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Pek Solo

A Quartet of Peks - Unifications

Pek Solo: A Quartet of Peks - Unifications (Evil Clown)

Boston free improviser, composer, reed player and multi-instrumentalist PEK (David Peck) quadruples himself on this album with four continuous tracks of one PEK each playing many instruments, using a broad palette comprised of woodwinds, percussion, electronics, and strings, each recorded pass filling in space and playing counterpoint to previously recorded tracks.
 

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product information:


Label: Evil Clown
Catalog ID: 9255
Squidco Product Code: 30535

Format: CD
Condition: New
Released: 2020
Country: USA
Packaging: Digipack
Recorded at Evil Clown Headquarters, Waltham MA, 13, 20 & 21 September 2020


Personnel:

David Peck-clarinet & contrabass clarinet, sopranino, tenor & bass saxophones, oboe, contrabassoon, bass tromboon, flute & alto flute, large bamboo flute, Christmas flute, wood flutes, Russian 3 hole flute, goat horn, fog horn, wind & crank sirens, electric cello, electric bass, guyzheng, accordion, melodica, concertina, prophet, ms-20, arp odyssey, novation peak with Linnstrument, moog subsequent with mallet kat, daxophone with delay, moog theremin with moogerfooger, [d]ronin, orchestral chimes, gongs, plate gong, Englephone, temple blocks, wood blocks, Tibetan bells & Bowls, chimes, brontosaurus & tank bells, crotales, cymbells, claves, seed pod rattles, castanets, glockenspiel

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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)
6/9/2021

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


1. Unifications 1:15:41
sample the album:








descriptions, reviews, &c.

"Every once in a while, there is a break in the crazy schedule here at Evil Clown and I have some time to do a solo album. Our grand olde pal, the Corona Virus has provided such a break in spades…. At the beginning of the year, it appeared that the year would be our busiest yet… We did a bunch of albums in January, February and the first weeks of March, and then I was forced to cancel a bunch of wonderful performances scheduled for the months that followed. So, I caught up all my old business: web site, social media, distribution, and the other non-musical activity required to drive the enterprise. Then I took a month

"Every once in a while, there is a break in the crazy schedule here at Evil Clown and I have some time to do a solo album. Our grand olde pal, the Corona Virus has provided such a break in spades.... At the beginning of the year, it appeared that the year would be our busiest yet... We did a bunch of albums in January, February and the first weeks of March, and then I was forced to cancel a bunch of wonderful performances scheduled for the months that followed. So, I caught up all my old business: web site, social media, distribution, and the other non-musical activity required to drive the enterprise. Then I took a month off... my biggest rest since I started up in 2015 after my long hiatus. In mid-May I started up again, conceiving some new means of producing some of the enormous output normally achieved by Evil Clown

For obvious reasons, I have been producing a lot more PEK Solo albums than I do in a typical year. As with larger ensemble Evil Clown sessions, the planning involves selecting sound resources from the massive Evil Clown Arsenal and setting up the studio with these instruments to allow rapid changes in instrumentation and therefore in sonority

The PEK Solo albums fall into four categories:1) One continuous track (no overdubbing) of PEK playing one or many instruments with or without signal processing

2) One continuous track of PEK playing one or many instruments with a prerecorded mix of samples drawn from the Evil Clown Catalog or specially recorded at Evil Clown Headquarters. Solo albums from before this year fall into the categories 1 & 2

3) A Quartet of PEKs - Four continuous tracks of one PEK each playing many instruments on each pass. Two of these albums, Schematic Abstractions for the Clarinet Family and Fixed Intentions for the Saxophone Family use very focused palettes. Unifications and The Strange Theory of Light and Matter use broad palettes comprised of woodwinds, percussion, electronics, and strings

4) An Orchestra of PEKs - Many tracks of PEKs performing on a broad section of the Arsenal. The last of these, Some Truths are Known, is a mammoth 4-hour studio construction / composition in 3 eighty-minute movements. I list 110 instruments in the notes for this album...

