My friend Sam Byrd has some kind comments on Non-Places on his blog, World of Abstract Dreams. I’m a regular reader–Sam’s tastes are as eclectic as they are discerning, and his remarks on what he’s listening to and reading are always on point. (Plus, I often plunder his playlists for suggestions on what to listen to myself.) Sam’s own music, often done in collaboration with Rodger Coleman, quite naturally reflects some of that broadmindedness too.
Sam also mentions my Fifteen Miniatures for Prepared Double Bass, a new release of solo prepared double bass performances available on Free Music Archive. About which more later…
The Barbiero-Byrd-Ghaphery performance of 21 March is now up on archive.org, on Rhizome’s new page. There’ll be lots more great performances by a variety of artists posted there in the future, so keep checking back.
Thanks to everyone who came out to Rhizome on a Tuesday night for a terrific evening of music and movement. And special thanks to our hosts and to performers Jim Strong and Rex Delafkaran, and Sahba Sizdahkhani.
Photos by Phong Tran
Tomorrow night Sam Byrd & Jimmy Ghaphery join me for a set at Rhizome DC, 6950 Maple St NW, in the Takoma neighborhood of Washington DC. 8 PM.
Photo by Chris Videll.
Over the past couple of years I’ve been working on a series of sound rows for various instruments including double bass, cello, electronics, and alto saxophone. Sam Byrd, a percussionist I often have the pleasure of playing with, has recorded three versions of Sound Row No. 7. His thoughtful interpretations are available here, on his website.
(A general description of the series, from the performer’s note:
The idea behind the sound rows is a simple one: Take a closed, ordered set of sound events, and play each event once, in order, with a discernible rest in between each event. These events are made up of sounds, gestures, pitches and articulations realized through conventional and extended techniques; the scores are presented as lists of simple verbal instructions.
The purpose of the sound row is to draw out as much timbral or other sonic variation as can be had with a single gesture. Latent within the rows’ limited material is the possibility of sonic variety—a possibility arising from the potential richness in color harbored within each sound, pitch or gesture. The realization of this sonic richness is a function of the performer’s choices and preferences which, when realized, can make of each sound in the row a kind of theme liable to variation. Gestures can—and inevitably will—reflect the individual bodily responses of the performer, and these will be different for everyone.)
Video from our performance at Rhizome 27 August.Sam Byrd, drums; Jimmy Ghaphery, alto saxophone.
Video courtesy of Synthador.
Jimmy Ghaphery and Sam Byrd will be joining me for a set at Rhizome this Saturday evening. The occasion? A benefit show for the 2016 Sonic Circuits Festival. Come on out and support Sonic Circuits at Rhizome, 6950 Maple Street, Takoma Park DC, Saturday at 8 PM.
Photo of Barbiero-Byrd-Ghaphery by Paul Gillis.