Simple variation on a trope, technique, gesture, color and shape. This one might be a little more impressionistic than rigorous. Some of this, I think, works; some parts better than others. Enjoy.
I almost called this one ‘Induced Atmospheric Vibration’ after some (likely untrue) reports from Portugal in regards to the recent blackout. As some of you know, I played an unplanned solo set after Kaffe Matthews, with whom I was to perform in a duo, got stranded in Portugal. (For those who had wanted to hear our duo, we will be back!)
If this one feels a little like a throwback earlier studies, yeah, I agree… at least in part. There’s some techniques almost directly lifted from earlier improvisations, but combined with some of the structural concerns from some of the more recent studies. I’m not 100% convinced this one works, but maybe it can be made to. We’ll see.
It’s been a minute since I’ve done one of these excercises; specifically something I’d once called a ‘structural paraphrase’ (my, my, did I go hard on artspeak with that one 😶). Anyway, please enjoy this very loose improvisative paraphrase (with apologies to CT).
And please excuse the scritchy-scratchy pots—the potentiometer in my volume pedal in particular may be beyond cleaning. (You can help me fix that.)
I’m happy to announce that, following a delay at the factory, I am now shipping the companion cassette tape to Proxemics (BAF003). It’s super limited edition, and the recording on cassette presents an, I think, fascinating, alternative perspective to the music of the album.
“So confounding and strange that simply listening to it makes you feel alive.”
Please note that this cassette release does not duplicate the digital album, but offers a complement to it. In contrast to the digital download album, the cassette album is the room mic recording of the second set only (corresponding to ‘Proxemics I–VI’). The cassette presents a vérité, ‘bootleg’-vibe documentation of the performance as heard by the audience on the night.
Thanks so, so much to everyone who ordered the tape—I truly appreciate your support, patience and understanding. I’m excited for you to hear the noise on tape!
Track listing: Orbital Dusk I (6:04), Orbital Dusk II (4:20), Orbital Dusk III (2:29), Orbital Dusk IV (6:03), Diel Vertical Migration I (6:31), Diel Vertical Migration II (4:38), Diel Vertical Migration III (4:33), Diel Vertical Migration IV (7:36), Metastability (7:24). Total duration: 49:36.
I kept fumbling this one—thus another asterisk [*] on ‘#onetakestudy,’ and thus the title. This one’s very much work-in-progress.
A disprepared ditty bouncing some ideas—well, barely ideas, more fragments of fragments—that emerged from a session with Kaffe Matthews, and a recent gig with Camila Nebbia and Gianluca Elia. It is what it is, but, with a little more work, maybe I can make it into something.
This Thursday (March 6, 2025) at 8:00pm: Camila Nebbia (saxophone, effects and visuals), Han-earl Park (guitar) and Gianluca Elia (electronics) will be performing as part of disfigured rivers vol. 5 in Berlin (contact for venue details). Also performing are Tumulus (amplified saxophone), and Marina Cyrino (flute) and Ayşe Hatipoğlu (’cello).
Track listing: Autopoiesis I (≥ 10:14), Autopoiesis II (≥ 4:29), Niche Shift I (16:09), Niche Shift II (≥ 4:45), Niche Shift III (4:35), Niche Shift IV (≥ 12:52), Autopoiesis III (3:26), Autopoiesis IV (≥ 5:03), Autopoiesis V (≥ 3:17), Autopoiesis VI (3:37). Total duration ≥ 70:14.
Other than Dean Brown, which players have developed a facility for using the volume and wah pedals simultaneously? Whose playing should I be studying?
Judging from some of the responses I got, however, I needed, I think, to provide a little more context.
So please consider this short improvisation that context. It’s a demo of where I find myself right now, and I’d really welcome suggestions for approaches, techniques, models to study. Let me know what you think.
* irt the asterisk on ‘#onetakestudy,’ this one missed the first take. I wasn’t really ready for this, and I made a couple of aborted takes of the first phrase or two.
Camila Nebbia (saxophone, effects and visuals), Han-earl Park (guitar) and Gianluca Elia (electronics) as part of disfigured rivers vol. 5. Also performing: Tumulus (amplified saxophone), and Marina Cyrino (flute) and Ayşe Hatipoğlu (’cello). [Details…] * DM for venue details.
Kaffe Matthews (live sampling alchemical electronics) and Han-earl Park (guitar). Also performing: Matthias Müller (trombone), Matthias Muche (trombone) and Jeb Bishop (trombone). [Facebook event…] [Details…]
