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#OccupySF march on April 1

It’s been a little while since I participated in an OccupySF event, a combination of my activities, their activities and the weather. But as we enter spring, many groups around the country are stepping up again. In San Francisco, OccupySF staged a march on April 1 with the goal of establishing a stable home in an empty building, an idea that many referred to as the “SF Commune.” Taking over an empty or abandoned building is not new for Occupy movements. Indeed, Occupy Oakland had staged a large demonstration earlier this year in which they were “planning to take over an abandoned building” whose location was being kept secret until the time of the event. It turned out to be the Kaiser Convention Center, the most well-known abandoned building in the city, and of course the attempt to “occupy” it was unsuccessful. I assumed that the building that would be the destination of the April 1 march would be a bit more obscure.

The event began in Union Square, a major commercial center in San Francisco with upscale retail and hotels. I found members of OccupySF sparsely gathered around the square, with a small concentration up near the stage having a party of sorts. I was particularly happy to see the Brass Liberation Orchestra present.


[This is my one and only Hipstamatic picture from the event.]

By coincidence, there was another demonstration happening on Union Square at the same time in support of the opposition in Syria. A sizable group of people were gathered in one corner of the square underneath multiple Syrian opposition flags. Unlike the current Syrian flag, which has two stars, the opposition flags have three stars, and a different color scheme, and are modeled after the flag of the Syrian Republic of the 1930s.

The march itself was quite delayed, as we were waiting were a bus of people from Occupy Oakland to join us and they were stuck in traffic. Why they chose to drive over the Bay Bridge in a bus on a Sunday afternoon instead of taking BART escapes me – everyone here knows the bridge is quite congested at this time. But they did eventually make it, and announcements went out informing us that we were going to be marching to “Occupy SF’s new home.” There were calls to be respectful of the building while making it our own. I was of course quite curious where this building would be and what it would be like. Would it be a modern but vacant office building, or would it be one of the dilapidated apartment buildings in the central Tenderloin district, where the march was initially headed?

And then the march finally began. We streamed out of Union Square, with the Brass Liberation Orchestra launching into that same funky bass rhythm I remembered from the big events last October. It was reminiscent of classic disco bass lines. You can hear a bit of it in this video of our exodus from Union Square, though it is a bit of a challenge to separate from the general din.

We continued the march westward along Geary Street, with the older buildings of the central downtown district to either side of us. (Reports referred to this as Geary Boulevard, which is a common mistake. Geary Boulevard is west of Van Ness Avenue. Here it is still Geary Street.)

This is the major theater district of San Francisco, between Geary and Market. It is also on the upper edge of The Tenderloin, a neighborhood rich in history and culture with bars and clubs, but also a notoriously blighted area with dilapidated apartment buildings and SRO hotels. The city keeps trying to bring businesses here, particularly along “Mid-Market”, with the most recent effort involving Twitter. But there are still lots of abandoned or vacant buildings here, and I had assumed this is where we would end up. But the march continued onward, passing Leavenworth Street and a block where I did some of my most artistic photographs, including one that used a bright red MUNI shelter that we passed.

We came the large intersection of Geary and Van Ness Avenue and then headed south down Van Ness. I was a little unsure at this point where we were going to end up. I thought maybe we would be turning back into the “TL”, but instead we turned westward onto Turk Street. We came to a stop at the corner of Turk and Gough. This is at the edge of the historic Western Addition neighborhood, but also abutting the spreading upscale areas of Nob Hill to the north and Hayes Valley to the south. I wasn’t expecting this location, but here we were, in front of an unassuming low-rise building that looked like a school or public office built in the 1960s.

In the sense that it was a nondescript commercial building, it did fit the profile of an ideal location. The only distinguishing element was the number “888”. This was #888Turk, the new home of OccupySF. Protesters quickly entered into the building, with loud music blaring from the Occupy Oakland bus parked in front on Turk Street.

Soon protesters reached the roof and unfurled banners to cheers on the street and from within the building.

I It turns out that the building, although vacant, is owned by the Archdiocese of San Francisco (i.e., owned by the Catholic church), which explained the rather Christian-sounding banner that some protesters unfurled after taking over the building. It is claimed that this building has been vacant for five years, though the Archdiocese claims it was only vacant for 18 months after housing a school.

