Charles Amirkhanian, Catalyst of New Music Turns 75


Charles Amirkhanian interviewed by Kyle Gann at Berkeley’s David Brower Center (Photo by Allan Cronin, Creative Commons license)

A large and sympathetic crowd filled the Goldman Theater in Berkeley’s David Brower Center on this 19th day of 2020, the 75th birthday of composer, broadcaster, producer, new music catalyst Charles Amirkhanian. His is perhaps not a household name except in the households of the legions of composers, musicians, and fans of new music (this writer’s household definitely included).  That is a substantial crowd actually and close to 200 of them were in attendance.  

It was somehow fitting that this celebration take place in this particular venue. The Brower Center also contains the office from which he administers the wonderful Other Minds organization, the current outlet for his various projects supporting new music including the annual Other Minds concert series. 

Joshua Kosman’s respectful article of January 14th served notice to all of this impending event.   

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Amirkhanian with his ASCAP Award in the background (Photo by Allan Cronin Creative Commons license)

Charles is the executive and artistic director of the Other Minds Music Festival in San Francisco, which he co-founded with Jim Newman in 1992.  That festival will mark its 25th incarnation this year.  In addition he produces Other Minds Records and maintains a huge archive of interviews and music as well as a weekly radio broadcast on KALW featuring new and interesting music presented by he and his musical confederates.  

His stint as music director for KPFA in San Francisco lasted from 1969 to 1992 during which time he also interviewed most (if not all) the significant new music composers and performers of the time.  This writer has dubbed him the “Bill Graham” of new music because of the detail and care he always takes in producing concerts, conversations, recordings, and happenings.

His musicological efforts can be seen in his writings and advocacy of the work of George Antheil (for whom he served as executor of the composer’s estate) and Conlon Nancarrow, expatriate American composer who spent much of his creative life in Mexico City.  It was in the composer’s studio there that Charles recorded all of the groundbreaking studies for player piano on the composer’s original instruments (a major undertaking).  Indeed Charles’ history of advocacy and support of fellow musicians and composers would be a worthy subject for a book on its own.  His advocacy is a large part of his legacy as well.

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Photo by Ebbe Roe Yovino-Smith (all rights reserved)

The 178 seat Goldman Theater had but a few empty seats.  The crowd was a clearly enthusiastic one comprised of artists and supporters of the arts.  The evening commenced with an interview by fellow composer and scholar Kyle Gann, himself long associated with Mr. Amirkhanian (since at least 1982).  A professor of music at Bard College, Gann came here to the west coast expressly for this interview.  

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Kyle Gann, composer, scholar, professor of music (Photo by Ebbe Roe Yovino-Smith)

After a brief intro from Blaine Todd, Other Minds’ Associate Director the interview (actually more of a friendly conversation) began  with brief discussion of Amirkhanian’s beginnings and subsequent history in music in the Bay Area (and beyond).  Just in this casual conversation we met the man whose experiences has had him cross paths with a virtual Who’s Who of the most significant figures in 20th (and now 21st) century music while pursuing his own compositional efforts.  

In many, or dare I say, most cases his relationships have been very beneficial to his peers.  This was quite evident in a few conversations which this writer had with fellow audience members.  One gentleman asserted that Charles has put his advocacy ahead of his own work in favor of supporting new and emerging talents.  Another reminisced about how much he had learned of new music as a result of listening to those KPFA shows and how much this meant in his life.  His support of this very blog is another example.  It came about during the experience of volunteering at the Other Minds office.  And one need only look at the histories of many of the composers hosted at the fabulous Other Minds festival to see the subsequent successes attained by the talented individuals invited to perform at those events.  Henry Brant’s Pulitzer Prize winning organ concerto, “Ice Field” (2001) was an Other Minds commission.  More examples abound.

