Back in November I was invited to contribute a piece to an anti-Bush/anti-war CD that Pax Recordings is putting out, called Voices in the Wilderness. The label has updated its site and it looks like the CD will come out very soon.
Find out more about it, and see all the artists that are involved, by clicking here! There's going to be a release concert and benefit sometime in April here in the Bay Area. I'll post that to the Events page as soon as I know the date.
The piece I contributed is called "Cold Blood". I feel it's short, sweet, and to the point. I haven't heard the completed compilation yet, and I've been told pieces have been edited together to form a soundscape. There are good musicians behind Pax Recordings and behind this effort whom I trust, so I'm not concerned about how it will sound.
Sunday, February 20, 2005
Tuesday, February 08, 2005
ImprovGarage
Last night was the ImprovGarage benefit for 21 Grand. 21 Grand is a swell venue with superb organizers. Since the building it's currently in is going to be knocked over and made into condos, it's going to move into a new place in April, over at 25th and Broadway in Oakland near God's Gym.
I was one of 16 performers. There were so many pillars of the community in the ensemble, it's a wonder the building wasn't thrown right off its foundation! I really enjoyed performing with all of them.
If I had to pick a favorite piece that we did last night, it would have to be Suggestion #1 by Theresa Wong. She explained to us at rehearsal that it was based on a memory game, where players turn over cards and get to keep them if they match. Each of us was given a card with a picture on it and we were to play when our card came up. The two "players" were Noah Philips and Jacob Lindsay. Each time they entered the texture, it was our signal to move from one part of the piece to another. I liked how Noah & Jacob's entrances made the piece hang together and how the other music was all duos. Mine was with Jon Raskin and I enjoyed it a lot. The texture was quiet enough I could play tongue stops on the bass flute and have them be heard. Jon was sitting behind me and to my right and he said the bass flute was pointed right at him and he could see almost all the way up it. :)
21 Grand is also an art gallery, and one of the pieces was an installation with 3 video screens. One of the screens played a video of somebody picking a scab and letting it bleed. It was hard to watch because you couldn't look at it without feeling it happen to you (which I'm sure is the point). Some of us were standing around at the break kind of squicking over it and Philip Greenlief and I were inspired to pull up our trouser legs and compare our knee surgery scars. It turns out we both had our knee surgeries as high school seniors, and it was not a football injury for either one of us.
Darren Johnston and Matt Davignon shared their bags of chips with me at the break. Matt told me his new album is about to come out on March 29.I said I was one of 16 performers...I'm pretty sure there were only 10 in the audience. This was disappointing. However, Amoeba Records made a $100 donation, and Philip's mom gave $60. All of the players and the audience bought drinks, and the audience paid to get in, so I really hope Darren and Sarah made a useful amount of money from the event.
I was one of 16 performers. There were so many pillars of the community in the ensemble, it's a wonder the building wasn't thrown right off its foundation! I really enjoyed performing with all of them.
If I had to pick a favorite piece that we did last night, it would have to be Suggestion #1 by Theresa Wong. She explained to us at rehearsal that it was based on a memory game, where players turn over cards and get to keep them if they match. Each of us was given a card with a picture on it and we were to play when our card came up. The two "players" were Noah Philips and Jacob Lindsay. Each time they entered the texture, it was our signal to move from one part of the piece to another. I liked how Noah & Jacob's entrances made the piece hang together and how the other music was all duos. Mine was with Jon Raskin and I enjoyed it a lot. The texture was quiet enough I could play tongue stops on the bass flute and have them be heard. Jon was sitting behind me and to my right and he said the bass flute was pointed right at him and he could see almost all the way up it. :)
21 Grand is also an art gallery, and one of the pieces was an installation with 3 video screens. One of the screens played a video of somebody picking a scab and letting it bleed. It was hard to watch because you couldn't look at it without feeling it happen to you (which I'm sure is the point). Some of us were standing around at the break kind of squicking over it and Philip Greenlief and I were inspired to pull up our trouser legs and compare our knee surgery scars. It turns out we both had our knee surgeries as high school seniors, and it was not a football injury for either one of us.
