Michael Vlatkovich: Mortality (PFMCD091)

Jeff Kaiser 1 Comment

[playlist ids="569"]
ensemblio:
michael vlatkovich: trombone
dan clucas: trumpet
jill torberson: french horn
bill plake: tenor sax
david riddles: bassoon, flute, soprano sax, clarinet
andrew pask: alto sax, bari sax, bass clarinet
bill roper: tuba, bombardondino
harry scorzo: violin
jonathan golove: cello
tom mcnalley: guitar
dominic genova: bass 
wayne peet: piano, keyboard
carol sawyer: voice
ken park: all percussion

[NOTE: do to a printing error, track 4 was left off the package. What you see below is correct.]

1. adeptly disguised as chairs and tables the audience listened quietly — 9:08
2. as quickly as it came — 6:31
3. or do you have change for a $20 — 5:25
4. out of the wall and into the night — 5:27
5. sometimes a red nose and big shoes aren’t enough — 2:33
6. mortality — 11:32
7. hiding out as a verb — 5:49
8. goodbye — 7:06

© 2015 julius ivory music, ascap
music composed m vlatkovich
recorded 2014 wayne peet engineer
edited mixed and mastered sept. 2014
front photo chuck britt
back photo bill roper
design jeff kaiser

pfMENTUM CD091

PFMCD091

Michael Vlatkovich Quartet: ALiveBUQUERQUE (PFMCD045)

Jeff Kaiser 1 Comment

[playlist ids="456"]
Michael Vlatkovich

Christopher Garcia: drums/percussion
Jonathan Golove: electric cello
David Mott: baritone saxophone
Michael Vlatkovich: trombone/percussion
Compositions:
1) Black Triangles, Yellow Corn, and Pink Medicine Drops 12:28
2) Poem on a Banner 9:53
3) Blue Fragments 7:28
4) Once In A Blue Moon A Decent Wolf Comes Along 9:23
5) Every Second of Every Minute of Every Hour 17:36
total: 57:02

Recorded in concert- Outpost Performance Space May 19, 2003
Recorded and mixed- Manuel Rettinger
Edited and mastered- Wayne Peet
Sculpture artist- Justo Xuana
Photos of sculpture-William Roper
All other photos- Mark Weber
Graphic design- Chuck Britt

Surely we have arrived Nefertiti. Such luminescence. Our
audience brings us forward, carrying our transcendence.
Our fate. This music like mercury silver hot upon the wheel
cycles out tentacled delicate flux rotating matter, solar,
nebraska, consonance in this tangential place ye shall
know as New Mexico. How many years has this composer
borne such honesty? The river it flows upon is specific.
Yet nothing about it holds the musicians down. There is
chance, and probability, and negotiation, and a compass
in case anybody wants to look. The delta can be treacherous
at certain times of the year. O Nefertiti how calm you are
in the center of this music.

18june03
mark weber
Albuquerque

pfMENTUM CD045

PFMCD045

Jeff Kaiser and Andrew Pask with Steuart Liebig and G.E. Stinson: The Choir Boys with Strings (PFMCD037)

Jeff Kaiser 1 Comment

[playlist ids="439"]
The Choir Boys with Strings
Jeff Kaiser: Trumpet, Quarter-Tone Trumpet, Flugelhorn, Electronics
Andrew Pask: Clarinet, Bass Clarinet, Alto Saxophone, Bass Penny Whistle, Electronics
G.E. Stinson: Electric Guitars, Electronics
Steuart Liebig: Contrabass Guitars, Electronics

Visit The Choir Boys home page at:
www.trippyhorns.com

1. Needlework Alice 11:59
2. Impromptu Lateral Drop 7:26
3. Tobacconist from Rimini 10:59
4. Frenchwoman Luggage Cart 8:39
5. Adulterous Dishwasher 9:40
6. Definitely Jack 10:23
7. Rest of the Skeleton 15:12
8. Wir Sind Hier 5:28

The music was created in two continuous suites.
Track numbers have been added for convenience.
Suite One: Tracks 1-5. Suite Two: Tracks 6-8.
Total Playing Time: 79:46

