Virtual Tour: A Reduced Carbon Footprint Concert Series. Featuring Mark Dresser, Michael Dessen, Nicole Mitchell, Sarah Weaver, Gerry Hemingway and more.

Mark Dresser / Nicole Mitchell / Myra Melford / Michael Dessen: Virtual Tour: A Reduced Carbon Footprint Concert Series (PFMDVD094)

Jeff Kaiser


Excerpt from “for instance, today” from Michael Dessen on Vimeo.

[NEW DVD! WILL SHIP FEBRUARY 5! In celebration of this release, we are offering a special price for this DVD! Three hours of music for $10.00. Sale ends midnight February 29, 2016.]

In April 2013, a quartet of renowned composer-improvisers—Mark Dresser, Nicole Mitchell, Myra Melford and Michael Dessen—performed an unprecedented “virtual tour” of new music conceived for world-class musicians performing together live in different geographic locations via Internet2. Building on years of prior telematic collaborations and using high-speed bandwidth available only at research and educational institutions, Virtual Tour linked performers and audiences across thousands of miles, using lifelike, uncompressed audio and high definition video to set a new standard for telematic music making. The core quartet, based in San Diego, California, collaborated with a different remote ensemble for each of the three concerts: Jason Robinson, Marty Ehrlich and Bob Weiner in Amherst, Massachusetts; Matthias Ziegler and Gerry Hemingway in Zurich, Switzerland; and Sarah Weaver, Ray Anderson, Jane Ira Bloom, Min Xiao-Fen, and Matt Wilson in Stony Brook, New York. With footage from all three concerts and featuring eleven world premieres designed specifically to explore the unique potentials of this medium, this DVD documents an important step forward in bringing world-class creative music to the telematic stage. Please visit http://virtualtour2013.com for more information on this project.

Total run time approximately 193 minutes

Virtual Tour:

Amherst Concert:
Mr. Not-So TC, composed by Mark Dresser (14:29) (Del Dresser Music/ASCAP)
For Instance, Today, composed by Michael Dessen (16:22) (Cronopio Music/ASCAP)
The Story of My Anxiety, composed by Marty Ehrlich (9:41) (Dark Sounds Music/BMI)
God’s Bits of Wood, composed by Nicole Mitchell (6:25) (Wheatgoddess Creations/ASCAP)
Noema, composed by Jason Robinson (11:59)(Circumvention Music/ASCAP)

Performers in Amherst, MA: Marty Ehrlich, alto saxophone and bass clarinet; Jason Robinson, tenor saxophone and alto flute; Bob Weiner, drums

Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Zurich Concert:
3 Stories, composed by Gerry Hemingway (19:22)(Nagual Music/GEMA/BMI)
Between Walls, composed by Nicole Mitchell (9:45) (Wheatgoddess Creations/ASCAP)
SubTeleToning, composed by Mark Dresser (21:14) (Del Dresser Music/ASCAP)
Buffered Fragments, composed by Matthias Ziegler (14:48) (Matthias Zieger/SUISA)

Performers in Zurich, Switzerland:
Matthias Ziegler, flute; Gerry Hemingway, drums
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Stony Brook Concert:
Universal Synchrony Music: Volume 1, composed by Sarah Weaver (30:30) (Sarah Weaver Music Publishing, ASCAP)
SubTeleToning, composed by Mark Dresser (25:16) (Del Dresser Music/ASCAP)
Telepathology, composed by Nicole Mitchell (14:41) (Wheatgoddess Creations/ASCAP)

Performers in Stony Brook, NY:
Sarah Weaver, conductor; Jane Ira Bloom, soprano saxophone; Ray Anderson, trombone; Min Xiao Fen, pipa; Matt Wilson, drums; Doug Van Nort, laptop (on Universal Synchrony Music: Volume 1)
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Additional content:
Program notes for all compositions
Interview with Virtual Tour co-directors Mark Dresser and Michael Dessen

Locations and dates/times:

San Diego location for all 3 performances:
Conrad Prebys Music Center Theatre, University of California, San Diego, CA

