Glen Whitehead Trio: The Living Daylights (PFMCD125)

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[playlist ids="1553"]

Glen Whitehead Trio

The Living Daylights

Britton Ciampa Drums • Scott Walton Bass • Glen Whitehead Trumpet

Improvisational structures inspired by natural phenomena that play with our perceptions of space, time, and place

The Living Daylights Suite (1-3)
1. Living Daylights Suite 1—at Time’s Place 05:02
2. Living Daylights Suite 2—Zenosyne 08:23
3. Living Daylights Suite 3—Apophenia 08:30
4. Heliopause 04:01
5. 42 Degrees 04:31
6. Bow Shock 05:49
7. Shedding Vortices 03:38
8. Involution Engine 06:22
9. Fissure Syndrome 03:54
10. Pearl of Swirl 05:50
11. Punktuation 07:44

Recorded at the Banquet Studios February 6, 2016
and July 21, 2016, Guerneville, CA
Engineered by Darryl Webb
Mixed and Mastered by Wayne Peet at Killzone,
Newzone Studio, Los Angeles, February, 2018
Photo Credit—Glen Whitehead
Graphic Design—Ted Killian
© 2018 Glen Whitehead (ASCAP)
pfMENTUM
PFMCD125

The Living Daylights
Composition Notes

The Living Daylights is based on concepts extracted from natural phenomena (most chosen, some imagined) that play with our perceptions of space, time and place, and rendered with improvisational frameworks constructed to enable many possibilities within the natural restraints of a conscious system.

These ideas were generated from my experiences exploring a range of natural environments over the last several years through my engagement with ecoacoustics and other research pursuits in immersive acoustic explorations across many different environments. These experiences are part of a broad interdisciplinary leap (on my part) as an attempt to find more passage between creative music practices and fields of acoustic ecology and ecoacoustics.  I see these fields as intimately intertwined. There are a host of people and organizations building new canons and research areas such as the Deep Listening Institute, the EcoSono Institute, and other related movements and organizations.  As my time in the field clocked more hours and locations – including many sites across Colorado and the great southwest, Alaska, Cape Cod, the Pacific southwest, Mexico, Australia, Tasmania, New Zealand, Korea and more, I have become increasingly aware of the similarities between immersive activities surrounding intensive environmental participation, usually involving field recording scenarios and improvised music-making. The more one invests energy, time and intention to such immersive experiences in the world– the more phenomenal events occur – the world opens up to you. As in improvisation in theatre – the world says “yes.”  Connections come alive, mysterious interactions occur.

These works, and the two incredible musicians whom I have been so honored to work with on this project reflect such phenomenological experiences.  Scott Walton (acoustic bass) has been a key collaborator in my musical life, as equal a pianist as a bassist, he is a long-time colleague and simply one of the best musicians – as an inventive improviser, listener and performer – that I have had the privilege to learn from. Britt, to me, represents a younger, up and coming generation of insanely informed musicians.  His skill as a drummer and knowledge as musician is well beyond his years.  He possesses an uncanny ability to connect obscure subjects and histories within a deep understanding of the creative music world.  The magic of his playing is his ability to wield musical and sonic information into its the fullest possible context.  He’s also an “ex-student” of mine from UCCS – one of our very best.
An ensemble is an ecosystem with each member defining the community. In this “conscious system” individuals are free to roam and explore, while also being responsible for the whole – empathy is essential to create both meaning and form.  Self-reflection between the rewards of individuality and seeking shared common good creates prime musical real estate.  The thoughts and intentions of one person are internalized (and externalized) by the other members.

I view the wide world of sonic and musical languages in this work as idiomatic – a respectful departure of what is usually commonly understood in contexts of free improvisation as “non-idiomatic” (from Derek Bailey’s definition).  To me, this is a resolvable contradiction.  Our language is saturated within the idioms of our instrumental backgrounds – acquired ear, technical and historic knowledge along with both innate and environmental influences.  How we wield our musical instruments is a fundamental part of our cultural “taskscapes,” a term used by Tim Ingold, originally “to bring the perspectives of archaeology and anthropology into unison” (The Temporality of the Landscape, 1993), “the constitutive tasks of the dwelling” that applies perfectly to instrumental and vocal play

 

Notes on the Tracks

The first three tracks make up a suite.  They were the first pieces recorded on this project, conceived and recorded as one unit, and in one take.  At Time’s Place is a play on words – we only ever really sense the presence.  In this open-ended tradition of improvised music, the phenomenological act of real-time musical creation gives us a unique way to access the past and the future, simultaneously.

Zenosyne, from the unique “Dictionary of Obscure Sorrows” by John Greene pinpoints a fundamental experience that had no clear term (in English, anyway) – the sense that time keeps going faster.  Such an example is at the very core of improvisational experience, and I like to imagine would be part of a future established aspect of music theory for improvisation.  I am reminded of many times when an improvisation seemed to take ten minutes, and forty-five minutes had passed.

