It's been a week since the first of a three show mid-August run for me. I'm still a bit tired, what with work and all, hence the delay in my usually quick missives. Have I forgotten my public? Hahahaha.....
Crow Crash Radio-111 Minna Gallery, SF CA; 8/17/18
As the members of Crow Crash Radio loaded in to 111 Minna Gallery for a Friday night happy hour show, we all noticed the demographic: Tech. To the max. I have nothing against them, but, as far as relating to them, it can be tough. Not much in common really. As Crow Crash began to play, we quickly realized that our sounds, emanating from a small corner of the bar area into which we had been stuffed, would be for the most part unheard by the chattering end of week drinking crowd. This can be fine, and we really used the experience to stretch out some improvised ideas, along with playing some tunes from our recently released LP. I had a tough time hearing Brian's amp, as it was placed with Brian in between it and myself. Kind of frustrating, but it felt like that kind of night. One of those dues paying type of sets really. 111 Minna's growth is truly impressive. I remember it as being a tiny little gallery in what was a sleepy part of downtown San Francisco in the early 1990's. The place, along with the area, has changed so much! On the drive home, Andrew, Brian, and me talked about the Brogrammer culture. Again, I have no affinity for it, as it clearly ain't got for me. They seem to be in many ways pretty close minded; who knows, maybe it's just a question of being hyper-focused. I'll stay focused on music, thank you very much. It's just sad to see SF get so bland.
Below: Crow drums and a great shot of Brian Strang
Moe Staiano Ensemble Plays Death of a Piano (plus Hogwind push-in surprise!)-First Church of the Buzzard, Oakland CA; 8/18/18
After the completely not-relatable vibes of Friday night's venue, it was real nice to drive into West Oakland's Adeline St. for the first performance of Moe Staiano's Death of a Piano in eleven years. Oakland is not quite the yuppie haven that 'Frisco is, but I guess there's work being done on that, dammit. Back to Death of a Piano: I sort of lucked into this gig, being a late addition to the roster of 49 or so musicians. Moe's music is always fun and challenging, and I'm always stoked to play it in any form. Seriously, dude's a very bright light, musically and personally, and I'm happy to support his vision. After a quick run through of one last rehearsal for the piece, most of the musicians beat it to grab dinner elsewhere. I hung around First Church of the Buzzard and struck up a conversation with Grux, whose great new band Hogwind, a group that basically murders Classic Rock songs, was also on the bill. Grux asked me if I'd like to play air drums with them, and, having seen them in action, I agreed but quick. Total madness ensued. I have to admit that my more exhibitionist side emerged during the Hogwind set. I had a blast thinking of creative moves while occasionally beating a few drums, along with getting a ton of laughs as I watched theremin player Rachel Thoele as she laughed, too. So much fun! Staiano's ensemble was up next. Again, my admiration for Moe grows as I gain familiarity with his writing, and it was great to be a part of this huge ensemble. The piece, made up of three movements, moved from sparse string sections that went up and then down the scale, to clicking rim shots from four drum sets, to crazed free improvisation from everyone. Stillness to cacophony and back! It all ended with Moe smashing a piano up with a sledgehammer as everyone soloed wildly. Great times! Much fun in Oakland.
Below: Moe conducting, with me and my drums there in front (apparently I got hit by debris)
Below: video evidence of my Hogwind push-in!
Below: snippet of Death of a Piano finale!
Above: Death of a Piano gear: eye protection, ear protection, and a plastic whistle
Pikuva Sielu-Musicians Union Hall Local 6, SF CA; 8/19/18
The Local 6 hall is probably less than one mile away from 111 Minna, but it may as well be in another country. The SOMA area of 9th St., off of which this institution is deeply dug in, retains an atmosphere that I am more familiar with, at least as regards San Francisco. There is a ton of poverty and addiction on display; I want neither of these for any person. Therein lies the rub. Does positive, productive change from those traits have to entail people becoming whitewashed yuppies? Pikuva Sielu used to be called the John Vaughn Trio, but John was adamant that this group, also featuring great electric bassist Robert Kuhlmann, find a new name. We cooked up a plan of playing about four compositions, and we stuck with it. Two written by reed man Vaughn, one by me, and one improvisation. We got into what I felt were some pretty good, earthy jams, very loose and free and flowing. Bluesy, in a way. The interactions felt charged right on a balance point between tight and loose. This can be a scary feeling if you're performing, but it most definitely seems to be a point in Jazz or Jazz-based musical work. I was especially pleased to be playing a short riff that I worked up, called CT Wave. I desire to write more music for this group, that's for sure. It was a fun, low key way to end a quite manic weekend, playing among a few friends (one of whom I haven't seen in years, hi Ward!) and comrades in this musical endeavor.
