Brad Dutz: When Manatees Attack (PFMCD042)

Jeff Kaiser

[playlist ids="450"]
Paul Sherman: oboe, english horn

James Sullivan: bass clarinet, G clarinet

Rachel Arnold: cello

Brad Dutz: marimba, vibes, xylophone, congas, bongos, bones, cajon, riq, doumbec, darabuka, and other percussion products he hit when the computer was on

special guest
Jasper Dutz: Bb clarinet on Insulated Potato Wedges

recorded by Wayne Peet at NEWZONE studio july 24 and 25, 2006
mixed and mastered by Wayne Peet a bit later
thanks very much to these groovy companies for
product support and endorsements: Yamaha, Paiste,
Vic Firth, Roland (Aaahh! Steve Fisher), Factory
Metal Percussion, Mountain Rythym, Remo
cover painting by Kaoru – To Osaka Airport
graphic assistance Ted Killian

the tunes:
1. Spongy Bark (7:22)
2. I’m Thinkin’ About Buyin’ A Chainsaw (8:50)
3. Insulated Potato Wedges (5:52)
4. Mutilated Grass (13:55)
5. Biff The Salesman (9:21)
6. Soiled Palm (8:37)
7. Hiram Becomes Ulysses (10:26)
8. When Manatees Attack (8:48)
total: 73:32

all selections composed by Brad Dutz except Insulated Potato Wedges
by Jasper and Brad Dutz
© Copyright 2007 Leakyspleen Music, BMI
to contact brad about bookings or comments: bdutz@dslextreme.com

pfMENTUM CD042

PFMCD042

Andrew Pask / Jonathan Besser: Griffith Park (PFMCD041)

Jeff Kaiser

[playlist ids="448"]
Andrew Pask/Jonathan Besser

JONATHAN BESSER: Piano
ANDREW PASK: Soprano Saxophone, Bass Clarinet, Live Processing

1. Magnificent Photon—2:20
2. Steam Engine Love Letter—2:58
3. Dust Bunny Meditation—3:13
4. Chessboard Cowboy—4:00
5. Coldwater Light Bulb—2:43
6. Tomato Blade—2:22
7. The Fried Judge—4:27
8. Fruit Cake—5:55
9. Cloud Formation Microscope—3:44
10. Geosynchronous Hibernation—0:52
11. Sleeping Wheel—5:12
12. Wellington Harbour—5:57

All tunes composed by Andrew Pask and Jonathan Besser, except “Wellington Harbour,” composed by Jonathan Besser, © 2006, Andrew Pask, Kaleidacousticon/ASCAP, and Jonathan Besser, Besser Music/APRA

Recorded, mixed and mastered by Wayne Peet at Newzone Studio, Los Angeles, California, June and October 2005
Photography by Annette Wu; design and layout by Steuart Liebig
www.kaleidacousticon.com
www.jonathanbesser.com

Liner Notes:

Jonathan and I were walking in Griffith Park when Wayne Peet called to say he had an opening at his recording studio. (Wayne Peet, more than anyone I have ever met, is a musician and an engineer. And is masterful at both.)

So off we went.

Jonathan and I played together many times when I lived in New Zealand, but the last time we played was in Macau, circa nineteen-ninety-something, at the Captain’s Bar of the Mandarin Oriental Hotel. Jonathan was on tour in China with Ed Ware and Nick van Dyke and I was living in Hong Kong playing in bars and doing gigs with Cantopop stars.

It was really fun to go back into the studio and record after so much time. Just as it happens in spoken conversation with a good friend, we just seemed to pick up where we left off . . .

–Andrew Pask, Los Angeles, California, April 2006

pfMENTUM CD041

PFMENTUM CD041

The Alan Lechusza / Christopher Adler Duo: Mineralia (PFMCD032)

Jeff Kaiser

[playlist ids="427"]
The Alan Lechusza / Christopher Adler Duo

ALAN LECHUSZA: e-flat clarinet, bass clarinet, soprano and baritone saxophones, ryuteki

CHRISTOPHER ADLER: Piano

1. schist
2. skarn
3. sphene
4. schorl
5. orogeny
6. Orovician
7. karst
8. gneiss
9. flysch
10. xenolith

