Composers of Northern California, Other Minds 19


OM 19, the final bow.  Left to right: Charles Amirkhanian, Charles Celeste Hutchins, Joseph Byrd, Wendy Reid, Myra Melford, Roscoe Mitchell, John Schott, Mark Applebaum, John Bischoff, Don Buchla

OM 19, the final bow. Left to right: Charles Amirkhanian, Charles Celeste Hutchins, Joseph Byrd, Wendy Reid, Myra Melford, Roscoe Mitchell, John Schott, Mark Applebaum, John Bischoff, Don Buchla

This past Friday and Saturday the San Francisco Jazz Center hosted the 19th annual Other Minds Festival concerts.  This is the first year not to feature an international roster.  Instead the focus was on composers from northern California.  (Strictly speaking these composers’ creative years and present residence is northern California.)  It was not a shift in policy but a focus on a less generally well known group of artists who have not enjoyed the exposure of east coast composers but have produced a formidable body of work that deserves at least a fair assessment.  In fact these concerts presented a fascinating roster of composers from essentially three generations.

The first generation represented was one which came of age in the fabled 1960s and included electronic music pioneer Don Buchla, AACM founding member Roscoe Mitchell and proto-minimalist Joseph Byrd.  The second was represented by Wendy Reid, Myra Melford and John Bischoff.  And the youngest generation by Mark Applebaum and Charles Celeste Hutchins.

The program opened on Friday night with a sort of pantomime work by Stanford associate professor of music Mark Applebaum.  The piece, called Aphasia (2010) consists of an electronic score to which the composer, seated in a chair, responds with a variety of carefully choreographed gestures.  The result was both strange and humorous.  The audience was both amused and appreciative.

Applebaum's Metaphysics of Notation (2008) performed by the Other Minds Ensemble.  Left to right: Myra Melford, John Bischoff, Wendy Reid, John Schott, Joseph Byrd, Charles Amirkhanian and Charles Celeste Hutchins

Applebaum’s Metaphysics of Notation (2008) performed by the Other Minds Ensemble. Left to right: Myra Melford, John Bischoff, Wendy Reid, John Schott, Joseph Byrd, Charles Amirkhanian and Charles Celeste Hutchins

Applebaum’s graphic score Metaphysics of Notation (2008) was projected overhead while the ensemble played their interpretations of that score.  The ensemble, dubbed the Other Minds Ensemble, consisted of most of the composers who participated in the festival including Mr. Amirkhanian displaying his facility with  a percussion battery among other things.  (Presumably Roscoe Mitchell, who was reportedly not feeling well, would have joined the ensemble as well.)  Mr. Applebaum was conspicuously absent perhaps so as to not unduly influence the proceedings.

Ribbons strewn across the stage, a part of the Other Minds Ensemble's interpretation of the Metaphysics of Notation

Ribbons strewn across the stage, a part of the Other Minds Ensemble’s interpretation of the Metaphysics of Notation

The piece was full of minimal musical gestures, humorous events like ribbons strewn across the stage and the popping of little party favors that emitted streamers.  The ensemble appeared to have a great deal of fun with this essentially indeterminate score which they are instructed to interpret in their own individual  ways.  It was a rare opportunity to see and hear Mr. Amirkhanian (who is a percussionist by training) as well as an opportunity for the other composer/performers to demonstrate their skills and their apparent affinity for this type of musical performance.  Again the audience was both amused and appreciative.

Mark Applebaum performing on his invented instrument.

Mark Applebaum performing on his invented instrument.

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

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

The third piece by Applebaum featured the composer with his invented instrument and electronics playing on a balcony stage right with a projection of himself on the big screen.  He produced a wide variety of sounds from his fanciful computer controlled contraption that seemed to please the audience.  This is the kind of unusual genre-breaking events which tend to characterize an Other Minds concert.

The second composer of the night was the elusive Joseph Byrd who is perhaps best known for his cult classic album The American Metaphysical Circus by Joe Byrd and the Field Hippies from 1969.  A previous band, The United States of America released a self-titled album which received critical acclaim in 1968.  Both are apparently out of print but available through Amazon.

Joe Byrd studied music with Barney Childs and worked with La Monte Young, cellist Charlotte Moorman, Yoko Ono and Jackson Mac Low.  Byrd went on to produce a great deal of music by others and also wrote music for films and television but his own compositions have only come to light again recently with the release of a New World CD released in 2013 which presents his work from 1960-63.  Mr. Amirkhanian said that it was this disc that got him interested in inviting Byrd to Other Minds (Byrd also taught at the College of the Redwoods in Eureka, California.).

This is the sort of musical archeology for which Other Minds has become known.  Amirkhanian is known for his ability to find and bring to performance and recordings music which has been unjustly neglected.  Hopefully this appearance will be followed by more releases of Byrd’s other music as well.

