iBoD      August 6, 2017                Central Park School Soundgarden

The Central Park School Soundgarden is a lovely location for an iBoD soncert. Eleanor Mills is the resident bell player here most Sundays, and I am grateful that she shared her space and time with us. On the eve of my 65th complete Earth-go-round, and on this date when nuclear bombs were dropped on Nagasaki and Hiroshima over 70 years ago, I became aware that we were playing the moment toward a new horizon. As we let go of our self-conscious bindings, a dialogue happened! We played parallel at times, we played in interwoven layers, we listened for balance in our exchanges, and each of us overpowered at times as the ambient sounds of voices, passing cars, and motorcycle growlings intermixed with our sonic offerings.

Here are two soundscapes we played that evening. Scenes for a Dance Class is a soundscape developed to accompany an ADF class several years ago.  Five scenes at varying, adjustable tempi and time signatures. The energetic weight of each scene is different as well. This piece is a favorite of ours as you will hear. I love the exchange amongst us in the beginning where we make short overlapping statements. The last scene is called some kinda waltz, and features Suzanne’s lovely piano solo.

Gone Won: Life is a Dream was created for the Won Buddhist Temple in Chapel Hill, NC. iBoD played this piece at our first public performance at the Won Buddhist Temple Bazaar in 2015. This soundscape is the setting for one of my favorite childhood teachings. The idea of “inclusion of all voices and vibrations as we move forward into the swirling vortex” informs the basic structure of the piece.

I appreciate Suzanne Romey, Eleanor Mills and Jim Kellough, who give their deep attention and sensitive playing in the moment to these soundscapes.

If you have read this far, and listened to our offerings, then you have experienced the best of my love and being. Your time and attention mean more to me than I can express and make me grateful beyond measure! I hope someday to hear back from you.

Upcoming Birthday Soncert – Sunday August 6th

Just before I retired, I threw a birthday party to celebrate my 60th Earth-go-round. The Pinhook was the venue and many wonderful people came and wrote haikus and played and danced. I fondly remember the bartender saying, “You have the nicest friends!” and I feel so grateful for that gift. I have been blessed to know so many wonderful people in my life. The party was my first live performance with Ableton and I was thrilled when people got up and danced. It felt like a launch into the next phase of my creativity-driven life.

Now, five years later, I will celebrate the 65th Earth-go-round with a soncert (sound concert) at the Central Park School Soundgarden with iBoD on Sunday, August 6th.  When we played there in May, we were without electricity, but we will be electrified!! Eleanor Mills will play the bells (as she does most every Sunday eve) and her harmonicas and melodica. Suzanne Romey will play recorder, toy piano and keyboards, while Jim Kellough will perform on the digital horn. I will play soundscapes and instruments through Ableton Live as well as the uke, NA Flute and psaltry. Our repertoire is more bouncy and less spacey this time around and we hope it makes you want to move and groove.

I am sure it will be a lovely evening. Cocoa Cinnamon is on the corner with delghtful treats.Bring your own chair or cushion or blanket. We are aiming to start between 7 and 7:15. Our first piece is a gathering groove with an easy sway to it. We will play Bandit for the first time! (See post – http://wp.me/p5yJTY-fp for more on Bandit) Several novelty soundscapes will, hopefully, amuse you.

iBoD will play for about an hour. We would so love to have you and your wide-open ears and hearts present with us!

Come hear iBoD this Tuesday June 20 ~8pm

Ted Johnson, a guitar and synth player from Raleigh, organizes Triangle Electro Jam for folks who love electronics with their music. The group has over 600 members on Facebook, and they sponsor gatherings several times a year. Next Tuesday at Nightlight Bar in Chapel Hill, TEJ will sponsor an evening of experimental music, and iBoD has volunteered to play. We are one of five acts including Professor Jaiz (who I met at Moogfest in 2016), Spookstina, 80 Lb. Test,  and Ty Lake.

This iteration of iBoD will include:

Susanne Romey on NA Flute, keyboards and toy piano

Jim Kellough on digital horn and whistles

dejacusse on Ableton Live, Akai APC Key25, and NA flute

We will be lacking in the reeds department as Eleanor Mills will be out of town that evening. We will miss her!

AND – we are looking forward to sharing our sound and hearing what the other players are presenting. Maybe the evening will end in a big ole electro jam!!

