Jan Ru Wan and Megan Bostic collaborated on the current DAG show entitled Reconstructing Existence: I Create Therefore I am which will run through August 12th at the Durham Arts Council. This coming Friday, July 21st, Jody Cassell will present a movement piece in response to their work. Jody will be accompanied by dejacusse’ new soundscape The Drone of Aggrievement along with improvisations by vocalist Shana Adams and Morgan Fleming on violin. The performance will run from 7:15 to 8ish.
The art that you will experience that evening arises from a deep grief that enveloped the artists following the loss of a parent. Jan Ru, Megan and Jody have discovered mediums, forms, textures, patterns and relationships through found and intermingled objects and movement to allow their grief a public expression. Each person’s journey with grief is a singularity that we can witness and resonate with. The graceful power of these expressions of grief invite the audience members to reflect on their own grieving.
This is the third collaboration for Jan Ru, Jody and I; and our second with Megan. The first was in 2013 in the Seimans Gallery at Durham Arts Council. Resolving the Disquiet was the raw stage of grief where the memories of the parent’s presence and the shock of their loss was felt. Then last October at VAE in Raleigh, Jan Ru Wan created Separation and in-between an installation that was about reflection and connections across time and space. Jody and I improvised movement and sound offerings for both of these exhibits. Here is a link to more about the VAE show: http://wp.me/p5yJTY-fd
The DAC show focuses on a renewed existence through creativity. The grief remains but brings energy and muse in relation to “what is.” The show is beautifully curated and very sculptural.
For this exhibit, I was inspired to create a drone in a carnatic scale that begins on Bb. Bb is the tonal center of much of the natural world. Cricket and frog calls, cicada songs and other more drone-like nature sounds tend to resonate in B or Bb. The drone is made up of long tones from this scale in large interval relationships. The 11th Harmonic is worked in to help disrupt any stuck energy. I chose voices that pull at the heart (woodwinds and strings) and created audio effect racks to destabilize and texturize the sound. Wind is a featured sound texture along with snipping scissors, keystrokes, and Jody’s voice reading bits of her performance piece Walking to Nairobi. Shana and Morgan will improvise along with and independently of the soundscape – all as accompaniment to Jody Cassell’s dance piece.
Please join us this Friday, July 21, at the Durham Arts Council DAG Gallery at 7:15 pm.
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!!
Although our post Moogfest event was altered due to lack of electricity, iBoD did regale our audience with an acoustic improv for about a half hour. Eleanor and I played the tank bells, while Jim played his horn and Susanne played Native American flute.
Towards the end, it was suggested that Eleanor and I get two of the smaller tank top bells going like singing bowls, while Jim and Susanne improvised over them. The harmonics were so dense that we had a lot of fluttering beats moving in and out, which I loved. You will hear traffic creating Doppler effects, chattering people and birds, and the beating of some very big wings!
Here is that improv which I named Cosmic Iron Butterfly:
Very excited to once again be working on a soundscape for Tobacco Road Dance Production’s 2017 concert. Last year, Jody Cassell used iBoD‘s recording some kinda waltz for her Tobacco Road Dance performance I’mPossible. Jody both performed the piece and presented a dance film. This year I am working on a soundscape for Jade Poteat’s company.
A bit more about Tobacco Road Dance Productions: For the last three years, this company has brought together dancers and choreographers in a community process that is usually relegated to “the Academy”. This excerpt from their mission statement sums it up well:
Tobacco Road Dance Productions produces, supports, and encourages local dance in North Carolina’s Triangle region. Our annual concert provides area choreographers the opportunity to present their work in a fully produced and marketed performance. Each presenting choreographer works with a team of professionals to evaluate and improve their dance-making and writing skills. We provide networking and mentorship opportunities for emerging choreographers and dancers by involving established professionals in the adjudication and feedback process. Tobacco Road Dance Productions develops greater quality in local dance by engaging participants of all experience levels throughout the entire creative process. The presentation of a shared show creates performance opportunities that might otherwise reach beyond individuals’ financial and audience outreach capabilities and provides further incentive for young artists to remain in our growing artist community.
This is community alchemy – when we take what is right here, right now and create opportunities for as many artists as possible. Having witnessed much of the process last year through Jody’s involvement, it is an incredibly powerful and growthful experience. If you want to invest in the future – here is a good place to start: http://www.tobaccoroaddance.org
Unlike last year, I am coming into the process a bit later, attending my first rehearsal with Jade Poteat’s group in January. I met the dancers and witnessed what they have thus far created. I was inspired and impressed. They are working with the broad theme of “identity”. Jade’s dancers executed her choreography of movement tableaus of identity- with all the oddity, mimicry, earnestness and attitude that come with “identifying”.