I departed sometime in the early evening. But the occupation of 888 Turk continued overnight and into the next morning, but during the day on Monday the building was raided by the police, with about 75 people arrested and then later released. You can read an account (with illustrations) in this article by Susie Cagle at Truthouth. It is hard to say whether this is a success or not But it is one of the more dramatic events to occur so far this spring, and it has been picked up in the press and by other groups around the country. So perhaps it will come to something.

ReCardiacs Fly, Surplus 1980, PG13 at Hemlock Tavern

Today we look back at ReCardiacs Fly’s show at the Hemlock Tavern in San Francisco last month. It was a great show of music in prog and post-punk styles together with experimental/avant-rock groups PG13 and Surplus 1980.

The evening opened with PG13, the “power trio” of Phillip Greenlief (saxophone), John Shiurba (guitar), and Thomas Scandura (drums). I had originally heard them a few years back at the Skronkathon. They did have the loud-rock-trio thing down at the time, but in the intervening time they have become more finessed and detailed without losing that original intensity.

[Photo by Michael Zelner.]

They opened with driving syncopated rhythm and power chords. The rhythmic textures brought all three instruments (saxophone, guitar and drums) together. This was undeniably rock – held together by Scandura’s drums – but later sections did have a more jazz-like quality, which I thought worked when done with sudden changes in volume and texture. I of course did like that one of their songs (composed by Greenlief) was The Totally Unbelieable but Absolutely True Adventures of George Cleaver the Cat. Loud music with complex rhythms about cats works for me any day.


[Photo by Michael Zelner.]

After PG13, it was time for us to take the stage. For those who have not read the previous ReCardiacs Fly articles, we are (possibly the only) tribute group for the UK avant-prog band Cardiacs. We model our line-up after the original band, and don suits and creepy theatrical makeup reminiscent of their appearance in the 1980s. This music is complex and intense, and challenging to play, but a lot of fun for us and for the audience when we pull it off. A few songs came out quite well at the Hemlock, in particular “Burn Your House Brown”, which you can see in this video:

“In a City Lining” also came out quite well. On a technical level, the sound was the best we have had for any ReCardiacs Fly show, with the mix between the amps, speakers and acoustic space balanced so that we could hear everyone even in the loud parts. And we were quite loud, appropriately so.

As always, the performance was full of energy, and we got a great response from the modestly sized but enthusiastic audience. The full lineup of the band features Polly Moller on lead vocals, Masc Laspina on guitar, Chris Broderick on saxophone, Tim Walters on bass, Amar Chaudhary on keyboard,
Moe! Staiano on drums, and Suki O’kane on percussion.

The final set features Surplus 1980, a post-punk project led by Moe! Staiano with a rotating cast of band members. This evening features Moe! together with Bill Wolter and Melne Murphy on guitars, with Thomas Scandura returning on drums and Jason Hoopes on bass.


[Photo by Michael Zelner.]

The band was incredibly tight rhythmically and harmonically, as if they had been playing these songs together for years. In particular, there is the challenge of getting all three guitars to be in sync, which they were able to do, will Bill Wolter front and center. And the group’s lyrics were often quite funny (this in the context of our just completed Cardiacs’ set). It’s difficult to recall any particular line at this point, but they definitely worked at the time. Most of the musical techniques were standard but with complex rhythms and phrases, but Wolter did have quite an array of effects pedals, and during one of the final songs Moe! pulled out a vinyl record which he proceeded to use on his guitar like a pick and destroyed in the process (the record, not the guitar).

Overall, it was fun night of loud rock music from friends and colleagues whom I usually here in more overtly experimental contexts. I hope our bands will get a chance to play together again sometime.

Flower Futures Futures: Our Reconnaissance Fly demo tracks

We have been hard at work on our first Reconnaissance Fly album Flower Futures this year. And things are coming together. We have put together this set of demo tracks Flower Futures Futures available as a free download. Enjoy!

A taste of our spong cycle and album-in-progress, Flower Futures. We set the fine spoetry found in our inboxes to music, reclaiming a sliver of botspace for humanity.
credits
released 29 March 2012
Chris Broderick: c-melody saxophone, clarinet, bass clarinet
Amar Chaudhary: electric piano, piano, organ, electronics
Polly Moller: voice, flute
Larry The O: drums, percussion
Tim Walters: bass, electronics

Fun with Highways: Louisiana

Our “primary highways” series continues with a visit to Louisiana. It combines my own visit to New Orleans with a “virtual visit” through other parts of the state.

We start in New Orleans, which I visited in November of 2006, during the recovery from Hurricane Katrina. Coming in from the airport on I-10 we approached the downtown. The highway comes close to the Superdome and the downtown buildings. A large interchange connects to Business US 90, which heads over the Mississippi River via the Crescent City Connection. It was good introduction.