Alan Lechusza and Christopher Adler first met and established an improvising duo early in 2000, very soon after which they recorded their debut album Pleistocene. Committed to free improvisation that fully explores the musical experiences of both artists, the duo quickly established a musical presence in San Diego. The duo has formed the nucleus of many musical projects over the past half-decade, including the Christopher Adler Trio, Metal with Reeds…Reeds of Metal, Alan Lechusza’s Side A/Side B, The Yellow Chair Ensemble, and Iguana. Performing throughout Southern California, the duo has collaborated with performers including Gustavo Aguilar, Nina Eidsheim, Christopher Garcia, Nathan Hubbard and Scott Walton. For Lechusza and Adler (both active internationally as composers, repertoire performers and scholars) the duo has been an invaluable inspiration. Their collaboration has given rise to works such as Adler’s I Want to Believe and Song for a Form Carved by Water, and Lechusza’s The Underwear Conspiracy and As the Rain Comes.

Recorded January 23, 2003 by Josef Kucera and Nathan Brock
at UCSD Music Center Studios, University of California, San Diego, California
Mastered by Wayne Peet at Newzone Studio, Los Angeles
Musician photos by Lance Nelson
Landscape photos and design by Christopher Adler
©2006 Alan Lechusza and Christopher Adler (ASCAP)

pfMENTUM CD032

PFMCD032

Michael Vlatkovich: Across 36 Continents (PFMCD030)

Jeff Kaiser

[playlist ids="423"]
Michael Vlatkovich: Trombone, Percussion
Rob Blakeslee: Trumpet, Flugelhorn
Jeff Kaiser: Trumpet
Jill Torberson: French Horn
Michael Powers: Bass Trombone
Mark Weaver: Tuba
Rich Halley: Tenor Saxophone
Kurt Peterson: Alto Saxophone/Tenor Saxophone
Alan Lechusza: Bass Clarinet
Chris Lee: Drum Set, Vibes, Percussion
Mark Weber: Narrator, Track 5

1. 5 Why Zee 1 3:53
Soloist: Vlatkovich, Kaiser, Halley, Lechusza
2. I Have These Tears 6:17
Soloist: Blakeslee, Peterson, Lee
3. Asking How Tiny Screams Rust Thousands Of
Times Beneath Enormous Rocks 7:07
Soloist: Powers, Halley
4. 8 5:31
Soloist: Blakeslee,Vlatkovich
5. Be Careful 1:54
Soloist: Vlatkovich, Kaiser, Torberson, Weber
6. 9113 6:20
Soloist: Vlatkovich, Kaiser, Torberson, Peterson, Lee
7. It’s Too Much To See Things Any More Clearly
Than One Must See Them 10:20
Soloist: Kaiser, Vlatkovich, Blakeslee, Halley
8. All Of You None Of Us Know 2:56
Soloist: Halley

Music Composed by M. Vlatkovich, (c)2005 Julius Ivory Music, ASCAP • Poem Composed by Mark Weber
Recorded and Mastered by Sean Flora, Rocket Science Recording, Portland, Oregon
Color Photos by Harlan Goldberg • B&W Photo by Charles Britt
CD Design and Layout by Jeff Kaiser

PFMCD030

PFMCD030

Dan Clucas / Immediately: Exile (PFMCD028)

Jeff Kaiser

[playlist ids="418"]
Dan Clucas: cornet
Brian Walsh: clarinet, tenor saxophone
Noah Phillips: guitar
Michael Ibarra: contrabass
Rich West: drums

1. Stating the Obvious (7:16)
2. You Say (for Bobby Bradford) (7:14)
3. Exile (for Astor Piazzolla) (8:11)
4. The Black Horn (for John Carter) (11:26)
5. Mothers and Daughters (4:24)
6. Wheat and Weeds (8:22)

all compositions by Dan Clucas, © 2005 Highland Rock Music (ASCAP)
– –

Recorded by Mark Wheaton 11/25/02
Mixed by Mark Wheaton and Rich West at Catasonic Studios, Echo Park, Los Angeles, CA
Mastered by Wayne Peet at Newzone Studio, Los Angeles, CA
Design and Layout by Jeremy Drake

– –

The imagination–it represents a futile gesture in the U.S.A.
–And yet the heart lives on it.
Allen Ginsberg, from Journals Mid-Fifties, 1954-1958

