David Borgo: Suite of Uncommon Sorrows (PFMCD144)

Jeff Kaiser

David Borgo – Suite of Uncommon Sorrows

(Digital only)

[playlist ids="13124"]

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

Stephanie Richards / Bert Turetzky / Vinny Golia: Trio Music (PFMCD117)

Jeff Kaiser

[playlist ids="1362"]

Trio Music

Vinny Golia (Woodwinds and Ethnic Aerophones)
Steph Richards (Trumpet and Flugelhorn)
Bert Turetzky (Contrabass)

1. Solana 4:14
2. Proprioception 7:42
3. Cerberus 6:37
4. As I was Saying… 2:50
5. $19.95 4:32
6. Sunnyside Up 2:53
7. Desert Wind 3:11
8. Hector Shear makes his entrance…(could they really exist in Maine?) 3:56
9. Atazoy 3:39
10. The Paradox of Zazu Pitts 3:40
11. Descendant Un Escalier 2:34
12.The Duo That Became A Trio 7:26

This record documents a new encounter for Vinny, Steph, and Bert; a moment of unspoken calibration through collective expression. Listening fingers, a prose communion; sounds dance and combust. Trio Music shows three improvisors collectively negotiating the edges in a space of vibrant empathy.

Recording Date: April 23, 2017, Conrad Prebys Music Center, UC San Diego
Recording, Mastering and Producing Engineer: Andrew Munsey, June 7, 20-22, 2017
Graphics by Ted Killian

All music © 2018 Ninewinds, BMI and Welcome to my Kitchen, ASCAP

Special thanks to Jeff Kaiser, Andrew Munsey, and the University of California, San Diego 

pfMENTUM
PFMCD117
www.pfmentum.com

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

Steuart Liebig / Tee-Tot Quartet: Always Outnumbered (PFMCD053)

Jeff Kaiser

[playlist ids="473,475"]
Steuart Liebig/Tee-Tot Quartet

Joseph Berardi: drumset, percussion
Dan Clucas: cornet
Scot Ray: dobro
Steuart Liebig: contrabassguitar

Tracks

07-04-00 4:58
serenade 5:06
wrong how long 4:00
stutterstep 4:26
fearless 7:49
clean, shaved and sober 3:52
bobtail 1:54
cooked and chopped 3:15
chucktown 4:17
mercy kitchen 7:26
sunshine candy 4:24
barrelfoot grind 4:26
lonewolf 4:28

© 2008 steuart liebig/
sisong music (ascap)
www.stigsite.com

artwork and layout by Steuart Liebig
cover photos by Scot Ray
band photos by Tee-Tot Quartet
recorded by Wayne Peet, assisted by Aaron Druckman, at Newzone Studio, Los Angeles, 19–20 May 2007
mixed by Wayne Peet and Steuart Liebig, July–August 2007
Steuart Liebig uses Fodera basses and Fodera roundwound strings, the Raven Labs PMB-1 and pickups by Rick Turner
Joe Berardi uses Paiste cymbals and attack drums heads
big thanks to Tee-Tot, Wayne Peet, Jeff Kaiser, and Leslie Rosdol, Anya Liebig and Aron Liebig

Always Outnumbered

. . . is an unholy transfiguration of the jazz and blues canon—a perverted translation of the sacred 78s of Chicago jazz and blues circa 1920–1950 into a more sinister modern dialect. On the opening track, 07-04-00, you can hear some noxious sonic concoction brewing, an aural hormetic designed to make you stronger if you can survive the cocktail.

Tee-Tot are expatriate pioneers that flew a few light-years past Europe and landed in a neighboring multiverse with fewer happy endings. These four veterans of the Los Angeles new music scene bring something completely different to each tune, different from the last tune and different from anything you normally hear on their respective instruments.

Joe Berardi is a medium for myriad gods of groove. He’s a maniacal Baby Dodds wielding his contraption for the dark side on Sunshine Candy, an angry Fred Below demonstrating primal scream therapy through the art of the shuffle on Chucktown and on Serenade he’s a fallen military snare player tapping ‘help me die’ in Morse code in vain.

Steuart Liebig constructs wide melodic avenues through the hostile landscapes of convoluted tunes like Wrong How Long. As heard on Cooked and Chopped he uses compelling melodies to drive the band from beneath instead of walking the well-worn footpaths of predictable chord progressions. He reinvents the bass role as an interactive melodic instrument in contrast to the bebop obsession of “chasing a melodic rat around a harmonic maze.” He’s also comfortable playing little or nothing at all for large patches, as on Fearless, an oblique tribute to Mingus—a “Goodbye Pork Pie Hat” for a lost and dispirited Lester Young.

Dan Clucas channels a deranged Cootie Williams, commands a gaggle of nuclear geese and employs various subsonic pitches possibly responsible for climate change. He employs all manner of ornamentation and virtual pedals from a very ill-mannered velar growl to a vibrato that would have made Clara Rockmore nervous. On Clean, Shaved and Sober, he celebrates the decline of a late-stage Bix Beiderbecke suffering from years of poor-grade Prohibition-era alcohol.

Scot Ray possesses a wide arsenal of portamento that would make any carnatic pandit blush. A seemingly infinite variety of sounds come out of his dobro’s resonator, from distressed ermine lamentations to the wailing of the damned. Considering today’s totalitarian atmosphere, Scot’s frenetic picking, rubbery phrasing and anxiety-provoking note choices on Stutterstep alone should earn him a place on a government list. Somewhere in hell an unfortunate freshman soul attempts to decipher his solo on Barrelfoot Grind.

Contemporary jazz and blues music lies wasting in a gurney of predictable mimicry, its circulation gone sluggish, its pulse nearly arrested as it grows more necrotic by the year. Tee-Tot debrides the bed sores of the sedentary modern roots scene.

Steuart has more than a few bands. They are all distinct from one another, draw from disparate sources and are all degenerate—in the best sense of the word. The dozen or so albums from these groups have explored everything from Muddy Waters to Anton Webern. There’s never a shortage of great melodies or superb improvisation, and this disc is no exception.

–Bill Barrett, Los Ageles, January 2008

pfMENTUM CD053

PFMCD053