Apophenia, the perception of patterns, meanings, or connections where none exists, is also a relatively new word although the well explored phenomenon itself is not. Its first use is credited to the psychiatrist Klaus Conrad back in 1958 in his catchy-titled Die beginnende Schizophrenie: Versuch einer Gestaltanalyse des Wahns, which translates to the equally scintillating The origins of schizophrenia: A Gestalt analysis of paranoia.  It is fascinating that this word should appear to be so recent when the actual phenomenon is so old and important enough to have been a lynch-pin for philosophical study through the ages.  In Natural History of Religion (1757), philosopher David Hume (1711-1776) wrote the following:

There is a universal tendency among mankind to conceive all beings like themselves, and to transfer to every object those qualities with which they are familiarly acquainted, and of which they are intimately conscious.  We find human faces in the moon, armies in the clouds; and by a natural propensity, if not corrected by experience and reflection, ascribe malice and good will to everything that hurts or pleases us.

There is one major qualification and difference of how this idea is utilized in this work.  This is a play on the imagination – the “random” discoveries that appear to have no connections, actually uncover true, previously unseen connections and relationships.  I cannot think of a better context for the illusively connective experience of improvised music.

The Heliopause (with its syntactic musical resonance) is the boundary where the sun’s solar wind meets the faint radiation of interstellar space and is no longer strong enough to push back the stellar winds of the surrounding stars.  This is the boundary where the interstellar medium and solar wind pressures meet and balance – physics working on a grand scale. Imagine, even with this distance impossible for us to quantify in scale in our imagination, that this line is definitive and slender where the distant finger of our incubator solar cocoon touches the rest of the universe– what a musical thought.

42 degrees references the connection of people and light reflected in the observations of – rainbows.  When we see a rainbow and its band of colors we are looking at light refracted and reflected from different raindrops at an angle of between 40 and 42 degrees at all points of view – whether one person is high on a hilltop and another hundreds of feet below.  Light orients to our visual lenses, our lenses orient the angle of light.

Bow Shock, also called a detached shock or normal shock, is a curved, stationary shock wave that is found in a supersonic flow past a finite body.  Shedding vortices (vortex shedding) is an oscillating flow that takes place when a fluid such as air or water flows past a bluff (as opposed to streamlined) body at certain velocities, depending on the size and shape of the body. Both of these phenomena, for me, connect with the wind “shock” that occurs inside and across a fast material with wind and brass sound production, and illuminate the use of creating sound vortexes in so many different ways in improvised music.

Involution Engine is a function, transformation, or operator that is equal to its inverse, only applies to itself and is a function of its own inverse. for instance, in medicine, this applies to the shrinking of an organ (such as the uterus after pregnancy) or philosophy and psychology a “turning in” on one’s self.  Musical phenomena in time also have similar phenomena but have been limited in concept, I believe, because of the hard-cast association with printed, scored notation – retrograde inversion, for example. The idea of a sonic involution works exquisitely in an aural, perceived identity, much like a physically created moveable object and is far more complex and four dimensional that can be adequately represented on a typical score (mostly).

 I came up with Fissure Syndrome through pure free association upon listening to the results of this piece several times.  As it turns out, it is a kind of an Apophenia in of itself, as this term lives in the medical world as, superior orbital fissure syndrome (also known as Rochen-Duvigneaud syndrome) is a collection of symptoms caused by compression of structures just anterior to the orbital apex.

For Pearl of Swirl, am fascinated by the perception of sound as physical moving substance or phenomena. To me, this conceptual mega-world is in its infancy and a signification of the music theory and creative methodologies of the future of music.  Pearl of Swirl, here, references Pearl Swirl, a rheoscopic fluid created specifically to see the movement or currents in liquids. Its purpose is scientific in nature, yet, it carries commercial tendrils with trademark statuses and “secret ingredient” branding. It is at once a vital substance category for the science of fluid dynamics and other related fields in order to visualize currents, aerodynamics, turbulence, convection and other phenomena (a not so subtle nod to my father, an award winning physical oceanographer, fluid dynamicist and a very creative one, at that).  On the other side of the coin, pearl swirl is also a novel commercial ingredient added to shampoos and other liquids for the purpose of a non-functional aesthetical “swirl” effect. This duality embodies the inescapable, almost satirical relationship between science and commerce in our culture today.