All music © 2006, Jeff Kaiser Music, ASCAP and Kaleidacousticon, ASCAP
Digital multitrack recording by Wayne Peet, October 5, 2005 at Ventura College Theater, Ventura, California
Art, Layout, Mixing and Mastering by Jeff Kaiser, January 2006
pfMENTUM • pfmentum.com • Box 1653 • Ventura • CA • 93002

Special thanks to Robert Lawson and Ollie Powers for the invitation to perform,
and to Roger Meyer for staging and lighting the show.

pfMENTUM CD037

PFMCD037

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

The Jeff Kaiser Ockodektet: The Alchemical Mass and The Kaiser / Diaz-Infante Sextet: Suite Solutio (PFMCD019)

Jeff Kaiser 1 Comment

[playlist ids="396,393,395"]
The Jeff Kaiser Ockodektet: The Alchemical Mass

The Kaiser/Diaz-Infante Sextet: Suite Solutio

The Jeff Kaiser Ockodektet with The Ojai Camerata

Woodwinds: Vinny Golia, Eric Barber, Jason Mears * Trumpet/Flugelhorn: Kris Tiner * Trombone: Michael Vlatkovich
Tuba: Mark Weaver * Bass: Jim Connolly * Prepared Acoustic Guitar: Ernesto Diaz-Infante * Acoustic Piano: Wayne Peet
Percussion: Brad Dutz * Drum Set: Richie West * Jeff Kaiser: Conductor, Flugelhorn

The Ojai Camerata:
Sopranos: Diane Besocke, Candace Delbo, Eleanor Land,
Laura Johnson-Bickford, Lu Setnicka
Altos: Gwen Erickson, Lisa Gordon, Katherine Halsey,
Holly Mitchem, Zoe Pietrycha
Tenors: Carla Aiello, Jaye Hersh, J.B. White
Basses: Dave Farber, Jim Halverson, Kurt Meyer, Bill Wagner
Dr. Wyant Morton, Director

The Alchemical Mass
Conducted by Jeff Kaiser and Dr. Wyant Morton
1. Introitus 10:28
[Eric Barber, Soprano Sax * Vinny Golia, Sopranino Sax]
2. Kyrie 3:00
3. Collecta and Gloria 2:33
[Kris Tiner, Flugelhorn]
4. Epistola and Graduale 1:44
5. Offertorium 9:03
[Jeff Kaiser, Flugelhorn * Jason Mears, Alto Sax]
6. Ave Maria and Commune 7:16

Kaiser/Diaz-Infante Sextet
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West

Suite Solutio
7. Part I 2:38
8. Part II 1:25
9. Part III 5:06
10. Part IV 5:49
11. Part V 4:19
Total Playing Time 53:21

All compositions and arrangements by Jeff Kaiser * (C)2004 Jeff Kaiser Music, ASCAP
The Alchemical Mass was recorded 4.26.03 at the First United Methodist Church in Ventura, CA
Recorded, mixed, and mastered by Wayne Peet
Suite Solutio was recorded 2.25.01 at Zircon Skye in Ojai, CA
Recorded by Jeff Evans * Mixed and mastered by Jeff Kaiser
Photographs by Michael Kelly * Design and layout by Jeff Kaiser

The Alchemical Mass is dedicated to Keith McMullen for his friendship and unending supply of prima materia.
In Stercore Invenitur

Liner Notes:

“Obscurum Per Obscurius.”
[Explaining the obscure by the more obscure.]

-Anonymous Alchemical Quote

“It is true that alchemy always stood on the verge of heresy and that certain decrees leave no doubt as to the Church’s attitude towards it, but on the other hand it was effectively protected by the obscurity of its symbolism, which could always be explained by harmless allegory…The alchemists ran counter to the Church in preferring to seek through knowledge rather than to find through faith, though as medieval people they never thought of themselves as anything but good Christians…But in reality they were in much the same position as modern man, who prefers immediate personal experience to belief in traditional ideas, or rather has it forced upon him…For this reason there have always been people who, not satisfied with the dominants of conscious life, set forth – under cover and by devious paths, to their destruction or salvation – to seek direct experience of the eternal roots…”

-C.G. Jung, Psychology and Alchemy

Nicholas Melchior Cibenensis – chaplain and court astrologer to Ladislaus I (King of Hungary and Bohemia) and then Louis II – wrote the text of The Alchemical Mass between 1490 and 1516. Following the death of Louis II in 1526, Cibenensis fled to Vienna…where Ferdinand I would execute him in 1531. The original text is quite long and has been paraphrased for this composition.

