Artikulation with stylized waveform

Object Collection at The Stone 091117

Travis Just and Object Collection
Travis Just (compostion, electronics, woodwinds, objects) Kara Feely (voice, recordings, objects) James Moore (guitar) Devin Maxwell (percussion, inside piano) Aaron Meicht (trumpets, electronics)
Music by composer Travis Just performed by the experimental ensemble Object Collection. 

In Memory of Suzanne Fiol - St. Ann's Church, Brooklyn 091115

Suzanne's memorial at St. Ann's was a truly extraordinary event. Despite being 3 1/2 hours long, there wasn't a single moment that felt unessential. Below is a short video I shot with my Flip UltraHD during sound check, several images taken with my iPhone, and  scans of the program. I and 9 other trombonists started things off with Fredric Rzewski's 1969 piece Last Judgment (for solo trombone or several echoing trombones not quite in unison). There's a separate post with the players listed and an mp3 of the actual performance.

VIDEO:

IMAGES:

Musicians during sound check

(l to r: Zach Layton (gtr), Audrey Chen (vcl), Marc Ribot (gtr), Henry Grimes (violin), Aki Onda (tapes), Mary Halverson (gtr)

  

Anthony Coleman pre-show

7x7 Trombone Band playing Rzewski

Sarah Fiol (middle) receiving the "Suzanne Fiol Day in Brooklyn, USA" proclamation from a representative of Borough President Markowitz's office

PROGRAM:

 

Music for 16 Futurist Noise Intoners (Performa 09) @ Town Hall, NYC - 091112

After an incredibly challenging process and satisfying TILT Brass show on the previous evening, I was very excited to witness the inspired resurrection of the Italian Futurist Luigi Russolo's Intonarumori (Noise Intoners) instruments at Town Hall. 13 composers were (enviably) asked to compose new works for the 16-piece Intonarumori, several of whom are close colleagues including Joan La Barbara, Jenny Walshe (w/ Tony Conrad), James Fei, Elliott Sharp, and Nick Hallett. The Magik*Magik Orchestra traveled from the Bay Area to offer their totally committed, engaging performance of these works, all under the steadfast and cheerful guidance of conductor (and composer of one of the evenings most compelling scores) Luciano Chessa. As I told some friends and Maestro Chessa himself, this was a capital "I" important event on the New York calendar. Beyond the sublime answer to the curiosity around what these infamous things sound like, the evenings importance was supported by the shear number of NYC musical avant garde Illuminati in attendance. It was quite a hang next door afterward!

I have one complaint that had nothing to do with the performance itself, but made me very uncharacteristically angry. First, a heartfelt thanks to Performa for having the will and follow through to make this show happen. Many local presenters should take serious note of your boldness in this regard. However, it was a major oversight to not list the members of the Magik*Magik Orchestra in either the printed program or on the event page of their website. This is totally unacceptable! These people poured their spirit and musicality into this music and the absolute least that should be done is recognize them in print. Obviously, my perspective on this skews toward the performing musicians, but regardless of your station in the hierarchy of presenting this event, failing to give them proper credit is shameful and tone deaf to the musical art form.

...and I really love what you are doing Performa!

 

Merce! 091028

I attended the Merce Cunningham Memorial event at the Park Ave. Armory last night. Lots of friendly faces in the audience and on the "bandstand." Every time I see/hear a MCDC performance, I can't help but smile through most of it. The dance is so playful, exploratory, natural; the sound often has a similar manner, but other times it really exists on another complimentary plane altogether. I took some iPhone pics and a 3-min audio snap with Voice Memo. I was feeling fairly anxious about a composing deadline on my way there, but I'm really glad to have made it uptown for this once in a lifetime "Event."

A view toward the front from the the corner of Stage 3

The musicians were on the catwalk-like area. Fuzzily pictured here are (L to R) Stephan Moore (standing), Miguel Frasconi, and John King (seated).

John King - laptop, Miguel Frasconi - glass & electronics, possibly others too...

Electronic Arts Intermix 090730

I visited EAI recently to view several videos from their collection, including various Dan Graham documents, Robert Smithson/Nancy Holt's Mono Lake, Gordon Matta-Clark's Splitting (with a couple others), Charlemagne Palestine's Body Music I & II, and a Rhys Chatham concert at The Kitchen in '81. EAI is a classic SoHo Scene era non-profit (they provided fiscal sponsorship to Woody and Steina Vasulka to start The Kitchen in '71), and I highly recommend setting up a time to hang out in the viewing room.