We talked about soundscape, and Jade suggested each dancer have an identifying theme or motif. These could clash and harmonize and intermingle. And we agreed that the scape should move in and out of stretches of ambient silence. Jade had the idea of including the dancer’s voices in the soundscape. Part of the group’s process was to talk about dance, identity and what it all means to each of them. Jade recorded these interviews and gave me access to the interview files. I analyzed each dancer’s voice, locating the central tonality and common pitches within their inflection patterns. By isolating multiple moments of Dr. Diana Deutsch’s Speech-to-Song Illusion in each dancer’s voice (see http://wp.me/p4dp9b-e2 for an explanation of this phenomenon), I began sculpting a soundscape out of these lilting bits of speech. In order to capitalize on the melodic content, I created an Audio Effects rack that distorted the speech and amplified the harmonics. The human voice is extremely personal, and a deep root of identity. Allowing their voices to be included in the soundtrack requires a great deal of vulnerability and self-acceptance on the part of the dancers.
Several weeks later, I have created a dozen sound sketches around Speech-to-Song Illusions in the dancer’s interviews. Some sketches have multiple voices as an underpinning, some have an individual voice as the harmonic and/or rhythmic driver of the sketch. Then I have interwoven some strings, piano, drums and vibes to create a melodic framework for the voices. Here are examples with multiple voices:
Here are sketches with one voice:
Jade has selected the sketches she wants to use and asked me to build some clear 8 count rhythms into a couple of them. And she has recorded herself and the dancers reading Mary Oliver’s Wild Geese, which will end the piece. At tomorrow’s rehearsal we will record the soundtrack along with the dance to get the timings of the sound and silence.
Now we have a soundtrack for the dance. I am doing the final mix and mastering passes to the audio. (Interestingly, the opening of the piece is a pulsating current of the dancers’ processed voices, while the end is their distinct voices articulating the poem.) So excited to hear this piece filling the theatre while the dancers execute Jade’s evocative choreography. Please come see/hear I am Deliberate – part of Tobacco Road Dance Productions: In Concert 2017.
IBoD was on hiatus in October, while Jim and Eleanor explored the USA from NC to CO, and I wanted to get a new piece going for us to play. So I looked through my project files and found Bandit, one of my early tunes (finished, with shape and of a shorter length (5 to 10 minutes.) Bandit has a playful and an ominous energy, which provides the structure for the piece. The ominous energy moves in, and the playful energy bursts through each time. The Theme in G is the more upbeat and whimsical sense while Theme in A feels anxious. Here is the original Bandit:
Just listening to that again illustrates how much richness the cohorts could bring to this tune. IBoD playing with this piece would expand it into a soundscape (evolving, less formal structure, looong- can run from 20 minutes to an hour or more.) Two themes emerged from Bandit along with variations on each of them. Then there are several longer looping sections for soloing statements. This soundscape is like Undulatus, busier and beat-driven, so it is more challenging to play along with. How can IBoD improve our listening and responsive playing with this piece? I have some ideas, and I will pose this question to my cohorts.
I don’t want us to be a “tight” band. (Even the word makes me uncomfortable) I want us to listen, accompany and support each other and the soundscape. I want our focus to be the integrity of the harmonics we are stirring up in relation to the soundscape. My approach in the past has been to throw the scape at them and regale them to PLAY! For this piece I am planning something more methodical. First, we can focus on the two themes and how they vary. We can spend some time just playing the themes however we are able. We will focus on coming up with longer solo statements. Then focus on trading short statements and call and response. And we will practice listening and rhythm exercises.
The answer to the question of how we can improve our listening and responsive playing is to engage each other and the soundscape in a deep, sonic intimacy.
You will hear the results at a future soncert!
While we won’t be playing Bandit here, iBoD will offer up shimmering harmonics and sonic mysteries this Tuesday, December 6 at The Carrack Modern Art on Main Street in Durham. We are fortunate to be playing for the first night of Tom Whiteside’s exhibit WHATWASFILM, which will be showing at the gallery for the next few weeks. We will start playing between 6:30 and 7 pm till 8. Do come.
Once again, my attention is drawn to this amazing piece of music as a palette for my own sound creations. Terry Riley’s In C is a sonic Universe to be explored, and even though I spent a year studying the work, it continues to beckon me saying “There is more here than meets the ear!” I am re-reading analyses of the piece to help me appreciate the harmonic, rhythmic and tonal shape of Terry Riley’s In C evenas I seek other ways to play with it.
In 1964, Terry Riley came up with these 53 patterns or phrases while riding to work on the bus. He arranged them in a particular order that, when played in the overlapping format described in his performing instructions, manifests a rich and flowing harmonic structure with density, space and shifting pulses. While Riley’s performing instructions are clear, they read more like guidelines than absolutes. Robert Carl, in his book Terry Riley’s In C, notes that the language of the instructions is qualified in a way that invites interpretive freedom and individual expression. The performing instructions themselves elicit interesting questions:
While the piece is usually played with all the voices within 2 – 3 patterns of each other, can patterns that are further apart be layered to interesting effect?
Riley recommends “not to hurry from pattern to pattern”; what would happen if each voice played each pattern a few times and then moved on? Could we play a Minute In C?
The 8th note pulse has become a sonic character of In C performances, but is it necessary when performing with midi loops? It loses its functional necessity; is there an aesthetic, acoustical necessity for it?
Can In C be played in reverse? inside out?
What happens when In C is played at very slow tempos?
