VINNY GOLIA: EVEN TO THIS DAY…: MOVEMENT ONE: INOCULATIONS (PFMCD145)

Jeff Kaiser

VINNY GOLIA
EVEN TO THIS DAY…
MOVEMENT ONE: INOCULATIONS

MUSIC FOR ORCHESTRA AND SOLOISTS

[playlist ids="13222"]

(Inoculation: to inoculate)

This applies to vaccinating against the coronavirus and to mentally preparing ourselves to be strong against the onset of paranoia, boredom, depression, isolation, apathy, and all of the other symptoms of this disease that we did not anticipate.

Even to this day… comprises three movements. Movement One: Inoculations, which you are listening to now, is for orchestra and 21 improvisers. The complete length of Inoculations is 10 hours and 32 minutes and consists of 12 individual Modules. The second movement, Part Two: Syncretism: for the draw… is for metal band and orchestra and will be released in early 2022. Finally, as yet unnamed, the third movement for symphony orchestra and large ensemble with improvisers will be completed at the end of 2022.

I started writing Even to this day… for my 75th birthday a year before it was to happen at the request of Rent Romus, who was organizing a concert of 75 musicians to perform the piece, unaware that Covid lurked around the corner. The performance never happened. So, I decided to go for what I wanted using real and virtual musicians performing composed music combined with improvisation—which always seems to be the best way to get what I want musically—a blend of serenity, intensity, and stability that shifts like the sands in a desert. And, as I wanted to have many of the West Coast musicians I play with represented in the music, I came up with a plan to have soloists play over a large and continually changing symphonic setting.

Even to this day… includes soloistic journeys, short interludes, transitional forms, and improvisations involving orchestral textures. Performed live, I would have used a combination of conducting techniques I have been refining since the first concert of the Vinny Golia Large Ensemble in 1982. Unfortunately, I could not do this live because of Covid restrictions and instead created an alternate composition system to supplant and expand on those techniques. Our West Coast community of creative musicians is vast and intensely innovative, and from this communal pool, I used improvisers accustomed to performing New Music and freer forms of improvisation. Specific compositions showcase their creative talents, resulting in a myriad of improvisational approaches. For the listener, the modules within each movement can be arranged in any order but are best listened to in their original order as the compositions within each module accent each other.

Movement One: Inoculations is the first part of over a year’s worth of work on Even to this day… The movement is a direct response to Covid, reflecting feelings and thoughts while locked down or “safer at home” for 15+ months now. With so much discord in the world at the moment, the chance for a few of us to collaborate on something positive seemed a great way to fight back, peacefully, against the malaise of fear, uncertainty, isolation, hostility, and depression. So, this orchestral project started in March 2020 is now ready to add the final component, the listener…

12 CD SET WITH FEATURED SOLOISTS:

Steve Adams—Sopranino and Alto Saxophones, Alto and Bass Flutes, and Electronics • Matt Barbier—Euphonium and Trombone • Kyle Bruckmann—Oboe, English Horn, and Electronics • Dan Clucas—Cornet • Clint Dotson—Drums • Tim Feeney—Percussion • Ken Filiano—Bass • Randy Gloss—Hand Drums and Electronic Percussion • Nathan Hubbard—Drums and Percussion • Jeff Kaiser—Trumpet and Electronics • Ellington Peet—Drums • Wayne Peet—Piano, Organ, and Synth • Vicki Ray—Prepared Piano • Sarah Belle Reid—Trumpet and Electronics • Steven Ricks—Trombone and Electronics • William Roper—Bombardondino, Tuba, and Extemporaneous Spoken Word • Derek Stein—Cello • Cassia Streb—Viola • Brian Walsh—Bb, Bass, Contralto, and ContraBass Clarinets • Miller Wrenn—Bass • Vinny Golia—Woodwinds, Gongs, and Singing Bowls

Module 1 — Observation

Module 2 — Belief

Module 3 — Goals-analyzation and clarification

Module 4 — Determination

Module 5 — Identification and Orientation

Module 6 — Skills and Knowledge (qualities and abilities)

Module 7 — Collaborations

Module 8 — The Plan

Module 9 — Visualizations

Module 10 — Persistence

Module 11 — Action and Decision

Module 12 — Needs and Uses

All Compositions and Arrangements by Vinny Golia ©2021 Ninewinds, BMI

Trapezoid by Randy Gloss • Recorded by Wayne Peet and Vinny Golia (with additional remote recording by solo artists) • Recorded from March 2020 to August 2021 • Edited, Mixed, and Mastered by Wayne Peet • Produced by Vinny Golia and Wayne Peet • Disc Artwork by Steuart Liebig • Cover Design and Artwork by Ted Killian • Special thanks to Wayne Peet, Kathy Carbone, Jeff Kaiser, California Institute of the Arts, and all the performers on this project.

