Cute little Abby sits next to a tower of vintage keyboard synths. On top is a Roland Alpha Juno 1; below it is a Roland S-10 sampling synthesizer. On the bottom level is a Casio CZ3000. The last one is left as an exercise to the reader.
“Up for grabs is a super ultra rare bend by the infamous Tablebeast.
To my knowledge he only did twp bends on this particular Casio model and the other keyboard went to Trent Reznor’s studio during the With Teeth sessions, or at least that is the story Jesse Savage told me. He sent this to me as part reparations for a custom amp project that went seriously wrong (ie never delivered).
Own one of these rare gems, its got glitch soul for days, nothing like it.”
Sadly, the auction is long over. But many other opportunities for glitchiness await…
This past Thursday, the Center for New Music launched Compton’s Cafeteria Series, a set of occasional concerts featuring transgender performers. And I was there both the cover the show and be a part of it!
For those who are not familiar with the story, Gene Compton’s Cafeteria was a small restaurant chain and its Tenderloin location at the corner of Taylor and Turk Streets was one of the few places where transgender individuals, and especially transgender women, could safely congregate. There was, however, some tension between transgender patrons and the staff, who often called the police, with arrests and harassment ensuing. In 1966, this pattern led to the Compton’s Cafeteria Riots.
In the 1960s the Compton’s Cafeteria staff began to call the police to crack down on transgender individuals, who would frequent the restaurant.Management felt that transgender customers were loitering and causing them to lose more desirable business. In response, they implemented a service fee directed at transgender individuals and blatantly harassed them in an attempt to get them to leave the restaurant. In response to police arrests, the transgender community launched a picket of Compton’s Cafeteria. Although the picket was unsuccessful, it was one of the first demonstrations against police violence directed towards transgender people in San Francisco. On the first night of the riot, the management of Compton’s called the police when some transgender customers became raucous. Police officers were known to mistreat transgender people.When one of these known officers attempted to arrest one of the trans women, she threw her coffee in his face. According to the director of Screaming Queens, Susan Stryker, the cafeteria “erupted.”
This was nearly three years before the Stonewall Inn Riots in New York but has not gotten nearly the visibility in the time since. There is a plaque on the sidewalk in front of the former site at 101 Turk Street, and there is now an honorary street renaming of the 100 block of Taylor Street as Gene Compton’s Cafeteria Way – we featured the sign in our most recent Wordless Wednesday post.
More importantly, the immediate vicinity has been recognized by the city as a “Transgender Cultural District.” As the Center for New Music is located in the heart of this new district, it seemed natural for them to host a series celebrating transgender visibility (and audibility), and I am grateful to the staff there and to my friend David Samas for proposing this and making it happen.
The show itself was a successful event featuring vary different performances, although they all made extensive use of hardware synthesizers. You can see some of the highlights in my latest video.
The evening started with a set by Rusty Sunsets (aka Cara Esten). Her performance was divided into two sections, the first featuring acoustic guitar and voice, and the second incorporating synthesizers and drum machines. Both parts were unified by Esten’s folk-song style, with a series of compositions about her upbringing in Oklahoma and loves lost and found. Perhaps the poignant was a love song inspired by the 1911 Triangle Factory fire in New York where 146 workers, the vast majority of whom were women, perished. My favorite was the final song which brought together a Moog Mother-32 and other synthesizers with plaintive but optimistic singing.
Next up was Pitta of the Mind (Amanda Chaudhary and Maw Shein Win). We performed a short set with a featured color of blue – set against the fuschia background lighting and my automated multicolor blinking lights. Musically, it had a very punctuated quality with abstract sounds from the modular and Arturia MicroFreak against some of Maw’s poems that featured open space and short lines. We mixed it up for the final piece, which had lusher and more emotive quality with longer lines and acoustic piano – these pieces are a strength for us and we always include at least one.
Then it was time for the final set, featuring my solo electronic performance. I started with the solo version of White Wine (and a cup of white wine). The Casio SK-1 was sampled and remixed in Ableton Live, with the statement of the melody and cords, followed by a cacophony leading into two distinct rhythmic sections: first a funk/disco sound featuring MicroFreak bass and a jazz piano improvisation; and then a Stereolab inspired electric-organ solo leading into a final section of tape-delayed metallic sounds (Strymon Magneto and Pocket Gamelan from Crank Sturgeon).
After that, it was on to the cat-infused and disco-and-French-House inspired Donershtik. The piece is just a lot of fun, a classic 70s analog melody (in this case on the Arturia MiniBrute) in Phrygian mode followed by playful modular improvisation (anchored by the MOK Wavewazor) going into the electric piano disco/house section.