When I look at the score of Terry Riley’s In C (hereafter known as TRIC) each of these patterns stands as a clearly articulated moment that, when looped, carries momentum. As such, they appear to me like notated samples to be mixed down into soundscapes. By calling them samples, I release them from the authority of “the score” and invite them to “talk among themselves.” At one point, Robert Carl calls TRIC a “matrix of possibilities.” In the context of 21st Century electronic music and the age of sampling, In C offers a bounty of material for building soundscapes.
When the patterns in TRIC are viewed as electronic music samples, a whole new world opens up. The patterns become Lego blocks, to be held up against each other, pushed and pulled apart. They are sonic colors to be tweaked and mixed into new shades and hues. All the while, retaining the DNA of the “Mother.” Here is an example I have been playing with called Blended Edges – this spiraling loop consists of three TRIC patterns, all of which stay true to their internal rhythmic structure with some harmonic alterations. Pattern 10 is two 16th notes (equivalent to one 8th note pulse) which serves as a steady background flutter. Patterns 18 and 20 bring a polyrhythmic two against three into the mix. Pattern 18 covers two quarter note beats, while Pattern 20 covers three quarter note beats. Both patterns have a longer tone on the second quarter note beat, and the remaining notes are 16th notes, so there is this flutter and drag that create the spin and momentum of the soundscape. The notes as written in P18 and P20 have an F# that gave the scape an ominous aura.The F# was transposed to a G and an E. To my ear, the spinning pulse is more upbeat and hopeful with this change. Here is the excerpt with some piano improv:
The impetus for this next wave of exploration into TRIC is the Folding/Unfolding Series that Glenna Batson and I have been engaged in for the past six months. We meet to play with ideas on a regular basis, and we have presented three workshops around the idea of the body folding and unfolding in relation to itself and to paper, cloth, and sound. Rhythmic figures, melodic patterns, reverb, echo, and overtone series/harmonics render sound as a fold (and unfold) around and in the body. The participants in previous workshops noted that the soundscape sometimes lead and sometimes followed their movement – a sort of “meta-fold” in the scape itself.
The first two iterations of the Folding/Unfolding soundscape have been modified and streamlined to create oceanic waves of sound moved more by pulsations than pulse. When playing the soundscape live for movers, I improvise on a grand piano midi-voice to illustrate ways to relate to the swirling pulse. In melody as in movement, patterns can be imitated, contrasted, paralleled, resisted, reconstructed, etc. The piano improvisation provides aural feedback in the moment to the movements I observe from the movers. So the soundscape, like a river, is never exactly the same in any given moment in time.
To further shape this soundscape, I will mix in patterns from TRIC. Here is an example of a quartet of samples from In C, all from far-flung regions of the orginal score. I call this groove “elegant.” The tempo is ultra-slow. This is heart music to me!
Come enfold with us this Saturday, December 3 from 4 – 6 at The Joy of Movement Studio in Pittsboro. We will explore echo and spiral as folds in action.
(image is of “from your heart to God’s ear” – a pocket installation by Jude Casseday)
My cohorts and I meet most Thursday afternoons to listen, play and discuss our co-creations. We have done this for a little over a year now. I am so grateful to have the keen ears and skilled playing of Suzanne Romey, Eleanor Mills and Jim Kellough to engage with the sound collages I create. They are one of the biggest gifts I have ever received from the WoW.
What is it that we are creating? I have called them soundscapes, sound paintings, sound collages. We work with the elements of music in an open format. We dispense with genrefication and virtuoso performance in order to explore deep listening, improvisation and harmonic relationships. In my mind I call it “free-range music” although I don’t like to use the term “music” cause it is so loaded with expectations.
The expansiveness of our work does limit our audience. Music listeners of today seem to be drawn to the familiar, repeatable, easily catagorized, or to virtuoso performers who have “mastered” their instruments or who have charisma, excellent marketing or celebrity cache. We are not of this ilk, but still we bring what we have to offer, and we find people who listen, hear and appreciate us. Sometimes I think we are creating music for a future time, like our magnificent predecessor, Sun Ra.
On September 11, ibod will play an outdoor soncert in downtown Durham. The program will include pieces we have played before and some revised work. Here is a small sample of what we will create:
Undulatus was inspired by the feeling of undulation I experienced as the soundscape was forming. The original title was Undulato which sounded like Italian ice cream to some folks. Then I saw videos of cloud formations called undulatus and thought “ah-ha, there’s my title!”
some kinda waltz was created as a loop for an ADF dance class in the summer of 2015. Jody Cassell used a recording of this piece for I’mpossible Aren’t I? which was presented as a dance and dance film during Tobacco Road Dance Productions Spring Showcase 2016. Here is a slice of a more recent recording:
Big Stride is our breezy, sunny day beach song. Eleanor said she pictures a tall woman in a long skirt striding down the beach. I like that image alot!
And, finally, here is a brief sample of one of our group improvisations sans soundscape. These have been evolving over the last 6 months to help us develop big ears and conversational skills.
I hope you enjoyed this little taste of ibod. Come listen, dance and dream with us next Sunday at 7 in Sushi Alley off Foster Street across from the Marriot Hotel in downtown Durham.