Michael Vlatkovich: Elasticity (PFMCD087)

Jeff Kaiser 1 Comment

[playlist ids="562"]
Mark Weber: poetry
Michael Vlatkovich: trombone and compositions

with

Ion Zoo
Carol Sawyer: voice
Steve Bagnell: tenor sax, bass clarinet
Lisa Miller: piano
Clyde Reed: bass

Track 1 • Poem 1 • 2:15
Track 2 • Poem 2 • 2:18
Track 3 • Poem 3 • 1:49
Track 4 • Poem 4 • 2:35
Track 5 • Winter Things • 4:41
Track 6 • Poem 6 • 2:21
Track 7 • Poem 7 • 3:07
Track 8 • Poem 8 • 2:59
Track 9 • Poem 9 • 3:12
Track 10 • Poem 10 • 2:54
Track 11 • Poem 11 • 3:07
Track 12 • Poem 12 • 10:35
Track 13 • Poem 13 • 7:07
Track 14 • Poem First Day of February • 5:05
Track 15 • Poem 15 • 3:05

© 2012 Mark Weber and Michael Vlatkovich
Recorded at Studio Le Shedde in Vancouver, BC March 7, 2012
Recording by David Sikula
Edited, mixed and mastered at Newzone Studio
by Wayne Peet in Los Angeles April, June 2012
Jeff Schnabel, Art • Jeff Kaiser, Design

pfMENTUM CD087

PFMCD087

The Empty Cage Quartet: Hello the Damage! (PFMCD040)

Jeff Kaiser 1 Comment

[playlist ids="446"]
Jason Mears: alto saxophone, clarinet, wood flutes
Kris Tiner: trumpet, flugelhorn
Paul Kikuchi: drums, percussion
Ivan Johnson: contrabass

Disc 1: First Set (24:20 / 21:17)
1. Attack of the Eye People (Mears)
Who Are They If We Are Them? (Mears)
The Mactavish Rag (Tiner)
2. And Who Is Not Small (Tiner)
Function-3 (Tiner)

Disc 2: Second Set (42:57)
1. Swan-Neck Deformity (Kikuchi)
The Empty Cage (Mears)
Swim Swim Swim, Eat Eat Eat (Mears)

Recorded live at Café Metropol in Los Angeles, California on Friday, December 30, 2005
Recorded live to two track by Paul Kikuchi
Mastered by David Christensen and Paul Kikuchi
Cover photo and album design: Kio Griffith
Band photos: Allen D. Glass II
Thank you to Kio Griffith, Misato Nagare, Dottie Grossman, David Christensen, Rocco Somazzi, Allen D. Glass II, Jeff Kaiser and Vinny Golia
© 2006 Jason Mears Music, ASCAP and Kris Tiner Music, ASCAP
For more information: www.mtkjquartet.com

Finale
When the camera pulls back
on people you care about
because you have followed
their story all season
and you know
what makes them happy
and what hurts them
and you love them
and want to protect them,
that’s your cue to sit back,
let the music take care of them now.

When I wrote that, I wasn’t thinking about The Empty Cage Quartet, but I see a connection. They share a common view, something about expansiveness or maybe a sense of what I can only call “mission.” These guys actually care about us, and want to make us better through their musical example, God help them. It’s a tall order, admittedly, but saxophonist Jason Mears and trumpeter Kris Tiner talk seriously about the band as a positive model for social change, incorporating and expanding upon what they learned under the tutelage of people like Wadada Leo Smith and Vinny Golia.

Mears, Tiner, Kikuchi and Johnson (“The MTKJ;” now “The Empty Cage Quartet”) came together at The California Institute of the Arts, in Southern California, circa 2002. They began playing music that was admittedly “horrible” (Kris Tiner’s word), at first, but which has evolved to a very telepathic kind of communication that transcends historical models of creative new music and almost doesn’t require language in its usual sense. They’re bent on transcending the clichés of “free jazz,” with its historically associated bias toward self-expression at the expense of everything else. They all contribute tunes and are dedicated to finding ways of getting around traditional improvisation and composition, to create music that is “continuous” and spontaneous. At the same time, in their musical explorations, they incorporate and honor the earlier forms they want to transcend. There is, for example, homage to without imitation of the Anthony Braxton and Ornette Coleman quartets.

So they use a system which in effect means that, in performance, any player can cue a composition at any time. For that to work on a level that approaches art requires the ability to almost literally read each other’s minds. Forget about not paying attention. Forget about playing on chord changes. It’s very akin to linking arms and jumping off the proverbial edge-of-the-cliff. It takes enormous mutual trust, acquired through the time-honored method of playing and touring. It is a truism that there’s no substitute for playing together a lot over a period of time in different settings and circumstances. The bonding that emerges from this kind of intensity has created, for these four, a unity that is probably more rock-solid than that of most “real” families.