Exile is permanent. We are always aware of another locale, another point of view, another way of feeling the world, which could be ours but is not. We are also aware that our own tenuous realities are the exiles of others. We secretly suspect the greener grass to be not grass at all, but another substance entirely. Exiles long for a home from which they are displaced, or for the simple assurance of place itself. None of us is exempt; exile is not a feeling but a part of our true state.
This music came about at a time when my own sense of exile, encouraged by the events of the world, started to get the better of me. I wanted to say something that was HERE and NOW, so I wrote some music, got a band together, called it IMMEDIATELY, and we played some shows and made this recording. Whenever we played I knew that all the band members were fully present, and I felt at home. My sincere thanks to the musicians on this record, and special thanks to Rich West for the tons of support.
Dan Clucas
July 7, 2005

pfMENTUM CD028

PFMCD028

Dottie Grossman / Michael Vlatkovich: Call and Response (PFMCD021)

Jeff Kaiser

[playlist ids="402,399,401"]
Call and Response
Poems written and read by Dottie Grossman
Trombone improvisations by Michael Vlatkovich

1. If we lived on a mountaintop :44
2. The lady from Calcutta 1:05
3. What if another caveman 1:12
4. This poem is part cartoon :44
5. I’m grown up now :55
6. The hum of a place :58
7. In a sleep
In the dream
In recurring Cary Grant 1:34
8. Today I bought 1:04
9. In the canyons below 1:27
10. In the evening 1:33
11. There has been :44
12. Three Henny Youngman Poems 1:12
13. Dear Terre Haute 1:05
14. We waited the storm out 1:23
15. On a navy-blue night 1:29
16. Two about movie stars 1:34
17. The man who is more like
The murderer on his way 1:40
18. Ten P.M. 2:12
19. Six Short Cat Poems 2:04
20. The Man Who Loves His Job Makes A Poem 1:09
21. You make me laugh easily 1:27
22. Three Henny Youngman poems :58
23. Two appropriations 2:26
24. My hairdresser tells me 1:52
25. Daughter 2:52
26. In my pre-adolescent :46
27. Once upon a time 1:32
28. Two short ones 2:00
29. Three short ones 2:09
30. The weekend begins 1:35
31. Two in a row 2:46
32. Two about geography 2:02
33. Two more in a row 2:40
34. Two that seem to go together 1:19
35. …And three more Henny Youngman Poems 2:08

(c) 2004 Dottie Grossman and Michael Vlatkovich • Executive Producer: Jeff Gauthier
Art: Billy Mintz • Design and Layout: Jeff Kaiser and Dottie Grossman
Engineers: Garth Powell and Scott Looney • Best Boys: Garth Powell and Jeff Gauthier
Recorded: 6 March 2004, 1510 Studios, Oakland, CA
Recorded in real time with no overdubs or edits

A sampling of the poetry…

1.
If we lived on a mountaintop,
the fog would rise up every night,
so thick you could run a comb through it.
Every morning would look like a barbershop,
with wet floors full of leftover curls.

2.
The lady from Calcutta
is taking a breather
in the California sun.
She sits by the freeway
eating ice cream
and thinks that the freeway
is a kind of Ganges,
all foamy and shining with light.
Oh, lady from Calcutta,
you never had it so good.

3.
What if another caveman
had my hands,
after they saw me
through my teens
and spent the sixties
with me?
Could somebody else
respect that?
And would the tracery
of my lifeline
meander differently
on, say, you?

4.
This poem is part cartoon
and part injection.
I hope it has the clarity of wind chimes
or the bloody sparkle of broken glass.

5.
I’m grown up, now,
but I still find
human babies
menacing:
especially
the way they bob
their smiling,
ornamental heads.
I don’t trust them
when the filtered light
of winter
cleans the empty beach
between storms
and exposes
the desert hideouts
of dead Indians
and their toys.

6.
The hum of a place
tells me everything’s working.
I love the electrical breaths
of us and our gear,
doing pushups.

7. Three Poems…

1.
In a sleep
ruffled by guilt,
I dream of my family,
praying together,
childishly.
They are so small
that I suddenly understand
their common nightmare,
and why they call themselves
by one name.

