My 2019 in the Arts


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The amazing Stuart Dempster at a house 2015 house concert at Philip Gelb’s Sound and Savor.  

In many ways this has been a year of reckoning.  I kept my promise to myself to double down on writing this blog and have already reached more viewers than any previous year.  I am now averaging a little more than 1000 hits a month from (at last count) 192 countries and have written 74 pieces (compared to 48 last year).  I need to keep this up just to be able to stay in touch with similarly minded folks (thanks to all my readers).  Add to that the fact that a piece of music I wrote 15 years ago was tracked down by the enterprising Thorson and Thurber Duo.  They will provide me with my very first public performance this coming July in Denmark.  Please stop by if you can.  After having lost all my scores (since 1975) in a fire and subsequently the rest of my work on a stolen digital hard drive I had pretty much let go of that aspect of my life but now…well, maybe not.

Well one of my tasks (little nudges via email have been steadily coming in) is to create a year end “best of” list.  Keep in mind that my personal list is tempered by the fact that I have a day job which at times impinges on my ability to do much else such as my ability to attend concerts.  However I am pleased to say that I did get to 2 of the three Other Minds concerts this past year.  The first one featured all the music for string quartet and string trio by Ivan Wyschnegradsky (1893-1979).  The second one featured music by the same composer written for four pianos (with two tuned a quarter tone down).  Both of these concerts exceeded my expectations and brought to light an amazing cache of music which really deserves a wider audience.  These are major musical highlights for this listener this year.

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The Arditti Quartet acknowledging the applause at the Wyschnegradsky Concert.

Read the blog reviews for details but I must say that Other Minds continues to be a artistic and musical treasure.  Under the leadership of composer/producer/broadcaster Charles Amirkhanian (who turns 75 in January) the organization is about to produce their 25th anniversary concert with a 4 day series beginning in April, 2020.  For my money its one of the reasons to be in the Bay Area if you love new music.  He is scheduled for a live interview on the actual day of his birthday, January 19th as a guest on his own series, The Nature of Music.  This series of live interviews (sometimes with performance material) with composers and sound artists he has hosted since 2016.

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Amirkhanian performing at OM 23 (2018)

Next I will share with you my most obvious metric, how many views my various blog posts got.  I have decided to share all those which received more than 100 views.

The winner for 2019 is:

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Linda Twine (unknown copyright)

Linda Twine, a Musician You Should Know

A rather brief post written and published in February, 2018 for Black History Month.  It was entirely based on internet research and it got 59 views that year.  As of this writing in 2019 it has been seen 592 times.  I have no idea why this “went viral” as they say.  I just hope it serves only to her benefit.  Amazing musician.

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Fatu Duo

Charming little album of lesser known romantic violin and piano pieces played by a husband and wife duo.  This self produced album seems to have had little distribution but for some reason people are enjoying reading about it.  I only hope that the exposure will boost their sales.  This is a fun album.

The Three Black Countertenors

I’m guessing this is one of my “viral” posts.  I wrote it in 2014 and it continues to get escalating hits, 180 this year.  The title pretty much says it all.  First time three black countertenors appeared on the same stage.

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Jenny Q Chai

This concert was an all too brief presentation of some very interesting work.  Quite a pianist too.  File this artist’s name in your “pay attention” category.

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Heavenly Violin and Piano Music by Giya Kancheli 

Giya Kancheli (1935-2019), one of the artists we lost this year (I refuse to do that list).  If you don’t know his work you should. He wrote I think 7 Symphonies and various concertos, film scores, and other works.  He was sort of elected to the “Holy Minimalists” category but that only describes a portion of the man’s work.  Very pretty album actually.

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Because Isaac Schankler

This composer new to me, works with electronics, and maintains an entertaining presence on Twitter.  Frankly, I’m not sure exactly what to make of this music except to say I keep coming back to it.  Very leading edge material.

 

 

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Wolfgang von Schweinitz’s “Klang”

A very different music from that of Schankler listed just above.  But another recording to which I find myself returning.  Thanks to Mr. Eamonn Quinn for turning me on to this one.

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A New Voice for the Accordion

I pretty sure that Gene Pritsker can shoulder at least part of the blame for connecting me with this great new musician  The accordion has come a long way and this guy leads it gently forward.

 

 

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Bernstein’s Age of Anxiety in a new recording

Loved this one.  I had only listened to this work three or four times and probably not with adequate attention.  Hearing this performance was revelatory.  It’s a great work deserving of a place in the standard repertoire/

 

 

 

Black Classical Conductors

Written in 2013, just an occasional piece about black conductors for Black History Month.  It’s now been read over 2000 times.  It is my most read article.  It’s embarrassingly incomplete and in need of a great deal of recent history but that’s a whole ‘nother project.

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Blue Violet Records

Blue Violet Duo

So glad this disc got a little exposure.  Its gorgeous.  This disc of jazz influenced classical Americana unearths some real musical gems.

 

 

 

 

 

 

 

 

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Shakuhachi Ecstasy 

OK, I meet this guy at a vegan underground restaurant (whose proprietor is noted Shakuhachi player, Philip Gelb).  A little casual conversation, a few vegan courses (Phil can seriously cook), and whaddya know?  About a month or so later he sends me this gorgeous self produced set of him playing shakuhachi…but the upshot is that this is the distillation of the artist’s sensibilities filtering his very personal take on the world via his instrument.  It has collectible written all over it and that is as much due to the music itself as to the integrated graphics and packaging.  You really have to see and hear this trilogy.  It got over 100 hits.  Thanks to Cornelius Boots and Philip Gelb (musical and culinary concierge).

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That’s it.  Everything else (300 plus articles total with 74 from this year) got less than 100 views.

 

Personal Favorites

It was a great year for recordings and I listened to more than I did last year.  Some may have noticed some experimentation with writing style and length of review here.  The problem is that the very nature of my interest is the new and unknown so I have to do the research and have to share at least some of that to hopefully provide some context to potential consumers that will ignite the idea, “gotta check that out” without then boring them to death.

For this last section I will provide the reader with a list in reverse order of the publication of my reviews of CD and streaming releases that prompt this listener to seek out another listen and hopefully draw birds of a feather to listen as well.

 

Keep yer ears peeled.  This young accordion virtuoso is an artist to watch.  This was also one of my most read review articles.  This guy is making the future of the instrument.  Stay tuned.

 

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This artist continues to draw my attention in wonderful ways.  Her scope of repertoire ranges hundreds of years and she brings heretofore unknown or lesser known gems to a grateful listening audience.  Blues Dialogues is a fine example.  It is also reflective of the larger vision of the Chicago based Cedille label.

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I found myself really taken by this solo debut album by American Contemporary Ensemble (ACME) director Clarice Jensen.  In particular her collaboration with La Monte Young student Michael Harrison puts this solo cello (with electronics) debut in a class all its own, This independent release is worth your time.

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This album of string chamber music arrangements of Mahler is utterly charming.  No Time for Chamber Music is a seriously conceived and played homage.

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Canadian composer Frank Horvat’s major string quartet opus is a modern classic of political classical music.  It is a tribute to 35 Thai activists who lost their lives in the execution of their work.  His method of translating their names into a purely musical language has created a haunting and beautiful musical work which is a monument to human rights.

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Donut Robot is a playful but seriously executed album.  The kitschy cover art belies a really entertaining set of short pieces commissioned for this duet of saxophone and bassoon.  Really wonderful album.

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It has been my contention that anything released on the Starkland label requires the intelligent listener’s attention.  This release is a fine example which supports that contention.  Unlike most such releases this one was performed and recorded in Lithuania by the composer.  Leave it to the new music bloodhound, producer Tom Steenland to find it.  In Search of Lost Beauty is a major new work by a composer who deserves our attention.

