Eban Crawford aka Senator Jaiz is the Audio Engineer and Sound Designer for the North Carolina Museum of Natural Sciences in Raleigh NC. I met Eban at my first Moogfest, where he was facilitating a community music making workshop and an interactive exhibit from Natural Sciences. Both of these were highlights of Moogfest for me as I got to play around with an Ableton Push, make music with strangers (that Eban uploaded to Soundcloud later to hear) and meet Senator Jaiz.
A year and a half later, iBoD (idiosyncratic Beats of Dejacusse, my improv group) played a show with Senator Jaiz thanks to Ted Johnson and Triangle Electro Jam at Nightlight Bar in Chapel Hill. So I was thrilled when Senator Jaiz contacted dejacusse to collaborate on a soundscape for a Museum of Natural Sciences exhibit. The company of collaborative conspirers for this project is rich and includes Raleigh’s own SkidMatik, Boston’s Petridisch, New York composers Michael Harren and AfroDJMac. My assignment was to create a 10 minute drone in Gm in a particular tempo range. What fun to have clear constraints and freedom within those constraints. I sent him the finished drone piece in early November.
Now the exhibit Mazes and Brain Games is happening at the NC Museum of Natural Sciences till September 2018 and includes our 50 minute soundscape. Here is one of the first things you see when you walk into the exhibit:
The soundscape is now available on Spotify, iTunes and most online music retailers. Thank you for purchasing the album! Your support means the world to me!
Novation’s Launchpad app has been around for years. I have it on my phone and Ipad, and have created several remix contest entries with it. The Launchpad app is fun, but provides a limited pallette unless one springs for the in-app upgrade, which I did during a Black Friday fit of consumerism. As it has turned out, this is the best dime I’ve spent in a long while! Now I can setup the trigger pads with my own audio loops. The basic effects can be modulated and layered to many satisfying ends. The sounds that come out of it are ever changing and evolving as my fingers do the walking on the Ipad screen.
So, for December’s SundaySites performance, I created a Launchpad project to accompany Jody Cassell’s movement story. Jody has shared recordings of playful, intense story dialogues she has with her Mother, of her own writings about grief and loss, and other vulnerable moments. She has entrusted me with a treasure trove of sound memories to shuffle through and bring in to the soundscape. The Launchpad app allowed me to move the narrative with greater improvisational freedom.
I pulled a simple narrative from their stories. To paraphrase: Jody is small and short because her Mother squished her, her Father agreed to this, the squishing made her small but mighty, her Mother went to Alaska and turned into a salmon, Jody could have accidently eaten her, and remember I love you. These snippets of dialogue/monologue were built into the soundscape. The main theme of the soundscape was a “music box” piano line and lots of driving rythmns, hissing cymbals, odd beats and sound manipulation. On December 3, 2017, we improvised for 90 minutes inside the Durham Visitor’s Center at 120 E Main Street. Fabulous space with a big reverby soundbowl at the entryway that narrows into a shoebox hallway. Here is a nine minute sectioned where I solo’d while Jody caught her breath. You can hear how powerful the Launchpad audio filters are at 1:20 to 1:40, where the gated audio actually gate-effects the voices talking in the background.
On February 16 Third Friday 2018 at The Fruit, all the 2017 SundaySITES artists will be celebrating Stephanie Leather’s wonderful community awareness/expression project. Jody and I will bring a fresh pallette of takes on our stories to this event. I am creating a piece about the magnitude of giving voice. There is a theme of “crying” along with catchy, glitchy drums and some rumbling vastness. Jody and her Mother have more stories to tell, and I am voicing overtones and mouth sounds, and possibly live vocals at the moment of performance. We are learning how to play with emotional baggage.
Most of the dance, music, sound performers and the photographers who documented the 2017 performances will show their work. It will be a great way to see the bigger picture of what SundaySites is bringing to Durham.
So much of the harmonic content of TRIC is generated by the offset repetition of each pattern. In order to create a Minute ‘In C’ most of the patterns will only be voiced once so that particular content will be lost. As with all the TRIC Questions, I am intrigued to discover what new or similar content will emerge within this truncated structure. With 53 patterns, containing 16th to dotted whole notes, running 2 pulses to 64 pulses in length, a Minute ‘In C’ will take some careful sculpting of the pattern relationships.
An analysis of the text reveals that the piece is made up of a total of 529 eighth note pulses. TRIC contains four patterns that are identical to each other – 11/36, 10/41, 18/28 and 37/50. These identical patterns are 9 pulses, so taking away the superfluous 9 pulses, there are 520 pulses to fit into a minute for an rough average of 17 pulses every 2 seconds. This will be achieved by using multiple voices and starting off right away with more than one pattern sounding. (A future TRIC Question will explore how all 53 patterns in a row resound!)
I chose a half a dozen voices with mostly percussive attacks and interesting resonances. These voices allow the patterns to be more clearly articulated and have resounding presence – a necessity since many of them are only heard once! One of the voices is a drum kit which ended up being paired with brass stabs so as not to lose the pitch content of the patterns assigned to the drums. I enjoyed sculpting a pan dance (playing between the ears left to right) in a couple of places with the drum and brass voices.
Starting at the beginning, Patterns 1 and 2 come out of the gate as the next twenty patterns cascade over each other. The triplet waltz feel of “the twenties” moves through, then all the sixteenth note tumult of the patterns before and after Pattern 35. The minute wraps up with the end of Pattern 35 (the long one) and the C pulse bouncing around. Some of the shorter patterns did get repeated. I was able to hear every pattern after two or three times through. The lack of repetition seemed to bury the F#/Bb shifts in tone. They became passing tones, which diminished their impact.
This is a 3D soundscape so listen through headphones at a moderate amplitude. Pay close attention to the space in your head. Listen the same way you held your vision for the Magic Pictures of the early 1990s. Here is an example of a Magic Picture for you to see into. I was able to see the horse in this image on my Ipad screen and on my iPhone screen. The seer must relax, soften and expand their vision in order to see the 3D image embedded in the pattern.
Now do the same thing with your ears as you listen to a “Minute ‘In C'”
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!
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!!
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!