Just when I though I’d never get this blog going I’ve finally found a train journey & a window of time to get it going; many things to write about but best to start with the one of most recent…Last month (well… March 2011), I did a quick, but wide, tour of USA: from Portland to Nashville to Austin…
It was kick-started by the Nonclassical team agreeing that we should host another NONCLASSICAL showcase @ the SXSW festival in Austin. We did one in 2009 – I went as the DJ along with The Elysian Quartet, John Mathhias & Nick Ryan (of Cortical Songs), and label manager David Halliwell; we did a gig at Le Poisson Rouge (New York) on the way to Austin, and got some great reviews in both New York & Austin newspapers. This year we were keen to go again, and make an even bigger mark. Todd Puckhaber @ SXSW was enthusiastic and helped us get a venue, right bang in the centre of the mayhem of Austin’s 6th st, for Friday night @ a very cool club: The Velveet Room. Newly signed Nonclassical artists: Juice Vocal Ensemble managed to get some funding from PRSF for their travel out Austin, and then I got in touch with a very adventurous selection of American performers and ensembles I knew, in order to build a complete program for the night.
But, in the mean-time FearNoMusic, a new music group from Portland, had been in touch; one of their violinists Paloma Griffin had facebooked me after reading a Wall Street Journal review of our 2009 Poisson Rouge show. FearNoMusic wanted to do a full program of my chamber music and have me over as a guest (sit in on rehearsals, and do some DJing), and realised they could tie their event in with this trip. Finally, another visit that I HAD to tie in with this trip was to NAXOS USA in Nashville (especially as Nashville looked quite near to Austin, according to my naive European eyes).
Nonclassical Records have been distributed by Naxos for the last 2 years, and they have been the nicest people we’ve worked with, not only totally behind what we’re trying to do with Nonclassical, but really helpful and friendly swell. We agreed that it would be great if we could set up a NONCLASSICAL club-night in Nashville while I was in town, and Megan (our label manager at Naxos), managed to book a very cool venue: The Mercy Lounge AND get local percussion legend Ray Wooten (aka FutureMan) involved as well; he has an interesting new ‘classical’ project called Black Mozart & we were going to share the bill; me DJing & his band doing a live set, and then a bit of jamming together to end the night…. yikes.
FearNoMusic, were one of the most hospitable groups I’ve ever met, from the moment I arrived in Portland, I was really well looked after. Jeff Payne, their Pianist, even gave up his apartment for me for the 4 nights I was there, and Paloma took me out on the town with her good friend Thomas Laudedale (of PInk Martini) -who gave me his infamous tour of Portlands night-life (which included ‘Marys’ & ‘Silverados’, female & male strip-clubs respectively).
This gig was a first for me, in that the whole concert was dedicated to my chamber music, and it was a real honour that it was performed such talent as FearNoMusic. – On the night before gig Paloma took me to a Portland Symphony concert, and there leading the Viola & Cellos were three of the FearNoMusic musicians, along with Inés in Violins & Mark on Clarinet (-the following night they were all going to playing my music in the characterfully Aladdin theatre…! )
GP Dance “Silente” for String Trio, Bass Clarinet, piano and scratch DJ (2004) -US premiere
GP Sleeveless Scherzo for solo violin & solo dancer (2008) – choreography-World premiere
GP Piano Book No. 1 (2009) Excerpts -Northwest premiere
GP Multi-track Cello Suite (2010) Excerpts – US Premiere
GP Bogle Move for string quartet (2009) – US Premiere
Sergei Prokofiev: Overture on Hebrew Themes, Op. 34 (1919)
—- Particularly exciting for me was to hear the first live performance of Jerk Driver, a piece I composed 1 year ago for multi-track Cellos. Nancy Ives, had recorded all the mulitrack cello parts a week earlier in a friend’s studio & I was blown-away by the accuracy and understanding of her interpretation… The piece is based on a very jerky, stuttery, crunchy double-stopped bass groove, which she got totally spot-on, as well as all the extended-technique cello percussion stuff. I had assumed the piece would need quite a bit of work-shopping, but she understood, really enjoyed & pulled it off; so our rehearsal session together was just to fine-tune a few details.
And in the concert, the audience seemed to get the feel of it too (now, I’m really looking forward to Peter Gregson, performing all 5 of the Multitrack pieces @ my Eclectica gig in LSO St Lukes) – and hopefully Nancy learning more of them aswell).
