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

Buy Digitally here:

Buy CDs Here (CDs will ship after October 15, 2020):

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

Jeff Kaiser

[playlist ids="10432"]

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: ZEITNOT V (PFMCD064)

Jeff Kaiser

ZEITNOT V
Jeff Kaiser

Jeff Kaiser
trumpet, flugelhorn, voice, toys, electronics

Watch it being recorded:

[embed]https://vimeo.com/447230669[/embed]

1) ZEITNOT V 29:44

Recorded, mixed, and mastered by Jeff Kaiser at pfMENTUM Studios, Warrensburg, MO
Photography, Layout, and Design by Jeff Kaiser
Composition by Jeff Kaiser
© 2020 Jeff Kaiser Music, ASCAP
pfMENTUM
PFMCD064
www.pfmentum.com

Katie Hae Leo / Guerino Mazzola / Alex Lubet / Nick Zielinski / James E. Holdman: Negative Space (PFMCD136)

Jeff Kaiser

NEGATIVE SPACE

Katie Hae Leo
Guerino Mazzola
Alex Lubet
Nick Zielinski
James E. Holdman

[playlist ids="4222"]

1. Sign of June…………………7:26
2. On Names…………………….5:07
3. Ode To Negative Space…………8:46
4 Unknown Origin………………..7:47
5. Sister #1……………………8:40
6. Election Night In Phillips…….6:42
7. Oppenheimer Dreams an Island….10:54
8. On Hierarchy…………………7:57
9. Systema Naturae………………4:31
Katie Hae Leo, poetry, voice • Guerino Mazzola, grand piano
Alex Lubet, National steel guitar (1), acoustic guitar (2, 5, 6, 8), electric bass (3, 4, 7), soprano ukulele (9)
Nick Zielinski, drums • James E. Holdman, electric guitar (3, 4, 7)
Guerino Mazzola and Alex Lubet, producers
Matthew Zimmerman, engineer
Recorded September 1, 2010, Wild Sound Recording Studio, Minneapolis
Graphic Design by Ted Killian
PFMCD136
pfMENTUM
www.pfmentum.com

Sarah Belle Reid: Underneath and Sonder (PFMCD132)

Jeff Kaiser

RELEASE CONCERT
Sarah Belle Reid
Civic Center Studios
Sunday, Oct 20, 7PM sharp
Ticket Fee : $12–20
https://www.eventbrite.com/e/equal-sound-presents-thereminist-carolina-eyck-and-sarah-belle-reid-tickets-71459600589
207 South Broadway #Suite One
Los Angeles, CA 90012
https://equalsound.org/show/thereminist-carolina-eyck-sarah-belle-reid/

[playlist ids="3712"]

Sarah Belle Reid
trumpet and electronics

1. Underneath I 1:57
2. Underneath II 2:01
3. Underneath III 2:58
4. Underneath IV 2:30
5. Sonder I 9:13
6. Sonder II 5:16
7. Sonder III 8:24
8. Sonder IV 5:59
9. Sonder V 3:03

Graphic score included.

Recorded May 27, 2018 and Mixed September–November 2018 by Ryan Gaston and Sarah Belle Reid, Dizzy Gillespie Digital Recording Studio, Valencia, CA
Mastering by John Baffa, December 20, 2018, TV Tray Studio, Ventura, CA
Layout and Design by Andrea Yasko
Graphic score artwork by Sarah Belle Reid

All compositions by Sarah Belle Reid
Live electronics created with the MIGSI Software App (2018), designed by Ryan Gaston and Sarah Belle Reid
© and ℗ 2019 Sarah Belle Reid, ASCAP

PFMCD132

Lauren Nagaryu Rubin / Stephen Flinn: Rice Paper (PFMCD133)

Jeff Kaiser

 

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Lauren Nagaryu Rubin  Shakuhachi Flute

Stephen Flinn  Percussion

  1. Vision 4:55
  2. Reach 3:36
  3. Void 6:02
  4. Search 3:08
  5. Devotion 5:17
  6. Plunge 4:46
  7. Gravitate 4:34
  8. Anchor 5:03

Recorded June 3, 2018 at Catasonic Studios, Los Angeles, California

Recorded, Mixed, and Mastered by Mark Wheaton

Photography by Andrew Rubin

Graphic Design by Michael Golob

PFMCD133

Steve Adams / Vinny Golia Duo: The Philosophy of Air (PFMCD129)