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My favorite big label release.  This new Cello Concerto from conductor/composer Esa-Peka Salonen restores my faith that all the great music has been written and that all new music is only getting attention from independent labels.  Granted, Sony is mostly mainstream and “safe” but banking on the superstar talent of soloist Yo-Yo Ma they have done great service to new music with this release.  Not easy listening but deeply substantive.

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This release typifies the best of Chicago based Cedille records’ vision. Under the guidance of producer James Ginsburg, this local label blazes important paths in the documentation of great music.  “W” is a disc of classical orchestra pieces written by women and conducted by the newly appointed woman conductor, Mei-Ann Chen.  She succeeds the late great Paul Freeman who founded Chicago’s great “second orchestra”, the Chicago Sinfonietta.  Ginsburg taps into Chicago’s progressive political spirit (I guess its still there) to promote quality music, far beyond the old philosophy of “dead white men” as the only acceptable arbiters of culture.  Bravo to Mr Ginsburg who launched Cedille Records 30 years ago while he was a student at the University of Chicago.

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Become Desert will forever be in my memory as the disc that finally got me hooked on John Luther Adams.  Yes, I had been aware of his work and even purchased and listened to albums like Dream in White on White and Songbirdsongs.  I heard the broadcast of the premiere of the Pulitzer Prize winning Become Ocean.  I liked his music, but this recording was a quantum change experience that leads me to seek out (eventually) pretty much anything he has done.  Gorgeous music beautifully performed and recorded.

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OK, I’m a sucker for political classical.  But Freedom and Faith just does such a great job of advancing progressive political ideas in both social and musical ways.  This is a clever reimagining of the performance possibilities of the string quartet and a showcase for music in support of progressive political ideas.

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Michala Petri is the reigning virtuoso on the recorder.  Combine that with the always substantial production chops of Lars Hannibal and American Recorder Concertos becomes a landmark recording.  Very listenable and substantive music.

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I have admired and sought the music of Harry Partch since I first heard that excerpt from Castor and Pollux on the little 7 inch promotional LP that came packaged with my copy of Switched on Bach.  Now this third volume in the encyclopedic survey of the composer’s work on Bridge Records not only documents but updates, clarifies and, in this case, unearths a previously unknown work by the master.  Sonata Dementia is a profoundly important entry into the late composer’s discography.  I owe PARTCH director, the composer/guitarist John Schneider a sort of apology.  I had the pleasure of interviewing him about this album and the planned future recordings of Partch’s music but that has not yet been completed.  You will see it in 2020 well before the elections.

The aforementioned Shakuhachi Trilogy is a revelatory collection which continues to occupy my thoughts and my CD player.

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Gil Rose, David Krakauer, klezmer and the inventive compositional talent of Mathew Rosenblum have made this album a personal favorite.  Lament/Witches Sabbath is a must hear album.

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Another Cedille disc makes the cut here, Souvenirs of Spain and Italy.  The only actual Chicago connection is that the fine Pacifica Quartet had been in residence at the University of Chicago.  But what a fine disc this is!  The musicianship and scholarship are astounding.  Guitar soloist Sharon Isbin celebrates the 30th anniversary of her founding the department of guitar studies at Julliard, a feat that stands in parallel with the 30th anniversary of the founding of Cedille records.  This great disc resurrects a major chamber work by Mario Castelnuovo-Tedesco and presents a definitive program of chamber music for guitar and string quartet.  This one has Grammy written all over it.

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This New Focus recording was my personal introduction to the music of Du Yun and I’m still reeling.  What substance!  What force! Dinosaur Scar is quite an experience.

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Another Starkland release, this album of music by the great new music pianist is a personal vision of the pianist and the creators of this forward looking repertoire.  Eye to Ivory is a release containing music by several composers and championed most ably by Kathleen Supové.

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Chicago born Jennifer Koh is one of the finest and most forward looking performers working today.  Limitless is a collaboration between a curious but fascinating bunch of composers who have written music that demands and receives serious collaboration from this open minded ambassador for good music no matter how new it is.  And Cedille scores another must hear.

Many recordings remain to be reviewed and some will bleed over into the new year so don’t imagine for a second that this list is comprehensive.  It is just a personal list I wished to share. Happy listening and reading to all.

Singing the Unsingable, Bethany Beardslee’s Autobiography


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by Bethany Beardslee and Minna Zallman Proctor

This is not, strictly speaking, an autobiography.  It is perhaps more in the style of a memoir.  It traces the career and life of a woman whose voice drove much of the avant garde from the 1950’s to the 1980’s.  It is told with a sober tone as the artist looks back on the highs and lows of life and career well spent.  She tactfully shares just enough of her personal life and relationships to provide a context for her tales.

Anyone with an interest in new music during those years had to encounter Beardslee’s carefully cultivated soprano voice.  Along with names like Phyllis Bryn-Julson, Cathy Berberian, and Jan De Gaetani, hers was a very familiar and welcome voice which led listeners (including this writer) reliably and frequently definitively through the plurality of styles that comprise the 20th Century.  Of course she was trained in and also sang the so called “classics” meaning Mozart, Beethoven, Schubert, Schumann etc. but she will likely be best known for her extraordinary service to new music.

Beardslee’s lengthy and sometimes rambling tome is a very personal look at a long and productive career.   She recounts teachers, other singers, composers, conductors, accompanists, and husbands over the span of a rich and interesting career.  The rambling quality of her prose serves only to cast an even more personal light on these accounts of her life and artistry.  Never is there a dull moment and this book will delight singers, composers, historians, and just plain listeners.

In the end this was a very satisfying read and the intelligent decision to include a discography as well as a list of Ms. Beardslee’s world and US premieres makes this book a useful document for further research into her career and the music which drove it.

Starkland Captures the Exploding Pianist: Kathleen Supové’s “Eye to Ivory”


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Starkland ST- 233

Kathleen Supové is one of a handful of new music pianists whose repertoire choices are such that anything she does is worthy of at least one listen and most frequently many more.  (She was previously reviewed on this blog for her wonderful The Debussy Effect album from 2017 on New Focus recordings.)  Starkland, analogously, is a label whose choices of both repertoire and artists is similarly reliable.  So it is with this most recent release.

Five composers are represented on 16 tracks.  All but one utilize some form of electronics (computer, sampler, etc.).  It is difficult to characterize the sort of choices Supové makes except to say that she leans toward the experimental but includes a variety of genres that run the gamut from minimalism to obtuse and complex experimentalism.  The issue here is not the genres but the quality of the performer’s choices and that is what makes this release so compelling.

The title track is by the still too little known Mary Ellen Childs (1957- ).  Eye to Ivory (2005) is a commission written for Supové is described in the brief but useful program notes as a composition focused on the sound densities of the various ranges of the keyboard and one which requires a variety of movements by the pianist (including sitting standing, etc.).  Obviously the visual component is not captured here but the sound clusters, no doubt analogous in some way with the movements, make for compelling listening.

Talkback IV (2010/12) by one Guy Barash, a composer new to this reviewer’s ears.  It is described as one of a series of pieces exploring the interaction between the piano and a computer in real time (i.e. the computer responds to what the piano is playing.  Barash does the real time digital processing.  Here is some of the edgy, perhaps even somewhat obtuse (to the casual listener I think) music where Supové and Starkland excel.  Its not easy listening but it is substantial enough to prompt this reviewer to bookmark the composer’s internet page (you should too).

It is with Rama Broom (2000) by Nick Didkovsky aka Dr. Nerve (1958- ) that we begin to hear a more intimate music making via the use of the performer’s voice speaking a text of her own composition. Written for this artist, the piece is an opportunity to showcase her dramatic abilities both as a writer and as a vocal performer.  There are algorithmic composition processes here but the music belies these complexities and what comes through is the drama in music, text, and performance.  Play this one on Halloween (that’s all I’m gonna say).

