William Parker & musicWitness on Air

It's a great week at ST. After celebrating one year and two hundred show in style last night, I got word from Andrew O'Connor that his feature on William Parker and the musicWitness exhibition in the ST gallery space will be aired this week. He has no control of when, exactly, but predicts that it will be on Metro Morning (Radio One 99.1 6am-8:30am) or Here & Now (Radio One 99.1 4pm-6pm) either tomorrow or Wednesday (16 or 17 September, 2008).

Thanks again to Jean Martin for recording William's solo sets, slices of which will be included in the feature.

Milestones

This Sunday, 14 September, marks both the first birthday of and the two-hundredth show at ST -- it's been a relentlessly extraordinary year, as regular readers and attendees will know. There will be two events that night -- at 6pm and 8pm; see below -- so please come for one or both if you're within earshot. Come also for cake and dancing.

Sunday 14 September, 6pm matinée, $6

The Rent plays the music of Steve Lacy:

Kyle Brenders (soprano saxophone)
Susanna Hood (voice)
Scott Thomson (trombone)
Wes Neal (double bass)
Brandon Valdivia (drums)

They play Steve Lacy songs with texts by Robert Creeley, Blaise Cendrars, Galway Kinnell, Lew Welch, Ryokan, Lao-Tzu, etc.


Sunday 14 September, 8pm, $6

The NOW Series:

8pm: Tiina Kiik, accordion; Jaron Freeman-Fox, violin.

Accordionist Tiina Kiik is equally at home in classical, folk and improvised music. She has worked with the Polka Dogs, Arcana Ensemble, David Mott, Lori Freedman and John Oswald among others.

Jaron Freeman-Fox is a contemporary violinist from the depths of western B.C. recently returned from long-term study of Carnatic music in South India. Jaron has studied and improvised in many styles of eastern and western folk, jazz and new music, and has collaborated with several respected artists such as T.V. Gopalakrishnan, Tanya Tagaq and Anupam Shakobar.

9pm: Dreamstate (Scott M2 + Jamie Todd, assorted electronics) with special guest Maurizio Guarini, analog synth.

Electronic artists dreamSTATE (Scott M2 + Jamie Todd) are best known for their ambient installations, live soundscape performances and curating THE AMBiENT PiNG performance series since 2000.
http://www.dreamSTATE.to

Tonight they are joined by ace prog rock/fusion keyboard player Maurizio Guarini, of Goblin fame.
http://www.myspace.com/maurizioguarini2

Turkey, for real

This week, stalwart ST friend and confidante, Alan Stanbridge (pictured), is in Istanbul for the Fifth International Conference on Cultural Policy Research at Yeditepe University in Istanbul, Turkey. There, he will be delivering a paper called "Somewhere There: Contemporary Music, Performance Space, and Cultural Policy." I'm chuffed and honoured.

Here's the abstract for his provocative investigation:

"The world’s major cities have always prided themselves on the reputation and quality of their high-profile performing arts venues, although these large-scale venues have a somewhat less successful record in the presentation of smaller-scale contemporary work, whether composed new music or jazz and improvised music, which have frequently had to make their homes in non-specialized – and often inadequate – venues, such as churches, rehearsal spaces, bars, and cafes. In a recent initiative, the musician and composer Scott Thomson has opened a new small-scale performance space, called Somewhere There, in the Parkdale area of Toronto, a city well-served by large-scale venues, but with few suitable facilities for the presentation of smaller-scale contemporary music performances. In this paper, I explore the strengths and weaknesses of urban initiatives such as Thomson’s, highlighting the manner in which much contemporary music tends to fall between the cracks of established arts funding patterns and cultural/creative industries policies."

I'm going to prod Alan when he returns in the hopes of posting a link to his paper, which will touch a sympathetic nerve not only for ST musicians and regulars, but also for anyone who is skeptical about Richard Florida-style arts policy rhetoric and its influence on Toronto's arts infrastructure priorities.

Galleries and the Music in 'em

It's amazing to think that it's already been three weeks since MUSIC(in)GALLERIES 2008, and since the launch of the musicWitness art exhibition in the new ST foyer art gallery with two massive solo sets by William Parker, Saturday 26 July. It was a joyful (if stressful) day for me and, as always, I didn't get to hear as many groups as I'd like to have during M(i)G. Particularly special of what I did hear were the banjo/bass duets of Tim Posgate and Victor Bateman in the wide-open Camera bar, the solo harpsichord recital of -- I'm guessing -- Wm. Byrd music by John Farah, and, especially, the drums and trumpet duet of Jean Martin and Jim Lewis. The photo and drawing included here are by the musicWitness, Jeff Schlanger, himself a spirited trumpeter to boot. He agreed with me that something very special was afoot when Jean and Jim filled XPACE with lovely, measured, and deeply sympathetic playing.

