Hannes Giger and Joey Oz: Hear…or what? (PFMCD002)

Jeff Kaiser

[Please note: This disc is out-of-print, this page is for archival purposes.]

Hannes Giger: contrabass

Joey Oz: vibes and percussion

HEAR is an ongoing collaboration that began in 1994. All the music is improvised with some of the pieces based on minimal formal or thematic concepts. Besides playing the traditional sounds of vibes and contrabass, the HEAR musicians spend a lot of time expanding the sonic vocabulary of their instruments. Spoken words have also begun to find their way into the HEAR performance.

Erich “Joey Oz” Fischer lives in Aarau, Switzerland. He studied trumpet, percussion and timpani at the conservatory in Zurich and attended the Berklee college of Music in Boston in 1992. He teaches drum set at the Music Academy Basel and since 1988 has worked in a variety of jazz, latin and rock bands as vibraphonist, composer and arranger.

Hannes Giger, lives in Los Angeles, California. He studied contrabass at conservatories in Basel and Geneva, Switzerland, at the University of Cincinnati and the University of California, San Diego. Since 1991 he has performed in the United States, Asia and Europe and has ventured into a variety of styles, from classical to contemporary music, from traditional music to free jazz and performance art.

pfMENTUM CD002

PFMCD002

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

Emily Hay / Steuart Liebig Duo: Nomads (PFMCD118)

Jeff Kaiser

[playlist ids="1370"]

Nomads

Emily Hay/Steuart Liebig Duo

Emily Hay: Flutes/Voice/Electronics
Steuart Liebig: Basses/Electronics

1. Santa Ana Noise Festival 1:29
2. Saint Mark’s 17:32
3. VU Symposium 02 5:04
4. Shapeshifter Lab 01 17:00
5. Shapeshifter Lab 02 5:14
6. VU Symposium 01 9:03
7. NorCal Noise Festival 19:28

1: Recorded by Mark A. Soden Jr., Santa Ana, CA, December 2015
2: Recorded by Thomas Kozumplik, Glendale, CA, February 2016
3 and 6: Recorded by Devin Maxwell, Park City, UT, July 2016
4 and 5: Recorded by Stephanie Shapiro, Brooklyn, NY, September 2016
7: Recorded by Lob Instagon, Sacramento, CA, October 2016

Mixed and Mastered by Wayne Peet at Newzone Studios

℗ and © 2018 Emily Hay (Emily Hay Music/BMI) Steuart Liebig (Sisong Music/ASCAP)

pfMENTUM
PFMCD118

Virtual Tour: A Reduced Carbon Footprint Concert Series. Featuring Mark Dresser, Michael Dessen, Nicole Mitchell, Sarah Weaver, Gerry Hemingway and more.

Mark Dresser / Nicole Mitchell / Myra Melford / Michael Dessen: Virtual Tour: A Reduced Carbon Footprint Concert Series (PFMDVD094)

Jeff Kaiser

In April 2013, a quartet of renowned composer-improvisers—Mark Dresser, Nicole Mitchell, Myra Melford and Michael Dessen—performed an unprecedented “virtual tour” of new music conceived for world-class musicians performing together live in different geographic locations via Internet2. Building on years of prior telematic collaborations and using high-speed bandwidth available only at research and educational institutions, Virtual Tour linked performers and audiences across thousands of miles, using lifelike, uncompressed audio and high definition video to set a new standard for telematic music making. The core quartet, based in San Diego, California, collaborated with a different remote ensemble for each of the three concerts: Jason Robinson, Marty Ehrlich and Bob Weiner in Amherst, Massachusetts; Matthias Ziegler and Gerry Hemingway in Zurich, Switzerland; and Sarah Weaver, Ray Anderson, Jane Ira Bloom, Min Xiao-Fen, and Matt Wilson in Stony Brook, New York. With footage from all three concerts and featuring eleven world premieres designed specifically to explore the unique potentials of this medium, this DVD documents an important step forward in bringing world-class creative music to the telematic stage. Please visit http://virtualtour2013.com for more information on this project.

Total run time approximately 193 minutes

Virtual Tour:

Amherst Concert:
Mr. Not-So TC, composed by Mark Dresser (14:29) (Del Dresser Music/ASCAP)
For Instance, Today, composed by Michael Dessen (16:22) (Cronopio Music/ASCAP)
The Story of My Anxiety, composed by Marty Ehrlich (9:41) (Dark Sounds Music/BMI)
God’s Bits of Wood, composed by Nicole Mitchell (6:25) (Wheatgoddess Creations/ASCAP)
Noema, composed by Jason Robinson (11:59)(Circumvention Music/ASCAP)

Performers in Amherst, MA: Marty Ehrlich, alto saxophone and bass clarinet; Jason Robinson, tenor saxophone and alto flute; Bob Weiner, drums

Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Zurich Concert:
3 Stories, composed by Gerry Hemingway (19:22)(Nagual Music/GEMA/BMI)
Between Walls, composed by Nicole Mitchell (9:45) (Wheatgoddess Creations/ASCAP)
SubTeleToning, composed by Mark Dresser (21:14) (Del Dresser Music/ASCAP)
Buffered Fragments, composed by Matthias Ziegler (14:48) (Matthias Zieger/SUISA)

Performers in Zurich, Switzerland:
Matthias Ziegler, flute; Gerry Hemingway, drums
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Stony Brook Concert:
Universal Synchrony Music: Volume 1, composed by Sarah Weaver (30:30) (Sarah Weaver Music Publishing, ASCAP)
SubTeleToning, composed by Mark Dresser (25:16) (Del Dresser Music/ASCAP)
Telepathology, composed by Nicole Mitchell (14:41) (Wheatgoddess Creations/ASCAP)

Performers in Stony Brook, NY:
Sarah Weaver, conductor; Jane Ira Bloom, soprano saxophone; Ray Anderson, trombone; Min Xiao Fen, pipa; Matt Wilson, drums; Doug Van Nort, laptop (on Universal Synchrony Music: Volume 1)
Performers in San Diego, CA: Nicole Mitchell, flute; Michael Dessen, trombone; Myra Melford, piano; Mark Dresser, bass

Additional content:
Program notes for all compositions
Interview with Virtual Tour co-directors Mark Dresser and Michael Dessen

Locations and dates/times:

San Diego location for all 3 performances:
Conrad Prebys Music Center Theatre, University of California, San Diego, CA

For Amherst Concert:
7pm PDT/10pm EDT, April 5, 2013
Buckley Recital Hall, Amherst College, Amherst, MA
For Zurich Concert:
12pm PDT/9pm CET, April 6, 2013
Institute for Computer Music and Technology (ICST), Zurich, Switzerland

For Stony Brook Concert:
4pm PDT/7pm EDT, April 7, 2013
Simons Center for Geometry and Physics, with support from Consortium for Digital Arts, Culture and Technology (cDACT), Stony Brook University, Stony Brook, NY

Production Credits:

Project Directors:
Co-directors of Virtual Tour: Mark Dresser and Michael Dessen
Amherst site director: Jason Robinson
Zurich site director: Matthias Ziegler
Stony Brook site director: Sarah Weaver

In San Diego, CA:
Trevor Henthorn, technology director
Josef Kucera, technology consultant
Antonio Estrada and Andrew Johnson, local audio
Isaac Garcia Muñoz, network audio
Michael Ricca, audio recording
Daniel Ross, recording assistant
Yeung-ping Chen, network video
Kyle Johnson and Ash Smith, documentation video
Jennifer Bewerse, promotion design

In Amherst, MA:
Edmund Keyes, production assistant
Mark Santolucito, production assistant, audio networking
Joshua Baum, production assistant, video networking
Dan Richardson, sound engineer
Rob Ansaldo, networking assistance
Sara Leonard, lighting
Ross Karre and company, video documentation

In Zurich, Switzerland:
Johannes Schütt, network director
Joel de Giovanni and Benjamin Burger, video direction
Daniel Späti, stage director
Simon Könz, sound engineer

In Stony Brook, NY:
Kevin Schinstock, live audio, audio recording
Derek Kwan, network audio
Timothy Vallier, network video
Ross Karre and company, live video, video documentation
Jeanette Oi-Suk Yew, lighting

Post-production:
Audio mixing/mastering: Michael Dessen, Jason Robinson, Stephanie Robinson, Kevin Schinstock, Sarah Weaver, Gerry Hemingway, and Joe Branciforte
Video editing: Ross Karre
DVD production: Trevor Henthorn
Graphic design: Ted Killian

pfMENTUM DVD094
PFMDVD094

Michael Vlatkovich / Anna Homler / Jeff Kaiser / Scott Walton / Rich West: Here & Here & Here (PFMCD084)

Jeff Kaiser

[playlist ids="555,557,553"]
Michael Vlatkovich: trombone, percussion
Anna Homler: vocal, percussion
Jeff Kaiser: trumpet, flugelhorn
Scott Walton: acoustic bass
Rich West: drums, percussion

1. Dragon Beware (2:47)
2. Here & Here & Here (7:28)
3. Red Coda Soft (8:21)
4. Before But After (2:09)
5. Spark (5:20)
6. Big Doors Little Windows (3:49)
7. Oranger Than Happiness (3:10)
8. Round Triangles (3:41)
9. Your Ark Is Waiting (2:39)
10. Three In Front Four in Back Toes (2:41)
11. Salute (1:41)
12. Choir hose 293 (3:02)
13. Pfazzu (2:48)
14. Thunderous Silence (3:33)
15. Potozo (2:44)
Recorded 1-20-14 edited, mixed & mastered 2-4-14
Newzone Studio Los Angeles Wayne Peet engineer
Photos Julia Fitzgerald * Layout Jeff Kaiser

pfMENTUM CD084

PFMCD084

Jeff Denson and Joshua White: I’ll Fly Away (PFMCD081)

