John Blevins: Matterhorn (PFMCD092)

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[playlist ids="765"]

John Blevins: Matterhorn

(Please note: this is for the CD version, the vinyl version will be linked here when available.)

1. Identity Theft
2. Unaware
3. Brink
4. Nascent
5. Little Dickens
6. See
7. Breathe
8. Hear
9. See (alternate take)

John Blevins – Trumpet
Drew Williams – Tenor Saxophone
Brad Mulholland – Alto Saxophone/Flute/Clarinet
Nick Grinder – Trombone
Marta Sanchez – Fender Rhodes
Jeff Mclaughlin – Guitar
Marty Kenney – Bass
Nathan Ellman-Bell – Drums/Percussion
John Doing – Congas

Produced by John Blevins and Shane Endsley

Recorded at Grand Street Recording in Williamsburg, Brooklyn by Jake Lummus on July 21 and 22, 2014

Edited and mixed by Jake Lummus and John Blevins, Autumn 2014

Mastered by Liberty Ellman on December 12, 2014

All compositions © and& ℗ 2015 John Blevins Music (ASCAP)

Original artwork and design by Sam Gezari

THANK YOU to Nathan, Marty, Jeff, Nick, Drew, Brad, Marta, and John for their dedication to this music. It’s an honor to play with you.

Special thanks to Shane Endsley, Jake Lummus, Liberty Ellman, Leah Jubara, Matt Hurley, Simon Yu, Sam Gezari, Daniel Stessen, and to Bill Jubara and everyone who supported this project on Kickstarter. Special thanks to my loving, supportive family and especially to Amanda.

For Ray and Howell.

pfMENTUM CD092

PFMCD092

Odeya Nini: Vougheauxyice (Voice) (PFMCD083)

Louis Lopez 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

Bubbeleh (PFMCD082)

Louis Lopez 1 Comment

[playlist ids="549"]
Andrew Conrad: Clarinet, Tenor Sax
Greg Zilboorg: Trumpet
Lauren Baba: Violin, Viola
Max Kutner: Guitar
Philip Rankin: Wurlitzer, Synthesizer, Melodica, Pump Organ, Tack Piano, Clave, Guiro
Rusty Kennedy: Bass
Colin Woodford: Drums, Congas, Shakers, Rattles, and Ankle Bells

1. Dybbuk Square Dance 3:29
2. Fear of Heights 5:07
3. Schmutzy Glasses 5:26
4. Woulda…Coulda…MESHUGGAH!!! 3:44
5. (An Honest) Living 2:19
6. Choots-Pah 3:55
7. Grepse 4:17
8. Simcha Boytchik Hintele (Puppy Party) 3:35
9. Mosesque 6:56
10. Bubberella 4:30
11. Czytzfachykz 4:54

1, 2, 5, 9, 10 composed by Max Kutner, © 2014 Maladept Music, ASCAP

4, 6, 7, 8 composed by Philip Rankin, © 2014 Jewish Shark Attack, ASCAP

3 composed by Greg Zilboorg, © 2014 Shouting Dog, ASCAP

11 composed by Rusty Kennedy, © 2014 Jewish Shark Attack, ASCAP

Recorded by Samur Khouja at Seahorse Sound Studios, Los Angeles, August 20-22, 2013
Assistant Engineer: Alex DeGroot
Mixed by Brian Saia, October-December 2013
Mastered by John Baffa at TVTray Studios, Simi Valley, CA, December 2013
Produced by Maxwell Ryan דוד Kutner and Philip Jason שַׂמֵחַ Rankin
Executive Producer: William Ross Gibson
Associate Producer: Debra Fredericks, Tamasaurus Rex
Logo by Dawn Chan * Layout and design by J. Carver

Max and Phil would like to thank the band: Greg, Rusty, Lauren, Andrew and Colin. Everyone who helped record this album: Samur, John and especially Brian. KT Pierce for photography and building our website. Phil would like to thank his Mother, Jill; his Father, David; his sister Michele; and his dog, Max. Max would like to thank his family: Leslie, Samantha, Stephanie, Art and Michael for their tireless, inexhaustible support and encouragement. Most importantly we would like to thank everybody who donated to our Indiegogo Campaign. This album would not have been made possible without your generous donations.

pfMENTUM CD082

PFMCD082

Danny Gouker: Signal Problems (PFMCD080)

Louis Lopez 1 Comment

[playlist ids="545"]
Signal Problems

Danny Gouker: Trumpet, Compositions
Eric Trudel: Tenor Saxophone
Adam Hopkins: Bass
Nathan Ellman-bell: Drums