Jeff Kaiser

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1. seconds of words…………………………12:19
2. Romeo, do you like anchovies?………………7:52
3. a mysterious abundance of quinces………….27:16
4. neon meat dream of a Beefheart machine……..10:23

Steve Adams – sopranino, alto and tenor saxophones, bass flute, electronics
Vinny Golia – bass and contra-alto clarinets, baritone and G soprano saxophones

All compositions by Steve Adams © Metalanguage Music 2018
1-3 recorded by Bruce Kaphan on March 22, 2015 at Niagara Falls Studio, Niles, CA
4 recorded by Myles Boisen on May 9, 2018 at Guerrilla Euphonics, Oakland, CA
Mixed by Myles Boisen on May 18 and 29, 2015 and May 9, 2018
Mastered by Myles Boisen on May 15, 2018 at the Headless Buddha Mixing Lab, Oakland, CA

Cover photo by Myles Boisen inside photo by Charles Smith
Layout and Design by Ted Killian

The Philosophy of Air

seconds of words, like most of these pieces, has randomized electronics, so the general character is determined (but the details are unpredictable) to create an environment for the improviser that encourages creativity. For this piece, the pitch material of the electronics is taken from the melody, while moving through several textural zones. Interestingly, the electronics have performances where they seem to be locked into to the improvisation, and ones where they’re not. This piece is dedicated to Bennie Maupin.

Most of these pieces were recorded to present a representation of how they sound live, with a small amount of editing. Romeo, do you like anchovies?, in contrast, was constructed out of two takes, a free improvisation and a re-generated electronics track, and is more of a collage than a captured performance. This was my first experience working this way, and led to my project with Tim Perkis, A Few Eccentricities, where every cut is a reconstruction. It is dedicated to collage genius Max Ernst.

I had the original idea for a mysterious abundance of quinces decades ago, but it took lots of background thinking and technological advances to make it possible. It’s very different from the original sketches, though it is still a long piece for bass flute and contra-alto clarinet with a background of drones and small, repetitive sounds. It reflects my studies of North Indian classical music, and roughly adheres to the outline of raga form. Because of the length and complexity of the piece, the electronics are fixed. It is dedicated, with love and gratitude, to my wife, Lauren.
neon meat dream of a Beefheart machine is the second piece I’ve written that is dedicated to Captain Beefheart, along with the violin/marimba duo Owed t’Don, recorded by Marimolin on their CD Phantasmata. It’s based on a Reaktor ensemble created by Rick Scott that he graciously adapted for me. Here, I am triggering the changes in the electronics to fit the music, though each new pattern is a randomly generated surprise.
Special thanks to Ann and Jack Eastman, stewards and curators of the Maybeck Studio for the Performing Arts, where these pieces were premiered, and to Vinny, my musical brother.
—Steve Adams

pfMENTUM
PFMCD129
www.pfmentum.com

PFMCD130

Michael Vlatkovich: 5 Winds: Five of Us (PFMCD130)

Jeff Kaiser

FIVE OF US

MICHAEL VLATKOVICH 5 WINDS

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1. Please Help Me I’m Blowing Bubbles…………………………………………….:59

5 Winds Suite
2. Part 1: Six…………………………………………………………………6:49
3. Part 2: Twenty Six…………………………………………………………..3:30
4. Part 3: Nineteen — No. 7, Part 4: Zero…………………………………………5:42
5. Part 5: Five………………………………………………………………..5:34
6. Part 6: One…………………………………………………………………1:53
7. Part 7: Twenty-Four………………………………………………………….1:47
8. Part 8: Nineteen……………………………………………………..1:40
9. Part 9: Ninety-Three…………………………………………………………2:59

10. ForYou……………………………………………………………………..4:41
11. Natural Identical Flavors…………………………………………………….2:45
12. People In My Wallet………………………………………………………….4:35
13. (Alt), The Recognition Of Rhythm In The Life Of Worldly Things……………………3:33
14. What Question Did The Man With Seven Ears And Three Eyes Ask The Plastic Surgeon?…..4:38
15. For The Protection Of Yourself And Others You’ll Need To Wear Your Space Suit………8:13

