eclectic musical career since moving to Los Angeles from Wichita, Kansas in 1989. A trained classical and jazz trombonist, he started his career as a staff musician at Disneyland. In 1995, he resurrected the music program at John Marshall High School in Los Angeles. During his tenure, the band won numerous awards and was recognized as one of the most outstanding music programs in the city of Los Angeles. He is now adjunct Professor of Music Education and Music Theory at California State University, Fullerton.

In 2005 Rex Reason interviewed Paul for the OC Weekly, and I can’t think of a better way to explain Bailey and his ensemble, than in few more of his own words:

OC Weekly : So you left Kansas to become a professional musician in California, and you ended up . . . at Disney. How was that?

Paul Bailey: It’s Disney. Anything anyone else has said? It’s true. I was trained to be a musician, I practiced very hard, and I got there, and I basically had to make farting noises on my trombone and play show tunes. At Disney, you don’t have a choice. We played the same 12 songs for four years.

OCW: Is that what drove you to become a teacher?

PB: Being a teacher is the only way I can be a composer and a musician and not have my soul taken out of me. Being paid to play trombone or being paid to write music, I have to worry about who’s going to pay me next. Now, in a sense, I have no filter. I can write whatever I want. It can be shitty, but at least it’s what I want.

OCW: So explain why you want to do what you do.

PB: I’m 36. Are people my age supposed to listen to pop music their whole lives? The whole music industry is set up to please a 17-year-old kid. I don’t mind listening to that stuff, but am I supposed to live my life through the eyes of a 17-year-old child?

OCW: But you told me earlier how much you like Weezer.

PB: I love Weezer. They’re one of my favorite bands, but it would be false of me to write pop songs or rock songs. Is rock and pop music the only way you can express yourself in today’s culture? If I had drums, we’d be a rock band. Right now, it’s very deliberate—I’m not a rock band, although I use rock instruments

OCW: So is this something closer to an orchestra?

PB: Fuck the orchestra. Let’s burn that puppy down and start over. The orchestra’s proper place is the museum. The idea you’re getting some cultural experience that’s going to make your life better and it’s going to expand your mind is total bullshit.

OCW: Then how do you reconcile the two forms?

PB: There’s the technical aspect where I can say, academically, we’re not modernist music. We believe in stuff that has the same chords as Weezer, the Beatles or Radiohead. I’m choosing to deal with music I grew up with and that interests me. But I don’t want to make people go through all these things to decide whether they like it or not. In this big piece I wrote, there might be a message, but the actual music takes very little to understand. You don’t need to listen to Michael Nyman or Steve Reich or Phillip Glass to listen to my music—although it’s based on them. You don’t need to have 20 years of musical history in your mind to listen to stuff I write.

The PBE website has more info, and lots of music to hear, watch, and purchase, so go/do/hear/buy. Their next performance is as part of the line-up for RealMusic 2008, kicking off at 7pm June 21st at Whittier College (on the way from LA to the big OC, yo…). Also on the bill are plenty of other like- and unlike-minds, like Steve Moshier’s Liquid Skin Ensemble, John Marr/Brother Mallard, Susan Asbjornson, Brian Kehlenbach and Melody Versoza. All this for not more than a ten and a little gas money, what could be better?

Broadcast, Click Picks, Contemporary Classical

Re-cue the Wobbly “Meistersinger”

Robert Gable at his aworks blog flagged this gem of news from Dennis Bathory-Kitsz’s We Are All Mozart site:

Beginning this summer, we are bringing back Kalvos & Damian — not the old format of the New Music Bazaar, but rather Kalvos and Damian: In the House!  … We shut down the show in September 2005 after 537 episodes, but the demand for our show has never quite relented. We will start with the four interviews we did not broadcast during the show’s initial run, and then continue with Art Jarvinen and, if things go well, with Lisa Whistlecroft. By then we should have a schedule set up. K&D will not be on the air, which will give us more flexibility to conduct the interviews at our leisure and not be locked into time or geography. The show will be recorded on each end (or all three ends, if David “Damian” Gunn stays home) using a Skype connection, and the resulting recordings dropped atop one another. Fun a-comin!   ~ Dennis

K&D’s original New Music Bazaar was truly a new-music treasure — and still is, since virtually all of the shows are still being archived on the web for your listening pleasure. Dennis/Kalvos and David/Damian (for those not familiar, handily branded with scarlet letters for life by me in the above photo) have selflessly, and often absurdly, promoted a huge swath of new-music activity that often gets little notice or airplay. Chock-a-block full of interviews, music, and offbeat stories, the shows aren’t always (or even often) serious, but the underlying commitment and love for new, living music most definitely is. Stand by your internet dial, and we’ll let you know when links to the show are up.

Update: By the by, Dennis was recently interviewed by current Vermont composer-in-residence David Ludwig, and you can view the whole thing online.

Click Picks, Minimalism, Piano, Recordings

Everything Gets Easier

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Steve Reich’s seminal 1967 Piano Phase has always been a fantastic challenge for any two pianists. But here is the Russian Peter Aidu (b. 1976) going them all one better, by performing both parts solo, on two pianos at once.

Released on the netlabel Top-40, the complete recording is available to freely download at Archive.org. (There’s also a link there to further information on the pianist and release, and the MP3 download at Archive.org is fine, but I would recommend NOT visiting directly the Top-40 homepage. There may be some malware lurking there!)

