Virtual Tour: A Reduced Carbon Footprint Concert Series. Featuring Mark Dresser, Michael Dessen, Nicole Mitchell, Sarah Weaver, Gerry Hemingway and more.

Mark Dresser / Nicole Mitchell / Myra Melford / Michael Dessen: Virtual Tour: A Reduced Carbon Footprint Concert Series (PFMDVD094)

Jeff Kaiser


Excerpt from “for instance, today” from Michael Dessen on Vimeo.

[NEW DVD! WILL SHIP FEBRUARY 5! In celebration of this release, we are offering a special price for this DVD! Three hours of music for $10.00. Sale ends midnight February 29, 2016.]

In April 2013, a quartet of renowned composer-improvisers—Mark Dresser, Nicole Mitchell, Myra Melford and Michael Dessen—performed an unprecedented “virtual tour” of new music conceived for world-class musicians performing together live in different geographic locations via Internet2. Building on years of prior telematic collaborations and using high-speed bandwidth available only at research and educational institutions, Virtual Tour linked performers and audiences across thousands of miles, using lifelike, uncompressed audio and high definition video to set a new standard for telematic music making. The core quartet, based in San Diego, California, collaborated with a different remote ensemble for each of the three concerts: Jason Robinson, Marty Ehrlich and Bob Weiner in Amherst, Massachusetts; Matthias Ziegler and Gerry Hemingway in Zurich, Switzerland; and Sarah Weaver, Ray Anderson, Jane Ira Bloom, Min Xiao-Fen, and Matt Wilson in Stony Brook, New York. With footage from all three concerts and featuring eleven world premieres designed specifically to explore the unique potentials of this medium, this DVD documents an important step forward in bringing world-class creative music to the telematic stage. Please visit http://virtualtour2013.com for more information on this project.

Total run time approximately 193 minutes

Virtual Tour:

Amherst Concert:
Mr. Not-So TC, composed by Mark Dresser (14:29) (Del Dresser Music/ASCAP)
For Instance, Today, composed by Michael Dessen (16:22) (Cronopio Music/ASCAP)
The Story of My Anxiety, composed by Marty Ehrlich (9:41) (Dark Sounds Music/BMI)
God’s Bits of Wood, composed by Nicole Mitchell (6:25) (Wheatgoddess Creations/ASCAP)
Noema, composed by Jason Robinson (11:59)(Circumvention Music/ASCAP)

Performers in Amherst, MA: Marty Ehrlich, alto saxophone and bass clarinet; Jason Robinson, tenor saxophone and alto flute; Bob Weiner, drums

Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Zurich Concert:
3 Stories, composed by Gerry Hemingway (19:22)(Nagual Music/GEMA/BMI)
Between Walls, composed by Nicole Mitchell (9:45) (Wheatgoddess Creations/ASCAP)
SubTeleToning, composed by Mark Dresser (21:14) (Del Dresser Music/ASCAP)
Buffered Fragments, composed by Matthias Ziegler (14:48) (Matthias Zieger/SUISA)

Performers in Zurich, Switzerland:
Matthias Ziegler, flute; Gerry Hemingway, drums
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Stony Brook Concert:
Universal Synchrony Music: Volume 1, composed by Sarah Weaver (30:30) (Sarah Weaver Music Publishing, ASCAP)
SubTeleToning, composed by Mark Dresser (25:16) (Del Dresser Music/ASCAP)
Telepathology, composed by Nicole Mitchell (14:41) (Wheatgoddess Creations/ASCAP)

Performers in Stony Brook, NY:
Sarah Weaver, conductor; Jane Ira Bloom, soprano saxophone; Ray Anderson, trombone; Min Xiao Fen, pipa; Matt Wilson, drums; Doug Van Nort, laptop (on Universal Synchrony Music: Volume 1)
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Additional content:
Program notes for all compositions
Interview with Virtual Tour co-directors Mark Dresser and Michael Dessen

Locations and dates/times:

San Diego location for all 3 performances:
Conrad Prebys Music Center Theatre, University of California, San Diego, CA