I stayed in the Garden District along St. Charles Avenue. The streetcars which had traditionally run along the St. Charles were still out of service, so I made my way between my home base and Tulane University by walking and enjoying the warm weather. To get downtown, I either walked or used whatever form of transportation I could access. I of course visited the French Quarter, and sampled the food and drink.

But it was also fun to wander the smaller streets, and find odd stores and corners. An occult store, where I found black-cat fur for good luck. An old book store with a resident cat as a host. And an artist selling these cat-themed jazz pictures (does one sense a theme here?).

Being interested in art, I headed up Canal Street on a still function streetcar line to the city park and the New Orleans Museum of Art. The park had suffered extensive damage from which it was still recovering, but the museum had weathered the storm quite well and reopened after a few months.

I spent most of my time in the city sculpture garden adjacent to the museum, which included several modernist works.

On the trip back along Canal Street, I paid closer attention to the buildings along the road. Particularly south of the park but north of the I-10 overpass, there was quite a bit of damage visible, with boarded up houses and entire bulldozed lots. Indeed, throughout the trip is impossible not to see the scars of Katrina.

Just east of the French Quarter was the Fauborg Marigny district. It was a bit funkier, and in retrospect and had that feel I enjoy in many neighborhoods of New York and San Francisco (think Lower East Side, the Mission, etc.). It was here that I sought out opportunities to hear local music. At The Spotted Cat I heard quite a few musicians both in traditional jazz idioms and other styles – this seemed to be music for a local crowd rather than for tourists, which is what I was looking for. And it had a cozy, dark, feel, with quirky lighting and artwork.

I did set aside some time to see what had become of the Lower Ninth Ward. In a rented car, I headed east on Claiborne Avenue (LA Highway 39) and crossed over the canal into the district.

I had of course followed the news and seen many images of the Lower Ninth Ward, but it’s another thing entirely to see it in person. And it’s not just one example, it kept going in all directions. And there were very few people around. It was eerily quiet, just me, the ruined buildings and the occasional car passing by. But the Ninth Ward’s history goes back far earlier than Hurricane Katrina, as it was the site were a certain Homer Plessey was removed from a train for sitting in a white car, leading to the infamous Supreme Court case Plessey v. Ferguson.

After the Lower Ninth Ward, I headed back across the canal and north to the edge of Lake Ponchartrain. The lake is huge, one can’t really see across it, especially on an overcast day. The waves and wind made me think of the windy Pacific coast of California.

Here, too, there were signs of what happened to the city, all the more ominous with the gathering storm clouds.

I did not actually leave New Orleans on that particular trip. If I had, I could have headed north over Lake Pontchartrain, which is no small feat. The Lake Pontchartrain Causeway is 23.83 miles long, and is ctonsidered the longest bridge over water in the world. (Though there is some dispute of the record the the Jiaozhou Bay Bridge in China.)

One can also cross the lake via I-10 on the Twin Span Bridge. At a mere 5.4 miles, the Twin Spans are dwarfed by the causeway, but it is still a respectable length. The original bridges were heavily damaged in Hurricane Katrina and have been replaced with newer spans. The lake itself tapers off to the east towards The Regolets, which connect the lake to the Gulf of Mexico. The Regolets pass helps regulate the flow of salt water and fresh water into and out of the lake. As Daily Kos member Crashing Vor points out, it “is one of the rare estuarial passes where, at the right time of day, you can fish for salt water species out of one side of the boat and fresh water from the other.”


[Photo courtesy of Crashing Vor on Daily Kos]

It is hard to escape from the regions food while exploring its geography. And in truth, why would one want to.

The eastern edge of New Orleans and Lake Ponchartrain is also home to NASA’ Michoud Assembly Facility, where many of the rocket and spacecraft engines have been built, including the first stage of the Apollo Saturn V rocket, and the external fuel tank of the Space Shuttle.


[Photo courtesy of Crashing Vor on Daily Kos]

Continuing on I-10 and US 90 east, we could head to Mississippi where we began our article on that state. But instead, we return to New Orleans and the banks of the Mississippi River.