For Amherst Concert:
7pm PDT/10pm EDT, April 5, 2013
Buckley Recital Hall, Amherst College, Amherst, MA
For Zurich Concert:
12pm PDT/9pm CET, April 6, 2013
Institute for Computer Music and Technology (ICST), Zurich, Switzerland

For Stony Brook Concert:
4pm PDT/7pm EDT, April 7, 2013
Simons Center for Geometry and Physics, with support from Consortium for Digital Arts, Culture and Technology (cDACT), Stony Brook University, Stony Brook, NY

Production Credits:

Project Directors:
Co-directors of Virtual Tour: Mark Dresser and Michael Dessen
Amherst site director: Jason Robinson
Zurich site director: Matthias Ziegler
Stony Brook site director: Sarah Weaver

In San Diego, CA:
Trevor Henthorn, technology director
Josef Kucera, technology consultant
Antonio Estrada and Andrew Johnson, local audio
Isaac Garcia Muñoz, network audio
Michael Ricca, audio recording
Daniel Ross, recording assistant
Yeung-ping Chen, network video
Kyle Johnson and Ash Smith, documentation video
Jennifer Bewerse, promotion design

In Amherst, MA:
Edmund Keyes, production assistant
Mark Santolucito, production assistant, audio networking
Joshua Baum, production assistant, video networking
Dan Richardson, sound engineer
Rob Ansaldo, networking assistance
Sara Leonard, lighting
Ross Karre and company, video documentation

In Zurich, Switzerland:
Johannes Schütt, network director
Joel de Giovanni and Benjamin Burger, video direction
Daniel Späti, stage director
Simon Könz, sound engineer

In Stony Brook, NY:
Kevin Schinstock, live audio, audio recording
Derek Kwan, network audio
Timothy Vallier, network video
Ross Karre and company, live video, video documentation
Jeanette Oi-Suk Yew, lighting

Post-production:
Audio mixing/mastering: Michael Dessen, Jason Robinson, Stephanie Robinson, Kevin Schinstock, Sarah Weaver, Gerry Hemingway, and Joe Branciforte
Video editing: Ross Karre
DVD production: Trevor Henthorn
Graphic design: Ted Killian

pfMENTUM DVD094
PFMDVD094

Gilbert Isbin and Scott Walton: ReCall (PFMCD073)

Jeff Kaiser Leave a Comment

[playlist ids="532"]
Gilbert Isbin: lute
Scott Walton: bass

1. Solace 2:32
2. Flutter 3:19
3. Panting 2:24
4. Soedansdochter 3:19
5. Unhinged 2:06
6. Embra 2:47
7. Oblique 3:19
8. Pensive 1:53
9. Along Green Ditches 3:21
10. Blooming 2:11
11. Weaving 3:41
12. Spatter 2:49
13. Knomish 2:42
14. Terpsichore 2:35
15. Recall 2:13
Total 42:01

Tracks 3, 6, 9, 11, 13 and 15 composed by Gilbert Isbin
Tracks 1, 2, 5, 7, 8, 10, 12 and 14 composed by Gilbert Isbin and Scott Walton
Soedansdochter is a medieval Flemish folksong, arranged by Isbin and Walton

Recorded at Banquet Sound Studios, Sebastopol, CA, October 26 and 27, 2011
Recorded and Mixed by Darryl Webb
Mastered by Wayne Peet

Cover Photograph by Marie-Anne Ver Eecke

Special thanks to Marie-Anne Ver Eecke, Sophie Plassard, Jos Demol,
Larry Ochs,Bill Horvitz, Darryl Webb and Jeff Kaiser.

Gilbert Isbin plays an eight-course lute after Wendelio Venere 1592,
built by Dirk De Hertogh, Wolvertem, Belgium

© Gilbert Isbin and Scott Walton 2012. All rights reserved.
Over the past three decades, guitarist/composer Gilbert Isbin has released an impressive string of recordings for various labels. A few years ago, wanting a new challenge, he began studying the lute–not the most common jazz instrument, although its Arabian nephew, the oud, gains more and more recognition. I have always adored the sound of the lute, and it struck me that there is little modern music written for–and performed on–this marvelous instrument. Gilbert’s work is a significant contribution to the development of contemporary lute music. His compositions are both reflective and lyrical, infused with compelling melodies.