For Amherst Concert:
7pm PDT/10pm EDT, April 5, 2013
Buckley Recital Hall, Amherst College, Amherst, MA
For Zurich Concert:
12pm PDT/9pm CET, April 6, 2013
Institute for Computer Music and Technology (ICST), Zurich, Switzerland

For Stony Brook Concert:
4pm PDT/7pm EDT, April 7, 2013
Simons Center for Geometry and Physics, with support from Consortium for Digital Arts, Culture and Technology (cDACT), Stony Brook University, Stony Brook, NY

Production Credits:

Project Directors:
Co-directors of Virtual Tour: Mark Dresser and Michael Dessen
Amherst site director: Jason Robinson
Zurich site director: Matthias Ziegler
Stony Brook site director: Sarah Weaver

In San Diego, CA:
Trevor Henthorn, technology director
Josef Kucera, technology consultant
Antonio Estrada and Andrew Johnson, local audio
Isaac Garcia Muñoz, network audio
Michael Ricca, audio recording
Daniel Ross, recording assistant
Yeung-ping Chen, network video
Kyle Johnson and Ash Smith, documentation video
Jennifer Bewerse, promotion design

In Amherst, MA:
Edmund Keyes, production assistant
Mark Santolucito, production assistant, audio networking
Joshua Baum, production assistant, video networking
Dan Richardson, sound engineer
Rob Ansaldo, networking assistance
Sara Leonard, lighting
Ross Karre and company, video documentation

In Zurich, Switzerland:
Johannes Schütt, network director
Joel de Giovanni and Benjamin Burger, video direction
Daniel Späti, stage director
Simon Könz, sound engineer

In Stony Brook, NY:
Kevin Schinstock, live audio, audio recording
Derek Kwan, network audio
Timothy Vallier, network video
Ross Karre and company, live video, video documentation
Jeanette Oi-Suk Yew, lighting

Post-production:
Audio mixing/mastering: Michael Dessen, Jason Robinson, Stephanie Robinson, Kevin Schinstock, Sarah Weaver, Gerry Hemingway, and Joe Branciforte
Video editing: Ross Karre
DVD production: Trevor Henthorn
Graphic design: Ted Killian

pfMENTUM DVD094
PFMDVD094

Steve Adams / Scott Walton: Cookies for Cyrano (PFMCD103)

Jeff Kaiser

[playlist ids="935"]

1. Force Field of Oblivion 6:04
2. one of countless sporadic manifestations of the alternate universe in which Olivier Messiaen is a fervent agnostic 7:15
3. Membrillo 6:14
4. Operatic 13:37
5. The Enumeration (for Glenn Spearman) 6:13
6. Ogonix 8:58
7. Black Notebook #8 13:37

Steve Adams – alto and baritone saxes, bass flute, electronics
Scott Walton – acoustic bass

All compositions by Steve Adams, © 2016 Metalanguage Music (BMI)

Recorded Feb. 25, 2015 at Fantasy Studio B by Jesse Nichols.
mixed July 8 and December 29, 2015 at Fantasy Studios by Jesse Nichols.
mastered May 5, 2016 by Myles Boisen at the Headless Buddha Mastering Lab.

The Steve Adams/Scott Walton Duo has been performing since 2013. Steve is best known as a member of the Rova Sax Quartet, with whom he has played for over twenty five years, toured internationally and released more than twenty five recordings. His compositions have been performed at the Bang on a Can and Meet the Composer Festivals. Scott Walton is a bassist and pianist whose music negotiates the terrain between jazz, free improvisation, and the classical avant-garde.  He has performed throughout North America and Europe with groups he co-leads, and in a host of collaborative contexts.

pfMENTUM CD103
PFMCD103

The Jeff Kaiser Ockodektet: The Alchemical Mass and The Kaiser / Diaz-Infante Sextet: Suite Solutio (PFMCD019)

