Danny Gouker: Signal Problems / Love Letters (PFMCD124)

Jeff Kaiser Leave a Comment

[playlist ids="1458"]

Signal Problems

Love Letter

Danny Gouker: Trumpet, Compositions
Eric Trudel: Tenor Saxophone
Adam Hopkins: Bass
Nathan Ellman-bell: Drums

1. Mad Lib 5:28
2. Haiku 4:22
3. Word Play 4:56
4. Enough is Enough 3:24
5. Final Word 4: 24

All music ©2018, Daniel Allen Gouker ASCAP
Recorded at an Airbnb in Catskill, NY by Nathaniel Morgan Aug 15, 2017
Mixed by Nathaniel Morgan, January 2018
Mastered by Wayne Peet at Newzone Studio, March 2018
Artwork and Layout by T.J. Huff

pfMENTUM CD124
PFMCD124

Joshua Gerowitz: Solano Canyon (PFMCD099)

Jeff Kaiser Leave a Comment

Joshua Gerowitz: Solano Canyon

[playlist ids="1240"]

1. Smooth as Ice 5:29
2. Hamburger Island #1 1:12
3. Swoot 4:56
4. Morning Landscape Illusion 6:57
5. Hamburger Island #4 4:40
6. Chicken, Cigarette, Bed #2 7:57
7. Hamburger Island #3 3:18
8. Angels Point 2:15

Personnel: Joshua Gerowitz (guitar), Louis Lopez (trumpet, tracks 1-7), Colin Woodford (drums, tracks 1-7), Jake Rosenzweig (bass, tracks 2, 5, 6, 7), Carmina Escobar (voice, tracks 2, 5, 7), Joe Santa Maria (saxophones, tracks 1, 3, 4), David Tranchina (bass, tracks 1, 3, 4)

Recorded by Nels Jensen at The Pie Studios, July 2016
Mixed by Daniel Eaton, December 2016
Mastered by Evren Goknar, January 2017
Additional mastering by Daniel Eaton, April 2017
Original album artwork and layout by Georgia Bell

Tracks 1, 3, 4, 6, 8 © 2017, Joshua Gerowitz, ASCAP
Tracks 2, 5, 7, © 2017, Daniel Eaton, ASCAP; Carmina Escobar; Joshua Gerowitz, ASCAP; Louis Lopez, ASCAP; Jake Rosenzweig, ASCAP; Colin Woodford, ASCAP

pfMENTUM CD099
PFMCD099
www.pfmentum.com

Adam Hopkins: Party Pack Ice (PFMCD107)

Jeff Kaiser Leave a Comment

[playlist ids="1154"]

Adam Hopkins: Party Pack ICE
(please note, this is an EP, the price has been reduced from our full price.)

1. 39.6432°N (1:43)
2. Little Mathletes (4:39)
3. Duckpin (1:44)
4. To Record Only Water For Ten Days (3:51)
5. Hobart’s Law of Kinetics (1:18)
6. The Stephanies (8:47)
7. 76.7408°W (2:00)

Adam Hopkins – bass, compositions
Patrick Breiner – tenor saxophone
Eric Trudel – tenor saxophone
Dustin Carlson – guitar
Nathan Ellman-Bell – drums

Released August 10, 2017

All music © 2017 Adam Hopkins / Add-Hop Music (BMI)
Recorded live by Nathaniel Morgan at iBeam Brooklyn, March 18, 2015.
Mixed and edited by Nathaniel Morgan at Buckminster Palace, 2016.
Mastered by Wayne Peet at Newzone Studio, 2017.
Artwork, layout, and design by TJ Huff, huffart.com.