A joint release of Ninewinds Records and NWCD450 / PFMCD145

VINNY GOLIA
EVEN TO THIS DAY…
MOVEMENT ONE: INOCULATIONS

MUSIC FOR ORCHESTRA AND SOLOISTS

Module 1

Observation

1. Moai 3 VC — BS • Soloist: Vinny Golia — Contrabass Clarinet

2. CB Flute Real One — Explained1 • Soloist: Vinny Golia — Contrabass Clarinet

3. 2 — 9 Dizzy 2 — A dedication

4. Moai 3 — 5 Middle section • Soloists: Kyle Bruckmann — Eng Hrn; Matt Barbier — Trom

5. From the Ancient Race • Soloists: Vinny Golia — Alto Sax; Dan Clucas — Cornet

6. Project — 1 — Transition • Soloists: Vinny Golia — Baritone Saxophone, Gongs; William Roper — Tuba; Nate Hubbard — Drums

7. The Real One

8. Brass — As played on the Nagra • Soloists: Vinny Golia — Sopranino Saxophone; Dan Clucas — Trumpet

9. Escape from the lab, Professor Deemer doesnít make it • Soloist: Vinny Golia — Gongs

10. Hand me Lieutenant Liu’s notebook of justice… • Soloist: Vinny Golia — Ram’s Horn, Eb Clarinet, Baritone Saxophone

11. Toolboxes and tradeoffs — For Pete Edwards • Soloist: Vinny Golia — C Flute

12. No horn Intro,…, just kidding • Soloist: Dan Clucas — Trp

13. So many forms, the low frequencies • Soloists: Wayne Peet — E Piano; Ellington Peet — Drums

14. For Art, the hole puncher • Soloists: Vinny Golia — Contrabass Clarinet, Gong; Brian Walsh — Bass Clarinet; Tim Feeney — Perc

Module 2

Belief

15. The Rams Horn Moai, a gift from Peru • Soloist: Vinny Golia — Ram’s Horn, Tenor Sax, G and F Mezzo — Soprano Sax, Bells

16. Not Pelham, (the Throwback!). • Soloists: Wayne Peet — Synth; Ellington Peet — Drums

17. It’s a jumble out there! • Soloist: Tim Feeney — Perc

18. letters to Francis • Soloists: Vinny Golia — Soprano Saxophone; Miller Wrenn — Bass

19. The complete Hermann • Soloists: Sarah Reid — Trp and FX; Tim Feeney — Perc

20. The first time I heard that • Soloists: Vinny Golia — Xiao; Tim Feeney — Perc

21. Encomium • Soloists: Vinny Golia — Singing Bowls; Brian Walsh — Bass Clarinet; Randy Gloss — Bendir Drum

22. 2 — 7 — 3 — sracps — 2

23. 1 — 18 strgs whole — No Mayo • Soloist: Vinny Golia — Tenor Saxophone, Contrabass Clarinet

24. 2 — 7 — 3 — sracps — The Original

Module 3

Goals — Analyzation and Clarification

25. For John… • Soloist: Vinny Golia — Tenor Saxophone

26. Low Toaani • Soloist: Wayne Peet — Organ and FX

27. Locus — 2 • Soloist: Brian Walsh — Clarinet

28. Xiphoid • Soloists: Steve Adams — Sopranino Saxophone, William Roper — Bombardondino (Travel Tuba)

29. Yet another, New Vamp Tune

30. Message from Time • Soloists: Sarah Reid — Trp and FX; Derek Stein — Cello

31. The battle of Tibet — Circa 1943 • Soloist: William Roper — Bombardondino (Travel Tuba)

32. From the Ancient Race; Symbolism • Soloists: Vinny Golia — Bb Clarinet; Clint Dodson — Drums

33. Warp and Woof (on the road to Georgia) • Soloists: Jeff Kaiser — Trp; William Roper — Vocal

34. The Attic of the Unknown Foe, for Mr. Martin • Soloist: VG — Eb Clarinet, Ab Clar, Contrabass Clar, Basset Horn, Gongs and Bowls

35. Low Toaani — Part Two • Soloist: Sarah Reid — Trp and FX

Module 4

Determination

36. Easy to Sneak Up On

37. Doctor Savaard explains his theory eloquently, but no ones listens

38. Dizzy — a second dedication because he deserves it!

39. nmae later, (not a typo…) • Soloist: Jeff Kaiser — Trp and FX

40. Kyle! • Soloist — Kyle Bruckmann — English Horn

41. Intro Drake — 1 — 2 • Soloists: Vinny Golia — Bass Clarinet; Randy Gloss — Tabla

42. Who is Gladys Glover? — Bass; Nate Hubbard — Drums

43. Not Hardly… • Soloist: Jeff Kaiser — Trp

44. 1 — 14 Solo Section 2 • Soloists: — Vinny Golia — Bass Saxophone; Nate Hubbard — Drums

45. In France you sit on long items shaped like canoes — for Barre • Soloist: Dan Clucas — Cornet

46. For Vicki • Soloist: Vinny Golia — Contraalto Clarinet; Vicki Ray — Piano

47. Trapazoid • Soloist: Randy Gloss — Frame Drum

48. Mr. Fletcher now heads towards Mexico to find his first move,…or else, it ís up to him • Soloist: Ken Filiano — Bass

49. 1 — 9 31120 not exactly Vlatkovich, (title wise…) • Soloist: Steven Ricks — Trom