Introitus Missae:
Fundamentum vero artis est corporum solutio quae, non in aquam nubis, sed in aquam mercurialem resolvenda sunt, ex qua generatur verus lapis philosophorum. [The basis of the Art is the dissolution of the bodies…]
Versus: Introitus vitrioli, et salis vitri, aequales partes, dans solutionis testimonium: Gloria patri, et filio, per spiritum sanctum.

Kyrie:
Kyrie, fons bonitatis, inspirator sacrae artis, a quo bona cuncta tuis fidelibus procedunt, Eleison.
Christe, Hagie, lapis benedicte artis scientiae qui pro mundi salute inspirasti lumen scientiae, Eleison.
Kyrie, ignis divine, pectora nostra juva, ut pro tua laude pariter sacramenta artis expandere possimus, Eleison.
[Our Lord, fount of goodness, inspirer of the sacred art, from whom all good things come to your faithful, have mercy. Christ, Holy one, blessed stone of the art of the science who for the salvation of the world hast inspired the light of the science, have mercy. Our Lord, divine fire, help our hearts, that we may be able, to your praise, to expand the sacraments of the art, have mercy.]

Collecta:
Deus largitor totius bonitatis, qui maxime in fine temporum; sola tua bonitate et sapientia famulo tuo. N.N. non suis meritis praecedentibus: sed tua ineffabili pietate, et gratia praeveniente, lumen sacrae artis alchemiae inspirasti, praesta quae sumus, ut quod ex tuae maiestatis dono accepit, ad salutem corporis, et animae eius prosit, in ipsoque omnia vitia mortifica, et gratiam virtutis infunde, ut eandem sacram artem solum modo ad laudem, et gloriam nominis tui, et fidei Christianae propagationem, fideliter expendat, per dominum nostrum Jesum Christum, Amen.
[May thy servant N.N. practice the sacred Art of alchemy to the glory of God…]

Gloria in excelsis

Epistola:
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]

Graduale:
Surge aquilo et veni auster: perfla hortum meum, et fluant aromata illius.
[Arise north wind, and come south wind, blow through my garden and let the aromatical spices flow.]

Ave Maria:
Salve, O caeli iubar speciosum, mundi lumen radiosum; hic cum luna copularis, sit copula martialis, et Mercurii coniunctio. Ecce res est una, radix una, essentia una…qui est lapis philosophorum. Hic est thesaurus thesaurorum, summa medicina philosophorum, caeleste secretum antiquorum, beatus, qui hoc invenerit.
[Hail beautiful lamp of heaven, shining light of the world! Here art thou united with the moon, here is made the band of Mars and the conjunction of Mercury. And behold it is one thing, one root, one essence…this being the stone of the philosophers. It is the treasure of treasures, the supreme philosophical potion, the divine secret of the ancients. Blessed is he that finds such thing.]

Commune: Regem nostrum venientem ex igne, illuminatum, et diademate coronatum, ipsum honorate in perpetuum. Amen.
[Glory be to our king who comes out of the fire, who is illumined, and crowned with the diadem, for ever and ever. Amen.]