Also of 2000 vintage and continuing the intimate aspects of this album is the next selection, “In the Privacy of My Own Home” written by the Bang on a Can composer Randall Woolf.  He is also Supové’s husband and a composer of serious note.  If you haven’t yet encountered his work then you owe it to yourself to do so.

The intimacy of the work involves Woolf’s sampling of the pianist’s various types of laughter and playing the laughter on a sampling keyboard more or less simultaneously with the piano.  This twelve movement work has got to be this writer’s favorite of the group both for its melodic invention and the novel use of what is basically involuntary sounds made by or provoke from the pianist.  It’s like, “tickle me, I want to play piano” and it is a piece full of good humor and also deeply personal, even kind of sweet actually.  Will this be played by other artists using Supové’s sampled laugh or will they need to be tickled and sampled?  It is a delightful work.

Dafna Naphtali is yet another composer unfamiliar to this reviewer, also one with a fascinating, now bookmarked, internet page.  Her work Landmine (1999-2017) is another work written for Supové and another work involving real time interaction between a computer (which alters the timbre of the piano).  Its four movements are named with computer code (which adds a curious dimension especially to the tech challenged such as I).  And yes, this is probably one of the more obtuse and complex works but one which, with the curation of this artist, demands at least a listen or two.

Enjoy this album for its sonic beauties (Silas Brown’s mastering is always an event in itself) but also as a sort of advance guard suggesting the path of music yet to come.  It is in some ways similar to the CRI SD 288 recordings discs by the late Robert Helps from 1971 which helped guide this writer into the realms of new music.  It is a rich realm.

 

World Premieres and a Resurrection: Partch Vol. 3 on Bridge Records


Bridge Records is one of those labels whose every release is worth one’s attention. Their series of music of Elliott Carter, George Crumb, et al are definitive. And while this listener has yet to hear the first two volumes of the Harry Partch series this third volume suggests that Bridge continues to maintain a high standard as they do in all the releases that I’ve heard.

Harry Partch (1901-1974), like Philip Glass and Steve Reich would later do, formed his own group of musicians to perform his works. For Glass and Reich they could not find performers who understood and wanted to play their music. For Partch this issue was further complicated by the fact that he needed specially built instruments which musicians had to learn to play to perform the very notes he asked of them.  And keep in mind that Partch managed to do a significant portion of his work during the depression.  He is as important to the history of tonality as Bach, Wagner, and Schoenberg.

I will confess a long term fascination with Partch’s music.  Ever since hearing a snippet of Castor and Pollux on that little 7 inch vinyl sampler that came packaged with my prized copy of Switched on Bach I was hooked.  That little sampler also pointed this (then 13 year old) listener to Berio’s Sinfonia, Nancarrow, Steve Reich, and Terry Riley.  And so it continues.  But it is not just nostalgia that recommends this disc, it is the definitive nature of the scholarship, the intelligence of the production, and the quality of both performances and recordings that make this an essential part of any serious collector of Partch, microtonal music, musicology, and good recordings in general.

With the aforementioned interest/fascination I reached a point where I had pretty much collected and listened to all I could find of Partch’s music.  Certainly everything of his had been recorded, right?  Well ain’t this a welcome kick in an old collector’s slats?  Not only have the folks at Bridge (read John Schneider) found and recorded a heretofore practically known composition but they’ve done it with a brand of reverence, scholarship, and quality of both recording and performances such that this is a collector’s dream and a major contribution to the history of microtonal musics and American music in general.

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John Schneider from a You Tube screen capture

Let me start with the liner notes by producer John Schneider.  As one who is given to complain about the lack of liner notes I am so pleased to encounter such as these.  They alone are worth the price of the CD and read at times like the adventure they describe, to wit, this recording.  The tasteful and well designed (by one Casey Siu) booklet provides an intelligent guide to the music which enhances the listening experience.  Schneider’s web site also provides a wealth of information and references for further research.  Many would think that these liner notes are comprehensive as they are and there should be no need for anything more…so the link provided to even more info on the web site of the performing group on this disc, PARTCH.   These folks are Grammy winners and they perform on scholarly copies of the original Partch instruments executed by Schneider and his associates.  This release is solidly built from the ground up.

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PARTCH performing at RedCat copyright Redcat

PARTCH includes: Erin Barnes (Diamond Marimba, Cymbal, Bass), Alison Bjorkedal (Canons, Kitharas), Matt Cook (Canon, Cloud Chamber Bowls, Spoils of War), Vicki Ray (Canons, Chromelodeon, Surrogate Kithara), John Schneider (Adapted Guitars, Bowls, Canons, Spoils, Surrogate Kithara, Adapted Viols, Voice), Nick Terry (Boo, Hypobass), T.J. Troy (Adapted Guitar II, Bass Marimba, Voice), Alex Wand (Adapted Guitar III, Canons, Surrogate Kithara)

The 21 tracks contain five Partch compositions.  It opens with one of Partch’s more unusual pieces (for him), Ulysses at the Edge of the World (1962).  This piece was written for Chet Baker but Baker never got to play it.  It kind of sits a bit outside of Partch’s work and is his most direct use of the medium of “jazz”.  The piece has been recorded twice before.  For this recording two fine new music/jazz musicians were chosen, saxophonist Ulrich Krieger and trumpet player extraordinaire Daniel Rosenboom.  Excellent choices for this too little performed piece.

Tracks 2-13 contain the Twelve Intrusions (1950) which is basically an accompanied song cycle with instrumental pieces placed at the beginning.  These are great vintage Partch works but do read the liner notes on the evolution of Partch as he was writing these.  They describe some of Partch’s evolution during that time.

Next is another discovery (or restoration if you will).  Partch’s scores exist in various versions for various reasons.  Windsong (1958) was written as a film score for the Madeline Tourtelot film of that name.  It was later reworked into a dance drama (Daphne of the Dunes, 1967).  Here we have a live performance of the entire score which (read them notes) includes things not heard before, not to mention the most lucid sound of this recording.

Now to the putative star of this release, the Sonata Dementia (1950).  It too comes with some nice detective work allowing listeners to hear substantially what Partch intended but neither recorded nor rejected.  There are three movements and let me just say that they are captivating and substantial.  This deserves to be heard again and again.

Now two little bonus tracks (reminiscent in nature but not in content of the sampler I mentioned earlier) add significantly to Partch and his place in music history.  First is a Edison cylinder recording from 1904 of a traditional Isleta Indian chant which Partch, who had been hired to transcribe these songs, later incorporated into his music.  It’s early date and the nature of that old recording method provide a picture of early ethnomusicological work.

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Photo of Partch with adapted guitar found on web

The second bonus is a real gem.  Again, read the liner notes for more fascinating details.This is an important find, an acetate recording made of Partch performing his Barstow (1941) for an appreciative audience at the Eastman School of Music from November 3, 1942.  This early version (of at least three) for adapted guitar and voice was reconstructed by John Schneider and released on the Just West Coast album of 1993 (Bridge BCD 9041) and later performed so beautifully at Other Minds 14 in 2009.  But I believe that Schneider’s reconstruction predated the discovery of this recording.  Pretty validating to hear this now I would think.

It is this reviewer’s fondest hope that this wonderful Partch project will continue with its definitive survey of Partch’s work.  Bravo!!

 

 

 

My 2018 in the Arts


One of the Theater Organs at House on the Rock, Spring Green, WI, a really fun place to visit.


