Guerino Mazzola / Alex Lubet: Deep State (PFMCD119)

Jeff Kaiser Leave a Comment

[playlist ids="1368"]

Deep State

Guerino Mazzola grand piano (all tracks except Kaddish)
Alex Lubet acoustic guitar (ag), soprano ukulele (su), National steel guitar (ns), mountain dulcimer (md)

1. Life (ag) 5:30
2. Liberty (su) 3:25
3. Pursuit of Happiness (ag) 5:52
4. Perfect Union (su) 4:57
5. Verinoqu’es 3:44
6. Blessings of Liberty (ns) 7:45
7. Establishment Claws (ag) 5:29
9. Freedom of Speech (su) 4:25
10. Kaddish (md) 4:11
11. Bare Arms (su) 4:38
12. Neither Slavery nor Servitude (ns) 3:49
13. The Power to Enforce (su) 3:55

Steve Barnett recording, mixing, and mastering producer; digital editor (Barnett Music Productions, Minneapolis, Minnesota)
Preston Smith recording, mixing, and mastering engineer (Perfect Record, St. Paul, Minnesota)
Recorded at Ted Mann Concert Hall, School of Music, University of Minnesota, Minneapolis, May 22 and 23, 2017
Edited, Mixed, and Mastered at Perfect Record, St. Paul, Minnesota
Graphic Design by Ted Killian

All music © 2018. Verinoqu’es by Guerino Mazzola (SUISA). Kaddish by Alex Lubet (ASCAP) All other compositions by Mazzola and Lubet (SUISA and ASCAP). All Rights Reserved.

Thanks to the University of Minnesota Imagine Fund for recording and post-production expenses
Learn more about Deep State at www.alexlubet.com or www.encyclospace.org.

pfMENTUM
PFMCD119
www.pfmentum.com

Ethan Sherman: Building Blocks (PFMCD101)

Jeff Kaiser Leave a Comment

Ethan Sherman
Building Blocks

[playlist ids="1135"]
  1. Jungle Gym (Slow) 2:27
  2. Keltner 7:01
  3. Dangling 5:28
  4. Norway 6:51
  5. Pretty Polly 3:32
  6. Motivation 4:53
  7. Jungle Gym (Fast) 1:45
  8. Positive Space 3:12
  9. Snowshoe 4:34

Ethan Sherman – guitar
Chris Rolontz – bass
Christian Euman – drums

Recorded October 3, 2016 at Paperchaser Studios, Los Angeles, CA
Engineered and mixed by Tyler Chester
Assistant engineering by Rob Peterson
Mastered by Ryan Stewart
Production assistance by Jacob Mann
Design by Aaron Vinton
All compositions except “Pretty Polly” (trad.) © 2017 Ethan Sherman (BMI)

pfMENTUM CD101
PFMCD101

New recording by Logan Hone, gigs and more…

And yet MORE pfMENTUM stuff! New release, Logan Hone Logan Hone, release concert Jeff Kaiser, solo trumpet concert What a great disc! Listen to free track by clicking here. Logan Hone’s Similar Fashion Logan Hone: Alto Saxophone, Bass Clarinet Lauren Baba: Viola Gregory Uhlmann: Guitar Mike Lockwood: Drums 1. Mother Figure 2. MJT 3. Missed the Boat 4. Fresh and Clean …

Logan Hone’s Similar Fashion (PFMCD096)

Jeff Kaiser 1 Comment

[playlist ids="770"]

Logan Hone’s Similar Fashion

Logan Hone: Alto Saxophone, Bass Clarinet
Lauren Baba: Viola
Gregory Uhlmann: Guitar
Mike Lockwood: Drums

1. Mother Figure
2. MJT
3. Missed the Boat
4. Fresh and Clean
5. Snapshoot
6. Movable Walls
7. Play
8. Don’t Touch That
9. Morning Bear

Recorded on March 14, 2015 at Studio City in Los Angeles, CA
Recorded and mixed by Greg Hartunian
Mastered by Carl Saff in August, 2015
Artwork and design by Jessica Li