 

Amirkhanian’s sound poetry can be found on albums such as Lexical Music (1979, now on OM records 1032-2), Mental Radio (1985, CRI records, reissued on New World Records), Walking Tune (1997, Starkland Records), and his genre defining anthology “10+2: 12 American Text Sound Pieces (1975, OM 1006).  

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There is more to be had in this one man’s work than one evening could hope to contain but this program was also a CD release event of Amirkhanian’s sound collage works, a distinctly different genre from those who may know his language based works.  The two CD set on New World Records, “Loudspeakers” is a compendium of four works, Pianola (Pas de mains) (1997–2000; the subtitle is French for “no hands”), Im Frühling (“In Spring”, 1990), Loudspeakers (1990) ,  a vocal portrait of Morton Feldman, and Son of Metropolis San Francisco (1987/1997).  This release serves as a fine birthday present for the composer and his audience illustrating this important aspect of his oeuvre..

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Carol Law

At one point Amirkhanian quipped about his “long suffering wife” Carol Law who is a photographer and visual artist whose work includes some fascinating collaborations with Mr. Amirkhanian.  The two spent the mid 1960s traveling and meeting sound poets throughout Europe and the Nordic countries.  These efforts were very nicely showcased some of his work in the Other Minds 23 concerts.  I include one photo from that festival to give some idea of the significance of the collaboration. Law’s affable presence is a part of all these concerts and, far from suffering, she seems to derive much joy and satisfaction from this work.

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Amirkhanian performing his sound poetry in conjunction with Carol Law’s surreal slide show in which Amirkhanian becomes a part of the striking images.

 

Though Charles once remarked in an interview that one cannot really play these sound collages and expect people to listen in a concert hall (these pieces are originally conceived for presentation on radio) that is exactly what he did at this event.  We were treated to some or all of the pieces on this important new release including the entire 20 minutes or so Son of Metropolis.  And this sympathetic audience ate it like candy.  Indeed these sonic landscapes, the experimental Pianola, and the humorous homage to the late Morton Feldman in the titular Loudspeakers were absorbed by hungry ears and met with appreciative applause.  It is clear to those with new music ears that this release is a major event.

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Other Minds OM-1025-2

In a role reversal consistent with our guest of honor’s reputation for magnanimity a portion of the event was given to listening to an excerpt (the album is over 2 hours long) from Kyle Gann’s masterful Hyperchromatica, a piece written for three computer controlled disklaviers all tuned to a 33 tone octave and produced by Amirkhanian on Other Minds Records.  One cannot accurately describe the sound of this music except that it may remind some of a detuned old piano.  It is anything but detuned and Gann owes his inspiration in part to the experiments with tuning from predecessors such as La Monte Young and Ben Johnston (among others).  Actually he just recently released his own carefully researched tome on the subject of tuning.  

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Amirkhanian briefly took the role of interviewer and provided a very useful introduction to this work prior to hearing one of its movements.  As with the earlier pieces the audience listened with respectful attention and responded with warm applause.  This Other Minds records release was also available before, at intermission, and at the conclusion of the vent with both Charles and Kyle happily autographing and discussing their work.  Both the Hyperchromatica disc and this new book are major additions to the world of new music.

 

 

 

And, of course, no birthday is complete without a cake.

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Photo by Ebbe Roe Yovino-Smith

Many lingered following the event (which exceeded its two hour original plan) to chat with the kindred spirits and share in the cake, cookies, and fine UBUNTU brand coffee.  It is an event that will live in this writer’s memory and doubtless in the many who attended.

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The man of the hour toasting his “semisesquicentennial”.

A very Happy Birthday to you, Mr. Amirkhanian.  Your vision and efforts have been and continue to be a blessing to the Bay Area and the new music community in general.  Salud!!

 

 

 

 

 

 

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.

Post Holy Minimalism? New Music from Lithuania


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All ready for Women’s History Month is this fine offering which features a fine young woman composer from Lithuania. It comes on the radar of Starkland Records and, happily now, to a new listening audience.