I’m skeptical about year end lists but I have enough people asking me that it would be impertinent to skip this task. I make no claims to having even listened to enough to make any definitive statements about the “best” but I have my own quirky criteria which I hope at least stirs interest. Here goes.

Let’s start with the most read reviews. Without a doubt the prize here goes to Tim Brady’s “Music for Large Ensemble”. This reviewer was enthralled by this recording by this Canadian musician whose work needs to be better known.

This little gem was sent to me by a producer friend and I liked it immediately. I knew none of these composers but I enjoyed the album tremendously. Don’t let the unusual name “Twiolins” stop you. This is some seriously good music making. It is my sleeper of the year.

Running close behind the Twiolins is the lovely album of post minimalist miniatures by the wonderful Anne Akiko Meyers. Frequently these named soloist albums of miniatures are targeted at a “light music” crowd. Well this isn’t light music but it is quite listenable and entertaining.


The creative programming and dedicated playing made this a popular review to New Music Buff readers. Definitely want to hear more from the Telegraph Quartet.

Another disc sent by my friend Joshua. This one is a DVD/CD combo of music by a composer whose existence was only revealed to me a couple of years ago. Marin includes a clever animated video which accompanies the title track.

I was fortunate enough to have been able to hear Terry Riley and Gloria Cheng in an all Terry Riley program at the Yerba Buena Center for the Arts. Both were in spectacular form and the audience was quite pleased.

I would be remiss if I didn’t include the fabulous 6 night series of concerts produced by Other Minds. This is why I am a rabid advocate of OM programs. More on that soon with OM 24 coming up.

And lastly I want to tell you about two more composers who are happily on my radar.

One of the joys of reviewing CDs is the discovery of new artists to follow. Harold Meltzer is now in that group for me. This basically tonal composer has a real feel for writing for the voice and has turned out some seriously interesting chamber music.

Another composer unknown to these ears. I bristle at the term “electroacoustic” because it sometimes means experimental or bad music. Not so here. Moe is fascinating. Definitely worth your time.

OK, gonna can the objectivity here to say that this is possibly the most underappreciated album I’ve heard this year. Combining a recording of the Debussy Preludes along with Schoenberg’s rarely heard “Hanging Gardens”, Webern’s Variations, and Berg’s Piano Sonata creates a picture of a moment in history when music moved from impressionism to expressionism. Jacob Greenberg is very much up to the task. Buy this one and listen, please. It’s wonderful.

Also beyond objectivity is this fascinating major opus by Kyle Gann. It didn’t get much recognition on my blog but it’s a major work that deserves your attention if you like modern music.

Well this is one of my favorite reviews in terms of the quality of my writing. The work is most wonderful as well. Though this review was actually published on December 31st I’m still including it in my 2018.

This is definitely cheating on my part but after that concert at Yerba Buena I can’t resist making folks aware of this wonderful set on the independent label, “Irritable Hedgehog”. Trust me, if you like Riley, you need this set.

I review relatively few books on this site but by far the most intriguing and important book that has made it across my desk to this blog is Gay Guerilla. The efforts of Mary Jane Leach, Renee Levine Packer, Luciano Chessa, and others are now helping to establish an understanding of this composer who died too young. Here’s looking forward to next year.

I know I have left out a great deal in this quirky year end selection but I hope that I have not offended anyone. Peace and music to all.

Quince Ensemble: Motherland


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New Focus FRC 203

I looked at the rather drab cover.  I had never heard of the Quince Ensemble nor any of the composers featured on this disc.  I looked again at the cover.  Clearly it was labeled with one of those parental advisory warnings which one rarely sees on a classical recording.

My usual practice is to do some research before spinning a given disc but I decided to just put this one in the CD player cold.  I had about an hour’s drive ahead and I decided to just let the disc speak for itself.  But my spidey sense suggested I might be in for a rather dull listen.

So much for my superhero powers.  From the moment the first track played I felt drawn in.  What I heard seemed to be a mixture of Peter Kotik (of Many, Many Women in particular), Meredith Monk, a touch of La Mystere de Voix Bulgare, the west coast group Kitka, and a few others).  That is to say that this disc grabbed my attention and had echoes of a few other contemporary vocal music styles.  What I heard was very compelling, creative, practiced, passionate.

This is mostly an a capella group though they made very effective use of harmonicas as drone material at one point.  Even after reaching my destination (achieved before the disc ended) I couldn’t bring myself to shut it off so I stayed parked and listening til I had heard the entire disc.  Yes, it was THAT compelling.

Complicating the reviewer’s task further is that the disc contains four compositions by four composers whose first appearance on this writer’s radar was from this very disc.  All four are world premiere recordings and all are by women composers.

The Quince Ensemble consists of Liz Pearse (soprano), Kayleigh Butcher (mezzo soprano), Amanda DeBoer Bartlett (soprano), and Carrie Henneman Shaw (soprano).  And this is the fourth album dedicated entirely to this ensemble’s work.  Two previous albums were appearances and collaborations.

The featured composers are (in order of their appearance on this release): Gilda Lyons (1975- ); Laura Steenberge; Cara Haxo (1991- ); and Jennifer Jolley (1981- ).  All appear to be Calfornia based and at the beginnings of what will doubtless be some interesting careers.  I will leave it to the interested reader to look into the details available at these various web sites but, after listening to the music, most listeners will want to know more.

The pieces range from Lyon’s Bone “Needles” coming in at just over 4 minutes to the next two multiple movement pieces and finally Jolley’s “Prisoner of Conscience” which is an homage to the politically active musical group, “Pussy Riot”.  This is the longest and most political piece on the album.

From the initial (and incorrect) assumption that this would be a dull disc to the end of this listening journey I came to see this disc in quite a different light.  The cover now seems friendly and appropriately representative of the album.

Rather than go into a bland or potentially inaccurate analysis of these pieces suffice it to say that this is effective and affecting music by a delightfully talented and energetic ensemble.  If you like vocal music, political music, music by women, or are just looking for something to lift you from your daily malaise give this one a try.  You will be both challenged and entertained.  No doubt this group would be fantastic in a live performance but for now we shall have to make do with this wonderful recording.

 

 

 

Other Minds 23: Whereof One Cannot Speak…


“Fragment #3”
speaking is speakingWe repeat
what we speak
and then we are
speaking again and that
speaking is speaking.

TokyoJune sometime, 1976                                                                         Richard Brautigan (1935-1984)

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(Left to right: Clark Coolidge, Karen Stackpole, Michael McClure, Anne Waldman, Randall Wong, Aram Saroyan, Sarah Cahill, Charles Amirkhanian, Carol Law, Alvin Curran, Beth Anderson, Jaap Blonk, Tone Åse, Amy X Neuberg, Sheila Davies Sumner, Enzo Minarelli, Ottar Ormstad, Susan Stone, Pamela Z, Taras Mashtalir)

The last statement in Ludwig Wittgenstein’s 1921 Tractatus Logico-Philosophicus (Whereof one cannot speak, thereof one must remain silent) is well known among philosophy students and has taken on the quality of an aphorism or truism.  But the six days of this most recent Other Minds Festival was functionally an effective refutation of this concept.  And the controversy over the awarding of the most recent Pulitzer Prize in music to a rap/hip-hop artist (a species of sound poetry?) which was announced on April 16th, 2 days after the end of this festival of sound poetry seems to reflect the prescience and presence of mind of the Other Minds organization.  Apparently words are “in” even if Wittgenstein and the critics of the Pulitzer Foundation say otherwise.

The Wages of Syntax

Other Minds 23 (April 9-14, 2018) in many ways began with the release in 1975, of one of the first (and still arguably the finest and still in print) anthologies of a strange, somewhat nebulous species of what can loosely be termed “sound poetry”.  That anthology was called “10+2: 12 American Text Sound Pieces” curated by the man behind this week’s vast expansion on that anthology, Charles Amirkhanian.

