Steven Kemper’s Mythical Spaces


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Ravello Records RR 7980

It is this writer’s opinion that the category “electro-acoustic” carries such a wide range of connotations that it is of limited use to a listener.  This album is so characterized and here simply means that both electronics and acoustic instruments are used.  Even the concept of electronic music is difficult since such a designation. Playlists on Spotify and iTunes usually points the listener to a form of pop/dance music if you search for electronic.  Further complicating things (and I think this is at least in part the point here) the electronics here include fixed media (electronics which does what it is programmed to do and does not interact with the performers or simply plays alone) and robotic electronics as well as electronics which interacts with the performer.  You will have to check the composer’s web page for more information on what exactly the “robotic” media are.

This is cutting edge in the sense that it is experimenting with new media in combination with more traditional media (and simple electronics is now “traditional media” having been superseded by the new fangled).  The actual sound of this music seems to inhabit a rather spare sound world akin perhaps to that of late Morton Feldman but with more brevity. These pieces last from 1.5-10 minutes on average and demand some concentration on the part of the listener.  Think maybe a cross between Feldman, Webern and say Subotnick.

Now one could conceivably play this music at a low volume in the manner of so-called “ambient” music. There are not many dynamic changes here to take you away from that sort of reverie.  But that does not really seem to be the composer’s intention. These are concentrated little essays, each seeming to explore the parameters of its context, fixed media, live instruments, robotic media, and combinations of these.

Steven Kemper is a new name to this writer.  His education and wide interests are available on his web site.  While he has an impressive bibliography with cutting edge research interests in music and sound this appears to be his first CD.

There are 15 tracks which comprise 5 works.  Mythical Spaces (2010) is for percussion with fixed media in 5 separate movements.  Breath (2015) is for fixed media alone in one movement.  Lament (2015) is also in one movement and is scored for flute with interactive media.

The longest single movement comprises In Illo Tempore (2012 rev 2017) is scored for saxophone, bassoon, AMI (automated monochord instrument), and CARI (cylindrical aerophone robotic instrument).  It clocks in at 7:48.

Last but not least is The Seven Stars (2012) for amplified prepared piano in 7 movements.

Live performers include Mark Truesdell, percussion; Wayla Chambo, flute; David Wegenlaupt, saxophone, Dana Jessen, bassoon, and Aurie Hsu, prepared piano.

This is music which requires some serious concentration from the listener.  Hearing/seeing this live might provide some additional aspects due to these strange electronic/robotic instruments but the point here seems to be one of an inner voyage which, if you focus you listening energy, transports you into this composer’s imaginary spaces.  Whether you will enjoy this or not is difficult to say but it is certainly worth the effort.

 

The Alchemy of Diversity at Sound and Savor


 

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Freshly baked bialys right out of the oven opened the brunch.

This is another in the continuing account of my encounters with Philip Gelb’s underground vegan salon now called Sound and Savor.  For some twelve years now he has hosted a series of dinners, brunches, and cooking classes.  Many of the multi-course meals also feature some of the finest musicians, many from San Francisco and the east bay.

Today’s brunch started with fresh brewed coffee with a dollop of ginger (vegan) ice cream along with fresh baked bialys with cashew cream, pickled red onions, and “carrot lox”.  So we began with a vegan Jewish theme.  Needless to say these were delicious and the coffee helped waken anyone not ready for this 11AM start.

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The next course was a similarly delicious borscht (beet soup) with beet pakoras.  And clearly Phil has introduced this traditionally Indian dish which worked remarkably well with that soup.  Again all were hot out of the pot/fryer clearly in our view.

As Phil performed his culinary alchemy in the kitchen we were most attentively served by his assistant for this meal, Letitia, a smiling joy of a woman who seems to have the knowledge and genuine caring of customer service in her blood.  She was equally attentive to all in the crowd of about twenty diners with the usual mix of familiar faces and few new ones.  Indeed the beautifully presented courses came at just the right pace.

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The main course in this brunch was a Potato-Onion Tortilla, blood orange salad.  And once again the diversity of cultures mixed to truly savory results as the friendly conversations flowed.  At this point even the hungriest would hope for a pause and that’s exactly what happened.

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With a judicious touch of rearranging Phil prepared a performance space for the three musicians who graced us on this beautiful sunny Oakland day.  Jay Ghandi, bansuri (Indian Flute), Sameer Gupta, tablas (a staple of Hindustani music), and David Boyce, saxophone and bass clarinet (need I say a staple of jazz?).  The alchemy of the food would now find an analogy in this jam session.  Boyce and Gupta had played here about a year ago and Ghandi is a frequent collaborator with both musicians.  All three had played yesterday in San Jose and were scheduled to play in San Francisco at the Red Poppy Art House.  They are touring to promote their recent release A Circle Has No Beginning.  These are just three of the musicians who participated in this crowd sourced disc which is itself worth your attention.