I sincerely hope that no one takes umbrage at my off handed categorization of this music as related to minimalism but I’m not sure what else to call it. This 70 minute work is divided into 10 sections which have poetic titles. It is scored for piano, violin, cello, and electronic sound. It comes from an area of the world (Lithuania, Latvia, Estonia) where individual national identities have long been overshadowed by the annexation of the former USSR. In the last 20 years a style related to minimalism has emerged as a characteristic style from this region (primarily in the work of Arvo Part). Some of that is here but this music is at least a generation removed and has evolved its own identity at the hands of this new composer.

In an unusual (though not unprecedented) move this album was recorded and produced entirely by the composer in Lithuania. In addition some of her fine color photography is featured in the liner notes (which are mostly by the composer). The production values are very much consistent with the high quality one expects from the Starkland label. In addition it must be noted that this is the simplest and sanest packaging now being used for CDs. None of that fragile plastic and still a functional storage sleeve.

So the next question (also common with Starkland releases) is: Who is
Žibuoklė Martinaitytė ? Well she is one of the emerging generation of composers from Lithuania. That, along with her having studied with Bronius Kutavičius (I actually started his Wikipedia article many years ago but his and other articles on new Lithuanian composers is limited still) suggested to me that she may be of the branch of minimalism which hails from this part of the world (i.e. Estonia, Latvia, Lithuania). Wrong, but not entirely.

Like a lot of emerging composers we have here an artist fully schooled in a very wide range of musical techniques and possibilities. On first listen one hears elements of drone, ambient, minimalism, extended instrumental techniques, and mysterious but effective use of electronics with this small chamber ensemble. The effect is frequently almost orchestral but also capable of great stillness and silence.

In the liner notes by the composer she speaks of being inspired by her observations whilst visiting Notre Dame in Paris. She speaks of a rather impressionistic notion of hidden or lost beauty. So I guess that throws impressionism into the mix. The composition does have metaphorical devices which do suggest the emerging of ideas and themes from an initial chaos or, to use Ives term, a “silence of the druids”. One must get to the 4th track to really get a sense that there is actually a piano trio on this recording. Very effective actually and then it fades back into the chaos and then the silence.

The album opens with silence into which a drone gradually makes itself known. These meanderings take the listener on a journey which is essentially the artists sonic vision as she walked through and around the iconic cathedral. The listener doesn’t even hear really more conventional musical sounds until about track 4 and concepts like melody and harmony take on a different meaning in this context. It is a large arc of a composition that embraces both chamber and orchestral textures as it tells its sonic tale of the composer’s visions and returns to the chaos of the unfocused mind at the end.

This puts this work in the realm of the earlier release (also on Starkland) of Ingram Marshall’s Alcatraz (1982) and Eberbach (1985). Eberbach was later released with its originally intended photographic component along with Alcatraz on a recent DVD on Starkland. And Mr Marshall provides some insight and reassurance in his liner notes for In Search of Lost Beauty. He affirmed for this listener that one needs to listen more than once to perceive the beauty found herein.

Recorded and produced entirely in Lithuania the artists include Indre Baikstyte, piano; Ingrida Rupaite-Petrikiene, violin, and Povilas Jacunskas, cello. The recording, done in Lithuania was mastered by the always reliable Silas Brown back here in the United States assures the quality listeners have come to expect from this fine independent record label.

Nakedeye Ensemble: A Fine New Music Group Pays Homage to Past and Future


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Starkland

It was only a few days after receiving this CD that I received a visit from a friend similarly interested in new music.  Shortly after that visit I discovered that the CD was missing.  My friend confessed to having taken it immediately when I asked but I already knew why he had taken it and why I might have done the same thing.  After all it’s a Starkland CD and this new performing ensemble have chosen for this, their debut recording, to do an arrangement of one of the finest pieces of political classical music ever.  It is their clever interpretation/homage of Frederic Rzewski’s Coming Together (1971) that provoked my friend’s larceny and laid bare my own moral weakness.  How could anyone resist that? (I told him took keep it and bought myself a new copy).