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Amirkhanian and his wife, artist and photographer Carol Law took a long strange trip in the early 1970s.  No, they did not follow the Grateful Dead.  Rather they sought a little known group of artists who walked a line seemingly between poetry and music.  From the Nordic countries to northern Europe, France and Italy they encountered artists who used the voice (though not necessarily language per se) to produce a sonic art form which nearly defies categorization.

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Amirkhanian  in his office

Charles Amirkhanian is himself a composer and percussionist in addition to being a producer and promoter of contemporary music.  As a composer, as it was with his long radio career, his voice has been his main instrument.  His resonant, articulate baritone voice has served him well these years and this festival provided a rare opportunity to see/hear Amirkhanian perform his own work live.

This unprecedented 6 day festival marks the longest in the series of the Other Minds annual music festivals.  As relatively obscure as this art form may seem to the casual observer this series managed to provide historical context, current practices, and a tantalizing look/listen at the future of what is in fact a vast body of work.  The ability of Other Minds to find hidden treasures of sonic art continues to amaze.

Day one,subtitled, “The Wages of Syntax”, was the gala opening featuring some of the leading artists in the field.  After the obligatory intros the Italian master Enzo Minarelli presented the world premiere of his tribute to Stephane Mallarmé, “Ptyx”.

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The piece, comprised of phonemes rather than syntactical sounds, was an apt introduction to the weird and wonderful world of sound poetry.  Minarelli was passionate and expressive, a beautiful performance.  Only later in this series would we come to know the depth of scholarship, preparation, and experience that informed this and all his performances.  More on that a bit later.

Next up was one of the elder statesmen of San Francisco poets, the wonderful Michael McClure.  At 85 he sported a walking stick (no not really a cane) needed due to a recent fall.  He also required assistance of one of the stage managers to help him to the little chair and desk set up for him.  But none of that mattered once he opened his little bookmarked book of poetry and began to read “Marilyn Monroe Thou Hast Passed the Dark Barrier” and some of his Ghost Tantras from 1962.  His voice was strong, his delivery both certain and witty.  His combinations of words and non-syntactical sounds were delivered with the same joy, humor, and pathos which appears to have inspired them in the first place.  The audience responded very warmly to his ecstatic delivery.

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After a bit of stage preparation we were treated to one of the most prominent members of the next generation of American poets that followed Mr. McClure (can I be forgiven for saying beat poets?), Anne Waldman.  She was accompanied (as her texts required) by percussionist Karen Stackpole.  Waldman presented from her “New and Selected Poems”, “Pieces of an Hour (for John Cage)”, excerpts from “Voices Daughter of a Heart Yet to Be Born”, and excerpts from “Trickster Feminism”.  Her characteristically forceful and peripatetic performance carried her between the microphone and Stackpole’s percussion instruments and back again.  It was a charged and sincere performance which clearly charmed (some might say stunned) the audience.

Waldman’s ties to the world of sound poetry go back to her New York roots and her involvement in the St. Mark’s Poetry Project and the Dial-a Poem Poets whose recordings have included her work and that of John Cage, Charles Amirkhanian, Clark Coolidge, and Michael McClure among others.  Small world.

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Next up was the venerable Aram Saroyan.  I suppose Saroyan (yes, the son of Pulitzer Prize winner William Saroyan) can be said to be part of the same post beat generation artists as Waldman.  Perhaps best known for his “minimalist poetry” he is also an accomplished biographer (Genesis Angels deserves to be better known IMHO) and literary innovator.  It was Saroyan’s poem “Crickets” (1965) which ended the first side of that anthology mentioned at the beginning of this article.  It was in an infinite loop in the end groove of side one of the LP playing the one word which comprises the poem, “crickets”.  And it was this little gem that he performed on this night….with a twist.  After a few repetitions he invited the audience (many apparently still trying to figure out what was going on) to join…which we did…,at first hesitantly, in unison…and then, in a touch of group inspiration, just like real crickets, not all in unison.  It was a strange sort of call and response that charmed the audience and brought a smile to the poet as well.  And that only brought us to intermission.

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Michael McClure, Anne Waldman, and Aram Saroyan

The second half introduced the first of the international stars, Jaap Blonk, the Dutch sound poet and performance artist.  He began with one of his own works, Obbele Boep ‘m Pam (a bebop sound poem).  It was a sound poetry homage to that 1950s species of jazz which inspired the beats, Bebop.  It was a sequence of sounds and words in a made up (by the performer) language intended to imitate the sound of his native Dutch language.

His second performance was of a sound poem from 1916 by the man who coined the term, “phonetic poem”, Hugo Ball (1886-1927).  This poem, based on phonemes common to the Swiss and German languages, was called, “Seepferdchen und Flugfische” (in English “Seahorses and Flying Fish”).  Blonk’s delivery of this turn of the century classic was the first of what would be several such revivals of revered early material of this nascent artistic genre.

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Jaap Blonk

Blonk was followed by the grand finale which returned us to the local roots with poet Clark Coolidge and the ever innovative Alvin Curran.  We learned that the two went to high school together and this was a strange and wonderful reunion with Coolidge reading his manic stream of consciousness poetry accompanied (sort of) by Curran’s musical ministering at both a grand piano and a sampling keyboard in a world premiere collaboration.

Though Curran now lives in Rome (and has for many years) he will always be welcome in the Bay Area where he lived, taught, and performed for many years.  Curran is no stranger to Other Minds either having performed at Other Minds 7 in 2001 and, more recently, at the Nature of Music series.  He is a musician, not a poet but his eclecticism has allowed him to collaborate successfully with a wide variety of artists in a long and varied career which continues to command attention.

The nature of the interactions which characterized this world premiere performance of “Just Out of Nowhere” were not obvious though it is a fair assumption that a degree of improvisation was used and, no doubt, some of the successful confluences on this night were first encountered in rehearsals.  Coolidge’s stream of consciousness rhythmic ramblings were ever present but never overwhelming.  In response, Curran moved back and forth between the grand piano and the sampling keyboard working with serious concentration to provide his musical support for the words.

It was an intense performance as inscrutably mind expanding as all that went before.  Curran signaled the end (as has become his performance custom) by blowing the sacred shofar over the undampened piano strings which resonated in kind and faded to silence which, in turn, was held for a moment by the audience as they disengaged from their attention to offer warm and appreciative applause.  It was a striking collaboration and a reunion of two beloved artists.

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The audience seemed to feel the pure emotion of this performance and the two performers embraced warmly before acknowledging the accolades of the charmed audience.

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Sadly this writer had to miss the second night of the festival which consisted of a lecture by Enzo Minarelli on the history of sound poetry followed in the evening by a workshop on how to do sound poetry run by Jaap Blonk.  Both were apparently well received and it is my understanding that they will soon be available for streaming on the Other Minds web site.  Definitely gonna check that out.

The second night was given the subtitle, “No Poets Don’t Own Words”.  Even for those who were fortunate enough to have attended this extended Tuesday program it is worth noting that there is a wealth of resources easily available to the interested listener.  The Other Minds website has links to a wealth of archives which include interviews and performances by a variety of artists.  In fact (and this was a creative touch) you get a free CD entitled, “What is sound poetry?”, an archived KPFA radio program when you buy one of the unique t-shirts (designed by none other than Carol Law) from the Other Minds Web Store.  Get this stuff while you can folks.

Also worthy of note (this writer has lost many hours browsing here) is Ubuweb, an online archive of music, texts, films, and sound poetry.  The fact is that these six evenings ultimately could only serve as an introduction to the unusual and entertaining genre.  And those whose appetites have been whetted by this series will want to hear more.