The energy was immediately palpable as seen in this excerpt from one of three pieces they played.

This last excerpt demonstrates the ease of communication between these musicians who blend diverse backgrounds of jazz and Hindustani musics seamlessly into something new and wonderful.  The audience was energized to a level beyond what coffee could do and broke into appreciative applause after each piece.

The brunch ended with a dessert of (again fresh baked) Citrus Semolina Cake and more of that delicious coffee and ice cream.  And, of course, more conversation.

These events have become a regular part of this writer’s recreational time and a real reason to celebrate living in the diverse and creative east bay.  Phil’s judicious blend of cultures in his culinary experiments provide a parallel to his curation of some of the finest musicians with the only purpose in both case to entertain and enlighten.  He achieved both is a big way this day.  Thanks to all who participated.

Edgy Saxophone, Ryan Muncy’s “ism”


Tundra

This one wins the prize for the most charming and unusual presentation of a review copy that this writer has ever seen.  I received this rather plain looking slip case and contained therein was a little data card glued to a saxophone reed.  Fortunately I have just enough tech skills to find the little data card slot on my laptop and was able to then burn a CDr.

It was well worth the effort.  Ryan Muncy is a saxophone player with the increasingly venerable ICE.  (That is the International Contemporary Ensemble and not the less venerable immigration and customs enforcement by the way.)  He here takes the opportunity to demonstrate his considerable fluency on his instrument.  The deceptively simple cover belies some serious complexity in this release.

Beginning with James Tenney’s too seldom heard Saxony (1978) Muncy decisively lets the listener know that this is a hard core saxophone album with music that demands a level of skills and interpretive ability within the reach of only the finest musicians. Tenney’s piece is a multitracked composition concerned with acoustic phenomena produced by different tunings as do many of his works.  This piece is a species of minimalism, drone, even meditative music.  It’s slow unfolding demands and then rewards patience as it envelops the listener in lovely, trippy sound masses.  At over 20 minutes it is the biggest piece here and alone justifies purchasing this album.

What follows are 5 more tracks of similarly extreme experimental music with various extended techniques albeit on a much smaller scale.  Each is like a little study focusing on one or more extended techniques.  All but one are recent compositions by composers yet unknown to this reviewer.  The last piece is by the late great Lee Hyla (1952-2014) and is from 1979, making it contemporary with the opening Tenney piece.  Muncy demonstrates his facility with tuning, multiphonics and other creative techniques demanded by these composers.

Here is the track list:

James Tenney-Saxony (1978)

Erin Gee-Mouthpiece XXIV (2015)

David Reminick- Gray Faces (2011)

Morgan Krauss- masked by likeness (2014)

Evan Johnson- Largo caligrafico (2012)

Lee Hyla- Pre-Amnesia (1979)

Each of these pieces is seemingly a self contained universe and repeated listenings reveal more than simple experimentalism.

This is a disc for serious saxophone aficianados with an appreciation for free jazz and cutting edge instrumental techniques.  Truly a wonderful release.

Ken Thomson’s Restless: a Feast of New Chamber Music


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Ken Thomson is one of the rapidly rising stars of the New York music scene and beyond. His involvement with his group Slow/Fast which includes Ken Thomson, Russ Johnson, Nir Felder, Adam Armstrong and Fred Kennedy as well as Bang on a Can and others in the new music/new jazz community demonstrates his level of drive.  Thomson is a saxophone player and a composer.

The present album showcases his talents as a composer and are different than what I had expected from a musician with roots in free jazz and with saxophone as his principal instrument.  This is a set of two suites in the classical manner, a collection of movements. They do not appear to have any direct influence from jazz but rather they are quite clearly in a classical new music vein.

The first, Restless (2014) is a four movement piece for cello and piano.  It could have been called a sonata for all its complexity and development.  It is a lyrical and very listenable piece which is restless at times (though I think the title actually suggests multiple meanings) and loaded with fascinating musical ideas.  The writing for both the cello and the piano are apparently technically challenging but both are handled very well by Ashley Bathgate (cello) and Karl Larson (piano).  This disc is worth the price if only for the fantastic musicianship of these performers.

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Ashley Bathgate (cellist) and Karl Larson (pianist) (Photo by Gabriel Gomez, all rights reserved)

The three movement suite, Me vs. (2012) is a pianistic tour de force that makes great use of various pianistic effects involving judicious use of the sustain pedal and the creation of after image type effects which allow the harmonics to vibrate on strings not struck by the keys.  Again the nod to a basic three movement classical piano sonata with a complex first movement followed by a lyrical slow movement and a spritely virtuosic finale which resembles a moto perpetuo.

More about the internal dialogue that went on in the composer’s head is available in his commentary but this music doesn’t really require much explanation.  It is pretty clear and very effective music.  This is simply a wonderful recording of some fascinating new music.