Nakedeye Ensemble was founded in 2011 with the intent of performing new music.  They were founded in Philadelphia

Curiously, of the six compositions featured on this release, three are “sociopolitical” and the other three I suppose come closer to a category like “absolute music”, the notion that music can be just about music.  While all art is a victim (or product) of its sociopolitical, geographical, and economic context one can at least say that there is a continuum in which some music actually depends on those contexts in a greater degree.  Sociopolitical music is a pet obsession with your humble reviewer.

The disc begins innocently enough with a fine rendition of Sextet (2010) by Jonathan Russell (1979).  This is a pleasant post-minimal work with rock influences and provides a gentle introduction to an apparently carefully constructed playlist designed to demonstrate some of the range of skills possessed by this group.  The influence of Steve Reich is present and functions almost like a framework for the post minimal music that emerges.  Another generation puts its stamp on this genre which is now older than anyone in this ensemble.

With the second track we get to one of those political pieces and to the second oldest composer represented.  Zack Browning‘s Decade of the Dragon (2015) was written to commemorate the 40th anniversary of the end of the Vietnam War and the 50th anniversary of its beginning.  Browning (1957- ) is professor emeritus at the University of Illinois and the director of the Salvatore Martirano Composition Award (Sal was also no stranger to politics).

Decade of the Dragon sounds like a post-modern sort of tone poem, evoking through musical quotation and development of original themes, the composer’s memories of the travesties that permeated those years formative to his development much as they were to your reviewer’s and doubtless many whom I imagine to be an ideal target audience for this music (and all the music on this disc actually).  And there is a sort of painful irony to hearing the artistic expressions of these sad historical events played (very effectively) by an ensemble for whom the events are solely history.

Rusty Banks‘ (1974-  ) “Surface Tensions” (2015) is another playful post-minimalist essay which is not afraid of a little experimentation.  Banks is among the younger composers here but this little sampling of his work suggests we will be hearing much more from his pen.

Randal Woolf  (1959) is a name which will likely be more familiar to listeners as he is a seasoned member of the so called “downtown” musicians.  He applies his considerable compositional skills to a politically infused work, “Punching the Clock” (2015).

There is a dedication and respect communicated by these musicians for their art, the artists whose work they interpret, and for the history that inspired some of them.  Nowhere is this better demonstrated than by the last track, Frederic Rzewski’s Coming Together (1971).

This piece has been done by many ensembles over the years but the only recording other than Rzewski’s original on Opus One records is one by the Hungarian ensemble “Amadinda”.  The text is spoken clearly, dramatically, and effectively and in English, albeit with a charming Hungarian accent.  There are also various lovely and interesting readings to be found on You Tube (including an uncharacteristically hesitant reading by rapper/actor Mos Def) but the arrangement by resident composer Richard Belcastro does a stunning (Am I too old to say “reboot”?) or reworking of the original.

Using different voices, intonations, and inflections this arrangement uses the voices in a sort of pointillistic counterpoint with voices having solos, sometimes answering each other, sometimes together.  Ranging from plain speech to whispers to various different vocal inflections this arrangement sort of democratizes the voices and creates a scenario in which the listener could envision their own voice and struggles.

The music here is great all the way through but the special joy of this release is the discovery of these youthful artists whose insights belie their age and whose technical skills suggest that Nakedeye can now take their place (alongside Eighth Blackbird, ICE,  Alarm Will Sound, Band on a Can All Stars, etc.)  Definitely a group that bears watching/listening.

 

 

 

David Lee Myers’ Ether Music: A Nearly Lost Thread of Electronic Music


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Starkland 227

There is a certain nostalgia here both in the sound of this album and its provenance.  David Lee Myers (1949- ) is perhaps best known for his work under the rubric of Arcane Device from 1987-1993.  Under that name one finds 23 albums on the discogs web site.