Sleep Deprivation

Our granddaughter, Jahniya, recently told us she is having trouble sleeping. Her mind races and she feels tired, but can’t sleep, so she listens to music or podcasts. I told her that she probably shouldn’t listen to anything before sleep as that could be keeping her awake. We talked about breathing deeply, running energy, and meditating as ways to relax and fall to sleep.  After we spoke, I remembered the power of “yes, do” over “no, don’t”, and decided to create a soundscape for Jahniya to listen to before sleep.

I am familiar with some of the popular music that she likes, so I listened to a few songs and zeroed in on a Bb major scale as the tonal color for her dreamscape. Using the piano keyboard as a template, the Bb major scale uses all of the black keys and the B and F. The tonality of the song she likes is in the piece, but it is cropped and stretched and layered with no words except “Good Night, Jahniya. We love you” spoken by Gigi at the very end. I hummed softly over one short section near the end of the scape.

Several weeks later and the soundscape is recorded. I had to experiment with the voicings to get the blend and definition I wanted. Then once recorded, I shape the dynamics, movement and placement of melodic statements through automation in Ableton Live. Since Jahniya will listen to this through earbuds, I mixed primarily through headphones, although I did listen through the QSC for perspective. Trudie listened to it and gave me some feedback, which I used to make the final soundscape mix in Audacity.

I ended up cutting the sound file in two parts and moving the end to the beginning. There is a part of the scape that is more energized and excited, as our brains are when we are teens (and hopefully beyond). That part happened closer to the end. I wanted to meet the brain where it is at and then accompany it to calm and sleep. Moving that section to the beginning made more sense.

The soundscape comes with instructions:

Listen to this soundscape as you fall asleep or anytime you want to relax. Listen to the scape as if it were a painting rather than a song. Notice the harmonic layering of the voices. Feel how it envelopes you like an ocean of sound. Notice how the voices move in and out and around in what seems to be your head. Let the swells reverberate through you bringing calm and peace. Let the soundscape gentle you to sleep.

With love, Juju and Gigi

Follow-up:

Jahniya was able to improve her sleep and successfully finish her first year of high school. Plus she used her experience to create a school project about sleep deprivation among teenagers with suggested solutions!

She is the future!

Moogfest 2017

Once again, Durham burst into a cacaphony of electronics and technology as Moogfest took over the downtown streets and venues from May 18 – 21. Last year, there were more “big names” and a strong emphasis on “living as a cyborg” i.e. augmenting our perceptual apparatus (brain, ears, eyes, bodies) with technology. This year’s festival felt more low key, but at the same time, just as rich and varied.

I opted for the volunteer experience again, which gets you a free ticket as long as you work your shift. My shift was box office for the sleep concert, which ran from 12:30 am to 8:30 am the first night of Moogfest. In the ballroom at 21c Museum Hotel, thick mats covered much of the floor.  Attendees, some in hotel bathrobes with pillows and blankets, some with mats and sleeping bags, waited in line to get in. As it turned out, everyone who waited got in because only a dozen people from on-line registration showed up. My job was to scan wrist bands, do a clicker head count, and keep the entryway quiet.

Laraaji and Arji OceAnanda created soundscape all night long while people came and went and slept. They started with some overlapping synth loops that were quite dense. I wish I had been inside the room to experience them. I imagine they would feel like a blanket tossed and tucked around me. Some people found them too loud and left; others went in, lay down and immediately fell to sleep. As the night went on, Laaraji and Arji moved us through watery realms and meadows of sheep and crickets making song. Occasionally, one of the artists walked around among the sleeping, sprinkling light chimes of sound over them. There were poems about walking in the garden of Now and being consciousness. This was an eight hour blessing!

As the sun was rising over Parrish Street, Laaraji played a sweet harmonica solo. I lay down for a while, which was wonderful. The sound was quadraphonic, so the water sounded as if it was in the middle of the room. It was like lying beside an actual lake. As the last half hour approached, we pulled back the curtains, danced and chanted Om Shanti and I am Consciousness! When we left the room, someone from Moogfest had brought in coffee and doughnuts! Whooo hoooo! The sleep concert was a highlight of the festival.

The next highlight was meeting Gerhard Behles, one of the originators and the CEO of Ableton. He gave a moving talk on the visionary mission of the Ableton company. He started with his own story of how electronic music saved his life as an unhappy teenager. His gratitude for this has brought him right where he is today! Ableton has a mission to make music creation accessible to all. He is a kind, creative and engaged man, and I am glad I got to shake his hand and express my deep gratitude for the sounding world that Ableton has opened up to me.