I like this Quartet of PEKs format. On the first track I play 60% to 70% of the album's duration leaving a silence of several minutes at each instrument change. In many ways, the first track dictates the overall form of the work. The next three tracks each fill in some of that space and play counterpoint to the previously recorded tracks. This is a bit like playing in an ensemble where you are reacting to the other material in real time with a couple of significant differences. The interaction is one-way, since the prerecorded material is already fixed (apart from the relative volumes controlled in the final mix). The waveforms of the previous tracks are visible in the computer DAW program. For an improvisor whose principle technical method relies on phrasing, the waveform reveals a great deal of information helpful to the decisions executed in each subsequent track

This Quartet of PEKs set, Unifications, uses more electronics than other PEK solo albums. The instrumentation of the first two tracks is mostly synths & percussion. The instrumentation of the third track is strings and percussion with one section of contrabass clarinet. The instrumentation of the fourth track is horns and percussion. I like this electronics heavy Quartet of PEKs and I bet you will too...

Until the stupid virus is over and more normal interactions are possible with other people, I will continue to create PEK Solo new works using the four concepts listed above and maybe some new ones. There will also be some small group Leap of Faith and Metal Chaos Ensemble sets. Evil Clown will resume its normal routines when it is safe to do so

As usual, the chaos of the universe throws aesthetic problems which require our attention. Expression must be expressed. Music must be made. The chaos of the universe demands it."-David Peck, from the liner notes

off… my biggest rest since I started up in 2015 after my long hiatus. In mid-May I started up again, conceiving some new means of producing some of the enormous output normally achieved by Evil Clown

For obvious reasons, I have been producing a lot more PEK Solo albums than I do in a typical year. As with larger ensemble Evil Clown sessions, the planning involves selecting sound resources from the massive Evil Clown Arsenal and setting up the studio with these instruments to allow rapid changes in instrumentation and therefore in sonority

The PEK Solo albums fall into four categories:1) One continuous track (no overdubbing) of PEK playing one or many instruments with or without signal processing

2) One continuous track of PEK playing one or many instruments with a prerecorded mix of samples drawn from the Evil Clown Catalog or specially recorded at Evil Clown Headquarters. Solo albums from before this year fall into the categories 1 & 2

3) A Quartet of PEKs – Four continuous tracks of one PEK each playing many instruments on each pass. Two of these albums, Schematic Abstractions for the Clarinet Family and Fixed Intentions for the Saxophone Family use very focused palettes. Unifications and The Strange Theory of Light and Matter use broad palettes comprised of woodwinds, percussion, electronics, and strings

4) An Orchestra of PEKs – Many tracks of PEKs performing on a broad section of the Arsenal. The last of these, Some Truths are Known, is a mammoth 4-hour studio construction / composition in 3 eighty-minute movements. I list 110 instruments in the notes for this album…

I like this Quartet of PEKs format. On the first track I play 60% to 70% of the album’s duration leaving a silence of several minutes at each instrument change. In many ways, the first track dictates the overall form of the work. The next three tracks each fill in some of that space and play counterpoint to the previously recorded tracks. This is a bit like playing in an ensemble where you are reacting to the other material in real time with a couple of significant differences. The interaction is one-way, since the prerecorded material is already fixed (apart from the relative volumes controlled in the final mix). The waveforms of the previous tracks are visible in the computer DAW program. For an improvisor whose principle technical method relies on phrasing, the waveform reveals a great deal of information helpful to the decisions executed in each subsequent track

This Quartet of PEKs set, Unifications, uses more electronics than other PEK solo albums. The instrumentation of the first two tracks is mostly synths & percussion. The instrumentation of the third track is strings and percussion with one section of contrabass clarinet. The instrumentation of the fourth track is horns and percussion. I like this electronics heavy Quartet of PEKs and I bet you will too…

Until the stupid virus is over and more normal interactions are possible with other people, I will continue to create PEK Solo new works using the four concepts listed above and maybe some new ones. There will also be some small group Leap of Faith and Metal Chaos Ensemble sets. Evil Clown will resume its normal routines when it is safe to do so

As usual, the chaos of the universe throws aesthetic problems which require our attention. Expression must be expressed. Music must be made. The chaos of the universe demands it."-David Peck, from the liner notes

Related Categories of Interest:


Improvised Music
Free Improvisation
Electro-Acoustic
Electro-Acoustic Improv
Organized Sound and Sample Based Music
Electroacoustic Composition
Recordings by or featuring Reed & Wind Players
Solo Artist Recordings
Boston Area Improvisers
New in Improvised Music
New in Experimental & Electronic Music
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