Byrd was represented here by performances of Water Music (1963) for percussionist and tape with Alan Zimmerman (who was one of the producers of the New World album) played the spare percussion part which integrated well with the analog electronic tape.

Alan Zimmerman performing Joe Byrd's Water Music.

Alan Zimmerman performing Joe Byrd’s Water Music.

A second piece, Animals (1961) was performed by the brilliant and eclectic bay area pianist Sarah Cahill with Alan Zimmerman and Robert Lopez on percussion and the fiercely talented Del Sol String Quartet (Kate Stenberg and Richard Shinozaki, violins, Charlton Lee, viola and Kathryn Bates Williams, cello).  This was another piece with soft, mostly gentle musical gestures involving a prepared piano and predominantly percussive use of the string players.  It was interesting to contemplate how this long unheard music must have sounded in 1961 but it was clear that it communicated well with the audience on this night.

Animals (1961)

Animals (1961)

John Bischoff performing his work Audio Combine (2009)

John Bischoff performing his work Audio Combine (2009)

Following intermission we heard two pieces by Mills composer/performer John Bischoff.  The first was Audio Combine (2009) which featured Bischoff on this laptop producing a variety of digitally manipulated sounds.  It was followed by Surface Effect (2011) with creative lighting effects/animations that nicely complemented the laptop controlled analog circuitry.  Bischoff’s music is generally gentle and clear.  It belies the complexity of its genesis in state of the art computer composition and performance for which he is so well known.

John Bischoff performing Surace Effect (2011)

John Bischoff performing Surace Effect (2011)

All this led to the final performance of the evening by Don Buchla whose modular synthesizers were developed in the early 1960s with input from Ramon Sender, Morton Subotnick, Pauline Oliveros and Terry Riley at the legendary San Francisco Tape Music Center (which later became the Mills Center for Contemporary Music).  Buchla also designed the sound system for Ken Kesey’s bus “Furthur” which featured in the Electric Kool-Aid Acid Test.

Don Buchla on the Buchla Bos and Nannick Buchla on the piano with film projection performing Drop by Drop (2012) in its American premiere.

Don Buchla on the Buchla Bos and Nannick Buchla on the piano with film projection performing Drop by Drop (2012) in its American premiere.

The conclusion of Friday’s program consisted of the American premiere of a Drop by drop by Don Buchla for Buchla 200e, electronically controlled “piano bar”  (another Buchla invention) and film projection.  The film was made in collaboration with bay area film maker Sylvia Matheus.  The sequence of images began with a dripping faucet and proceeded to a waterfall and then to emerging pictures of birds all the while accompanied by the various sounds from the synthesizer and the piano.

OM190028

Nannick and Donald Buchla receiving warm applause from the audience.

The Saturday night performances began with Charles Celeste Hutchins and his laptop improvising system.  Hutchins, a San Jose native, describes his system as related to Iannis Xenakis’ UPIC system and utilizes a live graphic interface which the computer uses to trigger sound events.

Charles Celeste Hutchins at his laptop performing Cloud Drawings (2006-9)

Charles Celeste Hutchins at his laptop performing Cloud Drawings (2006-9)

The drawings were projected onto the overhead screen.  There seemed to be a somewhat indirect correlation between the drawings and the resultant sounds and much of the tension of this performance derived from wondering what sounds would result when the cursor reached that particular drawing object.  The audience is basically watching the score as it is being written, a rather unique experience and the Other Minds audience clearly appreciated the uniqueness.

The projected graphic score for Cloud Drawings.

The projected graphic score for Cloud Drawings.

The Actual Trio: John Schott, guitar, Dan Seamans, bass, John Hanes, drums.

The Actual Trio: John Schott, guitar, Dan Seamans, bass, John Hanes, drums.

John Schott and his Actual Trio then took the stage to perform his own brand of jazz which seemed to be a combination of free jazz, Larry Coryell and perhaps even Jerry Garcia.  But these descriptions are merely fleeting impressions and are not intended to detract from some really solid and inspired music making.  After the conclusion of the set this listener half expected an encore.

But the program moved on toWendy Reid’s performance as we watched the stage being set up with music stands, some electronic equipment and a parrot in a cage.

Tree Piece #55 "lulu variations" with Tom Dambly, trumpet, Wendy Reid, violin and electronics and Lulu Reid on vocals.

Tree Piece #55 “lulu variations” with Tom Dambly, trumpet, Wendy Reid, violin and electronics and Lulu Reid on vocals.

Reid’s Tree Pieces are an ongoing set of compositions incorporating nature sounds with live performance.  This is not unlike some of Pauline Oliveros’ work in that it involves careful listening by the musicians who react within defined parameters to these sounds.