Recorded June 3, 2015 at Array Space, Toronto
Recorded/mixed/mastered by Peter Lutek, www.peterlutek.com
All compositions © 2019 M. Vlatkovich, Julius Ivory Music ASCAP
Personnel (as appearing L to R in recording):
David Mott – baritone saxophone
Lina Allemano – trumpet
Michael Vlatkovich – trombone
Nicole Rampersaud – trumpet
Peter Lutek – tenor saxophone and frankenpipe
Photo: Julia Fitzgerald
Design: Ted Killian

pfMENTUM
PFMCD130
www.pfmentum.com

Wayne Peet Trio with Nels Cline and Russell Bizzett: What the? (PFMCD127)

Jeff Kaiser

Wayne Peet Trio: What the?

Wayne Peet – B# Organ, Clavinet, Theremin, FX
Nels Cline – Guitar, FX
Russell Bizzett – Drums

[playlist ids="2822"]

1. Capable Faith (11:25)
2. Devout Vulgarity (8:41)
3. Improv 1 – Immoral Dilemma (5:53)
4. Improv 3 – SpecialFeeling (15:00)
5. Chase To The Cut (3:08)
6. Hushbubba (4:37)
7. Improv 2- Above & Beyond The Bend (9:04)
8. Improv 4 – Momently (9:58)
9. What The? (7:36)

Recorded June 6 and 7, 2006
Edited, Mixed, and Mastered June to November, 2008

Newzone Studio, Los Angeles
Wayne Peet, Engineer
Aaron Druckman, Assistant Tracking Engineer
All “live” in the studio, no overdubs

Composed by Wayne Peet

©2006 Killzone Music, BMI
except “Chase to the Cut” by Nels Cline, @2006 Nebsonic Music ASCAP adm by BMG
Improvs by Wayne Peet, Nels Cline, and Russell Bizzett

Design and Layout by Don Raymond
Photos by Wayne Peet

Produced by Wayne Peet

Release Date: April 5, 2019

PFMCD127

Richard Valitutto / Dave Wilson: SLANT (PFMCD121)

Jeff Kaiser

SLANT

Richard Valitutto, piano
Dave Wilson, tenor saxophone

[playlist ids="2819"]

1. set (zajdi) (3:42)
2. enviros (2:12)
3. -i—e- (8:59)
4. suspiros (3:08)
5. what is the name of that (4:56)
6. poeme (3:13)
7. me then you then me then you then me (2:47)
8. p-tch-s (7:01)
9. you then me then you then me then you (3:46)
10. rise (2:42)

All compositions by Richard Valitutto and Dave Wilson
Recorded and mixed by Vanessa Parr at the Recording Studio at the UCLA Herb Alpert School of Music, Los Angeles, June 10-11 and 27-28, 2016
Mastered by Justin DeHart, Anaheim, California, January 16-17, 2017
Additional engineering by Lorenzo Bühne, Wellington, New Zealand, January 17, 2017
©2018, Richard Valitutto Music (ASCAP) and Hamlin Lake Publishing (ASCAP)
Graphic Design by Ted Killian

The Aaron Copland Fund forMusic (logo)

Special thanks to the Aaron Copland Fund for Music Recording Program, the UCLA Herb Alpert School of Music, and the Longy School of Music of Bard College for their generous financial support of this album project. Additional thanks to Jeff Kaiser, Maxwell Gualtieri, and the entire team at pfMENTUM for their edifying interest in and unflagging patience with this project’s development over the last few years as just one part of their admirable long-term efforts to strengthen and bring together the experimental/creative music community at large through the recording arts.

pfMENTUM CD121
www.pfmentum.com

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SLANT bears the marks of our interest in exploring possibilities as performers composing together instantaneously and spontaneously. This project came together over a period of months, as we cultivated improvisational compositions, revisited them as compositional improvisations, and—circling back repeatedly—layered on top of each the lingering remnants of previous iterations. Tethered as they are to our personal musical pasts, intersections, and divergences, the sounds on these recordings push and pull one another into our own comfortable and uncomfortable areas as listeners and players, leading us into new ways of feeling the air move around us, and moving through that air and into it ourselves.

The recordings of this project came to life just before—and in the midst of—a liminal period when my own path was diverted. It shifted unexpectedly but by my own choice, in a direction that I knew, at the time, would open and close other paths and set new directions. For Richard and (especially) for me, the awareness of my impending departure from Los Angeles permeated the ways the sounds were conceived at all stages of composition, including their capture in recorded form.

