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A Tradition of Change
by Mark Alburger

It's hard to believe that electroacoustic music has been around for more than 60 years. Dating back at least to 1948 with Pierre Schaeffer's first tape compositions (a style dubbed Musique Concrete), the genre flourishes in many contexts. One such is chamber music of a live acoustic soloist in consort with electronically generated sounds, and it was this type of concert that was presented, with resounding success, on July 16, by sfSound at Community Music Center.

The featured group was EKG, the duo of oboist / English hornist Kyle Bruckmann and analog electronician Ernst Karel, heard in two works: Christopher Burns's The Mutiny of Rivers (2010) and Morton Feldman's Oboe and Orchestra (1976). The former was an improvisational tour-de-force, where English hornist Bruckman was given 13 unordered large sheets of music (some notational, some instructional) against 6 streams of electronics, from which Karel could sample and further alter before making audible. The result was a fevered thrill ride down a sonic cascade.

The Feldman was just about the opposite, as expected. Known for his extended, meditative, tangentially-minimalist soundscapes, Feldman offers here about 20 minutes of plaintive, plangeant, lonely motives -- fairly engaging, but a little difficult to fully assess in this realization. In truth, the piece probably should have been redubbed "Oboe and Electronics, by EKG, after Morton Feldman," as the electronic score, intriguing as it was, bore little resemblance to what Feldman's intentions may have been vis a vis an orchestra.

Burns cited in his program notes the influence and inspiration of Luigi Nono, and we were treated to the underplayed Italian master's ...sofferte onde serene... (1976), one of three "old-school" compositions featuring electronic sounds on electromagnetic tape. Here the sonorities of pianist Christopher Jones intentionally blended in with altered pianistic pingings on the pre-recording, as a dark, sonorous soundscape.

The sound world of Dennis Smalley's Clarinet Threads (1985), as brought to life by clarinettist Matt Ingalls, was considerably more, well, electrifying, in hair-raising high notes that commanded attention. The virtuosity in this performance, against a fixed electronic component, was impressive -- indeed the quality of the live performers throughout the evening was first rate.

And the excellence continued in cellist Monica Scott's realization of a Mario Davidovsky classic: Syncronisms No. 3 (1965). This, the oldest work on the program, was near ground zero of the whole live-soloist-and-electronics category, and had an almost nostalgic and pristine quality in its careful alteration of media. Scott brought technique and tone to the table, and the electronic score perked agreeably.

By contrast, while Per Bloland's Quintet (2005) was not quite the newest work on the program, it certainly pointed towards future directions. Saxophonist John Ingle became his own one-man band, with the assistance of an Apple laptop, in realizing five-part music in real time that animated and thrilled. The precise cut-offs alone were worth the price of admission (OK, I got in free as a critic, but still...), and bespoke of the excitement of the evening, taken in by an enthusiastic capacity crowd.

CD Review - The Who: Live at the Isle of Wight Festival 1970
by Greg M. Schwartz

“On August 29, 1970, The Who stepped onto the stage before an audience estimated at 600,000 at the Isle of Wight Festival at a time that, arguably, they were at the top of their game,” writes Mike Brown (a school mate of the band) in the liner notes for this two-disc release of the band's killer show of 40 years ago. It's hard to imagine how anyone could listen to this stellar show and argue the point about the Who being at the top of their game.

The band certainly went on to deliver some more classic albums and big tours in the '70s, but here, touring behind guitarist Pete Townshend's brilliant rock opera Tommy, the band is en fuego. The brilliant talent of drummer Keith Moon and bassist John Entwistle is evident in a vital way that doesn't come across the same on the band's studio recordings. And Townshend, long hailed as a brilliant songwriter and arranger but rarely if ever mentioned as a great lead guitarist, shows chops to burn on one wailing solo after another.

The band comes out blazing on “Heaven and Hell” and never lets up, with Townshend serving early notice that he came to play, ripping off a hot bluesy solo while Entwistle and Moon rock out. “Young Man Blues” is another early highlight, with the rhythm section just killing it and Townshend delivering another searing lead. Entwistle's inventive bass playing is particularly impressive throughout the show, easily placing him on par with peers like Jack Casady, Jack Bruce and Phil Lesh.

From there the band moves into a complete and epic rendition of Tommy that takes up the rest of disc one and most of disc two. The rock opera really picks up steam down the stretch with the classic chords of “Go to the Mirror” and singer Roger Daltrey starring on a revelatory version of “I'm Free.” The epic conclusion of “We're Not Gonna Take It,” the band's timeless anthem of rebellion, is pure money, clocking in at almost 10 minutes. Then the band rocks out on charged versions of “Summertime Blues,” a cover medley that includes a grungy version of “Twist and Shout,” “Substitute” and a killer jam on “My Generation” that sounds almost like the Jimi Hendrix Experience (who shared the bill.) The heavy bluesy jamming continues on “Naked Eye” before the show wraps with “Magic Bus.” This show is classic rock history 101 at its finest.
 

