As for Hare & Arrow's second ever performance, it went through a few changes in planned personnel, but settled with Sung on two of his beautiful self-designed instruments, the Ozokuri and Thee Nuns Horn, and Dan Gottwald on the Divine Horseman. All are stringed, with the later being this amazing variation of the hurdy gurdy, hand-cranked and full of deep drone tones. Dan and Sung are pretty visionary with their aesthetics. I was pretty blown away to be playing alongside them and their creations.
In rehearsing for our set, we spoke about leaving tons of space for the drone of the Divine Horseman to emerge from. Additionally, I changed up my drum set up: no hi hat, double bass drum, minimal cymbals, and an added concert bass drum. I also rocked the wrench that Moe! Staiano gave me last year.
Definitely a lot of low end on my part. My role was essentially to color, shift, and comment, but not drive the music. I felt as though I fulfilled my mission for the most part. Indeed, at the end of the set Sung announced that I'd "played with great restraint"! In my perceptual experience of our somewhat short set, I tried to get away from certain habits that I've developed within improvisational music, instead really trying to leave gaps and moving my own line within the form. Not sure if this was achieved, but I know that a satisfying, relaxed feeling was with me throughout.
For me, it was a night of clear thinking and playing under the cool full moon of March.
Hopefully the projected quarterly series of music at Hare and Arrow Arts Factory will continue. I'll go even if my name ain't on the bill!
Below: the Divine Horseman and my amended drum kit with large concert bass drum