Lulu the parrot appeared nervous and did a lot of preening but did appear to respond at times.  The musicians responded with spare notes on violin and muted trumpet.  It was a whimsical experience which stood in stark contrast to the more declarative music of the previous trio but at least some of  the audience, apparently prepared for such contrasts, was appreciative.

Myra Melford performing selections from Life Carries Me This Way (2013)

Myra Melford performing selections from Life Carries Me This Way (2013)

The diminutive figure of Myra Melford took command of the piano and the hearts of the audience in her rendition of several pieces from her recent CD.  She played sometimes forcefully with thunderous forearm cluster chords and sometimes with extreme delicacy but always with rapt attention to her music.  Her set received a spontaneous standing ovation from a clearly roused audience.  She is a powerful but unpretentious musician who clearly communicates well with her audience.

Roscoe Mitchell, Vinny Golia, Scott Robinson and J.D. Parran  following their performance of Noonah (2013)

Roscoe Mitchell, Vinny Golia, Scott Robinson and J.D. Parran following their performance of Noonah (2013)

The finale of OM 19 was the world premiere of an Other Minds commission, the version for four bass saxophones of Roscoe Mitchell’s Noonah (pronounced no nay ah).  It is the latest incarnation of a piece of music that Mitchell describes as having taken on a life of its own.  It exists now in several different versions from chamber groups to orchestra.

The piece is vintage Roscoe Mitchell, a combination of free jazz and sometimes inscrutable compositional techniques which clearly enthralled the very focused performers.  What the piece seemed to lack in immediate emotional impact it made up in mysterious invention which was brought out grandly by the very experienced and committed players.

Mitchell, who was not able to attend on the previous night, appeared rather tired but played with a focus and enthusiasm that matched his fellow musicians.  Like all of Mitchell’s music there is a depth and complexity that is not always immediately evident but does come with repeated listenings and performances.

Thus concluded another very successful edition of Other Minds.  Now we look forward to the gala 20th anniversary coming up in March, 2015.

 

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Peace through “A Sweeter Music”


President Lyndon B. Johnson signs the 1964 Civ...

President Lyndon B. Johnson signs the 1964 Civil Rights Act as Martin Luther King, Jr., and others, look on. (Photo credit: Wikipedia)

Album cover

Album cover

It is fitting that this CD, this music has been released in the 50th anniversary year of the March on Washington and just prior to the 50th anniversary of the Civil Rights Act of 1964.  The series of 18 pieces in this major commissioning project by the wonderful bay area pianist, producer and new music advocate Sarah Cahill called “A Sweeter Music”, its title taken from a phrase in Martin Luther King, Jr.’s 1964 Nobel Prize lecture.  Though only 8 composers are represented on this recording this is a fine document of some truly wonderful and heartfelt music.  And Cahill’s introductory note indicates that there are plans to record the other ten pieces as well.

The project was planned to include video projections by Cahill’s husband, the skillful video artist John Sanborn.  The first formal performance took place on the Berkeley campus and the video projections across three screens added a dramatic perspective on the various pieces.  I was present at the first performance in Berkeley and later at a small multi-purpose hall in Point Reyes in the north bay.  At the smaller venue the projections were limited to a single screen but the images still added to the impact.  At the time of this writing Sanborn has posted some of these videos on You Tube ( http://www.youtube.com/user/sanborn707?feature=watch).

Still from one of Sanborn's videos.

Still from one of Sanborn’s videos.

Each of the recitals contained a selection of the pieces commissioned.  Sarah Cahill kindly provided the complete list which includes: Be Kind to One Another by Terry Riley, Peace Dances by Frederic Rzewski, There is a Field by Jerome Kitzke, Dar al-Harb by Preben Antonsen, The Olive Branch Speaks by Mamoru Fujieda, The Long Winter by Phil Kiline, Two, Entwined by Paul Dresher, War is Just a Racket by Kyle Gann, B’midbar by Larry Polansky, drum no fife by The Residents, Devotion to Peace by Michael Byron, Sonamu by Carl Stone, After the Wars by Peter Garland, A New Indigo Peace by Pauline Oliveros, Movement (Deep in My Heart) by Ingram Marshall, Study War No More by Bernice Johnson Reagon, toning by Yoko Ono and excerpts from Steppe Music by Meredith Monk.

The pieces represented on this recording are a diverse set including those by Frederic Rzewski, Terry Riley, Meredith Monk, Yoko Ono, The Residents, Phil Kline, Kyle Gann, and Carl Stone.  Missing from this disc, and planned for a future release, are the pieces by Jerome Kitzke, Larry Polansky, Pauline Oliveros, Preben Antonsen,  Sanborn’s images definitely enhanced the experience of the music and this writer hopes that some day this music might be released in a DVD format with those images but the pieces here stand easily on their own merits.

