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Greg Saunier / Mary Halvorson / Ron Miles: New American Songbooks, Volume 1 [VINYL] (Sound American/Pleasure of the Text Records)

Two essential Downtown New York improvisers--guitarist Mary Halvorson and trumpeter Ron Miles--are joined by drummer Greg Saunier of Deerhoof in response to Nate Wooley's request that the three expand the American Songbook in astouding instrumental versions of music by Fiona Apple, Elliott Smith, The Partridge Family, John Williams, James P. Johnson, &c. ... Click to View


Large Unit: Fluku (PNL)

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Konstrukt / Keiji Haino: A Philosophy Warping, Little By Little That Way Lies A Quagmire [VINYL] (KARLRECORDS)

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Albert Ayler: Bells (White Vinyl 180gm) [VINYL] (ESP-Disk)

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Xavier Charles / Michel F Cote / Franz Hautzinger / Philippe Lauzier / Eric Normand: Torche! (Tour de Bras)

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Fraufraulein: Heavy Objects [CASSETTE] (Marginal Frequency)

The duo of Brooklyn electronics, field recording, bass guitar and french horn artists Billy Gomberg and Anne Guthrie, using musical and abstract sounds to create something between the concrete textures of field recording and spontaneous composition, presenting restrained yet detailed sound that engages the listener through transition and mystery. ... Click to View


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Mars Williams presents (w/ Berman / Lonberg-Holdm / Baker / Kessler / Sandstrom / Hunt): An Ayler Xmas: The Music of Albert Ayler & Songs of Christmas (Soul What Records)

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Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Unusual Words (Soul What Records)

A CD intended to sell at concerts from Mars Williams' own Soul What Records label, a studio recording in 2012 from the powerhouse trio of Chicago multi-reedist Mars Williams, in-demand Norwegian drummer/percussionist Paal Nilssen-Love, and Chicago bassist Kent Kessler, running the gamut from furious blowing to introspective interaction. ... Click to View


Elliott Sharp / Mary Halvorson / Marc Ribot: ERR Guitar (Intakt)

Elliott Sharp's New York Studio zOaR was the meeting place for three New York guitarists--Sharp himself, Mary Halvorson, and Marc Ribot--who find common ground by blending a variety of approaches to the instrument in 12 excellent and generally succinct collective improvisations, stretching, bending, plucking and inexplicably effecting their guitars. ... Click to View


John Cage: Klang der Wandlungen [3 CDs] (Edition Rz)

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann. ... Click to View


Jurg Frey: L'ame Est Sans Retenue I [5 CDs] (erstwhile)

A massive work from composer Jurg Frey focused on the dynamic relationship between sound and silence, and how it can affect our perception of the silence in a frame of space and time, using environmental sounds of field recordings and silence to create a massive work over six hours, modifying pitch, rhythm, dynamics, texture, and overtone, here properly released on 5 CDs. ... Click to View


Michael Pisaro / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier: Organ For The Senses (Marginal Frequency)

San Diego's Parkeology director Kate Clark and composer Samuel Dunscombe organized this concert to take advantage of the Balboa Park's Spreckels Organ, inviting local and regional experimental composers to develop works for the 5,017 pipe instrument, attracting artists like Michael Pisaro, Samuel Dunscombe, Steven Andrew Flato, Wen Liu, &c. ... Click to View


Jon Irabagon / Joe Fiedler / Todd Neufeld: In Formation Network (Nuscope)

Saxophonist Jon Irabagon, trombonist Joe Fiedler, and guitarist Todd Neufeld met in April, 2017 in Mount Vernon at the Oktaven Audio studio to record these nine varied compositions, presenting a unifying trio sound and identity that reflects Chicago's Giuffre trio, but with a unique collective attitude as the trio employs a varied set of compositional strategies. ... Click to View


Joe McPhee: The Willisau Concert (Corbett vs. Dempsey)

Recorded in 1975 at the Swiss Willisau Jazz Festival, Joe McPhee's trio with John Synder on synth and Makaya Ntshoko on drums, and McPhee on tenor and sopranox sax, was Hat Hut's 2nd release and has been out of print since; Corbett vs. Dempsey asked McPhee what unavailable album he'd like to see in print, and this suberb album was his first choice. ... Click to View


Eugene Chadbourne : The Lost Eddie Chatterbox Session [2017 REISSUE] (Corbett vs. Dempsey)

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered. ... Click to View


Sun Ra: Discipline 27-II [2017 REMASTER] (Corbett vs. Dempsey)

The 2nd volume in Sun Ra's "Discipline" series was recorded during the same sessions as 1972's Impulse release "Space Is the Place", with Sun Ra on electronic keyboards and Moog, and a large band including Marshall Allen, John Gilmore, Danny Davis, Akh Tal Ebah, June Tyson, &c. ... Click to View


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  Great Minds at Play  

Finding Art in Science, Monthly at Cornelia Street Cafe


By Matt Rand 2003-06-24

A room full of people who have just held in their hands a meteorite that hit the earth in 1576 is a tough room to play. And so it was that a good portion of the audience at Cornelia Street Cafe's "Entertaining Science" night (this one was "Heavy Metals") had left by the time Elliott Sharp picked up his miniature steel guitar. They had stayed through Oliver Sacks' lecture on the weights and properties of various metals, complete with fun handouts such as the meteorite, and even through David Brush's detailed explanation of the manner in which he sculpts with gold and steel. Both had something very tangible in common, in that both discussed specific ways that specific metals acted in specific situations.

