Brad Dutz: Nine Gardeners Named Ned (PFMCD026)

Jeff Kaiser 1 Comment

[playlist ids="414"]
BRAD DUTZ: mallet percussion, hand percussion
CHRIS WABICH: drumset, steel drum, percussion
KIM RICHMOND: Bb clarinet
BOB CARR: bass clarinet
SARA SCHOENBECK: bassoon
ELLEN BURR: C flute, alto flute, piccolo
JOHN FUMO: trumpet, piccolo trumpet
KRIS TINER: trumpet, flugelhorn #4, #8, #9
WILLIAM ROPER: tuba, spoken word
TREY HENRY: acoustic bass
DEAN TABA: acoustic bass #4, #6, #8, #9
ANDERS SWANSON: acoustic bass solo #1
JASPER DUTZ [age 9]: bass clarinet, Bb clarinet

1. Look at the pretty weeds…they’re dead 13:38
2. Rotted vegetables…too late to pick 3:45
3. Rotted fruit…infested with insects 6:07
4. Distribute fertilizer…evenly 5:56
5. I like brown leaves especially when they’re torn 11:54
6. Leaf blowers are stinky…and loud 2:31
7. Norbert rakes bark…and mulch 7:58
8. Wicked late for nite blooming…but not dusk 6:16
9. Plant the bulbs…frequently 3:47

all compositions by Brad Dutz • (c) 2005, leakyspleen music, BMI
recorded by BRAD DUTZ 2003-2004
mixed and mastered by WAYNE PEET at NEWZONE, july 2004-jan 2005
cover cartoons: JASPER DUTZ • layout and design: KAORU MANSOUR and JEFF KAISER
thanks to: YAMAHA, VIC FIRTH, PAISTE, REMO, MOUNTAIN RYTHYM

 

NINE GARDENERS NAMED
1. Look at the pretty weeds…they’re dead
Kim Richmond-clarinet [solo]; John Fumo-trumpet [solo]; Sara Schoenbeck-bassoon [solo]; Anders Swanson-acoustic bass [solo]; Brad Dutz-vibes, marimba, crotales, bongos, cajon bongos, gong; Chris Wabich-drumkit; William Roper-tuba; Bob Carr-bass clarinet; Ellen Burr-flute; Trey Henry-acoustic bass
2. Rotted vegetables…too late to pick
Bob Carr-bass clarinet; Ellen Burr-alto flute; Brad Dutz-marimba; Sara Schoenbeck-bassoon; Kim Richmond-clarinet; text created and spoken by William Roper-tuba
3. Rotted fruit…infested with insects
same as above plus Chris Wabich-perc; featuring William Roper
4. Distribute fertilizer…evenly
Chris Wabich-steel drum [solo]; Jasper Dutz-bass clarinet;
Ellen Burr-flute; Dean Taba-acoustic bass; Kris Tiner-trumpet;
Brad Dutz-repique jamau, vibes, darabuka, cymbals, crotales Hadjira, khol; Ellen Burr-flutes
5. I like brown leaves especially when they’re torn
Chris Wabich-drumkit, percussion, steel drum [solo]; Brad Dutz-xylophone, congas, bongos, darabuka, marimba [solo]; Bob Carr-bass clarinet [solo]; Ellen Burr-flute; Trey Henry-acoustic bass; John Fumo-trumpet; Sara Schoenbeck-bassoon; Kim Richmond-clarinet; William Roper-tuba
6. Leaf blowers are stinky…and loud
Brad Dutz-marimba, vibes; Ellen Burr-flute;, Dean Taba-acoustic bass; William Roper-tuba; Jasper Dutz-bass clarinet, Bb clarinet;
John Fumo-trumpet
7. Norbert rakes bark…and mulch
Ellen Burr-piccolos [solo]; William Roper-tuba; John Fumo-piccolo trumpet; Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Brad Dutz-piccolo snare, field snare, orchestra bells, bass drums, piatti, snare drum; Chris Wabich-piccolo snare, field snare, bass drum, piatti, snare drum
8. Wicked late for nite blooming…but not dusk
Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Dean Taba-acoustic bass; William Roper-tuba; Kris Tiner-trumpet; Brad Dutz-vibes, crotales, cymbals, xylophone; Ellen Burr-flutes
9. Plant the bulbs…frequently
Sara Schoenbeck-bassoon; Bob Carr-bass clarinet; Kim Richmond-clarinet; Dean Taba-acoustic bass; William Roper-tuba; Kris Tiner-trumpet; Brad Dutz-marimba, xylophone; Ellen Burr-flute, piccolo; Chris Wabich-steel drum

pfMENTUM CD026

PFMCD026

Steuart Liebig / MINIM: Quicksilver (PFMCD023)

Jeff Kaiser 1 Comment

[playlist ids="405,407"]
Steuart Liebig / MINIM

Quicksilver

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.