[Photo courtesy of Crashing Vor on Daily Kos]

The river, too, is quite wide an impressive as it passes by the Crescent City – the nickname in fact comes from the bend in river as it passes by the city. We cross the river on the Crescent City Connection to the “west bank”, which is actually south here. We continue on US 90 Business and turn south onto LA 23 towards the town of Belle Chase. LA 23 crosses the Gulf Intercoastal Waterway via an old bridge and tunnel pair, and then hugs the west bank of the Mississippi to the mouth of the river.

The geography of southeast Louisiana is strongly shaped by the interaction of the river and the Gulf of Mexco. This is certainly true of New Orleans and Lake Pontchartrain, but it is most dramatic where the river literally pushes into the gulf. The small fractal-like slivers of land are really just a boundary between the two overlapping bodies of water.

LA 23 ends at the town of Venice, which is the last town accessible by standard automobile. The town really is just wedged on one of these fibrous tendrils of land up against the river. Of course, the remainder of the delta is accessible by boat, including the Delta National Wildlife Refuge and the Pass A Loutre State Wildlife Management Area. The natural environment of the delta, as well as towns such as Venice, have been hit twice in the last decade, first with Hurricane Katrina and then with the Deep Water Horizon oil spill in 2010.

New Orleans continues to function as the hub for this particular virtual exploration. We next head west on I-10 and turn south onto I-310, which crosses the Mississippi on the cable-styled Hale Boggs Bridge.


[Photo courtesy of Crashing Vor on Daily Kos]

We then head north (back on the east bank of the Mississipp) via US 61 to the town of Laplace. I was disappointed to find out this was not named for the Laplace transform in mathematics and signal processing, but on the plus side it is known as the “andouille capital of the world”. And we would be remiss if we did not stop here to sample the famous and tasty sausage.

We continue on I-10 past a junction I-12, which covers the northern side of Lake Pontchartrain, and arrive in the capital Baton Rouge.


[Photo courtesy of Crashing Vor on Daily Kos]

The Louisiana capitol building is quite distinctive. Rather than the typical Greek-inspired dome and columns, it is an Art Deco skyscraper. It in fact looks quite a bit like City Hall in Los Angeles. This capitol building was the “pride and joy” of Governor Huey Long. It is also where he ultimately met his demise in this hallway.


[Photo courtesy of Crashing Vor on Daily Kos]

We then cross the Mississippi again and turn south on Louisiana State Highway 1. At first, it follows the west bank of the river, but then heads southward, beginning a long parallel with LA 308 on opposite banks of Bayou Lafourche. We pass the town of Belle Rose, which I had written about in a post last year in an art-damage moment because it contained Highway 998 and fit well with a poem I had written called “998”. Continuing on LA 1 along the bayou, we come to the town of Thibodaux.


[Photo courtesy of Crashing Vor on Daily Kos]

As in New Orleans, the cemeteries are above ground here as well.

South of Thibodaux, we turn west on US 90. The is a major highway and being upgraded to interstate standards, passing by the Bayou Teche National Wildlife Refuge as well as several towns. We turn south onto LA 329 to Avery Island. This actually is not an island at all, but it is a salt mound that rises in an oddly circular fashion from the flat landscape. It is most known for being the home of Tabasco hot sauce. We at CatSynth are of course fans of all things hot and spicy, and so visiting this factory and a tasting session would be in order.



[Photos courtesy of Crashing Vor on Daily Kos]

We continue on US 90, which passes the towns of New Iberia and St Martinsville, on the Bayou Teche.


[Photo courtesy of Crashing Vor on Daily Kos]

We then come to the city of Lafayette, where we cross I-10 and continue northward on I-49. The area along the highway was part of an ancient flow of the Mississippi that apparently was wider and further west than it is today. Heading northward, the wet environment of southern Louisiana gives way to a drier landscape. Via LA 1 we come to city of Natchitoches, which has the feel of an older historic town.


[By Billy Hathorn (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

We continue north on I-49 to its end at I-20 near Shreveport, the third-largest city in the state. The bypass highway I-220 spans nearby Cross Lake on a graceful modern bridge. The view from below with the arches is an interesting optical effect.

These dogs in a kayak are also quite admiring of the I-220 bridge.

And we end back along the Mississippi River with this video tribute.

Weekend Cat Blogging: Play with Me!

On sporadic mornings, I have been taking Instagram photos of Luna like the one above. She is often basking in the sunshine on one of the dining-area chairs, but on this occasion she was rolling on the floor with one message: “Play with Me!”

And it was a good message for her to give. Like many mornings, it was a bit frenzied with things pulling me in multiple directions. Luna made it clear what I should be doing, which was to drop everything and come play with her, even if only for a few minutes before work. And so this is a very roundabout way of interpreting this week’s Photo Hunt theme of DROP. Weak, perhaps, but it means something to us.

