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pfMENTUM Recordings: CDs, LPs, DVDs archival information

Archive for information about the recordings documented on pfMENTUM, including CDs, DVDs, vinyl LPs, and digital releases.

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The Jeff Kaiser Ockodektet - 132350 (PFMCD150)

the-jeff-kaiser-ockodektet-132350-pfmcd150

The Jeff Kaiser Ockodektet - 132350

1. Father Death Blues

2. Section 1 to X

3. Section 5 to X

4. Section 7 (electronics intro)

5. Section 8 to X

6. End of the World

Bonus Track, DIGITAL VERSION ONLY:

7. 13 Themes for a Triskaidekaphobic (revisited)

Digital Version available on https://music.jeffkaiser.com/ starting 12/26/2021. In celebration of my birthday, the digital version only is available on a pay-what-you-want basis for the download starting at $0.00.

Compositions/Conducting/Voice/Pump Organ: Jeff Kaiser

Woodwinds: David Borgo, Vinny Golia, Emily Hay, Tracy McMullen, Andrew Pask (with modular synths)

Trumpets: Dan Clucas, John Fumo, Brad Henkel, Daniel Rosenboom, Kris Tiner

Trombones: Michael Dessen, Michael Vlatkovich

Tuba and more: Jonathan Piper, William Roper

Acoustic Guitars: Tom McNalley

Contrabasses: Mark Dresser, Jim Connolly (with musical saw)

Electric Contrabass Guitar: Steuart Liebig

Piano/Keyboards/Theremin: Wayne Peet

Percussion and so much more: Brad Dutz, Rich West

And Special Guests Bonnie Barnett Dick Wood

Dedicated to all my dear friends that played on this concert. Thank you so much. I miss you all, I miss playing together, I miss hanging out.

Except “Father Death Blues” by Allen Ginsberg, ©Music of Virtual OBO May King Poetry MUSIC and; “End of the World” by Arthur Kent and Sylvia Dee, ©Music Sales Corporation, Used by Permission

Recorded by Josef Kucera and Tom Erbe, November 18, 2011

UC San Diego, Conrad Prebys Music Center

Mixed and Mastered by Wayne Peet, February 2021

Photograph by Jessica Flores

pfMENTUM - PFMCD150

For more information: ockodektet.com

Concert Video: youtube.com/jeffkaiser

Score: jeffkaiser.com/scores

Buy Digital Here:

By CD Here:

PFMCD150

Wayne Peet Quartet: True Truth (PFMCD146)

wayne-peet-quartet-true-truth-pfmcd146

Wayne Peet Quartet: True Truth

(Ships May 10, 2022)

Wayne Peet - Keyboards (Acoustic & Rhodes Piano, Yamaha & Hammond Organ, Clavinet, Synth), Trombone

Andrew Pask - Woodwinds (Soprano & Tenor Sax, Bass Clarinet), live FX

Roberto Miranda - Acoustic Bass

Ellington Peet - Drums

1 Clash Landing (9:42)

2 Orbutak (9:50)

3 Intrinsic Blues (7:51)

4 Lagology (10:57)

5 Dub Schlep (8:38)

6 I Had To Fix the Truth, Too (9:53)

7 Surface of the Desert (14:02)

8 Soule’s Kitchen (3:13)

total 74:30

Recorded Nov 24 and 25 2019 / Sep 4 2021

Edited, mixed, mastered 2020 - 2021 at Newzone Studio, Los Angeles

Wayne Peet - Composer, Engineer, and Producer

Ellington Peet - Session Assistant Engineer and Album Artwork

pfMENTUM • PFMCD146

PFMCD146

VINNY GOLIA: EVEN TO THIS DAY…: MOVEMENT ONE: INOCULATIONS (PFMCD145)

vinny-golia-even-to-this-day-movement-one-inoculations-pfmcd145

VINNY GOLIA

EVEN TO THIS DAY…

MOVEMENT ONE: INOCULATIONS

MUSIC FOR ORCHESTRA AND SOLOISTS

(Inoculation: to inoculate)

This applies to vaccinating against the coronavirus and to mentally preparing ourselves to be strong against the onset of paranoia, boredom, depression, isolation, apathy, and all of the other symptoms of this disease that we did not anticipate.

Even to this day… comprises three movements. Movement One: Inoculations, which you are listening to now, is for orchestra and 21 improvisers. The complete length of Inoculations is 10 hours and 32 minutes and consists of 12 individual Modules. The second movement, Part Two: Syncretism: for the draw… is for metal band and orchestra and will be released in early 2022. Finally, as yet unnamed, the third movement for symphony orchestra and large ensemble with improvisers will be completed at the end of 2022.

I started writing Even to this day… for my 75th birthday a year before it was to happen at the request of Rent Romus, who was organizing a concert of 75 musicians to perform the piece, unaware that Covid lurked around the corner. The performance never happened. So, I decided to go for what I wanted using real and virtual musicians performing composed music combined with improvisation—which always seems to be the best way to get what I want musically—a blend of serenity, intensity, and stability that shifts like the sands in a desert. And, as I wanted to have many of the West Coast musicians I play with represented in the music, I came up with a plan to have soloists play over a large and continually changing symphonic setting.

Even to this day… includes soloistic journeys, short interludes, transitional forms, and improvisations involving orchestral textures. Performed live, I would have used a combination of conducting techniques I have been refining since the first concert of the Vinny Golia Large Ensemble in 1982. Unfortunately, I could not do this live because of Covid restrictions and instead created an alternate composition system to supplant and expand on those techniques. Our West Coast community of creative musicians is vast and intensely innovative, and from this communal pool, I used improvisers accustomed to performing New Music and freer forms of improvisation. Specific compositions showcase their creative talents, resulting in a myriad of improvisational approaches. For the listener, the modules within each movement can be arranged in any order but are best listened to in their original order as the compositions within each module accent each other.

Movement One: Inoculations is the first part of over a year’s worth of work on Even to this day… The movement is a direct response to Covid, reflecting feelings and thoughts while locked down or “safer at home” for 15 months now. With so much discord in the world at the moment, the chance for a few of us to collaborate on something positive seemed a great way to fight back, peacefully, against the malaise of fear, uncertainty, isolation, hostility, and depression. So, this orchestral project started in March 2020 is now ready to add the final component, the listener…

12 CD SET WITH FEATURED SOLOISTS:

Steve Adams—Sopranino and Alto Saxophones, Alto and Bass Flutes, and Electronics • Matt Barbier—Euphonium and Trombone • Kyle Bruckmann—Oboe, English Horn, and Electronics • Dan Clucas—Cornet • Clint Dotson—Drums • Tim Feeney—Percussion • Ken Filiano—Bass • Randy Gloss—Hand Drums and Electronic Percussion • Nathan Hubbard—Drums and Percussion • Jeff Kaiser—Trumpet and Electronics • Ellington Peet—Drums • Wayne Peet—Piano, Organ, and Synth • Vicki Ray—Prepared Piano • Sarah Belle Reid—Trumpet and Electronics • Steven Ricks—Trombone and Electronics • William Roper—Bombardondino, Tuba, and Extemporaneous Spoken Word • Derek Stein—Cello • Cassia Streb—Viola • Brian Walsh—Bb, Bass, Contralto, and ContraBass Clarinets • Miller Wrenn—Bass • Vinny Golia—Woodwinds, Gongs, and Singing Bowls

Module 1 — Observation

Module 2 — Belief

Module 3 — Goals-analyzation and clarification

Module 4 — Determination

Module 5 — Identification and Orientation

Module 6 — Skills and Knowledge (qualities and abilities)

Module 7 — Collaborations

Module 8 — The Plan

Module 9 — Visualizations

Module 10 — Persistence

Module 11 — Action and Decision

Module 12 — Needs and Uses

Trapezoid by Randy Gloss • Recorded by Wayne Peet and Vinny Golia (with additional remote recording by solo artists) • Recorded from March 2020 to August 2021 • Edited, Mixed, and Mastered by Wayne Peet • Produced by Vinny Golia and Wayne Peet • Disc Artwork by Steuart Liebig • Cover Design and Artwork by Ted Killian • Special thanks to Wayne Peet, Kathy Carbone, Jeff Kaiser, California Institute of the Arts, and all the performers on this project.

A joint release of Ninewinds Records and NWCD450 / PFMCD145

VINNY GOLIA

EVEN TO THIS DAY…

MOVEMENT ONE: INOCULATIONS

MUSIC FOR ORCHESTRA AND SOLOISTS

Module 1

Observation

1. Moai 3 VC — BS • Soloist: Vinny Golia — Contrabass Clarinet

2. CB Flute Real One — Explained1 • Soloist: Vinny Golia — Contrabass Clarinet

3. 2 — 9 Dizzy 2 — A dedication

4. Moai 3 — 5 Middle section • Soloists: Kyle Bruckmann — Eng Hrn; Matt Barbier — Trom

5. From the Ancient Race • Soloists: Vinny Golia — Alto Sax; Dan Clucas — Cornet

6. Project — 1 — Transition • Soloists: Vinny Golia — Baritone Saxophone, Gongs; William Roper — Tuba; Nate Hubbard — Drums

7. The Real One

8. Brass — As played on the Nagra • Soloists: Vinny Golia — Sopranino Saxophone; Dan Clucas — Trumpet

9. Escape from the lab, Professor Deemer doesnít make it • Soloist: Vinny Golia — Gongs

10. Hand me Lieutenant Liu’s notebook of justice… • Soloist: Vinny Golia — Ram’s Horn, Eb Clarinet, Baritone Saxophone

11. Toolboxes and tradeoffs — For Pete Edwards • Soloist: Vinny Golia — C Flute

12. No horn Intro,…, just kidding • Soloist: Dan Clucas — Trp

13. So many forms, the low frequencies • Soloists: Wayne Peet — E Piano; Ellington Peet — Drums

14. For Art, the hole puncher • Soloists: Vinny Golia — Contrabass Clarinet, Gong; Brian Walsh — Bass Clarinet; Tim Feeney — Perc

Module 2

Belief

15. The Rams Horn Moai, a gift from Peru • Soloist: Vinny Golia — Ram’s Horn, Tenor Sax, G and F Mezzo — Soprano Sax, Bells

16. Not Pelham, (the Throwback!). • Soloists: Wayne Peet — Synth; Ellington Peet — Drums

17. It’s a jumble out there! • Soloist: Tim Feeney — Perc

18. letters to Francis • Soloists: Vinny Golia — Soprano Saxophone; Miller Wrenn — Bass

19. The complete Hermann • Soloists: Sarah Reid — Trp and FX; Tim Feeney — Perc

20. The first time I heard that • Soloists: Vinny Golia — Xiao; Tim Feeney — Perc

21. Encomium • Soloists: Vinny Golia — Singing Bowls; Brian Walsh — Bass Clarinet; Randy Gloss — Bendir Drum

22. 2 — 7 — 3 — sracps — 2

23. 1 — 18 strgs whole — No Mayo • Soloist: Vinny Golia — Tenor Saxophone, Contrabass Clarinet

24. 2 — 7 — 3 — sracps — The Original

Module 3

Goals — Analyzation and Clarification

25. For John… • Soloist: Vinny Golia — Tenor Saxophone

26. Low Toaani • Soloist: Wayne Peet — Organ and FX

27. Locus — 2 • Soloist: Brian Walsh — Clarinet

28. Xiphoid • Soloists: Steve Adams — Sopranino Saxophone, William Roper — Bombardondino (Travel Tuba)

29. Yet another, New Vamp Tune

30. Message from Time • Soloists: Sarah Reid — Trp and FX; Derek Stein — Cello

31. The battle of Tibet — Circa 1943 • Soloist: William Roper — Bombardondino (Travel Tuba)

32. From the Ancient Race; Symbolism • Soloists: Vinny Golia — Bb Clarinet; Clint Dodson — Drums

33. Warp and Woof (on the road to Georgia) • Soloists: Jeff Kaiser — Trp; William Roper — Vocal

34. The Attic of the Unknown Foe, for Mr. Martin • Soloist: VG — Eb Clarinet, Ab Clar, Contrabass Clar, Basset Horn, Gongs and Bowls

35. Low Toaani — Part Two • Soloist: Sarah Reid — Trp and FX

Module 4

Determination

36. Easy to Sneak Up On

37. Doctor Savaard explains his theory eloquently, but no ones listens

38. Dizzy — a second dedication because he deserves it!

39. nmae later, (not a typo…) • Soloist: Jeff Kaiser — Trp and FX

40. Kyle! • Soloist — Kyle Bruckmann — English Horn

41. Intro Drake — 1 — 2 • Soloists: Vinny Golia — Bass Clarinet; Randy Gloss — Tabla

42. Who is Gladys Glover? — Bass; Nate Hubbard — Drums

43. Not Hardly… • Soloist: Jeff Kaiser — Trp

44. 1 — 14 Solo Section 2 • Soloists: — Vinny Golia — Bass Saxophone; Nate Hubbard — Drums

45. In France you sit on long items shaped like canoes — for Barre • Soloist: Dan Clucas — Cornet

46. For Vicki • Soloist: Vinny Golia — Contraalto Clarinet; Vicki Ray — Piano

47. Trapazoid • Soloist: Randy Gloss — Frame Drum

48. Mr. Fletcher now heads towards Mexico to find his first move,…or else, it ís up to him • Soloist: Ken Filiano — Bass

49. 1 — 9 31120 not exactly Vlatkovich, (title wise…) • Soloist: Steven Ricks — Trom

50. 1 — 5 bridhge to solos • Soloists: Vinny Golia — G — Piccolo; Tim Feeney — Perc

Module 5

Identification and Orientation

51. Shadow

52. Vicki 2 • Soloist: Vicki Ray — single track of prepared piano with E — Bow

53. By which they lead • Soloists: Miller Wrenn — Bass; Tim Feeney — Perc

54. About three more days, give or take a day or two

55. Ken • Soloist: Ken Filiano — Bass

56. The return of Tyler Bob! (I know that guy!)

57. “Hey Cosmo, How you Doin’…doin’ ok…” — for Fumo

58. Your devotion to etiquette is admirable but your methods leave much to be desired

59. The Wilhelm Scream (not alligator shoes I hope!) • Soloists: Vinny Golia — Baritone Saxophone; Randy Gloss — Daf

60. He’s the only one that’s happy!

61. In Between The Winds • Soloist: Brian Walsh — Clarinet

62. Indeterminate growth • Soloist: Tim Feeney — Perc

63. Dixie Cups and Strings • Soloists: Derek Stein — Cello; Miller Wrenn — Bass

64. The Solution • Soloist: Steve Adams — Electronics

Module 6

Skills and Knowledge (qualities and abilities)

65. Try This One On

66. nmae again, later • Soloists: Ken Filiano — Bass and FX

67. Time Change

68. The Octopus boy, (good work Rachel)

69. Trpt Partial

70. It must fall out of my formation circle

71. The Octopus boy; retake • Soloist: Wayne Peet — Organ

72. All is lost, All is lost! • Soloists: Wayne Peet — Synth; Steve Adams — Alto Sax; Nate Hubbard — Drums

73. And it’s also the name of a man who operates hotels

74. Mead and various secrets from the island • Soloists: Steve Adams — Bass Flute; Randy Gloss — Frame Drum and Metal Perc

75. The Internet is always open • Soloist: Derek Stein — Cello

76. And, Have A Nice Day, (Or Else!) • Soloist: Dan Clucas — Trp

77. It’s Douner Stieglitz camera lenses!

78. An Arc of Electricity • Soloist: Jeff Kaiser — Trp and FX

79. From the Ancient Race; Electrodes • Soloists: Wayne Peet — Piano; Clint Dodson — Drums

80. Lonely wind • Soloists: Cassia Streb — Viola; Derek Stein — Cello

INSERT SIDE TWO

Module 7

Collaborations

81. For Robin

82. History does not linger long in our century; reprise

83. Vicki project 5 • Soloists: Vinny Golia — Basset Horn; Vicki Ray — Prepared Piano

84. Never Freed • Soloist: Vinny Golia — Bass Clarinet, Soprillo Sax

85. Transition #1 • Soloist: Steven Ricks — Trom

86. Sketch • Soloists: Miller Wrenn — Bass; Clint Dodson — Drums

87. The Stretchy, Walky, Thingy • Soloists: Vinny Golia — Bari Sax; Ken Filiano — Bass; Ellington Peet — Drums

88. The Great American Biotic Interchange • Soloists: Vinny Golia — A Clarinet; Wayne Peet — Prepared Piano

89. Aver • Soloist: Clint Dodson — Drums

90. The original five! • Soloists: Vinny Golia — Bass Saxophone; Wayne Peet — Synth

91. Unit! • Soloists: Matt Barbier — Trom; Miller Wrenn — Bass

92. Robin 2 and For Richard Nunns Medley • Soloist: Vinny Golia — Gongs, Bowls, Shells

93. Villions • Soloists: Miller Wrenn — Bass (section parts); Ken Filiano — Bass and FX

94. Cassia • Soloist: Cassia Streb — Viola

Module 8

The Plan

95. Moai 3 addition

96. To the skin together

97. Flight 575 • Soloist : Steve Adams — Electronics, Alto Sax; Miller Wrenn — Bass; Clint Dodson — Drums

98. Transition #2 • Soloist: Steven Ricks — Trom

99. A to B, Pull the chutes, where’s my champagne? • Soloist: Jeff Kaiser — Trp

100. Pharoah at the chord change • Soloist: Vinny Golia — Tenor Saxophone

101. Harmonics…!!!!!?????

102. What’s your name? • Soloist: William Roper — Bombardondino (Travel Tuba) and Vocal

103. Studebakers, Toasters, and Crop-dusters • Soloist: Vinny Golia — Bass Sax; Nate Hubbard — Drums

104. The 18th form • Soloist: Vinny Golia — Bass Flute; Wayne Peet — Piano Keys; Vicki Ray — Piano Insides

105. Do you have an opinion..? • Soloist: Vinny Golia — Bari Sax

106. Toanni — Insert • Soloists: William Roper — Tuba; Nate Hubbard — Drums

107. The Filiano Way, an Introduction to Mr. Ken… • Soloist: Ken Filiano — Bass and FX

108. The Island of One Thousand Names

Module 9

Visualizations

109. …These 3 together • Soloist: Vinny Golia — Native American Flute

110. Public Swimming Pool • Soloist: Dan Clucas — Cornet

111. Moai 3 — 13

112. Dr. Karmackís tasty treats… • Soloista: Vinny Golia — Alto Saxophone; Vicki Ray — Prepared Piano

113. Transition #3 • Soloist: Steven Ricks — Trom and FX

114. Will Warren Chesnick go to the prom alone…I think not!

115. The Thayer Effect, we like what it does • Soloists: Vinny Golia — Gongs; Miller Wrenn — Bass

116. Whiteside speaking • Soloist: Vinny Golia — Gongs, Tubax (contrabass saxophone)

117. All the Ghosts we can have

118. Bowed Interlude — for Mark Dresser • Soloists: Vinny Golia — Gongs, Contra Alto Clarinet; Matt Barbier — Trom

119. Moai 3 — 5 • Soloist: Matt Barbier — Euphonium

120. 1 — 13 — w harp

121. The lipkenstein process • Soloist: Ken Filiano — Bass and FX

Module 10

Persistence

122. Events that have happened are happening again, as we speak • Soloist: Vinny Golia — Tenor Saxophone, Indonesian Flute, Gongs; Wayne Peet — Piano

123. Big Finnish for Rent and Heiki

124. Double duos • Soloist: Vinny Golia — Soprillo Sax, Bass Clarinet

125. Strange Man, but still, a good plan. • Soloist: Wayne Peet — Piano

126. Bedtime • Soloists: Vinny Golia — Bamboo Flute, Sopranino Sax; Clint Dodson — Drums

127. And I remember…everything • Soloist: Vinny Golia — Gongs

128. Moai 3 — 1

129. A gift for Mike • Soloist: Ken Filiano — Bass

130. How’d it get burned!!, How’d it get burned!!, How’d it get burned!!, How’d it get burned!!

131. Project 1 • Soloists: Vinny Golia — Bari Sax, Gongs; William Roper — Tuba; Nate Hubbard — Drums

132. Persistance for William • Soloists: Vinny Golia — Shakuhachi; Cassia Streb — Viola; Tim Feeney — Perc

133. The Intro • Soloist: Ken Filiano — Bass and FX

134. Vicki 6 • Soloists: Vinny Golia — Contrabass Clarinet; Vicki Ray — Prepared Piano

135. A Philosophy of the Bass — for Bert

Module 11

Action and Decision

136. Moai 3 — 4 Medley • Soloist: Vinny Golia — Conch, Sopranino Saxophone

137. But it was all just a dream… • Soloists: Vinny Golia — A Clarinet; Cassia Streb — Viola

138. From the Ancient Race II

139. Moai 3 — 2 Textures

140. “Your friend is intelligent, he will know better, than to follow me”

141. Bad Dentist • Soloist: Vinny Golia — Basset Horn

142. Someplace called…not Furiya • Soloists: Vinny Golia — Conch, Shakuhachi; Clint Dodson — Drums

143. Isochronus

144. Travk 5 • Soloist: Vicki Ray — Prepared Piano

145. Moai 3 — 10 • Soloist: Vinny Golia — Tenor Saxophone, Globular Flute

146. Elegy for Don LaFontaine • Soloist: Brian Walsh — Bass Clarinet

147. LE Spring 2020 — 7 — B section

Module 12

Needs and Uses

148. Goliath • Soloist: Vinny Golia — Sopranino Saxophone

149. The Rolisican government questions Fukoda’s support, in the cave of Neon (Perhaps it’s the radiation?) • Soloist: Tim Feeney — Perc

150. LE Spring 2020 — 7

151. An Unforeseen Side Effect

152. Gombus! • Soloist: Sarah Reid — Trp and FX

153. Intro Drake 1 and 2 • Soloists: Vinny Golia — Bass Clarinet; Randy Gloss — Tabla

154. Waterflute Piece (Susan makes glorious instruments!) • Soloist: Vinny Golia — Alto Flute, Waterflute and Globular Flutes

155. LE Spring 2020 — 6 — redone • Soloist: Vinny Golia — Alto Clarinet, Gongs

156. All that Shimmers… • Soloist: Randy Gloss — Tamb

157. Dedicated to Bobby, John, and Horace • Soloists: Vinny Golia — Basset Hrn; Derek Stein — Cello

158. Return of the Goliath • Soloist: Wayne Peet — Pipe Organ

Photo by Chuck Koton

PFMCD145

David Borgo: Suite of Uncommon Sorrows (PFMCD144)

david-borgo-suite-of-uncommon-sorrows-pfmcd144

David Borgo - Suite of Uncommon Sorrows

(Digital only)

The Suite of Uncommon Sorrows in an eleven-part suite of original music composed in response to the tumultuous events of 2020, including the devastating COVID-19 pandemic, the growing Black Lives Matter movement, and the debilitating polarization of U.S. politics that made it impossible to address either of these adequately.

Each movement explores a different “uncommon sorrow,” such as kuebiko (a state of moral exhaustion inspired by acts of horror in the news, which forces you to revise your image of what can happen in this world), kenopsia (the eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet), chrysalism (an amniotic-like tranquility while a storm rages outside), liberosis (an ache to let things go; a desire to hold your life loosely and playfully), zenosyne (the sense that time keeps going faster), and pâro (the feeling that no matter what you do it will always be inadequate).

1. Kuebiko

A state of moral exhaustion inspired by acts of horror in the news, which forces you to revise your image of what can happen in this world

2. Chrysalism

An amniotic-like tranquility, similar to how one feels while wrapped in a blanket sitting inside on the couch while a storm rages outside.

