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.
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!
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.
Last year, during a Human Origami movement workshop, the son of one of the participants added vocals to the soundscape. This was a spontaneous offering on his part and I was delighted. I tend to favor the bright and shiny high end of the spectrum with bells, chimes, vibes, etc. Matthew’s voice is deep, gravily and provided a beautiful balance to the scape. His voice became an integral part of the larger Nested Soundscape.
On a recent trip to NYC, Trudie and I went to the Rubin Museum in Chelsea to listen to their exhibit The World is Sound. It was an interesting and moving exhibition pointing to sound as the alpha and omega of existence! Yes, WoW! The Rubin is a museum devoted to artifacts and teachings of Tibetan Buddhism, so the installations included The Collective Om, which was a long loop of voices sounding Om. (Later we were delighted to find out that our hosts, Winnie and Phil Richmond, old friends of Trudie’s, had been among the Oming voices.) Le Corps Sonore presented ambient waves of sound that enveloped the spiral staircase at the Rubin. Here is a short sample going down the staircase:
I particularly loved the soundlings that are part of this section of the exhibit:
The human voice and spoken language played a large part in many of the sound offerings, so I listened intently to each one. One piece distorted the sound of spoken words, rendering them meaningless, but not before imprinting a verbal message that remained in my brain as the words failed. I am particularly interested in exploring the second question in my own sound work.
But the most amazing sound I heard that day was in a room on the fourth floor that held a reconstructed altar from a Tibetan monastery. A recording of chanting Tibetan monks plays in the room. As soon as I entered the room, I heard Matthew’s voice. The same gutteral resonance and shades of overtones that Matthew brought to the soundscape were permeating the room. I made a short recording, and have coupled it with an excerpt from Matthew’s accompaniment to illustrate:
It is amazing how we do not know who lives and loves among us!
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!!
When Justin Tornow sent out the prompt for this event, my first thought was “What is truly imperative?” A voice answered back, “Breath, heartbeat, conciousness. All the rest is human construct.”
“WoW” said I.
Last night at the new location of The Carrack Gallery, a group of humans got together to express what we feel is imperative. Grief, love, work, vulnerability and self-awareness were the primary constructs illuminated in dance and words. As always, it was a provocative and enlightening evening of artistic work.
ibod(indiosyncratic beats of dejacusse) responded to the prompt with a piece that entertained the idea of imperative as a sense of urgency in the form of emergency sirens. The audience sat in the middle of the room and closed their eyes to make their ears bigger. Jim Kellough and Eleanor Mills circled the group with their iterations of sirens, while I played loops of siren intervals including the keyboard sounds that Suzanne Romey usually plays (she is out of town this weekend.) I invited the audience to vocalize sirens if they wished.
Here is The Sound of Sirens, soundscape nested at The Carrack Gallery:
Folding/Unfolding at The Carrack Gallery in March was the first exploration in creating sound as origami in acoustic space. The soundscape accompanied Glenna Batson’s workshop Human Origami, which is conceived as a long form movement exercise in folding and unfolding the body in partnership with fabrics and textures. My approach to the soundscape was to create folds in the sounds through rising/falling tones, through voicings with longer decay, through amplitude ebbs/swells, and through acoustical comb filtering. Here are some samples of these effects from the recording of that day (I particularly enjoyed playing to the train “whistle” that came through at one point and playing with the creaks and groans as the dancers moved across the old wooden floors):
(The guitars in the last excerpt are from a recording of Lisa Means and Martha Dyer playing in the Sun(Ra) Room March 2016)
I analyzed the waveform of the soundscape using the Sonic Visualizer and a spectrum analyzer. These programs give me access to the amplitude measurements and the frequency measurements captured by the Zoom H2n microphone. One effect that appeared was an indication of folds in the amplitude created by swells and voicings with longer decay. Here is a picture of one section that highlights this effect:
I was very happy to see this folded impression in the amplitude waveform. This image confirms that these two techniques do create a kind of audio fold, so I will continue to explore with these techniques.
The frequency waves are the next layer of folding and can be observed through spectrum analyzers. This is more complex domain as frequency over time consists of fundamental tones with accompanying harmonic and enharmonic overtones. Looking at the soundscape as it unfolded in time and space, I was able to note a 40 hz fold as well as jumps in the fold at 14 Khz. When the scape was more percussive, the entire spectrum behaved like a whip, with the jump at around 40 to 60 hz creating a wave effect that seemed to stop in the mid-range and then undullating up from 11 Khz to 14 Khz. Here is a video of that effect in motion (very noticeable on the last 15 secs of the video):
When the scape had more low pad drones with tonal voices such as woodwind or guitar providing the rhythmic momentum, the waveform was in a steady state across the spectrum with the tonal phrases creating quick blips in the wave. Since the next exploration of Human Origami will add ruptures and rips to the folding/unfolding process, this steady state frequency base with tonal ruptures in the waveform will be a technique to explore.
The comb filtering aspect of Audio Origami at The Carrack was not successfully rendered or captured. This was due in part to the unexpected large stack of boxes in the middle of the gallery on the day we presented the workshop. The boxes covered approximately 36 sq feet and went almost to the ceiling. They were part of the exhibit that was in The Carrack at the time. The boxes created an interesting shape for both the movers and the audio. I proceeded with the plan to point one speaker directly at the window to create strong early reflections, and those reflections were absorbed, refracted and diffracted around the space by the boxes. On one side of the room the boxes were between the larger speaker and the reflecting speaker, causing the early reflections to sort of travel around a corner. The boxes helped to make the experience of the soundscape quite different depending on where the listener was in the room. Given the way that sound moves through and around objects, I am certain there were myriad folds in the layers of tones as they reached the dancers.
The participant feedback on the soundscape was encouraging : “exquisite”, “primitive”, “a confection of music”, and (paraphrasing) supportive of the movement more often than leading the movement. Several of the descriptors were very much a part of the intention of the soundscape, so I have a good grounding from which to move forward into the next experiment in Audio Origami. This workshop will take place May 15th at The Joy of Movement studios in Pittsboro, NC from 2 – 4pm. The focus of this workshop is moving with paper, which holds its form in a way that fabric does not, and is also more prone to tearing and rupturing. The contrast will be very interesting for the movers and will be compelling to explore in creating the soundscape.