The interplay, the interaction, the ways that we move with and against one another —all of these gestures in SLANT take oblique pathways that don’t so much lead to a hoped-for culmination but, instead, end up in a place not previously conceived.

Dave Wilson
Wellington, New Zealand
June 2018

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The pathways spiraling out of set (zajdi) originate in Macedonia, where Dave has been immersed in sound worlds that involve at least a thread of music either emerging from—or gesturing towards—rural life. “Zajdi, zajdi jasno sonce” (Set, set bright sun) is a popular traditional song that slowly unfolds, allowing the singer to display their melismatic facility and virtuosity. The song’s lyrics address the bright sun (telling it to set) and the bright moon (telling it to drown itself). When the text eventually turns to address the forest (which is the “sister” of the singer) it tells it to darken itself along with the singer: the forest for its leaves, the singer for their youth. The last words of the text lament: “your leaves, O forest sister, will return to you again; my youth, O forest sister, will not return to me.” Typically a mournful song drenched in beauty, our reading of the song also shows the aggression and darkness of youth’s furious passing. Forming the melodic and dramatic foundation of this work, the agitated, plangent saxophone lines are supported by a piano part that was directly inspired by another southeastern European influence: the Romanian spectral composer Horațiu Rădulescu, particularly his late piano sonatas.

In enviros we explore the “inner world” of both instruments’ sounds: piano harmonics and saxophone subtones. The compositional concept in this case is not so much linear or narrative as “environmental.” This yields a different improvised performance each time it’s performed, while the piece retains the same distinct feeling and texture. (In the same way that a certain patch of landscape or a particular city street is always identifiably itself and yet is shaped and reshaped anew by those that move through it, the light that strikes it, and the weather patterns that color it from day to day.) Air, space, and resonance come in and out of contact with one another, the shimmering microtonal harmonies trembling as they layer, creating the environmental texture.

-i—e- is a compositional structure based on one of the synthetic scales created by the boundary-pushing American composer, alto saxophonist, bass clarinetist, and flautist Eric Dolphy. In -i—e-, saxophonist and pianist take turns improvising cadenza-like monologues within the scale’s prismatic world of fleeting tonal allusions. After the extended solos, the players converge in ecstatic agreement on a composed melodic head based on the scale, the apotheosis of the improvisation. The instruments guide one another along self-generated paths to assume new trajectories that, for a moment, briefly converge.

suspiros sounds the sighing exasperation, release, and mourning of impending departure, loss, and gain in an impromptu ballad. Super- imposing a microtonal saxophone melody over a tonal/modal piano accompaniment, this piece doesn’t settle or provide catharsis, but remains and persists— pushing and pulling as it breathes in and out.
what is the name of that leans heavily on Ornette Coleman and Prime Time. It takes Coleman’s “What is the name of that song?” and places his horn line on hammers and strings, recasts the electric bass on the horn and interweaves the guitars and drums parts throughout. Multiple melodies, temporalities, and tone colors point this performance in many directions, folding it back again on itself with new creases, and finishing in manic abandon.

poeme is a musing on the mystical, color-drenched music of the late-Romantic early-20th century Russian composer Aleksandr Skryabin, specifically, Opus 69, No. 1, one of his many “Poèmes” for solo piano. This performance takes direct inspiration from the many accounts of the pianist-composer’s seemingly improvised performances of his own works, further illuminated by his idiosyncratic rhythmic notation and a harmonic language almost entirely derived from his synthetic chords.

When we conceptualized me then you then me then you then me, we took turns leading, following, and finding the space in between the constructed dichotomy of leading and following.
p-tch-s is a systematic progression through the anatomy of the instruments themselves, moving from one tactile space to another, embracing sonic possibilities and realizing points of intersection just as they are slipping away.
We’re taking turns again in you then me then you then me then you, but this time you are following me, and then I follow you.

The patterns that emerge from rise point to something new, something incomplete and unformed, something not yet known or not to be known, something that remains, more uncertainties, fewer known ways ahead, acknowledging that perhaps closure is best reached via more questions and fewer explanations.

Richard Valitutto,
Los Angeles, CA – New York, NY
Dave Wilson,
Wellington, New Zealand
July 2018

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PFMCD121