3. Kenopsia

The eerie, forlorn atmosphere of a place that’s usually bustling with people but is now abandoned and quiet

4. Liberosis

An ache to let things go; a desire to hold your life loosely and playfully

5. Paro

The feeling that no matter what you do it will always be inadequate

6. Occhiolism

The awareness of the limitations of your own perspective

7. One Step Forward Two Steps Back

The feeling that although progress is being made, it produces a reaction that is somehow greater than equal and opposite

8. The Village COVIDiots

An inversion of Eric Dolphy’s “Out To Lunch”

9. Gnossienne

A moment of awareness that someone you have known for years still has a private and mysterious inner life that will remain unknowable to you

10. Zenosyne

The sense that time keeps going faster

11. Gugulethu

A township outside of Cape Town, South Africa, its name is a contraction of igugu lethu, which is Xhosa for “our pride” (for Winston Mankunku Ngozi)

David Borgo - tenor and soprano (4,8) saxophones, aerophone (9)

Tobin Chodos - piano and keyboard (9)

Mackenzie Leighton - acoustic and electric (9) bass

Mark Ferber - drum set

Peter Sprague - electric guitar (6,9,10)

King Britt - electronics (9)

All music composed by David Borgo

Recorded by Peter Sprague, Spragueland Studio

Mixed and Mastered by Wayne Peet, Newzone Studio

Cover photo by Sasha Freemind on Unsplash

pfMENTUM PFMCD144

PFMCD144

Golia, Asplund, Ricks, Coulter: Crag - Polychromy (PFMCD143)

golia-asplund-ricks-coulter-crag-polychromy-pfmcd143

Vinny Golia (woodwinds)

Christian Asplund (piano and keyboards)

Steven Ricks (trombone and electronics)

Ron Coulter (drum set, percussion, junk, and lo-fi electronics)

1. For the Money - 05:55

2. Tabletop Iguana, Shades and White Sox - 15:39

3. Fire of the Nobody - 32:18

4. The Anticipation That Comes With Travel - 20:58

Recorded live in concert, September 19, 2019

Madsen Recital Hall, Brigham Young University

Jeff Carter — Engineer

Edited, Mixed, and Mastered, April 2021

Newzone Studio, Los Angeles

Wayne Peet — Engineer

All music composed by CRAG

Photograph of CRAG Quartet by Jeff Carter

Artwork and Graphic Design by Ted Killian

pfMENTUM

PFMCD143

www.pfmentum.com

PFMCD143

Michael Vlatkovich: With You Jazz Cat (PFMCD142)

michael-vlatkovich-with-you-jazz-cat-pfmcd142

Michael Vlatkovich

With You Jazz Cat

Trumpets: Greg Zilboorg, Louis Lopez

Tenor Sax: Bill Plake

Soprano Alto Baritone Sax: Andrew Pask

Trombone/Composer: M. Vlatkovich

Keyboards: Wayne Peet

Bass: Dominic Genova

Percussion: Ken Park

1. Mister 60, 7:44

2. Don't know what you've lost until it's gone, 4:48

3. Friends 9113, 5:30

4. Bob, the fish that discovered water, 5:53

5. Nursing Home fashion show, 8:58

6. 011.......923, 5:40

7. I'll show him who he thinks we are, 7:05

8. Association of the Well Meaning, 7:39

9. How is anyone going to recognize you without your disguise? 5:52

10. Jazz Cat, 1:41

Total time: 61:24

Recorded, edited, mixed, and mastered at Newzone Studio Los Angeles 2018-2020

Wayne Peet engineer produced by Michael Vlatkovich and Wayne Peet

Cover Photo: M. Vlatkovich

Graphic Design: Ted Killian

pfMENTUM

PFMCD142

www.pfmentum.com

PFMCD142

Guerino Mazzola / Alex Lubet: Subtle (PFMCD141)

guerino-mazzola-alex-lubet-subtle-pfmcd141

Subtle

Guerino Mazzola, grand piano

Alex Lubet mountain dulcimer

1. Exquisite, 5:08

2. Faint, 7:45

3. Profound, 7:49

4. Slight, 5:12

5. Sophisticated, 4:08

6. Deep, 6:15

7. Ethereal, 3:22

8. Delicate, 9:12

Steve Barnett recording, mixing, and mastering producer; digital editor

Barnett Music Productions, Minneapolis, Minnesota

Preston Smith recording, mixing, mastering engineer

Perfect Record, St. Paul, Minnesota

Recorded at Lloyd Ultan Recital Hall, School of Music

University of Minnesota, Minneapolis, August 25, 2018

Edited, Mixed, and Mastered at Perfect Record, St. Paul, Minnesota

Graphic Design by Ted Killian

Thanks to the University of Minnesota Grant-in-Aid program

for recording and post-production expenses

Learn more about Subtle at www.alexlubet.com or www.encyclospace.org

pfMENTUM

www.pfmentum.com

PFMCD141

Alex Smith: Determined Volumes (PFMCD140)

alex-smith-determined-volumes-pfmcd140

Determined Volumes

Alex Smith

Featuring: Alex Smith, various instruments and voice • Andrew Zakerski, percussion and voice • Ari Teitel, electric guitar • Brendan Betyn, drumset • Brent Echols, drumset and field drum • Caleb Goncz, glass marimba • Cameron Halls, percussion and voice • Cody Edgerton, glass marimba • Colin McCornack, percussion and voice • Darrien Spicak, percussion and voice • Joel Block, MalletKat and percussion • John Scharf, percussion and voice • Jon Wright, cajón • Jon Weber, percussion • Kathryn Irwin, field drum • Kevin Keith, drumset • Louie Leager, bass guitar

1. The Building of Asgard (11:04)

2. Um quarto é mais (3:39)

3. Cotton Gindustrial (7:11)

4. Crossroads (5:10)

5. One-Minute Speeches (9:56)

6. a. Oscillation (0:00-4:25)

b. Song for the Unmentioned; Devotion (4:25-7:34)

7. 816 (9:41)

8. Tickuf (3:47)

Recorded by Joe Basile, Corey DeRushia, Alex Smith, and Dr. Jon Weber

Mixed by Corey DeRushia at Troubadour Recording

Original album artwork and layout by Will Goodyear

except [4] by Alexis Bacon, ASCAP, [6a-Oscillation] by Joe Basile, ASCAP; [1] poem by Matthew Barbee, [3] sheet music published by Tapspace Publications LLC, ASCAP, and [7] sound design by Joe Basile; thanks Prof. Dease, Dr. Lorenz, and Tijan Dorwana.

Determined Volumes is comprised of some of my compositions and collaborations since 2011. Thanks to all my teachers, friends, collaborators, and influences over the course of my life who have shared their knowledge and skill with me, and that have helped in a variety of ways to produce this album. The tunes on this album are the product of all the practices with which I have connected throughout the course of my life, including but not limited to: Moravian music, jam band music, organ music, Ghanaian gyil music, 90’s alternative rock, rudimental drumming, Northeast Brazilian drumming, noise music, American Jazz and R&B, musical theater, and Western classical piano and percussion music. Visit my YouTube channel for video performances and more information about the pieces.

pfMENTUM PFMCD140

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PFMCD140

Alex Lubet: Three Strings And The Truth (PFMCD139)

alex-lubet-three-strings-and-the-truth-pfmcd139

Three Strings and the Truth: New Music for Mountain Dulcimer

Alex Lubet mountain dulcimer

Iris Shiraishi percussion on Waves

1. At a Place Far Away (2016) Alex Lubet, 6:19

2. Hinei Ma Tov (2015) Alex Lubet, 3:05

Quintet (2020) Alex Lubet, 12:21

3. I, 1:44

4. II, 2:30

5. III, 2:36

6. IV, 2:31

7. V, 3:06

8. Gunung Singgalang (2016) Jay Afrisando, 6:20

Arirang Variations (2016) Alex Lubet, 8:17

9. Theme, 0:48

10. Variation 1, 0:42

11. Variation 2, 0:46

12. Variation 3, 0:48

13. Variation 4, 1:50

14. Variation 5, 1:42

15. Variation 6, 0:48

16. Variation 7, 0:56

17. Waves (2016) Iris Shiraishi, 5:12

Total Time: 41:46

Steve Barnett recording, mixing, and mastering producer, digital editor

(Barnett Music Productions, Minneapolis, Minnesota)

Preston Smith recording, mixing, and mastering engineer

(Perfect Record, St. Paul, Minnesota)

Alex Lubet editing plot preparation

Recorded at Lloyd Ultan Recital Hall, School of Music, University of Minnesota, Minneapolis, August 25-27, 2018

Edited, Mixed, and Mastered at Perfect Record, Mendota Heights, Minnesota.

Thanks to the University of Minnesota Grant-in-Aid program for recording and post-production expenses and to the University of Minnesota School of Music for the use of Lloyd Ultan Recital Hall.

Alex Lubet plays a McSpadden Model 4FHWR mountain dulcimer.

Learn more about Three Strings and the Truth at www.alexlubet.com

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PFMCD139

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PFMCD139

Jeff Kaiser: Sitzfleisch I (PFMCD138)

jeff-kaiser-sitzfleisch-i-pfmcd138

Jeff Kaiser: flugelhorn, trumpet, voice, pot lids, toy car, ball and chain, and live computer processing.

All the software is authored in Max/MSP by Jeff Kaiser.

There is no pre-recorded material or samples, it is all sampled, processed, and manipulated live. The only audio post-processing is mixing and mastering.

For more information and to download my software, please go to jeffkaiser.com

SITZFLEISCH I is a continuation of my use of chess terminology to name my works. Sitzfleisch, meaning "sitting meat" or even "buttocks." However, it goes well beyond those terms to mean in chess (and politics) the ability to sit there and endure it, persevere: steadiness in a challenging situation. A person with sitzfleisch does not necessarily win by playing better, but by outsitting their opponent. It is also used in politics.

I experience sitzfleisch sometimes in improvisation, not that the music is an opponent, but that it is important to sit there and sometimes endure challenging moments and questions such as "why did I just do that," where do I go from here," "I have no ideas," "really Jeff, THAT?"

And, as my friend and collaborator David Borgo likes to remind me, we are never alone, even when playing solo. Voices of former teachers, inspirational musicians, family, critics, and more are all there in our mind talking to us— sometimes at perfect moments, and sometimes at awkward moments in a performance. We must be present, sit there, and keep going.

This was recorded in one take...you can watch the session below. It is hilarious to me to see my headphones move forward bit by bit…

Recorded for a virtual concert at Ball State University.

Recorded, mixed, and mastered by Jeff Kaiser at pfMENTUM Studios, Warrensburg, MO (September 2020)

Layout, and Design by Jeff Kaiser

Composition by Jeff Kaiser

Buy Digitally here:

Buy CDs Here (CDs will ship after October 15, 2020):

PFMCD138

Jeff Kaiser / David Borgo: KaiBorg: IntraAction (feat. Kjell Nordeson) (PFMCD137)

jeff-kaiser-david-borgo-kaiborg-intraaction-feat-kjell-nordeson-pfmcd137

David Borgo: Soprano Saxophone, Piccolo, Futujara, Hne, Sneng, Double Whistle, Bamboo Saxophone, Sylphyo with Respiro, and live computer processing

Jeff Kaiser: Trumpet and live computer processing

Kjell Nordeson: Drums, Percussion, and Vibraphone

INTRAACTION

KaiBorg

Kjell Nordeson

1. Abductive 26:17

2. Noumenal 13:52

3. Ontotelic 10:35

4. Quinquagenary 18:39

1-3 Recorded in Studio A, The University of California San Diego, February 10 and 11, 2020

4 Recorded in concert, Conrad Prebys Music Center Experimental Theater, February 9, 2020

Recorded by Andrew Munsey • Edited, Mixed, and Mastered by Jeff Kaiser with David Borgo

Photo by Kiki Zhang, Used by Permission • Layout and Design by Jeff Kaiser

kaiborg.com • davidborgo.com • jeffkaiser.com • kjellnordeson.com

pfMENTUM PFMCD137

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Buy digitally on Bandcamp.com

Buy physical CDs here on pfMENTUM:

PFMCD137

Katie Hae Leo / Guerino Mazzola / Alex Lubet / Nick Zielinski / James E. Holdman: Negative Space (PFMCD136)

katie-hae-leo-guerino-mazzola-alex-lubet-nick-zielinski-james-e-holdman-negative-space-pfmcd136

NEGATIVE SPACE

Katie Hae Leo

Guerino Mazzola

Alex Lubet

Nick Zielinski

James E. Holdman

1. Sign of June.....................7:26

2. On Names.........................5:07

3. Ode To Negative Space............8:46

4 Unknown Origin....................7:47

5. Sister #1........................8:40

6. Election Night In Phillips.......6:42

7. Oppenheimer Dreams an Island....10:54

8. On Hierarchy.....................7:57

9. Systema Naturae..................4:31

Katie Hae Leo, poetry, voice • Guerino Mazzola, grand piano

Alex Lubet, National steel guitar (1), acoustic guitar (2, 5, 6, 8), electric bass (3, 4, 7), soprano ukulele (9)

Nick Zielinski, drums • James E. Holdman, electric guitar (3, 4, 7)

Guerino Mazzola and Alex Lubet, producers

Matthew Zimmerman, engineer

Recorded September 1, 2010, Wild Sound Recording Studio, Minneapolis

Graphic Design by Ted Killian

PFMCD136

pfMENTUM

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PFMCD136

Sean Hamilton: Table for One (PFMCD135)

sean-hamilton-table-for-one-pfmcd135

A collection of improvised vignettes for solo drum set, percussion, and vuvuzela

Currently nowhere,

Carrying nothing.

(Evolvement)

Acquiescence of, the

present

linear

impermanent

burgeon, [blossom]

bloom.

Table for One.

Back:

Table for One

Sean Hamilton

1. Cash Only

2. Value King

3. Solo Sport (1)

4. Energy Vampire

5. Solo Sport (2)

6. Acquiescence Of

7. Cynic Finick

8. Spiral/Summons

9. Acquiescence Of (reprise)

10. Growth/Bloom; Wilt

11. Dusk, Valley

12. Table for One

Table for One is a collection of short improvisations that explore my interests in the drum set as a solo instrument and as a vehicle for the merging of my creative interests that include contemporary classical music, free improvisation, noise, sound art, and electroacoustic music. Several of the takes feature additional traditional and found percussion instruments that are placed on the drums in an effort to expand the timbral possibilities of the kit. Except for a loose length limit, these improvisations were recorded without any predetermined concepts, structures, or forms.

-SH, August 2019

Improvised and recorded live in studio, St. Petersburg, Florida, February 2019

Recorded and mixed by Dan Byers, Rock Garden Recording

Mastered by Wayne Peet, Newzone Studio

Art and Layout by Eli Blasko

www.seanhamiltonmusic.com

PFMCD135

Joshua Gerowitz's Dark Forest Theory (PFMCD134)

joshua-gerowitzs-dark-forest-theory-pfmcd134

1 Akasha, Queen of the Damned 6:04

2 HBI 1.5 (Dark Forest Theory) 3:05

3 Deanna and Lwaxana 5:54

4 Pseudo Shamanistic Tendencies (Cubensis) 10:06

5 HBI 3.7 (Chrono-Synclastic Infundibulum) 3:47

6 HBI 5.9 (Voight-Kampff Empathy Test) 0:53

7 Nadia Vulvokov 7:01

8 HBI 10.14 (Ye Wenjie) 3:25

9 HBI 8.12 (Gom Jabbar) 4:13

10 HBI 9.13 (Sirens of Titan) 2:20

Personnel:

Casey Butler (sax, tracks 1,2,3,4,7,8,10), Carmina Escobar (voice, tracks 1,3,4,5,6,7,8,10), Sharon Chohi Kim (voice, tracks 1,2,3,4,7,8,10), Louis Lopez (trumpet, tracks 1,2,3,4,7,8,10), Joe Santa Maria (sax, tracks 1,3,4,7,8,9,10), Kathryn Shuman (voice, tracks 1,3,4,7,8,9,10), Micaela Tobin (voice, tracks 1,2,3,4,7,8,10), David Tranchina (bass, tracks 1,3,4,7,8,9,10), Colin Woodford (drums, tracks 1,3,4,5,6,7,8,10), and Joshua Gerowitz (guitar/fx all tracks)

Recorded by Nick Tipp at Citrus College, February 27th, 2019

Mixed and Mastered by Daniel Eaton at Little Castle Mastering

Original album artwork and layout by Georgia Bell

Louis Lopez, ASCAP; Joe Santa Maria, ASCAP; Kathryn Shuman; Micaela Tobin; David Tranchina, ASCAP; Colin Woodford, ASCAP

PFMCD134

Lauren Nagaryu Rubin / Stephen Flinn: Rice Paper (PFMCD133)

lauren-nagaryu-rubin-stephen-flinn-rice-paper-pfmcd133

Lauren Nagaryu Rubin Shakuhachi Flute

Stephen Flinn Percussion

Vision 4:55

Reach 3:36

Void 6:02

Search 3:08

Devotion 5:17

Plunge 4:46

Gravitate 4:34

Anchor 5:03

Recorded June 3, 2018 at Catasonic Studios, Los Angeles, California

Recorded, Mixed, and Mastered by Mark Wheaton

Photography by Andrew Rubin

Graphic Design by Michael Golob

PFMCD133

Sarah Belle Reid: Underneath and Sonder (PFMCD132)

sarah-belle-reid-underneath-and-sonder-pfmcd132

Sarah Belle Reid

trumpet and electronics

1. Underneath I 1:57

2. Underneath II 2:01

3. Underneath III 2:58

4. Underneath IV 2:30

5. Sonder I 9:13

6. Sonder II 5:16

7. Sonder III 8:24

8. Sonder IV 5:59

9. Sonder V 3:03

Graphic score included.

Recorded May 27, 2018 and Mixed September–November 2018 by Ryan Gaston and Sarah Belle Reid, Dizzy Gillespie Digital Recording Studio, Valencia, CA

Mastering by John Baffa, December 20, 2018, TV Tray Studio, Ventura, CA

Layout and Design by Andrea Yasko

Graphic score artwork by Sarah Belle Reid

All compositions by Sarah Belle Reid

Live electronics created with the MIGSI Software App (2018), designed by Ryan Gaston and Sarah Belle Reid

PFMCD132

Present Quartet: Routes, Paths, Courses (PFMCD131)

present-quartet-routes-paths-courses-pfmcd131

Present Quartet

Routes, Paths, Courses

Ellen Burr

Anne LeBaron

Jeff Schwartz

Charles Sharp

Present Quartet: Routes, Paths, Courses

1. Once upon and again ...................15:30

2. Laplace Transform .......................5:58

3. Kinston .........................................5:15

4. Sojourn ........................................7:44

5. Sternere........................................8:12

6. Walkabout ....................................8:25

7. Migration ......................................11:07

8. Egress ..........................................5:54

Ellen Burr - flutes: C, alto, bass, piccolo

Anne LeBaron - harp, electronics

Jeff Schwartz - bass

Charles Sharp - Bb and alto clarinets, alto sax, piri, electronics

Recorded at Roy O. Disney Concert Hall, CalArts, December 16, 2018

Thanks to: Herb Alpert School of Music, CalArts

Alberto Cruz, recording engineer • Kayle Khanmohamed, engineer assistant

Mixed and mastered by Wayne Peet, Newzone Studio

Cover photo: Ventura (detail) by Janet Sternburg • janetsternburgphoto.com

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pfMENTUM

PFMCD131

Michael Vlatkovich: 5 Winds: Five of Us (PFMCD130)

michael-vlatkovich-5-winds-five-of-us-pfmcd130

FIVE OF US

MICHAEL VLATKOVICH 5 WINDS

1. Please Help Me I’m Blowing Bubbles....................................................:59

5 Winds Suite

2. Part 1: Six...........................................................................6:49

3. Part 2: Twenty Six....................................................................3:30

4. Part 3: Nineteen — No. 7, Part 4: Zero................................................5:42

5. Part 5: Five..........................................................................5:34

6. Part 6: One...........................................................................1:53

7. Part 7: Twenty-Four...................................................................1:47

8. Part 8: Nineteen..............................................................1:40

9. Part 9: Ninety-Three..................................................................2:59

10. ForYou................................................................................4:41

11. Natural Identical Flavors.............................................................2:45

12. People In My Wallet...................................................................4:35

13. (Alt), The Recognition Of Rhythm In The Life Of Worldly Things........................3:33

14. What Question Did The Man With Seven Ears And Three Eyes Ask The Plastic Surgeon?.....4:38

15. For The Protection Of Yourself And Others You’ll Need To Wear Your Space Suit.........8:13

Recorded June 3, 2015 at Array Space, Toronto

Recorded/mixed/mastered by Peter Lutek, www.peterlutek.com

Personnel (as appearing L to R in recording):

David Mott – baritone saxophone

Lina Allemano – trumpet

Michael Vlatkovich – trombone

Nicole Rampersaud – trumpet

Peter Lutek – tenor saxophone and frankenpipe

Photo: Julia Fitzgerald

Design: Ted Killian

pfMENTUM

PFMCD130

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PFMCD130

Steve Adams / Vinny Golia Duo: The Philosophy of Air (PFMCD129)

steve-adams-vinny-golia-duo-the-philosophy-of-air-pfmcd129

1. seconds of words..............................12:19

2. Romeo, do you like anchovies?..................7:52

3. a mysterious abundance of quinces.............27:16

4. neon meat dream of a Beefheart machine........10:23

Steve Adams - sopranino, alto and tenor saxophones, bass flute, electronics

Vinny Golia - bass and contra-alto clarinets, baritone and G soprano saxophones

All compositions by Steve Adams © Metalanguage Music 2018

1-3 recorded by Bruce Kaphan on March 22, 2015 at Niagara Falls Studio, Niles, CA

4 recorded by Myles Boisen on May 9, 2018 at Guerrilla Euphonics, Oakland, CA

Mixed by Myles Boisen on May 18 and 29, 2015 and May 9, 2018

Mastered by Myles Boisen on May 15, 2018 at the Headless Buddha Mixing Lab, Oakland, CA

Cover photo by Myles Boisen inside photo by Charles Smith

Layout and Design by Ted Killian

The Philosophy of Air

seconds of words, like most of these pieces, has randomized electronics, so the general character is determined (but the details are unpredictable) to create an environment for the improviser that encourages creativity. For this piece, the pitch material of the electronics is taken from the melody, while moving through several textural zones. Interestingly, the electronics have performances where they seem to be locked into to the improvisation, and ones where they’re not. This piece is dedicated to Bennie Maupin.

Most of these pieces were recorded to present a representation of how they sound live, with a small amount of editing. Romeo, do you like anchovies?, in contrast, was constructed out of two takes, a free improvisation and a re-generated electronics track, and is more of a collage than a captured performance. This was my first experience working this way, and led to my project with Tim Perkis, A Few Eccentricities, where every cut is a reconstruction. It is dedicated to collage genius Max Ernst.

I had the original idea for a mysterious abundance of quinces decades ago, but it took lots of background thinking and technological advances to make it possible. It’s very different from the original sketches, though it is still a long piece for bass flute and contra-alto clarinet with a background of drones and small, repetitive sounds. It reflects my studies of North Indian classical music, and roughly adheres to the outline of raga form. Because of the length and complexity of the piece, the electronics are fixed. It is dedicated, with love and gratitude, to my wife, Lauren.

neon meat dream of a Beefheart machine is the second piece I’ve written that is dedicated to Captain Beefheart, along with the violin/marimba duo Owed t’Don, recorded by Marimolin on their CD Phantasmata. It’s based on a Reaktor ensemble created by Rick Scott that he graciously adapted for me. Here, I am triggering the changes in the electronics to fit the music, though each new pattern is a randomly generated surprise.

Special thanks to Ann and Jack Eastman, stewards and curators of the Maybeck Studio for the Performing Arts, where these pieces were premiered, and to Vinny, my musical brother.

—Steve Adams

pfMENTUM

PFMCD129

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PFMCD129

Brad Henkel / Dustin Carlson: F$F / Forgotten Cities (PFMCD128)

brad-henkel-dustin-carlson-ff-forgotten-cities-pfmcd128

F$F

Forgotten Cities

Brad Henkel - Trumpet

Dustin Carlson - Guitar

1 Forgotten Cities 17:27

2 Between Bodies 12:15

gust charred beach...planet how

they call us prayer or action...

another death may yet take us marching

band with fire, laughing drill, till

all sound red: it's time!

...hurts less to float

with the tinsel-eyed, hatching all

ready dancing...

it's our old favorite song, see–then WHAM!

seeing the end alone:

wake up pilot! but so shiny...

and I love you

...

waving new colors you slow to space here:

it must be we are where now...

being repaired: thank you, meticulous.

and that song we remembered?

if I weren’t so tired I’d say:

let’s join that good parade

sunshine soldier

Recorded at Spaceman Studios by Tom Tierney and Alex Mead-Fox

February 2016, Brooklyn, NY

Mixed by Nathaniel Morgan

Mastered by Wayne Peet

Design by Brian Henkel

Photographs by Nathaniel Morgan

Poem by Storm Garner. Used with permission

pfMENTUM CD128

PFMCD128

Wayne Peet Trio with Nels Cline and Russell Bizzett: What the? (PFMCD127)

wayne-peet-trio-with-nels-cline-and-russell-bizzett-what-the-pfmcd127

Wayne Peet Trio: What the?