Punktuation – ‘Nuff said and done

—Glen Whitehead

Stephanie Richards / Bert Turetzky / Vinny Golia: Trio Music (PFMCD117)

Jeff Kaiser Leave a Comment

[playlist ids="1362"]

Trio Music

Vinny Golia (Woodwinds and Ethnic Aerophones)
Steph Richards (Trumpet and Flugelhorn)
Bert Turetzky (Contrabass)

1. Solana 4:14
2. Proprioception 7:42
3. Cerberus 6:37
4. As I was Saying… 2:50
5. $19.95 4:32
6. Sunnyside Up 2:53
7. Desert Wind 3:11
8. Hector Shear makes his entrance…(could they really exist in Maine?) 3:56
9. Atazoy 3:39
10. The Paradox of Zazu Pitts 3:40
11. Descendant Un Escalier 2:34
12.The Duo That Became A Trio 7:26

This record documents a new encounter for Vinny, Steph, and Bert; a moment of unspoken calibration through collective expression. Listening fingers, a prose communion; sounds dance and combust. Trio Music shows three improvisors collectively negotiating the edges in a space of vibrant empathy.

Recording Date: April 23, 2017, Conrad Prebys Music Center, UC San Diego
Recording, Mastering and Producing Engineer: Andrew Munsey, June 7, 20-22, 2017
Graphics by Ted Killian

All music © 2018 Ninewinds, BMI and Welcome to my Kitchen, ASCAP

Special thanks to Jeff Kaiser, Andrew Munsey, and the University of California, San Diego 

pfMENTUM
PFMCD117
www.pfmentum.com

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 Leave a Comment

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

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), …

Paul Stapleton and Simon Rose: FAUNA (PFMCD074)

Jeff Kaiser 1 Comment

[playlist ids="533"]
Fauna

Paul Stapleton: bonsai sound sculpture (BoSS)

Simon Rose: baritone/alto saxophones

Borealis 6:35
Felt 7:36
Deep 10:25
Zwischenfall 2:30
Shift 8:36
Zeiteinheit 4:44
Set 4:23
Vertreiben 5:13

All music © 2013 Simon Rose and
Paul Stapleton (PRS)

Recorded and mixed by Elmar Susse
22 September 2011
Hoffnungskirche, Pankow, Berlin

Mastered by Paul Stapleton
Sonic Arts Research Centre, Belfast

Photograph and cover design
Matilde Meireles

The Bonsai Sound Sculpture (BoSS)
is a portable modular musical instrument
(Paul Stapleton and Neil Fawcett, 2010)
combining a repurposed turntable,
DIY electronics, amplified metallic
percussion and strings.

…like some old, forgotten animal from the beginning of time,
silence towers above all the puny world of noise; but as a living
animal, not an extinct species, it lies in wait, and we can still see
its broad back sinking ever deeper among the briers and bushes
of the world of noise. It is as though this pre-historic creature
were gradually sinking into the depths of its own silence. And
yet sometimes all of the world today seems like the mere buzzing
of insects on the broad back of silence.

Max Picard (1989)

pfMENTUM CD074

PFMCD074

Steuart Liebig / Tee-Tot Quartet: Always Outnumbered (PFMCD053)

Jeff Kaiser 1 Comment

[playlist ids="473,475"]
Steuart Liebig/Tee-Tot Quartet

Joseph Berardi: drumset, percussion
Dan Clucas: cornet
Scot Ray: dobro
Steuart Liebig: contrabassguitar

Tracks

07-04-00 4:58
serenade 5:06
wrong how long 4:00
stutterstep 4:26
fearless 7:49
clean, shaved and sober 3:52
bobtail 1:54
cooked and chopped 3:15
chucktown 4:17
mercy kitchen 7:26
sunshine candy 4:24
barrelfoot grind 4:26
lonewolf 4:28

© 2008 steuart liebig/
sisong music (ascap)
www.stigsite.com

artwork and layout by Steuart Liebig
cover photos by Scot Ray
band photos by Tee-Tot Quartet
recorded by Wayne Peet, assisted by Aaron Druckman, at Newzone Studio, Los Angeles, 19–20 May 2007
mixed by Wayne Peet and Steuart Liebig, July–August 2007
Steuart Liebig uses Fodera basses and Fodera roundwound strings, the Raven Labs PMB-1 and pickups by Rick Turner
Joe Berardi uses Paiste cymbals and attack drums heads
big thanks to Tee-Tot, Wayne Peet, Jeff Kaiser, and Leslie Rosdol, Anya Liebig and Aron Liebig

Always Outnumbered

. . . is an unholy transfiguration of the jazz and blues canon—a perverted translation of the sacred 78s of Chicago jazz and blues circa 1920–1950 into a more sinister modern dialect. On the opening track, 07-04-00, you can hear some noxious sonic concoction brewing, an aural hormetic designed to make you stronger if you can survive the cocktail.

Tee-Tot are expatriate pioneers that flew a few light-years past Europe and landed in a neighboring multiverse with fewer happy endings. These four veterans of the Los Angeles new music scene bring something completely different to each tune, different from the last tune and different from anything you normally hear on their respective instruments.

