Outsound New Music Summit: neem and Sheldon Brown's Blood of the Air
The third concert of this yearâs Outsound New Music Summit was truly a study in contrasts between minimalism and large-ensemble exuberance.
First up was neem, the duo project of Gabby Fluke-Mogul (violin) and Kelley Kipperman (double bass).
[neem (Kelley Kipperman and Gabby Fluke-Mogul). Photo: peterbkaars.com.]
This was minimalism in its truest form, starting with the deliberate silence led by Fluke-Mogul before the first note was intoned. The music unfolded in a similarly sparse manner, with plenty of room to observe the details the sounds from both artistsâ extended techniques. Although open and spacious, there was also an intimacy in some sections where the two closely followed one another musically, bouncing sounds from one instrument to the other. Whether intentional or not, one could envision the music unfolding in a natural landscape.
By contrast, Sheldon Brownâs Blood of the Air, was large and exuberant, and featured a ten-piece ensemble. In addition to Brown, the group featured Darren Johnston on trumpet, Lorin Benedict on voice, Andrew Joron on theremin, Dave MacNab and John Finkbeiner on guitars, Dan Zemelman on piano, and Vijay Anderson and Alan Hall on drums.
[Sheldon Brownâs Blood of the Air. Photo: peterbkaars.com.]
The work centered around âspeech melodiesâ created from readings by the Beat-era poet Philip Lamantia. Each piece began with a recording of Lamantia reading his poetry, and one of the musicians (often Brown himself) responding in a melody that matched the prosody of Lamentiaâs speech. The melodies served as points of departure with the ensemble responding with rhythmic vamps, countermelodies, and solos. When I wasnât watching Brownâs solos or drawn into Lorin Benedictâs frenetic scatting, I found myself captivated by Zemelmanâs virtuosic piano playing, both comping and solo. It was both musically and technically impressive. But the group functioned together as a unit, even in a setting that featured a lot of improvisation, and remained tight.
It is interesting to note that despite the musical contrast, both groups were very much focused on listening as a central element. For Blood of the Air, it was listening to the melody of the rhythm and poetry, and then to one other to form the tightness and musical phrasing of the ensemble. In neem, it was also listening and responding to one another, but was also âdeep listeningâ to the individual sounds of the instruments, and especially to the spaces between the sounds. Yes, all good music requires disciplined listening, but sometimes itâs good to step back and take note of it.
Outsound New Music Summit: neem and Sheldon Brownâs Blood of the Air was originally published on CatSynth
