The Squid's Ear Magazine


Leap Of Faith: Phenomena (Evil Clown)

Two founding member of Leap of Faith, multi-reedist and multi-instrumentalist PEK and cellist and percussionist Glynis Lomon. present two improvisations themed on waves and particle transformations, using microphone techniques to enhance Lomon's bowing, in a set deploying aquasonic, daxophones, gongs, Englephone, contrabassoon, tromboon, and much more.
 

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David Peck (PEK)-clarinet, contrabass clarinet, alto saxophone, tenor saxophone, contrabassoon, sheng, daxophone, gongs, Englephone, chimes, trine, temple blocks, bells, aquasonic, voice

Glynis Lomon-cello, aquasonic, voice, claps


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Label: Evil Clown
Catalog ID: 9239
Squidco Product Code: 29269

Format: CD
Condition: New
Released: 2020
Country: USA
Packaging: Digipack
Recorded at Evil Clown Headquarters, in Waltham, Massachusetts, on January 23rd and February 13th, 2020.

Descriptions, Reviews, &c.

"Leap of Faith drummer Yuri Zbitnov retired from the various Evil Clown projects, leaving just two founding members, PEK and Glynis Lomon. This disc features the ever evolving Leap of Faith crew as just this duo, an immensely rare occurrence amongst the more than 100 Evil Clown catalogue. Ms. Lomon is an amazing cellist who has worked with Bill Dixon, Chris Chalfant, Blaise Siwula, Masashi Harada and Raqib Hassan, as well as more than 3/4 of all Leap of Faith discs.

This was recorded at Evil Clown Headquarters/Studio, hence it has superb, well balanced sound. Ms. Lomon's cello is mic'd close so we hear every nuance of her expressive, diverse sound. PEK starts off on a double reed of some sort (sheng?), slowly bending his notes in a similar way to Ms. Lomon bent bowed strings. The duo seems relaxed and take their time. Ms. Lomon continues to concentrate, bowed low notes haunting the bottom end. PEK switches to one instrument at a time, later picking up his contrabass bassoon, which sounds like a foghorn in the distance or mutant sci-fi monster of some sort. Lomon switches to aquasonic (a bowed metal vase) with an eerie, disorienting sound which matches PEK's switch to sax. The second half of this disc was recorded around 3 weeks later and again the duo take their time to explore their sounds in focused slow motion. There is some strong dialogue going on here when things increase in tempo and intensity midway. PEK always sounds great on whatever double reed he is playing hence the duo in the later part of this piece with frenetic cello is one of the highlights here. It is nice to hear this duo take their time to explore some new worlds without going too far out.

Leap of Faith is the core duet of the Leap of Faith Orchestra (LOFO) comprised of PEK on clarinets, saxophones, clarinets & flutes, and Glynis Lomon on cello, aquasonic & voice. The ensemble is based in Boston and dates back to the early 90s. We utilize a huge arsenal of additional Evil Clown instruments to improvise long works featuring transformations across highly varied sonorities. At times, the core unit has been a trio or even a quartet. The longest running core unit was comprised of PEK, Glynis and drummer Yuri Zbitnov, who played for the last couple of years of the archival period and the first 5 years of the reboot starting in 2015. The ensemble has always been highly modular and our many recordings (well over 100) feature the various core units in dozens of configurations with a huge list of guests and occasionally as only the core unit with no guests.

There are relatively few recordings of the PEK/Lomon core duet without other players since previous core units have generally been trios/quartets. There are, however, a few sets from the archival period in the 90s and the more recent Categories of Being and Their Relations from July of 2018. It is interesting to expose Glynis and myself without other performers, since out history is so long and since in many ways the development of my mature improvisation language is a direct response to Glynis'. The core duet behaves as a bellwether to the balance of larger ensembles, guiding the improvisation, and when presented alone, reveals our deep connection not always so readily apparent in bigger bands.

In 2014, I was working in NYC for my day gig and I swung by Downtown Music Gallery where I had been a mail order customer for years. I had a great conversation with Bruce Lee Gallanter and the next week I sent him a bunch of CDs recorded during the archival period. Bruce sold these CDs quite well and I later realized that Kevin Reilly and a few of his NY pals had purchased the lion's share. Kevin became a fan and has purchased many of our releases from bandcamp. Kevin runs Relative Pitch Records which releases CDs by many of the movers and shakers in the downtown improvisation scene... At the end of last year Kevin asked me if Glynis and I would like to record for Relative Pitch and I immediately responded in the affirmative since we will be in such amazing company!