I wish to thank Dr. Wyant Morton and the Ojai Camerata for commissioning this work and The City of Ventura’s Office of Cultural Affairs for a grant to fund The Jeff Kaiser Ockodektet. I would also like to thank Adam McLean, author of over 40 books on alchemical and hermetic literature, who took the time out of his busy schedule to send me the complete Latin text of The Alchemical Mass with translation. Visit his web site at: www.levity.com/alchemy/ for text and art on all facets of alchemy.

pfMENTUM CD019

PFMCD019

Rich West: Bedouin Hornbook (PFMCD016)

Jeff Kaiser 1 Comment

[playlist ids="387"]
Rich West Bedouin Hornbook

Chris Heenan: bass clarinet, alto saxophone
Bruce Friedman: trumpet
Jeremy Drake: electric guitar
Scot Ray: eb tuba
Rich West: drums

1. Bugge 11:20
2. Tribology 6:34
3. Twang 14:41
4. Tread 8:22
5. Friends of the Vacuum 9:00
6. Tychai 1 and 2 7:25
7. Curly 4:10
8. Furcifer 6:44
Total Time 68:16

All compositions by Rich West
©2004, Richwest Recordings, ASCAP
Recorded April 29, 2002 and March 12, 2003
Recorded and Mastered by Scott Fraser
Mixed by Rich West and Scott Fraser
at Architecture, Los Angeles, CA
CD Design and Layout by Jeremy Drake and Jeff Kaiser

“The sad thing about L.A. is that it’s hard keeping people in the same room for extended periods of time.”
— Rich West

The title is from a book by Nate Mackey, which I haven’t read. However, in the spirit of Richard Meltzer’s infamous “previews” of bands to whom he’s neither listened or talked prior to writing about them, I’ll concentrate on the nomadic implications of Bedouin (from Webster’s New World Dictionary of the American Language); nomad, “a member of a tribe, nation or race having no permanent home, but moving about constantly in search of food, pasture, etc.”, and suggest that this band is composed of nomads as only an L.A. band can be. Luckily, Rich West was able to get them in the same room at least long enough to produce this exuberant album. It’s not just that the tunes (he says, “everyone had a hand in some of the arrangements”) are strong and interesting (shades of Igor Stravinsky, Frank Zappa, Nino Rota), the playing — both written and improvised — is, too.

A surprising variety of moods and textures is developed, ranging from the inviting and theatrical “welcome to the show” feel of Tribology to the especially attractive Gyuto-Monks-meet-Fellini scenario on Twang. The sounds are oddly appealing in some non-traditional ways (murky trumpet, bell-like guitar). When it’s all over, you feel as if you’ve been someplace new. I can’t imagine any other five players who could play this music and make that happen. This is music that knows the difference between self-expression and self-indulgence, for which we should all be very happy.

— Dorothea Grossman, Los Angeles, CA, October 2003

pfMENTUM CD016

PFMCD016

Jim Connolly and the Gove County Philharmonic: Time Stops to Visit (PFMCD009)

Jeff Kaiser 1 Comment

[Please note: This disc is out-of-print, this page is for archival purposes.]

“But where, after all, would be the poetry of the sea were there no wild waves?”
— Joshua Slocum, Sailing Alone Around the World

The Gove County Philharmonic is:
Sally Barr, violin, vocals on track 12; Kirsten Monke, viola; Ron McCarley, clarinet; Jeff Kaiser, trumpet
Jim Bement, accordion; Bruce Bigenho, piano; Jim Connolly, bass
(Laura Hackstein, violin; Misha Bodnar, cello on tracks 5, 7, 9)

1. Satan’s Square-Dancing Monkey 2:50
2. Time Rides the Ferris Wheel 3:32
3. My Watch Is A Rust Sandwich 2:10
4. Patience Makes the Ocean Blue 10:18
5. Act I 1:18
6. Noodling for Flatheads 3:02
7. Act II 1:56
8. The Watts Towers 5:14
9. Act III 2:01
10. Time Stops To Visit 4:42
11. Camera Obscura 2:18
12. Hi Lili, Hi Lo 3:32
total time: 42:59

All compositions and arrangements by Jim Connolly, © 2002 James Connolly Music, ASCAP
except Hi Lili, Hi Lo by H. Deutsch and B. Kaper, © EMI Robbins Catalog, Inc.
Recorded in Santa Barbara, CA on 2.2.02 and 2.3.02 direct to DAT in Jim Connolly’s living room
CD recording, mastering, design, and layout by Jeff Kaiser

pfMENTUM CD009

PFMCD009