Myers has collaborated with people like Asmus Tietchens (1947- ), a German electronic composer (with a hefty discography), Kim Cascone  (1955- ), an American electronic composer and producer, Marco Oppedisano (1971- ), an American guitarist and composer, Ellen Band, an American electronic composer, and Tod Dockstader (1932-2015), among others.  His output has been in the electronic music genre, i.e. no live components and he works in a style which he calls, “feedback music”.  Like Dockstader, Myers has worked outside of the academy and has relied upon home made electronics and techniques he has developed over the years to produce a rather unique musical style.

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Tod Dockstader with tapes and score notes.

More so than the other mentioned collaborators Myers’ work with Dockstader is the “thread” to which the title of this review refers.  The release of the long out of print early work of Tod Dockstader was effectively the genesis of Starkland Records.  With the release of Quatermass (1992) and Apocalypse (1993) Dockstader was forced out of obscurity and motivated to begin composing and releasing recordings again.  Those Starkland releases were of some long out of print LPs from the early 1960s and Dockstader, who had been working in the music industry but no longer releasing his compositions was inspired to bring that aspect of his work again to the public.  Two of those efforts included the collaboration of David Lee Myers, Pond (2004) and Bijou (2005).  (After Dockstader’s death Starkland surprised the musical world by releasing heretofore unknown gems from the composer’s archive in From the Archives (2016).)

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David Lee Myers with some of his electronics.

It is both beyond the scope of this review and beyond this reviewer’s expertise to comment meaningfully about the compositional processes by which Myers achieves his ends but, thankfully, the liner notes by Dan Visconti provide significant insight in this area.  One can assume that his innovations in electronics as well as the devices themselves will become a treasured part of the history of electronic music along with the recordings themselves.

There are ten tracks here all written in 2015, and all utilizing Myers’ “feedback music” techniques.  The CD booklet includes both some of Myers’ beautiful circuit sketches as well as photos of some of his self made electronic processing equipment.  (This actually seems to echo the similar production of the booklet from that “From the Archives” disc of Dockstader’s work.)  Also worth noting is that the mastering is done by Silas Brown whose expertise contributed so significantly to the success of that last Dockstader disc.

The listener is free to dwell on the technical notes and ponder how these sounds and processings come together to produce the final product or simply let the experience flow over you.  There are doubtless many riches to be found in the pursuit of the technical and the analytic.   But the most important thing is that you listen, just listen.  This reviewer’s first hearing of this disc was on a long, leisurely late night drive which allowed an uninterrupted experience of the entire disc.  It was only later that I chose to take in the liner notes and booklet.  And while these enhanced the experience the tracks are sufficiently substantive in themselves to carry the listener into Myers’ unique technological vision which is unlike any other save perhaps for that of the aforementioned thread to Dockstader.

Though related by this thread, Myers’ vision is truly like none other in the field of electronic classical music.  If anything this seems to be a nearly lost thread, one of the self-sufficient tinkerer and explorer who shares his discoveries with anyone who dares to listen.  So, listen, I dare you.  You won’t be disappointed.

Release date scheduled for November 10, 2017.

 

 

Discovering and Preserving a Legacy: Tod Dockstader: From the Archives


dockarch

Starkland ST-226

I’m gonna go out on a limb here and suggest that this disc is a major and important release.  The history of music includes a fair amount of instances in which a second look at a particular composer who had been neglected yields a rediscovery which places said composer to their proper place in history.  Such was the case with Mendelssohn famously rediscovering Bach and Sir Thomas Beecham championing the works of Hector Berlioz. Conductor Robert Craft brought the work of Anton Webern to a larger audience with his recording of the complete works back in the 1950s and, more recently, Michael Tilson Thomas did a similar favor for the work of Carl Ruggles.  Of course not every musico-archaeological effort yields great results but the present release would appear to be auspiciously positioned to bring delight to listeners as well as place its composer in a more appropriately prominent place in the history books.  Now we are treated to a previously unknown cache of musical treasures from such a master, the digital equivalent of discovering Tut’s tomb.  It is an amazing disc on many levels.