Wayne Peet - B# Organ, Clavinet, Theremin, FX

Nels Cline - Guitar, FX

Russell Bizzett - Drums

1. Capable Faith (11:25)

2. Devout Vulgarity (8:41)

3. Improv 1 - Immoral Dilemma (5:53)

4. Improv 3 - SpecialFeeling (15:00)

5. Chase To The Cut (3:08)

6. Hushbubba (4:37)

7. Improv 2- Above & Beyond The Bend (9:04)

8. Improv 4 - Momently (9:58)

9. What The? (7:36)

Recorded June 6 and 7, 2006

Edited, Mixed, and Mastered June to November, 2008

Newzone Studio, Los Angeles

Wayne Peet, Engineer

Aaron Druckman, Assistant Tracking Engineer

All "live" in the studio, no overdubs

Composed by Wayne Peet

except "Chase to the Cut" by Nels Cline, @2006 Nebsonic Music ASCAP adm by BMG

Improvs by Wayne Peet, Nels Cline, and Russell Bizzett

Design and Layout by Don Raymond

Photos by Wayne Peet

Produced by Wayne Peet

Release Date: April 5, 2019

PFMCD127

Guerino Mazzola / Heinz Geisser: Live at Le Classique (PFMCD126)

guerino-mazzola-heinz-geisser-live-at-le-classique-pfmcd126

Live at Le Classique

Guerino Mazzola, grand piano

Heinz Geisser, percussion

1. Umemoto’s Delight 28:47

2. Jumbo’s Flight 39:59

All music by Heinz Geisser and Guerino Mazzola (SUISA)

Recorded live at Le Classique Fujisawa, Japan on October 14, 2004

Recording Engineer: Masaaki Saito

Mastered by Aldo Borrelli at Deluxe Global Media Services, Milan, Italy

Producer of the recording session: Minol Umemoto

Graphic Design: Ted Killian

pfMENTUM

PFMCD126

Glen Whitehead Trio: The Living Daylights (PFMCD125)

glen-whitehead-trio-the-living-daylights-pfmcd125

Glen Whitehead Trio

The Living Daylights

Britton Ciampa Drums • Scott Walton Bass • Glen Whitehead Trumpet

Improvisational structures inspired by natural phenomena that play with our perceptions of space, time, and place

The Living Daylights Suite (1-3)

1. Living Daylights Suite 1—at Time’s Place 05:02

2. Living Daylights Suite 2—Zenosyne 08:23

3. Living Daylights Suite 3—Apophenia 08:30

4. Heliopause 04:01

5. 42 Degrees 04:31

6. Bow Shock 05:49

7. Shedding Vortices 03:38

8. Involution Engine 06:22

9. Fissure Syndrome 03:54

10. Pearl of Swirl 05:50

11. Punktuation 07:44

Recorded at the Banquet Studios February 6, 2016

and July 21, 2016, Guerneville, CA

Engineered by Darryl Webb

Mixed and Mastered by Wayne Peet at Killzone,

Newzone Studio, Los Angeles, February, 2018

Photo Credit—Glen Whitehead

Graphic Design—Ted Killian

pfMENTUM

PFMCD125

The Living Daylights

Musical Notes

The Living Daylights is based on natural phenomena that play with our perceptions of space, time and place and rendered with a loosely structured improvisational system that enables many possibilities within the natural restraints of a conscious system. These pieces explore similarities between immersive activities surrounding intensive environmental exploration and improvisational music composition. The more one invests energy, time and intention to immersive experiences in the world, the more phenomenal events appear - connections come alive with mysterious interactions.

This ensemble is an ecosystem where unique communities of sound are created within each piece. In this “conscious system” individuals are free to roam and explore while supporting the foundations of the emerging sonic environment, each individual being equally responsible for the whole. Empathy through sound, the sounding of self-reflection between the rewards of individuality and shared common goals create unique musical real estate; each piece then embodies unique energies internalized (and externalized) by the ensemble members.

I created the identity of these pieces after the recording process in long term listening, imagining and research sessions. Most ideas were initially encountered through immersive investigations in a variety of natural environments around the world the last several years (many under what I would call an apprenticeship with ecoacoustic composer Dr. Matthew Burtner and the EcoSono Institute) including many sites across Colorado and the great southwest, the Great Sand Dunes, San Luis Valley, headwaters of the Rio Grand, as well as Alaska, Cape Cod, Mexico, Australia, Tasmania, New Zealand, Korea and more.

My long-term goal is to develop a stronger methodology between improvisational music creation, ecoacoustics, acoustic ecology, environmentalism and other related practices.

This work is part of a larger interdisciplinary leap on my part that includes several related projects including collaborations with dance, geography, theatre, and film. In essense, this study is a long-term attempt to build more pathways between creative music practices and partnering fields.

These pieces, and the two incredible musicians whom I have been so honored to work with on this project reflect such phenomenological experiences. Scott Walton (acoustic bass) has been a key collaborator in my musical life. He is equal a pianist as a bassist and simply one of the best musicians – that I have had the privilege to work with and learn from in my life. Britt represents a younger generation of insanely informed musicians. His skill as a drummer and knowledge as musician is well beyond his years. He possesses an uncanny ability to connect obscure subjects and histories within a deep understanding of the creative music world. The magic of his playing is his ability to wield musical and sonic information into its the fullest possible context. He is also an “ex-student” of mine from UCCS – one of our very best.

I view the wide world of sonic and musical languages in this work as idiomatic – a respectful departure of what is usually commonly understood in contexts of free improvisation as “non-idiomatic” (from Derek Bailey’s definition). To me, this is a resolvable contradiction. I believe it is time to reconcile all sound language as “idiomatic.” We are saturated within the idioms of our instrumental backgrounds - acquired ear, technical and historic knowledge along with both innate and environmental influences. This is the natural order of things, musically speaking. All sound is at play, why make distinctions? How we wield our musical instruments is a fundamental part of our humanistic “taskscapes,” a term used by Tim Ingold, originally “to bring the perspectives of archaeology and anthropology into unison” (The Temporality of the Landscape, 1993), “the constitutive tasks of the dwelling” in this case, “musicking,” applies perfectly to instrumental and vocal play. Such musicking, as has been hypothesized was a fundamental part of the task-scape that played so significantly in the adaptation and improvisation process that went into our early development as a species, so significant in fact it may have been a fundamental catalyst in the development of imagination and possibility.

Notes on the pieces

The first three tracks make up a suite. They were the first pieces recorded on this project, conceived and recorded as one unit, and in one take. At Time’s Place is a play on words in acknowledgment of the constant “present” in which we live. In this open-ended tradition of improvised music, the phenomenological act of real-time musical creation gives us a unique way to access the past and the future, if only in our minds eye of self-reflection and imagination.

Zenosyne, from the unique “Dictionary of Obscure Sorrows” by John Greene pinpoints a fundamental experience that had no clear term (in English, anyway) – the sense that time keeps going faster as you get older. In a different frame, such an example is at the very core of improvisational experience, and I like to imagine would be part of a future established aspect of music theory for improvisation. I am reminded of many times when an improvisation seemed to take ten minutes, and forty-five minutes had passed. While, to certain members of the audience, no doubt, it felt like two hours!

Apophenia, the perception of patterns, meanings, or connections where none exists, is also a relatively new word although the well explored phenomenon itself is not. Its first use is credited to the psychiatrist Klaus Conrad back in 1958 in his catchy-titled Die beginnende Schizophrenie: Versuch einer Gestaltanalyse des Wahns, which translates to the equally scintillating The origins of schizophrenia: A Gestalt analysis of paranoia. It is fascinating that this word should appear to be so recent when the actual phenomenon is so old and important enough to have been a lynch-pin for philosophical study through the ages. In Natural History of Religion (1757), philosopher David Hume (1711-1776) wrote the following:

There is a universal tendency among mankind to conceive all beings like themselves, and to transfer to every object those qualities with which they are familiarly acquainted, and of which they are intimately conscious. We find human faces in the moon, armies in the clouds; and by a natural propensity, if not corrected by experience and reflection, ascribe malice and good will to everything that hurts or pleases us.

There is one major qualification and difference of how this idea is utilized in this work. This is a play on the imagination - the “random” discoveries that appear to have no connections, actually uncover true, previously unseen connections and relationships. I cannot think of a better context for the illusively connective experience of improvised music.

The Heliopause (with its syntactic musical resonance) is the boundary where the sun's solar wind meets the faint radiation of interstellar space and is no longer strong enough to push back the stellar winds of the surrounding stars. This is the boundary where the interstellar medium and solar wind pressures meet and balance, physics working on a grand scale, the great meeting point of astral forces locked in a dance. Imagine, even with this distance impossible for us to quantify in scale in our imagination, that this line is definitive and slender where the distant finger of our incubator solar cocoon touches the rest of the universe– what a musical thought.

42 degrees references the connection of people and light reflected in the observations of – well, rainbows. When we see a rainbow and its band of colors we are looking at light refracted and reflected from different raindrops at an angle of between 40 and 42 degrees at all points of view – whether one person is high on a hilltop and another hundreds of feet below. Light orients to our visual lenses, our lenses orient the angle of light.

Bow Shock, also called a detached shock or normal shock, is a curved, stationary shock wave that is found in a supersonic flow past a finite body. Similarly, Shedding vortices (vortex shedding) is an oscillating flow that takes place when a fluid such as air or water flows past a bluff (as opposed to streamlined) body at certain velocities, depending on the size and shape of the body. Both of these phenomena, for me, connect with the wind “shock” that occurs inside and across a fast material with wind and brass sound production, and illuminate the use of creating sound vortexes in so many different ways in improvised music.

Involution Engine is a function, transformation, or operator that is equal to its inverse, only applies to itself and is a function of its own inverse. for instance, in medicine, this applies to the shrinking of an organ (such as the uterus after pregnancy) or philosophy and psychology a "turning in" on one's self. Musical phenomena in time also have similar phenomena but have been limited in concept, I believe, because of the hard-cast association with printed, scored notation – retrograde inversion, for example. The idea of a sonic involution works exquisitely in an aural, perceived identity, much like a physically created moveable object and is far more complex and four dimensional that can be adequately represented on a typical score (mostly).

I came up with Fissure Syndrome through pure free association upon listening to the results of this piece several times. As it turns out, it is a kind of an Apophenia in of itself, as this term lives in the medical world as, superior orbital fissure syndrome (also known as Rochen-Duvigneaud syndrome) is a collection of symptoms caused by compression of structures just anterior to the orbital apex. The eye is to the ear, except when closed.

For Pearl of Swirl, am fascinated by the perception of sound as physical moving substance or phenomena. To me, this conceptual mega-world is in its infancy and a signification of the music theory and creative methodologies of the future of music. Pearl of Swirl, here, references Pearl Swirl, a rheoscopic fluid created specifically to see the movement or currents in liquids. Its purpose is scientific in nature, yet, it carries commercial tendrils with trademark statuses and “secret ingredient” branding. It is at once a vital substance category for the science of fluid dynamics and other related fields in order to visualize currents, aerodynamics, turbulence, convection and other phenomena (a not so subtle nod to my father, an award winning physical oceanographer, fluid dynamicist and a very creative one, at that). On the other side of the coin, pearl swirl is also a novel commercial ingredient added to shampoos and other liquids for the purpose of a non-functional aesthetical “swirl” effect. This duality embodies the inescapable, almost satirical relationship between real science and over-saturated reality of commerce in our culture today.

Punktuation - ‘Nuff said and done

—Glen Whitehead

PFMCD125

Danny Gouker: Signal Problems / Love Letters (PFMCD124)

danny-gouker-signal-problems-love-letters-pfmcd124

Signal Problems

Love Letter

Danny Gouker: Trumpet, Compositions

Eric Trudel: Tenor Saxophone

Adam Hopkins: Bass

Nathan Ellman-bell: Drums

1. Mad Lib 5:28

2. Haiku 4:22

3. Word Play 4:56

4. Enough is Enough 3:24

5. Final Word 4: 24

Recorded at an Airbnb in Catskill, NY by Nathaniel Morgan Aug 15, 2017

Mixed by Nathaniel Morgan, January 2018

Mastered by Wayne Peet at Newzone Studio, March 2018

Artwork and Layout by T.J. Huff

pfMENTUM CD124

PFMCD124

Andrew Raffo Dewar / John Hughes / Chad Popple: Reflejo (PFMCD122)

andrew-raffo-dewar-john-hughes-chad-popple-reflejo-pfmcd122

Reflejo

Andrew Raffo Dewar (soprano saxophone, composition)

John Hughes (double bass)

Chad Popple (drums, percussion, and vibraphone)

1. Reflejo I (6:48)

2. Reflejo II (4:12)

3. Reflejo III (10:14)

4. Improvisation 1 (3:48)

5. Improvisation 2 (4:15)

6. Improvisation 3 (3:38)

7. Improvisation 4 (7:48)

Recorded, mixed, and mastered by Wolfgang Helbsing in Hamburg, Germany on November 7, 2015.

Cover Art by Eduardo Serón, “Espacios” (1973) 80x80cm, acrylic on canvas.

Used by permission of the artist.

“Reflejo” composed and published by Andrew Raffo Dewar, Free Movement Arts (ASCAP).

All other tracks co-composed by Dewar/Hughes/Popple, published by Free Movement Arts (ASCAP).

Layout and design by Hillary McDaniel, www.hillarymcdaniel.com

PFMCD122

www.pfmentum.com

PFMCD122

Miller Wrenn's Escapist: Alternates (PFMCD121b)

miller-wrenns-escapist-alternates-pfmcd121b

Miller Wrenn - Double Bass

Vinny Golia - Bass Clarinet

Ethan Marks - Trumpet and Piccolo Trumpet

Caleb Veazey - Guitar

Clint Dodson - Drum Set and Vibraphone

Recorded on May 9, 2017 by John Baffa at Brotheryn Studios in Ojai, CA

Mixed and Mastered by John Baffa at TV Tray Studios in Ventura, CA

Album artwork by Parker Wrenn

PFMCD121b

Richard Valitutto / Dave Wilson: SLANT (PFMCD121)

richard-valitutto-dave-wilson-slant-pfmcd121

SLANT

Richard Valitutto, piano

Dave Wilson, tenor saxophone

1. set (zajdi) (3:42)

2. enviros (2:12)

3. -i—e- (8:59)

4. suspiros (3:08)

5. what is the name of that (4:56)

6. poeme (3:13)

7. me then you then me then you then me (2:47)

8. p-tch-s (7:01)

9. you then me then you then me then you (3:46)

10. rise (2:42)

All compositions by Richard Valitutto and Dave Wilson

Recorded and mixed by Vanessa Parr at the Recording Studio at the UCLA Herb Alpert School of Music, Los Angeles, June 10-11 and 27-28, 2016

Mastered by Justin DeHart, Anaheim, California, January 16-17, 2017

Additional engineering by Lorenzo Bühne, Wellington, New Zealand, January 17, 2017

Graphic Design by Ted Killian

The Aaron Copland Fund forMusic (logo)

Special thanks to the Aaron Copland Fund for Music Recording Program, the UCLA Herb Alpert School of Music, and the Longy School of Music of Bard College for their generous financial support of this album project. Additional thanks to Jeff Kaiser, Maxwell Gualtieri, and the entire team at pfMENTUM for their edifying interest in and unflagging patience with this project’s development over the last few years as just one part of their admirable long-term efforts to strengthen and bring together the experimental/creative music community at large through the recording arts.

pfMENTUM CD121

www.pfmentum.com

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SLANT bears the marks of our interest in exploring possibilities as performers composing together instantaneously and spontaneously. This project came together over a period of months, as we cultivated improvisational compositions, revisited them as compositional improvisations, and—circling back repeatedly—layered on top of each the lingering remnants of previous iterations. Tethered as they are to our personal musical pasts, intersections, and divergences, the sounds on these recordings push and pull one another into our own comfortable and uncomfortable areas as listeners and players, leading us into new ways of feeling the air move around us, and moving through that air and into it ourselves.

The recordings of this project came to life just before—and in the midst of—a liminal period when my own path was diverted. It shifted unexpectedly but by my own choice, in a direction that I knew, at the time, would open and close other paths and set new directions. For Richard and (especially) for me, the awareness of my impending departure from Los Angeles permeated the ways the sounds were conceived at all stages of composition, including their capture in recorded form.

The interplay, the interaction, the ways that we move with and against one another —all of these gestures in SLANT take oblique pathways that don’t so much lead to a hoped-for culmination but, instead, end up in a place not previously conceived.

Dave Wilson

Wellington, New Zealand

June 2018

*****************

The pathways spiraling out of set (zajdi) originate in Macedonia, where Dave has been immersed in sound worlds that involve at least a thread of music either emerging from—or gesturing towards—rural life. “Zajdi, zajdi jasno sonce” (Set, set bright sun) is a popular traditional song that slowly unfolds, allowing the singer to display their melismatic facility and virtuosity. The song’s lyrics address the bright sun (telling it to set) and the bright moon (telling it to drown itself). When the text eventually turns to address the forest (which is the “sister” of the singer) it tells it to darken itself along with the singer: the forest for its leaves, the singer for their youth. The last words of the text lament: “your leaves, O forest sister, will return to you again; my youth, O forest sister, will not return to me.” Typically a mournful song drenched in beauty, our reading of the song also shows the aggression and darkness of youth’s furious passing. Forming the melodic and dramatic foundation of this work, the agitated, plangent saxophone lines are supported by a piano part that was directly inspired by another southeastern European influence: the Romanian spectral composer Horațiu Rădulescu, particularly his late piano sonatas.

In enviros we explore the “inner world” of both instruments’ sounds: piano harmonics and saxophone subtones. The compositional concept in this case is not so much linear or narrative as “environmental.” This yields a different improvised performance each time it’s performed, while the piece retains the same distinct feeling and texture. (In the same way that a certain patch of landscape or a particular city street is always identifiably itself and yet is shaped and reshaped anew by those that move through it, the light that strikes it, and the weather patterns that color it from day to day.) Air, space, and resonance come in and out of contact with one another, the shimmering microtonal harmonies trembling as they layer, creating the environmental texture.

-i---e- is a compositional structure based on one of the synthetic scales created by the boundary-pushing American composer, alto saxophonist, bass clarinetist, and flautist Eric Dolphy. In -i---e-, saxophonist and pianist take turns improvising cadenza-like monologues within the scale’s prismatic world of fleeting tonal allusions. After the extended solos, the players converge in ecstatic agreement on a composed melodic head based on the scale, the apotheosis of the improvisation. The instruments guide one another along self-generated paths to assume new trajectories that, for a moment, briefly converge.

suspiros sounds the sighing exasperation, release, and mourning of impending departure, loss, and gain in an impromptu ballad. Super- imposing a microtonal saxophone melody over a tonal/modal piano accompaniment, this piece doesn’t settle or provide catharsis, but remains and persists— pushing and pulling as it breathes in and out.

what is the name of that leans heavily on Ornette Coleman and Prime Time. It takes Coleman’s “What is the name of that song?” and places his horn line on hammers and strings, recasts the electric bass on the horn and interweaves the guitars and drums parts throughout. Multiple melodies, temporalities, and tone colors point this performance in many directions, folding it back again on itself with new creases, and finishing in manic abandon.

poeme is a musing on the mystical, color-drenched music of the late-Romantic early-20th century Russian composer Aleksandr Skryabin, specifically, Opus 69, No. 1, one of his many “Poèmes” for solo piano. This performance takes direct inspiration from the many accounts of the pianist-composer’s seemingly improvised performances of his own works, further illuminated by his idiosyncratic rhythmic notation and a harmonic language almost entirely derived from his synthetic chords.

When we conceptualized me then you then me then you then me, we took turns leading, following, and finding the space in between the constructed dichotomy of leading and following.

p-tch-s is a systematic progression through the anatomy of the instruments themselves, moving from one tactile space to another, embracing sonic possibilities and realizing points of intersection just as they are slipping away.

We’re taking turns again in you then me then you then me then you, but this time you are following me, and then I follow you.

The patterns that emerge from rise point to something new, something incomplete and unformed, something not yet known or not to be known, something that remains, more uncertainties, fewer known ways ahead, acknowledging that perhaps closure is best reached via more questions and fewer explanations.

Richard Valitutto,

Los Angeles, CA – New York, NY

Dave Wilson,

Wellington, New Zealand

July 2018

*****************

PFMCD121

George McMullen: Boomerang (PFMCD120)

george-mcmullen-boomerang-pfmcd120

George McMullen Trio

Boomerang

George McMullen: Trombone, compositions

Nick Rosen: Bass

Alex Cline: Drums and percussion

1. Boomerang 6:09

2. Follow The Bouncing Ball 5:18

3. Improv I; Earth Mystery 2:16

4. I Loved Her Laugh 5:41

5. The Open Gate 6:31

6. Improv II; Air Currents 2:14

7. Geonomic Preview 5:12

8. Waiting 4:56

9. Improv III; Prairie Wind 3:35

10. Dirty Stinking Lowdown Cryin’ Shame 6:25

11. Improv IV; Fire, Dancing 4:44

Recorded, mixed and mastered by Wayne Peet at Newzone Studio

Recorded 16 August 2015

Graphic Design by Ted Killian

georgemcmullen.com

pfMENTUM

PFMCD120

www.pfmentum.com

PFMCD120

Guerino Mazzola / Alex Lubet: Deep State (PFMCD119)

guerino-mazzola-alex-lubet-deep-state-pfmcd119

Deep State

Guerino Mazzola grand piano (all tracks except Kaddish)

Alex Lubet acoustic guitar (ag), soprano ukulele (su), National steel guitar (ns), mountain dulcimer (md)

1. Life (ag) 5:30

2. Liberty (su) 3:25

3. Pursuit of Happiness (ag) 5:52

4. Perfect Union (su) 4:57

5. Verinoqu’es 3:44

6. Blessings of Liberty (ns) 7:45

7. Establishment Claws (ag) 5:29

9. Freedom of Speech (su) 4:25

10. Kaddish (md) 4:11

11. Bare Arms (su) 4:38

12. Neither Slavery nor Servitude (ns) 3:49

13. The Power to Enforce (su) 3:55

Steve Barnett recording, mixing, and mastering producer; digital editor (Barnett Music Productions, Minneapolis, Minnesota)

Preston Smith recording, mixing, and mastering engineer (Perfect Record, St. Paul, Minnesota)

Recorded at Ted Mann Concert Hall, School of Music, University of Minnesota, Minneapolis, May 22 and 23, 2017

Edited, Mixed, and Mastered at Perfect Record, St. Paul, Minnesota

Graphic Design by Ted Killian

Thanks to the University of Minnesota Imagine Fund for recording and post-production expenses

Learn more about Deep State at www.alexlubet.com or www.encyclospace.org.

pfMENTUM

PFMCD119

www.pfmentum.com

PFMCD119

Emily Hay / Steuart Liebig Duo: Nomads (PFMCD118)

emily-hay-steuart-liebig-duo-nomads-pfmcd118

Nomads

Emily Hay/Steuart Liebig Duo

Emily Hay: Flutes/Voice/Electronics

Steuart Liebig: Basses/Electronics

1. Santa Ana Noise Festival 1:29

2. Saint Mark’s 17:32

3. VU Symposium 02 5:04

4. Shapeshifter Lab 01 17:00

5. Shapeshifter Lab 02 5:14

6. VU Symposium 01 9:03

7. NorCal Noise Festival 19:28

1: Recorded by Mark A. Soden Jr., Santa Ana, CA, December 2015

2: Recorded by Thomas Kozumplik, Glendale, CA, February 2016

3 and 6: Recorded by Devin Maxwell, Park City, UT, July 2016

4 and 5: Recorded by Stephanie Shapiro, Brooklyn, NY, September 2016

7: Recorded by Lob Instagon, Sacramento, CA, October 2016

Mixed and Mastered by Wayne Peet at Newzone Studios

pfMENTUM

PFMCD118

Stephanie Richards / Bert Turetzky / Vinny Golia: Trio Music (PFMCD117)

stephanie-richards-bert-turetzky-vinny-golia-trio-music-pfmcd117

Trio Music

Vinny Golia (Woodwinds and Ethnic Aerophones)

Steph Richards (Trumpet and Flugelhorn)

Bert Turetzky (Contrabass)

1. Solana 4:14

2. Proprioception 7:42

3. Cerberus 6:37

4. As I was Saying… 2:50

5. $19.95 4:32

6. Sunnyside Up 2:53

7. Desert Wind 3:11

8. Hector Shear makes his entrance…(could they really exist in Maine?) 3:56

9. Atazoy 3:39

10. The Paradox of Zazu Pitts 3:40

11. Descendant Un Escalier 2:34

12.The Duo That Became A Trio 7:26

This record documents a new encounter for Vinny, Steph, and Bert; a moment of unspoken calibration through collective expression. Listening fingers, a prose communion; sounds dance and combust. Trio Music shows three improvisors collectively negotiating the edges in a space of vibrant empathy.

