Sean Hamilton: Table for One (PFMCD135)

Jeff Kaiser

[playlist ids="3708"]

A collection of improvised vignettes for solo drum set, percussion, and vuvuzela

Currently nowhere,
Carrying nothing.

(Evolvement)
Acquiescence of, the

present
linear
impermanent

burgeon, [blossom]
bloom.

Table for One.

Back:
Table for One
Sean Hamilton

1. Cash Only
2. Value King
3. Solo Sport (1)
4. Energy Vampire
5. Solo Sport (2)
6. Acquiescence Of
7. Cynic Finick
8. Spiral/Summons
9. Acquiescence Of (reprise)
10. Growth/Bloom; Wilt
11. Dusk, Valley
12. Table for One

Table for One is a collection of short improvisations that explore my interests in the drum set as a solo instrument and as a vehicle for the merging of my creative interests that include contemporary classical music, free improvisation, noise, sound art, and electroacoustic music. Several of the takes feature additional traditional and found percussion instruments that are placed on the drums in an effort to expand the timbral possibilities of the kit. Except for a loose length limit, these improvisations were recorded without any predetermined concepts, structures, or forms.
-SH, August 2019

Improvised and recorded live in studio, St. Petersburg, Florida, February 2019

Recorded and mixed by Dan Byers, Rock Garden Recording
Mastered by Wayne Peet, Newzone Studio
Art and Layout by Eli Blasko

www.seanhamiltonmusic.com

PFMCD135
Copyright 2019

Currently on tour!

Sean Hamilton
Glitter City, Denver, CO
Friday, October 4, 7:30pm
$7-10

Sean Hamilton
Casper College, Wheeler Concert Hall
Sunday, October 6, 7:30pm
(Recital)
125 College Dr, Casper, WY 82601

Sean Hamilton
Casper College, Room 116, Music Building,
Monday, October 7, 12:00pm
(Clinic)
125 College Dr, Casper, WY 82601

Sean Hamilton
Duluth, MN
Wednesday, October 9

Sean Hamilton
Khyber Pass
Thursday, October 10
$10
1571 Grand Ave, St Paul, MN 55105
https://khyberpasscafe.com/

Sean Hamilton
Fermentation Fest, Reedsburg, WI
Saturday, October 12
https://www.fermentationfest.com/

Sean Hamilton
Elastic Arts
Sunday, October 13, 9:00pm
$10
3429 W Diversey #208, Chicago, Illinois 60647
http://www.elasticarts.org

Sean Hamilton
Phoenix510, Detroit, MI
Wednesday, October 16

Sean Hamilton
Slippery Rock University
Thursday, October 17, 7:30pm
(Recital)
Swope Music Hall, 1 Morrow Way, Slippery Rock, PA, 16057

Sean Hamilton
Slippery Rock University
Friday, October 18, 3:00pm
(Clinic)
Swope Music Hall, 1 Morrow Way, Slippery Rock, PA, 16057

Sean Hamilton
Penn State University
Sunday, October 20
(Recital)
Esber Hall
Music Building I, University Park, PA 16802

Sean Hamilton
Penn State University
Monday, October 21
(Clinic)
122 Music Building II University Park, PA 16802

Sean Hamilton
Fuse Factory
Friday, October 25
13 E. Tulane Rd. Columbus, OH, 43202
http://thefusefactory.org/

Sean Hamilton
James Eads Howe Memorial Cinema,
Tuesday, October 29
145 Woodland Ave, Lexington, Kentucky 40502
https://www.facebook.com/The-James-Eads-How-Memorial-Cinema-321168224689519/

Sean Hamilton
Proper Sake, Nashville, TN
Friday, November 1
628 Ewing Ave, Nashville, TN 37203
https://www.propersake.co/

Three new projects! Golia, Vlatkovich, Dewar-LeBaron-Centazzo!

Three new recordings. We are—as usual—*very* excited about these three new projects! Vinny Golia: Intercommunications http://pfmentum.com/product/vinny-golia-intercommunications-pfmcd111nwcd329/ not only features Golia’s deep and diverse skills on multiple woodwinds, but his truly wondrous gong collection. A treat to listen to, and part of Golia’s continuing pilgrimage exploring adventurous music and new forms. This is the second joint release of pfMENTUM and Ninewinds. Michael …

Michael Vlatkovich: TRYYO Flying Box (PFMCD112)

Jeff Kaiser

[playlist ids="1082"]

TRYYO Flying Box

Michael Vlatkovich • Trombone/Composer
Jonathan Golove • Electric Cello
Damon Short • Drums

1. Pedal Sharp Four The Name (4:44)
2. Communicating Their Silence (5:11)
3. Exposed To Higher Concentrations Of Stubidity (5:10)
4. Unknown Known (7:36)
5. Thank You For Cleaning Up After the Lunatics (4:32)
6. Wanted Tambourine Player Hair Stylist (5:54)
7. Reassurances From The Apologetically Insincere (4:05)
8. The Snakes Always Talk about Ill Fitting Doll Clothes On The Chickens (5:55)
9. May I Have A Few More Polka Dots (4:11)
10. If Here Were There There Would Be Here (4:43)