The (obligatory?) midafternoon showers made way for a brilliant late-afternoon and early evening, and it was under those conditions that folks headed from the Gladstone -- which Christine Duncan's Element Choir had animated joyfully to round out M(i)G -- or wherever, over to ST for the William Parker solo sets. The material of the two formidable, seventy-plus-minute sets remains a bit of a blur after my crazy expenditure of energy during the afternoon and, like many in attendance, I was further saddled by the increasingly overwhelming warmth of the space -- we turned off the air conditioners to keep noise levels down while Jean Martin did double-duty and recorded the proceedings for possible release.

What I do remember is dominated, however, by an overwhelming feeling of William's presence in the room as he played. Whether or not you 'enjoy' the sounds he was making, the massiveness of the generosity and spirit that he was pouring into the room was undeniable and, for me, undeniably powerful. This experience was amplified and focused by the small room and the quiet acoustic; I could feel the walls throbbing with growing intensity as he dug deeper and deeper into his bass. During each set, William played a version of "Cathedral of Light," an application of his synaesthetic theory of arco bass-playing and, at discrete points during each one, I could hear voices (laughter, especially) from some unlocatable, mystical source. When I reported this to Jeff Schlanger, a veteran colleague of William's, he nodded sagely, assuring me wordlessly that this is neither uncommon nor something to fear. Bright moments.

Jeff was in town with his wife, the wonderful artist, Anne Humanfeld, for nearly a week, framing and installing the work that is now on display indefinitely in the new ST foyer art gallery space. What a treat it was to spend some real time with these two! Both quickly picked up on what I'm trying to do at ST, and were supportive and quite impressed by MUSIC(in)GALLERIES. Naturally, Jeff installed himself to paint William as he played, and the result is a profound diptych (see above) that he took back with him to New York to document and preserve. He left ten original paintings (most of which are of Toronto musicians as they played with William at his 2007 Interface Series) plus four giclée prints, and eleven of these pieces now grace and energize not only the foyer but also, by extension, the entire ST space. Please come to see them! The space looks and feels amazing!

Thank you Jeff and thank you William for such brilliant gifts of soul and spirit.

MUSIC (in) GALLERIES Program Announced / William Parker & musicWitness

First, apologies to those who had quickly become regular readers here. I've taken a hiatus of several months for no good reason other than 'life.' I hope now to get back to regular posting, though I don't expect to be writing about nearly as much as I'd first intended when I started this weblog -- the exigencies of running Somewhere There, keeping in playing shape, having some semblance of a life, and keeping sane make certain compromises necessary.

Now, I'm thrilled to announce the third annual MUSIC (in) GALLERIES, Saturday 26 July, along with a related event, the opening of the "musicWitness" art exhibition by Jeff Schlanger that night, with solo sets by our friend, legendary bassist William Parker. See here...

Somewhere There Presents:
MUSIC(in)GALLERIES – Saturday 26 July, 1-5pm
Live Creative Music in Twenty Queen Street West Art Galleries

For the third year in a row, MUSIC(in)GALLERIES will transform the Queen Street West art gallery district into a walking tour of Toronto’s vibrant scene of creative improvised music. At no cost to the public, small groups of musicians will enliven the distinct acoustic spaces of twenty gallery spaces between Trinity Bellwoods Park and Gladstone Avenue with short sets of live music during one afternoon in July; the first group will start at 1pm in the easternmost gallery, with subsequent sets starting at ten-minute intervals, moving westward. The event route ends at the Gladstone Melody Bar where, following the final set by Christine Duncan’s inimitable Element Choir, the 55 MUSIC(in)GALLERIES musicians as well as audience members are welcome for a late-afternoon event afterparty.

Then, that evening…

Opening of “musicWitness” Art Exhibition at Somewhere There
Featuring two sets by William Parker, solo double bass,
and live painting by Jeff Schlanger (8 & 10pm)

The Somewhere There Performance Studio (340 Dufferin Street, one block south of Queen Street), in an effort to extend the spirit of MUSIC(in)GALLERIES, will host an opening reception for a new exhibition by New York-based artist Jeff Schlanger (aka the musicWitness) in the Somewhere There foyer. The exhibition will feature Schlanger’s paintings of Toronto musicians in collaboration with legendary New York double bass virtuoso, William Parker that Schlanger painted in performance during AIMToronto’s January 2007 Interface Series with Parker. As a very special guest, William Parker will be on hand to play two sets of solo double bass (separate seatings at 8pm and 10pm) to mark the occasion, and Jeff Schlanger will paint him in while he performs.