Very sincere thanks to TJ Huff and Nathaniel Morgan–your artistic and musical visions exceeded all expectations in their contribution to this project. Special thanks to Jeff Kaiser, Maxwell Gualtieri, & Louis Lopez at pfMENTUM for their support and enthusiasm for this record, and for creative music as a whole. And finally thanks to friends, family, and places in Baltimore from various points in time over the past 7 years–you inspired this recording in pretty much every imaginable way.

pfMENTUM CD107
PFMCD107

Peter Kuhn / Dave Sewelson: Our Earth / Our World (PFMCD097)

Jeff Kaiser Leave a Comment

[playlist ids="866"]

Peter Kuhn: alto and tenor sax, Bb clarinet
Dave Sewelson: baritone and sopranino sax
Larry Roland: bass • Gerald Cleaver: drums

1) Our Earth 25:22
2) Our World 12:36
3) It Matters 11:07

Our Earth / Our World

“Just because you don’t see me, it doesn’t mean I am gone.”

The music on this CD is beautiful. It moves me to stand on one foot and hop in joy. It's laced with a dark and searing lyricism that one finds on those hot summer nights when the freedom bell tolls and all the heavy weight players would pick up their horns and blow all night. Dave Sewelson, Peter Kuhn, Larry Roland, and Gerald Cleaver are creating their own tradition and it is reborn each time they play.

The music swoops and soars into inner and outer space. Cane reeds vibrating and living in both the urban and celestial worlds at the same time. The sound re-enters with the earth touching it’s own root then resurfacing as colorful flowers made of soil and mud wrapped in a shell of hope that rests on a cradle of freedom. Then the phrase, “Just because you don’t see me, it doesn’t mean I am gone.”

Peter Kuhn who is back on the scene meeting with Dave Sewelson who still remains one of the best kept secrets on the music scene but is a hero in the tone world. Here they cross paths with Larry Roland’s mystical bass and Gerald Cleavers Saturday morning Detroit thrust. I would suggest you clean your palate and give this music a big listen. Veterans are in the house bringing in some of that old time religion. No time to experiment they know exactly where they are going into the unknown where pure creativity lives. 

—William Parker, 2015


 

If I had to choose a way to describe the music that flows through Our Earth/Our World that description would begin with intuition and conversation. The best of freely-improvised music is always rich in these details, and the dialog between Kuhn and Sewelson has obviously stood the test of time.

This disc, recorded on a brisk April evening at the 2015 Arts for Art Festival begins with the sonic swirl of Dave Sewelson’s rough-hewn baritone saxophone jostling against the slinky sinew of Peter Kuhn’s Bb clarinet. Right away, the melodic interplay between the two musicians, (an association that began some 40 years ago) rings true and devastatingly clear. Themes and riffs wrap around each other with serpentine grit and gristle, all with the surety of notated material – yet nothing was written down. “No discussion, no plan, no charts or even concepts,” Kuhn related, via email. “I had never met Larry or Gerald before the set, and they hadn’t played together before this either.”

Kuhn was making reference to the sterling rhythm section of Larry Roland on bass and the marvelous Gerald Cleaver on drums, who both leap into the fray of the 26-minute opener, “Our Earth,” with muscled dialog and multidirectional waves of motion, including a brief drum and bass duet that precedes Kuhn’s screaming essay on tenor saxophone, which wails in the best of the post-Ayler traditions – a sermon of great extremes joined at its orgiastic apex by Sewelson’s equally committed spiraling altissimo pealing. All of this flows atop the crisp martial cadences and precise control of dynamics initiated by Cleaver’s snare and the depth of Roland’s arco and pizzicato accompaniment. Sewelson returns on the tiny sopranino saxophone – his sound is dark, fat, and swollen with sonic fertility. Once again, the horns entwine and spiral into deep conversation. A joyous beginning.

Cleaver, an acknowledged master of subtle gestures, opens the second selection, “Our World,” with a stunning drum narrative that leads both hornmen into a writhing jostle of overtones on sopranino and clarinet, respectively, over the relentless ostinato of Roland. Back on baritone, Sewelson whinnies and squeals, all while alluding to an almost Motown-like pocket as Kuhn’s tenor reengages, stoking the fire with chortling repetitions and bone-chilling eruptions into the upper register.
That sense of joyful audacity deepens when Roland unleashes a monstrous solo to introduce the final selection, “It Matters,” where Kuhn’s lithe Bb clarinet burrows a serpentine course deep into the heart of the music, all the while guided by the ebb and flow of Cleaver’s drums, which both explode and illuminate.