NOTES:

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.

Chrysanthemum

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.

pfMENTUM CD023

PFMCD023

Emily Hay: Like Minds (PFMCD022)

Jeff Kaiser 1 Comment

[playlist ids="403"]
This recording represents various musical projects in which I have participated over the past few years. All tracks are improvisations with no overdubs or second takes, with the exception of “A Year and Two Weeks” where a vocal track was added. “Call To Unarm” and “Like Minds” are from live concert performances, and “A Year and Two Weeks,” “Swamp Moss,” “Waiting For Sara” and “Crooked Hopscotch” were recorded direct to two track tape, with no multi-track mixing. Special thanks to all of the musicians who performed on these recordings, to Lee Scott, Randy Fuelle and Wayne Peet for their engineering expertise, to Annette Buhl for her photography and to Jeff Kaiser for his artwork design and support in releasing this disc.

-Emily Hay, 1.1.05
www.emilyhay.com

Emily Hay • Like Minds

1. CALL TO UNARM 8:56
Emily Hay – Flute, Alto Flute, Voice • Ronit Kirchman – Violin, Voice • Brad Dutz – Percussion • Joe Berardi – Percussion
2. LITURGY OF SOUND 5:40
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
3. A YEAR AND TWO WEEKS 4:01
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Synthesizer
4. BOILED CADILLAC 4:35
Emily Hay – Flute • Wayne Peet – Piano • Brad Dutz – Percussion
5. CROOKED HOPSCOTCH 8:18
Emily Hay – Flute, Voice • Sara Schoenbeck – Bassoon • Michael Intriere – Cello • Brad Dutz – Percussion
6. WE ARE 6:16
Emily Hay – Flute, Voice • Marcos Fernandes – Percussion
7. LIKE MINDS 7:09
Emily Hay – Piccolo, Voice • Ronit Kirchman – Violin, Voice • Kurt Heyl – Trombone, Voice
8. WHA’ ‘BOUT 9:32
Emily Hay – Flute, Alto Flute, Voice • Steuart Leibig – Bass • Rich West – Drums, Background Recordings
9. SPAR 2:31
Emily Hay – Flute, Voice • Lisle Ellis – Electronics, Bass • Marcos Fernandes – Percussion, Field Recordings
10. WAITING FOR SARA 3:06
Emily Hay – Voices • Michael Intriere – Cellos • Brad Dutz – Percussion
11. HIBIKI 5:36
Emily Hay – Flute • Marcos Fernandes – Percussion
12. SWAMP MOSS 2:30
Emily Hay – Voice • Michael Whitmore – Guitar • Brad Dutz – Melodica

1. Recorded by Jeff Kaiser at Ventura City Hall, Ventura, CA 2004 Mastered by Lee Scott, Glendale, CA 2004
2. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA 2004
3. Recorded by Brad Dutz in North Hollywood, CA circa 1994
4. Overdub recorded/mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
4. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
5. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
6. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Lee Scott, Glendale, CA 2004
7. Recorded by Ronit Kirchman/Jeremy Drake, Asto Gallery, Los Angeles, CA 2003 Mastered by Lee Scott, Glendale, CA 2004
8. Recorded and mixed by Wayne Peet, Newzone Studios, Los Angeles, CA 1997 Mastered by Lee Scott, Glendale, CA 2004
9. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2004 Mixed and mastered by Mark Wheaton, Catasonic Studios, Los Angeles, CA
10. Recorded by Brad Dutz, Tujunga, CA circa 2000 Mastered by Lee Scott, Glendale, CA 2004
11. Recorded by Randy Fuelle, Hit Single Studios, San Diego, CA 2003 Mixed and mastered by Lee Scott, Glendale, CA 2004
12. Recorded by Brad Dutz, North Hollywood, CA 1994 Mastered by Lee Scott, Glendale, CA 2004