Contrabassist and pianist Scott Walton lent his stunning tone and superb technique to the well-received album Venice Suite (2003), recorded in Los Angeles with Gilbert, and violinist Jeff Gauthier. Since meeting at those sessions, Scott and Gilbert have teamed up for numerous concerts in Europe and the United States. Their innovative collaboration finds its inspiration in progressive jazz, classical avant-garde, Renaissance chamber music and even blues. The interplay between both musicians–which proves mutual respect–is remarkable, resulting in intelligent improvisations that capture the listener’s attention. The fifteen tracks on this album are in exquisite balance, revealing an unequivocal beauty. –Jos Demol, Jazz’halo, 14 July 2012

pfMENTUM CD073

PFMCD073

Dr. Mint / Daniel Rosenboom: Visions and Nightmares (PFMCD049)

Jeff Kaiser 1 Comment

[playlist ids="465"]
Dr. Mint

Daniel Rosenboom: Trumpet and piccolo trumpet
Gavin Templeton: Alto saxophone
Alex NoiceElectric: guitar and vox samplinga
Sam MinaieElectric: bass and effect loops
Caleb Dolister: Drum set

This recording marks the first meeting of Dr. Mint.
” Visions and Nightmares” and “Apocalyptica”
are two entirely improvised suites that were
recorded in two consecutive takes on August 26, 2007.
This album is unabridged, uncut, and unedited.

Visions and Nightmares:

1. First Light 3:02

2. Gathering 2:45

3. Fire Flight 7:04

4. Submerge 2:52

5. Duel in the Deep 6:10

6. Breach 3:36

7. Waiting… 2:22

Apocalyptica:

8. Prophecy 0:25

9. Soma 3:47

10. Chasing Dreams 5:38

11. Rift 5:16

12. Dance for Fire Reign 4:49

13. The Horsemen Ride 3:22

14. Wasteland 3:22

15. Summon the Shadow Sun 8:08

All Music © 2008, Daniel Rosenboom Music, ASCAP

Recorded by John Baffa, TV Tray Studios
Mixed and Mastered by John Baffa and Daniel Rosenboom
Cover art, design, and layout by Daniel Rosenboom

pfMENTUM CD049

PFMCD049

Rich West: Heavenly Breakfast (PFMCD035)

Jeff Kaiser Leave a Comment

[playlist ids="435"]
Rich West: drums, accordion, pieces
Dan Krimm: electric bass
Bruce Friedman: trumpet
Emily Beezhold: electric piano, korg ms2000
Lynn Johnston: saxophones, clarinets

1. Bloomsday
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

Notes:

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

BLOOMSDAY
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
Right?

LE PETOMANE
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.

DEATH PLEDGE
See the Latin word “mortgage.”

GLENN’S CONDUCTING
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.
Right?

pfMENTUM CD035

PFMCD035

Brad Dutz: Nine Gardeners Named Ned (PFMCD026)

Jeff Kaiser 1 Comment

[playlist ids="414"]
BRAD DUTZ: mallet percussion, hand percussion
CHRIS WABICH: drumset, steel drum, percussion
KIM RICHMOND: Bb clarinet
BOB CARR: bass clarinet
SARA SCHOENBECK: bassoon
ELLEN BURR: C flute, alto flute, piccolo
JOHN FUMO: trumpet, piccolo trumpet
KRIS TINER: trumpet, flugelhorn #4, #8, #9
WILLIAM ROPER: tuba, spoken word
TREY HENRY: acoustic bass
DEAN TABA: acoustic bass #4, #6, #8, #9
ANDERS SWANSON: acoustic bass solo #1
JASPER DUTZ [age 9]: bass clarinet, Bb clarinet