Recording Date: April 23, 2017, Conrad Prebys Music Center, UC San Diego

Recording, Mastering and Producing Engineer: Andrew Munsey, June 7, 20-22, 2017

Graphics by Ted Killian

Special thanks to Jeff Kaiser, Andrew Munsey, and the University of California, San Diego

pfMENTUM

PFMCD117

www.pfmentum.com

PFMCD117

Naoki Kita / Guerino Mazzola / Heinz Geisser: Ma (PFMCD116)

naoki-kita-guerino-mazzola-heinz-geisser-ma-pfmcd116

Naoki Kita, violin

Guerino Mazzola, grand piano

Heinz Geisser, drums and percussion

1. Unit Gestures .14:50

2. Ma 13:52

3. Daydream .11:03

4. Three In One 20:19

Recorded live at Koendori Classics, Shibuya - Tokyo on April 22, 2017 by Hayato Ichimura

Mixed and mastered by Hayato Ichimura at studio ATTK, Fuchu-shi - Tokyo

Produced by Heinz Geisser and Guerino Mazzola

Layout and Design by Ted Killian

Naoko Kita plays a violin made by Minoru Matsumoto

Special thanks to Mika Ito and Taro Yokota

Thank you to the University of Minnesota Imagine Fund for recording and post-production expenses

mazzola@umn.edu • heinz@geisser.com • nkita@me.com

All music by Heinz Geisser (Suisa) – Guerino Mazzola (Suisa) – Naoki Kita

pfMENTUM

PFMCDX116

www.pfmentum.com

PFMCD116

Jason Robinson / Janus Ensemble: Resonant Geographies (PFMCD115)

jason-robinson-janus-ensemble-resonant-geographies-pfmcd115

PLEASE NOTE: THIS PAGE IS FOR PURCHASING THE CD VERSION.

Resonant Geographies

Jason Robinson

Jason Robinson’s Janus Ensemble:

Jason Robinson—tenor and soprano saxophones, alto flute

JD Parran—alto and contra alto clarinets, bass flute

Oscar Noriega—Bb and bass clarinets, alto saxophone

Marty Ehrlich—bass clarinet, alto saxophone, flute

Michael Dessen—trombone

Bill Lowe—bass trombone, tuba

Marcus Rojas—tuba

Liberty Ellman—guitar

Drew Gress—bass

George Schuller—drums

Ches Smith—drums, glockenspiel

Recorded at Systems Two, Brooklyn, NY, January 5-6, 2016

Engineered and mixed by Mike Marciano

Produced by Jason Robinson

Recording session produced by Steph Robinson

Recording session assistant: Jamie Sandel

Mastered by Rich Breen, Dogmatic Studios, Burbank, CA

All images by David Gloman. Cover, West Worthington Falls, 2016, 17x21 inches, acrylic on paper (detail). Side A label, Bear Den Falls, 2016, 17x22 inches, acrylic on paper (detail). Side B label, Westfield River, 2016, 17x21 inches, acrylic on paper (detail). Side C label, Gold in Brook Falls, 2016, 11x14 inches, acrylic on paper (detail). Side D label, Gunn Brook Falls, 2015, 18x23 inches, acrylic on paper (detail).

Graphic design by Ted Killian

Track Titles:

Facing East (10:41)

Futures Unimagined (8:12)

Confluence (6:55)

Dreaming (8:24)

Facing West (6:31)

Circuitry Unbound (8:44)

Outcropping (12:14)

All compositions by Jason Robinson (ASCAP)

Arriving in Montreal in the middle of the Janus Ensemble tour, I watched as my fellow trombonist Bill Lowe wrangled his enormous tuba and bass trombone cases out of the van, through sub-zero winds and icy sidewalks, and into the tiny club where we’d soon perform. This would be a challenge for someone half Bill’s age, but he was unfazed, focused only on warming up all that metal in time for the soundcheck.

We’d been driving all day and I’d spent much of it listening to Bill’s inspiring stories. For a half century, he’s contributed to expanding the ways that African American music is understood, starting out working with celebrated musical innovators in 1960s London and 1970s New York City and continuing through an extensive career that encompasses music making, community engagement, festival organizing, and academic work. As Taylor Ho Bynum points out, despite all this, Bill has “existed somewhat under the radar, partly because he’s been equally committed to teaching and scholarship throughout his career, and partly because the top-down, star-focused version of jazz history rarely leaves room for the artists in the trenches who are the lifeblood of the music.”1

That night, this “lifeblood” was a large band crammed onto the stage without a spare inch, working through a wide-ranging set of Jason Robinson’s music. “Futures Unimagined,” a piece we played and also part of this album, is typical of Jason’s compositional range and sensibility. It begins with an introduction where the only indication in the score is “collective improvisation - start sparse,” giving the band time for a spacious, internal dialogue that differs wildly each time, but eventually coalesces into more intricate notations and then a blues-inflected song form. There, one lush, recurring melodic phrase is scored for trombone on top of clarinets, an allusion to a specific color and orchestration developed by Duke Ellington in his 1930 composition “Mood Indigo.” As if to heighten the connection, Bill’s brilliant trombone solo on this piece combines throat growling and a harmon mute in his own version of a technique pioneered by Ellington’s trombonist “Tricky” Sam Nanton. Eventually the piece ends with a flourish of improvisational dialogue among two drumset players, George Schuller and Ches Smith, cutting to a sparse snare drum gesture played eight times in perfect unison by both drummers, an elusive and only temporary closure before we continue to the next chapter of the suite.

Almost a century ago, Duke Ellington’s early ensemble music helped establish an important new practice of composing music not only for specific instruments, but also for individual improvisers, drawing on each musician’s personal sound for inspiration and raw material. It’s an approach that has since expanded in infinite directions, especially in African American-based improvised music, but always with a powerful dialectic at its core: It depends on and highlights individuality, and it’s also a deeply collective mode of creativity.

That spirit infuses Resonant Geographies, an extended suite Jason has composed for these eleven improvisers, most of whom have performed in his Janus Ensemble since 2008. Compositionally, the suite is a series of sonic reflections on specific locations that have been important to Jason, each movement a kind of tone poem moving through a range of textures and forms related to that memory. But the suite is just as much animated by musical geographies, both those of the improvisers in this band who bring different relationships to jazz traditions, and those of the composers past and present whose influences echo throughout the score, filtered through Jason’s own compositional sensibility.

Multi-reedist J.D. Parran is another individual who has inspired both Jason and me for many years and brings his unique history to this album. Reflecting on his experience growing up in inner city St. Louis during the 1960s, J.D. describes how he was fortunate to have excellent school music teachers that were part of the “talented tenth group of African American educators.” He comments that these teachers, many of whom had recently migrated from the south, were “very, very special in what they had to go through—in mostly traditionally black colleges and universities—to get their education, and the rigorous kind of training that they received.”2

Rigor: “The quality of being extremely thorough, exhaustive, or accurate.” I associate this quality with Parran himself, one of those rare people I’d describe as a master musician. He’s achieved astonishing technique on multiple reed instruments, including less common ones such as the bass saxophone and alto clarinet, and he’s worked as both an interpreter and an improviser across wide-ranging forms of contemporary music, from his early years with mentors in the Black Artist Group (BAG), an important St. Louis collective, through graduate-level formal training and decades of trans-disciplinary, creative collaborations based in New York City. As an improviser, he’s woven all of these diverse experiences into a “very, very special” sound all his own.

I first heard J.D. in the late 1990s, at a solo concert on which he played several reed instruments. I remember being especially stunned by his interpretation of “St. Louis Blues” on bass clarinet. Thinking back now on his sound, I’m reminded of these words:

“In the context of improvised musics that exhibit strong influences from African- American ways of music-making, musical sound—or rather, ‘one’s own sound’—becomes a carrier for history and cultural identity. As Yusef Lateef maintains, ‘The sound of the improvisation seems to tell us what kind of person is improvising. We feel that we can hear character or personality in the way the musician improvises.’”3 —George E. Lewis4

For this album, one place where Jason features J.D. is on “Dreaming,” the middle movement of the suite. Midway into the piece, J.D. interprets a melody that Jason composed to highlight the unique timbre of the alto clarinet, shifting between gradient inflection and incredible precision of pitch with a rich, fluid tone. He then improvises a solo that slowly blooms across multiple registers and propels the band through a kaleidescopic transformation, interacting especially with the dense, rhythmic composite coming from the two drummers. Here as in many other moments on this album, George and Ches are expert alchemists, constantly discovering new ways to mix their two distinct drumset sounds in a dialogue that grounds the band but is always shifting.

In the final section of “Dreaming,” the ensemble navigates a scored section of tempo shifts and dramatic gestures for low brass and reeds. These two effects together make for another historical citation, as specific as the Ellington one: here the reference is to the second movement of Charles Mingus’ album The Black Saint and the Sinner Lady, a landmark recording in the history of long-form suites composed for improvisers.

Hearing this Mingus trace isn’t necessary for enjoying the track’s explosive ending, but the point is that this model of composition always includes such imaginary dialogues, honoring one’s sources in ways that range from explicit to oblique. And the references aren’t always to the distant past—for example, the hocketed texture scored for two tubas and trombone over a churning rhythm section in “Facing West” points towards the work of contemporary composer Henry Threadgill, whose imaginative bands Jason has cited as a formative influence on the instrumentation of the Janus Ensemble. Here again, Jason’s choice of soloist adds to this connection, as this music launches into an otherworldly solo by virtuoso tubist Marcus Rojas, one of several musicians in this band who has played in Threadgill’s ensembles.

This interweaving of personal and collective histories is a reminder of something important about developing one’s “own sound”: you don’t do it alone. This kind of music requires extensive solitary practice and study, but our sounds as improvisers also evolve through infinite reactions and interactions with others, including the musicians we work with and others we know only through records, like the one you are holding now.

This is Jason’s third recording with the Janus Ensemble, which he has been leading in flexible configurations since 2008. All the musicians on this album have been part of the ensemble since then, except for two new additions on this record, the phenomenal reed player Oscar Noriega and myself on trombone. Though I’m new to the Janus ensemble, Jason and I have been close collaborators and friends for about 20 years, working in numerous bands and projects together. We first met when he moved to San Diego for the same reason I did: to study music with George Lewis and Anthony Davis in a graduate program at UC San Diego

Lewis and Davis radically expanded the questions we were asking about music and inspired us in endless ways. They modeled a creative practice that is rigorous in craft, wide open in creative possibility, and always with a thoughtful, complex and individual connection to the world. They encouraged us to develop our own communities and our own music, not just adopt theirs, but they also introduced us, figuratively and literally, to many other artists who would become important inspirations and mentors, including J.D. Parran and Marty Ehrlich, both on this record.

When I first met Jason, he had been playing on various scenes in northern California and had been mentored by the late Mel Graves, a bassist who ran a vibrant and highly original jazz program at Sonoma State University. Jason was immersed in music with typical intensity, having already released an album of his music on his own label while still in his early 20s. He was inquisitive, deep into the saxophone, creating music with darting, angular lines and exuberant grooves. His music had a driving quality, an optimistic, forward momentum, but always with a sense of openness to shifts in direction, whether subtle or extreme.

I still hear that same musical DNA in Jason’s sound, but deepened through two decades of work and expanded to a broader palette through collaborations like this one. This suite is carefully crafted to feature all of the improvisers in both solo and collective contexts while also covering a wide-ranging compositional terrain. Some sections delve deep into texture and sound, either through detailed score notations that exploit the band’s unusual instrumentation, or through improvisations set within imaginative backdrops. Other stretches of music revel in the rich rhythmic and harmonic language of jazz traditions, sometimes recalling the buoyant energies of early big band music and other times with a more abstract lens that evokes later “creative orchestra” explorations. What ties it all together and makes the work a long-form composition rather than just a sequence of varied parts is the dialogue among these different soundworlds, not just between movements but within them; none of the tracks end where they begin, and each travels unpredictably through a different blend of historical references, individual expressions and sonic explorations.

The band you hear on this record is diverse in generation as well as musical backgrounds, and along with those mentioned above, the lineup includes other equally renowned composer-improvisers. Multi-reedist Marty Ehrlich, like J.D. Parran, began his long history of contributions to this music working with musicians from BAG and the AACM in St. Louis during the late 1960s, and over the decades since has created a wide-ranging body of creative work as a composer and collaborator. The versatile bassist and composer Drew Gress has long been one of the most in-demand improvisers on the NYC scene, grounding bands led by an incredible range of contemporary innovators, and the same can be said of acclaimed guitarist and composer Liberty Ellman, another musician here connected to Henry Threadgill, in Liberty’s case through working closely with Threadgill over many years alongside his own projects.

This band encompasses a fascinating cross-section of jazz-inspired contemporary music scenes, broad and difficult to categorize, but one thread running through the Janus Ensemble and Jason’s music is the idea that this wide range of creative expression and method is central to jazz traditions, and always has been. Many people in the jazz industry still seem eager to reinforce old fault lines and put every new record in a particular box, with avant-garde flavors on one side and “traditional” ones on the other. But music like this embodies a more expansive stance, a recognition that a wide spectrum of expressive possibilities is always present to begin with, endlessly woven into new forms by individuals responding to changing contexts. Speaking in Arthur Taylor’s classic 1972 book of musician-to-musician interviews, the great drummer Philly Joe Jones harshly critiques “bag carriers” who superficially imitate the screams of the avant-garde, but he also cites artists like John Coltrane to distinguish experimentalists who are committed to a deep, integrative craft. In response to a question about “freedom music,” Jones deftly deconstructs conventional discursive boundaries by commenting that “everybody’s been playing free. Every time you play a solo you’re free to play what you want to play. That’s freedom right there.”5 I hope you can enjoy this new music by Jason Robinson and the Janus Ensemble in that spirit. Thanks for listening. — Michael Dessen

Works cited

1. Taylor Ho Bynum, “Guest Post: Taylor Ho Bynum on Bill Lowe,” in Destination: Out, Feb. 1, 2012, accessed June 20, 2017 <http://destination-out.com/?p=3384>.

2. Interview with J.D. Parran by Yusef Jones, accessed June 2017: <https://www.youtube.com/watch?v=DMYc63l6OMg>.

3. Yusef A. Lateef, “The Pleasures of Voice in Improvised Music,” in Roberta Thelwell, ed., Views on Black American Music: Selected Proceedings from the Fourteenth, Fifteenth, Sixteenth and Seventeenth Annual Black Musicians’ Conferences, University of Massachusetts at Amherst, No. 3 (1985–1988) pp. 43–46.

4. George E. Lewis, “Too Many Notes: Computers, Complexity and Culture in ‘Voyager,’” Leonardo Music Journal, Vol. 10 (2000), pp. 33-39.

5. Art Taylor. Notes and Tones : Musician-to-Musician Interviews. New York: Da Capo Press, 1993, pp. 47-48.

Resonant Geographies is a meditation on place, memory, relationships, and community. Each movement of the suite is inspired by specific places, a canvas of various experiences and memories for me over a number of years. These are not the sounds of places in a narrow sense, but what is contained here might as well be considered a sounding of those places. A subtle but important distinction. A proportion, a relationship, a scent, a feeling. Like the shifting translucent blues and oranges of a rejuvenating and boundless sunset along the north coast of California, or the warm embraces or knowing glances of friends and loved ones, this project is a process. It continues to unfold. Great heartache, struggle, discovery, and rebirth accompanied/s its long stages. My heart smiles again. I hope that you, the listener, find yourself in the sounds contained here. And I hope we are all guided by compassion and empathy as we sound places, relationships, communities.

This album is dedicated to George Finney Thomason.

I’ve been drawn to the ocean for as long as I can remember. Some of my earliest memories are standing on giant rocks extending into the majestic Pacific some four hours north of San Francisco, while staring with amazement at the spray created by crashing waves, enchanted by the patterns of mussels on rocks, the endless volume of water, the mysterious and beckoning horizon. And the smell—salt, seaweed, richly moist, oxygenated air. I feel at home in this wondrous meeting of water, land, and air. I can still see my great grandfather standing on the bluffs, the rocks, the beaches, and hear his voice as he guides and encourages me to explore. What kind of place is the vast, unimaginably large expanse of the ocean? — Jason Robinson

Deepest thanks to my musical collaborators and friends heard on this recording, whose collaborative spirits and finely tuned personal sound approaches make immeasurable contributions to the music. Thanks also to numerous others who helped make this project possible: Mike Marciano, Rich Breen, Jeff Kaiser, Glenn Siegel, Priscilla Page, Matan Rubinstein, Paul Lichter, Eric Lewis, Jim Staley, Jamie Sandel, and my colleagues at Amherst College. And without the love and support of my closest friends and family, none of this would have been possible. Let’s put this on the turntable, Piccolo. It’s about time!

This recording was made possible by the H. Axel Schupf ’57 Fund for Intellectual Life at Amherst College.

pfMENTUM

PFMCD115

www.pfmentum.com

PFMCD115

Lauren Nagaryu Rubin / Stephen Flinn: Transparent (PFMCD114)

lauren-nagaryu-rubin-stephen-flinn-transparent-pfmcd114

Transparent

Lauren Nagaryu Rubin — Shakuhachi Flute

Stephen Flinn — Percussion

Look 05:19

Climb 06:40

Perch 02:10

Rest 06:52

Scale 05:37

Fall 08:36

Recorded November 4, 2017 at Catasonic Studios, Los Angeles, California

Recorded, Mixed, and Mastered by Mark Wheaton

Photography by Andrew Rubin

Graphic Design by Michael Golob

This recording is dedicated to Andrew Rubin

pfMENTUM

PFMCD114

Dave Ballou: Quadrants (PFMCD113)

dave-ballou-quadrants-pfmcd113

Quadrants

for solo trumpet

Dave Ballou

1. North 15:16

2. East 14:54

3. South 15:10

4. West 15:02

Dave Ballou—Bb trumpet, flugelhorn, piccolo trumpet and mutes

Each piece was performed in sequence with no overdubs or edits

Parameters: An hourglass with a 15 minute sand flow

Focal pitches: Bb, B, E, F (concert)

Recorded March 13, 2015 and mixed June 3, 2015

Ed Tetrault, engineer—Peabody Recording Studios

Peabody Conservatory, Baltimore, MD

Mastering October 10, 2016 by Wayne Peet Newzone Studio, Los Angeles, CA

Thanks to Jeff Kaiser, Tony Malaby, Danny Gouker, Adam Hopkins, Mike Kuhl, Jeff Reed, Ralph Alessi, Ellery Eskelin, Jim McFalls, John Dierker, Michael Formanek, Kevin Whitehead, Jonathan Finlayson and Leise Ballou.

Graphic Design by Ted Killian

This recording is made possible with the support of a grant from the Towson University Faculty Research and Development Center.

pfMENTUM CD113

PFMCD113

Michael Vlatkovich: TRYYO Flying Box (PFMCD112)

michael-vlatkovich-tryyo-flying-box-pfmcd112

TRYYO Flying Box

Michael Vlatkovich • Trombone/Composer

Jonathan Golove • Electric Cello

Damon Short • Drums

1. Pedal Sharp Four The Name (4:44)

2. Communicating Their Silence (5:11)

3. Exposed To Higher Concentrations Of Stubidity (5:10)

4. Unknown Known (7:36)

5. Thank You For Cleaning Up After the Lunatics (4:32)

6. Wanted Tambourine Player Hair Stylist (5:54)

7. Reassurances From The Apologetically Insincere (4:05)

8. The Snakes Always Talk about Ill Fitting Doll Clothes On The Chickens (5:55)

9. May I Have A Few More Polka Dots (4:11)

10. If Here Were There There Would Be Here (4:43)

Producers: Short/Golove/Vlatkovich

Photo: Julia Fitzgerald • Design: Jeff Kaiser

Newzone Studio, Los Angeles • Engineer: Wayne Peet

Recorded: 08/06/15 • Edited: 01/20/16 • Mixed & Mastered: 02/22/16

pfMENTUM

PFMCD112

Vinny Golia: Intercommunications (PFMCD111/NWCD329)

vinny-golia-intercommunications-pfmcd111nwcd329

Vinny Golia: Woodwind Instruments and Percussion

Maori Bird Call, C and G Piccolos, Alto Flute, Bass Flute, Basset Horn, Bass Clarinet, G Mezzo Soprano and Bb Soprano Saxophones, Sopranino Saxophone, Tibetan Trumpets, Gyaling, Fujara, Overtone Flutes, Himalayan Singing Bowls, Gongs

1. Rongorongo—Opening For Richard Nuns 2:17

2. Let Me Introduce Myself, I'm Norman Reed 5:47

3. The Taulas Of Menorca 5:41

4. I…Have A Turtle Neck And Can Be Trusted 7:37

5. Hessdalan Lights 1:27

6. Nazca Lines 9:58

7. Xenoglossy 8:34

8. Dedicated To The Great Instrument Builders: Eva, Peter, and Benedict 6:15

9. The Agropelter…(Bobo…How Are You?…) 1:53

10. Unexpected Incidents For Wenseslao Moquel 5:16

Recorded October 2016 at The Music Room Valencia, California by Wayne Peet

Mixed and mastered December 2016 at Newzone Studio , Venice, California by Wayne Peet and Vinny Golia

Photographs by Vinny Golia • Art and layout by Jeff Kaiser

A joint release of pfMENTUM (PFMCD111) and Ninewinds (NWCD329)

PFMCD111

Vinny Golia: Music for Woodwinds, Strings, Piano, and Percussion (PFMCD110)

vinny-golia-music-woodwinds-strings-piano-percussion-pfmcd110

Vinny Golia

Music for Woodwinds, Strings, Piano, and Percussion

Sara Cubarsi—Violin

Rachel Iba—Violin, Voice on Not as long as some others

Patrick Behnke—Viola

Tal Kaz—Cello

Ken Filiano—Contrabass

Cathlene Pineda—Piano

Vinny Golia—Gongs, Himalayan Singing Bowls, Barra Cymbals, Kyzee, Gyaling, Sheng, Hulusi, Indonesian Mouthharp, C and G Piccolos, C and Alto Flutes, Sopranino, Bb and G Soprano Saxophones, Bass, Contra Alto and Contrabass Clarinets, Bassett Horn, Birbyne

1. Not as long as some others 06:42

2. The Subject was Roses 04:55

3. “they look like monkeys, yes!” (the zeegoes…) 05:53

4. The Blackboards of Eric von Hotlz (dragonfly VTO) 06:53

5. Don’t make a mess in my brand new Edgar suit! 03:48

6. Fish is Fish but thats another matter 05:24

7. Next, a dish with a Tomato 08:12

8. Mr. Pisaro, are all your papers in order? (and his lovely wife too…) 10:49

9. Mr Dialogue says; (I have a strange and uncomfortable feeling about this place) 04:32

10. Something about a Carnival? 10:59

All compositions and arrangements by Vinny Golia

Recorded by John Baffa, 12 March 2017, Brotheryn Studio, Ojai California

Additional Tracking at TV Tray Studios, Ventura, California

Mixing and Mastering by John Baffa and Vinny Golia, April 2017

Photos by Vinny Golia

Layout and Design by Ted Killian

A joint release of

pfMENTUM/Ninewinds

PFMCD110/NWCD341

www.pfmentum.com

PFMCD110

Vinny Golia: Syncquistic Linear Expositions and their Geopolitical Outcomes (…we are all still here…) (PFMCD109)

vinny-golia-syncquistic-linear-expositions-geopolitical-outcomes-still-pfmcd109

Vinny Golia

Syncquistic Linear Expositions

and their Geopolitical Outcomes

(…we are all still here…)

1. The Trouble With Mr. Snappy 9:42

2. Paro 11:12

3. Some Kind Of Guru 11:51

4. Bank Book Lama 9:39

5. All The Things I’m Not (version 1) 8:29

6. Onion Of Mystery 7:08

7. Final Authority 9:55

Vinny Golia: Sopranino, Bb and G Soprano, Baritone Saxophones, Bass Clarinet, Kwala, Gongs, and Kayzee

Steve Adams: Alto Saxophone

Ken Filiano: Acoustic Bass and Pedals

Tina Raymond: Drums

Recorded 11 March 2017 at Kingsize Sound Labs in Eagle Rock, California

Recorded and mastered by John Baffa Mixed by John Baffa and Vinny Golia

Photos by Vinny Golia

Layout and Design by Ted Killian

All compositions and arrangements by Vinny Golia

A joint release of pfMENTUM and Ninewinds

PFMCD109/NWCD342

www.pfmentum.com

PFMCD109

Trumpets and Basses: Sanctuary (PFMCD108)

trumpets-basses-sanctuary-pfmcd108

Trumpets & Basses: Sanctuary

Trumpets: Danny Gouker, Jake Henry, Kenny Warren

Basses: Adam Hopkins, Will McEvoy, Zach Swanson

1. From Solid Ground (1:39)

2. Bubbles Rise (1:53)

3. From the Green Beneath (3:33)

4. (and) Ships Maneuver (4:18)

5. Quietly at Night (2:37)

6. Tremors Eventually Subside (8:41)

7. But Disquiet Persists (2:49)

8. The Birds Return (but they are not the same) (6:49)

9. Moments of Clarity (6:20)

10. Resolve into Complexity (6:21)

11. The Void Looks Wider than Before (8:38)

Recorded live at Cadman Congregational Church, Brooklyn (Courtesy of Brooklyn Studios for Dance) by Nathaniel Morgan on April 22, 2016.