Photography: Annette Buhl • Art Design and Layout: Jeff Kaiser
(p) Emily C. Hay 2005, (c) Emily Hay Music, publishing administered by Emily Hay Music (BMI). All rights reserved. For more information: pfMENTUM • PO Box 1653 • Ventura • CA • 93002 • www.pfmentum.com

pfMENTUM CD022

PFMCD022

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

The Jeff Kaiser Ockodektet: 17 Themes for Ockodektet (PFMCD010)

Jeff Kaiser 1 Comment

[playlist ids="374,376"]
Woodwinds: Eric Barber, Vinny Golia, Emily Hay, Lynn Johnston
Trumpets: Dan Clucas, Kris Tiner
Euphonium and Valve-Trombone: Eric Sbar
Tuba: Mark Weaver
Prepared Acoustic Guitar: Ernesto Diaz-Infante
Electric Guitar/Electronics: G.E. Stinson
Organ/Theremin/Electronics: Wayne Peet
Contrabasses: Jim Connolly, Scott Walton
Drums: Billy Mintz, Richie West
Percussion: Brad Dutz
Conductor/Trumpet: Jeff Kaiser

Suite One
1. Dirge 2:31
2. Clad Like Birds 3:40
3. Amplifying Their Parallels 7:01
4. Nothing May Be Taken Naturally 2:56
5. Even with Diagrams 8:12
6. One Absolute Material 5:54
7. Figures of this In-Between 3:05
8. Figures to be Actualities 4:27
9. Figure with Wings 7:09
Suite Two
10. Coincidentia Oppositorum 3:55
11. Where His Third Eye Could Be 3:59
12. Fulfilled by the Reflected Image 7:41
13. There is No Profit from Dreams 7:55
14. Into That Nothing-Between 5:07
Total Time: 73:44

All compositions and arrangements by Jeff Kaiser, ©2002 Jeff Kaiser Music, ASCAP
Recorded direct to DAT – on the occasion of Jeff Kaiser’s 40th birthday party – at Ventura City Hall, Ventura, CA, 12.8.01
CD recording, mastering, design, and layout by Jeff Kaiser

“Dreams are sleep’s watchful brother, of death’s fraternity, heralds, watchmen of that coming night, and our attitude toward them may be modeled upon Hades, receiving, hospitable, yet relentlessly deepening, attuned to the nocturne, dusky, and with a fearful cold intelligence that gives permanent shelter in his house to the incurable conditions of human being.”
— James Hillman, The Dream and the Underworld

pfMENTUM CD010

PFMCD010

Steuart Liebig / The Mentones: Locustland (PFMCD017)

Jeff Kaiser 1 Comment

[playlist ids="389"]
Steuart Liebig/The Mentones
LOCUSTLAND

The Mentones
Tony Atherton: alto saxophone
Joseph Berardi: drumset, percussion
Bill Barrett: chromatic harmonica
Steuart Liebig: contrabassguitar

broom – – 3:27
graveyard – – 4:41
mojave boxcar – – 4:46
drifter – – 7:47
honky tonk burn – – 6:48
westpoint, mississipi – – 8:19
small fry – – 0:45
burnt umber – – 2:50
nighthawk – – 5:43
howl & tumble – – 4:01
gasoline jelly – – 6:33
lightning bug – – 3:47
nowhere calling – – 5:57

©2004, steuart liebig/sisong music (ascap)
recorded at newzone studios, by wayne peet;
mixed at newzone studios, by wayne peet and steuart liebig
mar vista, california, 2000

photos/montages by steuart liebig
layout by steuart liebig and jeff kaiser
gear thanks to fodera basses, thomastik-infeld strings and raven labs

