SFCMP Performs Peter Evans and Igor Stravinsky

We continue to catch up on the many concerts we have enjoyed this year. Today we look at an intriguing performance by the San Francisco Contemporary Music Players featuring Peter Evans’s Lover’s War and Igor Stravinsky’s L’Histoire du Soldat.

What made this concert unique was the way Stravinsky’s L’Histoire du Soldat (The Soldier’s Tale) was interpolated between movements of Evan’s piece. One movement of Evans, followed by a movement of Stravinsky, back and forth, throughout the performance. The two pieces are quite different in time, style, and context. L’Histoire du Soldat is a well-known work set to a cautionary tale of ambition and hubris mixing in concert-music elements with folk styles, jazz, and klezmer. It’s a fun, sometimes bombastic piece, and even it’s darker points featuring the devil are somehow fun. Peter Evans’ contemporary piece also puts together disparate styles, but in a more abstract manner that mixes idiomatic “classical” elements with electro-acoustic improvisation, Asian classical, jazz, and more. The piece makes heavy use of improvisation, but is still quite structured around the various styles and the fragments from James Baldwin’s essay “The Creative Process.”


[Composer Peter Evans (right) with guest India Cooke (left) and ensemble-member Kyle Bruckmann (center)]

While the Stravinsky is dark and pessimistic even while it is fun, Evans’ work combined with Baldwin’s words is more optimistic. And about a century separates the two compositions. Nonetheless, they work surprising well interleaved this way. Both pieces have a very fragmented nature, and the contrasting moods help rather than hinder. In Evans’ program notes, he described his work as contrasting rather than responding to Stravinsky, and we think this is an apt description of how the concert unfolded. But it did feel like it melded in a way into something new; and the musicians, both SFCMP regulars and guest performs had a lot to do with that.


[Kyle Bruckmann with guest performers India Cooke and Nava Dunkelman]

Overall, it was a fine evening of music at the Herbst Theatre in San Francisco. And we enjoyed talking with performers and others at the reception afterwards. We at CatSynth look forward to continued experiments from SFCMP.

CatSynth video: Cleo and microKORG

Adorable black kitten with a microKORG synthesizer. By Duck (@duckband_uk) on Twitter, submitted to @catsynth on Twitter via Dan Kletter.

Hi Cleo, so nice to meet you đŸ˜ș

Amanda Chaudhary: Two White Wines

Over the past month I had performed my piece White Wine twice in very different settings. We present them both below.

The first is with my band CDP (Census Designated Place) in early March. Performing with me are Tom Djll on synthesizers, Joshua Marshall on tenor saxophone, and Mark Pino on drums.

CDP Playing White Wine at Finnish Kaleva Hall from CatSynth on Vimeo.

This version follows a basic jazz structure of a head, follow by solos, and finally a recapitulation. But the solos are much more free form, not defined by a specific number of bars. The rhythm and tonal center remains constant, although the pitches and timbres move around quite a bit. I think it’s fair to say the whole band was happy with the way this turned out. And for me is what a chance to play I style of music that I most want to. The performance reminded me of early Miles David fusion albums, or late Soft Machine.

One week earlier, I performed the same piece at the Jewish Community Center in Berkeley, part of a program curated by Amy X Neuburg.

White Wine JCC February 2017 from CatSynth on Vimeo.

The melody – this time accompanied by a Casio SK-1 as part of a solo performance – is unmistakable. The open section even starts out with the same four-on-the-floor pattern. But it quickly diverges to more abstract electronic sounds. This is direction I am taking much of my solo work, mixing the jazz/funk elements into the more abstract electronics that I have long done. Astute listeners might spot the cat at the end.

I will be writing about both shows, including the other artists who participated, in upcoming articles. For today, I just wanted to raise a glass of White Wine.

CatSynth Audio: “Side Hookah” from Hookah the Cat

We have a new audio release from our friend Hookah the Cat! đŸ˜ș

Hello, my first official release came out this week. I played every sound on it, my human merely recorded it. Availabe as digital or on a split cassette with the lasse jensen trio. https://stilletid.bandcamp.com/track/side-hookah

Alice-in-Wonderland-Themed Anti-Drug PSA with Synth Soundtrack

Via Dangerous Minds, we have this rather trippy PSA from 1971 using Alice in Wonderland as a frame for discussing the dangers of drugs.

The original was created by the U.S. Department of Health, Education and Welfare (forerunner to the current Health and Human Services department) and can be found in the National Archives.

In hindsight, the video probably fails miserably at its mission – indeed, much of past decades’ anti-drug campaigns seem rather foolish in hindsight. But the imagery is gorgeous and quite captivating, as is the soundtrack. We at CatSynth in particular quite light the sparse synth music. And the cats, both the Cheshire Cat and the real-life cat that appears at the beginning and end đŸ˜ș. Anyone care to identify the synth(s) used?

James Chance and the Contortions at the Knockout, San Francisco

James Chance and the Contortions made a rare appearance in San Francisco, and we at CatSynth were on hand at The Knockout to see it. For those who are not familiar with James Chance, he was an icon in the New York post-punk and “No Wave” scene in the late 1970s and early 1980s. Perhaps more than most in that scene, he incorporated jazz and funk, not merely as decorative elements but foundational to the music as a whole. His music has been described as “combining the freeform playing of Ornette Coleman with the solid funk rhythm of James Brown, though filtered through a punk rock lens” [Wikipedia].

At around midnight, he took the stage with his trademark pompadour and saxophone blaring.

From the start it was a high-energy experience, especially up front near the stage where we were. The rhythm section was solid, whether playing a bouncy ska-like rhythm or the funk rhythm and details that so characterize and separate the band from others in its original scene. Every so often, Chance would break out into fancy footwork reminiscent of James Brown in between vocals that were simultaneous playful and aggressive. And the rhythm remained tight even when the horns went on long free runs, occasionally cutting out for a voice solo and keyboard hit, and then coming back in on the beat. It has been said that Chance hold his bands to a high standard of tightness and musicianship and it shows.

Another fun aspect of the set was the interplay between James Chance and Mac Gollehon on trumpet and keyboard. In additional to some classic horn-section hooks to complement the funk rhythms, Gollehon used a dynamic-filter effect on his trumpet that worked extremely well in context, turning the horn into a rhythm-section instrument playing riffs that in more conventional bands are covered by guitar.

It was a sold-out show with an enthusiastic crowd packing the small space of the Knockout, and it spans a wide age-range from those who may have seen James Chance in the 1970s and 1980s to younger people likely seeing him for the first time. And having a great time of it. We certainly did. And I draw some inspiration from the mix of funk and jazz with punk and avant-garde elements. We at CatSynth wish them well on the remainder of this west coast tour.