Sudan Archives at the Presbyterian Church was a delight. She played electric and acoustic violin over loops. She had a lovely voice and was unselfconscious and genuine! Many of her songs seemed like works-in-progress, surprising the audience with their brevity. Then she carefully laid out loops of tapped tones on the violin strings, and sang a vocal line over top in a beautifully sculpted improvisation. The church is a breathtaking venue visually and acoustically. So glad I got to hear Sudan Archives there.

I ventured down to the Motorco end only briefly to hear Omar Souleyman. The pulse of the music was inviting, so I moved closer to the stage, but got caught by the low end about half way down. Punched me in the stomach and throat and I could go no further. The sound is just too loud. My constant question is “why are the bass/drums allowed to dominate the show at such a great cost to the felt-sense of the music?” Last year at The Armory, people reported getting physically ill from the bass. It is these moments in life when one must ask, “What is happenin’ here?”

I was so into Laurie Anderson last year, that Suzanne Ciani was only a moment of my festival. This year I gave her more attention, and am glad I did. The documentary A Life in Waves is one of the best biographical docs I have ever seen. Suzanne is a self-contained, independent, intelligent woman who comes across as soooo comfortable in her skin.  My favorite aspect of the film was that it gave you a sense of how deeply attuned her ear is to the world. As she revealed the metaphors of her life, the filmmakers mined them beautifully. A wonderful collaboration! Suzanne Ciani was honored with the annual Moog Innovation Award at Moogfest 2017. And she played a set at The Armory on the Buchla which was fun and engaging! When I think about Laurie and Suzanne, who are contemporaries and probably acquainted, they seem to be the antitheses of each other. I admire them both for the ways they sound their beings into the world!

Then there were the stumble upons:

a group of young troubadours hauling ukes and a washtub bass around the convention center plaza

Marc Fleury and the Church of Space going bullhorn to bullhorn with a local corner street ministry down at Five Points. They got real quiet when Marc (in his mask) bellowed, “Of course, there is a God!” I don’t think the locals were expecting that.

Pierce Freelon and a group of teens getting their rap on at CCB Plaza Friday night.

Another peak experience was Lily Dale -The Dream Wanderer Virtual Reality Bus. Lily Dale is a spiritualist community of ghosts and mediums that actually exists in upstate NY. The VR experience was a kind of guided meditation using the voices of people from the Lily Dale community in conjunction with movement and graphics. There are numerous scenes you can experience, so the first thing is to pick three random original tarot cards to determine which scenes you will…be in. They place a vest over your torso, headphones and goggles over ears and eyes and you are off. One of the scenes I went through had to do with traveling outside the body, something I have only done in quick snatches. The visuals for this were stunning – I felt I was stationed in the cosmos. I could see the the shapes of planets in alignment or in their orbital relation depending on which direction I looked. There was a large Earth-like planet moving toward me 45 degrees to my right. Then it was like I passed over a dark hill and below me was a swirling galaxy. I saw a human form float by like a sister airplane flying at a different altitude. And all the while the planet got closer. (I thought about that movie Melancholia, and that gave the visuals a creepier feel.) Then everything faded away. Each scene is accompanied by a story or message from a Lily Dale resident. The experience felt healing and uplifting. For more on this project, check out: http://flatsitter.com/lily_dale/

Finally, we concluded with iBoD in the Soundgarden on the Sunday evening apres Moogfest. Suzanne, Eleanor, Jim and I arrived at the Central Park School and got partially set up before discovering our power source was not hot! Electronic music does not happen without electricity! (I see a solar generator in my future.) So we improvised along with the bells for about 40 minutes to a small and appreciative audience. Later that same night one of our savvy audience members discovered a power source just slightly further away, so we have rescheduled our soncert for Sunday evening June 4th at 7 pm.

Meet us in the Soundgarden then!

