Tag Archives: Audio

Location Ensemble: Release, Review, Perform, Repeat…

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I failed to mark the release of the Location Ensemble’s debut disc on Tape Drift (td49). Luckily it didn’t escape the attention of Andrew White at The Upstate Soundscape who posted a review of the release. He rightfully singles out drummer Matt Weston as “the unsung hero in this guitar ensemble”. Andrew describes my Six Chords Every Rock Guitarist Should Know as “…a dizzying sound that spirals up with sheets of sound whipping around, building up and then falling apart.” Sounds good to me.

Listen to Eric Hardiman’s Diversion #3 from the release here.

Location Ensemble will perform at Valentine’s on April 18, opening for Disappears (Steve Shelley of Sonic Youth and Brian Case of The Ponys) and Lotus Plaza (Lockett Pundt of Deerhunter). I’m unable to play with the group that night–but what’s one less electric guitar in a group of eight or nine?

Austin’s New Music Co-op Turns 10

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The Austin New Music Co-op celebrates their tenth anniversary with concerts tonight and tomorrow. Details here; Preview articles in the Austinist and Austin 360. I joined the co-op shortly after it began and enjoyed participating in many memorable events while in Austin.

In honor of 10 years of great co-op concerts, here’s a recording from the September 8, 2006 event featuring Fred Lonberg-Holm. This was the premiere of We Would Like to Take This Opportunity, a work for cello soloist with any three string instruments. The performers here are Fred Lonberg-Holm, cello solo; James Alexander, viola; Steve Bernal, cello; Travis Weller, violin.

[audio:we_would_like_to_take_this_opportunity.mp3]
We Would Like to Take This Opportunity.mp3

Here’s the score of the cello part. It includes the other instruments’ parts for most movements.

51 3rd Recordings – Everyone Looks to a Sumatran, Virginian Curlew

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Here are live recordings of my set from November’s show at 51 3rd Street that also included performances by Keir Neuringer and Rambutan (Eric Hardiman). It’s an eclectic set beginning with a slightly dysfunctional performance of

[audio:111129_01_everyone_looks_to_the_sky.mp3]
Everyone Looks to the Sky
No one but me would know that the computer is responding to my playing differently than anticipated. Such is the fun of interactive computer music: you just have to work with it, ride with it, fight it, respond to the moment, change your plans. In this case, the conception of the piece is already so circumscribed that the content of the work is hardly changed, though the form is clearly different–and maybe more dramatic as a result.

[audio:111129_02_batak_batak.mp3]
Batak Batak
A recent binge of Indonesian music led me to dust off this piece. I never felt I had worked out the sax part enough when the piece was new, which might account for why I shelved it. Revisiting the piece, I discovered very few indications of what I had intended for the sax part–little more than a scribbled microtonal scale. There’s clearly still work to do here, but I’m less bothered than I might have been in the past by the elliptical playing.

[audio:111129_03_east_virginia.mp3]
East Virginia
This has become one of my go-to banjo pieces; a surefire way to find my place on the instrument.

[audio:111129_04_curlew.mp3]
Curlew
A brand-new piece getting its first public airing. I learn so much by performing new material and can’t wait to revise this tune as a result. Yet another song with bird imagery (YASWBI).

Location Ensemble Catch-Up

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Here’s the latest on all things Location Ensemble:

Atlantic Center for the Arts Concert Videos

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Videos from this spring’s residency with David Behrman at the Atlantic Center for the Arts are now online. All the videos from the “Live Listening Party” concert we presented can be seen here, including beautiful work by David Bessler, Klara Schilliger and Valerian Maly, Laura Cetilia, Matt Sargent, David Behrman, Zachary Fairbrother (also performing Valerian Maly’s Electric Guitar II) and Nomi Epstein. To close the concert we all performed together as The New Smyrna Beach Weather Report All-Star Free Will Gospel Choir.

Below are the videos of my solo performances.

This version of “Blackjack David” served as the basis of the performance with Matthew Carefully heard here.

The audio recording of “Everyone Looks to the Sky” was previously posted here.

Everyone Looks to the Sky

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Photo: Diana Cooper

Here’s a recording of a new piece called Everyone Looks to the Sky.

[audio:everyone_looks_to_the_sky.mp3]

Everyone Looks to the Sky

I made the piece and the recording during my recent residency with David Behrman at the Atlantic Center for the Arts. The work is for any sustaining instrument with computer (here, I’m playing the soprano saxophone). The computer produces a gradually rising tone that matches the first note of each gesture (see the score below). The result is–yes, more glissando music–and a curious kind of interactive piece that always ends the same way.

Here are the juicy bits from the score:

Gesture 1
• Play 5 notes in an ascending series, beginning near the lowest note on your instrument.
For a performance lasting 10 mintues, each note should last 7 or many more seconds. Each note should be separated by a rest of approximately 7 or many more seconds–at a minimum, allow enough time between notes to perceive the computer’s pitch rising. For longer performances, adjust the durations appropriately.