Jeff Kaiser

[playlist ids="547"]
I’ll Fly Away

Jeff Denson: Double Bass
Joshua White: Piano

1. I’ll Fly Away (Version One) (Albert E. Brumley) 4:34
2. Lord, I Want to be a Christian (African American Spiritual) 5:19
3. Down at the Cross (Elisha A. Hoffman/John H. Stockton) 5:22
4. Amazing Grace (Anonymous) 5:47
5. I’ll Fly Away (Version Two) (Albert E. Brumley) 3:53
6. What a Friend We Have in Jesus (Charles Crozat Converse) 6:11
7. When the Saints Go Marching In (Anonymous) 4:12
8. Just As I Am (Charlotte Elliot/William B. Bradbury) 3:57
9. Crying in the Chapel (Artie Glenn) 3:10
10. In the Garden (C. Austin Miles) 5:04
11. I’ll Fly Away (Version Three) (Albert E. Brumley) 2:41

Recorded and Mixed by Adam Munoz at Fantasy Studios in Berkeley, CA March 4-5, 2013
Mastered by Myles Boisen at Headless Buddha Studios in Oakland, CA on December 28, 2013

Art and Layout by Ted Killian

“I’ll Fly Away” Copyright 1960 by Albert E. Brumley & Sons. Used by permission.
“Crying in the Chapel” Copyright 1953 by Unichappell Music Inc. Used by permission.

This recording is dedicated to my grandmother, Bonnie Denson whose unwavering faith and joyous spirit have been an inspiration to all whom have had the pleasure to know her and my to mother, Gwen Denson for her love, support and friendship. Without family we are lost.

pfMENTUM CD081

PFMCD081

Jeff Denson and Claudio Puntin: TWO (PFMCD075)

Jeff Kaiser

[playlist ids="535"]
Two

Jeff Denson: double bass and voice
Claudio Puntin: clarinet, bass clarinet, analog preparations, tarcas

01 Harbor of Fog 6:32
02 Plan B 4:04
03 Black Lilies 6:45
04 Variation on a Point Of View 6:49
05 Nobody Bothers Me Either 4:49
06 A Sunday Afternoon and Still Surprising 3:19
07 Frozen Oscillations 5:17
08 Un Sueño Distante 3:00
09 First Take—Scanning Souls 3:24
10 You Don’t Say 5:08
11 Ghosts in the Walls 2:57
12 Desperate 4:54

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

It began on a sunny day in Cologne, Germany in 2008,
and ended two years later on a rainy day in Berlin:

Two musicians
from two continents,
two years apart,
on two different days,
in two different cities
met and recorded this music without discussion or plan…

…two years later the recording was mastered.

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

Improvised and recorded without overdubs.
All music © 2013 Jeff Denson, ASCAP and Claudio Puntin, GEMA
jeffdenson.com/puntin.com

Recorded and mixed by Claudio Puntin at Cl-Audio Studio Köln on 19 October 2008
and Cl-Audio Studio Berlin on 21 March 2010
Mastered by Andreas Kolinski, January 2012, www.akmusique.de
Cover Art by Claudio Puntin
Layout by Ted Killian

pfMENTUM CD075

PFMCD075

Louis Lopez / Mike Lockwood / Daniel Eaton: Grampus / Ilk Ilk (PFMCD068)

Jeff Kaiser

[playlist ids="520"]
Grampus

Louis Lopez: trumpet, voice, laptop
Mike Lockwood: drums, percussion
Daniel Eaton: trombone, analog synth, laptop

1. Grampthem 6:46
2. Chart no. 2 7:28
3. Hydrosphere Here 3:19
4. Chortle of the Bakunawa 3:26
5. Impish Saddleride 4:08
6. Spyhobbing 4:08
7. Lozen 6:17
8. Ull 2:42
9. Mu Chart 3:51
10. Large Indefinite Quantity 5:35
11. Hot Air Ballon 6:41
12. ILKILKILKILKIL

All improvisations recorded live 6.19.11 and 7.15.11
CalArts Dizzy Gillespie Recording Studio, Valencia, CA
All music © by Louis Lopez, ASCAP; Daniel Eaton ASCAP; Mike Lockwood ASCAP
Mixed by GRAMPUS
Mastered by Wayne Peet
Album design and cover art by Kangmin Kim
Additional photography by Lauren Randolph

pfMENTUM CD068

PFMCD068

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