Darren Johnston and Matt Davignon shared their bags of chips with me at the break. Matt told me his new album is about to come out on March 29.I said I was one of 16 performers...I'm pretty sure there were only 10 in the audience. This was disappointing. However, Amoeba Records made a $100 donation, and Philip's mom gave $60. All of the players and the audience bought drinks, and the audience paid to get in, so I really hope Darren and Sarah made a useful amount of money from the event.
Tuesday, February 01, 2005
Pictures from Eugene
Now that I've had a chance to get the film developed -- here's how it looked in Eugene last month.
First of all, here is Jeff Davis laying down the drums for "Ultralite". He painstakingly layered live and MIDI drums. He is also the engineer for the whole project and the studio owner. It is completely fine with me that the drums are HUGE in the mix. :)
Jeff remarked on how the weather warmed up as soon as I arrived. Apparently it had been raining hard in Eugene the whole past week, but when I got there on the 18th, it was clear and 60 degrees F. It was very nice of the local weather spirits to have pity on a poor Californian.
Here is Jim Carr giving the paparazzi the hairy eyeball. He is playing a Lakland five-string bass. Jeff and I kind of herded him into the studio right after his train arrived and work started right then. It worked out great, and he was able to leave 2 days early, but he paid for it in aggravation on his trip back. He tried to fly home instead of taking the train, and security went through every inch of his luggage with such patriotic care that he missed his flight. The flight he was able to get after that allowed him to take the bass guitar as carry-on from Eugene to Las Vegas. When he got on the second flight from Las Vegas to SFO, though, they made him check it! Fortunately, the bass made it home undamaged.
Here I am with the bass flute working on one of the parts. Ultimately, "Ultralite" ended up with bass flute throughout and the other two songs have C flute. Jeff and I had a great time creating the introduction to "Ultralite", which is quiet and atmospheric with bass flute multiphonics and commentary from drums and a shaker. Jeff really liked the shaker I brought. He said it was a really beautiful instrument, and when I told him I found it at Cost Plus, he didn't believe me at first. :)
The album, Not Made of Stone, will be the first ever made by Polly Moller & Company, rather than just Polly Moller, which is what appears on my previous 3 CDs. It is definitely the work of all of us, not just me.
Everything came together so quickly I actually had a day and half left over just to rest. The weather stayed comfortable. I got to have breakfast at the Morning Glory on my last day there, which is truly not to be missed if you are ever in Eugene. It is right by the train station. I also got to visit Sweet Life, which is a dessert and coffee place I fell in love with when we came to play a gig in Eugene about a year and a half ago.
First of all, here is Jeff Davis laying down the drums for "Ultralite". He painstakingly layered live and MIDI drums. He is also the engineer for the whole project and the studio owner. It is completely fine with me that the drums are HUGE in the mix. :)
Jeff remarked on how the weather warmed up as soon as I arrived. Apparently it had been raining hard in Eugene the whole past week, but when I got there on the 18th, it was clear and 60 degrees F. It was very nice of the local weather spirits to have pity on a poor Californian.
Here is Jim Carr giving the paparazzi the hairy eyeball. He is playing a Lakland five-string bass. Jeff and I kind of herded him into the studio right after his train arrived and work started right then. It worked out great, and he was able to leave 2 days early, but he paid for it in aggravation on his trip back. He tried to fly home instead of taking the train, and security went through every inch of his luggage with such patriotic care that he missed his flight. The flight he was able to get after that allowed him to take the bass guitar as carry-on from Eugene to Las Vegas. When he got on the second flight from Las Vegas to SFO, though, they made him check it! Fortunately, the bass made it home undamaged.