Jeff Kaiser 1 Comment

[playlist ids="396,393,395"]
The Jeff Kaiser Ockodektet: The Alchemical Mass

The Kaiser/Diaz-Infante Sextet: Suite Solutio

The Jeff Kaiser Ockodektet with The Ojai Camerata

Woodwinds: Vinny Golia, Eric Barber, Jason Mears * Trumpet/Flugelhorn: Kris Tiner * Trombone: Michael Vlatkovich
Tuba: Mark Weaver * Bass: Jim Connolly * Prepared Acoustic Guitar: Ernesto Diaz-Infante * Acoustic Piano: Wayne Peet
Percussion: Brad Dutz * Drum Set: Richie West * Jeff Kaiser: Conductor, Flugelhorn

The Ojai Camerata:
Sopranos: Diane Besocke, Candace Delbo, Eleanor Land,
Laura Johnson-Bickford, Lu Setnicka
Altos: Gwen Erickson, Lisa Gordon, Katherine Halsey,
Holly Mitchem, Zoe Pietrycha
Tenors: Carla Aiello, Jaye Hersh, J.B. White
Basses: Dave Farber, Jim Halverson, Kurt Meyer, Bill Wagner
Dr. Wyant Morton, Director

The Alchemical Mass
Conducted by Jeff Kaiser and Dr. Wyant Morton
1. Introitus 10:28
[Eric Barber, Soprano Sax * Vinny Golia, Sopranino Sax]
2. Kyrie 3:00
3. Collecta and Gloria 2:33
[Kris Tiner, Flugelhorn]
4. Epistola and Graduale 1:44
5. Offertorium 9:03
[Jeff Kaiser, Flugelhorn * Jason Mears, Alto Sax]
6. Ave Maria and Commune 7:16

Kaiser/Diaz-Infante Sextet
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West

Suite Solutio
7. Part I 2:38
8. Part II 1:25
9. Part III 5:06
10. Part IV 5:49
11. Part V 4:19
Total Playing Time 53:21

All compositions and arrangements by Jeff Kaiser * (C)2004 Jeff Kaiser Music, ASCAP
The Alchemical Mass was recorded 4.26.03 at the First United Methodist Church in Ventura, CA
Recorded, mixed, and mastered by Wayne Peet
Suite Solutio was recorded 2.25.01 at Zircon Skye in Ojai, CA
Recorded by Jeff Evans * Mixed and mastered by Jeff Kaiser
Photographs by Michael Kelly * Design and layout by Jeff Kaiser

The Alchemical Mass is dedicated to Keith McMullen for his friendship and unending supply of prima materia.
In Stercore Invenitur

Liner Notes:

“Obscurum Per Obscurius.”
[Explaining the obscure by the more obscure.]

-Anonymous Alchemical Quote

“It is true that alchemy always stood on the verge of heresy and that certain decrees leave no doubt as to the Church’s attitude towards it, but on the other hand it was effectively protected by the obscurity of its symbolism, which could always be explained by harmless allegory…The alchemists ran counter to the Church in preferring to seek through knowledge rather than to find through faith, though as medieval people they never thought of themselves as anything but good Christians…But in reality they were in much the same position as modern man, who prefers immediate personal experience to belief in traditional ideas, or rather has it forced upon him…For this reason there have always been people who, not satisfied with the dominants of conscious life, set forth – under cover and by devious paths, to their destruction or salvation – to seek direct experience of the eternal roots…”

-C.G. Jung, Psychology and Alchemy

Nicholas Melchior Cibenensis – chaplain and court astrologer to Ladislaus I (King of Hungary and Bohemia) and then Louis II – wrote the text of The Alchemical Mass between 1490 and 1516. Following the death of Louis II in 1526, Cibenensis fled to Vienna…where Ferdinand I would execute him in 1531. The original text is quite long and has been paraphrased for this composition.

Introitus Missae:
Fundamentum vero artis est corporum solutio quae, non in aquam nubis, sed in aquam mercurialem resolvenda sunt, ex qua generatur verus lapis philosophorum. [The basis of the Art is the dissolution of the bodies…]
Versus: Introitus vitrioli, et salis vitri, aequales partes, dans solutionis testimonium: Gloria patri, et filio, per spiritum sanctum.

