We learned yesterday of the passing of another of our musical heroes, Cecil Taylor.
This segment of solo piano demonstrates how his playing is incredibly complex but remains thoroughly musical. The fast runs contain a unique contrapuntal language. And more importantly, there is phrasing, contour, and emotion that unifies the performance. Taylor had an uncanny ability to combine European classical tradition, jazz, and other African American influences into a unique musical language that he dubbed “black methodology”. This quote from poet and critic A. B. Spellman, included in the official New York Times obituary, sums it up well.
“There is only one musician who has, by general agreement even among those who have disliked his music, been able to incorporate all that he wants to take from classical and modern Western composition into his own distinctly individual kind of blues without in the least compromising those blues, and that is Cecil Taylor, a kind of Bartok in reverse.”
It is hard for me not to compare Taylor with another contemporary of his, Ornette Coleman, who passed away in 2015. Coleman is one of my favorites – Taylor takes the level of complexity to another level. Both remain huge influences. We leave you with this recording of “Calling It the 9th”.
Marlon Brando is a controversial figure in contemporary circles, but we did some great movies a long time ago (followed by some not-so-great ones, then a couple more classics, and then some really awful ones). But his work has intertwined with many things at CatSynth over the past couple of years. Consider this cartoon by J.B. (Jason Berry), part of our extended Mensa Cat series.
We leave the joke as an exercise to the reader. 😸
There is also the tune “Marlon Brando” initially composed by Jason Berry for Vacuum Tree Head, which I redid for my own band CDP. Here is a live performance of us playing it at the Make Out Room in San Francisco.
A few years ago, I traveled California’s Highway 41 on my 41st birthday. I had hoped to make this a regular tradition, but various circumstances have kept me from following through, until this year, when I drove the southern half of CaliforniaHighway 45. It wasn’t exactly on my birthday, and I didn’t complete the route, but was still a fun and eccentric way to celebrate the conclusion of my 45th year of life. It was also a good excuse to try out the new travel-mapping feature in our Highway☆ mobile app.
Highway 45 begins in the small town of Knight’s Landing in Yolo County, so I first had to schlep up there via Interstate 80 and then turn north on Highway 113 near U.C. Davis. 113 is a major freeway at this point, but a bit further north it narrows to a two-lane country road before reaching the junction with 45.
Knight’s Landing was actually a very small but cute town along the Sacramento River. Before embarking on the formal part of the trip, I stopped along the levee at Front Street to view the continuation of Highway 113 across the river. Front Street was rather beaten up compared to the rest of the town center, perhaps due to the nature of the levee or to discourage unnecessary driving, but it made for a nice little walk.
I then returned to the car and finally turned onto Highway 45, heading northwest out of town.
The highway zig-zagged on a grid between fields on the western side of the Sacramento River, but far enough for the river to mostly remain out of sight. But there were some lovely wide-open farmland vistas, made more dramatic by the bands of clouds in the sky marking what was a lovely day after a week of dreary weather.
It is when the landscape opened up that I was able to fully relax into the trip. There is always a point along the journey during which stresses, mundane or otherwise, start to melt away and the road, landscape, and solitude take over the mind. As Highway 45 is remarkably well signed, there was no ambiguity or uncertainty. The result is a sense of flow and well being that allows one to both think about other ideas, like music, while remaining fully engaged in the moment. It is something I have experienced many walking the streets of San Francisco, but not lately. I certainly hope it isn’t gone – as much as I enjoy these long excursions to other regions, I would love to return to the sense of external flow in my own community as well. Perhaps it is the familiarity or the many stresses and dramas, but I hope to regain it.
The highway turned due north in Colusa County, providing great views of the Sutter Buttes, considered to be one of the worlds smallest mountain rangers.
The Buttes are a small circle of volcanic lava domes that rise suddenly from the rather flat Sacramento Valley. The contrast is fascinating, and I would love to come back and explore the geology at a warmer time of year. Unfortunately, public access to the Buttes remains limited as far I can tell. (If any readers have any advice or new information about public access to the Sutter Buttes, please share in the comments.)
At this point, Highway 45 comes closer to the river, and between Grand Island and Grimes, comes right up against levees, before turning north again. It is not surprising to see such high levees, as the entire region seems like a giant flood waiting to happen.
Further north, we join with California Highway 20, a major east-west highway in this rural part of the state connecting to Yuba City to the east and to Lake County far to the west. The road became wider, smoother, and significantly busier as we continued on the duplex into the town of Colusa.
Colusa is a picturesque town on the river, with a small but nice town center and a quiet park along the levee and riverbank. It had warmed up considerably since I last got out in Knight’s Landing, so stopped for a bit to enjoy the sight and sound of the river. You can see a bit in this Instagram video.
Nearby I found The Tap Room, a small pub that had a large selection of beers including some local brews. I don’t think they had Sutter Butte Brewing, but they did have some selections from Berryessa brewing including this IPA.