50. 1 — 5 bridhge to solos • Soloists: Vinny Golia — G — Piccolo; Tim Feeney — Perc

Module 5

Identification and Orientation

51. Shadow

52. Vicki 2 • Soloist: Vicki Ray — single track of prepared piano with E — Bow

53. By which they lead • Soloists: Miller Wrenn — Bass; Tim Feeney — Perc

54. About three more days, give or take a day or two

55. Ken • Soloist: Ken Filiano — Bass

56. The return of Tyler Bob! (I know that guy!)

57. “Hey Cosmo, How you Doin’…doin’ ok…” — for Fumo

58. Your devotion to etiquette is admirable but your methods leave much to be desired

59. The Wilhelm Scream (not alligator shoes I hope!) • Soloists: Vinny Golia — Baritone Saxophone; Randy Gloss — Daf

60. He’s the only one that’s happy!

61. In Between The Winds • Soloist: Brian Walsh — Clarinet

62. Indeterminate growth • Soloist: Tim Feeney — Perc

63. Dixie Cups and Strings • Soloists: Derek Stein — Cello; Miller Wrenn — Bass

64. The Solution • Soloist: Steve Adams — Electronics

Module 6

Skills and Knowledge (qualities and abilities)

65. Try This One On

66. nmae again, later • Soloists: Ken Filiano — Bass and FX

67. Time Change

68. The Octopus boy, (good work Rachel)

69. Trpt Partial

70. It must fall out of my formation circle

71. The Octopus boy; retake • Soloist: Wayne Peet — Organ

72. All is lost, All is lost! • Soloists: Wayne Peet — Synth; Steve Adams — Alto Sax; Nate Hubbard — Drums

73. And it’s also the name of a man who operates hotels

74. Mead and various secrets from the island • Soloists: Steve Adams — Bass Flute; Randy Gloss — Frame Drum and Metal Perc