Event Details:

MUSIC(in)GALLERIES 2008

Free to the public – each set will be approximately twenty-five minutes

1:00 Lausberg Contemporary, 880 Queen Street West
Michael Keith (guitar) & Aaron Lumley (bass)

1:10 Angell Gallery, 890 Queen Street West
Tania Gill & Justin Haynes (melodicas)

1:20 *new* gallery, 906 Queen Street West
Sarah Peebles (solo sho)

1:30 Edward Day Gallery, 952 Queen Street West
Feuermusik: Jeremy Strachan (reeds) & Gus Weinkauf (buckets)

1:40 MOCCA, 954 Queen Street West
Nicole Rampersaud (trumpet) & Evan Shaw (alto saxophone)

1:50 Clint Roenisch Gallery, 944 Queen Street West
Eric Chenaux (guitar) & Rob Clutton (bass)

2:00 Paul Petro Special Projects Space, 962 Queen Street West
Andy Yue (solo synthesizer)

2:10 Propeller Centre for the Visual Arts, 984 Queen Street West
Geordie Haley (guitar) Robin Buckley (drums) Andrew Wedman (keys)

2:20 Ontario Crafts Council, 990 Queen Street West
John Kameel Farah (solo harpsichord)

2:30 Stephen Bulger Gallery/Camera, 1026 Queen Street West
Tim Posgate (banjo) & Victor Bateman (bass)

2:50 Xpace, 58 Ossington Avenue
Jean Martin (drums) & Jim Lewis (trumpet)

3:00 Gallery TPW, 56 Ossington Avenue
Jonnie Bakan’s wind choir with Robin Jessome, Steve Ward (trombones), & Paul Newman, Chris Willes (saxophones)

3:10 Lennox Contemporary, 12 Ossington Avenue
Holger Schoorl (guitar) & Pete Johnston (bass)

3:20 InterAccess Electronic Media Arts Centre, 9 Ossington Avenue
Mike Hansen (turntables) & Tomasz Krakowiak (percussion)

3:30 Lens Factory, 1040 Queen Street West
Jonathan Adjemian (solo synthesizer)

3:40 David Kaye Gallery, 1092 Queen Street West (entrance from Dovercourt)
Nilan Perera (guitar) & Octopus: Germaine Liu & Mark Zurawinski (eight-limbed percussion)

3:50 Engine Gallery, 1112 Queen Street West
Gregory Oh (solo harpisichord)

4:00 Loop Gallery, 1174 Queen Street West
Rod Campbell (trumpet) & Jim Bailey (curio)

4:10 Akau Inc., 1186 Queen Street West (entrance from Northcote)
Nick Storring (cello) & Kristen Theriault (harp)

4:20 Gladstone Art Bar, 1214 Queen Street West
Paul Dutton (solo oralizations)

4:30 Gladstone Melody Bar
Christine Duncan’s Element Choir

MUSIC(in)GALLERIES is funded by the Canada Council for the Arts and by the Toronto Arts Council.

Saturday, 26 July, 8pm and 10pm
Opening of “musicWitness” Art Exhibition
Featuring William Parker, solo bass, and live painting by Jeff Schlanger
Separate seatings at 8pm and 10pm, $15
Limited seating; advance purchase recommended
Tickets available through Somewhere There (sowehear@gmail.com / 647 669 0404) or at Soundscapes (572 College Street)

Somewhere There
340 Dufferin Street
One block south of Queen Street
Entrance from Melbourne Ave.
www.somewherethere.org

About William Parker: www.williamparker.net
About Jeff Schlanger / musicWitness: www.musicwitness.com

Press information and interviews about MUSIC(in)GALLERIES, “musicWitness” Exhibition, and William Parker performances, contact:

Scott Thomson / Somewhere There
sowehear@gmail.com or 647 669 0404

Two More Glances

There are two more shows in the fray that really deserve special mention and that I’ve been neglecting. To follow, I’ll endeavour to stay more current and to write about concerts more immediately in their wake.

Saturday, 22 March

I’ve now written several times, separately, about guitarist Eric Chenaux and bassist Rob Clutton, who played two sets of improvisation last Saturday night. The duo, in this context, was the residue of Rob’s original plan to play with Teena Palmer and Brandon Valdivia with Eric opening, a plan that got scuppered by scheduling vagaries. Such circumstances, in addition to the consummate affability of both guys, fostered a laid-back, almost ‘down home’ environment that was most welcoming for the dozen or so lucky ones on hand. The music was absolutely tremendous, showing simultaneous playfulness and total absorption by both players. Eric showed relative restraint in the use of his signature ‘wah’ sound and, to my ears, was honing in on rhythmic detail more than he usually does throughout the first set; it was surely a generative area, given Rob’s tremendous rhythmic acumen. The second set had Rob stepping out more, with more declarative melodic ideas. In turn, Eric sought timbral extremes as a kind of accompaniment, and focused at length on sustained episodes of quasi-hardanger-fiddle bowing and harmonic swells. Overall, there was a breathtaking stillness to their music that was amplified by the accommodating ST acoustics, yet it was never overly precious, always amiably experimental. An ideal night of chamber music, all in all.