All Compositions ©2016 Julius Ivory Music, ASCAP
Producers: Short/Golove/Vlatkovich
Photo: Julia Fitzgerald • Design: Jeff Kaiser
Newzone Studio, Los Angeles • Engineer: Wayne Peet
Recorded: 08/06/15 • Edited: 01/20/16 • Mixed & Mastered: 02/22/16

pfMENTUM

PFMCD112

Quentin Tolimieri: Piano (PFMCD105)

Jeff Kaiser

[playlist ids="989"]

Quentin Tolimieri : Piano

1. pointslinesplanes 6:57
2. changing/same 16:04
3. shorty 1:39
4. green dolphin st. 5:07
5. fours and ones 7:39
6. different weights and sizes 4:27
7. well you needn’t 3:14
8. fin 9:30

Quentin Tolimieri: Piano

Recorded and mastered by Jim Clouse at Park West Studios, Brooklyn NY on 2 November 2015 and 23 November 2015

Album design by Scott Gaynor

Cover photo: Cookie Cutter by Allen Lai
Interior photo: 2014_02_06_lhr-ewr_391w_ by Doc Searls
Both images available under a Creative Commons Attribution license
https://creativecommons.org/licenses/by/2.0/

All tracks © Quentin Tolimieri (ASCAP) 2015, except On Green Dolphin Street by Kaper/Washington, © Patti Washington Music/Shapiro Bernstein OBO Catherine Hinen Music/BMG Gold Songs OBO Primary Wave Songs and and Well You Needn’t by T. Monk, Regent Music Corporation. Used by Permission. All rights reserved.

pfMENTUM CD105
PFMCD105

pfMENTUM and Angry Vegan: New recordings and more! 

Dedicated to creative music, and the musicians that make it! Included in this issue: A letter from Jeff A quiz with FREE CD giveaway… New Vlatkovich releases on pfMENTUM New Hipster Modular (Trevor Henthorn) release on Angry Vegan Upcoming events From Jeff:   This is a very exciting time for pfMENTUM and Angry Vegan!   As many of you know, I left Ventura …

Michael Vlatkovich Tryyo: Pershing Woman (PFMCD071)

Jeff Kaiser

[playlist ids="526"]
PERSHING WOMAN
Vlatkovich Tryyo

michael vlatkovich: trombone
jonathangolove: electric cello
damon short: drums

recorded live 10.2.2010 by damon short • grand rapids, michigan • hugo claudin’s mexicains sans frontieresedited and mastered by wayne peet • los angeles, california • newzone studio
art by julia fitzgerald • layout by jeff kaiser and michael vlatkovich
music composed by m.vlatkovich • ©2012, julius ivory music

1. our costumes should tell us who we are and what we think – 6:09
2. pursued by more past than future – 6:34
3. black triangles yellow corn and pink medicine drops – 7:43
4. with whom each dance – 4:51
5. once in a blue moon a decent wolf comes along/hostages of romance (medley) – 7:17
6. the imponderable hiding in extra large clothing – 12:18
7. pershing woman – 5:40
8. neighborhood beasts let down their hair – 7:20
9. i let my magic tortoise go – 5:17

pfMENTUM CD071

PFMCD071

David Borgo / Paul Pellegrin: Kronomorphic (PFMCD059)

Jeff Kaiser

[playlist ids="499"]
David Borgo and Paul Pellegrin
Kronomorfic
Micro Temporal Infundibula

David Borgo: tenor, soprano and sopranino saxophones
Bill Barrett: chromatic harmonica
Paul “Junior” Garrison: electric guitar
Nathan Hubbard: vibraphone and marimba
Danny Weller: double bass
Paul Pellegrin: drum set and hand percussion

1. Deprong Mori 6:38
2. Tehuantepec 4:27
3. Perambulate 8:26
4. Dendochrone Currents 8:01
5. Gnomon 8:03
6. Repolarization 6:22
7. Jeannot’s Knife 6:11
8. Autopoiesis 5:56
9. Ossuary 6:30

Special guests:Jeff Kaiser – trumpet and live electronics on Jeannot’s Knife
Evan Adams – oboe on Gnomon
Perambulate composed by David Borgo© 2010 by David Borgo Music, ASCAP
All other songs composed by Paul Pellegrin© 2010 by Paul Pellegrin Music, ASCAP
All songs arranged by David BorgoProduced by David Borgo and Paul Pellegrin
Recorded by Joe Kucera at UC San Diego, Studio A
Mixed by Joe Kucera and David Borgo
Mastered by Jeff Kaiser
Special thanks to Mike Saul and Shawn Fleming
Dedicated to Veronica, Elian and Lola Pellegrinand to Sylvia, Diego and Joaquin Borgo
www.kronomorfic.com

