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.
Andrew Pask/Jonathan Besser
JONATHAN BESSER: Piano
ANDREW PASK: Soprano Saxophone, Bass Clarinet, Live Processing
1. Magnificent Photon—2:20
2. Steam Engine Love Letter—2:58
3. Dust Bunny Meditation—3:13
4. Chessboard Cowboy—4:00
5. Coldwater Light Bulb—2:43
6. Tomato Blade—2:22
7. The Fried Judge—4:27
8. Fruit Cake—5:55
9. Cloud Formation Microscope—3:44
10. Geosynchronous Hibernation—0:52
11. Sleeping Wheel—5:12
12. Wellington Harbour—5:57
All tunes composed by Andrew Pask and Jonathan Besser, except “Wellington Harbour,” composed by Jonathan Besser, © 2006, Andrew Pask, Kaleidacousticon/ASCAP, and Jonathan Besser, Besser Music/APRA
Recorded, mixed and mastered by Wayne Peet at Newzone Studio, Los Angeles, California, June and October 2005
Photography by Annette Wu; design and layout by Steuart Liebig
Jonathan and I were walking in Griffith Park when Wayne Peet called to say he had an opening at his recording studio. (Wayne Peet, more than anyone I have ever met, is a musician and an engineer. And is masterful at both.)
So off we went.
Jonathan and I played together many times when I lived in New Zealand, but the last time we played was in Macau, circa nineteen-ninety-something, at the Captain’s Bar of the Mandarin Oriental Hotel. Jonathan was on tour in China with Ed Ware and Nick van Dyke and I was living in Hong Kong playing in bars and doing gigs with Cantopop stars.
It was really fun to go back into the studio and record after so much time. Just as it happens in spoken conversation with a good friend, we just seemed to pick up where we left off . . .
–Andrew Pask, Los Angeles, California, April 2006
Anna HOMLER/Steuart LIEBIG DUO
Anna HOMLER: voice, toys, found objects
Steuart LIEBIG: Eb contrabassguitars, preparations, electronics, live looping
1. winter street – – 6:52
2. limbic – – 2:20
3. blasted landscape – – 3:26
4. sputtery – – 3:53
5. sidpaho – – 2:11
6. fantasma – – 3:54
7. time of great cold – – 4:59
8. case in point – – 5:30
9. secret heat – – 10:54
10. house of mars – – 1:54
11. mothlike – – 3:15
12. sehnsucht – – 9:25
13. radix vitae – – 5:35
recorded at newzone studios, 15 sept 2001, by wayne peet; mixed at newzone studios,
by wayne peet and steuart liebig, mar vista, california, 2002; mastered by wayne peet 2005
thanks to leslie rosdol, anya liebig and aron liebig; joseph homler, andrew ramer and li bette porter; wayne peet and jeff kaiser.
steuart liebig plays fodera basses, uses a raven labs pmb-1 and uses fodera roundwound strings.
all music (c) 2005 pharmacia poetica/bug music/bmi + sisong music/ascap
photos/montages and layout by steuart liebig; ooga booga by anna homler
all tracks are live, undubbed improvisations.
Kris Tiner: trumpet, flugelhorn, piccolo trumpet, saxoflugel
Mike Baggetta: prepared acoustic guitar
1. The Road To El Paso [6:09]
2. Second Preference [3:39]
3. A Delicate Touch [3:49]
4. Your Aftermath [2:31]
5-8. Quadrants (for Ken Wilber)
9. Caffeinated Weasels [2:01]
10. One More Chance [4:51]
11. Choke On It [1:53]
12. There, Just As You Look For It [6:26]
Total Playing Time: [49:19]
Tracks 1-4 and 10-11 are compositions by Mike Baggetta, (c) 2005 Mabnotes Music, BMI
Tracks 5-9 and 12 are compositions by Kris Tiner, (c) 2005 Kris Tiner Music, ASCAP
Recorded at pfMENTUM World Headquarters in Ventura, California, 6/20/04
Recorded, mixed, and mastered by Jeff Kaiser
Design and layout by Jeff Kaiser and Kris Tiner
Photos taken by Jason Mears at the Salvation Theatre in Los Angeles, 6/21/04
Thanks: Jeff Kaiser, Kim Tiner, Paul Cartwright, Jeremy Drake, Rent Romus, Monica at Dagny’s, Phillip Greenlief, Ivan Johnson, Jason Mears, Kraig Grady, Nissan Pathfinder.