Weekend Cat Blogging #352 is hosted by Pam at Sidewalk Shoes.

The Weekly Photo Hunt theme is DROP.

The Carnival of the Cats will be hosted this Sunday by Nikita and Elivra at Meowsings of an Opinionated Pussycat. We also wish Nikita and his dad a Happy Birthday this coming week!

And the Friday Ark is at the modulator.

Fun with Highways: Michigan

Today we continue our “primary highways” tour with a virtual visit to Michigan, and in particular to Detroit.

My most significant visit to the state took my to Ann Arbor and the University of Michigan for a music technology conference. The conference was a great experience, of course. The campus what quite interesting as well. As with many traditional college campuses, it has an iconic bell tower, Burton Tower. But it has a second one as well on the modernist North Campus. Our conference required going back and forth between the two where we could easily see the contrast between the traditional collegiate architecture and the modernist, which I quite liked but my colleagues derided.

If instead of going west from airport to Ann Arbor on I-94 we had instead gone east, we would have arrived in Detroit. I have yet to visit Detroit, and as such the city has taken on a mythical quality. I-94 enters the city as the Edsel Ford Freeway, mostly staying to the north of the city center. We can turn south onto I-75, the Chrysler Freeway to head downtown. One would expect the “motor city” to have an impressive network of freeways. I-75 runs along the edge of downtown as the Fisher Freeway, and together with I-375 and Michigan Highway M-10 form a loop around downtown, anchored by some large interchanges on either end.

As one can see in this map, the loop frames the downtown and Grand Park Circus. The famous People Mover is primarily located within the boundaries of the loop as well. But us now turn our attention to the surface level, beginning with this view from the connection between M-10 and I-75.


[Photo by ifmuth on flickr. (CC BY-NC-ND 2.0)]

That large building behind the highways is Michigan Central Station (or sometimes Michigan Central Depot, perhaps someone can tell us which is the correct name actually is).


[Albert duce [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

The massive and once upon a time grand train station now sits alone and abandoned. It symbolizes much about the city and its history, both rise and decline; and people have very strong opinions about it. It’s “heartbreaking” to some who love Detroit. Some see potential for it to have new uses in the future, perhaps as green revitalization project. Others simply see it as an “eyesore” that needs to be removed. For me, it is quite captivating as a quintessentially American form of “ruin.” We tend not have ruins, preferring to remove that which offends us in favor of bigger, faster, newer, etc. And ruins from the 20th century seem even more vulnerable to our need to remove and remake. But perhaps more than most large cities, Detroit stands out for its ruins that remain. This in part because the city was the center of our iconic automobile industry, and quite prosperous with grand buildings and streets. The decline and decay are quite dramatic, but happened in such a way that many of the places are still there in their decayed state. I first became fascinated with this through the website The Fabulous Ruins of Detroit, which is a loving tribute to the city and its ruins, albeit a melancholy one. And for me, these ruins can be as much a source of creative inspiration as the landscape of Arizona that we explored yesterday. Indeed some of the basic elements of color, shape, texture and sound have things in common, although the human factor is quite different. There is definitely more that Dystopian feel here. I could certainly see music and image inspired by visiting the ruins of the abandoned Packard Automobile Factory.


[By Albert duce (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

I hope to have the opportunity to visit the city and explore creativity and meet people in the local community there, and make something to share. I hope perhaps the city can find a way to live with its ruins and draw from them without it having to be “blight”, and that vital communities, perhaps greener communities, can grow up within them. Some of the old towers around Grand Circus Park are being redeveloped at this time. And this is all the context of positive news from “Detroit” the automobile industry.


[By Andrew Jameson (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

In the meantime, there certainly are plenty of cultural opportunities. The Detroit Institute of Arts and the Museum of Contemporary Art Detroit (MOCAD). We have been shadowing the artist Mark Di Suvero throughout this series, and the DIA has two of his works, including an older piece Tom made primarily from wood. Music of Detroit is of course legendary. I have a fondness for quite a lot of classic Motown, much of which was done before they moved – I tend to think it works best in minor keys or when the overall sound is a bit more melancholy than when it is at its most bouncy and upbeat, but that is perhaps just me. Detroit also has a place in the history of popular electronic music. To me, these are not as disparate as others might think, particularly when one considers the harmony. (On this note, I would also enjoy hearing suggestions of music in the comments.)