Overall, I think this was one of the best of my live solo sets, tightly choreographed with a relatively diverse and robust setup, and well-defined and well-rehearsed pieces. Once again, structure and hard work paid off.
But I also fed off the positive energy and enthusiasm of the crowd, which brought together regular friends and fans with members of the transgender community. It was a beautiful night overall, and I look forward to both being present and helping organize the next in this series.
A black cat posing with several vintage small keyboards, including some familiar ones from Casio and Yamaha. From Milomi Studio on Instagram.
Some of these keyboards may be considered “toys”, but they are still musical instruments. I coveted some of these small keyboards before I discovered synthesizers. I do now have a Casio SK-1 that gets used in live performance.
Recently, John Lee, the creator of bayimproviser.com donated a portion of his extensive record collection to Outsound. And our friends at VAMP are helping us sell them to fund our continuing mission of promoting new music in the Bay Area and beyond. To launch this effort, Outsound held a benefit concert at VAMP on December 1.
I performed a solo set with my trusty Nord Stage EX, modular synth, and Casio SK-1.
As with most of my current solo performances, I try to combine both idiomatic jazz and funk elements with more experimental electronics. I opened with White Wine (instrumental) with the extended solo section morphing into a more free-form electro-acoustic improvisation that also included the garrahand drum. It moved from sections of disco and bossa nova rhythms to noise to complex harmonies from the drum and Make Noise Echopon module. It was a fun set with an appreciative audience of both attendees and record-store patrons.
After my set, Tri-Cornered Tent Show took stage. Anchored by bandleader Philip Everett on clarinet and electronics and Ray Schaeffer on bass, the band explored a variety of sounds and styles from noisy electronics and percussion to R&B grooves to psychedelic serenades featuring Valentina O on vocals. Anthony Flores rounded out the band on drums.
It was interesting to see how both sets explored the intersection of avant-garde electronic and acoustic sounds with more familiar idioms. Soul, funk, and R&B were present in both sets, but then we each veered off in different directions. Between us, we might have covered many of the genres in VAMP’s record bins!
It was a fine night of music and fellowship, and it’s great to see an independent (and idiosyncratic) store like VAMP flourishing in downtown Oakland. You can find out more about them here. And please visit Outsound’s website to find out about upcoming programs and how you can help support our work bring new music to our community.
Please welcome Bok Choy, making her long awaited debut on CatSynth.
Here we see her checking out, and showing a bit of disdain for, a Casio SK-1.
The Casio SK-1 is actually an awesome little instrument we have used many times.
Bok Choy is the cat that lives with Maw Shein Win, our longtime collaborator in Pitta of the Mind. And on that note, Pitta of the Mind will be performing next Friday at Nomadic Press in Oakland (23rd and Telegraph).
Join us for an excellent Uptown Fridays featuring readings by Norma Smith and Sofia Lopez, with musical guest Pitta of the Mind featuring Maw Shein Win and Amanda Chaudhary. Emceed and curated by Reńe Vaz .
Suggested donations of $5-25 collected at the door, but no one turned away for lack of funds.
I have been busily preparing for tonight’s solo set at The Lab here in San Francisco. As usually happens, I initially plan to simplify the setup, but then as I work on the set musically, more instruments and equipment end up part of the rig. And this one may be one of the largest to date.
In addition to the Nord Stage (aka “The Big Red Keyboard”), there is the newly reconfigured modular synth, the Prophet 12, the Moog Mother 32, Casio SK-1, and iPad. The modular path features multiple voices, including some processing external audio from the Nord and the SK-1, respectively.
Why so big? Well, it comes out the current musical direction, which mixes jazz and funk with experimental electronics. That means a full-size keyboard is always present. And the electronics has to provide rhythmic and harmonic support in addition to timbral support. This always adds significant complexity, but provides for a richer musical experience.
Here are the details on the show, including the other acts. I am excited to have a group improv with my friends Joshua Marshall, Jaroba, and Christina Stanley. And the evening will begin with an orchestra of invented instruments from Pet The Tiger (David Samas, Tom Nunn et al.) with dance by Christina Braun. If you are in the Bay Area tonight, please consider joining us.
Thursday, June 22, 8PM
2948 16th St SF
A special evening of funky and noisy sounds, invented instruments, whimsy, and more 😺 🎶
8:00PM Pet The Tiger Inventors Collective performs Arc Weld
8:40PM Amanda Chaudhary solo. Funky and experimental electronics
9:20PM Amanda Chaudhary with collaborators Joshua Marshall, Jaroba, and Christina Stanley