Lynn Johnston: clarinets
Ellen Burr: flutes
Eric Sbar: euphonium
Bruce Friedman: trumpet
Michael Intriere: cello
Andrea Lieberherr: violin
Emily Beezhold: keyboard synthesizer
Jeremy Drake: electric guitar
Rich West: drums, percussion
Special thanks to
Haskel Joseph: guitar and
Richard Kim: violin for their participation
1. Monochromatic Textures (MCT-1) 3:35
2. MCT – 2 with Solos 10:10
3. MCT – 3 with Solos 19:25
4. MCT – 4 with Duos 16:45
total time: 49:57
“O.P.T.I.O.N.S. is a collection of music notation symbols, both original and traditional that were designed and compiled with the intent of minimally guiding improvisation. The selection, order and interpretation of the symbols are left to the ensemble, hence the acronym O.P.T.I.O.N.S. — Optional Parameters To Improvise Organized Nascent Sounds.
For this recording, each symbol became manifest as a musical texture. Three of the compositions include improvised solos or duets. This ensemble gave two concert performances in the Los Angeles area. The O.P.T.I.O.N.S. CD is the result of artistic contributions made by this wonderful group of devoted musicians. While I did guide the project, the music’s evolution was very much a collaboration. I cannot thank the individual participants enough for their invaluable contributions to this endeavor.
Recorded at Architecture on March 26, 2005
Scott Fraser – studio engineer (recording, mixing, mastering)
P & C 2008 brucefriedmanmusic, BMI
Graphic notation by Bruce Friedman
Layout and design by Jeremy Drake
Rich West: drums, accordion, pieces
Dan Krimm: electric bass
Bruce Friedman: trumpet
Emily Beezhold: electric piano, korg ms2000
Lynn Johnston: saxophones, clarinets
2. A Performer’s Objective Is to Put Everyone to Sleep
3. You Never Want to Tell People You’re a Scent
4. Le Petomane
5. Detritus or Treasures
6. Death Pledge
7. Glenn’s Conducting
all compositions by Rich West, © 2006 richwest recordings (bmi)
Design and Layout by Jeremy Drake
Recorded April 18th and November 27th, 2004
Mixed March 24th, June 2nd, and June 10th, 2005
Mastered August 2nd, 2005
All at Catasonic Studios by Mark Wheaton
Heavenly Breakfast is a novel/autobio by Samuel Delany about
communal living but it reminded me about how happy I was when I
would visit my friends’ cooperatives in Santa Cruz. The food was
vegetarian and excellent. The meal would cost a dollar and I’d help
either in the kitchen or at the dining table. And then the circular
massages. It definitely takes a certain type of person to be involved in
those things on a day-to-day basis.
I was not one of them.
– Rich West
I could say I based the form of this tune on the structure of James Joyce’s book Ulysses – but I didn’t. It’s more about getting progressively more wasted on an eventful Bloomsday (June 16th) on the UC Santa Cruz campus in 1984. I came to a classroom full of joyous Ulysses fans drinking Irish whisky, enjoying another full-length all-night reading of the tome. Brendan, in his tenth year at the university as an undergrad, was trying to finally finish a B.A. in philosophy, preferably before a heroin overdose. He was sitting front and center, absorbed. He got up and read for about a page.
A PERFORMER’S OBJECTIVE IS TO PUT EVERYONE TO SLEEP
“Come to my gig,” I tell my girlfriend. “You can take a nap.”
YOU NEVER WANT TO TELL PEOPLE YOU’RE A SCENT
I’ve thought of dedicating a whole cd to him. I would be the stand-in for
the famous actor who would play him in the full-length movie. I’d need a
voice-over, though, as I’m really an unpracticed amateur. Did you
know I was once the model for a Butthole Surfers concert promo poster?
Taken by Steve Callis, the police were looking for the photographer and
producers who put out this smut, this photo of a woman’s groin. Ah, pride.
DETRITUS OR TREASURES
In chipping away, a fantastic and unfortunate thing happened.
A 20,000-year old fossilized bug came loose as Mr. Big was digging.
It lodged in his corneal area. A trip to the hospital and some tweezers later, his eye was red for several weeks.
See the Latin word “mortgage.”
There was a great series at the Kabuki Theatre in San Francisco in
1983 on Fridays. The first one I went to was Glenn Branca
when he had his big guitar group with the sympathetic vibration string
instruments and the drummer played an anvil. You really couldn’t
hear those sounds on recordings, not the way he intended anyway.
I noticed that if you mixed peach brandy and sat in the front row you’d
have involuntary regurgitations. It was LOUD, and freaky because
of all those sympathetic vibration highs. Mind-blowing, psychedelic, and
he had a program so you could read about it in very academic language.