Moogfest and iBoD in the Soundgarden

Yes, it is that time of year again! Moogfest is here next week, and my schedule is already full of conflicts and overlap. There is a whole theme on spatialisation of sound, which I am extremely interested in. This year I am going to get to the Presbyterian Church for some performances, give Suzanne Ciani events more attention, and volunteer for the sleep concert. (I CAN still pull an allnighter!!) Also looking forward to hearing Ladyfingers set at Arcana on Friday night. Oh, yeah, and meeting Gerhard Behles and thanking him for Ableton Live.

iBod will play our annual post-Moogfest event at the Soundgarden at Central Park School on Sunday evening, May 21. We are excited to bring much new material, and some old favorites. And, once again, we will play Adrift in a Sea of Bells while Eleanor Mills brings all the harmonics out of the bells. Here are some excerpts from our last session as a “sneak preview”:


Bring your own chair, or use the wall or steps around the stage for seating. This is kaleidoscope music.  It moves through space-time and shifts form in unconventional ways. For the best listening experience, relax the ear and the mind, ground in the breath and feet, and allow the vibrations to move your body.

Big thanks to the cohorts – Susanne Romey, Eleanor Mills and Jim Kellough!

TRIC Question #1 for 2017

One of the dejacusse/iBoD projects for 2017 is TRIC Questions, a sonic hacking of Terry Riley’s In C or TRIC. TRIC is comprised of 53 rhythmic/melodic riffs based in Nature’s Scale and set against an 1/8th beat pulse. My first pass through this piece was in 2014, when In C turned 50 years old. My approach was more historic then, so I listened to different versions of the piece, read about the composition process and wrote about the initial performances in 1964. Musician friends presented a slice of In C in performance that year, but mostly I explored In C through the Ableton Live DAW using different voices and tempo variations. For more on this, read the blog: My Year In C –here: judessoundlings.wordpress.com

During that year, questions continually jumped out of the piece. As I became more familiar with the patterns, they each took on a unique and identifiable voice. Then one day, while looking at the score of TRIC, I saw that this is simply one way these patterns can be put together.

What if each package of tones stands on its own, AND in relation to any and all of the other packages?

Using the patterns of In C as little Lego blocks of sound and putting them together in different combinations has become my approach to “playing” In C.  I want to hear all the sonic possibilities within this musical universe-for what else can you call it? It is not a song, but it makes songs. It is not a symphony, although it has movement and motifs. In C questions all the assumptions we have about in tune and in time when making musical sounds in the world. When we loosen our grip on what we think things should sound like and give our attention to what we are hearing, and what is emerging from our articulations within that hearing – whole other worlds open up. Those are the worlds I want to continue exploring.

My first experiment with the long tones of TRIC was in November 2014. The question was how to use the long tone phrases to express tension and release. To hear the result of this experiment, go here http://wp.me/p4dp9b-bv. On listening again, I hear the C pulse frenetically undermining any possibility of release. One of the TRIC Questions I have answered is to drop the 1/8th note C pulse. Scoring the patterns precisely in Ableton Live creates a rhythmic underpinning for improvising musicians to play with/against, so the C pulse is unneccessary and unhelpful. Another reason to drop the pulse is that it is an integral part of playing TRIC, and I am no longer playing that particular iteration of these sound modules.

The eight long tone patterns  range in length from 6 pulses to 32 pulses. If all eight modules begin at the same time, there will be a sustained 6 pulse EF#GC [C(add#4)]chord. This could be achieved by triggering all the modules at once. Then, it would be interesting to peal away the patterns till only two remain. Which two patterns will be the final pair that plays this iteration out? One possibility is P30 and P21, which carries the tritone tension through to end. The other pair is P29 and P42, which creates the more consonant C major sound. Let’s try those two ideas. First, we end with P30 and P21. This sketch feels tense throughout. The denseness dissipates, but the tension stays high.

Next, we end with P29 and P42. Here the tritone tension is folded into a more harmonious blend by the end.

I have been so focused on the tritone carrying the tension, that I ignored the tension that half-tone, whole tone and minor third intervals inject into the scape. The final voices in the harmonious sketch create as soothing a combo as exists within this overlayering of fourths and minor seconds and thirds. So while it is soothing, there remains a sense of alertness within the release.

And, for my next trick, I set off that initial C (add#4) chord over and over, each time pealing away different layers to create a longer soundscape. Here is a 6 minute sound piece with five versions of pealing back to two patterns by the end. Each iteration ends with a different pair.

I love the feeling of fireworks exploding into that C (add#4) then the subtle changes that pealing back one part at a time makes to that chord. Then finally, there is a falling off of the expansiveness of the sound field and we are left with just two patterns rocking back and forth. Then – BAM – the C (add#4) explodes again. I love this!