Joe Berardi is a medium for myriad gods of groove. He’s a maniacal Baby Dodds wielding his contraption for the dark side on Sunshine Candy, an angry Fred Below demonstrating primal scream therapy through the art of the shuffle on Chucktown and on Serenade he’s a fallen military snare player tapping ‘help me die’ in Morse code in vain.

Steuart Liebig constructs wide melodic avenues through the hostile landscapes of convoluted tunes like Wrong How Long. As heard on Cooked and Chopped he uses compelling melodies to drive the band from beneath instead of walking the well-worn footpaths of predictable chord progressions. He reinvents the bass role as an interactive melodic instrument in contrast to the bebop obsession of “chasing a melodic rat around a harmonic maze.” He’s also comfortable playing little or nothing at all for large patches, as on Fearless, an oblique tribute to Mingus—a “Goodbye Pork Pie Hat” for a lost and dispirited Lester Young.

Dan Clucas channels a deranged Cootie Williams, commands a gaggle of nuclear geese and employs various subsonic pitches possibly responsible for climate change. He employs all manner of ornamentation and virtual pedals from a very ill-mannered velar growl to a vibrato that would have made Clara Rockmore nervous. On Clean, Shaved and Sober, he celebrates the decline of a late-stage Bix Beiderbecke suffering from years of poor-grade Prohibition-era alcohol.

Scot Ray possesses a wide arsenal of portamento that would make any carnatic pandit blush. A seemingly infinite variety of sounds come out of his dobro’s resonator, from distressed ermine lamentations to the wailing of the damned. Considering today’s totalitarian atmosphere, Scot’s frenetic picking, rubbery phrasing and anxiety-provoking note choices on Stutterstep alone should earn him a place on a government list. Somewhere in hell an unfortunate freshman soul attempts to decipher his solo on Barrelfoot Grind.

Contemporary jazz and blues music lies wasting in a gurney of predictable mimicry, its circulation gone sluggish, its pulse nearly arrested as it grows more necrotic by the year. Tee-Tot debrides the bed sores of the sedentary modern roots scene.

Steuart has more than a few bands. They are all distinct from one another, draw from disparate sources and are all degenerate—in the best sense of the word. The dozen or so albums from these groups have explored everything from Muddy Waters to Anton Webern. There’s never a shortage of great melodies or superb improvisation, and this disc is no exception.

–Bill Barrett, Los Ageles, January 2008

pfMENTUM CD053

PFMCD053

Jeff Kaiser / Tom McNalley: ZUGZWANG (PFMCD038)

Jeff Kaiser 1 Comment

[playlist ids="441"]
Jeff Kaiser: quarter tone trumpet, electronics
Tom McNalley: electric guitar, electronics

1. carbon fianchetto 12:44
2. opening demand 7:28
3. systematic imbalance 7:30
4. both varied situations 7:54
5. organic symmetry 4:16
6. abbreviated structure 4:08
7. luft swapping 4:50
8. zwischenzug 1:36
9. aristotelian blockade 11:14
10. liquid compensation 11:00

Total Playing Time: 72:40
All compositions ©2006 Jeff Kaiser Music, ASCAP, and Tom McNalley Music, ASCAP
Recorded live (no overdubs) 7.15.05 and 8.7.05 at pfMENTUM World Headquarters, Ventura, CA
Recorded, mixed, mastered and designed by Jeff Kaiser

pfMENTUM CD038

PFM038

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

Anna Homler / Steuart Liebig: Kelpland Serenades (PFMCD029)

Jeff Kaiser 1 Comment

[playlist ids="422,420"]
Anna HOMLER/Steuart LIEBIG DUO

Anna HOMLER: voice, toys, found objects
Steuart LIEBIG: Eb contrabassguitars, preparations, electronics, live looping

1. winter street – – 6:52
2. limbic – – 2:20
3. blasted landscape – – 3:26
4. sputtery – – 3:53
5. sidpaho – – 2:11
6. fantasma – – 3:54
7. time of great cold – – 4:59
8. case in point – – 5:30
9. secret heat – – 10:54
10. house of mars – – 1:54
11. mothlike – – 3:15
12. sehnsucht – – 9:25
13. radix vitae – – 5:35

recorded at newzone studios, 15 sept 2001, by wayne peet; mixed at newzone studios,
by wayne peet and steuart liebig, mar vista, california, 2002; mastered by wayne peet 2005

thanks to leslie rosdol, anya liebig and aron liebig; joseph homler, andrew ramer and li bette porter; wayne peet and jeff kaiser.
steuart liebig plays fodera basses, uses a raven labs pmb-1 and uses fodera roundwound strings.
all music (c) 2005 pharmacia poetica/bug music/bmi + sisong music/ascap
photos/montages and layout by steuart liebig; ooga booga by anna homler

all tracks are live, undubbed improvisations.

pfMENTUM CD029

PFMCD029