Here I am with the bass flute working on one of the parts. Ultimately, "Ultralite" ended up with bass flute throughout and the other two songs have C flute. Jeff and I had a great time creating the introduction to "Ultralite", which is quiet and atmospheric with bass flute multiphonics and commentary from drums and a shaker. Jeff really liked the shaker I brought. He said it was a really beautiful instrument, and when I told him I found it at Cost Plus, he didn't believe me at first. :)
The album, Not Made of Stone, will be the first ever made by Polly Moller & Company, rather than just Polly Moller, which is what appears on my previous 3 CDs. It is definitely the work of all of us, not just me.
Everything came together so quickly I actually had a day and half left over just to rest. The weather stayed comfortable. I got to have breakfast at the Morning Glory on my last day there, which is truly not to be missed if you are ever in Eugene. It is right by the train station. I also got to visit Sweet Life, which is a dessert and coffee place I fell in love with when we came to play a gig in Eugene about a year and a half ago.
Saturday, January 29, 2005
The Wonder That Is Daniel
Fans of Stargate SG-1 use the above phrase to describe Dr. Daniel Jackson. I think it's okay to co-opt it, just for this post, to describe Daniel Magazin, deranged ragtime piano player extraordinaire. :)
I'm back from Eugene, where the first round of sessions for Not Made of Stone went extremely well. Dan's piano part, which he contributed to the song "How Now Is Soon", really takes the tune to a new level, along with Violent Femmes-esque drumming provided by Jeff Davis and Jim Carr's bass line.
But back to Dan. We have known each other a long time. We were undergrads together at SF State, when I was a flute performance major and he was a composition, then a piano performance, major. We have a really similar sense of humor and an affinity for all that's twisted and goofy. We have compatible political leanings. We love good food and good coffee and great conversation and astrology. We both wish we could afford tickets to Le Grand Macabre.
I remember the first time I ever wrote a piece, which was back in 1989. I had never considered myself a composer. In the classical world, composers and performers are generally brought up separately and the two fields assumed to be mutually exclusive. (Nowadays, thank Goddess, that's not always the case.) The piece wasn't long. It only took about a minute and a half to play on the flute but I had written it. Given how I'd been trained up to that point, I hadn't thought it was possible, and I wondered why I wasn't struck by lightning on the spot.
So when I realized I'd come up with something original and written it down, and thereby become A Composer, I was kind of stunned and wigging out and I remember Dan was the first person I told, right there in the hallway in the music building. :) It was natural that I should tell him, because he actually was A Composer.
Nowadays Dan pays way too much for a studio apartment in the City, and we meet in the evening sometimes for coffee near Union Square, and he comes to my place to rehearse, and it's just been really cool to work with him. So all hail The Wonder That Is Daniel. :)
I'm back from Eugene, where the first round of sessions for Not Made of Stone went extremely well. Dan's piano part, which he contributed to the song "How Now Is Soon", really takes the tune to a new level, along with Violent Femmes-esque drumming provided by Jeff Davis and Jim Carr's bass line.
But back to Dan. We have known each other a long time. We were undergrads together at SF State, when I was a flute performance major and he was a composition, then a piano performance, major. We have a really similar sense of humor and an affinity for all that's twisted and goofy. We have compatible political leanings. We love good food and good coffee and great conversation and astrology. We both wish we could afford tickets to Le Grand Macabre.
I remember the first time I ever wrote a piece, which was back in 1989. I had never considered myself a composer. In the classical world, composers and performers are generally brought up separately and the two fields assumed to be mutually exclusive. (Nowadays, thank Goddess, that's not always the case.) The piece wasn't long. It only took about a minute and a half to play on the flute but I had written it. Given how I'd been trained up to that point, I hadn't thought it was possible, and I wondered why I wasn't struck by lightning on the spot.
So when I realized I'd come up with something original and written it down, and thereby become A Composer, I was kind of stunned and wigging out and I remember Dan was the first person I told, right there in the hallway in the music building. :) It was natural that I should tell him, because he actually was A Composer.
Nowadays Dan pays way too much for a studio apartment in the City, and we meet in the evening sometimes for coffee near Union Square, and he comes to my place to rehearse, and it's just been really cool to work with him. So all hail The Wonder That Is Daniel. :)
Sunday, January 09, 2005
Harry Denton's Starlight Room
My brother Will manages the above-referenced establishment so I wanted to go there for an evening out and have the Starlight Room experience. So I went last Friday night.