You can feel the enthusiasm of the packed house – not just in the applause that peppers each selection – but in the spontaneous gasps and groans that accompany several unforgettable moments of deep listening. Turn it up. Enjoy. Repeat.

—Robert Bush, 2016

© 2016 Dependent Origination Music, ASCAP

Recorded at Arts For Arts Our Earth/Our World series, NYC, April 2015

Mastered by Wayne Peet, Newzone Studio, Los Angeles

Photos ©2016 Michael Klayman. Used by permission.

Layout, Jeff Kaiser

pfMENTUM CD097

PFMCD097

PFMCD096_Back

John Blevins exciting new recording on pfMENTUM

Dedicated to creative music—and the musicians that make it. John Blevins: Matterhorn On the latest pfMENTUM release, John Blevins leads his ensemble Matterhorn through an exciting set of compositions and improvisations that reflect both the jazz-rock experiments of the late 1960s and contemporary sonic explorations. You can check out the album—and a free track!—here.   Members John Blevins (Trumpet/ Compositions), …

John Blevins: Matterhorn (PFMLP092)

Jeff Kaiser Leave a Comment

[playlist ids="765"]

John Blevins: Matterhorn

(Please note: this is for the VINYL version, the CD version is here.)

Side A:
1. Identity Theft
2. Unaware
3. Brink
4. Nascent

Side B:
1. Little Dickens
2. See
3. Breathe
4. Hear

John Blevins – Trumpet
Drew Williams – Tenor Saxophone
Brad Mulholland – Alto Saxophone/Flute/Clarinet
Nick Grinder – Trombone
Marta Sanchez – Fender Rhodes
Jeff Mclaughlin – Guitar
Marty Kenney – Bass
Nathan Ellman-Bell – Drums/Percussion
John Doing – Congas

Produced by John Blevins and Shane Endsley

Recorded at Grand Street Recording in Williamsburg, Brooklyn by Jake Lummus on July 21 and 22, 2014

Edited and mixed by Jake Lummus and John Blevins, Autumn 2014

Mastered by Liberty Ellman on December 12, 2014

All compositions © and& ℗ 2015 John Blevins Music (ASCAP)

Original artwork and design by Sam Gezari

THANK YOU to Nathan, Marty, Jeff, Nick, Drew, Brad, Marta, and John for their dedication to this music. It’s an honor to play with you.

Special thanks to Shane Endsley, Jake Lummus, Liberty Ellman, Leah Jubara, Matt Hurley, Simon Yu, Sam Gezari, Daniel Stessen, and to Bill Jubara and everyone who supported this project on Kickstarter. Special thanks to my loving, supportive family and especially to Amanda.

For Ray and Howell.

pfMENTUM LP092

PFMLP092

John Blevins: Matterhorn (PFMCD092)

Jeff Kaiser 1 Comment

[playlist ids="765"]

John Blevins: Matterhorn

(Please note: this is for the CD version, the vinyl version is available here.)

1. Identity Theft
2. Unaware
3. Brink
4. Nascent
5. Little Dickens
6. See
7. Breathe
8. Hear
9. See (alternate take)

John Blevins – Trumpet
Drew Williams – Tenor Saxophone
Brad Mulholland – Alto Saxophone/Flute/Clarinet
Nick Grinder – Trombone
Marta Sanchez – Fender Rhodes
Jeff Mclaughlin – Guitar
Marty Kenney – Bass
Nathan Ellman-Bell – Drums/Percussion
John Doing – Congas

Produced by John Blevins and Shane Endsley

Recorded at Grand Street Recording in Williamsburg, Brooklyn by Jake Lummus on July 21 and 22, 2014

Edited and mixed by Jake Lummus and John Blevins, Autumn 2014

Mastered by Liberty Ellman on December 12, 2014

All compositions © and& ℗ 2015 John Blevins Music (ASCAP)

Original artwork and design by Sam Gezari

THANK YOU to Nathan, Marty, Jeff, Nick, Drew, Brad, Marta, and John for their dedication to this music. It’s an honor to play with you.