Mixed by Nathaniel Morgan, December 2016.

Mastered by Wayne Peet at Newzone Studio, 2017.

Artwork and Layout by T.J. Huff.

pfMENTUM CD108

PFMCD108

www.pfmentum.com

PFMCD108

Adam Hopkins: Party Pack Ice (PFMCD107)

adam-hopkins-party-pack-ice-pfmcd107

Adam Hopkins: Party Pack ICE

(please note, this is an EP, the price has been reduced from our full price.)

1. 39.6432°N (1:43)

2. Little Mathletes (4:39)

3. Duckpin (1:44)

4. To Record Only Water For Ten Days (3:51)

5. Hobart’s Law of Kinetics (1:18)

6. The Stephanies (8:47)

7. 76.7408°W (2:00)

Adam Hopkins - bass, compositions

Patrick Breiner - tenor saxophone

Eric Trudel - tenor saxophone

Dustin Carlson - guitar

Nathan Ellman-Bell - drums

Released August 10, 2017

Recorded live by Nathaniel Morgan at iBeam Brooklyn, March 18, 2015.

Mixed and edited by Nathaniel Morgan at Buckminster Palace, 2016.

Mastered by Wayne Peet at Newzone Studio, 2017.

Artwork, layout, and design by TJ Huff, huffart.com.

Very sincere thanks to TJ Huff and Nathaniel Morgan--your artistic and musical visions exceeded all expectations in their contribution to this project. Special thanks to Jeff Kaiser, Maxwell Gualtieri, & Louis Lopez at pfMENTUM for their support and enthusiasm for this record, and for creative music as a whole. And finally thanks to friends, family, and places in Baltimore from various points in time over the past 7 years--you inspired this recording in pretty much every imaginable way.

pfMENTUM CD107

PFMCD107

Tim Perkis and Scott Walton: Applied Cryptography (PFMCD106)

tim-perkis-scott-walton-applied-cryptography-pfmcd106

applied cryptography

tim perkis – electronics • scott walton – piano

01 oblique compact 4:08

02 naked egg 4:57

03 dominion 1:41

04 merkle's knapsack 3:10

05 subliminal channel 2:38

06 partial ordering 2:44

07 normal form 5:44

08 possible objects A 1:44

09 possible objects B 2:17

10 blind signature 5:42

11 zero-knowledge proof 1:31

recorded (august 2014) and mixed (july 2015) by philip perkins

mastered (july 2016) by wayne peet

artwork: sophie plassard (artsophie.com)

photo: jeff kellem (slantedhall.com)

design and layout: jeff kaiser (jeffkaiser.com)

perkis.com • jazzhalo.be/musicians-files/scott-walton

pfMENTUM CD106

PFMCD106

Quentin Tolimieri: Piano (PFMCD105)

quentin-tolimieri-piano-pfmcd105

Quentin Tolimieri : Piano

1. pointslinesplanes 6:57

2. changing/same 16:04

3. shorty 1:39

4. green dolphin st. 5:07

5. fours and ones 7:39

6. different weights and sizes 4:27

7. well you needn't 3:14

8. fin 9:30

Quentin Tolimieri: Piano

Recorded and mastered by Jim Clouse at Park West Studios, Brooklyn NY on 2 November 2015 and 23 November 2015

Album design by Scott Gaynor

Cover photo: Cookie Cutter by Allen Lai

Interior photo: 2014_02_06_lhr-ewr_391w_ by Doc Searls

Both images available under a Creative Commons Attribution license

https://creativecommons.org/licenses/by/2.0/

All tracks © Quentin Tolimieri (ASCAP) 2015, except On Green Dolphin Street by Kaper/Washington, © Patti Washington Music/Shapiro Bernstein OBO Catherine Hinen Music/BMG Gold Songs OBO Primary Wave Songs and and Well You Needn't by T. Monk, Regent Music Corporation. Used by Permission. All rights reserved.

pfMENTUM CD105

PFMCD105

Andrew Raffo Dewar / Andrea Centazzo / Anne LeBaron: Encantamientos (PFMCD104)

andrew-raffo-dewar-andrea-centazzo-anne-lebaron-encantamientos-pfmcd104

Encantamientos

Andrew Raffo Dewar (soprano saxophone)

Andrea Centazzo (percussion, live electronics)

Anne LeBaron (acoustic and electric harps)

Encantamiento I (3:19)

Encantamiento II (7:12)

Encantamiento III (6:50)

Encantamiento IV (6:03)

Encantamiento V (4:03)

Encantamiento VI (5:27)

Encantamiento VII (8:02)

Recorded, mixed, and mastered by Clay Chaplin at the California Institute for the Arts on January 28, 2012

Cover Art by Eduardo Serón, “Forma” (1958) 80x80cm, acrylic on canvas, used by permission of the artist

Published by Golden Croak Music (BMI), Free Movement Arts (ASCAP), and Andrea Centazzo Music (ASCAP).

Layout and Design: Hillary McDaniel

pfMENTUM

PFMCD104

Steve Adams / Scott Walton: Cookies for Cyrano (PFMCD103)

steve-adams-scott-walton-cookies-cyrano-pfmcd103

1. Force Field of Oblivion 6:04

2. one of countless sporadic manifestations of the alternate universe in which Olivier Messiaen is a fervent agnostic 7:15

3. Membrillo 6:14

4. Operatic 13:37

5. The Enumeration (for Glenn Spearman) 6:13

6. Ogonix 8:58

7. Black Notebook #8 13:37

Steve Adams - alto and baritone saxes, bass flute, electronics

Scott Walton - acoustic bass

Recorded Feb. 25, 2015 at Fantasy Studio B by Jesse Nichols.

mixed July 8 and December 29, 2015 at Fantasy Studios by Jesse Nichols.

mastered May 5, 2016 by Myles Boisen at the Headless Buddha Mastering Lab.

The Steve Adams/Scott Walton Duo has been performing since 2013. Steve is best known as a member of the Rova Sax Quartet, with whom he has played for over twenty five years, toured internationally and released more than twenty five recordings. His compositions have been performed at the Bang on a Can and Meet the Composer Festivals. Scott Walton is a bassist and pianist whose music negotiates the terrain between jazz, free improvisation, and the classical avant-garde. He has performed throughout North America and Europe with groups he co-leads, and in a host of collaborative contexts.

pfMENTUM CD103

PFMCD103

Thomas Ciufo / Curtis Bahn: Sonic Constructions (PFMCD102)

thomas-ciufo-curtis-bahn-sonic-constructions-pfmcd102

Sonic Constructions - an improvisational electroacoustic performance project

Thomas Ciufo and Curtis Bahn with special guests Steve Gorn and Jane Rigler

1) Sonic Constructions 22:54

Curtis Bahn - Electric Sitar, Dilruba and Interactive Electronics

Thomas Ciufo - Extended Electric Guitar, Prepared Piano, Percussion and Interactive Electronics

2) Ujjayi 12:11

Steve Gorn - Bansuri Bamboo Flutes

Jane Rigler - C Flute, Bass Flute and Piccolo

Curtis Bahn / Thomas Ciufo - Live Processing

3) Lajawab 38:06

Steve Gorn - Bansuri Bamboo Flutes and Clarinet

Curtis Bahn - Electric Sitar and Interactive Electronics

Thomas Ciufo - Extended Electric Guitar, Flutes, Percussion and Interactive Electronics

Sonic Constructions - edited excerpts from a live performance

Ujjayi and Lajawab - unedited complete recordings from a live performance

Recorded and Produced by Thomas Ciufo

Graphic Design by Ted Killian

Photos by Thomas Ciufo

Sonic Constructions is an electroacoustic ensemble consisting of Thomas Ciufo on extended electric guitar, flutes, percussion, prepared piano and live electronics and Curtis Bahn on electric sitar, dilruba and interactive electronics. For this live performance CD project, the core duo was joined by Steve Gorn on bansuri bamboo flutes and Jane Rigler on C flute, bass flute and piccolo. With their music and sonic gestures, the musicians are able to transform the live sounds and field recordings into immersive sonic stories. This creates a constant, limitless reshaping of materials in a kind of “infinite play” of regenerative music that is at once transformative, delicate, intimate and innovative. This ensemble treats electronic music as chamber performance because there is a constant interactive musical connection between the performers, the space, the sounds, and the audience.

This improvisational soundscape combines live performance, raga, computer extended instruments/gestural controllers, live signal processing, and field recordings. Composer-improvisers Thomas Ciufo and Curtis Bahn design, build, and perform on computer extended instruments and simultaneously process the sounds of the other performers. This project has developed around a gestural and sonic language that explores the expressive capabilities of a range of custom build, hybrid acoustic / electronic instruments. Utilizing a variety of physical interfaces and signal processing techniques, these constructed / composed instruments extend acoustic sound sources and field recordings through real-time computer processing and sonic transformation. Custom instruments developed by Bahn and Ciufo include the eSitar, eDilruba, the eighth nerve hybrid electric guitar, as well as prepared piano and a collection of flutes and percussive objects. The duo uses their extensive sound transformation capabilities to process and extend the flute performance by collaborators Steve Gorn and Jane Rigler.

pfMENTUM CD102

PFMCD102

Ethan Sherman: Building Blocks (PFMCD101)

ethan-sherman-building-blocks-pfmcd101

Ethan Sherman

Building Blocks

Jungle Gym (Slow) 2:27

Keltner 7:01

Dangling 5:28

Norway 6:51

Pretty Polly 3:32

Motivation 4:53

Jungle Gym (Fast) 1:45

Positive Space 3:12

Snowshoe 4:34

Ethan Sherman - guitar

Chris Rolontz - bass

Christian Euman - drums

Recorded October 3, 2016 at Paperchaser Studios, Los Angeles, CA

Engineered and mixed by Tyler Chester

Assistant engineering by Rob Peterson

Mastered by Ryan Stewart

Production assistance by Jacob Mann

Design by Aaron Vinton

pfMENTUM CD101

PFMCD101

Jeff Kaiser / David Borgo: KaiBorg: Vibrant Matters (PFMCD100)

jeff-kaiser-david-borgo-kaiborg-vibrant-matters-pfmcd100

VIBRANT MATTERS

KAIBORG

Jeff KAIser

David BORGo

Purchase CD at the bottom of the page, digital copies here:

1. Instropomorphize 4:01

2. Vibrant Matters 11:35

3. Deep-End-and-See 9:08

4. Semioterial 13:52

5. N-Tangled 3:37

6. Materiotics 2:33

7. Undercurrents and Overtones 1:51

8. Heiranarchy 7:56

David Borgo: soprano saxophone, dudukophone (4), raj nplaim (4), double duct flute (4), skatchbox (4), chromatic tambin (5), futujara (7), and live computer processing

Jeff Kaiser: quartertone trumpet and live computer processing

Recorded live at University of California San Diego’s Studio A by Josef Kucera, February 19-20, 2016

Mixed and Mastered by Jeff Kaiser with David Borgo at pfMENTUM World Headquarters, February, 2017

kaiborg.com • davidborgo.com • jeffkaiser.com

pfMENTUM CD100

www.pfmentum.com

PFMCD100

Joshua Gerowitz: Solano Canyon (PFMCD099)

joshua-gerowitz-solano-canyon-pfmcd099

Joshua Gerowitz: Solano Canyon

1. Smooth as Ice 5:29

2. Hamburger Island #1 1:12

3. Swoot 4:56

4. Morning Landscape Illusion 6:57

5. Hamburger Island #4 4:40

6. Chicken, Cigarette, Bed #2 7:57

7. Hamburger Island #3 3:18

8. Angels Point 2:15

Personnel: Joshua Gerowitz (guitar), Louis Lopez (trumpet, tracks 1-7), Colin Woodford (drums, tracks 1-7), Jake Rosenzweig (bass, tracks 2, 5, 6, 7), Carmina Escobar (voice, tracks 2, 5, 7), Joe Santa Maria (saxophones, tracks 1, 3, 4), David Tranchina (bass, tracks 1, 3, 4)

Recorded by Nels Jensen at The Pie Studios, July 2016

Mixed by Daniel Eaton, December 2016

Mastered by Evren Goknar, January 2017

Additional mastering by Daniel Eaton, April 2017

Original album artwork and layout by Georgia Bell

pfMENTUM CD099

PFMCD099

www.pfmentum.com

PFMCD099

Vinny Golia / Ken Filiano: Elongation (PFMCD098/NWCD0296)

vinny-golia-ken-filiano-elongation-pfmcd098

Vinny Golia and Ken Filiano

Elongation

\(ˌ)ē-ˌlȯŋ-ˈgā-shən\

Vinny Golia: Djura Gaida, Saxello, Sopranino and Tenor Saxophone, Bass Clarinet, Turkish Ney and Kaval

Ken Filiano: Contrabass and Electronics

1. Prologue :44

2. Elongation, section A 5:40

3. Elongation, section B 1:58

4. Written in H2O (K.Filiano) 10:30

5. Elongation, section C 7:38

6. Your final Phone call arrives for Victoria Galli (V. Golia) 5:24

7. Elongation, section D 3:16

8. Elongation, section E 2:47

9. Siri (K.Filiano) 11:01

10. Elongation, section F 7:23

11. Epilogue 6:09

Recorded by John Baffa • May 19, 2009

Roy O. Disney Hall, California Institute of the Arts • Valencia, California

Mixed by John Baffa and Vinny Golia • June 2009

TV Tray Studios • Simi Valley, California

All compositions and arrangements by Vinny Golia and Ken Filiano except where credited

Your final Phone call arrives for Victoria Galli

Siri and Written in H2O

Art and layout by Jeff Kaiser

A joint release of pfMENTUM and Ninewinds

pfMENTUM CD098

PFMCD098

Ninewinds CD0296

NWCD0296

PFMCD098

Peter Kuhn / Dave Sewelson: Our Earth / Our World (PFMCD097)

peter-kuhn-dave-sewelson-our-earth-our-world-pfmcd097

Peter Kuhn: alto and tenor sax, Bb clarinet

Dave Sewelson: baritone and sopranino sax

Larry Roland: bass • Gerald Cleaver: drums

1) Our Earth 25:22

2) Our World 12:36

3) It Matters 11:07

Our Earth / Our World

“Just because you don’t see me, it doesn’t mean I am gone.”

The music on this CD is beautiful. It moves me to stand on one foot and hop in joy. It's laced with a dark and searing lyricism that one finds on those hot summer nights when the freedom bell tolls and all the heavy weight players would pick up their horns and blow all night. Dave Sewelson, Peter Kuhn, Larry Roland, and Gerald Cleaver are creating their own tradition and it is reborn each time they play.

The music swoops and soars into inner and outer space. Cane reeds vibrating and living in both the urban and celestial worlds at the same time. The sound re-enters with the earth touching it’s own root then resurfacing as colorful flowers made of soil and mud wrapped in a shell of hope that rests on a cradle of freedom. Then the phrase, “Just because you don’t see me, it doesn’t mean I am gone.”

Peter Kuhn who is back on the scene meeting with Dave Sewelson who still remains one of the best kept secrets on the music scene but is a hero in the tone world. Here they cross paths with Larry Roland’s mystical bass and Gerald Cleavers Saturday morning Detroit thrust. I would suggest you clean your palate and give this music a big listen. Veterans are in the house bringing in some of that old time religion. No time to experiment they know exactly where they are going into the unknown where pure creativity lives.

—William Parker, 2015

If I had to choose a way to describe the music that flows through Our Earth/Our World that description would begin with intuition and conversation. The best of freely-improvised music is always rich in these details, and the dialog between Kuhn and Sewelson has obviously stood the test of time.

This disc, recorded on a brisk April evening at the 2015 Arts for Art Festival begins with the sonic swirl of Dave Sewelson’s rough-hewn baritone saxophone jostling against the slinky sinew of Peter Kuhn’s Bb clarinet. Right away, the melodic interplay between the two musicians, (an association that began some 40 years ago) rings true and devastatingly clear. Themes and riffs wrap around each other with serpentine grit and gristle, all with the surety of notated material – yet nothing was written down. “No discussion, no plan, no charts or even concepts,” Kuhn related, via email. “I had never met Larry or Gerald before the set, and they hadn’t played together before this either.”

Kuhn was making reference to the sterling rhythm section of Larry Roland on bass and the marvelous Gerald Cleaver on drums, who both leap into the fray of the 26-minute opener, “Our Earth,” with muscled dialog and multidirectional waves of motion, including a brief drum and bass duet that precedes Kuhn’s screaming essay on tenor saxophone, which wails in the best of the post-Ayler traditions – a sermon of great extremes joined at its orgiastic apex by Sewelson’s equally committed spiraling altissimo pealing. All of this flows atop the crisp martial cadences and precise control of dynamics initiated by Cleaver’s snare and the depth of Roland’s arco and pizzicato accompaniment. Sewelson returns on the tiny sopranino saxophone – his sound is dark, fat, and swollen with sonic fertility. Once again, the horns entwine and spiral into deep conversation. A joyous beginning.

Cleaver, an acknowledged master of subtle gestures, opens the second selection, “Our World,” with a stunning drum narrative that leads both hornmen into a writhing jostle of overtones on sopranino and clarinet, respectively, over the relentless ostinato of Roland. Back on baritone, Sewelson whinnies and squeals, all while alluding to an almost Motown-like pocket as Kuhn’s tenor reengages, stoking the fire with chortling repetitions and bone-chilling eruptions into the upper register.

That sense of joyful audacity deepens when Roland unleashes a monstrous solo to introduce the final selection, “It Matters,” where Kuhn’s lithe Bb clarinet burrows a serpentine course deep into the heart of the music, all the while guided by the ebb and flow of Cleaver’s drums, which both explode and illuminate.

You can feel the enthusiasm of the packed house – not just in the applause that peppers each selection – but in the spontaneous gasps and groans that accompany several unforgettable moments of deep listening. Turn it up. Enjoy. Repeat.

—Robert Bush, 2016

Recorded at Arts For Arts Our Earth/Our World series, NYC, April 2015

Mastered by Wayne Peet, Newzone Studio, Los Angeles

Layout, Jeff Kaiser

pfMENTUM CD097

PFMCD097

Logan Hone's Similar Fashion (PFMCD096)

logan-hones-similar-fashion-pfmcd096

Logan Hone’s Similar Fashion

Logan Hone: Alto Saxophone, Bass Clarinet

Lauren Baba: Viola

Gregory Uhlmann: Guitar

Mike Lockwood: Drums

1. Mother Figure

2. MJT

3. Missed the Boat

4. Fresh and Clean

5. Snapshoot

6. Movable Walls

7. Play

8. Don’t Touch That

9. Morning Bear

Recorded on March 14, 2015 at Studio City in Los Angeles, CA

Recorded and mixed by Greg Hartunian

Mastered by Carl Saff in August, 2015

Artwork and design by Jessica Li

pfMENTUM CD096

PFMCD096

Michael Vlatkovich: Myrnofant’s Kiss (PFMCD095)

michael-vlatkovich-myrnofants-kiss-pfmcd095

Myrnofant’s Kiss

michael vlatkovich—trombone • david mott—baritone saxophone

jonathan golove—electric cello • christopher garcia—drums

1) no victims just volunteers 07:07

2) stop scaring the toddlers and farm animals 05:17

3) hold on to your chair watch out for snakes 04:51

4) myrnofant’s kiss 05:17

5) on the corner of a purple saturday 06:14

6) an illness with a countdown 05:01

7) leave the worrying to the professionals 07:03

8) a tree falls in the forest while an orange rolls in circles watching a pickle kiss a banana goodbye 08:00

producer: peter lutek

recorded and mixed: peter lutek, toronto, ontario

front cover: william roper

design: jeff kaiser

pfMENTUM CD095

PFMCD095

Matty Harris Double Septet (PFMCD093)

matty-harris-double-septet-pfmcd093

[This is page is for ordering the CD.]

Matty Harris Double Septet

Side A

1) Party Time 11:19

2) 10,000 Kimmys Gibbler 06:48

Side B

3) Cockapoo Army 08:37

4) Oh, A Little Day Trip Around the Crunch 08:54

Personnel:

Soprano and straight alto saxophones, contra-alto clarinet: Vinny Golia

Soprano, straight tenor and sopranino saxophones, bass clarinet: Matty Harris

Soprano saxophone: Paul Novros

Soprano and baritone saxophone: Ryan Parrish

Soprano and sopranino saxophones, piccolo: Joe Santa Maria

Trumpets: Louis Lopez, Brandon Sherman, Greg Zilboorg

Drum Sets: Tim Carr, Michael Lockwood

Contrabasses: Nathan Phelps, Jake Rosenzweig

Fender Rhodes: Garret Grow

Baritone Guitar: Maxwell Gualtieri

Recorded January 14, 2015 by John Baffa and Todd Hannigan at Brotheryn Studios in Ojai, CA

Mixed January - June 2015 by John Baffa at TV Tray Studios in Ventura, CA

Mastered July 16 2015 by Ron McMaster at Capitol Studios in Hollywood, CA

Produced by Maxwell Gualtieri

Graphic Design by Jacob Halpern

PFMCD093

John Blevins: Matterhorn (PFMCD092)

john-blevins-matterhorn-pfmcd092

John Blevins: Matterhorn

1. Identity Theft

2. Unaware

3. Brink

4. Nascent

5. Little Dickens

6. See

7. Breathe

8. Hear

9. See (alternate take)

John Blevins - Trumpet

Drew Williams - Tenor Saxophone

Brad Mulholland - Alto Saxophone/Flute/Clarinet

Nick Grinder - Trombone

Marta Sanchez - Fender Rhodes

Jeff Mclaughlin - Guitar

Marty Kenney - Bass

Nathan Ellman-Bell - Drums/Percussion

John Doing - Congas

Produced by John Blevins and Shane Endsley

Recorded at Grand Street Recording in Williamsburg, Brooklyn by Jake Lummus on July 21 and 22, 2014

Edited and mixed by Jake Lummus and John Blevins, Autumn 2014

Mastered by Liberty Ellman on December 12, 2014

All compositions © and& ℗ 2015 John Blevins Music (ASCAP)

Original artwork and design by Sam Gezari

THANK YOU to Nathan, Marty, Jeff, Nick, Drew, Brad, Marta, and John for their dedication to this music. It's an honor to play with you.

Special thanks to Shane Endsley, Jake Lummus, Liberty Ellman, Leah Jubara, Matt Hurley, Simon Yu, Sam Gezari, Daniel Stessen, and to Bill Jubara and everyone who supported this project on Kickstarter. Special thanks to my loving, supportive family and especially to Amanda.

For Ray and Howell.

pfMENTUM CD092

PFMCD092

Michael Vlatkovich: Mortality (PFMCD091)

michael-vlatkovich-mortality-pfmcd091

ensemblio:

michael vlatkovich: trombone

dan clucas: trumpet

jill torberson: french horn

bill plake: tenor sax

david riddles: bassoon, flute, soprano sax, clarinet

andrew pask: alto sax, bari sax, bass clarinet

bill roper: tuba, bombardondino

harry scorzo: violin

jonathan golove: cello

tom mcnalley: guitar

dominic genova: bass

wayne peet: piano, keyboard

carol sawyer: voice

ken park: all percussion

[NOTE: do to a printing error, track 4 was left off the package. What you see below is correct.]