75. The Internet is always open • Soloist: Derek Stein — Cello

76. And, Have A Nice Day, (Or Else!) • Soloist: Dan Clucas — Trp

77. It’s Douner Stieglitz camera lenses!

78. An Arc of Electricity • Soloist: Jeff Kaiser — Trp and FX

79. From the Ancient Race; Electrodes • Soloists: Wayne Peet — Piano; Clint Dodson — Drums

80. Lonely wind • Soloists: Cassia Streb — Viola; Derek Stein — Cello

INSERT SIDE TWO

Module 7

Collaborations

81. For Robin

82. History does not linger long in our century; reprise

83. Vicki project 5 • Soloists: Vinny Golia — Basset Horn; Vicki Ray — Prepared Piano

84. Never Freed • Soloist: Vinny Golia — Bass Clarinet, Soprillo Sax

85. Transition #1 • Soloist: Steven Ricks — Trom

86. Sketch • Soloists: Miller Wrenn — Bass; Clint Dodson — Drums

87. The Stretchy, Walky, Thingy • Soloists: Vinny Golia — Bari Sax; Ken Filiano — Bass; Ellington Peet — Drums

88. The Great American Biotic Interchange • Soloists: Vinny Golia — A Clarinet; Wayne Peet — Prepared Piano

89. Aver • Soloist: Clint Dodson — Drums

90. The original five! • Soloists: Vinny Golia — Bass Saxophone; Wayne Peet — Synth

91. Unit! • Soloists: Matt Barbier — Trom; Miller Wrenn — Bass

92. Robin 2 and For Richard Nunns Medley • Soloist: Vinny Golia — Gongs, Bowls, Shells

93. Villions • Soloists: Miller Wrenn — Bass (section parts); Ken Filiano — Bass and FX

94. Cassia • Soloist: Cassia Streb — Viola

Module 8

The Plan

95. Moai 3 addition

96. To the skin together

97. Flight 575 • Soloist : Steve Adams — Electronics, Alto Sax; Miller Wrenn — Bass; Clint Dodson — Drums

98. Transition #2 • Soloist: Steven Ricks — Trom

99. A to B, Pull the chutes, where’s my champagne? • Soloist: Jeff Kaiser — Trp

100. Pharoah at the chord change • Soloist: Vinny Golia — Tenor Saxophone

101. Harmonics…!!!!!?????

102. What’s your name? • Soloist: William Roper — Bombardondino (Travel Tuba) and Vocal

103. Studebakers, Toasters, and Crop-dusters • Soloist: Vinny Golia — Bass Sax; Nate Hubbard — Drums

104. The 18th form • Soloist: Vinny Golia — Bass Flute; Wayne Peet — Piano Keys; Vicki Ray — Piano Insides

105. Do you have an opinion..? • Soloist: Vinny Golia — Bari Sax

106. Toanni — Insert • Soloists: William Roper — Tuba; Nate Hubbard — Drums

107. The Filiano Way, an Introduction to Mr. Ken… • Soloist: Ken Filiano — Bass and FX

108. The Island of One Thousand Names

Module 9

Visualizations

109. …These 3 together • Soloist: Vinny Golia — Native American Flute

110. Public Swimming Pool • Soloist: Dan Clucas — Cornet

111. Moai 3 — 13

112. Dr. Karmackís tasty treats… • Soloista: Vinny Golia — Alto Saxophone; Vicki Ray — Prepared Piano

113. Transition #3 • Soloist: Steven Ricks — Trom and FX

114. Will Warren Chesnick go to the prom alone…I think not!

115. The Thayer Effect, we like what it does • Soloists: Vinny Golia — Gongs; Miller Wrenn — Bass

116. Whiteside speaking • Soloist: Vinny Golia — Gongs, Tubax (contrabass saxophone)

117. All the Ghosts we can have

118. Bowed Interlude — for Mark Dresser • Soloists: Vinny Golia — Gongs, Contra Alto Clarinet; Matt Barbier — Trom

119. Moai 3 — 5 • Soloist: Matt Barbier — Euphonium

120. 1 — 13 — w harp

121. The lipkenstein process • Soloist: Ken Filiano — Bass and FX

Module 10

Persistence

122. Events that have happened are happening again, as we speak • Soloist: Vinny Golia — Tenor Saxophone, Indonesian Flute, Gongs; Wayne Peet — Piano

123. Big Finnish for Rent and Heiki

124. Double duos • Soloist: Vinny Golia — Soprillo Sax, Bass Clarinet

125. Strange Man, but still, a good plan. • Soloist: Wayne Peet — Piano

126. Bedtime • Soloists: Vinny Golia — Bamboo Flute, Sopranino Sax; Clint Dodson — Drums

127. And I remember…everything • Soloist: Vinny Golia — Gongs

128. Moai 3 — 1

129. A gift for Mike • Soloist: Ken Filiano — Bass

130. How’d it get burned!!, How’d it get burned!!, How’d it get burned!!, How’d it get burned!!

131. Project 1 • Soloists: Vinny Golia — Bari Sax, Gongs; William Roper — Tuba; Nate Hubbard — Drums

132. Persistance for William • Soloists: Vinny Golia — Shakuhachi; Cassia Streb — Viola; Tim Feeney — Perc

133. The Intro • Soloist: Ken Filiano — Bass and FX

134. Vicki 6 • Soloists: Vinny Golia — Contrabass Clarinet; Vicki Ray — Prepared Piano

135. A Philosophy of the Bass — for Bert

Module 11

Action and Decision

136. Moai 3 — 4 Medley • Soloist: Vinny Golia — Conch, Sopranino Saxophone

137. But it was all just a dream… • Soloists: Vinny Golia — A Clarinet; Cassia Streb — Viola

138. From the Ancient Race II

139. Moai 3 — 2 Textures

140. “Your friend is intelligent, he will know better, than to follow me”

141. Bad Dentist • Soloist: Vinny Golia — Basset Horn

142. Someplace called…not Furiya • Soloists: Vinny Golia — Conch, Shakuhachi; Clint Dodson — Drums

143. Isochronus

144. Travk 5 • Soloist: Vicki Ray — Prepared Piano

145. Moai 3 — 10 • Soloist: Vinny Golia — Tenor Saxophone, Globular Flute

146. Elegy for Don LaFontaine • Soloist: Brian Walsh — Bass Clarinet

147. LE Spring 2020 — 7 — B section

Module 12

Needs and Uses

148. Goliath • Soloist: Vinny Golia — Sopranino Saxophone

149. The Rolisican government questions Fukoda’s support, in the cave of Neon (Perhaps it’s the radiation?) • Soloist: Tim Feeney — Perc

150. LE Spring 2020 — 7

151. An Unforeseen Side Effect

152. Gombus! • Soloist: Sarah Reid — Trp and FX

153. Intro Drake 1 and 2 • Soloists: Vinny Golia — Bass Clarinet; Randy Gloss — Tabla

154. Waterflute Piece (Susan makes glorious instruments!) • Soloist: Vinny Golia — Alto Flute, Waterflute and Globular Flutes

155. LE Spring 2020 — 6 — redone • Soloist: Vinny Golia — Alto Clarinet, Gongs

156. All that Shimmers… • Soloist: Randy Gloss — Tamb

157. Dedicated to Bobby, John, and Horace • Soloists: Vinny Golia — Basset Hrn; Derek Stein — Cello

158. Return of the Goliath • Soloist: Wayne Peet — Pipe Organ

Photo by Chuck Koton

PFMCD143 art

Golia, Asplund, Ricks, Coulter: Crag – Polychromy (PFMCD143)

Jeff Kaiser

[playlist ids="13147"]

Vinny Golia (woodwinds)
Christian Asplund (piano and keyboards)
Steven Ricks (trombone and electronics)
Ron Coulter (drum set, percussion, junk, and lo-fi electronics)