The History Channel

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Day 3, April 11th.  The subtitle for this night’s performance was, appropriately, The History Channel.  It was an opportunity to display some of the origins and early foundational masterworks of sound poetry.  Enzo Minarelli displayed his academic skills and interests as he interpreted several classic “scores” (which were projected on the back wall) as the performer brought them to life in what appears to have been as authentic a performance as could be had with this material from the early twentieth century.

Minarelli did readings of: “Dune (parole in libertå)” (1914) and “Zang Tumb Tuuum: Adrianopoli, 1912” (1914) by Filippo Tommaso Marinetti; Fortunato Depero’s “Subway” (1939), “Verbalizzazione astratta di signora” (1927), and “Graticieli” (Skyscrapers, 1929).  He finished with one more by Marinetti, “Savoia” (1917).  In addition to the passion of Minarelli’s performance the look of the score, essentially artistically printed pages of words and phonemes, and the choices made by the performer to interpret those scores itself provided its own sense of drama.  The lighting and projection were simple and effective, supporting the live performance.

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No major stage changes were needed for the next performer, just a little music stand with a microphone and small lights to illuminate the score.  Randall Wong, currently administrative director at Other Minds is an accomplished singer.  He is in fact a male soprano who specializes in baroque vocal scores including opera.  No stranger to new music, Wong has also demonstrated his formidable vocal skills singing with the Meredith Monk Ensemble among others.  It was those extended vocal skills that were called upon this night.

One could hardly have found a more appropriate casting to perform this next item on the program, “Stripsody” (1966) by the deservedly celebrated new music soprano Cathy Berberian.  Similarly to Wong, Berberian’s career took her from baroque opera to a plethora of modern music (Berberian was married for a time to Italian modernist composer Luciano Berio who wrote many a score for her).  What is lesser known is that Berberian wrote some music designed and inspired by her own vocal skills.

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Stripsody is difficult to describe.

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It is, in fact, a combination of sounds, specialized vocal utterances, and visual theater and is a sort of homage to comic strips (hence the title).  Utilizing onomatopoetic sounds, imitations of real world sounds and the sheer range of Berberian’s vocal instrument the performer becomes a sort of live comic character.  This piece is demanding but highly entertaining and contains humor and a variety of references.  Never did the audience lose track of the virtuosity involved or the intensity of the performer’s stage presence.  Wong’s performance was at once accurate, virtuosic, and a touching evocation of the memory of Ms. Berberian.

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It was an immersive experience for both performer and audience witnessing the sounds, the gestures, the facial expressions, the sheer concentration required to convey both the humor and joy of this work.  Wong demonstrated serious stamina and seemed to have enjoyed himself.

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Now what is history without a bit of archaeology added in?  Charles Amirkhanian introduced writer Lawrence Weschler who is (bear with me now) the grandson of the composer Ernst Toch.  Toch is responsible for writing what is perhaps the best known example of the genre represented by OM 23 this year.

In 1930 he wrote a three part composition entitled, “Gesprochene Musik” (Spoken Music).  Two of the three parts of this composition had long been thought lost.  However choreographer Christopher Caines apparently did a reconstruction for his dance piece, Spoken Music (2006).  Tonight’s performance was the American premiere of substantially what Toch had originally intended way back in 1930.

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The last of the three pieces, “Geographical Fugue” is by far the best known of Toch’s spoken music (indeed the probably the best known of all his music despite a truly substantial catalog and a Pulitzer Prize, no less).  In addition to the Gesprochene Musik there was a performance of a much later work by Toch which parodies chatter at cocktail parties, “Valse”(1962).

All of these were performed by The Other Minds Ensemble which consists of Kevin Baum, tenor; Randall Wong, tenor (yes, he can handle both soprano and tenor); Joel Chapman, baritone; Sidney Chen, bass, Amy X Neuberg, and Pamela Z.

Fast forward now to 2014  when grandson, executor, and writer Lawrence Weschler came up, on a whim, with a medical text to fit to the original Geographical Fugue.  Tonight we were treated to the world premiere performance of Medical Fugue with the same ensemble.  Weschler’s facility with language allowed him to choose the phonetics which worked as effectively as Toch did in his original. No doubt grandaddy would have been proud.

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Following intermission Jaap Blonk again took the stage, this time doing a historical performance for which he has become quite well known.  Tonight he performed (from memory, no less) “Ursonate” (1932) by Kurt Schwitters.  This large and complex work in several sections (or movements) utilizes vocal sounds fit together in the manner of classical sonata form in music.  Blonk has been performing this work for many years now and he obviously both knows and loves this piece.  His sincere, kinetic performance brought the audience back to the time frame of those years between the wars most effectively.

Two pieces on tape were next: “La Poinçonneuse, Passe Partot No. 2” (1970) by Bernard Heidsieck (1928-2014) and “If I told him (a completed portrait of Pablo Picasso) (1934) by Gertrude Stein (1874-1946).  Both were presented with the theater darkened and a simple card projected on the back wall of the name of the work and the composer.

The Heidsieck piece is a poignant and bittersweet scenario alleged to be at least partly autobiographical.  The Stein was a poetic portrait of her friend, Pablo Picasso.  It was in Stein’s own unique take on language and left one wondering why Stein’s work is not even better known than it is.

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And for the finale the Other Minds Ensemble was joined by a frequent guest artist, the justly renowned pianist Sarah Cahill in a seldom performed work by American Composer (and Gertrude Stein collaborator) Virgil Thomson (1896-1989).  “Capital Capitals” (1917-1927) utilizes a Stein text.  Thomson and Stein enjoyed several successful collaborations (including two operas) with Thomson setting Stein’s words to music.

The text, designed with musical analogies in mind, was presented uncensored with a disclaimer in the program.  The text, a bit dated, would not be considered politically correct by today’s standards.  It is a celebration of the ancient capitals of Provence (Aix, Arles, Avignon, and Les Baux).  The music was written ten years after the text and shows the same collaborative affinity demonstrated in the operas.

The ensemble appeared to have a great deal of fun with the punning language and the music such a good fit. The audience clearly agreed.

Scandalnavians

Day 4:  One of the things that has characterized Other Minds concerts over the years is the attempt to include the world outside of the United States.  This year the international artists mostly come from that same territory which Mr. Amirkhanian and Ms. Law traversed on their journey in the early 1970s.  Jaap Blonk, who had already performed in from the Netherlands, Enzo Minarelli, from Italy.  We would on this night also be introduced to Sten Hanson (1936-2013), Ottar Ormstad , Taras Mashtalir , Lily Greenham, Åke Hodell, Sten Sandell, and Tone Åse.

The evening opened with tape presentations of two pieces by Sten Hanson (1936-2013).  Che (1968) and How Are You (1989).  The first was a deconstruction of words of Che Guevara and the second a phonemic deconstruction and electronic manipulation of the three words of the title.

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Then, in a significantly darkened hall, we were introduced to the work of Ottaras, a duo consisting of Russian composer Taras Mashtalir and Norwegian poet/artist Ottar Ormstad.  Standing stage left of the projection screen which covered almost the entire back wall Mashtalir worked on his laptop (producing some heavy rumbling that shook the walls and was felt in the listener’s body).  This writer’s first impression was that of some sort of IDM (Intelligent Dance Music) or ambient rave soundtrack.  It accompanied some striking (mostly) black and white images which took center stage on the screen at the back wall.  Slowly, at first imperceptibly, Ormstad wove some vocal sounds into the fabric.  It was the U.S. premiere of a 2018 work entitled, “Concrete”.  It was in four sections (or movements if you will) each separately titled, “Long Rong Song”, “Navn Nome Name”, “Kakaoase”, and “Sol”.