1. adeptly disguised as chairs and tables the audience listened quietly — 9:08

2. as quickly as it came — 6:31

3. or do you have change for a $20 — 5:25

4. out of the wall and into the night — 5:27

5. sometimes a red nose and big shoes aren't enough — 2:33

6. mortality — 11:32

7. hiding out as a verb — 5:49

8. goodbye — 7:06

music composed m vlatkovich

recorded 2014 wayne peet engineer

edited mixed and mastered sept. 2014

front photo chuck britt

back photo bill roper

design jeff kaiser

pfMENTUM CD091

PFMCD091

Schroeder, Campello, Godoy: Barely Cool (PFMCD090)

schroeder-campello-godoy-barely-cool-pfmcd090

Barely Cool

Schroeder / Campello / Godoy

1 Estranho - 2:06

2 Soundweaving - 6:02

3 Rubber Tongue - 9:05

4 Barely Cool - 7:24

5 The Assertive Fog - 6:30

6 Throws - 5:58

7 Chinelas Ferventes - 8:47

8 Whistle and Hustle - 11:57

9 Under a Red Moon - 7:38

10 Barely Cooler - 4:00

Schroeder: Franziska is a saxophonist enthusiastic about new sounds and new approaches to the instrument. Since training in contemporary music in Australia in the late 90s, she has been following a path of improvisation and now mainly plays free improvised musics. Franziska lectures at the Sonic Arts Research Centre in Belfast.

Franziska é uma saxofonista entusiasta de novos sons e possibilidades do instrumento. Desde seu treinamento em música contemporânea na Austrália no final dos anos 90, tem seguido o caminho da improvisação e atualmente foca na improvisação livre. Franziska leciona no Sonic Arts Centre em Belfast.

Campello: Marcos plays (way) out of tune guitar like there's no tomorrow.

Marcos toca guitarra (absurdamente) desafinada como se não houvesse amanhã.

Godoy: Renato grew up playing among rock bands in Rio de Janeiro. Since early 00's, he began to incorporate improvisation into his projects, which include Bossal, Muwei and Chinese Cookie Poets.

Renato cresceu tocando em bandas de rock do Rio de Janeiro. Desde o começo dos anos 2000 começou a incorporar a improvisação em seus projetos, dentre os quais destacam-se Bossal, Muwei e Chinese Cookie Poets.

About:

During an ethnographic research project on free improvisation in Brazil, saxophonist Franziska Schroeder met guitarist Marcos Campello and drummer Renato Godoy. The trio joined musical forces in May 2014 at Rio de Janeiro's Audiorebel recording studio to play and record. “Barely Cool” is the result of a day long musical encounter of the three improvisors.

Durante sua pesquisa etnográfica sobre improvisação livre no Brasil, a saxofonista Franziska Schroeder conheceu o guitarrista Marcos Campello e o baterista Renato Godoy. Em maio de 2014 o trio se juntou no estúdio AudioRebel, no Rio de Janeiro, para uma sessão de improvisação. "Barely Cool" é o resultado desse encontro.

Dates: 19 May 2014

Recorded at Audiorebel, Rio de Janeiro

Engineer: Pedro Azevedo

Mixed and Mastered by: Marcos Campello

Artwork by: Arthur Lacerda

All Music © Schroeder/Campello/Godoy

"Special thanks to the Higher Education Academy UK (HEA), who enabled Franziska Schroeder’s ethnographic work in Brazil as part of an international fellowship, and to the Sonic Arts Research Centre at Queen’s University Belfast”

pfMENTUM CD090

PFMCD090

Michael Vlatkovich Septet: Ask 7 (PFMCD089)

michael-vlatkovich-septet-ask-7-pfmcd089

ask 7 michael vlatkovich septet

michael vlatkovich: trombone, compositions

ron miles: cornet

wade sander: bass trombone

mark harris: alto sax, clarinet, bass clarinet

glenn nitta: tenor sax

kent mclagen: bass

chris lee: drums

1) innumerable mementos of the distant ought-to-be forgotten but dishearteningly omnipresent never-to-be forgotten past 5:26

2) madam why 10:21

3) 1 3/4 southeast 593,212 avenue apartment zz ask for 7 5:49

4) missing C the limbless percussion just couldn't dance 6:26

5) chair red blue medley 16:27

6) the eventual supremacy of reason 5:00

7) maybe another time 3:26

total 53:09

recorded 6.9.14 in denver by ron jolly

edited/mixed/mastered 10.14.14 newzone studio los angeles

wayne peet, engineer

jill torberson, artwork

jeff kaiser, design

pfMENTUM CD089

PFMCD089

Maxwell Gualtieri: For Los Angeles (PFMCD088)

maxwell-gualtieri-los-angeles-pfmcd088

For Los Angeles

Maxwell Gualtieri: guitar, electronics

I. A Dance 26:19

II. Possession/Blossom 33:58

Solo electric guitar performed by Maxwell Gualtieri

Recorded and mixed by Andrew Schubert at Mix LA, October 2013

Mastered by Jeff Kaiser, February 2015

Album art and layout by Matt Broach

pfMENTUM CD088

PFMCD088

Michael Vlatkovich: Elasticity (PFMCD087)

michael-vlatkovich-elasticity-pfmcd087

Mark Weber: poetry

Michael Vlatkovich: trombone and compositions

with

Ion Zoo

Carol Sawyer: voice

Steve Bagnell: tenor sax, bass clarinet

Lisa Miller: piano

Clyde Reed: bass

Track 1 • Poem 1 • 2:15

Track 2 • Poem 2 • 2:18

Track 3 • Poem 3 • 1:49

Track 4 • Poem 4 • 2:35

Track 5 • Winter Things • 4:41

Track 6 • Poem 6 • 2:21

Track 7 • Poem 7 • 3:07

Track 8 • Poem 8 • 2:59

Track 9 • Poem 9 • 3:12

Track 10 • Poem 10 • 2:54

Track 11 • Poem 11 • 3:07

Track 12 • Poem 12 • 10:35

Track 13 • Poem 13 • 7:07

Track 14 • Poem First Day of February • 5:05

Track 15 • Poem 15 • 3:05

Recorded at Studio Le Shedde in Vancouver, BC March 7, 2012

Recording by David Sikula

Edited, mixed and mastered at Newzone Studio

by Wayne Peet in Los Angeles April, June 2012

Jeff Schnabel, Art • Jeff Kaiser, Design

pfMENTUM CD087

PFMCD087

Ritwik Banerji: Palmer Square: Maxine and the Astromusicologist (PFMCD086)

ritwik-banerji-palmer-square-maxine-astromusicologist-pfmcd086

Ritwik Banerji: saxophone, Tibetan singing bowl

Maxine: guitar, gong, synthesizer, inside piano, processing

1 - falling up - 3:53

2 - kedzie - 3:36

3 - what is this thing called? - 5:31

4 - the tire swing - 4:43

5 - living with ghosts, 1 - 1:35

6 - palmer - 3:43

7 - tightrope - 1:11

8 - vines - 3:33

9 - living with ghosts, 2 - 2:56

10 - hourglass - 2:12

11 - tails - 1:20

12 - because the bear said so - 3:26

13 - just a few feathers - 4:34

14 - living with ghosts, 3 - 5:56

All music @ 2014 Ritwik Banerji

Recorded January 11, 2014 at UC San Diego's ICAM Studio

Recorded, mixed and mastered by Jeff Kaiser

Art and Layout by Ted Killian

pfMENTUM CD086

PFMCD086

Michael Vlatkovich: VLATKO (PFMCD085)

michael-vlatkovich-vlatko-pfmcd085

VLATKO

subjective experience in a commercial free zone

michael vlatkovich: trombone, compositions

tom mcnalley: electric guitar

dominic genova: electric bass

john "Vatos" hernandez: drums/percussion

1 motely mountebanks 7:48

2 in the interest of only those concerned STOP 8:17

3 strodaad 7:54

4 sometimes always 8:34

5 if only maybe were a probability 3:43

6 knowers don't know so guessers guess 8:35

7 saint something or our lady of whatever 6:05

8 undoug fug = -(doug unfug) 8:57 total 59:53

recorded tomsonics los angeles, ca. March 19 & April 3, 2014

editing & mastering April 7, 2014

engineer tom manasian

design chuck britt

photography tom manasian

pfMENTUM CD085

PFMCD085

Michael Vlatkovich / Anna Homler / Jeff Kaiser / Scott Walton / Rich West: Here & Here & Here (PFMCD084)

michael-vlatkovich-anna-homler-jeff-kaiser-scott-walton-rich-west-pfmcd084

Michael Vlatkovich: trombone, percussion

Anna Homler: vocal, percussion

Jeff Kaiser: trumpet, flugelhorn

Scott Walton: acoustic bass

Rich West: drums, percussion

1. Dragon Beware (2:47)

2. Here & Here & Here (7:28)

3. Red Coda Soft (8:21)

4. Before But After (2:09)

5. Spark (5:20)

6. Big Doors Little Windows (3:49)

7. Oranger Than Happiness (3:10)

8. Round Triangles (3:41)

9. Your Ark Is Waiting (2:39)

10. Three In Front Four in Back Toes (2:41)

11. Salute (1:41)

12. Choir hose 293 (3:02)

13. Pfazzu (2:48)

14. Thunderous Silence (3:33)

15. Potozo (2:44)

Recorded 1-20-14 edited, mixed & mastered 2-4-14

Newzone Studio Los Angeles Wayne Peet engineer

Photos Julia Fitzgerald * Layout Jeff Kaiser

pfMENTUM CD084

PFMCD084

Odeya Nini: Vougheauxyice (Voice) (PFMCD083)

odeya-nini-vougheauxyice-voice-pfmcd083

Vougheauxyice (Voice)

Odeya Nini: Voice

1. Mi See Ti 3:37

2. Dalai 6:16

3. Everyday Cantor 3:07

4. Idiomia 4:35

5. Tunnel 6:22

6. Tapestry of Synonyms 6:34

7. There Are So Many Things That I Have To Tell You 9:52

8. Cyclicality 6:36

1-4 were recorded in a private home in Joshua Tree, CA, September 25, 2012.

5 was recorded in an aqueduct in San Francisquito Canyon, CA, April 1, 2013.

7 was recorded at California Institute for the Arts, June 2012.

All tracks except 7 were recorded and mixed by Justin Asher

7 was recorded and mixed by Brian Saia

6 was edited by Odeya Nini

Mastered by Joe Panzner

Except for track 6, all of the pieces are in a single take, no editing. 1-5 are compositions with an open form. There is a compositional road map, but they are not performed the same way twice. 7 and 8 are improvised. Several microphones where set up in the space for 1-5, allowing for the voice to be recorded with movement and gesturing.

Photography - Adeline Newmann and Odeya Nini

Design and layout - Thea Lorentzen

Art - Saul Alpert Abrams

NOTES:

Vougheauxyice (Voice)

The voice is an instrument that both listens and reveals. It takes from all that is around us and all that is inside us as it communicates a free and composed response outward. In this work I explore the language of the voice like a dancer. I think of shape, form, gesture and the vast range of motion in the voice's movement through space. The voice is often thought of as intangible, but in this work I try to mold its natural physical tendencies, sensing its vibrations, and feeling the touch of its waves on my skin and in my bones.

Mi See Ti

A simple melody alluding false solfege syllables that repeat themselves, diverging more and more. A play with forms of interpretation from contained and proper, to unruly swells.

In performance this piece incorporates theatrical elements, changes of facial expression and a collapsing of the body to the floor between each iteration. It questions ideas of beauty in the voice, presentation, intention, the relationship and cohesion (or negation) of the body's expression simultaneous to the expression of the voice, and the role of the singer as an exhibitionist.

Dalai

Dalai was written while spending time in Mongolia in the summer of 2012. I learned that the meaning of the word Dalai, that we know so well from Dalai Lama, means ocean in Mongolian. Traveling in the Gobi desert, the power of the wind was omnipresent, and absolutely striking to me. It was possible to see the storms and changes of weather traversing the endlessly flat desert from miles away—often surprisingly quick—bringing gusts more powerful than I had ever experienced. Every turn of the head gave variation to the sound of the howling wind: so violent at times and peaceful in its aftermath. The obsession with wind was an easy to acquire, the more I listened, the more I realized the sound of crashing waves and the ocean's movements were the sounds of wind. In a landlocked country such as Mongolia, I sensed the ocean all around me. Wind, ocean, breath.

Everyday Cantor

Everyday Cantor features voice and field recording. The sounds of sacred song in the everyday act of showering. Is there a difference between singing in a cathedral or singing under the shower head? The devotional voice reveals itself and then becomes drenched in everyday simplicity.

Idiomia

Inspired by random sequences of bird calls and the meaning that comes out of non verbal sonic communication. The answer is in the ear of the beholder. The voice has dynamic expression, calls, yells, gentle flutters, overtones, ingressive and egressive breathing. What is it saying? The mind wants to distill the voice, but allow it to migrate.

Tunnel

Tunnel is an improvisation on a traditional Yemenite Jewish folk song called Tzur Manoti. My Yemenite roots have always been strong in me, I see them on my face, and hear them in my voice. I often question how I fit along the continuum of my spiritually devoted ancestors, having arrived at this experimental art form. In this song I find a passageway between who I am today and the narrative of kindred souls. The result is a contemporary translation which keeps me present in my explorations (and realizations) of free form, allying me with my deep past.

Tapestry of Synonyms

We are what we hear. A collage of field recordings collected over the last four years including goats, monks, trains, plates, horses, helicopters, microwaves, wind storms, rain on tents, creaking cabinet doors, dragging chairs, tin foil crumbling, fire crackling, locks clacking, teeth brushing, family and friends from California, New York, Mexico, Mongolia Italy and Israel.

The collection of textures from our environment are juxtaposed with the voice, which we often do not consider as related. However, whether in texture or song, we do find part of our surroundings, mimicking, blending, connecting.

There is only reverb added to some of these field recordings. Besides being sliced and pasted, there are no other manipulation or altering effects.

The voice of Archie Carey, my grandmother Rachel Nini and my parents David and Tamar Nini are included.

There Are So Many Things that I Have To Tell You

Language can be tricky, slippery and twofold. This piece is a stream of consciousness improvisation with words, surfacing moods and thoughts otherwise submerged.

I sit in front of my loop pedal and amp, not knowing what stories will emerge, and allow them to flow. No story quite like the last, It is always a new and exciting journey.

Cyclicality

One voice layers on another, and another and another, shifting, morphing, coasting.

Beneath all these layers, I am still only one.

Thank you to all these wonderful people and places who created this album with their patient and skillful talents, generosity, inspiration and love. Endless gratitude.

Justin Asher, Joe Panzner, Brian Saia, Julie Tolentino Feral Studios, CalArts, Adeline Newmann, Saul Alpert Abrams, Thea Lorentzen, Pieter Performance Space, Gerry Hemingway (for teaching me that music is sound in time), and ALL the incredible people who supported this album on Kickstarter.

Thank you to my dear family, Achinoam, Roy, Sharra, to my grandmother Rachel whose voice of many lives always plays in my ear, and especially to my parents David and Tamar Nini for their endless unquestioning love and support. My voice is your voice.

. . . and to Archie, for absolutely everything. This album is for you.

pfMENTUM CD083

PFMCD083

Bubbeleh (PFMCD082)

bubbeleh-pfmcd082

Andrew Conrad: Clarinet, Tenor Sax

Greg Zilboorg: Trumpet

Lauren Baba: Violin, Viola

Max Kutner: Guitar

Philip Rankin: Wurlitzer, Synthesizer, Melodica, Pump Organ, Tack Piano, Clave, Guiro

Rusty Kennedy: Bass

Colin Woodford: Drums, Congas, Shakers, Rattles, and Ankle Bells

1. Dybbuk Square Dance 3:29

2. Fear of Heights 5:07

3. Schmutzy Glasses 5:26

4. Woulda…Coulda…MESHUGGAH!!! 3:44

5. (An Honest) Living 2:19

6. Choots-Pah 3:55

7. Grepse 4:17

8. Simcha Boytchik Hintele (Puppy Party) 3:35

9. Mosesque 6:56

10. Bubberella 4:30

11. Czytzfachykz 4:54

Recorded by Samur Khouja at Seahorse Sound Studios, Los Angeles, August 20-22, 2013

Assistant Engineer: Alex DeGroot

Mixed by Brian Saia, October-December 2013

Mastered by John Baffa at TVTray Studios, Simi Valley, CA, December 2013

Produced by Maxwell Ryan דוד Kutner and Philip Jason שַׂמֵחַ Rankin

Executive Producer: William Ross Gibson

Associate Producer: Debra Fredericks, Tamasaurus Rex

Logo by Dawn Chan * Layout and design by J. Carver

Max and Phil would like to thank the band: Greg, Rusty, Lauren, Andrew and Colin. Everyone who helped record this album: Samur, John and especially Brian. KT Pierce for photography and building our website. Phil would like to thank his Mother, Jill; his Father, David; his sister Michele; and his dog, Max. Max would like to thank his family: Leslie, Samantha, Stephanie, Art and Michael for their tireless, inexhaustible support and encouragement. Most importantly we would like to thank everybody who donated to our Indiegogo Campaign. This album would not have been made possible without your generous donations.

pfMENTUM CD082

PFMCD082

Jeff Denson and Joshua White: I'll Fly Away (PFMCD081)

jeff-denson-joshua-white-ill-fly-away-pfmcd081

I'll Fly Away

Jeff Denson: Double Bass

Joshua White: Piano

1. I'll Fly Away (Version One) (Albert E. Brumley) 4:34

2. Lord, I Want to be a Christian (African American Spiritual) 5:19

3. Down at the Cross (Elisha A. Hoffman/John H. Stockton) 5:22

4. Amazing Grace (Anonymous) 5:47

5. I'll Fly Away (Version Two) (Albert E. Brumley) 3:53

6. What a Friend We Have in Jesus (Charles Crozat Converse) 6:11

7. When the Saints Go Marching In (Anonymous) 4:12

8. Just As I Am (Charlotte Elliot/William B. Bradbury) 3:57

9. Crying in the Chapel (Artie Glenn) 3:10

10. In the Garden (C. Austin Miles) 5:04

11. I'll Fly Away (Version Three) (Albert E. Brumley) 2:41

Recorded and Mixed by Adam Munoz at Fantasy Studios in Berkeley, CA March 4-5, 2013

Mastered by Myles Boisen at Headless Buddha Studios in Oakland, CA on December 28, 2013

Art and Layout by Ted Killian

This recording is dedicated to my grandmother, Bonnie Denson whose unwavering faith and joyous spirit have been an inspiration to all whom have had the pleasure to know her and my to mother, Gwen Denson for her love, support and friendship. Without family we are lost.

pfMENTUM CD081

PFMCD081

Danny Gouker: Signal Problems (PFMCD080)

danny-gouker-signal-problems-pfmcd080

Signal Problems

Danny Gouker: Trumpet, Compositions

Eric Trudel: Tenor Saxophone

Adam Hopkins: Bass

Nathan Ellman-bell: Drums

1. Icebreaker 2:24

2. Pogo Stick 5:20

3. Spectacled Bear 6:21

4. Do You See What Happens? 1:44

5. Not Yet, Gorilla 6:38

6. Made for TV pt. 2 3:06

7. Chloroform 2:15

8. We're All In It Together 4:28

9. Slippy Sloop 9:28

10. When You Fell From Heaven 7:54

Recorded at the Bunker Studio, Brooklyn, NY, January 7 and January 12, 2013

Engineered by Aaron Nevezie

Mixed by Nathaniel Morgan, October 2013

Mastered by Jeff Kaiser, November 2013

Produced by Danny Gouker and Zack Branch

Artwork and Layout by T.J. Huff

Special thanks to: Laurie Frink, Dave Ballou, Ralph Alessi, numerous supportive family and friends, Mary and Toby Gouker, and Jenny Cirri (soon to be Mrs. Gouker).

pfMENTUM CD080

PFMCD080

Saturn's Rival (PFMCD079)

saturns-rival-pfmcd079

Saturn's Rival

Maxwell Gualtieri: Guitar

Susan Allen: Harp

Richard Valitutto: Piano

Ryan Parrish: Winds

Anjilla Piazza: Percussion

Part I 7:28

Part II 21:58

Part III 8:42

Part IV 5:48

All music on this recording was improvised.

Recorded and mixed by Peter Gonzales, May 2011

Mastered by Jeff Kaiser, October 2013

Album art by Sean Tully

Layout by Andrew Rowan

Maxwell Gualtieri (ASCAP)

Susan Allen (ASCAP)

Richard Valitutto (ASCAP)

Ryan Parrish (ASCAP)

Anjilla Piazza

pfMENTUM CD079

PFMCD079

Michael Vlatkovich: Multitudes Telepathic (PFMCD078)

michael-vlatkovich-multitudes-telepathic-pfmcd078

Multitudes Telepathic

Michael Vlatkovich: trombone and percussion

Clyde Reed: electric upright bass

Dave Wayne: drumset and percussion

Mark Weber: poem cycle

(4:16) 1. 2a

(8:47) 2. Poem 2

(3:45) 3. Always

(2:24) 4. Writing

(5:09) 5. Poem 5 is a Dance

(6:04) 6. Cycles

(7:41) 7. Trees

(4:27) 8. Clicking

(2:48) 9. Breathing Pyramid Cyclotron of Watermelon

(3:44) 10. The Circle

Recorded in Santa Fe at the home of Dave Wayne and Cindy Geist, on the afternoon of September 22, 2o12 by Steve Schmidt

Mark Weber's poems over-dubbed at Newzone, August 10, 2o13

Mixed and mastered by Wayne Peet/Newzone/Los Angeles

Photo by Mark Weber

Artwork by M. Vlatkovich

Layout by Jeff Kaiser

pfMENTUM CD078

PFMCD078

Michael Vlatkovich Quartet: You're Too Dimensional (PFMCD077)

michael-vlatkovich-quartet-youre-dimensional-pfmcd077

Michael Vlatkovich Quartet

You're Too Dimensional.

Michael Vlatkovich: Compositions, Trombone

Jim Knodle: Trumpet

Phil Sparks: Bass

Greg Campbell: Drums, French Horn*

(05:05) 1. various manifestations of thwart & opine for curved bill thrasher & toy piano in 4 parts

(02:48) 2. no candy for the wagon full of devils

(08:15) 3. the curious intensity of a refrigerator defrosting *

(04:24) 4. wishing for 2 at 5/3

(06:26) 5. mOOn jOOiia

(10:04) 6. blue peepers

(06:25) 7. the static equilibrium of the values of savagery

(06:50) 8. i liberate monsters

(02:32) 9. balance out of life out of balance *

(06:32) 10. fools drunks & angels

total 59:37

Recorded in Seattle 2-2-13 Doug Hare – Engineer, Sonarchy Radio

Edited, Mixed & Mastered 5-01/02-13

Wayne Peet - Engineer, Newzone Studio, Los Angeles

Chuck Britt - Design

pfMENTUM CD077

PFMCD077

Ellen Burr and Michael Unruh: Where am I from, Where am I going (PFMCD076)

ellen-burr-michael-unruh-going-pfmcd076

Ellen Burr: flute, alto flute, piccolo

Michael Unruh: bass clarinet

This recording is dedicated to the Wichita State University

teachers who gave me the love and skill to pursue music:

Frances Shelly, flute; Walter Mays, composition;

and Arthur Wolff, who introduced me to free improvisation.

–Ellen Burr

1. (4:26)

2. (4:26)

3. (2:41)

4. (2:34)

5. (3:21)

6. (4:46)

7. (8:29)

8. (4:43)

9. (5:37)

10. (3:51)

11. (4:16)

12. (8:31)

13. (4:55)

14. (2:57)

15. (7:24)

Recorded by Michael Unruh, Spring 2011

All music © and ℗ 2013 Ellen Burr ASCAP and Michael Unruh

Mixed and mastered November 2012 at Killzone Studio, Wayne Peet

Cover art by Chiyoko Myose, Where Am I From, Where Am I Going

Layout and design by Holly Hood

pfMENTUM CD076

PFMCD076

Jeff Denson and Claudio Puntin: TWO (PFMCD075)

jeff-denson-claudio-puntin-two-pfmcd075

Two

Jeff Denson: double bass and voice

Claudio Puntin: clarinet, bass clarinet, analog preparations, tarcas

01 Harbor of Fog 6:32

02 Plan B 4:04

03 Black Lilies 6:45

04 Variation on a Point Of View 6:49

05 Nobody Bothers Me Either 4:49

06 A Sunday Afternoon and Still Surprising 3:19

07 Frozen Oscillations 5:17

08 Un Sueño Distante 3:00

09 First Take—Scanning Souls 3:24

10 You Don't Say 5:08

11 Ghosts in the Walls 2:57

12 Desperate 4:54

***************

It began on a sunny day in Cologne, Germany in 2008,

and ended two years later on a rainy day in Berlin:

Two musicians

from two continents,

two years apart,

on two different days,

in two different cities

met and recorded this music without discussion or plan...