Tracks 1-6 and 8 © 2015, Logan Hone (ASCAP)
Track 7 © 2006, Christian Asplund (ASCAP). Used by permission.
Track 9 © 2015, Lauren Baba (ASCAP)

pfMENTUM CD096

PFMCD096

Odeya Nini: Vougheauxyice (Voice) (PFMCD083)

Jeff Kaiser 1 Comment

[playlist ids="551"]
Vougheauxyice (Voice)

Odeya Nini: Voice

1. Mi See Ti 3:37
2. Dalai 6:16
3. Everyday Cantor 3:07
4. Idiomia 4:35
5. Tunnel 6:22
6. Tapestry of Synonyms 6:34
7. There Are So Many Things That I Have To Tell You 9:52
8. Cyclicality 6:36

1-4 were recorded in a private home in Joshua Tree, CA, September 25, 2012.
5 was recorded in an aqueduct in San Francisquito Canyon, CA, April 1, 2013.
7 was recorded at California Institute for the Arts, June 2012.

All tracks except 7 were recorded and mixed by Justin Asher
7 was recorded and mixed by Brian Saia
6 was edited by Odeya Nini
Mastered by Joe Panzner

Except for track 6, all of the pieces are in a single take, no editing. 1-5 are compositions with an open form. There is a compositional road map, but they are not performed the same way twice. 7 and 8 are improvised. Several microphones where set up in the space for 1-5, allowing for the voice to be recorded with movement and gesturing.

Photography – Adeline Newmann and Odeya Nini
Design and layout – Thea Lorentzen
Art – Saul Alpert Abrams

NOTES:

Vougheauxyice (Voice)

The voice is an instrument that both listens and reveals. It takes from all that is around us and all that is inside us as it communicates a free and composed response outward. In this work I explore the language of the voice like a dancer. I think of shape, form, gesture and the vast range of motion in the voice’s movement through space. The voice is often thought of as intangible, but in this work I try to mold its natural physical tendencies, sensing its vibrations, and feeling the touch of its waves on my skin and in my bones.

Mi See Ti

A simple melody alluding false solfege syllables that repeat themselves, diverging more and more. A play with forms of interpretation from contained and proper, to unruly swells.

In performance this piece incorporates theatrical elements, changes of facial expression and a collapsing of the body to the floor between each iteration. It questions ideas of beauty in the voice, presentation, intention, the relationship and cohesion (or negation) of the body’s expression simultaneous to the expression of the voice, and the role of the singer as an exhibitionist.

Dalai

Dalai was written while spending time in Mongolia in the summer of 2012. I learned that the meaning of the word Dalai, that we know so well from Dalai Lama, means ocean in Mongolian. Traveling in the Gobi desert, the power of the wind was omnipresent, and absolutely striking to me. It was possible to see the storms and changes of weather traversing the endlessly flat desert from miles away—often surprisingly quick—bringing gusts more powerful than I had ever experienced. Every turn of the head gave variation to the sound of the howling wind: so violent at times and peaceful in its aftermath. The obsession with wind was an easy to acquire, the more I listened, the more I realized the sound of crashing waves and the ocean’s movements were the sounds of wind. In a landlocked country such as Mongolia, I sensed the ocean all around me. Wind, ocean, breath.

Everyday Cantor

Everyday Cantor features voice and field recording. The sounds of sacred song in the everyday act of showering. Is there a difference between singing in a cathedral or singing under the shower head? The devotional voice reveals itself and then becomes drenched in everyday simplicity.

Idiomia

Inspired by random sequences of bird calls and the meaning that comes out of non verbal sonic communication. The answer is in the ear of the beholder. The voice has dynamic expression, calls, yells, gentle flutters, overtones, ingressive and egressive breathing. What is it saying? The mind wants to distill the voice, but allow it to migrate.