Steuart Liebig / MINIM
Ellen Burr: Flute, Piccolo and Alto Flute
Jeff Gauthier: Electric 4 and 5-String Violins
Jeanette Kangas: Drumset, Percussion and Vibraphone
Steuart Liebig: C, Eb and Prepared Contrabass guitars
1-23: Mosaic – (51:38)
24: Chrysanthemum – (15:37)
25: A Single Rosehip Bursts in Praise – (12:21
Copyright 2004 Steuart Liebig/Sisong Music (ASCAP)
Recorded April 2002, by Wayne Peet
Mixed June and October 2003, and March and July 2004
by Wayne Peet and Steuart Liebig; all at Newzone Studios, Mar Vista, California
Jeff Gauthier plays 4- and 5-string electric violins made by Rich Barbera, and a bow made by some dead French guy.
Jeanette Kangas (formerly known as Jeanette Wrate) plays
Paiste cymbals exclusively.
Steuart Liebig plays Fodera Basses, uses the Raven Labs PMB-1,
and uses Thomastik-Infeld Jazz Flats strings (C basses) and Fodera roundwound strings (Eb and C basses).
Live Band and dancer (Belinda Cheng and John Dowell) photos by Anthony Cheng. Band rehearsal photos by Belinda Cheng.
Cover photos/montages by Steuart Liebig.
Thanks to David Poelman for digital assistance
Layout by Steuart Liebig and Jeff Kaiser.
Thanks Leslie, Anya and Aron.
“Mosaic” is a piece made up of 23 miniatures based on haiku. “Chrysanthemum” is a single movement of 14 parts. “A Single Rosehip Bursts in Praise” was written for a collaboration with choreographer Belinda Cheng for the Auricle Dance Company and premiered on 17 November 2002.
Mosaic: 23 Miniatures After Haiku
The idea for a piece comprised of a group of 23 miniatures for small improvising ensemble has been one that I had kept in the back of my mind and in small sketchbooks for some four years. I envisioned an ensemble in which I would be able to utilize some of the “prepared bass” and less “bass-like” techniques that I had been using for a number of years. Additionally, I wanted to write for some less-usual (for me) techniques for both tuned and untuned percussion and a standard melody instrument. Finally, after many years of languishing as only sketches, these miniatures were written in a fairly short time.
There were a few catalysts for this seemingly sudden turnaround. One was that I had just finished a long-term writing and recording project that consisted of four long-form pieces (now released as Pomegranate, on Cryptogramaphone Records) and, still feeling the creative ferment from that experience, needed the opportunity to do much shorter pieces that were formally less involved (though, as whole group, the overall structure does have some formal complexities and is pretty long!). The second was the decision to move from a trio setting to a quartet setting, thereby opening up more orchestrational possibilities. Third, I decided to base the pieces on haiku; rather than choosing specific poems, however, I chose to base the pieces on some of the syllabic rules of haiku—while hopefully achieving some of the brevity, feeling and wonder that one experiences from reading this sort of poem.
As such, these 23 pieces are all based on the number 17—a piece may have 17 measures, thematic material made up of 17 notes, etc. The overall piece is structured to have a solo piece (four) for each member of the quartet; a duet and trio for the different possible groupings in the quartet (six and four, respectively); and nine pieces for the full quartet. I tried to have contrasting sections and parts that referred back to other parts of the overall piece and to evoke differing moods and emotions throughout.
A Single Rosehip Bursts in Praise
This piece was written as part of a collaboration with choreographer/dancer Belinda Cheng. The title comes from a passage in the novel, Art & Lies, by Jeanette Winterson. The piece itself is broken into two major sections. The first is a sort of unfolding that the phrase suggested to me. The second is a more pictorial setting of the action in the book: three people (the characters Handel, Sappho and Picasso) on a subway, each with his/her own thoughts.
This piece is based on the structure of a sonnet: 14 lines of 10 syllables each. In this case, I have “cells” of 10 notes (stated at the beginning and end as two 5-notes chords) that I have treated in a more or less serial fashion in 14 discrete sections. That is, each written section of the piece uses only those 10 original notes, though they are reordered or split between the various players. Again, I have split the quartet that performs the piece into some of its component parts: each player gets a solo and there are four trios, the remaining six sections are for the full quartet. Again, I attempted to have contrasting sections. Whereas Mosaic is played in 23 sections with breaks, this piece is performed as one continuous whole.
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
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West
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
“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.
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, 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.]
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
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]
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.]
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.
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
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
Jeff Kaiser: trumpet, flugelhorn, voice, electronics
Ernesto Diaz Infante: acoustic guitar, voice
A mix of electro-acoustic, prepared acoustic guitar, horns and voices
Ernesto and Jeff