Special thanks to Shane Endsley, Jake Lummus, Liberty Ellman, Leah Jubara, Matt Hurley, Simon Yu, Sam Gezari, Daniel Stessen, and to Bill Jubara and everyone who supported this project on Kickstarter. Special thanks to my loving, supportive family and especially to Amanda.

For Ray and Howell.

pfMENTUM CD092

PFMCD092

Michael Vlatkovich / Anna Homler / Jeff Kaiser / Scott Walton / Rich West: Here & Here & Here (PFMCD084)

Jeff Kaiser 1 Comment

[playlist ids="555,557,553"]
Michael Vlatkovich: trombone, percussion
Anna Homler: vocal, percussion
Jeff Kaiser: trumpet, flugelhorn
Scott Walton: acoustic bass
Rich West: drums, percussion

1. Dragon Beware (2:47)
2. Here & Here & Here (7:28)
3. Red Coda Soft (8:21)
4. Before But After (2:09)
5. Spark (5:20)
6. Big Doors Little Windows (3:49)
7. Oranger Than Happiness (3:10)
8. Round Triangles (3:41)
9. Your Ark Is Waiting (2:39)
10. Three In Front Four in Back Toes (2:41)
11. Salute (1:41)
12. Choir hose 293 (3:02)
13. Pfazzu (2:48)
14. Thunderous Silence (3:33)
15. Potozo (2:44)
Recorded 1-20-14 edited, mixed & mastered 2-4-14
Newzone Studio Los Angeles Wayne Peet engineer
Photos Julia Fitzgerald * Layout Jeff Kaiser

pfMENTUM CD084

PFMCD084

Odeya Nini: Vougheauxyice (Voice) (PFMCD083)

Jeff Kaiser 1 Comment

[playlist ids="551"]
Vougheauxyice (Voice)

Odeya Nini: Voice

1. Mi See Ti 3:37
2. Dalai 6:16
3. Everyday Cantor 3:07
4. Idiomia 4:35
5. Tunnel 6:22
6. Tapestry of Synonyms 6:34
7. There Are So Many Things That I Have To Tell You 9:52
8. Cyclicality 6:36

1-4 were recorded in a private home in Joshua Tree, CA, September 25, 2012.
5 was recorded in an aqueduct in San Francisquito Canyon, CA, April 1, 2013.
7 was recorded at California Institute for the Arts, June 2012.

All tracks except 7 were recorded and mixed by Justin Asher
7 was recorded and mixed by Brian Saia
6 was edited by Odeya Nini
Mastered by Joe Panzner

Except for track 6, all of the pieces are in a single take, no editing. 1-5 are compositions with an open form. There is a compositional road map, but they are not performed the same way twice. 7 and 8 are improvised. Several microphones where set up in the space for 1-5, allowing for the voice to be recorded with movement and gesturing.

Photography – Adeline Newmann and Odeya Nini
Design and layout – Thea Lorentzen
Art – Saul Alpert Abrams

NOTES:

Vougheauxyice (Voice)

The voice is an instrument that both listens and reveals. It takes from all that is around us and all that is inside us as it communicates a free and composed response outward. In this work I explore the language of the voice like a dancer. I think of shape, form, gesture and the vast range of motion in the voice’s movement through space. The voice is often thought of as intangible, but in this work I try to mold its natural physical tendencies, sensing its vibrations, and feeling the touch of its waves on my skin and in my bones.

Mi See Ti

A simple melody alluding false solfege syllables that repeat themselves, diverging more and more. A play with forms of interpretation from contained and proper, to unruly swells.

