David Borgo: Suite of Uncommon Sorrows (PFMCD144)

Jeff Kaiser

David Borgo – Suite of Uncommon Sorrows

(Digital only)

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The Suite of Uncommon Sorrows in an eleven-part suite of original music composed in response to the tumultuous events of 2020, including the devastating COVID-19 pandemic, the growing Black Lives Matter movement, and the debilitating polarization of U.S. politics that made it impossible to address either of these adequately.

Each movement explores a different “uncommon sorrow,” such as kuebiko (a state of moral exhaustion inspired by acts of horror in the news, which forces you to revise your image of what can happen in this world), kenopsia (the eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet), chrysalism (an amniotic-like tranquility while a storm rages outside), liberosis (an ache to let things go; a desire to hold your life loosely and playfully), zenosyne (the sense that time keeps going faster), and pâro (the feeling that no matter what you do it will always be inadequate).

1. Kuebiko

A state of moral exhaustion inspired by acts of horror in the news, which forces you to revise your image of what can happen in this world

2. Chrysalism

An amniotic-like tranquility, similar to how one feels while wrapped in a blanket sitting inside on the couch while a storm rages outside.

3. Kenopsia

The eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet

4. Liberosis

An ache to let things go; a desire to hold your life loosely and playfully

5. Paro

The feeling that no matter what you do it will always be inadequate

6. Occhiolism

The awareness of the limitations of your own perspective

7. One Step Forward Two Steps Back

The feeling that although progress is being made, it produces a reaction that is somehow greater than equal and opposite

8. The Village COVIDiots

An inversion of Eric Dolphy’s “Out To Lunch”

9. Gnossienne

A moment of awareness that someone you have known for years still has a private and mysterious inner life that will remain unknowable to you

10. Zenosyne

The sense that time keeps going faster

11. Gugulethu

A township outside of Cape Town, South Africa, its name is a contraction of igugu lethu, which is Xhosa for “our pride” (for Winston Mankunku Ngozi)

 


 

David Borgo – tenor and soprano (4,8) saxophones, aerophone (9)

Tobin Chodos – piano and keyboard (9)

Mackenzie Leighton – acoustic and electric (9) bass

Mark Ferber – drum set

Peter Sprague – electric guitar (6,9,10)

King Britt – electronics (9)


All music composed by David Borgo

©2021 David Borgo Music, ASCAP

Recorded by Peter Sprague, Spragueland Studio

Mixed and Mastered by Wayne Peet, Newzone Studio

Cover photo by Sasha Freemind on Unsplash

Titles from dictionaryofobscuresorrows.com

pfMENTUM PFMCD144

Jeff Kaiser / David Borgo: KaiBorg: IntraAction (feat. Kjell Nordeson) (PFMCD137)

Jeff Kaiser

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David Borgo: Soprano Saxophone, Piccolo, Futujara, Hne, Sneng, Double Whistle, Bamboo Saxophone, Sylphyo with Respiro, and live computer processing
Jeff Kaiser: Trumpet and live computer processing
Kjell Nordeson: Drums, Percussion, and Vibraphone

INTRAACTION
KaiBorg
+ Kjell Nordeson

1. Abductive 26:17
2. Noumenal 13:52
3. Ontotelic 10:35
4. Quinquagenary 18:39

1-3 Recorded in Studio A, The University of California San Diego, February 10 and 11, 2020
4 Recorded in concert, Conrad Prebys Music Center Experimental Theater, February 9, 2020
Recorded by Andrew Munsey • Edited, Mixed, and Mastered by Jeff Kaiser with David Borgo
Photo by Kiki Zhang, Used by Permission • Layout and Design by Jeff Kaiser
All music ©2020 David Borgo Music, ASCAP and Jeff Kaiser Music, ASCAP
kaiborg.com • davidborgo.com • jeffkaiser.com • kjellnordeson.com

pfMENTUM PFMCD137
www.pfmentum.com

Buy digitally on Bandcamp.com

 

Buy physical CDs here on pfMENTUM:

Jeff Kaiser / David Borgo: KaiBorg: Vibrant Matters (PFMCD100)

Jeff Kaiser

VIBRANT MATTERS
KAIBORG

Jeff KAIser
David BORGo

KaiBorg – Vibrant Matters from Jeff Kaiser on Vimeo.