In the enjoyment of the trip, I had completely forgotten that it was St. Patrick’s Day. But I was quickly reminded by the bartender who was decked in bright green regalia and informed me of the holiday pub crawl that would be happening that evening. This was the talk of the local patrons who started trickling in as the afternoon wore on. Everyone was friendly and welcoming, but a night of drinking was not going to be compatible with my plan to get back to the city safely at a reasonable hour. So I bid farewell and headed out on Highway 20 back to I-5 and I-505 to return to the Bay Area.
Tired but accomplished, I crossed the Bay Bridge back into San Francisco and home later that evening. That would usually be the end of the story, but after resting, we made the last-minute decision to go out again that night. So I found myself getting dressed up and heading back over the bridge for the third time to Oakland to see Chrome withHelios Creed. We met up with quite a few friends at the show and had a great time. You can see a bit of Chrome’s performance in this CatSynth TV.
It was a great day of diverse geography and experiences, albeit a long one. Not every day can or should be like this, but hope there are more to come this year…
See more Northern California in our Highway☆ app, available on the Apple App Store and Google Play Store.
I have been spending a lot of time at the main software-development and video workstation of late. As we have seen before, Sam Sam loves to drop by and say hi.
She seems to really like the open shelves as much as I do.
As one can see, cat decor abounds in the studio. But we also have some other items on display in these shelves.
On the left (of course) is a Bernie Sanders action figure, made by Brooklyn-based FCTRY, as well as a signed card from the 1990s when we still just Vermont’s representative. And to the right of Bernie is our Lego recording studio.
The studio is from a series of Lego kits specifically aimed at young women, and I loved the idea of having a “studio in the studio.” It’s great the engineer is a woman, but we thought it needed one more addition.
Yes, that’s a little Lego black cat! A tribute to Luna, whom we still miss dearly. 💜
Apparently, even Lego cats shed. But our life-size studio tends to be entropy-prone as well, especially before and after live shows. It definitely needs another clean-up…but first we have a lot of creative projects ahead this weekend. We hope you all have a happy and productive weekend as well.
It’s time for another round of catch-up on recent musical adventures around the Bay Area. And so today we look back at last month’s performance by Rent Romus’ Life’s Blood Ensemble at the Ivy Room in Albany, California, where the celebrated the release of their new album Rogue Star. It was the subject of a recent episode of CatSynth TV.
As Romus explained on stage (and in our video), Rogue Star is a deliberate reference and homage to David Bowie’s final masterpiece Black Star. In particular, it is inspired by the work of saxophonist Donnie McCaslin (Romus’ brother-in-law) on Black Star. Indeed, the title track of the new album as performed that night did reference the style and material of McCaslin’s work. But this was a point of departure, and the ensemble moved in different directions as they performed other tracks from the new album.
Several of the band members contributed compositions to the album and to the performance that evening, including “Think!” by Heikki Koskinen (e-trumpet) and “Space is Expanding” by Safa Shokrai. Shokrai’s piece picked up on the theme of space and cosmos that winds through many of Life’s Blood Ensemble pieces as well as through Romus’ other projects. Koskinen’s composition offered frenetic ensemble runs punctuated by silences and small staccato hits from his e-trumpet as well as other instruments.
Rounding out the ensemble were Mark Clifford on vibraphone, Timothy Orr on drums, and Joshua Marshall on tenor saxophone. As always, I was impressed at the way the ensemble functioned as a unit, whether in the middle of a swinging “cool jazz” idiom or more seemingly free and chaotic sections. In some ways, it is in the silences between phrases where this is most apparent.
Before closing, I should also say something about the Ivy Room. This venerable institution has gone through multiple incarnations in the ten years since I moved to San Francisco and started playing and attending shows there. Of course, I had a lot of fun performing at “Hootenannies” back in 2008, 2009 and 2010, and enjoyed the kitschy decor. But from a musical point of view – and especially a jazz-ensemble point of view – this current incarnation is the best, with a sizable stage, lighting and sound reinforcement. I hope to bring my current band there sometime soon.
As we get ready for our next Pitta of the Mind show this Thursday, March 8, we look back at our recent show at Pro Arts in Oakland, where we were joined by Usufruct, Alex Cruse, and Murder Murder. You can see a bit of all four groups in this recent CatSynth TV episode.
Pitta of the Mind’s color theme (we always have a color or pattern theme) for this evening was blue and featured blue-themed poems by Maw Shein Win, many from her new book Invisible Gifts.
[Photo by Tom Scandura]
I used the Prophet 12 synthesizer, along with the modular system, my trusty Nord Stage, and some percussion instruments to create a musical interplay with the words as well as the space between them.
Even though we haven’t performed in a while and only had one rehearsal, I felt this was one of our strongest performances – and the feedback I got from the audience backed up that perception. In particular, I think the poem “You Will Be With Me in a Town Called Paradise” came out particularly well, with a sultry vibe and jazzy accompaniment on electric piano.
After our set, Usufruct, the duo of Polly Moller Springhorn and Tim Walters took the stage.