1. Icebreaker 2:24
2. Pogo Stick 5:20
3. Spectacled Bear 6:21
4. Do You See What Happens? 1:44
5. Not Yet, Gorilla 6:38
6. Made for TV pt. 2 3:06
7. Chloroform 2:15
8. We’re All In It Together 4:28
9. Slippy Sloop 9:28
10. When You Fell From Heaven 7:54

All music ©2014, Daniel Allen Gouker ASCAP
Recorded at the Bunker Studio, Brooklyn, NY, January 7 and January 12, 2013
Engineered by Aaron Nevezie
Mixed by Nathaniel Morgan, October 2013
Mastered by Jeff Kaiser, November 2013
Produced by Danny Gouker and Zack Branch
Artwork and Layout by T.J. Huff

Special thanks to: Laurie Frink, Dave Ballou, Ralph Alessi, numerous supportive family and friends, Mary and Toby Gouker, and Jenny Cirri (soon to be Mrs. Gouker).

pfMENTUM CD080

PFMCD080

Zen Widow: Screaming in Daytime (Makes Men Forget) (PFMCD069)

Louis Lopez 0 Comments

[playlist ids="522"]
Zen Widow
Featuring Wadada Leo Smith

Zen Widow is:
Gianni Gebbia (alto saxophone)
Matthew Goodheart (grand piano, electro-acoustic gongs and cymbals)
Garth Powell (drums and percussion)
Special guest artist—Wadada Leo Smith (trumpet)

1. Gifts We Have Forgotten 13:05
2. Notated Memory 12:05
3. Black On White Paper 7:05
4. This Seeming Dream 7:36
5. Musa Physics 15:42
Total Time: 55:41

“Screaming in Daytime (makes men forget)” is Zen Widow’s third album, our first collaboration with Wadada Leo Smith, and it is in large part homage to tenor firebrand: Glenn Spearman.

Many of the melodies are constructed from fragments of his compositions. We inverted, rearranged, and modified what wasn’t completely new or created on the spot. Wishing to maintain the essence of Glenn’s rich compositional style was the priority, without resorting to a typical “tribute” collection of an artist’s past works.
All four of us worked with and deeply respected Glenn. I was a young artist right out of music school when I first worked with him. Already a master of the free jazz idiom, he was both thoughtful and generous to treat me as an equal given his age and experience. Although I frequently find myself thinking about the music we shared, this disc represents where the four of us are today—looking up and outward towards our friend.

The San Francisco Bay Area has been the home of a multitude of great artists as it continues to be. Yet, the fire and passion that was stoked throughout our community left a vacuum with Glenn’s passing. That loss is felt to this day. Glenn’s work with Cecil Taylor, Jimmy Lyons, The Glenn Spearman Double Trio with Larry Ochs, The Creative Music Orchestra with Marco Eneidi, and numerous other projects were all testaments to Glenn’s spirit and incredible power.

As improvisers we try to be in the moment, but it’s still hard not to gaze back and think of Glenn.

—Garth Powell 2012

I am very honored to dedicate this recording to Glenn Spearman, I worked with him only once at the Beanbenders concert series in Berkeley. I was very impressed by his solid sound, his gentleness and kindness of spirit. This recording is a double honor for me because of the great sounds of Wadada. He was the original soloist in the trio where I started my musical career with Peter Kowald and Gunther Baby Sommer. Wadada’s trumpet voice is the ideal to show our gratitude to Glenn.

Drops of Gold are falling forever in the long and everlasting dharma of the Great Black Music.

—Jòraku Gianni Gebbia 2012

In February of 1998, my group “Trio and. . .” played at the closing night of Radio Valencia in San Francisco. Performing was my regular line up of Glenn Spearman on tenor and Donald Robinson on drums, with Wadada Leo Smith as guest. The night was intense, beautiful, a fulfillment, these great artists sounding above those simple musical structures of my own making. A few weeks before I had been asked “If you could play with any musicians you wanted, who would it be?” My answer was: this group.

I did not know it at the time, but it was the beginning of an end of an era in Bay Area improvised music. Whatever forces drive certain moments in musicking, they had secretly begun to diverge. The group of artists centered around Radio Valencia moved to other venues. Glenn, in his own words, “went to join the ancestors” some nine months later. The scene slowly evolved into something else. The movement of that night, the deep interaction between Glenn and Wadada over the flux of the rhythm section, remains a personal embodiment of that time. All of these musicians had a profound impact on me, so generous in their time and artistry in support of a younger man struggling to find his formation. Glenn was my mentor; he brought me inside of his world, working closely, hours playing, absorbed in the details of his and our music. He taught me focus and intensity, maturity of vision. From Wadada I learned the concentrated, delicate, sensuous detail of shape and sculpture in each utterance. From Donald: flow, patience, attention, integrity.