The Starlight Room is on the 21st floor of the St. Francis Drake Hotel and everyone who offered me an opinion said it is the best nightclub in the City. It's very swanky with chandeliers and low lighting and live music every night. The first thing you encounter as you get off the elevator is a tremendous bouquet of red roses with longer stems than you have ever seen. Will, when asked where Mr. Denton gets his roses, replied that 6 dozen of them arrive every week from Ecuador.
You will hear no free jazz or other contemporary compositions at this club. :) Tunes I can remember the singers and the Starlight Room Orchestra playing were "Deja Vu", "My Cherie Amour", "Just the Two of Us", and the like.
You do not wear jeans to the Starlight Room unless you want to look like a loser. I was forewarned and did not wear jeans. There is a hostess and four cocktail waitresses, all in floor-length black evening gowns. The managers all wear tuxedoes. The busboys wear black tie also, without jackets. Chemine, who waited on my table, explained that Mr. Denton had the floor-length black evening gowns designed for the waitresses. They are not low-cut, which saves them a lot of grief. The skirts are slit all the way up, but the slit has a zipper on it so it's adjustable. There is also a velcro pocket in the skirt for tips, which in the low lighting is invisible.
There are a few vegetarian things on the menu, and what I had was really good, but on a purely personal level I don't know if that makes up for the fact that they have foie gras on the menu as well. It's a personal issue I have. Dessert was really decadent. They've only got one dessert, called Harry's Indulgence, and it involves chocolate mousse, a layer of white mousse on top, a sprig of mint, and a cookie base and raspberry coulis.
So there you have it; I've been to the Starlight Room. It is kind of Dr. Zhivago-esque contrasted with the tsunami devastation. When I look back on 9/11, and the way the American public consciousness seemed to shift deeply in its aftermath, I wonder why something similar hasn't happened now, given the staggering loss of life and the unbelievable suffering that's to come. Mother Earth has just shown how unspeakably powerful she is and how completely we depend on her, but I'm not sure the status quo is going to be shifted by this revelation.
Yesterday pianist Dan Magazin was successfully translated as data. He's been emailed to Eugene for my recording sessions a week and a half from now.
The Starlight Room is on the 21st floor of the St. Francis Drake Hotel and everyone who offered me an opinion said it is the best nightclub in the City. It's very swanky with chandeliers and low lighting and live music every night. The first thing you encounter as you get off the elevator is a tremendous bouquet of red roses with longer stems than you have ever seen. Will, when asked where Mr. Denton gets his roses, replied that 6 dozen of them arrive every week from Ecuador.
You will hear no free jazz or other contemporary compositions at this club. :) Tunes I can remember the singers and the Starlight Room Orchestra playing were "Deja Vu", "My Cherie Amour", "Just the Two of Us", and the like.
You do not wear jeans to the Starlight Room unless you want to look like a loser. I was forewarned and did not wear jeans. There is a hostess and four cocktail waitresses, all in floor-length black evening gowns. The managers all wear tuxedoes. The busboys wear black tie also, without jackets. Chemine, who waited on my table, explained that Mr. Denton had the floor-length black evening gowns designed for the waitresses. They are not low-cut, which saves them a lot of grief. The skirts are slit all the way up, but the slit has a zipper on it so it's adjustable. There is also a velcro pocket in the skirt for tips, which in the low lighting is invisible.
There are a few vegetarian things on the menu, and what I had was really good, but on a purely personal level I don't know if that makes up for the fact that they have foie gras on the menu as well. It's a personal issue I have. Dessert was really decadent. They've only got one dessert, called Harry's Indulgence, and it involves chocolate mousse, a layer of white mousse on top, a sprig of mint, and a cookie base and raspberry coulis.