2.
In the dream
of skyscrapers
as paper dolls,
each has its wardrobe
of tenants
that can be moved
around forever.

3.
In recurring Cary Grant
Dream Number One,
he appears on Christmas Eve
to bless the animals.

pfMENTUM CD021

PFMCD021

The Jeff Kaiser Ockodektet: The Alchemical Mass and The Kaiser / Diaz-Infante Sextet: Suite Solutio (PFMCD019)

Jeff Kaiser

[playlist ids="396,393,395"]
The Jeff Kaiser Ockodektet: The Alchemical Mass

The Kaiser/Diaz-Infante Sextet: Suite Solutio

The Jeff Kaiser Ockodektet with The Ojai Camerata

Woodwinds: Vinny Golia, Eric Barber, Jason Mears * Trumpet/Flugelhorn: Kris Tiner * Trombone: Michael Vlatkovich
Tuba: Mark Weaver * Bass: Jim Connolly * Prepared Acoustic Guitar: Ernesto Diaz-Infante * Acoustic Piano: Wayne Peet
Percussion: Brad Dutz * Drum Set: Richie West * Jeff Kaiser: Conductor, Flugelhorn

The Ojai Camerata:
Sopranos: Diane Besocke, Candace Delbo, Eleanor Land,
Laura Johnson-Bickford, Lu Setnicka
Altos: Gwen Erickson, Lisa Gordon, Katherine Halsey,
Holly Mitchem, Zoe Pietrycha
Tenors: Carla Aiello, Jaye Hersh, J.B. White
Basses: Dave Farber, Jim Halverson, Kurt Meyer, Bill Wagner
Dr. Wyant Morton, Director

The Alchemical Mass
Conducted by Jeff Kaiser and Dr. Wyant Morton
1. Introitus 10:28
[Eric Barber, Soprano Sax * Vinny Golia, Sopranino Sax]
2. Kyrie 3:00
3. Collecta and Gloria 2:33
[Kris Tiner, Flugelhorn]
4. Epistola and Graduale 1:44
5. Offertorium 9:03
[Jeff Kaiser, Flugelhorn * Jason Mears, Alto Sax]
6. Ave Maria and Commune 7:16

Kaiser/Diaz-Infante Sextet
Trumpet/Flugelhorn: Jeff Kaiser * Prepared Acoustic Guitar: Ernesto Diaz-Infante
Trombone: Scot Ray * Bass: Jim Connolly * Percussion: Brad Dutz * Drum Set: Richie West

Suite Solutio
7. Part I 2:38
8. Part II 1:25
9. Part III 5:06
10. Part IV 5:49
11. Part V 4:19
Total Playing Time 53:21

All compositions and arrangements by Jeff Kaiser * (C)2004 Jeff Kaiser Music, ASCAP
The Alchemical Mass was recorded 4.26.03 at the First United Methodist Church in Ventura, CA
Recorded, mixed, and mastered by Wayne Peet
Suite Solutio was recorded 2.25.01 at Zircon Skye in Ojai, CA
Recorded by Jeff Evans * Mixed and mastered by Jeff Kaiser
Photographs by Michael Kelly * Design and layout by Jeff Kaiser

The Alchemical Mass is dedicated to Keith McMullen for his friendship and unending supply of prima materia.
In Stercore Invenitur

Liner Notes:

“Obscurum Per Obscurius.”
[Explaining the obscure by the more obscure.]

-Anonymous Alchemical Quote

“It is true that alchemy always stood on the verge of heresy and that certain decrees leave no doubt as to the Church’s attitude towards it, but on the other hand it was effectively protected by the obscurity of its symbolism, which could always be explained by harmless allegory…The alchemists ran counter to the Church in preferring to seek through knowledge rather than to find through faith, though as medieval people they never thought of themselves as anything but good Christians…But in reality they were in much the same position as modern man, who prefers immediate personal experience to belief in traditional ideas, or rather has it forced upon him…For this reason there have always been people who, not satisfied with the dominants of conscious life, set forth – under cover and by devious paths, to their destruction or salvation – to seek direct experience of the eternal roots…”

-C.G. Jung, Psychology and Alchemy

Nicholas Melchior Cibenensis – chaplain and court astrologer to Ladislaus I (King of Hungary and Bohemia) and then Louis II – wrote the text of The Alchemical Mass between 1490 and 1516. Following the death of Louis II in 1526, Cibenensis fled to Vienna…where Ferdinand I would execute him in 1531. The original text is quite long and has been paraphrased for this composition.

