San Francisco Bay Area Scene

English: Rent Romus performing at the San Fran...
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From Bay Improviser:

Thursday, January 26, 6pm
The Rooz Cafe hosts “Light A Fire: Out With The Old?”, two sets of music. At 6pm, prepare your ears for exploratory EAI outness/free improv by Tom Djll (parts of trumpets, tubes, mutes and other noisemakers), Phillip Greenlief (reeds), and Gino Robair (energized surfaces and voltage made audible). Set two begins at 7pm with shoegaze-y standards in a hybridized slow motion/Motian Trio/Motion by Lee Konitz vein with Karl Evangelista (electric guitar), Jordan Glenn (drums), and Cory Wright (reeds). Rooz Cafe, 1918 Park Blvd., Oakland | donations accepted

Thursday, January 26, 8pm
OutSound presents the Luggage Store New Music Series, this week featuring electroacoustic music with field recordings featuring Andrea Williams and Jen Boyd. Artist and composer Andrea Williams will, at 8pm, begin the evening with some of her work, and at 9pm, sound artist Jen Boyd will present some of her soundscapes which explore the textures and timbres of the natural world with some processing. Luggage Store Gallery, 1007 Market St. (@ 6th St.), San Francisco | $6-10 sliding

Friday, January 27, 8pm
Rova Saxophone Quartet will perform new spatial works that are a continuation of their involvement with acoustic surround sound that was showcased at the Berkeley Art Museum in 2011. What better way to spend an evening in the middle of moving saxophones? Rova is Larry Ochs, Bruce Ackley, Jon Raskin, and Steve Adams. Berkeley Hillside Club, 2286 Cedar St., Berkeley | $15 ($10 for HSC members and seniors)

Friday, January 27, 8pm
Studio 1510 hosts Ghosts in the Waters and Ghost in the House. This concert features famed instrument builder, Richard Waters (The Waterphone) and Ghost In The House ~ Tom Nunn (Lukie Tubes, Crustacean, Waterphone), David Michalak (lap steel, cardboard skatchbox), Dean Santomieri (resonator guitars, voice), and John Ingle (soprano and alto saxes). The performance will include Dream #77 (For 2 Waterphones), excerpts from, “The Dream Machine” including Dockside Discovery and The Dream Machine and other new pieces. Studio 1510, 1510 8th St., Oakland | $6-10

Saturday, January 28, 8pm
House Concert – Chez Jacob Lindsay present The Lost Trio, featuring Phillip Greenlief (tenor saxophone), Dan Seamans (bass), and Tom Hassett (drums) performing their unique arrangements of the music of Thelonious Monk. House Concert – Chez Jacob Lindsay, 784 65th St. (between Shattuck and MLK), Oakland | $6-10

Saturday, January 28, 8pm
The Berkeley Arts Festival presents Eric Glick Rieman and the Snail Orchestra (solo Prepared Rhodes electric piano/ensemble performance of structured improvisation using graphic scores), featuring Karl Evangelista (electric guitar), Matthew Goodheart (piano), Jason Hoopes (contrabass), Crystal Pascucci(cello), Christina Stanley (violin), Daniel Steffey (percussion), Mia Bella D’Augelli(violin), and Eric Glick Rieman (multi-instrumentalist, composer). Berkeley Arts Festival, 2133 University Ave., Berkeley | donations accepted

From Mutual Aid:

Sunday, January 29, 3pm
The Berkeley Arts Festival presents the Lewis Jordan Quartet, featuring Lewis Jordan (baritone and alto saxes), Richard Saunders (upright bass), Marshall Trammell (drums), Karl Evangelista (guitar). Berkeley Arts Festival, 2133 University Ave., Berkeley | $10-20 (suggested donation)

From Bay Improviser:

Sunday, January 29, 8pm
OutSound co-presents The Deconstruction Orchestra with Josh Allen (director). Deconstruction Orchestra will fly again! The 20 something piece spontaneously conducted Deconstruction Orchestra directed by tenor saxophonist Josh Allen returns to record live at the Arena Theater on the DVC Campus in sunny Pleasanton. The groups uses Cell Structure Notation inspired by Cecil Taylor, and various spontaneous conducting techniques by Josh Allen. Henry Kaiser and John Finkbiner (guitars), William Winant and Mike Guarino (drums, percussion), Matt Montgomery and Kurt Ribak (double basses), Matt Ingalls, Aaron Bennett, Rory Snyder, Phillip Greenlief, Sam Flores, Larry De La Cruz, Misha Poleshuk, Roberto DeHaven, Rent Romus, Aram Shelton (saxophones), C.J Borosque, George Moore, Rafa Postel (trumpets), Matt Striech (trombone), Ron Heglin (tuba), and possibly more! Diablo Valley College Arena Theater, 321 Golf Course Rd. (connected to the Performing Arts Center near lake), Pleasant Hill | $10 sliding

