David Borgo: soprano and sopranino saxophones, chalumeau,
dudukophone, whistlophone, mijwiz, slide whistle and laptop
Jeff Kaiser: quartertone trumpet, flute, voice and laptop
1. Harvesting 1:24
2. Flow Control 8:19
3. Maladaptive Optimization 5:32
4. Nodular 2:41
5. Exception Conditions 5:28
6. Threshing 2:46
7. Resumption Tokens 4:48
8. Postural Schema 4:05
9. Hypernymic Entailment 16:56
10. Intereaction 4:15
11. Reaping 4:47
(Click on any track for excerpt)
Recorded by Tom Erbe, 1-2 July 2009, Studio A, University of California San Diego
All performances are improvisations with live electronic processing
Mixed and mastered by Jeff Kaiser and David Borgo, November 2009
All music © 2010 by David Borgo Music, ASCAP and Jeff Kaiser Music, ASCAP
For more information:
Steuart Liebig/Tee-Tot Quartet
Joseph Berardi: drumset, percussion
Dan Clucas: cornet
Scot Ray: dobro
Steuart Liebig: contrabassguitar
wrong how long 4:00
clean, shaved and sober 3:52
cooked and chopped 3:15
mercy kitchen 7:26
sunshine candy 4:24
barrelfoot grind 4:26
© 2008 steuart liebig/
sisong music (ascap)
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
. . . 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
The Desert Fathers
Jeff Kaiser: Quartertone Trumpet, Laptop
Gregory Taylor: Laptop
ONLY AVAILABLE DIGITALLY
1. Visions (Saint Anthony) 31:14
2. The White Monastery (Saint Shenouda) 26:02
Recorded direct-to-disc 4.27 and 4.28.07 at the Boise Experimental Music Festival
CD art, mix and mastering by Jeff Kaiser
© 2007, Gregory Taylor, BMI and Jeff Kaiser Music, ASCAP
For more information:
www.pfMENTUM.com • PFMCD050
The Desert fathers—a collection of ascetics, monks, and hermits—fled the persecutions and chaos of the Roman Empire in the third century AD and settled in the deserts of Egypt, seeking safety and solace in loose-knit refugee communities at the margins of civilization. When the persecutions stopped, they remained-drawn as individuals by the solitude, privation, and self-discipline borne of desert life.
Born the son of wealthy landowners, orphaned, and later disciple of a local ascetic, St. Anthony the Great is noteworthy as the first to actually pursue an isolated (anchoritic) life in the desert itself. His biographies describe in vivid detail the afflictions and visions of his isolation—torments from which he emerged enlightened, serene, and healthy. After this, he moved further into the wilderness even as his fame grew, founding his own monastery where he dedicated himself and his disciples to prayer and the discipline of manual labor.
Shenouda the Archimandrite first visited the White Monastery (so named for the color of limestone of its outer walls) located near the Upper Egyptian city of Souhag as a boy. He remained there as a result of a vision granted to the monastery’s abbot, and eventually served as its abbot during its heyday as a thriving ascetic community.
Anthony and Shenouda were both canonized after their deaths as saints in the Coptic Orthodox Church. As monks, they combined their own individualized practices with regimens attuned to their lives in a desert environment and introduced elements of shared communal practice (the sharing of meals and liturgical practice) into their communities that laid the foundations for what we now think of as Christian monasticism.
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:
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.
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.
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
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West
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
“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.
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, 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.]
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
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]
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.]
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.
Woodwinds: Eric Barber, Vinny Golia, Emily Hay, Lynn Johnston
Trumpets: Dan Clucas, Kris Tiner
Euphonium and Valve-Trombone: Eric Sbar
Tuba: Mark Weaver
Prepared Acoustic Guitar: Ernesto Diaz-Infante
Electric Guitar/Electronics: G.E. Stinson
Organ/Theremin/Electronics: Wayne Peet
Contrabasses: Jim Connolly, Scott Walton
Drums: Billy Mintz, Richie West
Percussion: Brad Dutz
Conductor/Trumpet: Jeff Kaiser
1. Dirge 2:31
2. Clad Like Birds 3:40
3. Amplifying Their Parallels 7:01
4. Nothing May Be Taken Naturally 2:56
5. Even with Diagrams 8:12
6. One Absolute Material 5:54
7. Figures of this In-Between 3:05
8. Figures to be Actualities 4:27
9. Figure with Wings 7:09
10. Coincidentia Oppositorum 3:55
11. Where His Third Eye Could Be 3:59
12. Fulfilled by the Reflected Image 7:41
13. There is No Profit from Dreams 7:55
14. Into That Nothing-Between 5:07
Total Time: 73:44
All compositions and arrangements by Jeff Kaiser, ©2002 Jeff Kaiser Music, ASCAP
Recorded direct to DAT – on the occasion of Jeff Kaiser’s 40th birthday party – at Ventura City Hall, Ventura, CA, 12.8.01
CD recording, mastering, design, and layout by Jeff Kaiser
“Dreams are sleep’s watchful brother, of death’s fraternity, heralds, watchmen of that coming night, and our attitude toward them may be modeled upon Hades, receiving, hospitable, yet relentlessly deepening, attuned to the nocturne, dusky, and with a fearful cold intelligence that gives permanent shelter in his house to the incurable conditions of human being.”
— James Hillman, The Dream and the Underworld
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
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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.
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