Gesture 2
• Play 4 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 1.
Durations of notes and rests are as in Gesture 1.

Gesture 3
• Play 3 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 2.
Durations of notes and rests are as in Gesture 1.

Gesture 4
• Play 2 notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 3.
Durations of notes and rests are as in Gesture 1.

Gesture 5
• Play 5 or more notes in an ascending series, beginning on any pitch lower than the last pitch of Gesture 4.
Durations of notes and rests are as in Gesture 1, with a few notes or rests lasting shorter than 7 seconds, if desired.
Repeat as needed until the piece ends. The last 4 or more pitches played should be near the highest note on your instrument.

Swallowtail Maiden Flight at Flywheel

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Here’s a recording of the premiere performance of Swallowtail from Saturday’s SoundBarn/ASAC Guitar Trio show at Flywheel.

[audio:101009_swallowtail.mp3]

Swallowtail

I think the piece sounds like a huge train barreling straight at you in slow motion. The performance of Rhys Chatham’s “Guitar Trio” went swimmingly. We’ll be performing the entire program again Saturday, November 20 at the Arts Center Saratoga. Hope to see you there.

Saturday at the Flywheel was an outstanding lineup. Christoph Heeman played a beautiful set, but Son of Earth stole the show, in my opinion. They performed delicate yet far from fragile percussion music–bells, chimes, and pillowy bass drum.

Sedition Edition

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Here are some recordings and photos from my June 19 show at Sedition Gallery in Sydney, Australia. The performance was part of the Left Coast Festival 2010.

The first set consisted of duo improvisations by Holland Hopson, fretless banjo and  electronics with Mike Majkowski, double bass.

Holland Hopson & Mike Majkowski; Photo: Terumi Narushima

[audio:hopson_majkowski_improvisation01.mp3]
Hopson Majkowski Improvisation 1.mp3

[audio:hopson_majkowski_improvisation02.mp3]
Hopson Majkowski Improvisation 2.mp3

[audio:hopson_majkowski_improvisation03.mp3]
Hopson Majkowski Improvisation 3.mp3

[audio:hopson_majkowski_improvisation04.mp3]
Hopson Majkowski Improvisation 4.mp3

Next was a wonderful set by Kraig Grady, just tuned vibraphone and Terumi Narushima, just tuned pump organ.

[audio:grady_narushima.mp3]
Grady Narushima.mp3

Holland Hopson & Mike Majkowski; photo: Terumi Narushima

Weeping Willow Street Improvisations

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Last November I spent a memorable, rainy afternoon at Travis Weller’s place performing a house concert as part of his Willow Street Concert Series. Nick Hennies wowed us with music for solo percussion including an entrancing performance of Alvin Lucier’s Silver Streetcar. I played music for fretless banjo, bent electronics and computer. Then Travis and I improvised two pieces with Travis playing his Owl, a custom-built piano wire lyre with electronics. Nick joined in for the last piece of the afternoon. The rain kept us company all along.

[audio:091108_willow_street_improvisation1.mp3]

091108 Willow Street Improvisation 1.mp3

[audio:091108_willow_street_improvisation2.mp3]

091108 Willow Street Improvisation 2.mp3

[audio:091108_willow_street_improvisation3.mp3]

091108 Willow Street Improvisation 3.mp3

Mt. Washington Pt. 2: Rime

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January 11: Summit Weather

  • High temp: 5 F
  • Low temp: -2 F
  • Average Wind Speed: 46.7 mph gusting to 72 mph

A foggy day with visibility down to 1/16th of a mile. The observatory reported zero hours of sunshine for the day. Perfect conditions for rime ice. We could hardly step outside without it accumulating on our clothes and, of course, our gear.

rime ice recording rig

My recording bag covered in rime ice. My headphones were unscathed since I wore them under my balaclava (and hat (and parka hood)).

I brought out my contact mics to record the sound of rime accumulating on them. The best spot I found was attaching them to the windward side of a wooden sign post. Here’s an excerpt:

[audio:rime_accumulation.mp3]

rime_accumulation.mp3

Listening to the entire recording one can clearly hear the frequency of the resonant ping sounds increase as more ice accumulates. I suspect the ice accumulation reduces the surface area of the contact mic or otherwise stiffens the transducer–in a manner similar to a drummer increasing the pressure on a drum head and thus causing the pitch to rise.

Here’s a recording of an ice-covered chain squeaking in the wind. The squeak is less metallic than I expected, sounding more like rubbing ice cubes together.

[audio:squeaky_chain.mp3]

squeaky_chain.mp3

Here’s a photo of the chain (taken on another, much sunnier day). Yes, this chain appears to be preventing the building from blowing off the mountain. The story I heard is that the chains were an important part of the original building. When they rebuilt the structure, chains were included as an historical and decorative element. There were times when I could have used a chain or two to prevent me from blowing away.

Jackie and I covered in rime ice after our contact mic recording expedition.