...two years later the recording was mastered.

***************

Improvised and recorded without overdubs.

jeffdenson.com/puntin.com

Recorded and mixed by Claudio Puntin at Cl-Audio Studio Köln on 19 October 2008

and Cl-Audio Studio Berlin on 21 March 2010

Mastered by Andreas Kolinski, January 2012, www.akmusique.de

Cover Art by Claudio Puntin

Layout by Ted Killian

pfMENTUM CD075

PFMCD075

Paul Stapleton and Simon Rose: FAUNA (PFMCD074)

paul-stapleton-simon-rose-fauna-pfmcd074

Fauna

Paul Stapleton: bonsai sound sculpture (BoSS)

Simon Rose: baritone/alto saxophones

Borealis 6:35

Felt 7:36

Deep 10:25

Zwischenfall 2:30

Shift 8:36

Zeiteinheit 4:44

Set 4:23

Vertreiben 5:13

Paul Stapleton (PRS)

Recorded and mixed by Elmar Susse

22 September 2011

Hoffnungskirche, Pankow, Berlin

Mastered by Paul Stapleton

Sonic Arts Research Centre, Belfast

Photograph and cover design

Matilde Meireles

The Bonsai Sound Sculpture (BoSS)

is a portable modular musical instrument

(Paul Stapleton and Neil Fawcett, 2010)

combining a repurposed turntable,

DIY electronics, amplified metallic

percussion and strings.

…like some old, forgotten animal from the beginning of time,

silence towers above all the puny world of noise; but as a living

animal, not an extinct species, it lies in wait, and we can still see

its broad back sinking ever deeper among the briers and bushes

of the world of noise. It is as though this pre-historic creature

were gradually sinking into the depths of its own silence. And

yet sometimes all of the world today seems like the mere buzzing

of insects on the broad back of silence.

Max Picard (1989)

pfMENTUM CD074

PFMCD074

Gilbert Isbin and Scott Walton: ReCall (PFMCD073)

gilbert-isbin-scott-walton-recall-pfmcd073

Gilbert Isbin: lute

Scott Walton: bass

1. Solace 2:32

2. Flutter 3:19

3. Panting 2:24

4. Soedansdochter 3:19

5. Unhinged 2:06

6. Embra 2:47

7. Oblique 3:19

8. Pensive 1:53

9. Along Green Ditches 3:21

10. Blooming 2:11

11. Weaving 3:41

12. Spatter 2:49

13. Knomish 2:42

14. Terpsichore 2:35

15. Recall 2:13

Total 42:01

Tracks 3, 6, 9, 11, 13 and 15 composed by Gilbert Isbin

Tracks 1, 2, 5, 7, 8, 10, 12 and 14 composed by Gilbert Isbin and Scott Walton

Soedansdochter is a medieval Flemish folksong, arranged by Isbin and Walton

Recorded at Banquet Sound Studios, Sebastopol, CA, October 26 and 27, 2011

Recorded and Mixed by Darryl Webb

Mastered by Wayne Peet

Cover Photograph by Marie-Anne Ver Eecke

Special thanks to Marie-Anne Ver Eecke, Sophie Plassard, Jos Demol,

Larry Ochs,Bill Horvitz, Darryl Webb and Jeff Kaiser.

Gilbert Isbin plays an eight-course lute after Wendelio Venere 1592,

built by Dirk De Hertogh, Wolvertem, Belgium

Over the past three decades, guitarist/composer Gilbert Isbin has released an impressive string of recordings for various labels. A few years ago, wanting a new challenge, he began studying the lute--not the most common jazz instrument, although its Arabian nephew, the oud, gains more and more recognition. I have always adored the sound of the lute, and it struck me that there is little modern music written for--and performed on--this marvelous instrument. Gilbert’s work is a significant contribution to the development of contemporary lute music. His compositions are both reflective and lyrical, infused with compelling melodies.

Contrabassist and pianist Scott Walton lent his stunning tone and superb technique to the well-received album Venice Suite (2003), recorded in Los Angeles with Gilbert, and violinist Jeff Gauthier. Since meeting at those sessions, Scott and Gilbert have teamed up for numerous concerts in Europe and the United States. Their innovative collaboration finds its inspiration in progressive jazz, classical avant-garde, Renaissance chamber music and even blues. The interplay between both musicians--which proves mutual respect--is remarkable, resulting in intelligent improvisations that capture the listener’s attention. The fifteen tracks on this album are in exquisite balance, revealing an unequivocal beauty. --Jos Demol, Jazz’halo, 14 July 2012

pfMENTUM CD073

PFMCD073

Jeff Kaiser and Phil Skaller: Endless Pie (PFMCD072)

jeff-kaiser-phil-skaller-endless-pie-pfmcd072

Endless Pie is…

Jeff Kaiser: trumpet, flugelhorn, voice, electronics

Phil Skaller: prepared piano

Two CDs:

Total run time 109 minutes

Recorded live in Studio A

University of California San Diego, November 21-22, 2010

Recording engineers: Joe Kucera and Clint Davis

Mixing, mastering, design: Jeff Kaiser, July 2012

Blueberry (Disc One)

1. Unchangeable Fundament 13:15

2. Image of a Punctiform 3:35

3. People from the Machinations 8:50

4. Two Unknowns, the One Being 6:07

5. Galileo Uses Propaganda 6:39

6. Anticipated by Bacon 4:42

7. No Immediate Theoretical 3:36

8. Alongside a Moving Tower 3:42

Cherry (Disc Two)

1. The Puppet Does Not Have a Soul 14:54

2. Backward Intersection 5:29

3. Occured without Noticeable 2:37

4. Absence of any Proper Notion 5:29

5. Behave Very Much Like After-Images 7:44

6. We Must Retain 6:34

7. The Problem of Telescopic Vision 2:27

8. As Some Relics 6:04

9. Well-Determined Exceptions 1:31

10. This Paratactic 5:19

pfMENTUM CD072

PFMCD072

Michael Vlatkovich Tryyo: Pershing Woman (PFMCD071)

michael-vlatkovich-tryyo-pershing-woman-pfmcd071

PERSHING WOMAN

Vlatkovich Tryyo

michael vlatkovich: trombone

jonathan golove: electric cello

damon short: drums

recorded live 10.2.2010 by damon short • grand rapids, michigan • hugo claudin’s mexicains sans frontieres edited and mastered by wayne peet • los angeles, california • newzone studio

art by julia fitzgerald • layout by jeff kaiser and michael vlatkovich

1. our costumes should tell us who we are and what we think – 6:09

2. pursued by more past than future – 6:34

3. black triangles yellow corn and pink medicine drops – 7:43

4. with whom each dance – 4:51

5. once in a blue moon a decent wolf comes along/hostages of romance (medley) – 7:17

6. the imponderable hiding in extra large clothing – 12:18

7. pershing woman – 5:40

8. neighborhood beasts let down their hair – 7:20

9. i let my magic tortoise go – 5:17

pfMENTUM CD071

PFMCD071

Jeff Kaiser and Gregory Taylor: The Desert Fathers / CHARISMATA (PFMCD070)

jeff-kaiser-gregory-taylor-desert-fathers-charismata-pfmcd070

The Desert Fathers

Jeff Kaiser: quartertone trumpet, voice, laptop

Gregory Taylor: laptop

1. Sapientia 21:16

2. Intellectus 10:06

3. Consilio 8:25

4. Fortitudo 9:48

5. Scientia 12:57

6. Pietas 4:37

Jeff Kaiser Music, ASCAP and

Gregory Taylor, BMI

Recorded live in the studio August 2-8, 2010 at STEIM, Amsterdam, NL

Mixed and Mastered April 2012 in San Diego, CA

Engineered by Jeff Kaiser

Graphic design by Ted Killian

The Desert Fathers are grateful to STEIM for our artists' residency.

Thank you so much for all that you give.

pfMENTUM CD070

PFMCD070

Zen Widow: Screaming in Daytime (Makes Men Forget) (PFMCD069)

zen-widow-screaming-daytime-makes-men-forget-pfmcd069

Zen Widow

Featuring Wadada Leo Smith

Zen Widow is:

Gianni Gebbia (alto saxophone)

Matthew Goodheart (grand piano, electro-acoustic gongs and cymbals)

Garth Powell (drums and percussion)

Special guest artist—Wadada Leo Smith (trumpet)

1. Gifts We Have Forgotten 13:05

2. Notated Memory 12:05

3. Black On White Paper 7:05

4. This Seeming Dream 7:36

5. Musa Physics 15:42

Total Time: 55:41

“Screaming in Daytime (makes men forget)” is Zen Widow’s third album, our first collaboration with Wadada Leo Smith, and it is in large part homage to tenor firebrand: Glenn Spearman.

Many of the melodies are constructed from fragments of his compositions. We inverted, rearranged, and modified what wasn’t completely new or created on the spot. Wishing to maintain the essence of Glenn’s rich compositional style was the priority, without resorting to a typical “tribute” collection of an artist’s past works.

All four of us worked with and deeply respected Glenn. I was a young artist right out of music school when I first worked with him. Already a master of the free jazz idiom, he was both thoughtful and generous to treat me as an equal given his age and experience. Although I frequently find myself thinking about the music we shared, this disc represents where the four of us are today—looking up and outward towards our friend.

The San Francisco Bay Area has been the home of a multitude of great artists as it continues to be. Yet, the fire and passion that was stoked throughout our community left a vacuum with Glenn’s passing. That loss is felt to this day. Glenn’s work with Cecil Taylor, Jimmy Lyons, The Glenn Spearman Double Trio with Larry Ochs, The Creative Music Orchestra with Marco Eneidi, and numerous other projects were all testaments to Glenn’s spirit and incredible power.

As improvisers we try to be in the moment, but it’s still hard not to gaze back and think of Glenn.

—Garth Powell 2012

I am very honored to dedicate this recording to Glenn Spearman, I worked with him only once at the Beanbenders concert series in Berkeley. I was very impressed by his solid sound, his gentleness and kindness of spirit. This recording is a double honor for me because of the great sounds of Wadada. He was the original soloist in the trio where I started my musical career with Peter Kowald and Gunther Baby Sommer. Wadada’s trumpet voice is the ideal to show our gratitude to Glenn.

Drops of Gold are falling forever in the long and everlasting dharma of the Great Black Music.

—Jòraku Gianni Gebbia 2012

In February of 1998, my group “Trio and. . .” played at the closing night of Radio Valencia in San Francisco. Performing was my regular line up of Glenn Spearman on tenor and Donald Robinson on drums, with Wadada Leo Smith as guest. The night was intense, beautiful, a fulfillment, these great artists sounding above those simple musical structures of my own making. A few weeks before I had been asked “If you could play with any musicians you wanted, who would it be?” My answer was: this group.

I did not know it at the time, but it was the beginning of an end of an era in Bay Area improvised music. Whatever forces drive certain moments in musicking, they had secretly begun to diverge. The group of artists centered around Radio Valencia moved to other venues. Glenn, in his own words, “went to join the ancestors” some nine months later. The scene slowly evolved into something else. The movement of that night, the deep interaction between Glenn and Wadada over the flux of the rhythm section, remains a personal embodiment of that time. All of these musicians had a profound impact on me, so generous in their time and artistry in support of a younger man struggling to find his formation. Glenn was my mentor; he brought me inside of his world, working closely, hours playing, absorbed in the details of his and our music. He taught me focus and intensity, maturity of vision. From Wadada I learned the concentrated, delicate, sensuous detail of shape and sculpture in each utterance. From Donald: flow, patience, attention, integrity.

To revisit Glenn’s music, over a decade after his death, with the collaborative Zen Widow and (once again) the generous addition of Wadada Leo Smith, moves into sound that complex network of events that exist as cadences in our lives. Glenn’s unending musicality calls back from the ancestors to play among the living.

I still learn from these artists, all of them. If asked again, if I could again play with any musicians I wanted, the answer again would be: this group.

—Matthew Goodheart 2012

Recorded Live to two-track analog at Ocean Way Recording—Studio A—Hollywood, California by Mike Ross (second engineer Patrick Spain)

Production and generous implementation of Audioquest microphone cables with DBS technology by Joe Harley

Mastered by Bernie Grundman—Bernie Grundman Mastering, Hollywood, California

Disc Manufacturing and 1:1 glass mastering—Groove House, Woodland Hills, California

Graphic Layout and Design—John Benz, Petaluma, California

Photography: Front Cover: Heike Neubauer–Antoci, Mettanest Studio, Dresden, Germany

Back Cover Group Photo: David Swann Photography

Inside Face Group Photo: David Goggin

Special thanks to Shantee Maggie Baker, John Benz, Michael Ehlers, Marco Eniedi, David Goggin, Bernie Grundman, Joe Harley, Jeff Kaiser, Wayne Powell, Mike Ross, David and Susan Thompson, everyone at Ocean Way Recording Hollywood, and all of our friends across the world who tirelessly create and support improvised music.

All compositions by Gebbia, Goodheart, Powell, and Smith. Evolving Door Music BMI 2012, SIAE 2012

pfMENTUM CD069

PFMCD069

Louis Lopez / Mike Lockwood / Daniel Eaton: Grampus / Ilk Ilk (PFMCD068)

louis-lopez-mike-lockwood-daniel-eaton-grampus-ilk-ilk-pfmcd068

Grampus

Louis Lopez: trumpet, voice, laptop

Mike Lockwood: drums, percussion

Daniel Eaton: trombone, analog synth, laptop

1. Grampthem 6:46

2. Chart no. 2 7:28

3. Hydrosphere Here 3:19

4. Chortle of the Bakunawa 3:26

5. Impish Saddleride 4:08

6. Spyhobbing 4:08

7. Lozen 6:17

8. Ull 2:42

9. Mu Chart 3:51

10. Large Indefinite Quantity 5:35

11. Hot Air Ballon 6:41

12. ILKILKILKILKIL

All improvisations recorded live 6.19.11 and 7.15.11

CalArts Dizzy Gillespie Recording Studio, Valencia, CA

All music © by Louis Lopez, ASCAP; Daniel Eaton ASCAP; Mike Lockwood ASCAP

Mixed by GRAMPUS

Mastered by Wayne Peet

Album design and cover art by Kangmin Kim

Additional photography by Lauren Randolph

pfMENTUM CD068

PFMCD068

Michael Vlatkovich Ensemblio: An Autobiography of a Pronoun (PFMCD067)

michael-vlatkovich-ensemblio-autobiography-pronoun-pfmcd067

Michael Vlatkovich, compositions and arrangements

Harry Scorzo: violin

Jonathan Golove: cello

Anders Swanson: contrabass

Brian Walsh: clarinet

Jeff Kaiser: trumpet

Michael Vlatkovich: trombone/percussion

William Roper: tuba/euphonium/cimbasso

Tom McNalley: guitar

Wayne Peet: keyboard

Ellington Peet: cymbal

Mark Burdon: percussion

Recorded, edited, mixed and mastered by Wayne Peet at Killzone Studio

Cover art by Michael Vlatkovich; Photo by Tom Woodbury

Graphic design by William Roper

pfMENTUM CD067

PFMCD067

Jeff Kaiser / Tom McNalley / Ted Byrnes: External Logic Machine (PFMCD066)

jeff-kaiser-tom-mcnalley-ted-byrnes-external-logic-machine-pfmcd066

Jeff Kaiser • Tom McNalley • Ted Byrnes

ONLY AVAILABLE DIGITALLY:

External Logic Machine

Jeff Kaiser: Bb trumpet, quatertone trumpet, flugelhorn

Tom McNalley: Acoustic guitar, tricone resonator guitar

Ted Byrnes: percussion

1. A Disciplinarian Society

2. Attention to the Locality

3. Blood and Genes

4. Cooperation Among Productive Sites

5. For an Entire Working Life

6. Frontier and The Idea

7. He Gave Us A Toolbox

8. Hibernation

9. In Order to Preserve Order

10. Particularly Clear in the Case

11. Potential Rationale

12. The Disequilibria of Circulation

13. Thousands of Daily Practices

Recorded by Jeff Kaiser and Ben Power 3.23.2011 at the ICAM Studio, University of California San Diego

Mixed and Mastered by Jeff Kaiser

Design and layout by Ted Byrnes and Jason Tauritz

pfMENTUM CD066

PFMCD066

Dick Wood: Not Far From Here (PFMCD065)

dick-wood-not-far-pfmcd065

Dick Wood: Not Far From Here

Dick Wood: alto sax, flute, whistle, boom box

Dan Clucas: cornet, flute, octokoto, other sounds

Hal Onserud: bass

Mark Trayle: live electronics with Supercollider graphics

Marty Mansour: drums, percussion on tracks 1 and 3

Dan Ostermann: trombone with space mute

Chuck Manning: tenor saxophone, percussion

1 Ignatious 7:05

2 Mango Season 1 1 : 1 1

3 Cook the Books 8 : 1 1

4 Not Far From Here 8:35

5 No Known Knowns 7:29

6 And Now 5:07

Not Far from Here

dick wood

All compositions by Dick Wood

recorded by Scott Fraser at Architecture, Los Angeles

June 15 & (tracks 1 & 3) Oct. 19, 2008

mastered by Wayne Peet, April 2011, Newzone Studio, Los Angeles

all compositions by Dick Wood

cover photo by Steve DeGroodt

model Sapna Khurama

liner notes Paul Wood

graphics Patt Narrowe

special gratitude to Scott Fraser,

Bobby Bradford, Nels Cline,

Bonnie Barnett, Woody Aplanalp,

Lewis Jordan, Ben and Linda Wood,

Sue Dorsey, Lissa Callaghan,

John Wood, Joanne Parker

thanks to

Emily Hay, Kay Sera, Noriko Honma

pfMENTUM CD065

PFMCD065

Jeff Kaiser: ZEITNOT V (PFMCD064)

jeff-kaiser-zeitnot-v-pfmcd064

ZEITNOT V

Jeff Kaiser

trumpet, flugelhorn, voice, toys, electronics

Watch it being recorded:

1) ZEITNOT V 29:44

Recorded, mixed, and mastered by Jeff Kaiser at pfMENTUM Studios, Warrensburg, MO

Photography, Layout, and Design by Jeff Kaiser

Composition by Jeff Kaiser

pfMENTUM

PFMCD064

www.pfmentum.com

PFMCD064

Bonnie Barnett Group: In Between Dreams (PFMCD063)

bonnie-barnett-group-dreams-pfmcd063

Bonnie Barnett Group: In Between Dreams

1. Badinage 4:00

2. Matisse* 8:24

(verbatim text: Gertrude Stein)

3. In Between Dreams 5:21

4. Primordial 8:18

5. Nothingness† 10:27

(verbatim text: Jean-Paul Sartre)

6. Set In Stone 4:14

7. Shambala 8:01

TOTAL TIME: 49:15

Bonnie Barnett: vocals

Richard Wood: alto sax, flute, bass clarinet

Hal Onserud: bass

Garth Powell: percussion

All music © pfMentum

For more information: www.pfmentum.com

Bonnie Barnett is an improviser of unusual clarity. A cornerstone of the Los Angeles New Music scene, and the composer of the TUNNEL HUMs, Barnett has mightily contributed to the worlds of contemporary classical music and improvisation and is one of Los Angeles’ hidden treasures. Barnett’s impressive array of vocal extensions creates a personal world of sonic texture that is unrivaled. Barnett’s new CD finds her using texts, tone, and timbre in a stunning display of virtuosity that sends the listener towards worlds of subterranean as well as ethereal delights.

Vinny Golia--Los Angeles CA.--4/22/2011

Recorded (7/10) and mixed (9/10-2/11) by Scott Fraser at Architecture, Los Angeles

Mastered (2/11) by Wayne Peet at Newzone Studio, Los Angeles

*2. Matisse - text: Gertrude Stein’s portrait of the artist Henri Matisse. Permission granted by the Estate of Gertrude Stein, through its Literary Executor, Mr. Stanford Gann, Jr. of Levin & Gann, P.A.

†5. Nothingness - text: “The Origin of Negation”, excerpt from Jean-Paul Sartre’s Essay On Nothingness, courtesy of Philosophical Library, Inc.

Painting on cover: “In Principio”, acrylic on wood panels, by Peter Veblen Van Fleet, 2010.

Design: Ted Killian

All music FMZ Music Co. (BMI)

BONNIE BARNETT, vocalist, composer and improviser, resides in Los Angeles. She appears on two DICE compilations and has three releases on Nine Winds, including the 2006 “Trio For Two”, a duo with bassist Ken Filiano. She has been exploring the texts of Gertrude Stein, Jean-Paul Sartre and others, and also delights in improvising faux text.

RICHARD WOOD, alto sax, flute and bass clarinet, resides in Los Angeles. Founding member of The And Now Ensemble, he continues to amaze southern California audiences with his intense, yet zany, performances. He has a new CD, “Not Far From Here”, for quintet and septet, which will be released this year on pfMentum.

HAL ONSERUD, bass, currently resides in Santa Barbara. A long-time player on the New York scene, his improvising collaborators include Cecil Taylor, William Parker, Bill Dixon, Vinny Golia, Jackson Krall and many others.

GARTH POWELL, percussionist extraordinaire, resides in the San Francisco Bay Area. He has releases out on Rastascan, Roadcone, Nine Winds, Evander, Beak Doctor and Leo, and has recorded with, among others, Jaap Blonk, John Butcher, Nels Cline, Peter Kowald, Bert Turetsky, Saadet Turkos and the London Improvisors Orchestra.

pfMENTUM CD063

PFMCD063

Phil Skaller and Danny Holt Duo: Music of Mark Dresser (PFMCD062)

phil-skaller-danny-holt-duo-music-mark-dresser-pfmcd062

Phil Skaller and Danny Holt Duo: Music of Mark Dresser

1 Flac (5:12)

2 Flocus (13:09)

3 Para Waltz (10:48)

4 Digestivo (9:37)

5 Aperitivo (12:33)

Philip Skaller and Danny Holt: pianos, celeste, toy piano, melodica, percussion

All compositions by Mark Dresser (Del Dresser Music/ASCAP)

Arrangements by Philip Skaller and Danny Holt

Recorded October and November 2008 and June 2009 at Roy O. Disney Music Hall, California Institute of the Arts, Valencia, CA

Piano Technician: Alan Eder

Engineered by Steve Rusch

Edited and Mixed by Edmund P. Monsef at The Hacienda, Los Angeles, CA

Mastered by Jeff Kaiser

Artwork by Iva Gueorguieva

Graphic Design by Ted Killian

Executive Producer: Danny Holt

This recording was made possible in part by a Subito grant from the Los Angeles chapter of the American Composers Forum.

I was quite surprised when Phil Skaller approached me about recording a whole CD of my compositions in duo with Danny Holt. Though I had composed this music between 1994 and 2008 for my own groups, and arranged it for various formations, I had never imagined it for two pianos.

I’ve known Phil since 2002 when he was my teaching assistant at Hampshire College in an improvisation class. I introduced some of my tunes to the students and Phil, especially, devoured the music and its improvisational concepts. I had been hearing the praises of Danny Holt for years from Phil, but it was not until 2008 that I first heard this duo perform a suite of my compositions at UC San Diego. I was quite impressed and flattered by the wit, musical virtuosity, and pure improvisational fantasy that these two gifted young musicians brought to my music.

The compositions represented on this CD were conceived as abstractions and deconstructions of known jazz forms and related idiomatic music. What Phil Skaller and Danny Holt have done is to deconstruct my deconstructions. They have taken my music in directions that I doubt that I would have ever conceived and in some ways, made the music more flexible and malleable.

The first track, Flac, recorded on “Aquifer” (Cryptogramophone), was originally designed as a rhythmically gear-shifting Klezmer-like tune that improvisationally develops from the material itself and returns to the theme. Phil and Danny’s version has a rhythmic and sound character reminiscent of both Conlon Nancarrow’s studies for player piano and John Cage’s works for prepared piano. The alternation of fragments of the tune and its improvisational implications comes in waves, yet a thread of the thematic materials is always present.