But it is time to get back on the road. We can head northwest from Detroit on I-96 to Lansing, the state capital. For those like me who are amused by highway trivia, in Lansing, I-96 and I-69 meet, and even run concurrently for a brief period of time. I think this only place where there is such a mirror-image concurrency (as I-87 and I-78 in New York actually never meet). A spur I-496 turns off into the center of Lansing, with the state capital building to one side.


[Criticalthinker at the English language Wikipedia [GFDL or CC-BY-SA-3.0], via Wikimedia Commons]

If from Detroit we head north on I-75, we pass through Flint (of Michael Moore fame) and then further away from the Great Lakes that define the state’s geography and into the center of the lower peninsula. But I-75 is also the main highway connection to the Upper Peninsula over the Mackinac Bridge.


[By Jeffness at en.wikipedia. Later version(s) were uploaded by Sam at en.wikipedia. (Transferred from en.wikipedia) [CC-BY-SA-2.5], from Wikimedia Commons]

North of the bridge, we can switch to US 2 which hugs the shore of Lake Michigan on the southern side of the peninsula. But we can also head inward on M-28, from which we can approach the northern shore along Lake Superior, traveling by many picturesque parks such as Tahquamenon Falls and Pictured Rocks.


[By Attila Nagy (anagy) (Own work) [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]


[By MJCdetroit [CC-BY-SA-3.0], via Wikimedia Commons]

M-28 continues on to Marquette, the largest city in the Upper Peninsula even though its population is around 21,000. It is home to Northern Michigan University and the Superior Dome, the largest wooden dome in the world.


[By Bobak Ha’Eri (Own work) [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]

In researching this article, I came across the blog Michigan Architecture. This site’s author is a gradulate of Northern Michigan University and is still based in Marquette. I recommend checking out her blog and seeing some of her interesting photograph of unexpected places around the state.

We conclude in the northernmost part of Michigan, Isle Royal. It is far north within Lake Superior, and indeed closer to Minnesota and Canada than it is to the rest of Michigan. It has an odd geography, basically a series of parallel ridges sticking up from the lake.

The middle of the island is a lake, Siskiwit Lake. It is trippy to have a large lake in a large island in a larger lake.

But it gets better. When nearby Moose Flats pond is full, Moose Boulder becomes the largest island in the largest lake in the largest island in the largest lake in the world! I will leave readers to ponder this…

Fun with Highways: Arizona

This week the primary season brings us to two very different states, each of which are a source of creative inspiration but in very different ways. The first of these states we will visit is Arizona.

We begin where we left of in Colorado. From Four Corners, we head west on US 160 through the Navajo Nation. The dry landscape is punctuated by red rock formations such as Baby Rocks, which can be seen along the highway.


[By Reinhard Schön (original photograph) and Andreas F. Borchert (postprocessing) [CC-BY-SA-3.0], via Wikimedia Commons]

The shapes and textures of the rock formations and the sparseness of the landscape are what attract me to the southwest. The unique combinations of climate, water and rock composition lead to this landscape, and individual varieties of rock (many of which are different types of sandstone) lead to the distinctive shapes in different locations. Sometimes the most interesting can simply be found on the side of the road. But that does not detract from the many iconic parks in this state. Indeed, if we continue on US 160 west to its terminus at US 89, and then further west along State Highway 64, we come to the most iconic of all, the Grand Canyon.


[By Tobias Alt (Own work) [GFDL or CC-BY-SA-3.0-2.5-2.0-1.0], via Wikimedia Commons]

It’s quite hard to summarize the Grand Canyon in such a brief article, but to say that it is most defined by its vast size. One is not simply looking at a large rock formation, but an entire carved landscape that extends in all directions. The space left by the canyon is big enough to support the same atmospheric effects as the sky itself, such as the refraction that leads to a blue tint in the space. Sadly, this also makes it a magnet for air pollution. The scale also means that from a distance one sees the rough surface and curved lines of the overall topography, but not as many distinctive formations like the Baby Rocks described above. To see such details of the Grand Canyon, one must travel to the far sections of the rim or descend into the depths.


[Photo by Al_HikesAZ on flickr. (CC BY-NC 2.0)]


[Photo by Al_HikesAZ on flickr. (CC BY-NC 2.0)]

For many, places such as this are as much about recreation (rafting, hiking, climbing), but for me the interest in going back sometime soon is primarily about the visual landscape, touching feeling and breathing the desert air, and hearing both the sounds and the silences.