Kyrie:
Kyrie, fons bonitatis, inspirator sacrae artis, a quo bona cuncta tuis fidelibus procedunt, Eleison.
Christe, Hagie, lapis benedicte artis scientiae qui pro mundi salute inspirasti lumen scientiae, Eleison.
Kyrie, ignis divine, pectora nostra juva, ut pro tua laude pariter sacramenta artis expandere possimus, Eleison.
[Our Lord, fount of goodness, inspirer of the sacred art, from whom all good things come to your faithful, have mercy. Christ, Holy one, blessed stone of the art of the science who for the salvation of the world hast inspired the light of the science, have mercy. Our Lord, divine fire, help our hearts, that we may be able, to your praise, to expand the sacraments of the art, have mercy.]

Collecta:
Deus largitor totius bonitatis, qui maxime in fine temporum; sola tua bonitate et sapientia famulo tuo. N.N. non suis meritis praecedentibus: sed tua ineffabili pietate, et gratia praeveniente, lumen sacrae artis alchemiae inspirasti, praesta quae sumus, ut quod ex tuae maiestatis dono accepit, ad salutem corporis, et animae eius prosit, in ipsoque omnia vitia mortifica, et gratiam virtutis infunde, ut eandem sacram artem solum modo ad laudem, et gloriam nominis tui, et fidei Christianae propagationem, fideliter expendat, per dominum nostrum Jesum Christum, Amen.
[May thy servant N.N. practice the sacred Art of alchemy to the glory of God…]

Gloria in excelsis

Epistola:
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]

Graduale:
Surge aquilo et veni auster: perfla hortum meum, et fluant aromata illius.
[Arise north wind, and come south wind, blow through my garden and let the aromatical spices flow.]

Ave Maria:
Salve, O caeli iubar speciosum, mundi lumen radiosum; hic cum luna copularis, sit copula martialis, et Mercurii coniunctio. Ecce res est una, radix una, essentia una…qui est lapis philosophorum. Hic est thesaurus thesaurorum, summa medicina philosophorum, caeleste secretum antiquorum, beatus, qui hoc invenerit.
[Hail beautiful lamp of heaven, shining light of the world! Here art thou united with the moon, here is made the band of Mars and the conjunction of Mercury. And behold it is one thing, one root, one essence…this being the stone of the philosophers. It is the treasure of treasures, the supreme philosophical potion, the divine secret of the ancients. Blessed is he that finds such thing.]

Commune: Regem nostrum venientem ex igne, illuminatum, et diademate coronatum, ipsum honorate in perpetuum. Amen.
[Glory be to our king who comes out of the fire, who is illumined, and crowned with the diadem, for ever and ever. Amen.]

I wish to thank Dr. Wyant Morton and the Ojai Camerata for commissioning this work and The City of Ventura’s Office of Cultural Affairs for a grant to fund The Jeff Kaiser Ockodektet. I would also like to thank Adam McLean, author of over 40 books on alchemical and hermetic literature, who took the time out of his busy schedule to send me the complete Latin text of The Alchemical Mass with translation. Visit his web site at: www.levity.com/alchemy/ for text and art on all facets of alchemy.

pfMENTUM CD019

PFMCD019

Tom McNalley Trio: Tom McNalley Trio (PFMCD018)

Jeff Kaiser 1 Comment

[playlist ids="391"]
Tom McNalley Trio

Tom McNalley: guitar
Jonas Tauber: bass
Ken Ollis: drums

1) Reddog 18:32
2) Orange Needle Society 13:53
3) ZHE 14:34
4) Mourned 9:54
5) Gallery 421 7:30
6) Loss 8:01
Total Playing Time: 72:24

All compositions by Tom McNalley, (C)2004 Tom McNalley Music, ASCAP
Recorded at Cappos Cafe, 10.6.03 by Keegan Quinn
CD mastering, art design, and layout by Jeff Kaiser
Photographs by Jonas Tauber and Tom McNalley

After getting the initial version of this CD, I sent copies to several people to see what they thought. One was my friend, author and music critic Richard Meltzer. He called and said that he loves the CD – very much, in fact – and if I wanted liner notes, he would write them. Naturally, and with gratitude, I took him up. — Tom McNalley
******

Hey, listen — I got something important to tell you:

Tom McNalley is the youngest Great Musician I’ve ever encountered.