1. For the Money – 05:55
2. Tabletop Iguana, Shades and White Sox – 15:39
3. Fire of the Nobody – 32:18
4. The Anticipation That Comes With Travel – 20:58

Recorded live in concert, September 19, 2019
Madsen Recital Hall, Brigham Young University
Jeff Carter — Engineer
Edited, Mixed, and Mastered, April 2021
Newzone Studio, Los Angeles
Wayne Peet — Engineer

All music composed by CRAG
© 2021 Ninewinds (BMI), Comprovise (ASCAP), Steve Ricks Music (ASCAP), and Kreating Sound (ASCAP)

Photograph of CRAG Quartet by Jeff Carter
Artwork and Graphic Design by Ted Killian

pfMENTUM
PFMCD143
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

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

Jeff Kaiser

 

[playlist ids="3714"]

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

[playlist ids="3706"]

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

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

*****************

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

*****************

PFMCD121

The Vinny Golia Orchestra Live at REDCAT Los Angeles (PFMDVD123)

Jeff Kaiser

[This product is a DVD]

The
Vinny Golia
Orchestra
Live at
REDCAT
Los Angeles

Set One
1. Set One Introduction 2:31
Primary soloists:
Jonathan Stehney, bassoon
Andrew Rowan, trumpet

2. Show of Force 3:44
Primary soloists:
Carmina Escobar and
Andrea Young, voices

3. 5 (Large Ensemble Version) 11:22
Primary soloists:
Gavin Templeton, alto saxophone
Vinny Golia, baritone saxophone
Stefan Kac, tuba

4. Up In The Sky, Like The Sun At High Noon
(The Eiga Clan Frames The Roscoe Trip) 11:27
Primary soloists:
Erik KM Clark, violin
Dan Clucas and Daniel Rosenboom, trumpets
Jon Armstrong, tenor saxophone

5. Lost & Found (For Henry) 10:49
Primary soloists:
Aniela Perry, cello
Joseph Thel, english horn
Alex Noice, electric guitar
Ingrid Lee, piano

6. Carbine One, Change A Letter 6:13
Primary soloists:
Ben McIntosh, trombone
Michael Mull, alto saxophone
7. Carbine Two 6:09
Primary soloists:
Drew Jordan, trumpet
Vinny Golia and Christine Tavolacci, piccolos

Set Two
1. Set Two Introduction 3:50
Jon Armstrong, tenor saxophone

2. Would You Like Help
On Your Journey To Mottsfield? 6:57
Primary soloists:
Kathy Pisaro, oboe
Vinny Golia, tubax (contrabass saxophone)

3. Soccer Gear Dropped On Religious Leaders 6:57
Primary Soloist:
Alex Noice, guitar
Brian Walsh, bass clarinet
Daniel Rosenboom, piccolo trumpet

4. Barnum Brown Finds Something 4:10
Primary Soloists:
Ingrid Lee, piano
Vinny Golia, sopranino saxophone

5. Just Another Morning 1:57

6. Encore 8:36
Vinny Golia directed improvisation:
Brian Walsh, bass clarinet
Lauren Baba and Andrew Tholl, violin
Christine Tavolacci, bass flute
Jonathan Stehney, bassoon
Alex Noice, guitar
Gavin Templeton, alto saxophone

Special thanks:
Kathy Carbone, Lauren Pratt, Wayne Peet, Allen Kaufman,
David Rosenboom, Marc Lowenstein, California Institute
of the Arts, and all the members of the Vinny Golia New
Music Orchestra

A joint release of
pfMENTUM
and Ninewinds
PFMDVD123/NWDVD400
www.pfmentum.com

Graphic Design: Ted Killian

All compositions and arrangements by Vinny Golia
℗ and © 2018 Ninewinds, BMI

Recorded live at REDCAT in Los Angeles, April 9, 2014
All works Vinny Golia

Conductors Mark Lowenstein and Vinny Golia

Strings
Violins: Andrew Tholl, Henry Webster, Melinda Rice, Stephanie Moorehouse, Lauren Baba, Eric KM Clark, Madeline Falcone
Violas: Cassia Streb, Natalie Brejcha, Morgan Lee Gerstmar
Cellos: Aniela Perry, Derek Stein, April Guthrie, Thea Mesirow
Bass: David Tranchina, Ivan Johnson

Woodwinds
Oboe: Kathy Pisaro
Oboe/English Horn: Joseph Thel
Bassoons: Jonathan Stehney, Archie Carey
C, Alto and Bass Flutes, Piccolo: Christine Tavolacci, Sammi Lee
Saxophones, Flutes, Clarinets: Vinny Golia, Gavin Templeton, Jon Armstrong
Clarinet and Alto Sax: Michael Mull
Bass Clarinet: Brian Walsh

Brass
Trumpets: Dan Clucas, Daniel Rosenboom, Drew Jordan, Andrew Rowan
French Horn: Erin Poulin, Adam Wolf
Trombones: Evan Sprecht, Ben McIntosh, Matt Barbier
Bass Trombone: John Tyler Jordan
Tuba: Stefan Kac