We head south from the Grand Canyon on US 180 to I-40 near Flagstaff. We take I-40 east to another of Arizona’s iconic locations, the Petrified Forest National Park. The eponymous petrified trees were created by combination of trees and minerals that were deposited over long periods of time and the gradual replacement of the organic matter with minerals. The relatively soft and easily eroded sandstone have left a surprisingly large number of these artifacts in one location. The extreme erosion patterns of the area also gave rise to the colorful formations of the Painted Desert.


[By User:Moondigger (Own work) [CC-BY-SA-2.5], via Wikimedia Commons]


By Finetooth (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons

Leaving the park, we turn back west on I-40 to Flagstaff, and then head southward on I-17 towards the Phoenix metropolitan area and a very different Arizona. But along the way, we pass by Arcosanti, an experimental town and “urban laboratory” that began construction is 1970. It was started by architect Paolo Soleri to experiment with ways of developing urban environments that minimized the impact on the natural environment. The architecture of Arcosanti is quite unique.


[By Cody from Phoenix, AZ (arcosanti western half) [CC-BY-2.0], via Wikimedia Commons]

In addition to being an experimental project itself, it hosts a variety of events (including the annual Different Skies Music Festival).


[By Cody from Phoenix, AZ (arcosanti apse) [CC-BY-2.0], via Wikimedia Commons]

And it’s on to Phoenix. It’s hard to conceptualize that in the middle of the desert is one of the largest and fastest-growing metropolitan areas in the United States. Yet there it is. The recent rapid growth of Phoenix and the entire “Valley of the Sun” and the relatively flat terrain have led to some rather impressive highway interchanges.

The rather complex tangle above is the interchange of I-10 (the Papago Freeway coming from downtown Phoenix), Arizona Loop 202 and Arizona State Highway 51, which is supposedly the busiest interchange in the state. A more elegant one (which I have in fact seen in a museum piece) can be found further east where AZ 202 meets US 60.

The lines and curves complement the desert terrain (disregarding the subdivisions for the moment). Indeed, the structures themselves have a reddish color reminiscent of the desert landscape.

Traveling up Arizona Loop 101 to Scottsdale in the northeast corner of the metropolitan are, one finds Taliesin West, the winter home and school of Frank Lloyd Wright. Wright designed this home to reflect “Arizona’s long, low, sweeping lines, uptilting planes”, aspects of the natural landscape which we have explored in this article.


[I, Gobeirne [GFDL, CC-BY-SA-3.0 or CC-BY-2.5], via Wikimedia Commons]

In ways, his goals predate and inform the work that continues at Arcosonti, although the latter has more of an urban focus.

Heading south and east on I-10, we come to Tucson and a very different but still quintessentially “Arizonan” landscape. Here the most distinctive features are not the rocks but the vegetation, especially the saguaro cactus. Like the Grand Canyon, the saguaro is a symbol of the state, and of the best preserved tracts of these and other cacti can be found in Saguaro National Park west of Tucson.


[By Saguaro Pictures (Own work) [CC-BY-3.0], via Wikimedia Commons]

Heading back west on I-10, we switch to I-8 through the southwest corner of this southwestern state. We turn south on State Highway 85 through relatively empty but rocky landscape. Highway 85 intersects with 86 at the small town of Why, named for the “Y” shape of the original intersection of the two highways. Because Arizona law required location names to have at least three letters, the name “Why” was used instead of “Y”. Continuing south on 85, we eventually reach Organ Pipe Cactus National Monument.


[By Pretzelpaws at en.wikipedia [GFDL], from Wikimedia Commons]

Although this park is named for the organ pipe cactus (shown above), it contains many of the other varieties found in southern Arizona, such as the saguaro. However, the converse is not true. The organ pipe cactus only grows wild here. I visited in the winter of 2004-2005 and found this park to be quite sparse and peaceful. The landscape does not really have many of the monumental rock formations further north, but it does have interesting hillsides covered with rough crumbling stone and frequently punctuated by the cacti.

And I think the final desert sunset is an appropriate way to conclude this article. I of course know there is much more to consider in Arizona, and welcome thoughts and ideas from others as comments.

Reconnaissance Fly in January, with Luke Westbrook, Grex and Greenlief/Dykstra/Perkis

Today we look back at two Reconnaissance Fly performances in early January. The first was a return to Luna’s Cafe in Sacramento, and the second was at Revolution Cafe in West Oakland. By coincidence, we shared the bill on both nights with guitarist Luke Westbrook who was visiting from New York.