This recording is nearly as much the accomplishment of Starkland Records’ producer Tom Steenland as it is of the composer Tod Dockstader (1932-2015).  Starkland’s  first two releases were CD reissues of the composer’s four Owl Records albums from the mid-1960s. It was the musicological acumen of Steenland whose love for those albums that helped provide motivation for him to found Starkland Records and promote this important electronic composer to proper historical recognition.  Dockstader was, in turn, inspired by the very positive response to those reissues to end his thirty year hiatus and return to composing.  He subsequently released the three volumes of Aerial (2005-6) on Sub Rosa and two collaborations with David Lee Myers (whose thumbprint is to be found on the present recording as well), Pond (2004) and Bijou (2005).

As if all that weren’t quite enough a new chapter dawned shortly after Dockstader died in 2015.  He left behind his archive of tapes and record releases and something more.  Justin Brierly, a radio host, was a fan of Dockstader’s music and wanted to interview him for his show.  He contacted Tom Steenland who was able to put him in touch and he was able to visit and interview the composer on several occasions.  The composer’s daughter, Tina Dockstader Kinard, gave Brierly the computer tower containing work files which had been saved on that hard drive over the years. There were thousands of files in various stages of completion, some just sample files, some duplicates, but many complete or nearly complete compositions that had not been heard since they were created.  Brierly sorted through these and sent some 50 files to Tom Steenland who carefully selected 15 tracks for the present release.

Tod Dockstader was a composer with a day job, that is he worked as a film and sound editor and took advantage of his access to what would have been prohibitively expensive equipment at the time to create his own brand of electronic music.  Sadly Vladimir Ussachevsky denied him access to the Columbia-Princeton Studios back in 1961.

Stylistically he holds much in common with his antecedents Edgar Varese, Pierre Henry, Louis and Bebe Barron, Pierre Schaeffer as well as contemporaries such as Morton Subotnick and Andrew Rudin. His albums from the 1960s of course utilized the tape splicing techniques and analog equipment of the time.  Some of the music from his Eight Electronic Pieces (1961) album was selected (as were some of Andrew Rudin’s electronic compositions) for inclusion in the soundtrack for Frederico Fellini’s Satyricon (1969).

When he returned to composing in the late 1990s studios were digitally driven and computers ruled. He reportedly had little difficulty learning and using computers for his later works. Despite the change from analog to digital media however Dockstader’s style remained extremely consistent, a clear and unique voice in the musical landscape.

Prior to this release it had been thought that his last word musically was the three volume Aerial series of 2005-6.  Now Starkland presents this lovingly selected cache of the composer’s most recent works.  He had effectively stopped composing in 2008 wrestling with the ravages of dementia but did listen and comment at times with Brierly during his visits on some of these files and, fittingly, enjoyed the fruits of his own labors to the very end of his life in 2015.  There’s no doubt more of a story to be told there for sure and here’s hoping that we may soon see a comprehensive biographical and musical assessment of his work.

For the wonderful liner notes Steenland recruited Geeta Dayal,  a San Francisco based writer whose writings on music can be accessed from her website and are well worth your time to investigate.  She comes with quite a pedigree as a writer on the subject of electronic music both old and new.  Her liner notes are both authoritative and good reading.  She would be my vote for a Dockstader biographer.