In performance this piece incorporates theatrical elements, changes of facial expression and a collapsing of the body to the floor between each iteration. It questions ideas of beauty in the voice, presentation, intention, the relationship and cohesion (or negation) of the body’s expression simultaneous to the expression of the voice, and the role of the singer as an exhibitionist.

Dalai

Dalai was written while spending time in Mongolia in the summer of 2012. I learned that the meaning of the word Dalai, that we know so well from Dalai Lama, means ocean in Mongolian. Traveling in the Gobi desert, the power of the wind was omnipresent, and absolutely striking to me. It was possible to see the storms and changes of weather traversing the endlessly flat desert from miles away—often surprisingly quick—bringing gusts more powerful than I had ever experienced. Every turn of the head gave variation to the sound of the howling wind: so violent at times and peaceful in its aftermath. The obsession with wind was an easy to acquire, the more I listened, the more I realized the sound of crashing waves and the ocean’s movements were the sounds of wind. In a landlocked country such as Mongolia, I sensed the ocean all around me. Wind, ocean, breath.

Everyday Cantor

Everyday Cantor features voice and field recording. The sounds of sacred song in the everyday act of showering. Is there a difference between singing in a cathedral or singing under the shower head? The devotional voice reveals itself and then becomes drenched in everyday simplicity.

Idiomia

Inspired by random sequences of bird calls and the meaning that comes out of non verbal sonic communication. The answer is in the ear of the beholder. The voice has dynamic expression, calls, yells, gentle flutters, overtones, ingressive and egressive breathing. What is it saying? The mind wants to distill the voice, but allow it to migrate.

Tunnel

Tunnel is an improvisation on a traditional Yemenite Jewish folk song called Tzur Manoti. My Yemenite roots have always been strong in me, I see them on my face, and hear them in my voice. I often question how I fit along the continuum of my spiritually devoted ancestors, having arrived at this experimental art form. In this song I find a passageway between who I am today and the narrative of kindred souls. The result is a contemporary translation which keeps me present in my explorations (and realizations) of free form, allying me with my deep past.

Tapestry of Synonyms

We are what we hear. A collage of field recordings collected over the last four years including goats, monks, trains, plates, horses, helicopters, microwaves, wind storms, rain on tents, creaking cabinet doors, dragging chairs, tin foil crumbling, fire crackling, locks clacking, teeth brushing, family and friends from California, New York, Mexico, Mongolia Italy and Israel.

The collection of textures from our environment are juxtaposed with the voice, which we often do not consider as related. However, whether in texture or song, we do find part of our surroundings, mimicking, blending, connecting.

There is only reverb added to some of these field recordings. Besides being sliced and pasted, there are no other manipulation or altering effects.

The voice of Archie Carey, my grandmother Rachel Nini and my parents David and Tamar Nini are included.

There Are So Many Things that I Have To Tell You

Language can be tricky, slippery and twofold. This piece is a stream of consciousness improvisation with words, surfacing moods and thoughts otherwise submerged.

I sit in front of my loop pedal and amp, not knowing what stories will emerge, and allow them to flow. No story quite like the last, It is always a new and exciting journey.

Cyclicality

One voice layers on another, and another and another, shifting, morphing, coasting.

Beneath all these layers, I am still only one.

Thank you to all these wonderful people and places who created this album with their patient and skillful talents, generosity, inspiration and love. Endless gratitude.

Justin Asher, Joe Panzner, Brian Saia, Julie Tolentino + Feral Studios, CalArts, Adeline Newmann, Saul Alpert Abrams, Thea Lorentzen, Pieter Performance Space, Gerry Hemingway (for teaching me that music is sound in time), and ALL the incredible people who supported this album on Kickstarter.

Thank you to my dear family, Achinoam, Roy, Sharra, to my grandmother Rachel whose voice of many lives always plays in my ear, and especially to my parents David and Tamar Nini for their endless unquestioning love and support. My voice is your voice.

. . . and to Archie, for absolutely everything. This album is for you.

pfMENTUM CD083

PFMCD083