San Francisco
Wordless Wednesday: Stripes and Boxes
Wordless Wednesday
Wordless Wednesday: Illinois Street Bridge
Quick takes: MAS attack LAxSF and Surrey Street Salon
It’s been a while since I have reported on one of those evenings with multiple cultural events that enrich life here. One recent rainy evening involved a visual art opening and a salon with a variety of performances.
I started at 17th Street Studios in the Mission for MAS Attack: LAxSF, a one-night show that featured 30 artists from Los Angeles and San Francisco, respectively.
One of the particularly intriguing pieces in the show was Miri Chais’ Rabbit Hole, with its organic circular forms but technology-inspired details and changing blue patterns of light. The mixture is intentional, and the title is inspired by Alice in Wonderland.
Utopian Heads by L.A. artist Mark Dutcher caught my attention for its evoking of painting styles and concepts of the early twentieth century experiments. The title of the piece seems to fit with that as well.
It seemed that the artists from L.A. dominated my attention at the show. As with the above pieces and the one below by Steven Wilkoff, they seemed to unapologetically modern.
But these piece from Oakland-based artist Scott Greenwalt did provide a contemporary take on abstraction.
It was then off to Glen Park, just a short trip south from the Mission along the miniature freeway known as San Jose Avenue. (But that’s a story for another time.) My destination was the Surrey Street Salon for a fun evening of performance with a circus theme. So of course there were clowns with vaudeville-style musical numbers.
There was also serious musical talent on display. I was quite impressed with Tin Sandwich, an all harmonica band.
Their instruments ranged from tiny inch-long specimens to the large bass harmonica.
Their arrangements, while mostly traditional songs, were quite tight, and included some impressive solos. I would definitely want to see them again.
Surplus-1980 bandmate Moe! Staiano also performed, this time on solo percussion.
His avant-garde percussion playing is frenetic, moving quickly from on idea and one instrument to another, whether it is part of his traditional drumset or superballs against the window.
In all, it was a great evening of music and art, and the two events provided quite a contrast in style.
Wordless Wednesday: Erie
Wordless Wednesday: Industrial Oasis (Tulare Park)
San Francisco SPCA Holiday Windows, 2013
One of our favorite holiday traditions here in San Francisco is the window display at Macy’s flagship Union Square store featuring adoptable pets from the San Francisco SPCA.
There were quite a few kittens on display, some in windows that featured a theme of holidays in the city. Some really knew how to ham it up for the visitors, like this cutie:
They always get a good response from the public including numerous adoptions, which is of course what this event is all about. And we at CatSynth love seeing cats finding new homes.
You can find out more about the program at the SF SPCA’s website, including visiting hours and how to donate to help the city’s homeless pets. And if you live here or you’re visiting SF this holiday season, go downtown and see the cats in person!
Surplus 1980 and Fred Frith Trio, Brick and Mortar
A couple of weeks ago, Surplus 1980 joined the Fred Frith Trio at the Brick and Mortar in San Francisco from a night of energetic avant-rock and jazz. It was a show we have all been looking forward to for quite a while.
Surplus 1980 went on first, with a set that combined songs from our recent album Arterial Ends Here with older selections. In addition to Moe! Staiano and myself, the band includes Bill Wolter and Melne Murphy on guitar, Thomas Scandura on drums, and Steve Lew on bass.
[Photo by Michael Zelner.]
For this set, we expanded our Fred Frith cover “Cap the Knife” into a full medley featuring excerpts for some of his other songs. In a brief exchange back stage, it sounded like he appreciated the gesture, and even suggested that his group perform a “Moe! Staiano medley”, which would have been fun. But overall, it was our strongest performance as a band to date, with rhythms and phrasing much tighter as well as more sophisticated use of all parts.
After Surplus 1980 was done, Fred Frith took the stage with his trio that included Jordan Glenn on drums and Jason Hoopes on bass.
[Photo by Michael Zelner.]
It was quite a contrast, going from post-punk to avant-jazz. The trio played through longer pieces that moved between fast intricate sections and more familiar idioms with ease. The polyphonic sections were certainly impressive, but I do find when technically strong musicians play in unison or at least synchronous rhythms, it leaves a more memorable impression. Frith deftly filled up the otherwise sparse texture of the music, but not so much that one would get lost or overwhelmed.
Overall, it was a successful show, with a good turnout. Surplus 1980 is now looking forward to our next show in December, but I hope we get to play with the Fred Frith trio again.