Another real revelation of the FearNoMusic gig was the new interpretation of Sleeveless Scherzo by Solo Dancer; Gavin Larsen, and Solo Violin: Paloma Griffin.
Sleeveless Scherzo was originally composed in collaboration with choreographer & dancer Trish Okenwa for 3 Rambert Dance Company Shows in 2008 and had not been performed since. Gavin’s new interpretation (based on Trish’s & my original notes for the piece) was really fantastic, and Paloma played the tricky Violin part so eloquently -they made a great duet.
The other performances were also very strong, and Jeff Payne did especially well with the very physical Tuff Moves (for solo Piano), of which I had only sent him the (rather ugly) score just a 2 weeks before.
I got a nice taste of performance stress too: playing the DJ part in my ‘Silente’ (2nd Dance for String Trio, Piano, Bass Clarinet & DJ). It had been a long time since I’d actually properly put hand to vinyl in a rhythmic way (I tend to DJ from laptop these days) and I only just managed to pull-off the DJ-part… There is much more I could say, but most importantly if you are ever in Portland check out FearNoMusic; they are a really special group of very talented players who are genuinely dedicated to playing new music – but as Jeff said: “only stuff we actually like playing” -which is how it should be. And hopefully we’ll be working together again soon.
They have now been going nearly 20 years, and are one of a number of unique groups around the US (and Europe) who are keeping new contemporary music a living / breathing force, and who actually have dedicated followers; like Present Music, Milwaukee (who I had the fortune of working with in September 2010)
NASHVILLE (15th March):
It is always interesting when you actually get to meet the people behind the emails & phone calls. And with the Naxos team it was an very overdue pleasure to meet everyone in person.
Colin, was missing his infamous mohawk (he hadn’t warned me that he shaves it off to make way for a hat in the winter) but he was as kind and knowledgeable as I’d imagined, with an incredible music collection, and also a few surprises: fore-arms covered in tattooed signatures of female foot models (in his spare time he is a leading foot-fetish photographer !)
He introduced me to everyone in the Naxos team -we went from office booth to office booth meeting the all faces behind names from different emails. I saw the gigantic CD warehouse next door to the offices (and even the small temperature controlled Vinyl room, where our 3 Nonclassical 12″ Vinyls are stocked). then lunch @ psychedelic-styled pizza restaurant in downtown Franklin (a model of the classic southern, single-street town centre).
Then to the Mercy Lounge to meet FutureMan & his infamous Black Mozart Ensemble and soundcheck for the Nonclassical night there.
I can’t deny this whole show had me slightly nervous… Firstly I’ve never really consider my DJ sets as being a ‘performance’ (in fact I’m sceptical that many DJ-sets could really be seen as ‘performances’); my DJing is something that has happened out of necessity; I put on a Nonclassical club night & needed someone to DJ appropriate music in-between live sets and couldn’t find the right DJ so had to do it myself.
So being on equal billing to Future Man and his live set worried me, as did a previous email with Zach (his concert master) that we should definitely ‘jam’ together for a third set…
I’d seen some Youtube clips of the FutureMan shows & they did proper crowd-working ‘shows’, whereas my DJing is normally for setting an atmosphere, not getting everyone ‘whooping’, etc..
- I have been planning (for a while) to develop fully functioning ‘live remixing’ set-up on my laptop so I really can interact with acoustic musicians in-real time: live, but just have not found that spare week to do it yet; but fortunately I remembered a ‘jamming’ project I had been involved in last summer at the Glastonbury Festival:
BBC conductor: Charles Hazelwood had this wicked idea of taking a selection of Purcell Figured-Bass and using them as Bass-lines for more electronic, contemporary styled music. Charles was on keys, Adrian (from Portishead) on Guitar, Jason Yard on Sax & fx, and somehow I had ended-up as the ‘beats & bass’-man; pre-programming a bunch of Electronic beats & bass-lines using Purcell figured-bass that would form the basis of our extended jams. I had set up these beats on ableton live so that I could tweak/mash/process/twist and jam with them.
Then after a bit more DJing, which Ray Wooten jammed along to, we had some fun with a couple of those Purcell Bass-lines, and it gelled really nicely. Afterwards I wished that I could’ve stayed longer & we could have worked together some more… Ray & his group are so talented and sharing the stage with them gave my DJ-set an extra energy…
Next morning I was up early & flying to Austin -which wasn’t as near as I thought (especially as my flight had a change a Chicago..!?!?). Anyway, this blog is getting LONG – the Austin SXSW chapter comes soon…