To revisit Glenn’s music, over a decade after his death, with the collaborative Zen Widow and (once again) the generous addition of Wadada Leo Smith, moves into sound that complex network of events that exist as cadences in our lives. Glenn’s unending musicality calls back from the ancestors to play among the living.
I still learn from these artists, all of them. If asked again, if I could again play with any musicians I wanted, the answer again would be: this group.

—Matthew Goodheart 2012

Recorded Live to two-track analog at Ocean Way Recording—Studio A—Hollywood, California by Mike Ross (second engineer Patrick Spain)

Production and generous implementation of Audioquest microphone cables with DBS technology by Joe Harley

Mastered by Bernie Grundman—Bernie Grundman Mastering, Hollywood, California

Disc Manufacturing and 1:1 glass mastering—Groove House, Woodland Hills, California

Graphic Layout and Design—John Benz, Petaluma, California

Photography: Front Cover: Heike Neubauer–Antoci, Mettanest Studio, Dresden, Germany
Back Cover Group Photo: David Swann Photography
Inside Face Group Photo: David Goggin

Special thanks to Shantee Maggie Baker, John Benz, Michael Ehlers, Marco Eniedi, David Goggin, Bernie Grundman, Joe Harley, Jeff Kaiser, Wayne Powell, Mike Ross, David and Susan Thompson, everyone at Ocean Way Recording Hollywood, and all of our friends across the world who tirelessly create and support improvised music.

All compositions by Gebbia, Goodheart, Powell, and Smith. Evolving Door Music BMI 2012, SIAE 2012
© 2012 All Rights Reserved

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PFMCD069

Jeff Kaiser / Tom McNalley / Ted Byrnes: External Logic Machine (PFMCD066)

Louis Lopez 0 Comments

[playlist ids="516"]
Jeff Kaiser • Tom McNalley • Ted Byrnes

ONLY AVAILABLE DIGITALLY:

External Logic Machine
Jeff Kaiser: Bb trumpet, quatertone trumpet, flugelhorn
Tom McNalley: Acoustic guitar, tricone resonator guitar
Ted Byrnes: percussion

1. A Disciplinarian Society
2. Attention to the Locality
3. Blood and Genes
4. Cooperation Among Productive Sites
5. For an Entire Working Life
6. Frontier and The Idea
7. He Gave Us A Toolbox
8. Hibernation
9. In Order to Preserve Order
10. Particularly Clear in the Case
11. Potential Rationale
12. The Disequilibria of Circulation
13. Thousands of Daily Practices

Recorded by Jeff Kaiser and Ben Power 3.23.2011 at the ICAM Studio, University of California San Diego
Mixed and Mastered by Jeff Kaiser
Design and layout by Ted Byrnes and Jason Tauritz

All compositions ©2011 Jeff Kaiser Music, ASCAP; Tom McNalley Music, ASCAP

pfMENTUM CD066

PFMCD066

Rich West: Mayo Grout’s Known Universe (PFMCD055)

Louis Lopez 0 Comments

[playlist ids="478"]
Rich West

FEATURING:
Tony Atherton
Ace Farren Ford
Bruce Friedman
Paul Green
Emily Hay
Eric Johnson
Haskel Joseph
David Kendall
Steuart Liebig
Jill Meschke
Walter Zooi

1. I’m a Cockroach; Adapt, Adapt – part one 18:05
2. Short I Am 3:22
3. On Her Wrists She Wore Her Interest 10:09
4. Newness 5:13
5. I’m a Cockroach; Adapt, Adapt – part two 6:28
6. Five-Lane Parasite 5:47
7. ES-1 10:33
Total Playing time: 59:43
© 2009 Book Crazy, BMI

1 and 5 recorded at Architecture, Los Angeles, CA, Jan. 21, 2003
mixed 2003–2006, Scott Fraser, engineering
2, 3 and 6 recorded at Architecture sometime in 1995
mixed 2003–2006, Scott Fraser, engineering
4 and 7 recorded at Rick Cox’s studio above John Carter’s in Los Angeles, CA, sometime in 1991, Rick Cox, engineering
Editing by Phyllis West
Emily Hay: flute 1–7; voice 4
Bruce Friedman: trumpet 1, 5
David Kendall: bass guitar 1, 5; electronics 1
Haskel Joseph: guitar 1–3, 5, 6
Ace Farren Ford: vocals 1
Tony Atherton: alto sax 2–4, 6, 7
Steuart Liebig: bass guitar 2–3, 6
Eric Johnson: bassoon 4, 7
Walter Zooi: trumpet 4, 7
Jill Meschke: keyboards 4, 7
Paul Green: bass guitar 4, 7
Rich West: drums 1–7; subjected to voice 3
Layout and design by Jeremy Drake

Of
AG.