The exact intentions of the compositional process cannot be determined (Dockstader left no notes about these files) but it seems clear that these are all late period pieces.  They are all dated between 2005 and 2008.  The titles of these pieces were made based in part on the computer file names for the pieces which had not gotten their final naming by the composer.  One can only imagine the labor of love involved in Brierly’s and Steenland’s distillation of these final 15 tracks but the end result is a very satisfying collection consistent in quality to previous releases and a worthy representation of his last works (though this reviewer is given to hopeful wonder that a volume II might emerge in the near future).  At any rate Dockstader’s legacy is now secure and no doubt there will be much research done on his work made easier now by the dedicated sleuthing of these producers.

The first track, Super Choral (2007) contains some collaboration with David Lee Myers as mentioned earlier and it is used with his permission.  I won’t try to describe the rest of these pieces except to say that they seem to be a worthwhile contribution to the art of electronic music, are excellently crafted and eminently listenable.

The liner notes with their studio porn images of Dockstader’s beloved Ampex machines are tastefully mixed with images of the composer and his family.  The mastering was done by the wonderful Silas Brown and is about as good as it gets.  I can’t imagine a more fitting tribute to the composer’s legacy than this and I can’t imagine this not being nominated for a Grammy.  Bravo gentlemen!

Release is scheduled for November 18th.  You can pre-order both the download and the physical disc on Amazon.

 

 

 

 

 

 

 

 

 

Memories and Memorials: Guy Klucevsek’s “Teetering on the Verge of Normalcy”


klucevsek

Starkland ST-225

As someone who grew up attending Polish weddings and hearing more than his share of polka music I was fascinated at the unusual role of the accordion as I began to get interested in new music. People like Pauline Oliveros and Guy Klucevsek completely upended my notions of what this instrument is and what it can do.  The accordion came into being in the early 19th century and was primarily associated with folk and popular musics until the early 20th century.  It has been used by composers as diverse as Tchaikovsky and Paul Hindemith but the developments since the 1960s have taken this folk instrument into realms not even dreamed of by its creators.

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Guy Klucevsek with some of his accordions

Guy Klucevsek  (1947- ) brought the accordion to the burgeoning New York “downtown” new music scene in the 1970s.  He began his accordion studies in 1955, holds a B.A. in theory and composition from Indiana University of Pennsylvania and an M.A. (also in theory and composition) from the University of Pittsburgh.  He also did post graduate work at the California Institute of the Arts.  His composition teachers have included Morton Subotnick, Gerald Shapiro and Robert Bernat.  He draws creatively on his instrument’s past even as he blazes new trails expanding its possibilities.  The accordion will never be the same.

Klucevsek has worked with most all of the major innovators in new music over the years including Laurie Anderson, Bang on a Can, Brave Combo, Anthony Braxton, Dave Douglas, Bill Frisell, Rahim al Haj, Robin Holcomb, Kepa Junkera, the Kronos Quartet, Natalie Merchant, Present Music, Relâche, Zeitgeist, and John Zorn (who also recorded him on his wonderful Tzadik label).  He has released over 20 albums and maintains an active touring schedule.  He recently completed a residency (April, 2016) at Sausalito’s Headlands Center for the Arts.

transoft

Starkland ST-225

freerange

Starkland ST-209

Starkland has released no fewer than three previous albums by this unusual artist (all of which found their way into my personal collection over the years) including a re-release of his Polka from the Fringe recordings from the early 1990s. This landmark set of new music commissions from some 28 composers helped to redefine the polka (as well as the accordion) in much the same way as Michael Sahl’s 1981 Tango and Robert Moran’s 1976 Waltz projects did for those dance genres.

polkfringe

Starkland ST-218

The present recording, Teetering on the Edge of Normalcy (scheduled for release on September 30, 2016), continues this composer/performer’s saga.  His familiar humor and his unique experimentalism remain present but there is also a bittersweet aspect in that most of these compositions are homages and many of the dedicatees have passed from this world.  Klucevsek himself will turn 70 in February of 2017 and it is fitting that he has chosen to release this compilation honoring his colleagues.