Flocus was composed for trumpet, voice, bass, piano and drums and recorded on “Force Green” (Soul Note). It was conceived as four independent lines, each in a different meter, which are layered one upon another and developed in collective improvisation. Phil and Danny’s version takes a different direction, introducing a more classical theme and variation approach, while each of the lines independently develops outside of the tempo grid. This interpretation, though referring to themes, transcends the materials and becomes a springboard for episodes of virtuoso invention and dramatic return.

Para Waltz was composed as a vehicle to melodically and harmonically improvise on a metric modulating jazz waltz. Danny and Phil’s interpretation takes a very different direction, initially eschewing the tempo aspect and focusing on a more spacious approach, layering the timbres of glockenspiel, piano, and piano harmonics. The temporal aspect isn’t highlighted until midway, with the introduction of cymbals demarcating the time. The thematic material is finally introduced whole and floats on out.

Similarly Digestivo, recorded on “Aquifer” and “The Marks Brothers” (W.E.R.F), was conceived to create a metric modulating twelve-bar blues in B-flat. My idea was to abstract the idea of ‘substitute changes’ traditionally applied to jazz harmony and apply it to the domain of tempo. Unlike the original, which has a single underlying tempo throughout, Danny and Phil’s version is freer, starting out of time. They eventually introduce the tune and the different tempos, but in the end, leave the form completely, in an expansive and satisfying way.

Aperitivo, composed for piano, bass, and voice, is an even more abstract version of the blues than Digestivo. Recorded on “Time Changes” (Cryptogramophone), this slower metric modulating twenty-four bar form in C minor doesn’t even articulate the ground pulse, creating a feel that is inherently looser and less polyrhythmic than Digestivo. Phil Skaller and Danny Holt’s version is an extremely inventive and expansive finale to the CD, utilizing pianos, toy piano, melodica, and percussion. Improvisationally, they’ve chosen an even more abstract approach, which alternates the gestalt of tempo changes of the head and a freer approach that abstracts motifs, melody, and an almost fugue-like beginning. At about minute nine the tune grinds into a vamp, modulates faster, and phases, juxtaposing shreds of the melody back into the vamp, and returning to the twenty-four bar head.

Hearing Phil Skaller and Danny Holt’s interpretations of my music is both affirming and inspiring. I am impressed with the combination of their virtuoso playing, interpretative skills, and pure musical imagination. I look forward to hearing what they do next.

Mark Dresser

September 2010

pfMENTUM CD062

PFMCD062

Jim Connolly and The Gove County String Quartet with Anna Abbey: It’s Only Gravity That Makes Wearing A Crown Painful (PFMCD061)

jim-connolly-gove-county-string-quartet-anna-abbey-gravity-makes-wearing-crown-painful-pfmcd061

Jim Connolly and The Gove County String Quartet with Anna Abbey

Laura Hackstein: Violin

Sally Barr: Violin, Five-String Violin on Channel Crossing

Nick Coventry: Viola

Jim Connolly: Double Bass, Melodica

Anna Abbey: Toy Piano, Piano

1. It’s Only Gravity That Makes Wearing A Crown Painful 3:58

2. Tealight No. 6 1:52

3. Why Won’t You Be My Neighbor? 3:25

4. Tealight No. 1 1:51

5. Tealight No. 8 2:00

6. Bewitched By The Baby In A Clamshell 3:53

7. Tealight No. 9 1:16

8. Tealight No. 3 1:54

9. Dimestore 5:49

10. Tealight No. 11 1:02

11. Channel Crossing 4:23

12. Tealight No. 5 0:56

13. Bobo Is Hungry 5:57

14. Tealight No. 2 0:53

15. Tealight No. 10 1:49

16. There Are Some Things That Even A 500 Year Old Tree Has Not Seen 6:13

17. Tealight No. 4 0:35

18. Tealight No. 12 1:38

19. The Watts Towers 5:16

20. Tealight No. 7 1:43

Tealights No. 5 and No. 10 by Jim Connolly with Jaco Connolly

Tealight No. 6 by Jim Connolly with Anna Abbey

The cover is Wooden Drummer, by Yevgenia Nayberg • Nayberg.org

Recorded by Jim Connolly, January 3-6 and May 10, 2010, Deane Chapel, Westmont College, Santa Barbara, CA

Mastered by Robinson Eikenberry, July 2010, Santa Barbara, CA

Graphics by Ted Killian

pfMENTUM CD061

PFMCD061

Michael Vlatkovich and Dottie Grossman: Call & Response & Friends (PFMCD060)

michael-vlatkovich-dottie-grossman-call-response-friends-pfmcd060

Artists: Los Angeles Recording:

Dottie Grossman: poems

Michael Vlatkovich: trombone

Rich West: drums/percussion

Anders Swanson: bass

L.A. Recording 7/09: Killzone Studio, Los Angeles, CA

Corvallis Recording (indicated by *) 11/05:

Dottie Grossman, poems; Michael Vlatkovich, trombone;

David Storrs, drums/ percussion, toys; Jim Knodle, trumpet

Corvallis Recording: Califas Studio, Corvallis, OR

engineer: Wayne Peet

producers: Michael Vlatkovich, Dottie Grossman

front cover art: Billy Mintz

design: Ted Killian

1. Benjamin Called (1:38)

2. I Wish (1:49)

3. Tumbleweed (:57)*

4. Early Wednesday morning (1:20)*

5. Veterans Hospital (1:18)*

6. Mendocino Coast 1967 (2:21)

7. Merry Christmas, Michael (1:12)*

8. Two Henny Youngman Poems (1:57)

9. This Winter (1:38)

10. Two Appropriations (1:39)*

11. The Two Times I Loved

You The Most In a Car (2:37)

12. Two Poems About Trucks (2:20)

13. Africa (1:29)*

14. Melting Pot (2:35)

15. Zoey Steps Out (1:18)*

16. Quotation (1:56)

17.Little Rock (2:03)*

18.Two More Henny

Youngman Poems (1:48)

19. Helicopter Noise (:50)*

20. This Is What I Do Best (1:33)

21. The People Who Hate Wind (1:22)*

22. Just Before (1:45)

23. Noon Concert (1:36)

24. Another Nose Poem (1:52)*

25. Definition of Happiness/

If I Were Directing This Movie (1:27)*

26. From Iceland (1:36)*

27. Alaska (1:49)

28. What Henny Youngman Loves

Most About America (:47)

29. Vince Salvino (1.16)*

30. Fortune Cookie (3:11)

31. Henny Youngman's True

Confession (2:06)*

32. Sorry To Disappoint You (1:39)

33. Future Past (1:42)

34. Mark Weber-Type Poem (1:41)

Track 1

Benjamin called

from Long Beach Island,

New Jersey.

I said, “I can hardly hear you;

the ocean’s so noisy.”

He put down the phone

for a second

and screamed,

“Atlantic, will you please

shut up? --

I’m talking to Dottie.”

Track 2

I wish there was a town

called Nirvana

in Nevada.

It would be

a beautiful place,

in a valley,

where the only industry

was happiness.

Wouldn't it be fun

to send a letter there --

addressed to

"Nirvana, NV"?

Track 3

Something is draped on a fence

until it is time to be tumbleweed.

In this room,

you are heroic,

tasting of summer and vitamins.

Step outside

and the tumbleweed rolls.

Track 4

Early Wednesday morning,

nobody's kicked up any dust,

nobody's made a dime, yet.

All the pet dogs

have left-alone faces.

Track 5

Veterans Hospital

The uniform white buildings

shine as pointlessly

as dead men's teeth.

Here, everything is slower,

even southern,

as they dance to mark

the time between the palm trees

and forget in the clean cut grass.

Track 6

Mendocino Coast, 1967

Inland, where the grasses and grapes lived,

we could not have imagined

the rocks, the cold clouds --

the surf that would surround us

like a headache,

and those long tubes of kelp

like noodles

from another world

where, with the music of foghorns

and wind chimes,

even the kind moon

seemed dangerous.

Track 7

Merry Christmas, Michael

You remind me of a dolphin,

navigating the waves

with your own mysterious sonar

that sounds a lot like a trombone.

Track 8

2 Henny Youngman Poems

Henny Youngman On National Poetry Month

Henny Youngman hates National Poetry Month;

it gives him performance anxiety.

Henny Youngman To His Priest

Forgive me, Father,

for I have sinned.

I'm sexually aroused

by sacred music.

Track 9

This winter feels colder than ever,

or maybe I'm just more sensitive

these days,

when the wind is

a fire engine

and the moon is sinister

and blue.

I'm all bundled up for it,

stamping my feet,

drinking rum,

counting the days

until the yellow flowers.

Track 10

(two appropriations)

Tuna Fishing

“A March 22 “Outdoors” article

about tuna fishing

inadvertently identified an angler

as Rusty Johnson.

His name is Frosty Johnson.”

The Rhythm of Commercials On The Discovery Health Channel

Will a new nose help Wendy

rediscover her self esteem?

Track 11

The Two Times I Loved You the Most In A Car

It was your idea

to park and watch the elephants

swaying among the trees

like royalty

at that make-believe safari

near Laguna.

I didn't know anything that big

could be so quiet.

And once, you stopped

on a dark desert road,

to show me the stars

climbing over each other

riotously

like insects;

like an orchestra

thrashing its way

through time itself.

I never saw light that way

again.

Track 12

Convoy

Tonight on the road,

the trucks are majestic;

they sashay like elephants

through the turns,

with jewels on their heads

and tails.

Night Convoy

The trucks are wearing rubies in their hair.

They are like beautiful movie stars,

walking carefully in high heeled shoes,

making whooshing noises in the dark.

Track 13

Africa:

its vowels are so seductive,

I get dizzy.

I've no wish to deplete

the wildebeest,

I only wish to eat the wildebeest.

Last year's skeleton crop

set a new record.

The air is succulent

with lions and mahogany.

Track 14

We were sitting around the melting pot

(which is what I call my hairdresser's):

a Korean, a Vietnamese, and myself (the American)

discussing our homelands calmly

like three women anywhere,

with no mention of bloodshed or memories.

I told them I'd been reading

about Angor Wat

and the Cambodian jungles

where heartless nature

buried the ancient temples

and we all agreed

that could never happen here

in Santa Monica.

Track 15

At eight months old,

Zoey steps out,

wearing a new tooth

and a rose

in her purple hat.

Track 16

"I don't own an exquisite way to move around in the night."

Doug Benezra, 9/18/05

It occurs to me that,

when I die,

they might find the necklace

I dropped behind the bed

and wonder

how long it was there,

and whether I'd missed it.

But will they care

about my favorite color,

my long-range plans,

or my habit of searching myself

for signs of rust?

Track 17

“The town has several antique shops and fruit stands, in addition to restaurants and gas stations.“

...from the Little Rock, CA website.

Little Rock

No, not that one --

This one’s in the desert,

about a two hour drive from here

It’s the color of western movies

(blue skies, brown horses).

There’s even a mirage --

rare water and

big Medjool dates,

a fruit stand in the uncomplaining dust

on the way to Valyermo,

to Saint Andrew’s Abbey,

where the dead monks sleep

in the tight-packed earth

of The Holy Land

off the main road.

Track 18

Henny Youngman doesn't understand

why camping is not permitted

on the cemetery plot

he just paid for.

Henny Youngman On National Public Radio

Once again, I made it through the pledge drive

without contributing a dime.

Track 19

When I remember

how quiet you used to be,

the helicopter noise

in my head

disappears.

Track 20

This is what I do best:

I phone you

and say Congratulations,

Merry Christmas, Happy Birthday,

Happy New Year,

How’s your sister?

Are you better?

Is it hot enough for you?

Thanks, I love you, too.

Track 21

The people who hate wind

are insulated, inland;

they wear hats to keep them safe

from

flying poems.

Track 22

Just before I killed that bug,

I had the guilty thought

that it might be you, reincarnated,

but I told myself that,

if you did return,

it would be as a much higher life-form,

maybe a hummingbird.

Track 23

Noon Concert

These frail, white widows

who get their hair done weekly

in tight curls,

like little flowers

bend their heads

until the applause

says it’s time

to be brave, again.

Track 24

If the bridge of the nose

is really the seat of wisdom,

yours is The Britannica,

edited by Einstein,

illustrated by Picasso.

Track 25

Definition of Happiness #302

Yellow plates on a black table,

and my new curtains,

dancing a tango

in the open window.

If I were directing this movie,

we'd be walking through clouds

wet as dogs' breath.

Just a dot of pink, for excitement,

and no music, just ice where the wind was.

Track 26

Since she was from Iceland

and didn't know any better,

she said, “I miss the green of the east.

It's so yellow here.

Of course, at home, we don't have any trees.

Once, in New Jersey, I could see Manhattan

across the river,

as if it was a picture of Manhattan.”

Track 27

Alaska

Once, I got into a taxi

whose driver wore a turban.

We chatted about traffic and travel

and he said he absolutely loved Alaska,

where he'd worked on the pipeline for five years.

He blushed when he told me, “You know,

I'm a Muslim. We're supposed to pray

five times a day, facing Mecca.

But sometimes, when nobody's watching,

I face Alaska.”

Track 28

What Henny Youngman

loves most about America

is that anybody can

grow up to be the Pope.

Track 29

We were all sitting around,

talking about what kind of animal

we'd like to be,

and Vince said, “A gorilla,

because they're the most like us.”

Track 30

Fortune Cookie

You are going to look exactly

like your father --

one of those draped,

semi-ecstatic old Jews

you see framed

on the mantel

in grandmothers’ houses.

Like him,

you will lapse into Yiddish,

throwing your hands up

in mock surrender.

And your lips will move

when you read,

and your children will

imitate you.

Track 31

Henny Youngman's True Confession

(thanks to M.B.)

I think that, if I were to talk to a rabbi,

he'd listen and all,

but then we'd just end up

with him asking me

to explain the Internet.

I went to a palm reader,

said, “I'm in love with a straight guy

who can't love me back.”

She said, “Why would you

want to do that?”

I'm, like, exiled,

all the best people are.

Track 32

Sorry To Disappoint You

As the elder in your Chinese house,

I have almost no wisdom to offer:

A few books, a few poems –

I'm not sure there's anything else,

except that I once shook John Coltrane's hand,

and sex in the morning is more fun

than cereal.

The rest you already know.

Track 33

Future Past

If I had stayed asleep

I would have missed

the fun of speaking English,

the quiet satisfaction

of appointments kept,

the way dreams change

when you try to describe them.

Track 34

Mark Weber-Type Poem

So my latest rejection comes from Iowa,

about a week before Christmas:

"Thank you for allowing us

to consider your work..."

I picture the writer

at a desk overlooking a corn field.

There's a droopy plant

on the windowsill

and a volume of Yeats or Keats

nearby.

It has been a tough day,

and here I come,

galloping into that landscape

with my palm trees and deserts,

coyotes and surfers.

pfMENTUM CD060

PFMCD060

David Borgo / Paul Pellegrin: Kronomorphic (PFMCD059)

david-borgo-paul-pellegrin-kronomorphic-pfmcd059

David Borgo and Paul Pellegrin

Kronomorfic

Micro Temporal Infundibula

David Borgo: tenor, soprano and sopranino saxophones

Bill Barrett: chromatic harmonica

Paul “Junior” Garrison: electric guitar

Nathan Hubbard: vibraphone and marimba

Danny Weller: double bass

Paul Pellegrin: drum set and hand percussion

1. Deprong Mori 6:38

2. Tehuantepec 4:27

3. Perambulate 8:26

4. Dendochrone Currents 8:01

5. Gnomon 8:03

6. Repolarization 6:22

7. Jeannot’s Knife 6:11

8. Autopoiesis 5:56

9. Ossuary 6:30

Special guests: Jeff Kaiser – trumpet and live electronics on Jeannot’s Knife

Evan Adams – oboe on Gnomon

All songs arranged by David Borgo Produced by David Borgo and Paul Pellegrin

Recorded by Joe Kucera at UC San Diego, Studio A

Mixed by Joe Kucera and David Borgo

Mastered by Jeff Kaiser

Special thanks to Mike Saul and Shawn Fleming

Dedicated to Veronica, Elian and Lola Pellegrin and to Sylvia, Diego and Joaquin Borgo

www.kronomorfic.com

Liner Notes:

“Any detailed description of this phenomenon would baffle the layman, but any comprehensible explanation would insult an expert.” —Kurt Vonnegut

We live our lives in time, but we experience our life across time, as a dynamic and complex overlay of temporal narratives that shape meaning. Folklore, history and culture all saturate space with time, and our personal evolving time-place nexus helps us to make sense of the multiple contexts we embody and experience.

One of music’s most laudable qualities may be its ability to bring us fully into the present, but it does this via its own complex layering of sound, space and time. “Infundibula” comes from the Latin word for funnel, and it is used to describe, among other things, a variety of funnel-like structures in the lungs, heart, kidneys, ovaries and brain. Kurt Vonnegut adopted the term in his novel The Sirens of Titan to describe a kind of wormhole through time and space “where all the different kinds of truths fit together.”

Kronomorfic is a collaborative effort to explore layers of musical time that coexist and interweave in ever more complex interrelationships. The compositions are mostly structured using hybrid rhythmic phrases in polymetric time (e.g., 5/3/4, 6/7/9, 8/12/15). These hybrid phrases provide the clave (or “key”) from which the melodic counterpoint, rhythmic modulation and improvisations emerge. For us, Micro Temporal Infundibula are intermediary time strata within these claves that allow disparate and seemingly conflicting rhythms to communicate with one another.

Deprong Mori was named for a species of bat in Venezuela (the “piercing devil”) believed to be able to penetrate solid objects. Technically the song alternates sections with meters of 10, 9 and 13 beats, but these shifts can be heard as different perceptual facets of a sonic prism formed by a single interlocking ostinato. Tehuantepec, the Isthmus that represents the shortest distance between the Gulf of Mexico and the Pacific Ocean, may evoke the marimba melodies from that region, but here they take on an entirely new character in a 10-beat meter. The loping drum and bass patterns of Perambulate create a 3-against-4 feel that underlies the tune’s polychordal harmony and outward-bound solos. Dendochrone Currents, an elliptical reference to the science of tree ring dating, starts with a meditative guitar intro and then establishes a polymeter of 12/15/8 (with the marimba, horns, and bass respectively) before launching into solos over a 6-against-9 feel (with an implied stratum of 4). Gnomon, named for the part of the sundial that casts a shadow, starts with a collective free improvisation that leads into alternating sections of 12 and 9 beats. The soloing is over a heated Balkan-inspired feel that alternates 2-3-2-2-2-3-2-3-2-3 with 2-3-2-2-3-3-3.

Repolarization combines a vibes part in 7, a horn melody in 6, and a bass line in 9. The “polarity” of the title refers to the way in which the horns and vibes synchronize only at the beginning of their phrases in the A sections and only at the end of their phrases in the B sections. Jeannot’s Knife, a French parable about a knife whose blade and handle has been replaced 15 times, raises the question of whether an object which has had all its component parts replaced remains fundamentally the same object. The reference here is both to the way in which the composition unfolded—with an initial rhythmic structure generating a melody that, in turn, implied a different rhythmic structure—and to how the horns and vibes create their melodic phrases anew each time by selecting pitches from a pre-given hexachord. Rhythmically, the vibes and horns phrase in 7-against-5 (heard in the hi-hat), while the bowed bass plays a repeating 7-beat phrase across the meter of 5. The hand drumming cycles with two iterations of the bass line and can be counted 3-3-3-5. The trumpet-with-live-electronics solo by special guest Jeff Kaiser seems to push the paradox of the title even further, as the notion of “component parts” gives way to a feeling of hybridity and distributed agency.

Autopoiesis, or “self-creation,” refers to any system that regenerates itself, acting as both producer and product. It offers an intriguing metaphor for the way in which the rhythms of these complex claves often seem to generate one another. Two claves are used in this tune: 3/4/5/ and 3/5/7. The bass plays in 5 throughout, while the horn melody modulates between 3 and 7, and the vibes between 4 and 3. Ossuary was inspired (even haunted) by a visit to the ossuary in Kutna Hora, Czech Republic, a chapel with chandeliers, candelabra, chalices and a coat of arms all made from human bones. The tune starts with a clave of 6/8/5 (in the drums, vibes and bass respectively) that alternates with a 9-against-6 feel when the horns enter, before giving way to a contrasting section in a 9/8/6/ clave (in the bass, horns, and vibes respectively). The improvised solos happen over the “big 9” in the bass, then the melody returns and slowly recedes as the drums, bowed bass, vibes and electric guitar all come to rest.

pfMENTUM CD059

PFMCD095

PFMCD059

Jeff Kaiser and David Borgo: KaiBorg / Harvesting Metadata (PFMCD058)

jeff-kaiser-david-borgo-kaiborg-harvesting-metadata-pfmcd058

KaiBorg

David Borgo: soprano and sopranino saxophones, chalumeau,

dudukophone, whistlophone, mijwiz, slide whistle and laptop

Jeff Kaiser: quartertone trumpet, flute, voice and laptop

1. Harvesting 1:24

2. Flow Control 8:19

3. Maladaptive Optimization 5:32

4. Nodular 2:41

5. Exception Conditions 5:28

6. Threshing 2:46

7. Resumption Tokens 4:48

8. Postural Schema 4:05

9. Hypernymic Entailment 16:56

10. Intereaction 4:15

11. Reaping 4:47

(Click on any track for excerpt)

Recorded by Tom Erbe, 1-2 July 2009, Studio A, University of California San Diego

All performances are improvisations with live electronic processing

Mixed and mastered by Jeff Kaiser and David Borgo, November 2009

For more information:

kaiborg.com

davidborgo.com

jeffkaiser.com

pfMENTUM CD058

PFMCD058

Steuart Liebig / The Mentones: Angel City Dust (PFMCD057)

steuart-liebig-mentones-angel-city-dust-pfmcd057

The Mentones

Tony Atherton: alto saxophone

Joseph Berardi: drumset, percussion

Bill Barrett: chromatic harmonica

Steuart Liebig: contrabassguitars

this is an uprising. intonations that the physical world is meaningless tonight and there is no other. liebig with the sound of pianos in his head walks the city creating a logic not to be distinguished from lunacy. his stanzas hang like hives in some fauvist hell where berardi flaps the fire’s bellow, the wind that stokes, the actual bite; where barrett’s flitterings sparkle like eyesight falling to earth, scribbling a primitive astronomy amongst atherton’s groaning expletives, reed as beast of light.

this is an uprising. a kind of elegy found in space, more than an imitation for the ear. it’s in the hues not chosen or chosen quickly in an elemental freedom, flying as insects of fire into a cavern of sound where all have converged upon a common image, illimitable spheres, the law of causation suspended. liebig, brown as bread dreaming of birds. barrett, shrill as glass that will not melt in the heat. berardi, bottles clanking, water fluttering. atherton, a diviner of foam. this is a tour of shifting scenes, voices in the clouds, lion in the lute, articulate fangs, salvation through barbarous chanting. the discord ferments as liebig, a damned universal clock existing in multiple time zones, wields his groove, totemic, a hammock, monolithic. berardi, unrelenting saboteur toppling boats. and listen to that, barrett’s ululation in the city of a burning cloud, where atherton deals in the sweet vertical.

this is an uprising. of metaphysical wailers, crazed rhapsodical sound poets in the hot blast clatter of invention, where liebig, the steward, the sober man still dancing, calls ravens down from the sky.

– scot ray, montana, 3.09

fingeroo - - 1:02

wool - - 5:27

all gone - - 4:10

empty - - 2:48

locustland - - 3:52

fire & ice - - 4:21

lonelyheart - - 7:13

slow burn fever - - 5:30

kingfish - - 4:03

out, down and over - - 5:30

headlock - - 3:12

peach tree - - 2:53

topped off - - 5:32

gear thanks: fodera basses,thomastik-infeld strings,

nordstrand pickups, mike cooper,

rick turner and raven labs; seydel harmonicas, ben bouman and pat missin; paiste cymbals

photos/montages/layout

by steuart liebig

band photos by wayne peet

recorded at newzone studio, 10–11 january 2009, by wayne peet,

assisted by ellington peet; mixed at newzone studio,

by wayne peet and steuart liebig, mar vista, california, 2009

pfMENTUM CD057

PFMCD057

Hal Onserud: Hal 2008 (PFMCD056)

hal-onserud-hal-2008-pfmcd056

Hal Onserud: bass, vocals, ocarina

Colter Frazier: tenor saxophone

Rami Gabriel: guitars, percussion

Rob Wallace: drums, percussion, vocals

Tracks

Looking Out the Window