Click Picks, Composers, Contemporary Classical, Piano, Recordings

We Are All Amaranth

James CombsJames Combs, composer… Ah, where to start?… I met James years ago, in our formerly-shared hometown of Seattle. Truly a “regular-Joe” in person, giving little hint of the ornate wheels spinning underneath. An anecdote on James’ blog seems a perfect illustration of the man and the work:

A Minimalist Experience
A boring Sunday, really not so much different than any other Sunday.  March 16, 2008, I went for a drive to run some miscellaneous errands.  My wife informed me that we were in some need of household items which could be purchased at the nearest store.  So heading to the store on this boring Sunday, I am ever increasingly slipping slowly, steadily, into a trance state while driving.  I am sure it was not unsafe, and I believe there is a name for it.  Highway hypnosis.  The condition where you arrive at your destination while not recalling much of the way there.  I remember arriving at the store that boring Sunday and noticing the parking lot was quite full.  This pulled me out of my trance to an irritating degree.  Not finding one parking spot, my wife decided to run in and get the couple of items and I would simply drive around the parking lot until she made her way back outside.  So I started driving steadily, cautiously through the parking lot which went in a round about.  The first loop, I was concerned with looking out for other cars, but I have to say by the time I made it to my second lap I was really feeling the track, memorizing all the angles.  By the time I hit the third lap I was steering around vehicles and halting with expert dexterity for crossing traffic through the parking lot, the track.  I can’t remember what lap I was on when my cell phone rang and woke me up from my hypnotic state.  It was my wife wondering why I kept driving past her, waiting outside the front of the store.

Self-taught, James writes smallish, fairly static, elegant and polished yet absolutely irrational piano pieces. Pieces from another century’s drawing room — though that century could only be invented in the here and now. Maybe if we overlayed glass slides of Chopin, Satie, Stravinsky, Feldman, Glass, Eno, then maybe… Each small piece has the quality of a Mark Ryden painting; antique poise and luminescence recalled in a disturbing dream from just last night. James makes no claims to intrude on Brian Ferneyhough’s turf; yet for all their simplicity these modest piano pieces show the most wonderful intuition for line, sonority, weight and color, all at just the right moment. I suppose we could call the pieces “etudes”, but what they teach would be philosophical rather than technical. There’s also a kind of deadpan humor, a bit of Buster Keaton or even Steven Wright (“I went to a restaurant that serves ‘breakfast at any time’. So I ordered french toast during the Renaissance.”) running through the whole ethos. So what kind of music is this? Again, I’ll let James explain:

“Classical” … The meaning of this word pertaining to music obviously is defined as a musical form.  So what is this meaning?  Ask any average guy and he would probably say “like what Mozart and Beethoven composed.”  Hey, he would be absolutely correct.  I mean, there was an age long ago termed the “classical period.”  This period was defined not only within the music, but paintings, architecture, poetry, etc.

So if you ask the average “Joe” what contemporary classical is, they might scratch their head and reference ?  I mean, most likely.  And that’s the problem.  Is rock a period?  Is jazz a period (I know about the age, but we’re talking music)?  The term “classical” is a definite problem.  It links the past to the present under false pretenses.  Imagine Philip Glass or Steve Reich being asked “what genre of music to you compose for?”  They answer “impressionism.”  That is if we swap out the word classical in favor of the word impressionism, both a period so would it matter? 

Does the use of the word classical as a blanket definition of all eras of this form in turn form a bias within academia and elitists?  Meaning, to pick classical as the word might say to some that the era of classical itself is the most relevant to every genre.  Here in Seattle our “classical” radio station rarely strays (some might say deviates) from the baroque, classical and romantic eras.  I would bet that to be the case for every metropolitan city around the world. 

Do you want a solution?  Take out “classical” as the definition of all periods in aforementioned music and replace with “amaranth.”  An unfading flower. 

I compose amaranth music.  I compose amaranth music in a contemporary style.

James first self-produced CD release, Charmed Elixers, is available now on both CD Baby and iTunes.

Minimalism, Odd

With Conductors Like This…

…Who needs an aerobic DVD? The clip title is roughly “Maraca Driven Crazy”, but I don’t think that’s the only thing coming unhinged here. Though this was posted around a year ago, I can’t help feeling that somewhere in Italy they’re still running through this phrase, over and over… (The piece rehearsed is Reich, but I’m not sure which piece; help, anyone?) Thanks to my wonderful cellist pal Francesco Dillon for the tip to the clip.

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Composers, Concerts, Contemporary Classical

Mini-Reconquista

Wilfrido Terrazas, phenomenal flautist and busy-busy beaver in the Mexican new-music scene, just passed along notice about a fantastic series of concerts coming up the start of next month in NYC.

3G: Tres Generaciones Music Festival May 2–7

The International Contemporary Ensemble (ICE) hosts a celebration of composer Julio Estrada and three generations of New Music from Mexico. This May 2–7, ICE invites New Yorkers to partake in a trailblazing cultural exchange when it hosts this six-day celebration of avant-garde music from Mexico. The Festival will showcase the work of three generations of Mexican composers: esteemed musical pioneer Julio Estrada; the second generation, his celebrated mid-career students Germán Romero and Ignacio Baca Lobera; and 10 up-and-coming composers, all of whom have studied with or have been influenced by the three masters.

The up-and-comers include Marisol Jiménez, Víctor Ibarra, Iván Naranjo, Hiram Navarrete, Mauricio Rodríguez, Juan José Barcenas, José Luis Hurtado, Edgar Guzmán, Víctor Adán, Sandra Lemus, Wilfrido Terrazas; most I’ve heard and can tell you they’re an exciting and creative bunch.

Visit the ICE website for full concert details. All but one of the four concerts are free, to boot, so money can’t be your excuse. This is going to be good, got it?