Louis Lopez / Mike Lockwood / Daniel Eaton: Grampus / Ilk Ilk (PFMCD068)

Jeff Kaiser 0 Comments

[playlist ids="520"]
Grampus

Louis Lopez: trumpet, voice, laptop
Mike Lockwood: drums, percussion
Daniel Eaton: trombone, analog synth, laptop

1. Grampthem 6:46
2. Chart no. 2 7:28
3. Hydrosphere Here 3:19
4. Chortle of the Bakunawa 3:26
5. Impish Saddleride 4:08
6. Spyhobbing 4:08
7. Lozen 6:17
8. Ull 2:42
9. Mu Chart 3:51
10. Large Indefinite Quantity 5:35
11. Hot Air Ballon 6:41
12. ILKILKILKILKIL

All improvisations recorded live 6.19.11 and 7.15.11
CalArts Dizzy Gillespie Recording Studio, Valencia, CA
All music © by Louis Lopez, ASCAP; Daniel Eaton ASCAP; Mike Lockwood ASCAP
Mixed by GRAMPUS
Mastered by Wayne Peet
Album design and cover art by Kangmin Kim
Additional photography by Lauren Randolph

pfMENTUM CD068

PFMCD068

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

Rich West: Heavenly Breakfast (PFMCD035)

Jeff Kaiser 0 Comments

[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

Dan Clucas / Immediately: Exile (PFMCD028)

Jeff Kaiser 0 Comments

[playlist ids="418"]
Dan Clucas: cornet
Brian Walsh: clarinet, tenor saxophone
Noah Phillips: guitar
Michael Ibarra: contrabass
Rich West: drums

1. Stating the Obvious (7:16)
2. You Say (for Bobby Bradford) (7:14)
3. Exile (for Astor Piazzolla) (8:11)
4. The Black Horn (for John Carter) (11:26)
5. Mothers and Daughters (4:24)
6. Wheat and Weeds (8:22)

all compositions by Dan Clucas, © 2005 Highland Rock Music (ASCAP)
– –

Recorded by Mark Wheaton 11/25/02
Mixed by Mark Wheaton and Rich West at Catasonic Studios, Echo Park, Los Angeles, CA
Mastered by Wayne Peet at Newzone Studio, Los Angeles, CA
Design and Layout by Jeremy Drake

– –

The imagination–it represents a futile gesture in the U.S.A.
–And yet the heart lives on it.
Allen Ginsberg, from Journals Mid-Fifties, 1954-1958

Exile is permanent. We are always aware of another locale, another point of view, another way of feeling the world, which could be ours but is not. We are also aware that our own tenuous realities are the exiles of others. We secretly suspect the greener grass to be not grass at all, but another substance entirely. Exiles long for a home from which they are displaced, or for the simple assurance of place itself. None of us is exempt; exile is not a feeling but a part of our true state.
This music came about at a time when my own sense of exile, encouraged by the events of the world, started to get the better of me. I wanted to say something that was HERE and NOW, so I wrote some music, got a band together, called it IMMEDIATELY, and we played some shows and made this recording. Whenever we played I knew that all the band members were fully present, and I felt at home. My sincere thanks to the musicians on this record, and special thanks to Rich West for the tons of support.
Dan Clucas
July 7, 2005

pfMENTUM CD028

PFMCD028

Emily Hay: Like Minds (PFMCD022)

Jeff Kaiser 1 Comment

[playlist ids="403"]
This recording represents various musical projects in which I have participated over the past few years. All tracks are improvisations with no overdubs or second takes, with the exception of “A Year and Two Weeks” where a vocal track was added. “Call To Unarm” and “Like Minds” are from live concert performances, and “A Year and Two Weeks,” “Swamp Moss,” “Waiting For Sara” and “Crooked Hopscotch” were recorded direct to two track tape, with no multi-track mixing. Special thanks to all of the musicians who performed on these recordings, to Lee Scott, Randy Fuelle and Wayne Peet for their engineering expertise, to Annette Buhl for her photography and to Jeff Kaiser for his artwork design and support in releasing this disc.