So when Sharp took off his hat and started to set up his instrument and effects, people might have thought that this would either be too gimmicky ("Look, I'm making noise from metals!") or too vague ("Here is an ode to metal, bittersweet metal.").

Among those who stayed, however, was the inventor of fractal geometry, Benoit Mandelbrot. He was in for a treat, as Sharp warmed up with a series of harmonics played against a droning open string. Then, suddenly, he was playing a weepy slide melody, but the harmonics, fed through a delay pedal, hadn't stopped.

With the looping, he was able to add layer upon layer of new sound, from sliding melodies to distorted riffs to ethereal harmonics. However he didn't use the loops to create a bottomless cacophony. He let the more distant sounds slip out the back door, so that the sound at any given moment was a fluid combination of only the last couple of things that he had done.

Maybe Sharp got Mandelbrot's attention with the pattern, zooming into a space, exploring it, picking a spot and zooming in some more. The implication was that the piece could have been infinite, rather than a structured musical form.

"Entertaining Science" began on a whim. Los Angeles Timesscience writer and UCLA teacher KC Cole had written a book on the concept of nothing (The Hole in the Universe: How Scientists Peered into the Edge of Emptiness and Found Everything) and she wanted to do a reading at the restaurant and performance space Cornelia Street Cafe in Manhattan's West Village. Robin Hirsch, co-owner and founder of the cafe and a long-time friend of Cole's, however, was concerned that the reading wouldn't draw enough of a crowd to make any money.

As Hirsch told the story: "So she said, 'Well, how about me and Roald Hoffmann?' and I said 'Who's he?' 'He's a poet and he's a nobel laureate in chemistry.' And I said, 'Well in all candor, nobody is going to come for him either.' 'Well, so how about me, Roald and Oliver Sacks?' And it was an incredible night."

There was a write-up in the New Yorker, pegged on Sacks' appearance (Sacks is an NYU neuroscientist with an interest in unusual psychological phenomena, and is the author of The Man Who Mistook His Wife For a Hat, Awakenings and Uncle Tungsten, among other works). Anywhere between 150 and 300 people showed up, depending on whom you ask. Either way, it was more than the 85-person occupancy of the basement room where the event takes place. According to Sacks, "it was very much an experiment then, which rose almost by chance," but Hirsch and Hoffmann decided to make it a monthly event, with Hoffmann becoming the event's curator.

In January, 2002, the series began, individual nights usually centering around a theme, such as "Heavy Metals," "What's So Funny About Science?" and "Get Lost in Translation." With his vast network of friends and colleagues, Hoffmann manages to find three people per month to round out the program, though he sometimes uses fewer if a scientist can also sing, dance or otherwise entertain. No one gets paid, but there is a free dinner in it for the participants. "They sing for their supper," Hirsch said.

Sacks, who has attended almost every month, said it has been so successful because it's "informal, not like going to a lecture, and it's conversational, interactive. Roald has had some extraordinary and important people coming and there's a great hunger for contact with scientific ideas and artistic expression."

But the informality can also lead to difficulties in booking people used to academic settings. "Sometimes I have to twist the scientists' hands a little bit to get them to participate," Hoffman said. "There are a lot of great scientists who are just afraid of standing in front of a stage in a Cafe."

About a month after "Heavy Metals," the subject of the next "Entertaining Science" event was music itself, or "Music on the Brain." Neurobiologist Fredrik Ullen of the Karolinska Institute in Sweden and psychologist and cognitive scientist Carol Krumhansl from Cornell spoke about the brain's perception of music. Krumhansl discussed the perception of musical key and how that relates to the idea of expectation (such as you expect the song "Happy Birthday" to resolve in the same key in which it started). Ullen, who is also a renowned pianist, discussed the organization of various parts of the brain involved in making the rhythmic movements involved in playing an instrument, and performed compositions by Gyorgy Ligeti and Frederic Chopin on the piano.

There was, though, a disconnect between Ullen's lecture and his performance. His style on the piano, even while playing Chopin, was sober and unromantic. He played crisp, clear notes that brought out the structure of Chopin's writing rather than getting lost in the emotion of the piece. Then, even if the audience was still caught in Chopin's lilting melodies or Ligeti's churning rhythms, Ullen was not. He had stood up from the piano and he was already speaking and giving a PowerPoint demonstration. He would sit back down at the piano again, but just as an interlude oras an example during Krumhansl's talk. His music was his music and his science was his science. That his science was built around music did not seem to feed anything back into the music-making.