Liner Notes:

“Any detailed description of this phenomenon would baffle the layman, but any comprehensible explanation would insult an expert.” —Kurt Vonnegut

We live our lives in time, but we experience our life across time, as a dynamic and complex overlay of temporal narratives that shape meaning. Folklore, history and culture all saturate space with time, and our personal evolving time-place nexus helps us to make sense of the multiple contexts we embody and experience.
One of music’s most laudable qualities may be its ability to bring us fully into the present, but it does this via its own complex layering of sound, space and time. “Infundibula” comes from the Latin word for funnel, and it is used to describe, among other things, a variety of funnel-like structures in the lungs, heart, kidneys, ovaries and brain. Kurt Vonnegut adopted the term in his novel The Sirens of Titan to describe a kind of wormhole through time and space “where all the different kinds of truths fit together.”

Kronomorfic is a collaborative effort to explore layers of musical time that coexist and interweave in ever more complex interrelationships. The compositions are mostly structured using hybrid rhythmic phrases in polymetric time (e.g., 5/3/4, 6/7/9, 8/12/15). These hybrid phrases provide the clave (or “key”) from which the melodic counterpoint, rhythmic modulation and improvisations emerge. For us, Micro Temporal Infundibula are intermediary time strata within these claves that allow disparate and seemingly conflicting rhythms to communicate with one another.

Deprong Mori was named for a species of bat in Venezuela (the “piercing devil”) believed to be able to penetrate solid objects. Technically the song alternates sections with meters of 10, 9 and 13 beats, but these shifts can be heard as different perceptual facets of a sonic prism formed by a single interlocking ostinato. Tehuantepec, the Isthmus that represents the shortest distance between the Gulf of Mexico and the Pacific Ocean, may evoke the marimba melodies from that region, but here they take on an entirely new character in a 10-beat meter. The loping drum and bass patterns of Perambulate create a 3-against-4 feel that underlies the tune’s polychordal harmony and outward-bound solos. Dendochrone Currents, an elliptical reference to the science of tree ring dating, starts with a meditative guitar intro and then establishes a polymeter of 12/15/8 (with the marimba, horns, and bass respectively) before launching into solos over a 6-against-9 feel (with an implied stratum of 4). Gnomon, named for the part of the sundial that casts a shadow, starts with a collective free improvisation that leads into alternating sections of 12 and 9 beats. The soloing is over a heated Balkan-inspired feel that alternates 2-3-2-2-2-3-2-3-2-3 with 2-3-2-2-3-3-3.

Repolarization combines a vibes part in 7, a horn melody in 6, and a bass line in 9. The “polarity” of the title refers to the way in which the horns and vibes synchronize only at the beginning of their phrases in the A sections and only at the end of their phrases in the B sections. Jeannot’s Knife, a French parable about a knife whose blade and handle has been replaced 15 times, raises the question of whether an object which has had all its component parts replaced remains fundamentally the same object. The reference here is both to the way in which the composition unfolded—with an initial rhythmic structure generating a melody that, in turn, implied a different rhythmic structure—and to how the horns and vibes create their melodic phrases anew each time by selecting pitches from a pre-given hexachord. Rhythmically, the vibes and horns phrase in 7-against-5 (heard in the hi-hat), while the bowed bass plays a repeating 7-beat phrase across the meter of 5. The hand drumming cycles with two iterationsof the bass line and can be counted 3-3-3-5. The trumpet-with-live-electronics solo by special guest Jeff Kaiser seems to push the paradox of the title even further, as the notion of “component parts” gives way to a feeling of hybridity and distributed agency.

Autopoiesis, or “self-creation,” refers to any system that regenerates itself, acting as both producer and product. It offers an intriguing metaphor for the way in which the rhythms of these complex claves often seem to generate one another. Two claves are used in this tune: 3/4/5/ and 3/5/7. The bass plays in 5 throughout, while the horn melody modulates between3 and 7, and the vibes between 4 and 3. Ossuary was inspired (even haunted) by a visit to the ossuary in Kutna Hora, Czech Republic, a chapel with chandeliers, candelabra, chalices and a coat of arms all made from human bones. The tune starts with a clave of 6/8/5 (in the drums, vibes and bass respectively) that alternates with a 9-against-6 feel when the horns enter, before giving way to a contrasting section in a 9/8/6/ clave (in the bass, horns, and vibes respectively). The improvised solos happen over the “big 9” in the bass, then the melody returns and slowly recedes as the drums, bowed bass, vibes and electric guitar all come to rest.

pfMENTUM CD059

PFMCD095

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

Jeff Kaiser

[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

Steuart Liebig / Tee-Tot Quartet: Always Outnumbered (PFMCD053)

Jeff Kaiser

[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