The jet-like whirring sound started again. Neighbor Riley was angry but knew that going over to Grout’s house would be a futile journey. Didn’t anyone else on the block hear the world’s-end racket? “I’m just doing some work,” Grout had yelled when Riley had first complained. Then, three days ago, Riley had summoned up the courage to bang on the garage door with his fists. Grout had popped his head out of a side door. “What kind of work?” Riley had asked. “Just some power sawing. I’ll be done in half an hour.” Of course, it had gone on much longer than that. This time, convinced that any plea for quiet would send Grout into a rage, Riley called the police, feeling his chest tighten as he punched in the numbers. “It seems you’ve been using a lot of energy, sir, and we‘d like to know what it‘s all about,” said the patrol officer. After the initial obligatory round of yelling for civil rights, Harry Grout had invited the two cops into the garage to see for themselves. Within a month ten reporters called, then a mystery-man got very interested in the project, and Grout was able to convince some very rich investors to procure private equity interests…

(Please purchase the CD To see how the story finishes.)

pfMENTUM CD055

PFMCD055

Antony DiGennaro: A Lonesome Fog (PFMCD051)

Louis Lopez 0 Comments

[playlist ids="469"]
1. Winston Niles Rumfoord 3:38
2. Insomnia I 1:23
3. A Foot Unsocked 4:22
4. Dunes 2:37
5. Sleep I 2:46
6. The Boatman Calls 2:41
7. Insomnia II 0:55
8. Sleep II 8:22
9. Hoist By One’s Own Petard 4:04
10. The Day of the Lobster 4:02
11. Insomnia III 2:39
12. The Giant 10:04

The music contained herein is merely a brief snapshot, expressing my state of mind at the moment of its conception and execution. It is also an homage to the beautiful and often overlooked natural landscapes that this country has to offer.
This music is all solo guitar, free of overdubs, electronic devices (except for microphones, amplifiers and guitar pickups) and post-processing, save for the mastering process.

Special thanks to members of tinhorn justice, plotz!, mossman, the dog of tears, sandra powers, wenchung lu, bob clendenen, wayne peet, steuart liebig, michael jon fink, vinny golia, barry schrader, susie allen, ulrich krieger, arthur jarvinen, doug maher, tom monaghan, owen cunningham, bryden and tessa digennaro, and the rest of my friends, teachers and family

Extreme special thanks to jeff kaiser, kyle ross and to my parents

Recorded/engineered by kyle ross at relec multimedia studios, val verde, ca
Produced/mixed by antony digennaro
Mastered by wayne peet at newzone studios, los angeles, ca
Graphic design by sandra powers with assistance by steuart liebig
Photography by antony digennaro

pfMENTUM CD051

PFMCD051

Dr. Mint / Daniel Rosenboom: Visions and Nightmares (PFMCD049)

Louis Lopez 1 Comment

[playlist ids="465"]
Dr. Mint

Daniel Rosenboom: Trumpet and piccolo trumpet
Gavin Templeton: Alto saxophone
Alex NoiceElectric: guitar and vox samplinga
Sam MinaieElectric: bass and effect loops
Caleb Dolister: Drum set

This recording marks the first meeting of Dr. Mint.
” Visions and Nightmares” and “Apocalyptica”
are two entirely improvised suites that were
recorded in two consecutive takes on August 26, 2007.
This album is unabridged, uncut, and unedited.

Visions and Nightmares:

1. First Light 3:02

2. Gathering 2:45

3. Fire Flight 7:04

4. Submerge 2:52

5. Duel in the Deep 6:10

6. Breach 3:36

7. Waiting… 2:22

Apocalyptica:

8. Prophecy 0:25

9. Soma 3:47

10. Chasing Dreams 5:38

11. Rift 5:16

12. Dance for Fire Reign 4:49

13. The Horsemen Ride 3:22

14. Wasteland 3:22

15. Summon the Shadow Sun 8:08

All Music © 2008, Daniel Rosenboom Music, ASCAP

Recorded by John Baffa, TV Tray Studios
Mixed and Mastered by John Baffa and Daniel Rosenboom
Cover art, design, and layout by Daniel Rosenboom

pfMENTUM CD049

PFMCD049