And that makes them happy. They like it when audiences are touched and even inspired by the music they make together. Drummer Kikuchi tells about a gig in Olympia, WA, when the audience behaved as if they were at a rock show, yelling and “getting into” the show, letting the music take them to new places.

A word about the title of this CD: “Hello the Damage” was the all-too-literal English translation of part of a French review damning the group’s last CD. Anyone familiar with the often hilarious nonsense masquerading as “translation” on the Babelfish web site will sympathize.

This is a band whose musical growth rate has been amazing. They’re dedicated to doing something new, and the strength of their musicianship and vision are collectively and individually impressive enough to make that happen.

I’m going to leave the last word (well, almost) here to Kris Tiner, who, talking about how much he appreciates the work of Thelonious Monk, Charles Ives and Morton Feldman, says, “You can tell they love music.” Amen.

Dottie Grossman
Los Angeles, CA
April, 2006

[Ed. from a reviewer friend: This expression (in french “bonjour les dégâts…”, “damage” is a plural in french, it makes it more spectacular) became famous after is was used in an advertisement against alcohol when driving : “Un verre ça va, trois verres bonjour les dégâts” “One drink is alright, three drinks, hello the damage” : nobody speaks about 2 drinks, the case becomes a hole where reason gets drowned).]

pfMENTUM CD040

PFMCD040

Dottie Grossman / Michael Vlatkovich: Call and Response (PFMCD021)

Jeff Kaiser 1 Comment

[playlist ids="402,399,401"]
Call and Response
Poems written and read by Dottie Grossman
Trombone improvisations by Michael Vlatkovich

1. If we lived on a mountaintop :44
2. The lady from Calcutta 1:05
3. What if another caveman 1:12
4. This poem is part cartoon :44
5. I’m grown up now :55
6. The hum of a place :58
7. In a sleep
In the dream
In recurring Cary Grant 1:34
8. Today I bought 1:04
9. In the canyons below 1:27
10. In the evening 1:33
11. There has been :44
12. Three Henny Youngman Poems 1:12
13. Dear Terre Haute 1:05
14. We waited the storm out 1:23
15. On a navy-blue night 1:29
16. Two about movie stars 1:34
17. The man who is more like
The murderer on his way 1:40
18. Ten P.M. 2:12
19. Six Short Cat Poems 2:04
20. The Man Who Loves His Job Makes A Poem 1:09
21. You make me laugh easily 1:27
22. Three Henny Youngman poems :58
23. Two appropriations 2:26
24. My hairdresser tells me 1:52
25. Daughter 2:52
26. In my pre-adolescent :46
27. Once upon a time 1:32
28. Two short ones 2:00
29. Three short ones 2:09
30. The weekend begins 1:35
31. Two in a row 2:46
32. Two about geography 2:02
33. Two more in a row 2:40
34. Two that seem to go together 1:19
35. …And three more Henny Youngman Poems 2:08

(c) 2004 Dottie Grossman and Michael Vlatkovich • Executive Producer: Jeff Gauthier
Art: Billy Mintz • Design and Layout: Jeff Kaiser and Dottie Grossman
Engineers: Garth Powell and Scott Looney • Best Boys: Garth Powell and Jeff Gauthier
Recorded: 6 March 2004, 1510 Studios, Oakland, CA
Recorded in real time with no overdubs or edits

A sampling of the poetry…

1.
If we lived on a mountaintop,
the fog would rise up every night,
so thick you could run a comb through it.
Every morning would look like a barbershop,
with wet floors full of leftover curls.

2.
The lady from Calcutta
is taking a breather
in the California sun.
She sits by the freeway
eating ice cream
and thinks that the freeway
is a kind of Ganges,
all foamy and shining with light.
Oh, lady from Calcutta,
you never had it so good.

3.
What if another caveman
had my hands,
after they saw me
through my teens
and spent the sixties
with me?
Could somebody else
respect that?
And would the tracery
of my lifeline
meander differently
on, say, you?

4.
This poem is part cartoon
and part injection.
I hope it has the clarity of wind chimes
or the bloody sparkle of broken glass.

5.
I’m grown up, now,
but I still find
human babies
menacing:
especially
the way they bob
their smiling,
ornamental heads.
I don’t trust them
when the filtered light
of winter
cleans the empty beach
between storms
and exposes
the desert hideouts
of dead Indians
and their toys.

6.
The hum of a place
tells me everything’s working.
I love the electrical breaths
of us and our gear,
doing pushups.

7. Three Poems…

1.
In a sleep
ruffled by guilt,
I dream of my family,
praying together,
childishly.
They are so small
that I suddenly understand
their common nightmare,
and why they call themselves
by one name.

2.
In the dream
of skyscrapers
as paper dolls,
each has its wardrobe
of tenants
that can be moved
around forever.

3.
In recurring Cary Grant
Dream Number One,
he appears on Christmas Eve
to bless the animals.

pfMENTUM CD021

PFMCD021