Piano Ingrid Lee

Guitar Alex Noice

Percussion
Mallets: Jodie Landau
Auxiliary Percussion: Tony Gennaro, Vinny Golia
Drum Kit: Andrew Lessman

Voice Andrea Young, Carmina Escobar

Recording Concert recording by Wayne Peet

Mixed and mastered at Newzone Studio, Los Angeles by Wayne Peet with Aaron Druckman (assistant engineer)
Video by Sunlight Digital
Video recording by Allen Kaufman and Jimmy Alioto
Edited and authored by Allen Kaufman

About The Work
When first notified of this REDCAT concert, I planned to meld my electric sextet with my large ensemble; two groups I hold very dear to my heart. Along the way many things happened. I added vocalists, I wanted to have an extended string section and I thought about how I would incorporate the long standing members of the large ensemble and the many new bright faces creating such vibrant music here in Los Angeles. Also along the way tragic events past through the lives of loved ones, the music community suffered the loss of many great musicians and lastly, just a few days ago, Pierre Fauteux passed onto another phase of his continuum. Pierre’s love of music as well as his love of life is embedded in my mind. This concert is a dedication to and a celebration of his time spent on this planet with his lovely wife, Helen, and their two outstanding children, Monique and Jacqueline. It is also dedicated to all those who have lost loved ones.

Pondering on these events happening in my life, the question is (and always has been) how to make music that is meaningful and communicative amidst sorrow and chaos. I still do not know the answer, and my journey takes me deeper into the sounds we create. These compositions were written and re-orchestrated between 2004 and 2014 and are an overview of areas I have been exploring, namely, rhythm, shape, form, and color, with my large and medium ensembles over this time period.

Carbine One, Change A Letter and Carbine Two are portraits of one of my closest friends. Up In The Sky Like The Sun At High Noon is another entry into a series based on driving times in Los Angeles, which as every Los Angeles dweller knows, can be fast and brutal or just plain brutal. This composition also comments on the Eiga clan in feudal Japan, which is a source of inspiration for many other compositions I have written for other various sized ensembles. Show of Force is a commentary on the posturing of nations and how political leaders choose to respond. Lost and Found is for the enigmatic Henry Grimes, whom many thought dead, but who reappeared after many years living in Los Angeles. I have had the great pleasure to perform with Henry numerous times since his reemergence. 5 is the oldest of the compositions, and was originally written for a quartet, then expanded for a quintet, condensed for a saxophone quartet, arranged for a sextet, and finally, orchestrated for this new orchestra. Would you like help in your journey to Motts field? should conjure up images if you enjoy a certain type of film genre.

Lastly, we come to three pieces for Pierre. These compositions, started as a trilogy for percussion and orchestra in 2004, are now just completed. The titles are humorous in honor of Pierre’s love of life, fun, wine, and music. Hopefully you will enjoy them as much as I did while writing them and we have performing them.

In my work there is a balance between the worlds of composition and improvisation. It takes extremely talented musicians to straddle these worlds which includes following a conductor, watching for hand signs and signals, reading complex music, improvising within specific guidelines and interpreting a composer’s ideas into concrete form. I come into contact everyday at CalArts with musicians comfortable working in this way, so after much thought instead of melding my electric sextet with my large ensemble, I decided to take a more orchestral approach and created a new incarnation of my large ensemble for this concert: The Vinny Golia New Music Orchestra. This orchestra comprises many alumni and students who have passed through my various classes and musical groups through the years, as well as CalArts faculty members. The musicians in this orchestra all share a love of exploration and the highest regard for music. It is truly an honor and a privilege to be performing and sharing the stage with them. Tonight we share with you our love of sound in memory of all who have passed through our lives.

—Vinny Golia, Valencia, California, 5 April 2014

Disk Label Text:

The
Vinny Golia
Orchestra
Live at
REDCAT
Los Angeles

A joint release of
pfMENTUM and Ninewinds
PFMDVD123/NWDVD400
www.pfmentum.com

All compositions and arrangements by Vinny Golia
℗ and © 2018 Ninewinds, BMI

Glen Whitehead Trio: The Living Daylights (PFMCD125)

Jeff Kaiser

[playlist ids="1553"]

Glen Whitehead Trio

The Living Daylights

Britton Ciampa Drums • Scott Walton Bass • Glen Whitehead Trumpet

Improvisational structures inspired by natural phenomena that play with our perceptions of space, time, and place

The Living Daylights Suite (1-3)
1. Living Daylights Suite 1—at Time’s Place 05:02
2. Living Daylights Suite 2—Zenosyne 08:23
3. Living Daylights Suite 3—Apophenia 08:30
4. Heliopause 04:01
5. 42 Degrees 04:31
6. Bow Shock 05:49
7. Shedding Vortices 03:38
8. Involution Engine 06:22
9. Fissure Syndrome 03:54
10. Pearl of Swirl 05:50
11. Punktuation 07:44