1. Look at the pretty weeds…they’re dead 13:38
2. Rotted vegetables…too late to pick 3:45
3. Rotted fruit…infested with insects 6:07
4. Distribute fertilizer…evenly 5:56
5. I like brown leaves especially when they’re torn 11:54
6. Leaf blowers are stinky…and loud 2:31
7. Norbert rakes bark…and mulch 7:58
8. Wicked late for nite blooming…but not dusk 6:16
9. Plant the bulbs…frequently 3:47

all compositions by Brad Dutz • (c) 2005, leakyspleen music, BMI
recorded by BRAD DUTZ 2003-2004
mixed and mastered by WAYNE PEET at NEWZONE, july 2004-jan 2005
cover cartoons: JASPER DUTZ • layout and design: KAORU MANSOUR and JEFF KAISER
thanks to: YAMAHA, VIC FIRTH, PAISTE, REMO, MOUNTAIN RYTHYM

 

NINE GARDENERS NAMED
1. Look at the pretty weeds…they’re dead
Kim Richmond-clarinet [solo]; John Fumo-trumpet [solo]; Sara Schoenbeck-bassoon [solo]; Anders Swanson-acoustic bass [solo]; Brad Dutz-vibes, marimba, crotales, bongos, cajon bongos, gong; Chris Wabich-drumkit; William Roper-tuba; Bob Carr-bass clarinet; Ellen Burr-flute; Trey Henry-acoustic bass
2. Rotted vegetables…too late to pick
Bob Carr-bass clarinet; Ellen Burr-alto flute; Brad Dutz-marimba; Sara Schoenbeck-bassoon; Kim Richmond-clarinet; text created and spoken by William Roper-tuba
3. Rotted fruit…infested with insects
same as above plus Chris Wabich-perc; featuring William Roper
4. Distribute fertilizer…evenly
Chris Wabich-steel drum [solo]; Jasper Dutz-bass clarinet;
Ellen Burr-flute; Dean Taba-acoustic bass; Kris Tiner-trumpet;
Brad Dutz-repique jamau, vibes, darabuka, cymbals, crotales Hadjira, khol; Ellen Burr-flutes
5. I like brown leaves especially when they’re torn
Chris Wabich-drumkit, percussion, steel drum [solo]; Brad Dutz-xylophone, congas, bongos, darabuka, marimba [solo]; Bob Carr-bass clarinet [solo]; Ellen Burr-flute; Trey Henry-acoustic bass; John Fumo-trumpet; Sara Schoenbeck-bassoon; Kim Richmond-clarinet; William Roper-tuba
6. Leaf blowers are stinky…and loud
Brad Dutz-marimba, vibes; Ellen Burr-flute;, Dean Taba-acoustic bass; William Roper-tuba; Jasper Dutz-bass clarinet, Bb clarinet;
John Fumo-trumpet
7. Norbert rakes bark…and mulch
Ellen Burr-piccolos [solo]; William Roper-tuba; John Fumo-piccolo trumpet; Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Brad Dutz-piccolo snare, field snare, orchestra bells, bass drums, piatti, snare drum; Chris Wabich-piccolo snare, field snare, bass drum, piatti, snare drum
8. Wicked late for nite blooming…but not dusk
Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Dean Taba-acoustic bass; William Roper-tuba; Kris Tiner-trumpet; Brad Dutz-vibes, crotales, cymbals, xylophone; Ellen Burr-flutes
9. Plant the bulbs…frequently
Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Dean Taba-acoustic bass; William Roper-tuba; Kris Tiner-trumpet; Brad Dutz-marimba, xylophone; Ellen Burr-flute, piccolo; Chris Wabich-steel drum

pfMENTUM CD026

PFMCD026

Eric Barber: Maybeck Constructions (PFMCD015)

Jeff Kaiser 1 Comment

[playlist ids="385"]
Eric Barber: Tenor and Soprano Saxophones

1. Taksim 8:24
2. Dark Mirror 7:33
3. Blossoming 6:25
4. Inner Conversation 6:42
5. Rubric 6:11
6. Excavations 12:16

Total Playing Time 47:31

All compositions by Eric Barber, ©2004 Eric Barber Music, ASCAP

Recorded direct to DAT, 25 January 2003, Maybeck Recital Hall, Berkeley, CA

Recorded by Eric Barber and Greg Moore. Audio Assistance by Arthur Jarvinen

Photographs by Michael Kelly. Photo of Eric Barber by Joy Barber.