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The strange swirling images, sometimes with words or parts of words moved across the back screen while the two performers, barely visible, worked with their instruments (computer and voice) to create a soundtrack for the images.  Much like the non-syntactic use of sounds and language, the musical accompaniment was comprised of rather minimalistic utterances orchestrated in a wide range of frequencies with frequent heavy bass sound which provided a tactile component. All in all a rather mystical experience, exactly the cutting edge one looks for when attending an Other Minds production.

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The performers seemed touched, perhaps even a bit surprised by the very warm response from the audience who seemed to connect rather easily to this unusual and very sensual experience.

The first half of this night’s concert concluded with the presentation of two more tape pieces, Lily Greenham’s “Outsider” (1973) and Åke Hodell’s “Mr. Smith Goes to Rhodesia” (1970).  As in previous tape presentations a static photograph with titles was projected on the back wall in the darkened theater.

The Greenham piece is a solo monodrama in which the speaker (Greenham) is accompanied by an electronic chorus of her own voice.  Hodell’s piece is clearly a protest piece about racial oppression by Ian Smith (Rhodesian Prime Minister 1964-1979) in Rhodesia (now Zimbabwe and Zambia).  It is like the Greenham piece in that it utilizes a chorus but here the chorus is actual children gathered by the artist to speak/echo the lines of the narrative which contrasts the colonial narrative with both Hodell and the children periodically intoning, “Mr. Smith is a murderer.”  The contrast was chilling and the pause for intermission a welcome respite.

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The second half of the program began with a solo performance by Tone Åse, another world premiere.  She performed her work, Ka? (2018) for voice and electronics.  In this piece she works with the sounds of questions, hesitations, and the sound of dubiousness deconstructing words, phrases, sounds and manipulating them vocally and electronically in a piece whose low volume and sparse sounds certainly evoked the intended emotions.

After a brief acknowledgement of the appreciative applause the next performer, Sten Sandell sat down at the keyboard stage left and began the performance of Voices Inside the Language (2018), another world premiere.  Again this experience had a similar sparse, almost minimalist approach.  It was a collaboration that echoed the first night’s Coolidge and Curran performance and presented an entirely different sound world.

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Almost before the audience realized the collaboration was over Åse discreetly left the stage leaving Sandell to perform his work, “vertikalakustik: med horisontell prosodi” (2017).  Here was a near complete deconstruction of language using simply phonemes, individual sounds.  With voice, piano, and projections on the back screen, Sandell delivered his necessarily minimalistic piece.

Both Sandell and Åse briefly acknowledged the applause bringing to an end this most satisfying international segment of the festival.

Good Luck with/for/on/in/at Friday the 13th

Described as an antidote for triskaidekaphobia (fear of the number 13), this evening’s program featured primarily California based artists including Amy X Neuberg, Mark Applebaum, Charles Amirkhanian, Carol Law, and (the one non-Californian) Enzo Minarelli.

The most famous victim of triskaidekaphobia was the Austrian/American composer Arnold Schoenberg (1874-1951).  Curiously for the sake of the present subject matter, Schoenberg invented sprechstimme (speech song), a sort of half sung/half spoken style of performance for many of his vocal scores.  His unfinished opera, Moses und Aron (1932) uses it and ends the second (and last completed) act with Moses singing/speaking the following words: “O Wort, du Wort, das mir fehlt!” (in English: “O word, thou word, that I lack!”)  Indeed the theme in the composer’s libretto is centered in part around Moses’ inability to articulate his ideas.  (Aaron was the man of words, Moses the charismatic leader)  Here, tonight, we were presented with artists who have grappled similarly (as all artists do) with the issue of expression and their unique solutions to the problem.  (By the way the spelling, “Aron” is not a German spelling, it is Schoenberg’s truncation of the name so that the title would not have 13 letters.)  The poor man probably wouldn’t have survived this night.

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Projection of Applebaum performing with view of the composer/performer stage right as well.

The night opened to a darkened stage with the projection of one of those info/program note cards on the back wall.  The presentation was of a tape piece by Stanford professor (and Other Minds alumnus) Mark Applebaum.  Since the darkened stage and the all too brief bow taken by the composer exceeded the limits of this writer’s photographic skills I offer the above photo of Mr. Applebaum from previous Other Minds program.

The piece at hand on this Friday the 13th was, “Three Unlikely Corporate Sponsorships” (2016) which had it’s premiere at Stanford.  The three sections were entitled, “Nestlé”, “General Motors”, and “Haliburton”.  The mocking and humorous content was such that there was no doubt that the three named corporations were not involved in the creation and funding of this work.  Like some of his predecessors this week Applebaum is prone to political commentary in his music whose sound appeared to take place in a stereo sound field with some antiphonal effects.  Words were used, deconstructed, used again and never once were they used in a complementary fashion.  This is, in its way, a protest piece.

As I said, Applebaum came out only briefly (with a smile on his face) to acknowledge the very amused and appreciative audience.  One senses that protest against corporate greed is hardly an unpopular theme with this self selected audience which greeted this work with obvious satisfaction.

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Amy X Neuberg is a well known performer in the Bay Area and is also an alumnus of Other Minds.  Neuberg studied both linguistics and voice (at Oberlin College), and electronic music (at Mills College).  She has a strong well-honed soprano voice and has developed her own unique mix of language and music in compositions that defy easy categorization.

Neuberg graced us with “My Go”, “Christmas Truce: a journal of landlord/tenant situations”, yet another world premiere for this series, “Say it like you mean”, “That’s a great question (A Jerry Hunt Song Drape)”, and, one of her classics, “Life Stepped In”.

Neuberg’s work is a striking and unique combination of linguistic wizardry, cabaret style song writing, probably some rock and pop sensibilities, and the indefinably unique way in which she integrates voice and electronics with a touch of drama at times.  Her work is permeated with humor but also with social critique.  As is always the case (at least in this writer’s experience) her performance was greeted with warmth and appreciation.

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Following intermission we were again treated to the substantial performing skills of Enzo Minarelli who graced us with a generous selection of his own works including, “La grandeur di Ghengis Khan” (The grandeur of Ghengis Khan) comprised of eight vocal tracks and three noise tracks, “Il supere scopo di vita” (Knowledge as the purpose of life) “I nomi delle città come inno nazionale per Sinclair Lewis” (The names of the cities as national anthem to Sinclair Lewis) another multi-track work, and Excerpts from Fama: “Ciò chevoglio dire” (Fame: What I Want to Say): “Affermasi senza chiedere” (To succeed without asking), “Che teme il dolore (use la medicine della religion)” (Those who fear pain fuse the medicine of religion), “Alla ricerca del suono farmacopeo” (Seeking the pharmaceutical sound) and “Poema”.

In addition to their described meanings and verbal content these works were about the beauty of the Italian language and the beauty of the sound of the performer’s voice as well as the accompanying performance.  Minarelli is apparently a performer of high energy.  He performed on five of the six days and attended the last night as well seemingly all in a weeks work.

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Once again the fairly minimalist lighting strategies were remarkably effective.  Projections on the back wall along with Minarelli’s strong stage presence made for a striking performance of these works.

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Minarelli was like a poet from a cabaret in some lost Fellini film fraught with intelligence, drama, passion, and humor.

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Any of the above led the audience in some degree to the notion that what had just transpired would be a tough act to follow.  Certainly this was true for Mr. Minarelli but, rather than a denouement or even a cooling down there was a shift of gears, a transition if you will, to yet another universe of creativity.

We were next presented with a fairly rare experience.  We got to hear Other Minds’ executive and artistic director perform some of his own dalliances with languages and vocal utterances.  Charles Amirkhanian, no longer wearing his jacket but rather a long white shirt, came on stage with this wife and partner, in both life and artistic crimes, Carol Law.  Together they shared some of the inspirations of their (obviously still in progress) long strange trip.