Great! Amazing! To put things in even partial perspective, the last young’un anywhere near as adept and inventive and passionately original was probably David Murray, pre-WSQ, back when he was still a ferocious motherfucker.

Tom McNalley IS a ferocious motherfucker. By turns savage and tender — a killer and healer — nutso and nutty, then logical/lucid as Jerkoff Sebastian Bach, his playing is as hotly/coolly/sanely/madly a-dance and a-prance (at peace-and-war) with abstract notions as it is with direct emotional one-on-one — “interest” and “feeling” existentially melded (no mean feat) — “jazzy” in the least jaded, least guitar-baggaged, most mammal-elegant sense, while partaking EQUALLY of the dirty screaming scuzz of postwar blues and rock rock rock and roll…fuggit.

Sophisticated beyond its maker’s 21 years, Tom’s music spins, spills and spits forth whole vast sonic WORLDS (pardon my French), but if you’re lookin’ to hear Other Guitarists in his playing, well, you won’t hear other guitarists in his playing. Okay, splashes and soundings maybe — f’r sure he’s picked up “things” from Hendrix, McLaughlin, Sharrock, Nels Cline, Derek Bailey, Alberts Collins and King — but rarely anything as explicit as a borrowed “idea,” a riff, even a lick.

“I’ve never been lick-oriented,” says Tom. “I’ve tried to develop a sense of melody that will serve me, that’ll do me some good, and I always like to see how others handle it, but not through their licks.”

By “melody,” um, you mean tunes? Tunefulness?

“No, more like just the basis for telling a story — the unique and individual approaches of players I admire, the ones who seem to be emotionally honest, who have the chops to communicate directly and honestly. Most aren’t even guitarists. Rob Blakeslee is and has been very important to me, seeing how he makes the music that is his — the concepts he brings to his trumpet playing.

Ayler…Braxton…Charlie Parker, certainly — but not for anything to do with ‘bebop.’ Bebop as such has very little meaning to me.”
And what is the importance, the weight in the equation, of “free”?

“In a sense, I view composition as no more than a set of instructions for the band. There are things I want to happen, but they’re general. I like looseness — flexibility — so the music can go anywhere. In some cases there’ll be a written line, but usually no more than a suggestion of bass line, rhythmic groove, things like that. Half the tunes in this set, on this recording, are freely improvised — completely — there’s no written or suggested anything. Even the stuff that sounds written is very spur-of-the-moment. In real time, not trying to play to a pre-existent notion, but at the same time going for and building a musical totality, the players communicated the compositions to each other. We just played and listened.”

Played and listened: dig it!

Look, I don’t wanna make with the ultra-superlatives again — well, maybe I do — but this here album, on which Tom, bassist Jonas Tauber and drummer Ken Ollis explore, with extreme malice (and extreme care and definitude), the MYSTERY OF INTIMACY — stripmine it — achieve near-total communion — is to my ears the HOTTEST debut alb by a guitar guy & co. since Are You Experienced? Hendrix. Before you were born (that’s how old I am).

It is also — pardon my carried-away — one of the great trio albs, period, y’know like ever, up there with Trio in Real Time by Richard Grossman, the v. best of Bill Evans with Scott LaFaro and Paul Motian, and the bestest by Air with Steve McCall. The music these humpers make together is outstanding and astounding…I wouldn’t shit ya.

Hey — I love this record — ‘scuse me — disc. I hope you will too.