Introitus Missae:
Fundamentum vero artis est corporum solutio quae, non in aquam nubis, sed in aquam mercurialem resolvenda sunt, ex qua generatur verus lapis philosophorum. [The basis of the Art is the dissolution of the bodies…]
Versus: Introitus vitrioli, et salis vitri, aequales partes, dans solutionis testimonium: Gloria patri, et filio, per spiritum sanctum.

Kyrie:
Kyrie, fons bonitatis, inspirator sacrae artis, a quo bona cuncta tuis fidelibus procedunt, Eleison.
Christe, Hagie, lapis benedicte artis scientiae qui pro mundi salute inspirasti lumen scientiae, Eleison.
Kyrie, ignis divine, pectora nostra juva, ut pro tua laude pariter sacramenta artis expandere possimus, Eleison.
[Our Lord, fount of goodness, inspirer of the sacred art, from whom all good things come to your faithful, have mercy. Christ, Holy one, blessed stone of the art of the science who for the salvation of the world hast inspired the light of the science, have mercy. Our Lord, divine fire, help our hearts, that we may be able, to your praise, to expand the sacraments of the art, have mercy.]

Collecta:
Deus largitor totius bonitatis, qui maxime in fine temporum; sola tua bonitate et sapientia famulo tuo. N.N. non suis meritis praecedentibus: sed tua ineffabili pietate, et gratia praeveniente, lumen sacrae artis alchemiae inspirasti, praesta quae sumus, ut quod ex tuae maiestatis dono accepit, ad salutem corporis, et animae eius prosit, in ipsoque omnia vitia mortifica, et gratiam virtutis infunde, ut eandem sacram artem solum modo ad laudem, et gloriam nominis tui, et fidei Christianae propagationem, fideliter expendat, per dominum nostrum Jesum Christum, Amen.
[May thy servant N.N. practice the sacred Art of alchemy to the glory of God…]

Gloria in excelsis

Epistola:
O altitudo divitiarum sapientiae, et scientiae Dei.
[O profound, wise and knowledgeable God.]

Graduale:
Surge aquilo et veni auster: perfla hortum meum, et fluant aromata illius.
[Arise north wind, and come south wind, blow through my garden and let the aromatical spices flow.]

Ave Maria:
Salve, O caeli iubar speciosum, mundi lumen radiosum; hic cum luna copularis, sit copula martialis, et Mercurii coniunctio. Ecce res est una, radix una, essentia una…qui est lapis philosophorum. Hic est thesaurus thesaurorum, summa medicina philosophorum, caeleste secretum antiquorum, beatus, qui hoc invenerit.
[Hail beautiful lamp of heaven, shining light of the world! Here art thou united with the moon, here is made the band of Mars and the conjunction of Mercury. And behold it is one thing, one root, one essence…this being the stone of the philosophers. It is the treasure of treasures, the supreme philosophical potion, the divine secret of the ancients. Blessed is he that finds such thing.]

Commune: Regem nostrum venientem ex igne, illuminatum, et diademate coronatum, ipsum honorate in perpetuum. Amen.
[Glory be to our king who comes out of the fire, who is illumined, and crowned with the diadem, for ever and ever. Amen.]

I wish to thank Dr. Wyant Morton and the Ojai Camerata for commissioning this work and The City of Ventura’s Office of Cultural Affairs for a grant to fund The Jeff Kaiser Ockodektet. I would also like to thank Adam McLean, author of over 40 books on alchemical and hermetic literature, who took the time out of his busy schedule to send me the complete Latin text of The Alchemical Mass with translation. Visit his web site at: www.levity.com/alchemy/ for text and art on all facets of alchemy.

pfMENTUM CD019

PFMCD019

Tom McNalley Trio: Tom McNalley Trio (PFMCD018)

Jeff Kaiser

[playlist ids="391"]
Tom McNalley Trio

Tom McNalley: guitar
Jonas Tauber: bass
Ken Ollis: drums

1) Reddog 18:32
2) Orange Needle Society 13:53
3) ZHE 14:34
4) Mourned 9:54
5) Gallery 421 7:30
6) Loss 8:01
Total Playing Time: 72:24

