Last year, the new music publication The Wire did a feature on me and also previewed some tracks from my upcoming release “Koheleth” . You can read a blurb and listen to the previews here.
I’m especially proud of the album “Koheleth” and for this reason, had refused to release it digitally. As it was conceived and produced as an album – a gesamtwerk – i wasn’t going to compromise it by having it disassembled and lost in the sea of “download only” singles that are all too overabundant on the Internet. I started a crowdfunding campaign on Patreon to raise the money to finance a proper release. It has yet to produce the result i aspired to. I’ve considered abandoning the Patreon campaign and then something happens to inspire me to press on. So, for the time being, i’ll continue working on that.
In the meantime, #blacbuc continues to get closer to a premiere. Watch this blog for updates and info and, of course, more music.
Wow, it’s done. I’m back on land and preparing for the next phase. I spent the last two months on a cruise ship playing improvised music and popular songs from the mid-twentieth century with pianist Doru Apreotesei and vocalist Deborah Herbert. It was a fantastic time of growth and exploration. As mentioned in an earlier blog post, there will be sound clips from those gigs posted here from time to time in relation to various topics.
Now the work turns to preparing for a concert series that i’ll produce that focuses mostly on my presentation of solo works for bass. Some of the pieces i’ll perform have been composed for me. Some will be by composers i admire and have been greatly influenced by (e.g., Cage, Braxton, Sun Ra, Ayler). Stay tuned here for the where and when.
I’ll be starting to post some new music here now. By “new”, i mean clips from gigs that i’m doing currently. Most recently, i’ve been playing in duo with the pianist Doru Apreotesei. As i mentioned in my post “The Audience Gets It“, we’ve been playing – mostly – improvised music in an environment that is generally reserved for the squarest of square: a cruise ship piano bar. The track here is “Blue In Green” co-written by Miles Davis and Bill Evans.The playing on this clip is pretty “inside”. There will be others that aren’t 😉
The Manhattan Lounge on MS Color Magic where i’m working right now.
As with all Music, dynamics play a very important role in improvised music. Dynamics can (and should) be used very effectively as a structural/organizational device. We’re not just talking about volume here. Getting back to an earlier post on this blog, eleven aspects of improvisation are delineated. Each of these parameters can be dynamically modulated. In other words, one can vary the amount of any of the defined parameters one utilizes in a phrase, note or statement. This is to apply Braxton‘s eleventh (of the twelve types) “Gradient Formings” – the serialization of dynamics.
One very, very good illustration of this is the “Pulse Track” of Braxton’s Composition #108B. This graphic score may be freely applied to volume and/or pitch.
Braxton describes #108B as “a series of possible curve line sounds or curve line dynamic changes” (311), implying that the lines can indicate pitch and/or volume… – Graham Lock
Here’s an album that i’m featured on. It’s by the German saxophonist Biggi Vinkeloe. There is some really amazing music by some of the most inspired improvisors around. The entire album is available as a free download. Check it out 🙂