I scheduled two sessions in January and February 2020 with Glynis, myself and the Evil Clown resident recording engineer Joel Simches. Instead of our typical full concert duration of 70 minutes, we played two 35 minutes pieces at each recording session. We then selected two of the tracks for Principles of an Open Future for Relative Pitch (to be released on CD this Fall) and two of the tracks for Phenomena which is available now on bandcamp and our other regular venues..."-Liner Notes by PEK


Artist Biographies

"PEK (aka David Peck) is a multi-instrument improviser who plays all kinds of instruments including saxophones, clarinets, double reeds, percussion, electronics and auxiliary sound making devices of all kinds.

PEK was born in 1964 and started playing clarinet and piano in elementary school. In 7th grade he started saxophones, first on alto, then switching to tenor in high school. He spent 10 years playing in rock bands and studying classical and jazz saxophone with Kurt Heisig in the San Jose CA area before moving to Boston in 1989 to attend Berklee where he studied performance with George Garzone. While Berklee was an excellent place to study harmony, voice training and other important aspects of a conventional formal music training course of study, it was not a very good environment for learning contemporary (or pure) improvisation (apart from his work with George). PEK did find, however, that Boston had a thriving improvisation scene, and it was here that he developed his mature pure improvisation language.

During the 90s, PEK performed with many notable improvisers including Masashi Harada, Glynis Lomon, William Parker, Laurence Cooke, Eric Zinman, Glenn Spearman, Raqib Hassan, Charlie Kohlhase, Steve Norton, Keith Hedger, Mark McGrain, Sydney Smart, Matt Samolis, Martha Ritchey, Larry Roland, Dennis Warren, Yuri Zbitnov, Craig Schildhauer, Keith Fullerton Whitman, Leslie Ross, Rob Bethel, Wayne Rogers, Eric Rosenthal, Taylor Ho Bynum, Tatsuya Nakatani, James Coleman, B'hob Rainey and George Garzone.

PEK met cellist Glynis Lomon when they played together in the Masashi Harada Sextet which existed between 1990 and 1992. They developed a deep musical connection which they continued following the MHS; first with the Leaping Water Trio for a few years and then with the first version of Leap of Faith in 1994. Leap of Faith was very active in Boston from that time until 2001 and went through a series of several core ensembles which always included both PEK and Glynis. Other key Leap of Faith core members during this period were Mark McGrain (trombone), Craig Schildhauer (double bass), Sydney Smart (drums), Yuri Zbitnov (drums) and James Coleman (theremin). Leap of Faith was always a very modular unit with constantly shifting personnel and many different guests. The early Leap of Faith period concluded in 2001 with a dual bill at an excellent room at MIT called Killian Hall with George Garzone's seminal trio the Fringe.

At this time, PEK changed careers for his day gig, returning to college for a computer science degree and beginning to work in the structural engineering industry at Simpson Gumpertz & Heger. He became far too busy to continue the heavy music schedule, and preferring not to do music casually, he entered a long musically dormant period.

Flash forward to early 2014. PEK was a regular mail order customer of Downtown Music Gallery, the premiere specialty shop in Manhattan for free jazz, contemporary classical and other new music. While in New York on SGH business, he went down to DMG and had a lengthy conversation with proprietor Bruce Lee Gallanter about the early Leap of Faith period. He then sent Bruce a package of about 15 CD titles from the 90s and was pleasantly surprised when Bruce managed to sell nearly all of it. This public interest in the old catalog spurred PEK into getting back into performance. He reformed Leap of Faith with Glynis Lomon (cello, voice, aquasonic), Yuri Zbitnov (drums) and newcomer Steve Norton (clarinets and saxophones) and started to record and perform in early 2015.

Now having access to financial resources always absent in the early period, PEK began to accumulate a huge collection of instruments both for himself and also to expand the palate of Leap of Faith and the other projects soon to follow. He acquired new recording equipment and many new saxophones, clarinets, double reeds, metal and wooden percussion instruments, electronic instruments, signal processing equipment and other sound-making devices from many cultures. He revived his old record label, Evil Clown, and created reissues and new releases for much of the early period work by Leap of Faith and many of his other projects to sell at shows, DMG and the internet (around 100 archival titles).

The Arsenal of equipment has a grand purpose: To establish a large scale aesthetic problem to use the instruments to make long form broad palate improvisations with dramatic transformation and development. The very broad palate enables the long improvisations to evolve with very different movements and pronounced development over their length. PEK started the Leap of Faith Orchestra, a greatly expanded Leap of Faith, to achieve this purpose along with a number of smaller ensembles which are sub-units of the full orchestra including String Theory (focusing on orchestral strings), Metal Chaos Ensemble (focusing on metallic percussion), Turbulence (horn players), Mekaniks (electronics) and Chicxulub (space rock). In all, the Evil Clown roster includes over 40 musicians who contribute to one or more of the various projects, with PEK participating in all of them. Leap of Faith has also had some special guests like Steve Swell (trombone), Thomas Heberer (trumpet), Jeremiah Cymerman (clarinet) and Jim Hobbs (alto sax). The Leap of Faith Orchestra happens whenever several of these groups play together at the same time, or the ensemble exceeds 7 or 8 players. The Full Orchestra is a special case discussed below.

