The Hoover Library has a long history of presenting great concerts. I played there in person (how quaint!) in 2016, and have had my pieces played there by pianist Aron Kallay and the percussion group Iron Giant. Here’s a video of Iron Giant playing my Quartet 60x880120x208 for four metronomes:
Looking forward to trying the Nigori saké at Proper Saké in Nashville Friday night when I play a solo set for banjo and electronics. FMRL is presenting the event which also features Drunk Doctor. Nigori seems about right: unfiltered, slightly cloudy, a touch more texture…
I’m playing at Barking Legs in Chattanooga tonight in an event co-hosted by the Shaking Ray Levi Society. I haven’t been there since 2001 with James Keepnews, so it’ll be great to return.
Sunday October 7 7:30pm
Barking Legs Theater 1307 Dodds Avenue
Along with playing some solo music for banjo and electronics, I’ll be collaborating with dancers and improvisers on a piece with video similar to the image above. I created the video my modeling the behavior of particles interacting with gravity using Processing. After the concert will be a short demo of my sensor-augmented banjo.
Tomorrow I’ll be playing a house concert in the newly christened Gin Palace. I’ll perform a solo set for banjos with electronics, and Tim Feeney will play solo percussion. Special guests l’Artiste Ordinaire (Melissa Grey, David Morneau) will perform their work Photon Ecstasy.
October 10 8:00pm
House Concert with
l’Artiste Ordinaire (Melissa Grey, David Morneau), Tim Feeney, Holland Hopson
2120 6th Street
Part of the magic of Holland Hopson’s performances lies in the mystery of just how much he has planned out beforehand and what’s being extemporized. He is a rapt listener to his own performances, nuancing each refrain’s iteration with distinctive stresses, pitch bends, additions, and deletions. He began with a piece he used on the BAMA DIY concert reviewed in August, and yet it came off as freshly conceived and decidedly different, as if he’d made it up on the spot.
His set consisted of eight songs. Highlights included Hopson’s intense lament of forbidden queer love, the ballad “Laurel Cove,” and his hazy and weary “Over Yonder’s Ocean,” which yearned for a beautiful heaven “where the sun swings lowest over yonder’s ocean.”Hopson’s vocals were resonant and full of character. He offered his audience a warm, joking presence in between songs and was a consummate storyteller throughout.
On Thursday I’ll be performing my work Comes and Goes with Andrew Dewar, Wendy Richman and Geni Skendo during the opening concert of the third Birmingham New Music Festival. Andrew and I will perform with electronics (modular synth and Max, respectively) while Wendy plays viola and Geni performs on various flutes. We worked up a wonderful blend of sounds during rehearsal last weekend; I think this is going to be a special performance.
Comes and Goes was written for Gates Ensemble and first performed in Austin, TX in 2007. My memory of the performance is a bit hazy. On the day of the show I was packing for a move from Austin to Albany, NY and gashed open the bottom of my foot. After stitches and pain meds, I somehow joined the other musicians on stage to perform with my foot elevated on a nearby chair. The piece is for four or more musicians performing on electronic and/or acoustic instruments. Each movement explores a specific set of sounds derived from the technique of amplitude modulation. Download the score for Comes and Goes.
I’ll also be performing on banjo and electronics with Geni Skendo for two of his compositions.
Thursday 9/22 7:30pm
Birmingham New Music Festival
UAB Hulsey Recital Hall
950 13th Street South
Birmingham, AL 35294
And, a new and wonderful discovery for this reviewer, Holland Hopson set his haunting vocals about a desolate landscape with “no road lead[ing] straight home” against layers of clawhammer banjo woven together via computer processing and a foot pedal.