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In addition to being a photographer, Carol Law is a collage artist and has also been involved in the design of a few of pieces of Other Minds collectibles such as the t-shirts created for this year and several from previous years.  What is a bit lesser known are her collaborative efforts with Charles Amirkhanian.  The above image, for example, demonstrates the striking, slightly disturbing images that characterize the first work on tonight’s program, “History of Collage” (1981).  Carol’s images were accompanied by a live recitation by Charles of a text which is actually about collage but is manipulated by a cut up technique.  Here we saw images and heard the spoken text.  For the next two collaborations Amirkhanian took his microphone and did his recitation in front of the projection screen creating effects not unlike the light shows and projections one might have seen in one of Bill Graham’s productions at the Fillmore Theater some 50 years ago.  That is not to say that the intent or effect was nostalgic or historical, just that it seems to exist in a parallel universe.  The long white shirt thus became a part of the projection screen with Amirkhanian moving dynamically along with the speaking of the disjointed texts.

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The visual imagery was both striking and unique and held this writer, if not the entire audience, in thrall to a powerful sensual onslaught.

Hypothetical Moments (in the intellectual life of Southern California) (1981) is another of these cut up texts, this time an intercutting of Edith Wharton’s, “Glimpses of the Moon” and what Amirkhanian describes as “the gruff drugged-out reportage of a Yankee baseball game”, Ted Berrigan and Harris Schiff’s, “Yo-Yo’s with Money” (Amirkhanian is an avowed baseball fan).  These were spoken over an improvisation done on an out of tune harpsichord modified by an Eventide Harmonizer.

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The pair stepped on stage together to acknowledge the very appreciative applause.  Indeed this was a rare and precious experience seeing them perform together and, though they did not eclipse the previous artists, they clearly established their parallel universe in the shared multiverse of sound poetry.  These are wonderful performance pieces.

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So…how do you follow that?  Well, apparently with some solo Amirkhanian.  As noted previously, Charles has been writing and performing his brand of vocal gymnastics since at least 1969.  Two of his works, “Just” (1972), and “Heavy Aspirations” (1973) were included on that anthology mentioned at the beginning of this review.

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Amirkhanian has taken the stage at least twice before at Other Minds performing his own text sound works.  Tonight he presented, “Maroa” (1981), a sort of homage to a street in his home town of Fresno, “Ka Himeni Hehena” (The Raving Mad Hymn, 1997), a  celebration/deconstruction of the Hawaiian language, “Marathon” (1997), a two voice poem which is like a nostalgic parody of the fundraising which Charles did so many times for KPFA, and, one of this best known works, the gently humorous “Dutiful Ducks” (1977) which involves rhythmic speaking and deconstruction of words on tape to which he reads live and (mostly) in sync.  As with most of what we all heard on these days, live performance IS the point.

INK Conclusion

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Day 6 featured beloved Bay Area diva (and Other Minds alumnus) Pamela Z.  While one might note that, like Amy X Neuberg, she has a powerful, trained soprano voice and relies on electronics, her results are an entirely different animal.  Some of Z’s specialized proximity controlled electronics are artistic creations themselves and play a part in the theatrical component of her performances.

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Pamela Z’s performances were enhanced tonight with video and slides such as this projection which supported her performance of Typewriter/Declaratives.

Like Neuberg, Pamela Z does a sort of cabaret style performance.  On this night she graced us with, “Quatre Couches/Flare Stains” (2015), “Typewriter/Declaratives” (2015), “33 Arches” (from a larger work called, Span, 2015), “Pop Titles: You” (1986) and the SF premiere of “Other Rooms” (2018).

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Z’s skills at writing for chamber ensemble were displayed in 33 Arches, a section of a larger work called Span.

Most commonly seen as a soloist with electronics, it was a wonderful opportunity to hear a portion of one of her recent works which involved writing for more conventional instruments in addition to her voice and electronics.  This was done also in conjunction with video.

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Pamela concluded with a performance of one of her classic works, “Pop Titles ‘You'” (1986) enhanced by the back wall projection of the text source for the work, a page of the now defunct Phonolog report which was commonly found in record stores “back in the day” as they say.  Z worked for a time at Tower Records.

Like Amy X Neuberg, Pamela Z was treated to a warm round of appreciation from this adoring home town Bay Area audience.

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Next came another of the artists who appeared on the 10+2 anthology, Beth Anderson-Harold.  She was accompanied by Other Minds intern and percussionist, Michael Jones.  Beth Anderson, originally from Kentucky, exudes a sort of midwest wholesomeness that belies a complex and assertive artist.  She is now based in New York but has strong roots in the Bay Area having worked with Charles Shere, John Cage, Terry Riley, Robert Ashley, and Larry Austin.

Her performances of “If I Were a Poet” (1975), I Can’t Stand It” (1976), “Crackers and Checkers” (1977), “Country Time” (1981), “Killdeer and Chicory” (2005), “Ocean, Motion, Mildew, Mind” (1979), and “Yes Sir Ree” (1978) were delivered with a powerful energy and enthusiasm.  She seemed almost surprised at the warm reception her performance received.  It was yet another example of the incredible variety that this genre of music embodies.

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Anderson’s delivery was powerful, ecstatic, and assertive.

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This sixth day of the varieties of sound poetry was brought to a conclusion first with three tape works by fellow KPFA (1990-2005) radio producer Susan Stone.  The works presented were, “Couch” (from House with a View, 1989), “Ruby” (from House with a View, 1993), and “Loose Tongues” (1990).  All are basically Stone’s personal take on radio theater which she describes as, “Cinema in the Head”.  Stone took an all too brief bow to acknowledge the applause.

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Though the audience’s attention seemed not yet to have flagged we were given an infusion of energy from the seemingly always energetic Jaap Blonk.  He presented six of his works to conclude the evening, “Dr. Voxoid’s Next Move”, “Onderland” (Underland, excerpts), “Rhotic (Phonetic Study #1, about the R), “Muzikaret (Music Made of Rubber)”, “Cheek-a-Synth (Solo for Cheek Synthesizer)”, and “Hommage à A.A. (for Antonin Artaud).

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Blonk’s seemingly boundless energy took him around the stage at times.

Blonk did a lovely thing to cap off this mind bending week (almost) of performances.  He engaged the audience in a call and response improvisation.  As these things generally go he began with fairly simple sounds and progressed to longer and more complex sound groupings which challenged the audiences attention and repetition skills, a task they/we performed with great joy and amusement.

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Blonk leading the call and response performance with the audience which concluded the series.

Twenty performers, four of whom had appeared on that wonderful anthology, kept the ODC Theater packed to near capacity on all six nights.  That alone is a feat.  What cannot be satisfactorily communicated in a mere article is the energy and focus of both the performers and the enraptured audience whose attention never seemed to flag as they/we were lead down unfamiliar paths to little heard universes of ideas and sounds.

This expanded festival also included one of the most spectacular program books this writer has ever seen from Other Minds.  Mark Abramson did the eye popping graphic design which featured no fewer than four different covers and very useful texts and photographs documenting the works performed and their history.  The t-shirts were another of Carol Law’s successful designs.  These may be highly collectible and, as of this writing, are still available through the Other Minds website.

In an promotional article entitled, “Other Minds 23: In the Beginning was the Word” I obviously used a biblical quotation (John 1: 1 for those interested).  In fact the only religious thing going on here was the spiritual magic of astoundingly talented performers, and a mighty unusual gathering of Other Minds in terms of the enthusiastic audience.  But I would be remiss if I did not take note of the fact that this fabulous marathon was done in six days.  I’m guessing we all rested on the seventh.