Recorded at the Banquet Studios February 6, 2016
and July 21, 2016, Guerneville, CA
Engineered by Darryl Webb
Mixed and Mastered by Wayne Peet at Killzone,
Newzone Studio, Los Angeles, February, 2018
Photo Credit—Glen Whitehead
Graphic Design—Ted Killian
© 2018 Glen Whitehead (ASCAP)
pfMENTUM
PFMCD125

The Living Daylights
Musical Notes

The Living Daylights is based on natural phenomena that play with our perceptions of space, time and place and rendered with a loosely structured improvisational system that enables many possibilities within the natural restraints of a conscious system. These pieces explore similarities between immersive activities surrounding intensive environmental exploration and improvisational music composition. The more one invests energy, time and intention to immersive experiences in the world, the more phenomenal events appear – connections come alive with mysterious interactions.

This ensemble is an ecosystem where unique communities of sound are created within each piece. In this “conscious system” individuals are free to roam and explore while supporting the foundations of the emerging sonic environment, each individual being equally responsible for the whole. Empathy through sound, the sounding of self-reflection between the rewards of individuality and shared common goals create unique musical real estate; each piece then embodies unique energies internalized (and externalized) by the ensemble members.

I created the identity of these pieces after the recording process in long term listening, imagining and research sessions. Most ideas were initially encountered through immersive investigations in a variety of natural environments around the world the last several years (many under what I would call an apprenticeship with ecoacoustic composer Dr. Matthew Burtner and the EcoSono Institute) including many sites across Colorado and the great southwest, the Great Sand Dunes, San Luis Valley, headwaters of the Rio Grand, as well as Alaska, Cape Cod, Mexico, Australia, Tasmania, New Zealand, Korea and more.

My long-term goal is to develop a stronger methodology between improvisational music creation, ecoacoustics, acoustic ecology, environmentalism and other related practices.

                                                           

This work is part of a larger interdisciplinary leap on my part that includes several related projects including collaborations with dance, geography, theatre, and film.  In essense, this study is a long-term attempt to build more pathways between creative music practices and partnering fields.

These pieces, and the two incredible musicians whom I have been so honored to work with on this project reflect such phenomenological experiences.  Scott Walton (acoustic bass) has been a key collaborator in my musical life.  He is equal a pianist as a bassist and simply one of the best musicians –   that I have had the privilege to work with and learn from in my life. Britt represents a younger   generation of insanely informed musicians.  His skill as a drummer and knowledge as musician is well beyond his years.  He possesses an uncanny ability to connect obscure subjects and histories within a deep understanding of the creative music world.  The magic of his playing is his ability to wield musical and sonic information into its the fullest possible context.  He is also an “ex-student” of mine from UCCS – one of our very best.

I view the wide world of sonic and musical languages in this work as idiomatic – a respectful departure of what is usually commonly understood in contexts of free improvisation as “non-idiomatic” (from Derek Bailey’s definition).  To me, this is a resolvable contradiction.  I believe it is time to reconcile all sound language as “idiomatic.” We are saturated within the idioms of our instrumental backgrounds – acquired ear, technical and historic knowledge along with both innate and environmental influences.  This is the natural order of things, musically speaking.  All sound is at play, why make distinctions? How we wield our musical instruments is a fundamental part of our humanistic “taskscapes,” a term used by Tim Ingold, originally “to bring the perspectives of archaeology and anthropology into unison” (The Temporality of the Landscape, 1993), “the constitutive tasks of the dwelling” in this case, “musicking,” applies perfectly to instrumental and vocal play.  Such musicking, as has been hypothesized was a fundamental part of the task-scape that played so significantly in the adaptation and improvisation process that went into our early development as a species, so significant in fact it may have been a fundamental catalyst in the development of imagination and possibility.

                                                                                   

Notes on the pieces

The first three tracks make up a suite.  They were the first pieces recorded on this project, conceived and recorded as one unit, and in one take.  At Time’s Place is a play on words in acknowledgment of the constant “present” in which we live.  In this open-ended tradition of improvised music, the phenomenological act of real-time musical creation gives us a unique way to access the past and the future, if only in our minds eye of self-reflection and imagination.

Zenosyne, from the unique “Dictionary of Obscure Sorrows” by John Greene pinpoints a fundamental experience that had no clear term (in English, anyway) – the sense that time keeps going faster as you get older.  In a different frame, such an example is at the very core of improvisational experience, and I like to imagine would be part of a future established aspect of music theory for improvisation.  I am reminded of many times when an improvisation seemed to take ten minutes, and forty-five minutes had passed. While, to certain members of the audience, no doubt, it felt like two hours!