— Richard Meltzer, Portland, 2004

pfMENTUM CD018

PFMCD018

The Jeff Kaiser Ockodektet: 13 Themes for a Triskaidekaphobic (PFMCD013)

Jeff Kaiser 1 Comment

[playlist ids="381"]
The Jeff Kaiser Ockodektet is:
Eric Barber: Soprano and Tenor Saxophones
Vinny Golia: Saxophones, Clarinets, Flutes
Emily Hay: Flutes
Lynn Johnston: Saxophones and Clarinets
Jason Mears: Alto Saxophone
Dan Clucas/Kris Tiner: Trumpets
Michael Vlatkovich: Trombone
Eric Sbar: Euphonium and Valve-Trombone
Mark Weaver: Tuba
Ernesto Diaz-Infante: Acoustic Guitar
Tom McNalley: Electric Guitar
G.E. Stinson: Electric Guitar, Electronics
Jim Connolly/Hal Onserud: Contrabass
Wayne Peet: Organ, Theremin, Electronics
Brad Dutz: Percussion
Richie West: Drum Set and Percussion
Jeff Kaiser: Conductor, Trumpet

Track List
1. My Uncle Toby’s apologetical oration 6:57
2. Gravity was an errant scoundrel 5:55
3. This sweet fountain of science 8:44
4. The Curate’s folly betwixt them 5:47
5. Devout, venerable, hoary-headed man, meekly holding up a box 4:43
6. The stranger’s nose was no more heard of 1:18
7. Uncle Toby understood the nature of a parabola 4:01
8. The Accusing Spirit which flew up to heaven’s chancery 6:55
9. A thousand of my father’s most subtle syllogisms 7:23
10. His life was put in jeopardy by words 5:44
11. The heat and impatience of his thirst 5:16
12. Nothing but the fermentation 4:11
13. I wish my Uncle Toby had been a water-drinker 6:09
Total Playing Time: 1:13:13

All compositions and arrangements by Jeff Kaiser
©2003 Jeff Kaiser Music, ASCAP
Recorded at Ventura City Hall, Ventura, CA, 9.7.02
Recording, mastering, design, and layout by Jeff Kaiser

“Number helps more than anything else to bring order into the chaos of appearances.”
— C. G. Jung, The Structure and Dynamics of the Psyche

pf MENTUM CD013

PFMCD013

 

Jeff Kaiser and Brad Dutz: The Order of Her Bones (PFMCD008)

Jeff Kaiser 1 Comment

[playlist ids="372"]
Jeff Kaiser: trumpet, flugelhorn, and voices.
Brad Dutz: marimba, glass marimba, vibes, xylophone, bass slit drum, gongs, nipple gongs, wind gong, bell plate, heavy bell, Indian bells, bell chimes, sea urchin chimes, obsidian chimes, cup chime, crotales, rotosound, bird whistles, Brazilian birdcalls, clay jay call, Rawcliffe clay bowls and tuba flute, rainstick, hadjira, concertina, ratchet, shakers, caxixi, bones, pods, balloon whistle, pandiero, riq, bougarabou, spinner, finger cymbals, cymbals, bongos, cajon, string cajon, frame drum, snare drum, bass drum, and voices.

1. The White Haired Gentleman Approaches 6:41

2. Magnification Embrace 5:50

3. The Scrupulous Hand of Childhood 6:18

4. Wounds and Contusions 3:18

5. The Vigilant Conspiracy 5:28

6. The Order of Her Bones 1:48

7. Stories, RumorsÉ 6:58

8. Finches and Wrens 5:42

9. It Becomes Translucent 5:32

10. Bring Me Some Eggs 3:16

11. No Coffee? Nothing? 4:56

12. Faintly Appearing 5:02

Total Playing Time: 60:50

1, 2, 3, 5, 6, 7, 9, 10, 11 by Jeff Kaiser and Brad Dutz
© 2002 Jeff Kaiser Music, ASCAP and Leaky Spleen Music, BMI 4, 8, 12 by Brad Dutz
© 2002 Leaky Spleen Music, BMI Recorded by Brad Dutz at Apperson Street Studios in Tujunga, CA on 3.19.01, 6.4.01, and 9.15.01 Mastered by Jeff Kaiser
Design and layout by Jeff Kaiser
Brad Dutz endorses Paiste, VIC FIRTH, REMO, Yamaha, and Mountain Rythym

pfMENTUM CD008

PFMCD008

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