Since Eric (and some of the audience members) had to run off to the Tranzac to play the music of Josh Thorpe, it wound up being an early night at ST. Good thing, too, since I had to run off early Sunday to Montréal for the Casa del Popolo version of the Barnyard Records launch that happened at ST in February. What a treat it was to play with Lori Freedman, Jean Martin, Bernard Falaise, Christine Duncan, Evan Shaw, and Colin Fisher!

Thursday, 27 March

Speaking of Mr. Jean Martin (about whom I’ve also written a fair bit), I was pretty excited to host his Trio with guitarist Justin Haynes and trumpeter Kevin Turcotte this past Thursday. Their Get Together Weather CD is something of a classic of new Toronto creative music, but I hadn’t heard the group live since they opened for the ICP Orchestra at the Guelph Jazz Festival in 2000. Jean set up this gig in advance of the Trio’s appearance at a festival in northern Québec sometime soon, and the idea was to dig into what is, apparently, a pretty massive book of tunes that they have accumulated. Instead, greeted by a meagre audience of two (Nicole Rampersaud and David Sait, who have great taste) they opted to improvise one absolutely extraordinary set of music and pack it in. Jean and Justin kept shifting the terrain with detail-rich strata of tune-like ideas, grooves, and textures, which Kevin animated in an understated way with his impeccable trumpet sound and ever-intelligent musical ideas. The set ended with an elegant climax that left the us three in the audience rather gleefully stunned.

I’m generally unfazed by small audiences at ST or anywhere for creative improvised music, and recognize how some nights are simply going to be duds, ‘business’-wise. However, Thursday night was the first time I was genuinely annoyed by the lack of attendance. I can hear in my head the chiding that I wanted to broadcast: “People! That was the shit, and you missed it!” But I’m over it now. I will, however, keep reminding readers that Toronto has some of the finest and most creative improvising musicians anywhere, and that, if I may say so, you’ll be lucky to hear them in the intimate confines of ST. Otherwise, if you wait too long, you may be relegated to buying costly tickets to hear them from poorly mixed festival stages, which are, often and unfortunately, the natural habitat for our best and brightest musical performers.

Glances in the Rear-View Mirror

In an effort to keep tabs on a bunch of interesting stuff that’s happened at ST during the past few weeks, I’m offering up a few snapshots. I wrote these two last week but haven’t got around to editing and posting them before now:

Wednesday, 12 March

Arthur Bull, formerly of Toronto during the Music Gallery’s heyday, has long since set up shop in Digby Neck, NS. Luckily, he contacted me shortly after I’d opened ST while planning a Toronto trip and, since the program was still skeletal then, I was able to offer him a gig without any hassle. What luck! This guy is a real improviser’s improviser, and deals with the situation with a minimum of surface gloss and maximum ideas-per-minute. Since his original, exceptional trio with Nick Fraser and David Prentice in September, Arthur has been back twice, and this time with the ever-provocative pair of Nick and guitarist and ST regular, Eric Chenaux. Their music unfolded at a beautifully measured pace and, while each player was clearly taking the others' cues throughout, one could parse each player’s discrete musical ideas as they were introduced, developed, and wrapped up. Still, the lushness of Eric’s guitar and Nick’s exquisite snare attack assured that this was more than a musical chess match. To follow, March/April residents, Ronda Rindone’s Quorum, had a busy set featuring two-bassists (Aaron Lumley and Rob Clutton) that was lively enough, but no match for the subtlety brought to bear by Arthur, Eric, and Nick.

Thursday, 13 March

It was terrific to host two old friends from Montréal, gambist Pierre-Yves Martel (picture) and trumpeter Gordon Allen, who were joined by bassist Rob Clutton for a delicate and extremely thoughtful trio improvisation. It was lovely to hear Pierre-Yves and Rob hook up in actual or fanciful counterpoint, with plenty of little rhythmic and harmonic interplay, while Gordon (as he so often does) cleaved beautifully to his own breathy, almost ethereal furrow. The silences that permeated the set’s texture were an excellent contrast to the opening set, an in-concert development of their Piano Music collaboration by alto saxophonist Evan Shaw and drummer Jean Martin. Jean and Evan played extroverted duet music that kept an ongoing and productive connection with jazz tradition, without ever referring to it overtly. Jean’s capacity for simultaneous subtlety and ebullience, so often a key factor in any ensemble in which he plays, was certainly in evidence, but was muted a bit by his fumbling with an MP3 player to trigger saxophone-choir samples that is a hallmark of the duo’s recorded work. Unfortunately, each such moment brought the energy level of the music down considerably. Still, it was as-ever wonderful to hear these two deep thinker/feelers dig into long, jagged, superbly rhythmic streams of music for good chunks of their generally excellent set.