On first hearing, many of Klucevsek’s compositions sound simple and straightforward but the complexities lie just beneath the surface.  What sounds like a simple accordion tune is written in complex meters and sometimes maniacal speed.  To be sure there are conservative elements melodically and harmonically but these belie the subversive nature of Klucevsek’s work which put this formerly lowly folk instrument in the forefront with the best of the “downtown” scene described by critics such as Tom Johnson and Kyle Gann.  You might mistake yourself as hearing a traditional music only to find that you had in fact wandered into the universe next door.

Many favorite collaborators have been recruited for this recording.  Most tracks feature the composer with other musicians.  Four tracks feature solo accordion, two are for solo piano and the rest are little chamber groupings from duets to small combos with drum kit.

The first three tracks are duets with the fine violinist Todd Reynolds.  Klucevsek’s playful titles are more evocative than indicative and suggest a framework with which to appreciate the music.  There follows two solo piano tracks ably handled by Alan Bern. Bern (who has collaborated on several albums) and Klucevsek follow on the next track with a duet between them.

Song of Remembrance is one of the more extended pieces on the album featuring the beautiful voice of Kamala Sankaram along with Todd Reynolds and Peggy Kampmeier on piano.  No accordion on this evocative song which had this listener wanting to hear more of Sankaram’s beautiful voice.

The brief but affecting post minimalist Shimmer (In Memory of William Duckworth) for solo accordion is then followed by the longer but equally touching Bob Flath Waltzes with the Angels.  William Duckworth (1943-2012) is generally seen as the inventor of the post-minimalist ethic (with his 1977-8 Time Curve Preludes) and he was, by all reports, a wonderful teacher, writer and composer.  Bob Flath (1928-2014) was philanthropist and supporter of new music who apparently worked closely with Klucevsek.

Tracks 10-12 feature small combos with drum kit.  The first two include (in addition to Klucevsek) Michael Lowenstern on mellifluous bass clarinet with Peter Donovan on bass and Barbara Merjan on drums.  Lowenstern who almost threatens to play klezmer tunes at times sits out on the last of these tracks.   Little Big Top is in memory of film composer Nino Rota and Three Quarter Moon in memory of German theater composer Kurt Weill. These pieces would not be out of place in that bar in Star Wars with their pithy humor that swings. They also evoke a sort of nostalgia for the downtown music scene of the 70s and 80s and the likes of Peter Gordon and even the Lounge Lizards.

The impressionistic Ice Flowers for solo accordion, inspired by ice crystals outside the composer’s window during a particularly harsh winter, is then followed by four more wonderful duets with Todd Reynolds (The Asphalt Orchid is in memory of composer Astor Piazolla) and then the brief, touching For Lars, Again (in memory of Lars Hollmer) to bring this collection to a very satisfying end.  Hollmer (1948-2008) was a Swedish accordionist and composer who died of cancer.

As somber as all of this may sound the recording is actually a pretty upbeat experience with some definitely danceable tracks and some beautiful impressionistic ones.  Like Klucevsek’s previous albums this is a fairly eclectic mix of ideas imbued as much with humor and clever invention as with sorrow and nostalgia.  This is not a retrospective, though that would be another good idea for a release, but it is a nice collection of pieces not previously heard which hold a special significance for the artists involved.  Happily I think we can expect even more from this unique artist in the future.

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Guy Klucevsek, looking back but also forward.

The informative gatefold notes by the great Bay Area pianist/producer/radio host Sarah Cahill also suggest the affinity of this east coast boy for the aesthetic of the west coast where he is gratefully embraced and which is never far from his heart (after all he did study at the California Institute of the Arts and has worked with various Bay Area artists). Booklet notes are by the composer and give some personal clues as to the meaning of some of the works herein.  Recordings are by John Kilgore, George Wellington and Bryce Goggin.  Mastering is by the wonderful Silas Brown.  All of this, of course, overseen by Thomas Steenland, executive producer at Starkland.

Fans of new music, Guy Klucevsek, accordions, great sound…you will want this disc.