CD mastering, design, and layout by Jeff Kaiser

This recording is supported in part through Subito, the quick advancement grant program of the Los Angeles Chapter of the American Composers Forum

pfMENTUM CD015

PFMCD015

Ted Killian: Flux Aeterna (PFMCD007)

Jeff Kaiser 1 Comment

BACK IN PRINT! We have 10 copies left…

[playlist ids="668,670,671"]
Ted Killian: Electric and acoustic guitars, samples, loops, sound design

Loop-based guitar improvisations/excursions recorded “live” in the studio in a single take. Ted's music is frequently compared to that of David Torn, Steve Tibbetts, Terje Rypdal, Robert Fripp, Adrian Belew, Sonny Sharrock, Nels Cline, or Bill Frisell, sometimes even David Gilmour, Jeff Beck or Uli Jon Roth. But Ted cites influences that come from all over the map: Leo Kottke, Eliott Sharp, Paul Dresher, Scott Johnson, Vernon Reid, John Abercrombie, Michael Brook, Daniel Lanois, Gary Lucas, Jim Thomas, John Fahey, Jimi Hendrix, John Mclaughlin, Frank Zappa, Pat Metheny, Buckethead, Chet Atkins and Les Paul. Yet, despite this, there is still something uniquely “Killianesque” in his approach. Ted is a guitarist who isn't afraid to paint with the instrument's full color “palette.” He's not afraid to make wild, adventurous, passionate “in-you-face” music or sonorous, languid, peaceful harmonic/melodic explorations.

Ted Killian: A Biography

Born and raised in sunny Southern California, Ted Killian has been a guitarist for over 4 decades now and he still hasn't managed to learn to play the thing correctly. But, as it turns out, this may have turned out to be a pretty good thing. Without necessarily having set out to do so, Killian has found his own unique “voice” on an instrument that is nearly ubiquitous in modern popular music. His sound is a peculiar amalgam of odd, sometimes familiar, influences: folk, pop, blues, rock, metal, jazz, electronica, electro-acoustic “art music,” and just plain noise (“!”) that begs one to think the word “fusion” but is much more primal, gut-level and organic than any connotation that word may conjure.

Killian's music is full of contradictions. It is primitive and sophisticated, visceral and sensitive, abstract and accessible, complex and blood simple all at once. It is given birth by heavy doses of technology (MIDI guitar, a plethora of electronic effects, digital echo devices, samplers, and all manner of assorted “gadgets”) but the result is amazingly human sounding. There is blood and sweat mixed in with all of the diodes and cables — and more than a small measure of passion. This intensity is not something that can be seen in the usual form of typical guitarist “histrionics” but can be heard in every note of the music itself.

Killian began playing and experimenting early on, but (in terms of public performance) bloomed late. Beginning in the late 1980s, he began performing his original music in conjunction with the Ventura New Music Concert Series (Southern California)– aided by close friend and colleague, avant-jazz trumpeter, Jeff Kaiser. So began a long series of ever-changing concerts and presentations all around Southern California. Some of these were in connection to SEAMUS, an acronym for the national “new music” organization: the Society for Electro Acoustic Music in the United States (Killian was introduced to the organization by Kaiser in 1990 and became President of the Los Angeles chapter in 1992). Ted's has been interviewed as a featured composer on “Music of the Americas” on KPFK radio in Los Angeles. Since the debut of “Flux Aeterna” his music has been played on literally dozens of radio stations around the globe and has garnered critical praise in as many publications internationally. In recent years, he has composed music for ballet, “fixed” gallery installations, multi-discipinary art performances, large ensembles and small groups. And, after all of this, Killian has still somehow managed to avoid having ever been in anything resembling a “band.”

Ted Killian is a 1982 graduate of UCSB with a Bachelors degree in visual arts. Since then he has exhibited paintings, sculpture and computer art in a number of galleries, museums and other venues across the country. He was a 1992 appointee to the “Task Force for Visual Arts” in Ventura, CA. He supports his musical/artistic activities with his “day job” as a freelance graphic designer for various musical instrument and high-tech manufacturers. He currently resides in Southern Oregon with his wife, 3 sons, 3 guinea pigs, and 2 goldfish.

pfMENTUM CD007

PFMCD007