[Photo by Tom Scandura]
As the word “usufruct” implies, they make use of materials for which they have usage rights beyond ownership, such as public-domain text sources. Polly’s vocal interpretations of the texts are processed electronically by Tim using custom programs written in SuperCollider. The end result is simultaneously dark and playful. But beyond the text sections, I was particularly taken with the instrumental portion at the beginning, which featured bass flute live and electronically processed.
Alex Cruse brought a very different vibe and sensibility to the evening, with an electronic performance that focused on beats, loops, and hits.
There were many delightful sounds and many hard-edged industrial noise moments as well. The vocals were deliberately obscured by heavy distortion and other processing but provided a percussive element that worked well with the rhythms.
The final set by Murder Murder was again something altogether different. With two drummers, two horns, two electronic performers, and vocals, it was nonstop intensity from the first drum hit.
The intensity continued for several minutes and then came to a sudden close. It was the musical equivalent of a tornado tearing through our calm evening of voice and electronics, but perhaps it was a fitting coda to the evening.
We thank Pro Arts and Sarah Lockhart for having us at this series, which has become quite a mainstay of the Oakland scene. I hope to be back again soon with one of my other projects. And of course, we are looking forward to our next Pitta of the Mind Show – where we will once again be joined by Usufruct – at the Luggage Store Gallery in San Francisco on Thursday, March 8 at 8 PM.
After a long hiatus, we have a new cartoon from J.B. (aka Jason Berry) today. This one features the story of Herbie Hancock’s transition to his funk band Headhunters, as related in his memoir Possibilities (by Herbie Hancock with Lisa Dickey).
Last Thursday we at CatSynth returned to the Octopus Literary Salon in Oakland to hear two groups whose work we follow, Grex and Two Aerials. The show was also the subject of our most recent CatSynth TV video, which can you see below.
There are similarities between in terms of style and songcraft, and they worked well in tandem. Two Aerials, led by Mark Clifford (vibraphone) and Crystal Pascucci (cello, voice), had a jazzier vibe and more reminiscent of art-rock and prog of the early 1970s. Clifford’s frenetic but luscious vibes are a lot of the reason for this, but solid backing from Brett Carson on keyboard and Jordan Glenn on drums added to the overall sound and structure. There were sounds and textures reminiscent of Henry Cow, especially during the songs that featured Pascucci on voice. There were also sections that reminded me of Frank Zappa’s best lineups from the early to mid-1970s.
Grex has gone through a few iterations of style and personnel in the time I have known them. The current incarnation features principals Karl Evangelista on guitar and Rei Scampavia on keyboards, but they each take on additional musical duties with electronics, foot-driven percussion, and voice.
Musically, they also have a style that falls somewhere in the realm of art rock, but with a dreamier, more psychedelic feel. They move effortlessly back and forth between very tender lyrical songs and frenetic pedal-heavy guitar solos from Evangelista, as well as space in between those poles. We particularly enjoyed the quote of Princess Leia’s theme during their final song.
In all, it was a fun evening with friends and music. And the Octopus Literary Salon is fast becoming a frequent destination for us for eclectic and intimate musical performances. We look forward to more.
Our first music report of the year features the final show we saw in 2017. Scott Amendola assembled a cast of seasoned improvisers for a concert at Slim’s in San Francisco that took us on quite a journey over two full-length sets. It was the subject of our last CatSynth TV.
As one can hear in the video, there were a variety of textures throughout the two sets. My favorites were the forceful rhythmic sections, some of which came at the very start of the performance. There were also quite a few “operatic” segments that featured the voice of Pamela Z, who was also manipulating samples through various electronic processes. Aurora Josephson’s vocals provided a counterpoint with different timbres and style.
The ensemble includes three electric guitars (Henry Kaiser, John Schott, and Fred Frith) and three percussionists (Jordan Glenn, Robert Lopez, William Winant). As we have often remarked, doubling and tripling of such powerful instruments can be treacherous, especially in an improvised setting. But it worked here, as everyone had a distinct sound, and the good sense to always listen and lay out when appropriate. In fact, to my ears the music, especially during the more operatic less rhythmic sections, was dominated by the concert string section, consisting of Christina Stanley and Alisa Rose on violin, Crystal Pascucci on cello, Zach Ostroff on string bass, and Soo-Yeon Lyuh on haegeum. At various points, Mark Clifford cut through the harmonies and timbres on the ensemble with frenetic solos on vibraphone.
The ensemble was rounded out with the wind section, which included the entire Rova Saxophone Quartet: Bruce Ackley, Larry Ochs, Steve Adams, and Jon Raskin. I felt like I didn’t hear as much of a distinct voice from the saxophones as I did from the other sections, but that was perhaps because they blended with the violins and cello.
In all, it was a fine night of music to wrap up the year. As we often do at Slim’s, we enjoyed the concert from the balcony over dinner and drinks, but we also had the chance to mingle with our many friends in the ensemble and the audience. We look forward to more music from everyone in their own projects in 2018.