All compositions by Tom McNalley, (C)2004 Tom McNalley Music, ASCAP
Recorded at Cappos Cafe, 10.6.03 by Keegan Quinn
CD mastering, art design, and layout by Jeff Kaiser
Photographs by Jonas Tauber and Tom McNalley

After getting the initial version of this CD, I sent copies to several people to see what they thought. One was my friend, author and music critic Richard Meltzer. He called and said that he loves the CD – very much, in fact – and if I wanted liner notes, he would write them. Naturally, and with gratitude, I took him up. — Tom McNalley
******

Hey, listen — I got something important to tell you:

Tom McNalley is the youngest Great Musician I’ve ever encountered.

Great! Amazing! To put things in even partial perspective, the last young’un anywhere near as adept and inventive and passionately original was probably David Murray, pre-WSQ, back when he was still a ferocious motherfucker.

Tom McNalley IS a ferocious motherfucker. By turns savage and tender — a killer and healer — nutso and nutty, then logical/lucid as Jerkoff Sebastian Bach, his playing is as hotly/coolly/sanely/madly a-dance and a-prance (at peace-and-war) with abstract notions as it is with direct emotional one-on-one — “interest” and “feeling” existentially melded (no mean feat) — “jazzy” in the least jaded, least guitar-baggaged, most mammal-elegant sense, while partaking EQUALLY of the dirty screaming scuzz of postwar blues and rock rock rock and roll…fuggit.

Sophisticated beyond its maker’s 21 years, Tom’s music spins, spills and spits forth whole vast sonic WORLDS (pardon my French), but if you’re lookin’ to hear Other Guitarists in his playing, well, you won’t hear other guitarists in his playing. Okay, splashes and soundings maybe — f’r sure he’s picked up “things” from Hendrix, McLaughlin, Sharrock, Nels Cline, Derek Bailey, Alberts Collins and King — but rarely anything as explicit as a borrowed “idea,” a riff, even a lick.

“I’ve never been lick-oriented,” says Tom. “I’ve tried to develop a sense of melody that will serve me, that’ll do me some good, and I always like to see how others handle it, but not through their licks.”

By “melody,” um, you mean tunes? Tunefulness?

“No, more like just the basis for telling a story — the unique and individual approaches of players I admire, the ones who seem to be emotionally honest, who have the chops to communicate directly and honestly. Most aren’t even guitarists. Rob Blakeslee is and has been very important to me, seeing how he makes the music that is his — the concepts he brings to his trumpet playing.

Ayler…Braxton…Charlie Parker, certainly — but not for anything to do with ‘bebop.’ Bebop as such has very little meaning to me.”
And what is the importance, the weight in the equation, of “free”?

“In a sense, I view composition as no more than a set of instructions for the band. There are things I want to happen, but they’re general. I like looseness — flexibility — so the music can go anywhere. In some cases there’ll be a written line, but usually no more than a suggestion of bass line, rhythmic groove, things like that. Half the tunes in this set, on this recording, are freely improvised — completely — there’s no written or suggested anything. Even the stuff that sounds written is very spur-of-the-moment. In real time, not trying to play to a pre-existent notion, but at the same time going for and building a musical totality, the players communicated the compositions to each other. We just played and listened.”

Played and listened: dig it!

Look, I don’t wanna make with the ultra-superlatives again — well, maybe I do — but this here album, on which Tom, bassist Jonas Tauber and drummer Ken Ollis explore, with extreme malice (and extreme care and definitude), the MYSTERY OF INTIMACY — stripmine it — achieve near-total communion — is to my ears the HOTTEST debut alb by a guitar guy & co. since Are You Experienced? Hendrix. Before you were born (that’s how old I am).

It is also — pardon my carried-away — one of the great trio albs, period, y’know like ever, up there with Trio in Real Time by Richard Grossman, the v. best of Bill Evans with Scott LaFaro and Paul Motian, and the bestest by Air with Steve McCall. The music these humpers make together is outstanding and astounding…I wouldn’t shit ya.

Hey — I love this record — ‘scuse me — disc. I hope you will too.

— Richard Meltzer, Portland, 2004

pfMENTUM CD018

PFMCD018

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