This is the difference between the science of music and the music of science. From one side of the table, scientists like Ullen and Krumhansl, or Sacks with his studies of music as a blueprint for motion for Parkinson's patients, attempt to find out why existing music affects us like it does. On the other side, Sharp is intent on creating music that seizes on the patterns that science has detected in nature. His compositions often follow structures based on the discoveries of mathematicians such as Fibonacci and Mandelbrot.

In the early 1970s, Sharp was studying music at Bard College and living in a house on the Hudson River. "I spent a lot of time walking along the river," he said, "and we had a porch, and you would see literally thousands and thousands of butterflies. There were times they would form patterns and almost seem on the verge of spelling out things. That led me to thinking about all the rhythmic structures we were composing, structures that are open-ended. It was all right there, all the fractal shit, pine cones and branches, streams and currents. It inevitably found its way into my thinking and I did a Hudson River series of compositions. They were all instruction sets, basically conceptual pieces, it being the '70s, but with a mathematical subtext.

"Self-similarity, mapping from the micro to the macro, is something that became very much a part of my approaches to composition, where I'm creating structures that echo each other both on a micro and a macro level, in the shape of the phrase from a 2-bar or 5-bar level out to its full structure."

But this kind of structure isn't obvious to every listener, and to many a piece made up of such algorithms might sound like a whole bunch of noise. In response to a questionabout the people who left the Heavy Metals show before Sharp had the chance to play, he explained that "music is the most abstract of all of the arts, and people either like it or they don't. The thing about music is you can't shut your eyes. Even with earplugs you're going to feel the vibration in the room... People are able to take in dissonant visual images much more easily than they can dissonant audio."

Sharp might be understating the point that visual dissonance is easier to stomach than audio dissonance. Ken Jolls, an Iowa State thermodynamics professor, jazz vibraphone player and January, 2003 Entertaining Science performer (he played the vibraphone and talked about its physics), has found that visual images of thermodynamic models make the traditionally undergrad-torturing concepts of thermodynamics far easier to understand for most students.

"The beauty of Gibbsian thermodynamics with its precisely connected functional structure can be demonstrated through computer imaging.... Ideas that have long been hidden under layers of abstraction now emerge through their understandable, spatio-geometric analogs," he wrote in his paper "Visualization in Classical Thermodynamics".

As with the intricate and beautiful images of Mandelbrot's fractals, a visual representation can make a concept more accessible. But we don't, for some reason, process sound the same way.

And yet Sharp wants the abstractions in his music to sing for themselves. For him, the listener shouldn't need to be versed in science or mathematics, or to have a copy of the score or an explanatory statement, to recognize the abstract structures from the sound of a given piece of music.

"I'm hoping someone hearing this music will understand, like a piece like 'SyndaKit,' they'll hear the complexity in it, they'll wonder how it's generated, maybe they'll hear the order, maybe they'll hear the rules," he said. "And they'll go backwards from thesound of the music to the systems that went into it, thinking about birds flocking, thinking about the way RNA molecules combine, thinking about genetic mutation, thinking about African drum choirs, thinking about how nature creates an algorithmic structure."

It's an ambitious approach. And it has won him a fan in Hoffmann, who said, "what attracts me to Elliott is a combination of just plain good musicianship and then this interesting thing where he plays on real instruments but he also does this computer work, simulates real things. And there's a deep intellectual structure to the work. My general feeling is there's something smart and intuitive about music, and if both are there, that's where Sharp is."

While some audience members might not yet be ready to skip their dinner reservations for the audio abstractions, Hoffmann likes what Sharp's getting at. Sharp uses science as an input, but creates something outside of science. Some scientists might stop at the boundary, waving at the bald-headed, black-wearing musician from inside their classrooms, but Hoffmann's humanized science brings him outside and into the cafe.

Hirsch and Sacks each brought up C.P. Snow when discussing Hoffman. Snow is best known for his mid 20th century work The Two Cultures, in which he examined the gulf between literary and scientific academics at Cambridge. He was disheartened by the ways in which academic specialization could work against the open sharing of knowledge.

Sacks explained that "Roald once gave a talk of the 'One Culture', against the Snow idea of two cultures, that comes out of the similarity of the creative processes, and also from, in many instances, some focusing on the same subjects. For example, language can be studied by a linguist, by neurolinguistics but also by a poet."

Hoffman is a Renaissance Man. He won the Nobel Prize in Chemistry in 1981 for his explanation of the geometric behavior of molecules, and he has published four books of poetry. He spoke six languages by the time he was 12 years old, all while he was traveling across Europe, a Jewish refugee from the Nazis. Now his goal is to "humanize science," because, simply, he is a human and a scientist.



continued...




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Recent Selections @ Squidco:


Thanos Chrysakis /
Kurt Liedwart /
Nuno Torres /
Ernesto Rodrigues :
Skiagraphia
(Creative Sources)



Large Unit:
Fluku
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Peter Hammill:
From The Trees
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Konstrukt /
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A Philosophy Warping,
Little By Little
That Way Lies
A Quagmire
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