From Nebraska Mondays:

Nebraska Mondays at Luna’s Cafe, hosted by Ross Hammond, presents Tony Passarell, Randy Stark and Chris Ferreira with Tim Stephenson. Luna’s Cafe, 1414 16th St., Sacramento | $5-20 sliding

From Bay Improviser:

Monday, January 30, 7:30pm
Mills College presents Songlines Series – Spring 2012, with ANTIMATTER / XOPHER DAVIDSON. ANTIMATTER is the work of Xopher Davidson who began his experiments in electronic sound from a basis in painting, film, and installation art, mixed with a long-time interest in electronics. Davidson will play a 20-30 minute set and then talk about his recent work. Mills College, Ensemble Room, 5000 MacArthur Blvd., Oakland | Free

Tuesday, January 31, 8pm
The Berkeley Arts Festival presents Daniel Popsicle (Plonsey’s large-ish band) plays Dan Plonsey‘s Music of El Cerrito, featuring compositions from the New Monsters and Color Music series. Daniel Popsicle is
Dan Plonsey (tenor saxophone, C melody saxophone, clarinet), Masha Albrecht (violin), Herb Diamant (bassoon, flute), Adrian Gormley (bass clarinet, clarinet), Lynn Murdock (keyboard), Suki O’Kane (drums), Chris Silvey (trumpet, flugelhorn), Cory Wright (bass clarinet, clarinet), and Michael Zelner (clarinet). Berkeley Arts Festival, 2133 University Ave., Berkeley | $10 (suggested donation)

Wednesday, February 1, 7:30pm
Tuesdays at Tom’s Place presents Andrea Centazzo (percussion) with Larry Ochs (sax). Tuesdays at Tom’s Place, 3111 Deakin St., Berkeley | Free (donation requested)

Trey Spruance Interview

Secret Chiefs 3
Image by ampersandyslexia via Flickr


​Secret Chiefs 3 (due tonight at the Bluebird Theater) is the brainchild of Trey Spruance, whom you may know from Mr. Bungle. With Secret Chiefs 3, Spruance seemingly follows every musical idea he can think of down every rabbit hole imaginable. Along the way, he has learned to play a plethora of exotic instruments in an attempt to realize his musical vision. Really, the Secret Chiefs 3 is a blanket name for various incarnations of the band that make use of more specific aesthetics from Middle Eastern-flavored experimental music, death metal, soundscaping and whatever else emanates from the minds of Spruance and his numerous collaborators. Each of the band’s shows is a bit of an audio-visual feast and never less than impressive. We recently spoke with Spruance about the influence of Pythagoras on his music, Wizard Prisons and Laibach.

AMN Reviews: Koji Asano – Polar Parliament

Koji Asano, “Polar Parliament” (Solstice)

Koji Asano (b. 1974) is a wildly prolific, self-publishing, stubbornly single-minded composer. Born in Japan, he spent a handful of fruitful years in Barcelona before recently returning home. He has composed for dance, video and various small ensembles but mostly records solo works, releasing forty-six albums on his own imprint in the past fifteen years, following an idiosyncratic lodestar only he can see.

He first came to this reviewer´s attention with “Preparing for April”, solo piano recorded in mono, compressed and tinny, melodiousness teetering dangerously close to the edge of dissonace without ever quite falling off. This is the liminal region in which he feels most comfortable and the listener most discomfited; his “instrument” of preference is feedback.

Asano has never failed to bemuse, though not necessarily beguile. His music is challenging, to say the least, and aimed at sophisticated, if not downright jaded, noise afficianados. The two extended, untitled tracks on “Polar Parliament” are as close to his “signature sound” one might get. The first rotates in elliptical cycles, a violinist trying to rub the laquer off his instrument with his thumb, while the second starts off like an overloaded washing machine trying to morph into a radio. While the first is both literally and figuratively abrasive, the second has an uncanny way of drawing in the listener. Somehow, the apparatus acquires a personality, and you find yourself rooting for it to succeed. At whatever it is attempting.

Stephen Fruitman