This was Reconnaissance Fly’s third gig at Luna’s – we like playing there and not just because it shares my cat’s name. But the stage was once again a bit cozy for a band of our size, even more so now that we have a fifth member, Chris Broderick on reeds (saxophone, clarinet, bass clarinet). This was our first public performance with the new quintet lineup. So it was a bit of puzzle trying to get the bass, drums, keyboard and bass flute on the stage, and still find room for the people who play them. But somehow we managed.


[Photo by Tom Djll]

Our set went well – at least, I was pretty happy with it. Our opening graphical score improvisation piece Small Chinese Gong went off without a hitch. As Neat As Wax is becoming our most consistently well-played song, as it is not too difficult and it is quite lyrical and rhythmic. Electric Rock Like a Cat and Sanse Iz Crede Nza are our most difficult, but also the most energetic and got a great response from the small but enthusiastic audience when we hit the final notes.

After striking the stage, it was time to relax with beer and guacamole and other treats and enjoy the next sets. Luke Westbrook took the stage for a solo guitar performance.

He has a very intense stage presence and a virtuosic technique, but the music itself has a certain ease to it. It began with gentle arpeggios that had a consistency even as they were constantly changing. These evolved into more defined repeated phrases over time that were occasionally punctuated by the occasional chromatic tone or blues-like bend. Later on, the music become more distorted with noisier and more percussive elements. There was a passage of single repeated tones that provided an increasingly anxious vibe before settling down again.

Westbrook was followed by Philip Greenlief and Jorrit Dykstra on saxophones with Tim Perkis on electronics. On the things I look for in electro-acoustic combos is how well the electronic and acoustic parts blend. In the case of this trio, they blended quite seamlessly from the start with long tones of subtly different intonation. The music soon became more animated, with syncopated saxophone rhythms set against low gurgly electronic sounds.

There were many humorous moments with matching squeaks and bleats, and richly textured moments with multiphonics against electronic pads. Perhaps the most amazing moment of the entire set was a long virtuoso noise solo by Dykstra. It is hard to describe in text, but it was one of the most impressive saxophone performances I have heard in a while. The later sections of the performance featured more percussive saxophone sounds, key clicks and striking of the metal hardware set against contrasting electronics with vocal and wah-wah effects.

Revolution Cafe is located deep in West Oakland, not far from the rebuilt I-880 freeway, which makes for an interesting exterior environment. The interior is something altogether different, with every surface adorned with vintage and eclectic artifacts. There were street and highway signs, political posters (from old Oakland Mayoral elections to the most recent Jean Quan recall announcements), vintage keyboard instruments, strange dolls and even a shrine of sorts of Frank Zappa. I spent quite a bit of time just photographing the space before even considering the music.



[Click images to enlarge]

The show was actually the latest incarnation of Karl Evanglista’s Light A Fire series. I had performed in this series last year with solo electronics. This even opened with another solo guitar set by Luke Westbrook.

Westbook’s performance was actually quite different from the one he did two night’s earlier. While his technique was on display both nights, this one was more virtuosic and more diverse in terms of material and sound. This performance was mesmerizing. I had a sense of warmer colors as he played, though that may have been a kinesthetic combination of the cafe’s ambience and Westbrook’s harmonies.

Next up was Grex, the duo of Karl Evangelista on guitar and Rei Scampavia on keyboard, voice and flute. Their music covered quite a bit of range, some more song-like with voice, keyboard and guitar, some closer to free-jazz with fast-moving improvised lines. One memorable moment featured featured a mellow guitar solo – Evangelista is quite a versatile guitarist – that morphed into in a driving loop pattern with distortion that produced its own harmony.


[Click image to enlarge]

I believe at least some of the material was from Grex’s recently release CD. You can follow the link above to find out more info.

Finally, it was our turn to take the stage. I had toyed with the idea of using the Cafe’s B3 for An Empty Rectangle, but in the end decided it would have been a lot of effort, especially with a stage that seemed to be even smaller than Luna’s Cafe We had a lot of fun and played with a lot of energy that matched the intensity of Revolution Cafe’s decor. It didn’t feel as tight or accurate as we would want for a Reconnaissance Fly set, but it did have the humor that has become part of our band’s character.

Additionally, the visuals of the space and the presence of the old keyboard instruments did inspire me to consider a future solo performance or installation there. I don’t have much more to say about that yet given everything else that is going on this season, but something to consider for later…