So there you have it; I've been to the Starlight Room. It is kind of Dr. Zhivago-esque contrasted with the tsunami devastation. When I look back on 9/11, and the way the American public consciousness seemed to shift deeply in its aftermath, I wonder why something similar hasn't happened now, given the staggering loss of life and the unbelievable suffering that's to come. Mother Earth has just shown how unspeakably powerful she is and how completely we depend on her, but I'm not sure the status quo is going to be shifted by this revelation.
Yesterday pianist Dan Magazin was successfully translated as data. He's been emailed to Eugene for my recording sessions a week and a half from now.
Thursday, December 30, 2004
Quantum Darwinism
According to quantum physics, anything anyone can conceive of is happening in its own quantum reality. There are an infinite number of these realities dreamt up by all of us. So why do we all seem to be sharing one particular reality? There's a theory I just heard about that tries to explain why.
Quantum Darwinism is kind of a natural selection, or survival of the fittest, of quantum realities. The more people experience a certain reality, the more real it is. It seems to make a difference, too, whether the circumstances of that reality are recorded -- the recording seems to stand in for another person experiencing it, raising the number of witnesses.
This explains why a hypothetical couple can disagree about how a certain conversation went, even though they were both there and participated in the same conversation. Since there are only two of them, the reality they experienced is fragile and easily warped by each individual's baggage and biases. However if the couple tape-recorded the conversation, they have another "person" (the recording) to shore up the reality they participated in and help them agree on it. If they have this conversation in the presence of several other people, the reality is going to be shored up even further.
So if you are ever trying to switch yourself from your current reality into another one -- perhaps a reality where you are rich and/or famous, or a reality where somebody you have an unrequited crush on returns your affections -- keep in mind that you may be the only person who's supporting that reality. The mass of humanity may be supporting the reality you are currently in, where you're a working stiff, toiling in obscurity, and/or where even by curing cancer or winning a Grammy award, you could never get that person to give a damn.
Believability seems to be the key. After I delve into this theory a bit more, I'll see what else I can come up with.
It's less than a month before my first recording sessions for Not Made of Stone! The train trip up to Eugene is going to be beautiful and I am practicing really hard. I've written a flute solo for "How Now Is Soon" and a bass flute solo for "Ultralite", and I'm working on bass flute and flute parts for "Blood With Salt". Jeff Davis will play drums, Jim Carr will play bass, Dan Magazin will play piano (I'm sending him up to Eugene as a MIDI file), and I'll play flute, bass flute, and guitar and do the vocals.
Quantum Darwinism is kind of a natural selection, or survival of the fittest, of quantum realities. The more people experience a certain reality, the more real it is. It seems to make a difference, too, whether the circumstances of that reality are recorded -- the recording seems to stand in for another person experiencing it, raising the number of witnesses.
This explains why a hypothetical couple can disagree about how a certain conversation went, even though they were both there and participated in the same conversation. Since there are only two of them, the reality they experienced is fragile and easily warped by each individual's baggage and biases. However if the couple tape-recorded the conversation, they have another "person" (the recording) to shore up the reality they participated in and help them agree on it. If they have this conversation in the presence of several other people, the reality is going to be shored up even further.
So if you are ever trying to switch yourself from your current reality into another one -- perhaps a reality where you are rich and/or famous, or a reality where somebody you have an unrequited crush on returns your affections -- keep in mind that you may be the only person who's supporting that reality. The mass of humanity may be supporting the reality you are currently in, where you're a working stiff, toiling in obscurity, and/or where even by curing cancer or winning a Grammy award, you could never get that person to give a damn.
Believability seems to be the key. After I delve into this theory a bit more, I'll see what else I can come up with.
It's less than a month before my first recording sessions for Not Made of Stone! The train trip up to Eugene is going to be beautiful and I am practicing really hard. I've written a flute solo for "How Now Is Soon" and a bass flute solo for "Ultralite", and I'm working on bass flute and flute parts for "Blood With Salt". Jeff Davis will play drums, Jim Carr will play bass, Dan Magazin will play piano (I'm sending him up to Eugene as a MIDI file), and I'll play flute, bass flute, and guitar and do the vocals.
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