The current roster is comprised in part of: - Core Leap of Faith: PEK, Glynis Lomon, Yuri Zbitnov (Steve Norton has since left to go to Graduate School) - Percussion: Andria Nicodemou (vibes), Kevin Dacey (perc), Joe Hartigan (perc), Syd Smart (drums) - Strings: Jane Wang (cello), Clara Kebabian (violin), Tony Leva (bass), Mimi Rabson (violin), Kirsten Lamb (bass), Brendan Higgins (bass), Silvain Castellano (bass), Rob Bethel (cello), Kit Demos (bass), Matt Scutchfield (violin), Helen Sherrah-Davies (violin) - Piano: Eric Zinman, Peter Cassino, Emilio Gonzales - Horns: Dave Harris (tuba, trombone), Charlie Kohlhase (saxes), Bob Moores (trumpet), Sara Honeywell (trombone), Forbes Graham (trumpet), John Baylies (tuba), Dan O'Brien (woodwinds), Zack Bartolomei (woodwinds), Kat Dobbins (trombone), Steve Provizer (trumpet, baritone horn), Matt Samolis (flute) - Electronics: Greg Grinnell, Jason Adams (electric bass, electronics) - Guitar: Dru Wesely, Grant Beale, Chris Florio - Voice: Dei Xhrist

Evil Clown is documenting the ongoing solutions to this aesthetic challenge by creating limited CD editions and digital download albums of every performance and studio session by this array of ensembles. Interested audience can track the development of the grand scale project over the many releases - over 80 albums recorded and released so far between Jan of 2015 and March of 2017. All of the bands are highly modular, changing personnel and instrumentation with each meeting. The result is an enormous amount of music that shares the same fundamental improvisational language but differs from event to event greatly both in sonority (overall sound) and specific detail.

For the full Leap of Faith Orchestra, PEK composes a graphic notation score to guide the improvisation. The full Orchestra is comprised of roughly 20 players from the roster and performs twice a year. Two performances have occurred to date - The Expanding Universe in June of 2016 and Supernovae in November of 2016. Composition for Possible Universes is completed and the work will be performed on May 28, 2017 with another performance (score not yet begun) scheduled for November.

The scores use a device called Frame Notation where written English descriptions of the overall sonority desired and simple graphic symbols are given durations for each player on their part along with direction on when to play and when not to play. The directions are put in little boxes called frames which are arranged on a timeline and are simple enough to be immediately understood by the performers. Horizontal lines, called Duration Bars, extend across the page indicating when each Event (the Frame + the Duration Bar) begins and ends. An Event can be intended for the full ensemble, a defined group within the ensemble (for example, Metal Chaos Ensemble), a custom group (for example, Tubas), or an individual (for example, Andria Feature).

Parts are the full score annotated with Hiliters so that each player's instructions stand out. They can clearly see their individual instructions, but can also see the big picture, enabling far more knowledge about the pending actions of the rest of the ensemble than typical in pure improvisation. The players track the elapsed time on a very large sports clock. There is no melodic, harmonic or rhythmic information specified. This system allows PEK to compose detailed Ensemble Events without having to notate pitches or rhythms which would require significant rehearsal to accurately achieve."

-All About Jazz (https://musicians.allaboutjazz.com/pek)
6/19/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Improvising cellist, vocalist and aquasonic player Glynis Lomon graduated from Bennington College in 1975 with a degree in Music/Black Music. At Bennington she studied with musician/composer Bill Dixon and continued to perform and record with his ensembles until his recent death. Glynis has also been privileged to play with Arthur Brooks, Jimmy Lyons, Cecil Taylor, Butch Morris, William Parker, Joe Morris, Greta Buck, Masashi Harada, Lowell Davidson, Raqib Hassan and many others. For almost a decade she and multi reed player PEK performed in the Boston area with their group Leap of Faith."

-Evil Clown Website (http://www.giantevilclown.com/bio-glynis-lomon-.html)
6/19/2024

Have a better biography or biography source? Please Contact Us so that we can update this biography.


Track Listing:



1. Particle Like Aspects Of Wave Penomena 35:08

2. Wave Like Aspects of Particle Phenomena 35:19

Related Categories of Interest:


Improvised Music
Free Improvisation
Boston Area Improvisers
Recordings by or featuring Reed & Wind Players
Percussion & Drums
Duo Recordings

Search for other titles on the label:
Evil Clown.


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