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Metal Chaos Ensemble: Luminiferous Aether (Evil Clown)

Metal Chaos Ensemble, formed in 2015 as a working project to explore rhythms on metallic instruments guided by rules-based chaotic systems of a very large number of small components, in a quintet studio recording using three dedicated drummers, reeds, electronics, and accompanying "tape" mixes, resulting in epic, inspired and wonderfully unpredictable improvisation.
 

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Label: Evil Clown
Catalog ID: 9205
Squidco Product Code: 27215

Format: CD
Condition: New
Released: 2018
Country: USA
Packaging: Digipack
Recorded at Evil Clown Headquarters, in Waltham, Massachusetts, on January 10th, 2018, by David Peck.


Personnel:

David Peck (PEK)-clarinet, contralto clarinet, alto saxophone, tenor saxophone, bass saxophone, bass tromboon, Melodica, wind siren, wood flute, synthesizer, [d]Ronin, Brontosaurus bells, tank bells, crotales, cymbells, log drums, metal, wood, voice, Ableton Mix

Eric Zinman-synth, balafon, log drums

Yuri Zbitnov-drums, metal, wood, Orchestral Chimes, crotales, wind siren, kazoo, [d]Ronin, recitation, voice

Steve Niemitz-drums, tabla, balafon, log drums, glockenspiel, Orchestral Chimes, crotales, cymbells, Dan Mo, metal, wood, crank siren

Syd Smart's-drums, handsonic, theremin, talking drum, ocean drum, metal, voice

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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)
7/17/2019

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

"Eric Zinman was born and educated in Boston, MA . He studied music/composition with Bill Dixon at Bennington College and later George Russell and Jimmy Giuffre at New England Conservatory. He formed a piano trio with percussionist Laurence Cook, bassist Craig Schildhauer and later bassists John Voigt and Jacob William. For years, he has been an active producer, performer and organizer and composer and arranger of ensembles in Boston including Citizen's Orchestra with Stanley Jason Zappa and the ensemble New Language Collaborative with Syd Smart, drums and Glynis Lomon, cello. Turning away from the music scene he worked in theatre, with poets and with painter Linda Clave. Mr. Zinman has collaborated with artist, Aldo Tambellini in presenting performances which used Tambellini's films, videos and poetry read with poet singer actress Lo Galluccio. In 2006, he began to play and gain recognition in Europe in collaboration with Austrian based musician/artist Mario Rechtern, and a trio with French bassist Benjamin Duboc and percussionist Didier Lasserre and later Makoto Sato with bassist Yoram Rosillio He has performed in 6 different countries and has been reviewed in 5 different languages. Since 2005 musician/composer Eric Zinman has been recorded and produced on Cadence(US), Ayler, (France) Studio234(USA), Improvising Beings(France. ) and"Nottwo Records(Poland). He is listed in the 19th edition Penguin Guide To Jazz Recordings."

-Evil Clown Website (http://www.giantevilclown.com/bio-eric-zinman.html)
7/17/2019

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

"Syd Smart's life has been a path of using music to create community. He began studies in music appreciation as a child in Cleveland from his mother's vast record collection. Percussion training came from his father and older brother. Other major teachers include: Chief Bey, Milford Graves, Makanda Ken McIntyre, Cecil Taylor, Bill Dixon, Babatunde Olatunji, Steve Barrios, Ibrahima Camara, Jose Luis Quintana/"Changuito", Angel Sanchez/"Cepillo" and Deraldo Ferreira.

Syd majored in Music Education at Central State University and in 1973, received a Black Music Fellowship to teach and study at Bennington College in Vermont, where he completed his B. A. Degree. He was the founder of "Friends of Great Black Music", a Boston based organization established in the early 1970's to support local artists involved in the music in the African and African-American Diasporas. Syd is co-founder of Boston's annual John Coltrane Memorial Concert, now in its thirty-sixth year and the world's oldest living tribute to this master.

Syd has extensive experience composing for dance and with Joan Green, he co-founded the "Children's Dance Project" which eventually expanded to become the "Cambridge Performance Project". a city wide performing arts program. Syd was awarded a "Dance Belt Award" by the Mayor of the City of Cambridge for constant and long standing support of the movement arts community. With Stan Strickland, Syd annually co-conducted "Sound and Movement in Nature", a workshop offered by the Expressive Therapies Division of Lesley University.

In 1992, Syd was a resident performing Artist at the World Exposition, "Expo 92", in Seville, Spain. While there, he also began curriculum development of an Integrated Thematic Unit on Andalusian culture for third and fourth graders in the Cambridge Public Schools. He was part of a team of curriculum developers for a soon to be published curriculum that integrates African Drumming with mathematic concepts.

Syd holds a Masters Degree in Education from Lesley University and has taught instrumental music in the Cambridge Public Schools. He was the Education Manager and Learning Center Director for Mars Music, a national retail chain and largest provider of private music instruction in America.

Syd's performance experience includes: Karamu House, Art of Black Dance and Music, Rod Rodgers Dance Co., Boston Art Ensemble, Sam Rivers, Bill Dixon, Jimmy Lyons, in Spain With Juan Oliva, Angel de Jesus, and in Africa with the Kampala Jazz Allstars. Syd is most recently known for his work with Stan Strickland and "Express Yourself", New Language Collaborative, Samba Viva, Ann Silverman Band, The Tefilah Band of Beth El Temple Center, and action painter, Nancy Ostrovsky."

-Evil Clown (http://www.giantevilclown.com/bio-yedidyah-syd-smart-.html)
7/17/2019

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


1. Luminiferous Aether 1:10:22

sample the album:








descriptions, reviews, &c.

"In the early days of MCE, most of our sets were with multiple percussion players. More of the recent MCE sets have a bigger variety of instruments with everyone doubling the percussion, more emphasis on electronic instruments and signal processing, and fewer dedicated percussionists... This particular set is a bit MCE old school, since 3 of the five musicians are great drummers. I had tried to schedule a session like this a few months ago with myself and these three drummers, but Yuri had car trouble and Syd's wife uses their car on Thursdays, so Steve and I ended up doing a duet (Emergent Syntax). This time It was looking like we were going to be Yuri, Steve, myself with Joel in the recording chair. I need to have Joel here for the mix when the ensemble gets more complicated and it seemed like a smaller unit, so I thought I would bring in Eric on synth, since I've been looking for a good set for that. Turns out Syd was able to ride with Eric and we ultimately had this full quintet! I'm very happy with this performance which combines the old school percussion dominated MCE with some of the electronics of the new school MCE. Check it out!"-Evil Clown



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Improvised Music
Free Improvisation
Electro-Acoustic Improv
Electroacoustic Composition
Percussion & Drums
Recordings by or featuring Reed & Wind Players
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Quintet Recordings
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