-Emily Hay, 1.1.05
www.emilyhay.com

Emily Hay • Like Minds

1. CALL TO UNARM 8:56
Emily Hay – Flute, Alto Flute, Voice • Ronit Kirchman – Violin, Voice • Brad Dutz – Percussion • Joe Berardi – Percussion
2. LITURGY OF SOUND 5:40
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
3. A YEAR AND TWO WEEKS 4:01
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Synthesizer
4. BOILED CADILLAC 4:35
Emily Hay – Flute • Wayne Peet – Piano • Brad Dutz – Percussion
5. CROOKED HOPSCOTCH 8:18
Emily Hay – Flute, Voice • Sara Schoenbeck – Bassoon • Michael Intriere – Cello • Brad Dutz – Percussion
6. WE ARE 6:16
Emily Hay – Flute, Voice • Marcos Fernandes – Percussion
7. LIKE MINDS 7:09
Emily Hay – Piccolo, Voice • Ronit Kirchman – Violin, Voice • Kurt Heyl – Trombone, Voice
8. WHA’ ‘BOUT 9:32
Emily Hay – Flute, Alto Flute, Voice • Steuart Leibig – Bass • Rich West – Drums, Background Recordings
9. SPAR 2:31
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
10. WAITING FOR SARA 3:06
Emily Hay – Voices • Michael Intriere – Cellos • Brad Dutz – Percussion
11. HIBIKI 5:36
Emily Hay – Flute • Marcos Fernandes – Percussion
12. SWAMP MOSS 2:30
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Melodica

1. Recorded by Jeff Kaiser at Ventura City Hall, Ventura, CA 2004 Mastered by Lee Scott, Glendale, CA 2004
2. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA 2004
3. Recorded by Brad Dutz in North Hollywood, CA circa 1994
4. Overdub recorded/mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
4. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
5. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
6. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Lee Scott, Glendale, CA 2004
7. Recorded by Ronit Kirchman/Jeremy Drake, Asto Gallery, Los Angeles, CA 2003 Mastered by Lee Scott, Glendale, CA 2004
8. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
9. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA
10. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
11. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2003 Mixed and mastered by Lee Scott, Glendale, CA 2004
12. Recorded by Brad Dutz, North Hollywood, CA 1994 Mastered by Lee Scott, Glendale, CA 2004

Photography: Annette Buhl • Art Design and Layout: Jeff Kaiser
(p) Emily C. Hay 2005, (c) Emily Hay Music, publishing administered by Emily Hay Music (BMI). All rights reserved. For more information: pfMENTUM • PO Box 1653 • Ventura • CA • 93002 • www.pfmentum.com

pfMENTUM CD022

PFMCD022

Tiner / Phillips / Schoenbeck Trio: Breathe In, Feed Out (PFMCD014)

Jeff Kaiser 1 Comment

[playlist ids="383"]
“So the voices that seem to originate from objects in a room hurry here,
the way things hurry toward a background made only of motion.”
— Dennis Phillips, Sand

Kris Tiner: trumpet, flugelhorn, piccolo trumpet, reeds
Noah Phillips: electric guitar, electronics
Sara Schoenbeck: bassoon
1. Skujellifeddy (McGranehan) [6:31]
2. A Wind Shift [4:54]
3. Clocks and Maps [6:52]
4. Like Red Flowers [9:38]
5. Winddrone, Water Drying [2:35]
6. Road from Kumasi [9:25]
7. In This Dull City [2:42]
8. They Mistook Time for Line [3:04]
9. Metal Skin [2:36]
10. Force A Smooth Thing [6:48]
Total Playing Time: [55:10]
Tracks 1, 4, and 6 are compositions by Kris Tiner; all other compositions and arrangements by Tiner/Phillips/Schoenbeck
© 2004 Kris Tiner Music, ASCAP

Recorded by Mark Wheaton at Catasonic Studios in Echo Park, CA 11.18.02
Mixed and mastered by Jeff Kaiser
Design and layout by Jeff Kaiser and Kris Tiner
Photos taken in Kumasi, Ghana by Kris Tiner

pfMENTUM CD014

PFMCD014