Music Round Up

Along with Apple’s new line of iPods, CEO Steve Jobs announced the company’s “social network for music” at the company’s music-themed conference on Wednesday afternoon. Called Ping, the service will allow iTunes users to connect with their friends for music recommendations. Coldplay’s Chris Martin also debuted a new song, “Wedding Bells,” at the event, quipping that “it features seven different kinds of chords. Even a new one that our closest rivals have no idea about.” The band is currently working on a new album with producer Brian Eno. [RollingStone.com]

Paste Magazine will no longer publish print copies, editor-in-chief Josh Jackson announced on Wednesday. The publication cut its staff of nine employees but will keep going as a website; the online version gets 1 million unique users per month, while the print version had over 200,000 subscribers. Last year, Paste asked for donations to continue publishing after its advertising revenue fell off. [TheDailySwarm.com]

Rapper T.I. and his wife Tameka “Tiny” Collins were arrested on charges of felony possession of a controlled substance Wednesday night. The couple was stopped in Los Angeles after making an illegal U-turn on Sunset Boulevard; when officers approached the car, they reported smelling the odor of marijuana and searched the car and its passengers. The police discovered pills that “resembled ecstasy,” according to Sheriff’s Department spokesperson Nicole Nishida. T.I. is currently on probation after serving seven months in prison for a felony gun charge, which was also a violation of his probation from a previous felony arrest. The rapper and his wife are due in court on Friday. [VH1.com]

Radiohead is donating soundboard recordings of their 2009 concert in Prague to a live film made by 50 camera people who shot footage in different parts of the venue. Fans will be able to download a free version of the set, and Czech fans can also get a free CD of the show. [Spinner.com]

Vampire Weekend’s Ezra Koenig collaborated with Van Dyke Parks to cover Paul Simon’s 1972 song “Papa Hobo,” which will appear on the soundtrack of the upcoming film Ceremony. The film also features songs by Kate Bush and Pete Townshend, as well as a score by Parks and the Fruit Bats’ Eric D. Johnson. [TwentyFourBit.com]

Next year’s most fabulous tour has been announced: The Scissor Sisters will join Lady Gaga’s seemingly non-stop touring schedule starting in February 2011. [Idolator.com]

Stereogum presents its 40 best new bands of 2010. [Stereogum.com]

Video roundup: Check out the official clip for Cee-Lo’s smash “F*ck You,” Das Racist’s 8-bit adventure “Who’s That? Brooown!” and Zola Jesus’ eerie video for “Sea Talk.” [YouTube.com, Hypetrak.com, NME.com]
 

New Sounds in Chiang Mai’s Ancient Alleys
by Robyn Eckhardt

With cinderblock walls, a dirt floor and a sign warning against dancing and “boom-boom” in the mezzanine, Heaven Beach, a club in Chiang Mai, Thailand, will never be accused of design excess. Then again, the predominantly young posse of foreigners and natives moshing to the energetic metal, grunge and rap sets by the Thai band Nyok aren’t there for the décor.

This doorless dive — more barn than bar, really — in the seedy backpacker quarter within the crumbling walls of Old Chiang Mai might be the last place you’d expect to hear guitar solos as spectacularly executed as those performed by Lek Surindon, Nyok’s self-taught lead guitarist. But Heaven Beach (48 Building 7, Ratchawithi Road; no phone) and its popular house band offer just a taste of the vibrant and diverse live music scene that’s taken hold in this laid-back northern city.

“Ten years ago all you heard in Chiang Mai was Thai pop and reggae,” said the blues guitarist Mai Wiangthong, 28, while tuning up ahead of a set at La Brasserie, another music club. “But over the last few years it’s been changing for the better.”

Thanks to cheap Internet downloads, a growing number of foreign residents and improved college music curriculums, the city’s youth have been experimenting with a wider range of musical styles. When Chiang Mai’s Woranan School of Music, with classes in jazz, pop, blues, rock and classical music, was founded five years ago, 10 students enrolled; now it has more than 150.

(Earlier this month, the government of Thailand, citing continued instability, extended a state of emergency for three months in over a dozen provinces, including Chiang Mai, giving officials broad powers to restrict political meetings and detain suspects. But businesses remain open and life goes on.)

The area’s growing crop of clubs offers different vibes and diverse sounds, showcasing all-Thai and Thai-farang bands (bands with musicians of mixed nationalities; farang means “foreigner” in Thai) performing original songs and creatively reimagined covers.

With a low ceiling and seats set close around the stage, La Brasserie (37 Charoenrat; 66-53-241-665), one of the city’s first live music venues when it opened almost 20 years ago, favors acoustics over style. Took Charenporn, the owner, as well as a blues and rock powerhouse known for spontaneous, Hendrix-inspired guitar solos, is the bar’s main draw, but there’s other talent here, too. Mr. Wiangthong alternates opening slots with Boy Blues Band, fronted by a Woranan instructor steeped in Chicago blues, whose growling baritone is the perfect foil for his stinging guitar.

Jazz enthusiasts will gravitate to North Gate Jazz Co-op (Sri Phoom Road; no phone), a neighborhood spot with tables spilling onto the pavement from its tiny storefront. Tuesdays are devoted to open jam sessions — “not always good, but always interesting,” in the words of Peter Vandemoortele, a Payap University jazz instructor whose trio plays at the Co-op. On one Saturday, the band Bong Lan combined saxophone, drums and keyboard with khene (a free-reed Thai mouth organ) and seung (a four-stringed guitar) to produce Thai-Western jazz fusion.

The newest addition to the scene is The Box (5 Nimmanhaeminda Road; no phone), a jewel-like glass cube on a trendy shopping and dining strip near Chiang Mai University; it features outdoor tables, a lounge area and mezzanine seating. Just a few months old, The Box is still finding its niche — it seems to favor jazz trios, with a smattering of smooth jazz-pop acts.