Purchase CD at the bottom of the page, digital copies here:

1. Instropomorphize 4:01
2. Vibrant Matters 11:35
3. Deep-End-and-See 9:08
4. Semioterial 13:52
5. N-Tangled 3:37
6. Materiotics 2:33
7. Undercurrents and Overtones 1:51
8. Heiranarchy 7:56

David Borgo: soprano saxophone, dudukophone (4), raj nplaim (4), double duct flute (4), skatchbox (4), chromatic tambin (5), futujara (7), and live computer processing

Jeff Kaiser: quartertone trumpet and live computer processing

Recorded live at University of California San Diego’s Studio A by Josef Kucera, February 19-20, 2016

Mixed and Mastered by Jeff Kaiser with David Borgo at pfMENTUM World Headquarters, February, 2017

All music ©2017 David Borgo Music, ASCAP and Jeff Kaiser Music, ASCAP

kaiborg.com • davidborgo.com • jeffkaiser.com

pfMENTUM CD100
www.pfmentum.com

David Borgo / Paul Pellegrin: Kronomorphic (PFMCD059)

Jeff Kaiser

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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

Jeff Kaiser and David Borgo: KaiBorg / Harvesting Metadata (PFMCD058)

Jeff Kaiser

[playlist ids="484,486,487,488,490,492,493,494,495,497,498"]
KaiBorg

David Borgo: soprano and sopranino saxophones, chalumeau,
dudukophone, whistlophone, mijwiz, slide whistle and laptop

Jeff Kaiser: quartertone trumpet, flute, voice and laptop

1. Harvesting 1:24
2. Flow Control 8:19
3. Maladaptive Optimization 5:32
4. Nodular 2:41
5. Exception Conditions 5:28
6. Threshing 2:46
7. Resumption Tokens 4:48
8. Postural Schema 4:05
9. Hypernymic Entailment 16:56
10. Intereaction 4:15
11. Reaping 4:47

(Click on any track for excerpt)

Recorded by Tom Erbe, 1-2 July 2009, Studio A, University of California San Diego
All performances are improvisations with live electronic processing
Mixed and mastered by Jeff Kaiser and David Borgo, November 2009
All music © 2010 by David Borgo Music, ASCAP and Jeff Kaiser Music, ASCAP
For more information:
kaiborg.com
davidborgo.com
jeffkaiser.com
pfMENTUM CD058

PFMCD058

Jeff Kaiser: Sitzfleisch I (PFMCD138)

Jeff Kaiser

Jeff Kaiser: flugelhorn, trumpet, voice, pot lids, toy car, ball and chain, and live computer processing.

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All the software is authored in Max/MSP by Jeff Kaiser.

There is no pre-recorded material or samples, it is all sampled, processed, and manipulated live. The only audio post-processing is mixing and mastering.

For more information and to download my software, please go to jeffkaiser.com

SITZFLEISCH I is a continuation of my use of chess terminology to name my works. Sitzfleisch, meaning “sitting meat” or even “buttocks.” However, it goes well beyond those terms to mean in chess (and politics) the ability to sit there and endure it, persevere: steadiness in a challenging situation. A person with sitzfleisch does not necessarily win by playing better, but by outsitting their opponent. It is also used in politics.

I experience sitzfleisch sometimes in improvisation, not that the music is an opponent, but that it is important to sit there and sometimes endure challenging moments and questions such as “why did I just do that,” where do I go from here,” “I have no ideas,” “really Jeff, THAT?”

And, as my friend and collaborator David Borgo likes to remind me, we are never alone, even when playing solo. Voices of former teachers, inspirational musicians, family, critics, and more are all there in our mind talking to us— sometimes at perfect moments, and sometimes at awkward moments in a performance. We must be present, sit there, and keep going.

This was recorded in one take…you can watch the session below. It is hilarious to me to see my headphones move forward bit by bit…

Recorded for a virtual concert at Ball State University.

[embed]https://vimeo.com/463879120[/embed]

Recorded, mixed, and mastered by Jeff Kaiser at pfMENTUM Studios, Warrensburg, MO (September 2020)

Layout, and Design by Jeff Kaiser

Composition by Jeff Kaiser
© 2020 Jeff Kaiser Music, ASCAP

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