Tunnel

Tunnel is an improvisation on a traditional Yemenite Jewish folk song called Tzur Manoti. My Yemenite roots have always been strong in me, I see them on my face, and hear them in my voice. I often question how I fit along the continuum of my spiritually devoted ancestors, having arrived at this experimental art form. In this song I find a passageway between who I am today and the narrative of kindred souls. The result is a contemporary translation which keeps me present in my explorations (and realizations) of free form, allying me with my deep past.

Tapestry of Synonyms

We are what we hear. A collage of field recordings collected over the last four years including goats, monks, trains, plates, horses, helicopters, microwaves, wind storms, rain on tents, creaking cabinet doors, dragging chairs, tin foil crumbling, fire crackling, locks clacking, teeth brushing, family and friends from California, New York, Mexico, Mongolia Italy and Israel.

The collection of textures from our environment are juxtaposed with the voice, which we often do not consider as related. However, whether in texture or song, we do find part of our surroundings, mimicking, blending, connecting.

There is only reverb added to some of these field recordings. Besides being sliced and pasted, there are no other manipulation or altering effects.

The voice of Archie Carey, my grandmother Rachel Nini and my parents David and Tamar Nini are included.

There Are So Many Things that I Have To Tell You

Language can be tricky, slippery and twofold. This piece is a stream of consciousness improvisation with words, surfacing moods and thoughts otherwise submerged.

I sit in front of my loop pedal and amp, not knowing what stories will emerge, and allow them to flow. No story quite like the last, It is always a new and exciting journey.

Cyclicality

One voice layers on another, and another and another, shifting, morphing, coasting.

Beneath all these layers, I am still only one.

Thank you to all these wonderful people and places who created this album with their patient and skillful talents, generosity, inspiration and love. Endless gratitude.

Justin Asher, Joe Panzner, Brian Saia, Julie Tolentino + Feral Studios, CalArts, Adeline Newmann, Saul Alpert Abrams, Thea Lorentzen, Pieter Performance Space, Gerry Hemingway (for teaching me that music is sound in time), and ALL the incredible people who supported this album on Kickstarter.

Thank you to my dear family, Achinoam, Roy, Sharra, to my grandmother Rachel whose voice of many lives always plays in my ear, and especially to my parents David and Tamar Nini for their endless unquestioning love and support. My voice is your voice.

. . . and to Archie, for absolutely everything. This album is for you.

pfMENTUM CD083

PFMCD083

Dick Wood: Not Far From Here (PFMCD065)

Jeff Kaiser Leave a Comment

[playlist ids="514"]
Dick Wood: Not Far From Here

Dick Wood: alto sax, flute, whistle, boom box

Dan Clucas: cornet, flute, octokoto, other sounds

Hal Onserud: bass

Mark Trayle: live electronics with Supercollider graphics

Marty Mansour: drums, percussion on tracks 1 and 3

Dan Ostermann: trombone with space mute

Chuck Manning: tenor saxophone, percussion

1 Ignatious 7:05
2 Mango Season 1 1 : 1 1
3 Cook the Books 8 : 1 1
4 Not Far From Here 8:35
5 No Known Knowns 7:29
6 And Now 5:07

Not Far from Here
dick wood
All compositions by Dick Wood
© 2011 Zyc Slick Productions

recorded by Scott Fraser at Architecture, Los Angeles
June 15 & (tracks 1 & 3) Oct. 19, 2008
mastered by Wayne Peet, April 2011, Newzone Studio, Los Angeles
all compositions by Dick Wood
cover photo by Steve DeGroodt
model Sapna Khurama
liner notes Paul Wood
graphics Patt Narrowe
special gratitude to Scott Fraser,
Bobby Bradford, Nels Cline,
Bonnie Barnett, Woody Aplanalp,
Lewis Jordan, Ben and Linda Wood,
Sue Dorsey, Lissa Callaghan,
John Wood, Joanne Parker
thanks to
Emily Hay, Kay Sera, Noriko Honma
© 2011 zyc slick productions

pfMENTUM CD065

PFMCD065

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

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