“First let’s talk about Steuart Liebig, the multi-faceted miscreant who squeezed the hybrid beast known as the Mentones out of his juicy mind. Steuart is well known in L.A. as one of the most significant improvising electric bass torturers and electronic manipulators in recent memory and, I’m grateful to say, a major contributor to most of the music I’ve done in the last decade and a half. The metaphor of a diamond with its many facets comes to mind, but that doesn’t quite get it. Imagine the diamond periodically reverting to its primal molten state and shooting out semi-controlled bursts of radioactive plasma melting everything in its reach. I could say that for Steuart the Mentones is an anomaly, but in a way every project he constructs is an anomaly. I will say this—there is nothing like the Mentones on this earth that I’ve ever heard of and even though you may recognize some of its disparate original elements, you will be whacked by how cohesively they come together in Liebig’s compositions. An adult dose of Little Walter crashing his Coupe de Ville into Ornette Coleman’s harmolodien. Howling Wolf gnawing on John Coltrane’s left ear like Mike Tyson. As for the other men in the Mentones: Bill Barrett takes the chromatic harp well beyond its limits like a rubber band stretched into a Mobius strip. Tony Atherton is soulful, relentless and driving. Joe Berardi grooves these odd time signatures like his mother nursed him on non-Euclidean geometry. It’s all that and it’s definitely enough.”

– G.E. Stinson

pfMENTUM CD017

PFMCD017

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

 

Brad Dutz and John Holmes: My Bongo (PFMCD012)

Jeff Kaiser 1 Comment

[playlist ids="379"]

Percussion Duos
list of axii used:
1. Gongs, Cymbals, Cupchimes
2. Kidi, Sogo, Kagan
3. Indianbells, Bird Call, Cymbals, Springs, Gongs, Pods, Harmonica, Conga, Drumset
4. Marimba, Drumset, Woodblocks, Cupchimes
5. Bellchimes, Pandiero, Congas, Drumset, Arp Axxe, Cowbells
6. Eight Metal Discs, Cupchimes, Pods
7. Xylophone, Steel Drum, Drumset
8. Two sets of Bongos
9. Drumset, Congas, Bongos, Cymbals
10. Vibes, Drumset
11. Tabla, Drumset, Caxixi, Gyli, Melodica
12. Crotales, Drumset, String Cajon,
Tar-Ine, Bongos, Waterphone
13. Gyli, Drumset, Cajon, Kagan, Kidi, Sogo, Bowed Crotales
14. Glass Marimba, Drumset
15. Bougarabous, Bongos, Drumset
16. Gongs, Cymbals, Cupchimes

Track List:
1. We Like Gongs 5:14
2. Ewe Day 3:18
3. Indiana 2:27
4. Peanut Jelly 3:43
5. Caught In The Middle 4:22
6. Klem 5:09
7. Croquets 4:35
8. My Bongo 2:30
9. Tribute To Elvin 6:36
10. B-17 Apricot Seeds 4:04
11. DuoSolos 5:55
12. Pig On Cow 6:39
13. Another One Pumpkin 4:54
14. Is She Mute 3:28
15. Bougarabou 4:53
16. We Still Like Gongs 4:12

Tracks 2, 6, 7, 9, 10, 14 and 15 by Brad Dutz
©2003 Leaky Spleen Music, BMI

Tracks 4, 12 and 13 by John Holmes
©2003 Cymblicity Music, BMI

Artwork by Kaoru, Cover: Iro #212, Back: Iro #168
Recorded by Brad Dutz. CD Mastered by Wayne Peet

Layout and Design by Jeff Kaiser
pfMENTUM CD012

PFMCD012

Eric Sbar: niceJaquet / Cactus (PFMCD011)

Jeff Kaiser Leave a Comment

[playlist ids="377"]

“In both metaphysics and art, honesty is the best policy. Keep it clean.”
-Edward “Cactus Ed” Abbey

niceJaquet is:

Eric Sbar: compositions, euphonium
Sky Grealis: flute, piccolo
Ronit Kirchman: violin, voice
Jason Mears: alto saxophone
Sara Schoenbeck: bassoon
Ivan Johnson: bass
Joanna Malfatti: percussion
Joshua Jade: percussion

1. Bubba Lou 9:06
2. 4tet 2:28
3. Group 11.52
4. Cherry’s Parfait 4:17
5. Gotcha 6:56
6. Relay 6:02
7. Chorale 10:38
Total Playing Time – 51:10

All compositions and arrangements by Eric Sbar
(c)2003 FattySbar Music, ASCAP
Recorded by Scott Farr. Mixed by Wayne Peet
CD mastering, design, and layout by Jeff Kaiser

pfMENTUM CD011

PFMCD011