Apophenia, the perception of patterns, meanings, or connections where none exists, is also a relatively new word although the well explored phenomenon itself is not. Its first use is credited to the psychiatrist Klaus Conrad back in 1958 in his catchy-titled Die beginnende Schizophrenie: Versuch einer Gestaltanalyse des Wahns, which translates to the equally scintillating The origins of schizophrenia: A Gestalt analysis of paranoia.  It is fascinating that this word should appear to be so recent when the actual phenomenon is so old and important enough to have been a lynch-pin for philosophical study through the ages.  In Natural History of Religion (1757), philosopher David Hume (1711-1776) wrote the following:

There is a universal tendency among mankind to conceive all beings like themselves, and to transfer to every object those qualities with which they are familiarly acquainted, and of which they are intimately conscious.  We find human faces in the moon, armies in the clouds; and by a natural propensity, if not corrected by experience and reflection, ascribe malice and good will to everything that hurts or pleases us.

There is one major qualification and difference of how this idea is utilized in this work.  This is a play on the imagination – the “random” discoveries that appear to have no connections, actually uncover true, previously unseen connections and relationships.  I cannot think of a better context for the illusively connective experience of improvised music.

The Heliopause (with its syntactic musical resonance) is the boundary where the sun’s solar wind meets the faint radiation of interstellar space and is no longer strong enough to push back the stellar winds of the surrounding stars.  This is the boundary where the interstellar medium and solar wind pressures meet and balance, physics working on a grand scale, the great meeting point of astral forces locked in a dance. Imagine, even with this distance impossible for us to quantify in scale in our imagination, that this line is definitive and slender where the distant finger of our incubator solar cocoon touches the rest of the universe– what a musical thought.

42 degrees references the connection of people and light reflected in the observations of – well, rainbows.  When we see a rainbow and its band of colors we are looking at light refracted and reflected from different raindrops at an angle of between 40 and 42 degrees at all points of view – whether one person is high on a hilltop and another hundreds of feet below.  Light orients to our visual lenses, our lenses orient the angle of light.

Bow Shock, also called a detached shock or normal shock, is a curved, stationary shock wave that is found in a supersonic flow past a finite body. Similarly, Shedding vortices (vortex shedding) is an oscillating flow that takes place when a fluid such as air or water flows past a bluff (as opposed to streamlined) body at certain velocities, depending on the size and shape of the body. Both of these phenomena, for me, connect with the wind “shock” that occurs inside and across a fast material with wind and brass sound production, and illuminate the use of creating sound vortexes in so many different ways in improvised music.

Involution Engine is a function, transformation, or operator that is equal to its inverse, only applies to itself and is a function of its own inverse. for instance, in medicine, this applies to the shrinking of an organ (such as the uterus after pregnancy) or philosophy and psychology a “turning in” on one’s self.  Musical phenomena in time also have similar phenomena but have been limited in concept, I believe, because of the hard-cast association with printed, scored notation – retrograde inversion, for example. The idea of a sonic involution works exquisitely in an aural, perceived identity, much like a physically created moveable object and is far more complex and four dimensional that can be adequately represented on a typical score (mostly).

 I came up with Fissure Syndrome through pure free association upon listening to the results of this piece several times.  As it turns out, it is a kind of an Apophenia in of itself, as this term lives in the medical world as, superior orbital fissure syndrome (also known as Rochen-Duvigneaud syndrome) is a collection of symptoms caused by compression of structures just anterior to the orbital apex. The eye is to the ear, except when closed.

For Pearl of Swirl, am fascinated by the perception of sound as physical moving substance or phenomena. To me, this conceptual mega-world is in its infancy and a signification of the music theory and creative methodologies of the future of music.  Pearl of Swirl, here, references Pearl Swirl, a rheoscopic fluid created specifically to see the movement or currents in liquids. Its purpose is scientific in nature, yet, it carries commercial tendrils with trademark statuses and “secret ingredient” branding. It is at once a vital substance category for the science of fluid dynamics and other related fields in order to visualize currents, aerodynamics, turbulence, convection and other phenomena (a not so subtle nod to my father, an award winning physical oceanographer, fluid dynamicist and a very creative one, at that).  On the other side of the coin, pearl swirl is also a novel commercial ingredient added to shampoos and other liquids for the purpose of a non-functional aesthetical “swirl” effect. This duality embodies the inescapable, almost satirical relationship between real science and over-saturated reality of commerce in our culture today.

Punktuation – ‘Nuff said and done

—Glen Whitehead

 

Guerino Mazzola / Heinz Geisser: Live at Le Classique (PFMCD126)

Jeff Kaiser

[audio mp3="https://pfmentum.com/wp-content/uploads/2018/08/PFMCD126.mp3"][/audio]

Live at Le Classique

Guerino Mazzola, grand piano
Heinz Geisser, percussion

1. Umemoto’s Delight 28:47
2. Jumbo’s Flight 39:59

All music by Heinz Geisser and Guerino Mazzola (SUISA)
℗ and © 2018 All rights reserved
Recorded live at Le Classique Fujisawa, Japan on October 14, 2004
Recording Engineer: Masaaki Saito
Mastered by Aldo Borrelli at Deluxe Global Media Services, Milan, Italy
Producer of the recording session: Minol Umemoto
Graphic Design: Ted Killian

pfMENTUM
PFMCD126