The disc opens with Terry Riley’s ‘Be Kind to One Another (rag)’ (2008-10).  Riley takes his title from a statement made by Alice Walker which followed the 9/11 attack on the World Trade Center.  Rather than express an anti-war stance Riley harkens to the days of his youth when he played barrel house piano music while he studied composition.  This is a jaunty and entertaining but substantial piece which expresses the wish for kindness.  It is a challenging work to play but not to hear.

‘Steppe Music’ (1997) is apparently a reworking of a 30 minute piano piece (the piece at hand lasts about 8 minutes) commissioned by Sarah Cahill for another masterful pianist, Nurit Tilles.  Meredith Monk is of course best known for her extended vocal techniques and dance/theater pieces.  Little of her piano music has been recorded and one hopes that there will be more to come.  This is a less literal contribution which, the composer says, is about “color, texture, resonance, and gesture…”.  Like her performance pieces this is music about images which evoke emotion and it is unlike any of Monk’s recorded piano music.

The seven ‘Peace Dances’ (2007/8) were written by a composer/pianist well-known for his political statements in music as well as for his virtuosic music.  Frederic Rzewski is probably best known for his massive set of variations on the protest song ‘El Pueblo Unido Jamas Sera Vencido‘ (The People United Will Never Be Defeated) commissioned in 1976 for Ursula Oppens.  His catalog contains a great deal of music with explicit and implicit political references.  Rzewski’s music sounds deceptively simple but is in fact very challenging to play.  These are part of a much larger set of compositions called “Nanosonatas”.  The dances here contain a variety of musical and political references that will entertain and frustrate musicologists for years to come but present the listener with some welcome additions to the repertoire.  Cahill plays them effortlessly and repeated listenings reveal more of the rich textures.  Rzewski’s inspiration, like that which inspired this series, is rooted in the same struggles as represented by Martin Luther King, Pete Seeger, gospel music and contemporary folk music.  The last of these dances was a birthday present for the 100th birthday of Elliott Carter.

Kyle Gann’s ‘War Is Just a Racket’ (2008) is written for speaking pianist.  He takes Christian Wolff’s ‘Accompaniments’, which was written for Frederic Rzewski in 1972 requiring the pianist to sing and speak as well as play.  It reminds this writer of Rzewski’s own ‘De Profundis’ of 1992 for speaking pianist using a text by Oscar Wilde.  Gann takes as his text a very interesting text by one General Smedley Butler who gave this speech in 1933.  Like Rzewski, Gann is no stranger to politics in his music.  This addition to the “speaking pianist” repertoire is spoken with feeling by Cahill as she pounds out the angry chords and melodies.  This is perhaps the most literal of the pieces on the disc and probably the least friendly to a conservative audience.

Sonamu (2010) was written by Carl Stone for piano and electronics.  It’s not the electronics your grandmother listened to either.  Stone uses a computer to perform “spectral convolution”, a process, the composer explains, which isolates various aspects of the sounds to “…shape and enclose the pitch and harmonies of separate voices…”.   The intention stated by Stone is to evoke ghosts and memories of the aftermath of war.  This most complex and abstract piece reminds me of the ghost electronics compositions by Morton Subotnick.  This piece requires repeated listenings and would no doubt be enhanced by Sanborn’s images.

Composer Phil Kline describes a process of using various musical fragments edited together to evoke images of living in a land under siege.  Kline was an eyewitness to the World Trade Center disaster and his personal experiences contained metaphorically in ‘The Long Winter’ (2009) have a memorial-like quality.  In the liner notes he describes his fantasy images leading to the realization that he (and we) do live in a land (or perhaps a world?) under siege.  The piece is in two sections ‘Crash’ and ‘Embers’.

Yoko Ono’s ‘Toning’ (2008) purports to be an effort to heal both performer and audience through sound.  As with much of her work this piece has an anti-art quality like the work she produced for the Fluxus performances.  This is perhaps the technically simplest of the pieces on this recording.  I think that reactions will vary to this music much the way that they vary to Ono’s oeuvre.  Those familiar with her work will see the threads that connect and others may simply dismiss her work entirely.

The enigmatic San Francisco based group “The Residents” aspire to anonymity as individuals in the hope that their audiences will focus on their art.  This is clearly one of their performance art pieces and is fairly explicit in its anti-war stance.  It consists of recorded voices and sounds in addition to the live piano performance and demonstrates the eclectic range involved in these commissions.

This CD was recorded at the recital hall at the University of California at Santa Cruz by Tom Lazarus.  It was released as another of the fine recordings of contemporary music on the Other Minds label with Charles Amirkhanian of ‘Other Minds’ as executive producer.  It is a major addition to the recordings of this political classical genre and a significant contribution to the solo piano repertoire as well as a snapshot of an eclectic range of contemporary music of the moment.  Highly recommended.