Below: drums for Pikuva Sielu; a happy trio!
As the members of Crow Crash Radio loaded in to 111 Minna Gallery for a Friday night happy hour show, we all noticed the demographic: Tech. To the max. I have nothing against them, but, as far as relating to them, it can be tough. Not much in common really. As Crow Crash began to play, we quickly realized that our sounds, emanating from a small corner of the bar area into which we had been stuffed, would be for the most part unheard by the chattering end of week drinking crowd. This can be fine, and we really used the experience to stretch out some improvised ideas, along with playing some tunes from our recently released LP. I had a tough time hearing Brian's amp, as it was placed with Brian in between it and myself. Kind of frustrating, but it felt like that kind of night. One of those dues paying type of sets really. 111 Minna's growth is truly impressive. I remember it as being a tiny little gallery in what was a sleepy part of downtown San Francisco in the early 1990's. The place, along with the area, has changed so much! On the drive home, Andrew, Brian, and me talked about the Brogrammer culture. Again, I have no affinity for it, as it clearly ain't got for me. They seem to be in many ways pretty close minded; who knows, maybe it's just a question of being hyper-focused. I'll stay focused on music, thank you very much. It's just sad to see SF get so bland.
Below: Crow drums and a great shot of Brian Strang
Moe Staiano Ensemble Plays Death of a Piano (plus Hogwind push-in surprise!)-First Church of the Buzzard, Oakland CA; 8/18/18
After the completely not-relatable vibes of Friday night's venue, it was real nice to drive into West Oakland's Adeline St. for the first performance of Moe Staiano's Death of a Piano in eleven years. Oakland is not quite the yuppie haven that 'Frisco is, but I guess there's work being done on that, dammit. Back to Death of a Piano: I sort of lucked into this gig, being a late addition to the roster of 49 or so musicians. Moe's music is always fun and challenging, and I'm always stoked to play it in any form. Seriously, dude's a very bright light, musically and personally, and I'm happy to support his vision. After a quick run through of one last rehearsal for the piece, most of the musicians beat it to grab dinner elsewhere. I hung around First Church of the Buzzard and struck up a conversation with Grux, whose great new band Hogwind, a group that basically murders Classic Rock songs, was also on the bill. Grux asked me if I'd like to play air drums with them, and, having seen them in action, I agreed but quick. Total madness ensued. I have to admit that my more exhibitionist side emerged during the Hogwind set. I had a blast thinking of creative moves while occasionally beating a few drums, along with getting a ton of laughs as I watched theremin player Rachel Thoele as she laughed, too. So much fun! Staiano's ensemble was up next. Again, my admiration for Moe grows as I gain familiarity with his writing, and it was great to be a part of this huge ensemble. The piece, made up of three movements, moved from sparse string sections that went up and then down the scale, to clicking rim shots from four drum sets, to crazed free improvisation from everyone. Stillness to cacophony and back! It all ended with Moe smashing a piano up with a sledgehammer as everyone soloed wildly. Great times! Much fun in Oakland.
Below: Moe conducting, with me and my drums there in front (apparently I got hit by debris)
Below: video evidence of my Hogwind push-in!
Below: snippet of Death of a Piano finale!
The Local 6 hall is probably less than one mile away from 111 Minna, but it may as well be in another country. The SOMA area of 9th St., off of which this institution is deeply dug in, retains an atmosphere that I am more familiar with, at least as regards San Francisco. There is a ton of poverty and addiction on display; I want neither of these for any person. Therein lies the rub. Does positive, productive change from those traits have to entail people becoming whitewashed yuppies? Pikuva Sielu used to be called the John Vaughn Trio, but John was adamant that this group, also featuring great electric bassist Robert Kuhlmann, find a new name. We cooked up a plan of playing about four compositions, and we stuck with it. Two written by reed man Vaughn, one by me, and one improvisation. We got into what I felt were some pretty good, earthy jams, very loose and free and flowing. Bluesy, in a way. The interactions felt charged right on a balance point between tight and loose. This can be a scary feeling if you're performing, but it most definitely seems to be a point in Jazz or Jazz-based musical work. I was especially pleased to be playing a short riff that I worked up, called CT Wave. I desire to write more music for this group, that's for sure. It was a fun, low key way to end a quite manic weekend, playing among a few friends (one of whom I haven't seen in years, hi Ward!) and comrades in this musical endeavor.
Below: drums for Pikuva Sielu; a happy trio!
