Michael Vlatkovich: Myrnofant’s Kiss (PFMCD095)

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[playlist ids="924"]

Myrnofant’s Kiss

michael vlatkovich—trombone • david mott—baritone saxophone
jonathan golove—electric cello • christopher garcia—drums

1) no victims just volunteers 07:07
2) stop scaring the toddlers and farm animals 05:17
3) hold on to your chair watch out for snakes 04:51
4) myrnofant’s kiss 05:17
5) on the corner of a purple saturday 06:14
6) an illness with a countdown 05:01
7) leave the worrying to the professionals 07:03
8) a tree falls in the forest while an orange rolls in circleswatching a pickle kiss a banana goodbye 08:00

producer: peter lutek
recorded and mixed: peter lutek, toronto, ontario
front cover: william roper
design: jeff kaiser
all compositions © 2016, m. vlatkovich/julius ivory music, ascap

pfMENTUM CD095
PFMCD095

Michael Vlatkovich Quartet: ALiveBUQUERQUE (PFMCD045)

Louis Lopez 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

Ted Killian: Flux Aeterna (PFMCD007)

Louis Lopez 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