Klanging the Farben

Life does not wait to be written about. And books, sadly, don’t read themselves. I returned to work this week and have been a little overwhelmed with the amount of reading I have to stay on top of. I had started writing a blog post about all the incredible shows I saw last weekend and then just didn’t have time during the week to return to it.

Since then, I’ve seen so much more music that I want to write about. I just can’t keep up with myself. The weather has also been gloriously sunny, so it has been truly delightful to be back in my beloved SF.

I have a little bit of time today before heading out to Switchboard Music, an eight-hour festival of eclectic, inventive, genre-bending music featuring some of the Bay Area’s most interesting composers and musicians. I really should be reading Marx, but what the fuck!

Last weekend was a big one, as far as performances go. Since the jetlag wore off, I’ve been packing in as much as possible.

Friday night I went to see Beats Antique at the Fillmore. In the space of just a few years, this Oakland trio has gone from underground sensation in the local electronic music scene to a band of national and international popularity. The music is a tantalizing blend of breaks, hip-hop, dubstep, and glitch layered with Middle and Near Eastern riffs, and contemporary circus music. The sound is part digitally produced and sampled, part acoustic instrumentation.

After many months on the road, the trio returned to the bay for a sold-out performance at San Francisco’s celebrated Fillmore Theater, a “dream come true” for the band, according to David Satori.

Opening the show was The Real Vocal String Quartet, an innovative all-female string quartet that incorporates pop/folk singing to great effect with traditional chamber music. They also provided the string section for several Beats Antique numbers throughout the evening.

The second support act was a young man calling himself The Tailor who wriggled and writhed around onstage in a skinny pair of stripy low-riders and a wife-beater, singing and playing a looping guitar over mostly electronic prerecorded tracks he pulled up on his computer. The music had a danceable groove and was a good choice given the tastes of the audience, though several times I thought he would have been better able to play to the large crowd had he had some musicians accompanying him. There are lots of musicians who play multiple parts when they create and record their own music, but when playing out they get other musicians to take on these parts for a richer live experience. The Tailor could do with that kind of support onstage, especially at such a big venue like the Fillmore.

Beats Antique put on a great show accompanied by RVSQ on strings, as mentioned, Dan Cantrell on accordion, and a horn section that included Sylvain Carton on baritone sax and Peter Jacques on clarinet and trumpet.

A major factor contributing to Beats Antique’s meteoric rise is, no doubt, Zoe Jakes’ sultry tribal belly-dancing, which she performs throughout their shows when she’s not banging on a big drum and grimacing like a rockstar. On Friday, Jakes brought a bunch of friends with her to perform, so the crowd got to see some great dancing that ventured beyond tribal style. At one point, a hot guest dance troupe came out to perform a mixture of belly and hip-hop. Let me tell you, these ladies could shimmy and grind like nobody’s business.

Saturday night I managed to squeeze in two performances, Schick Machine by the Paul Dresher Ensemble, which was definitely the highlight of the weekend, and jazz guitarist Alex Pinto at my favorite local haunt, The Revolution Café.

Schick Machine is a collaboration between Paul Dresher, a well-known local composer and inventor of some of the wildest instruments you’ve ever seen or heard, Daniel Schmidt, another inventor and builder of musical instruments, Matt Heckert, maker of kinetic sculptures, and writer/director Rinde Eckert. The one-man show is performed by Steven Schick, a master percussionist with an astounding ability to extract every texture of sound from objects, be they simple household objects, sparser inventions born of an idiosyncratic mind, or wildly inventive creations that are both visually stunning and rich with sound possibilities.

Schick moves around from station to station in his subterranean (I imagine) sound laboratory that looks almost like the whirring, spinning, grinding internal workings of a giant piano organ. At times he conducts a kind of locomotive symphony between the different parts of the huge machine, at other times he plays a single instrument tenderly and slow, and the playing becomes a kind of meditative dance.

Renowned writer/director Rinde Eckert is known both for the physicality and musicality of his theatrical work and has collaborated with the Paul Dresher Ensemble on projects in the past.

In Schick Machine, an unseen voice introduces the character Lazlo Klangfarben (“klangfarbe” means “timbre” in German), an eccentric and solitary genius whose obsessive creative machinations have brought forth into existence the “Schick Machine,” an innovation that can reconcile the past and future. Lazlo is unsure whether the time is right to unleash his creation on the world, whether humanity is truly ready for such a powerful invention. Lazlo’s own sense of belonging in the world outside of his laboratory is also in question. We learn that connection and intimacy are problematic, that his wife has already left him.

Eckert’s philosophical ponderings through the character of Lazlo punctuate Schick’s virtuosic playing, and add the kind of intellectual depth and emotional poignancy these wild inventions demand. His words capture beautifully the emotional resonance Schick extracts from each instrument and the narrative provides a frame for Schick’s sonic explorations.

After Schick Machine, we headed over to the Rev for Alex Pinto’s CD release party. As always, the tiny venue was packed to the gills. Pinto is an accomplished young jazz guitarist who blends Hindustani classical music with contemporary jazz and indie rock. In addition to his original jazz compositions, he also does a number of very sweet interpretations of some Radiohead songs. He just released his debut album, Inner State. Definitely one to watch out for!

Sunday night it was time for a contemporary dance performance to balance out all the music. The Contact Improv Research Forum, which organizes the annual West Coast Contact Improv Festival, had a curated show at CounterPulse and Sunday was its last night. One of the biggest challenges for improv-based dance performance is to create something that does not look like a contact jam with lights and costumes, especially because the audience at these shows tends to be mostly other CI dancers who probably don’t want to pay three times as much to see what they could see at a regular jam.

This challenge is all the greater when the performance is conceptually heavy, as was the case with the first performance, Kristen Greco’s The Red Door. The piece was inspired by Jung’s Red Book, though I’m not sure if knowing this contributed anything to my appreciation of the dancing. One of the performers, Antonio Alemanno, switched roles between dancer and musician and even did a kind of contact dance with his upright bass, which I enjoyed. There were also some nice solos, most notably, from the Santa Cruz-based dancer Daniel Bear Davis, whom I just love to watch.

The second performance that evening, Sense Object, is a work-in-progress by Miriam Wolodarski with juggler/dancer Zack Bernstein, who often dances with Scott Wells and Dancers. I loved the names of the three scenes: “1. The polite dinner guest always speaks with restraint. 2. Another person is a foreign country. 3. Say something! Can’t you see I’m hiding?” It was a whimsical dance theatre piece that had me laughing out loud several times. A favorite moment was Wolodarski’s contact dance on and with a huge ladder. I look forward to seeing how this piece develops.

While I’ve seen a bunch more performances since then (it’s been a whole week, for God’s sake!), I will write about them later. The Switchboard Music Festival starts in a few minutes and I want to post this before I leave the house for that. More reviews coming soon!!

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2 thoughts on “Klanging the Farben

  1. Finally got round to updating with links today! Sadly, I did not have time to write about all the other performances I saw and have seen since then, including Musical Art Quintet, Dante Counterstamp, Arts & Sciences, Dgiin, Switchboard Music Festival, Fishtank Ensemble, MWE, Lemi Ponifasio, Mike Parsons piano, Joe Warner piano, and last night’s Oakland East Bay Symphony with the premier of Scott Amendola’s first orchestral work!!

    At a certain point, it’s time to resign to one’s reality and mine right now involves way too much reading. I’m happy I get to go out to see so many incredible shows, even if I don’t always have time to write about them all.

    Come June, all that will change!!

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