AMPLIFY 2013: rotation

[Matt Wuethrich]

Jeff, it wasn't the race thing I was questioning, more this tendency to write off so-called experimental music with a broad brush. If you were disappointed last night, I'd love to hear details. How were they 'trying to be profound'? What exactly was 'lightweight'?

[joeperucki]

graham lambkin is punker than fuck.

m

Indeed! Is that a toolbox he's got? Did have any actual instruments or even a computer?

So any other impressions on the Rowe/Lambkin show would be appreciated - I will appreciate words from Jon/Brian O but more is better. Anyone else attend?

BTW, I did get to see Christian Wolff and Keith Rowe at the Cage fest in Philly on Sunday night. Seriously, I can easily understand why someone would have the impression described by jeffp at those shows. For the Wolff and Rowe set, I guess I got issues - I could have lived in that sound world for a very long time despite the combined age of these two guys is 150 years.

[Jesse]

this is an extra-musical observation, but the recurring references to the musician's ages is odd , arbitrary- as if there is an intrinsic relevance to being a certain age (which relevance is unspoken here).

"despite their combined age", "old white men", wtf?

[A–P]

Just quickly, I have to say that the Rowe/Lambkin was one of the most exciting performances I think I've seen. Completely different approaches unlocking all kinds of hidden potential. The beefheart/bach passage in particular was beautiful. The duo with Pisaro was unhurried, a series of events slowly unfolding and dissipating. Awesome playing from Rowe in both sets. Looking forward to tonight.

[joeperucki]

this is an extra-musical observation, but the recurring references to the musician's ages is odd , arbitrary- as if there is an intrinsic relevance to being a certain age (which relevance is unspoken here).

"despite their combined age", "old white men", wtf?

A jab at jeffp from an early post in this thread...

"Experimental" music seems to have codified around a sort of worship of this light-weight compositional approach masquerading as avant-garde improv practiced by mostly older white men.
quote]

[Jesse]

wish i were there.

[jeffp]

To clarify, I think my reasoning for using the "old white men" line was more to provoke a thought that this community, in nyc at least, has tended toward a slavish devotion to the status quo. I don't feel it was that way 10-15 years ago when I was first involved. No offense meant to "old white men" some of 'em are great some of 'em are crap, just like any other demographic! I think all of us that have an interest or devotion to this community/this music whether it large or small owe ourselves some introspection otherwise it becomes stale. So yes, I am painting with a broad brush and I think that is ok.

To narrow my focus a bit...It seems as if many of you are upset that I mention the performers themselves and that I was not focused on the music only. When I am at a performance I tend to judge the performance as a whole not just the music. For instance at the beginning of the show last night the performers asked to have the lights completely turned off so that their faces were only illuminated by the electronics. The show was in an art gallery. The performers were (for the most part) in front of rows of spectators that were sitting (if they had seats),quiet, and courteous. The performers were focused on delicately tweaking their "instruments". As a friend of mine said at the break between sets, "There is zero sense of humor in this performance." These conditions along with the delicacy of the music itself are what lead me to feel that the artists/organizers were trying to set up a profound or transcendant moment. I used the word "lightweight" to describe the music because that is how i felt in the moment. I am mostly speaking about the first set here, but I felt that the dynamic of the sound was not super interesting or complex. The music itself felt almost too precious (quiet, subtle layering, gently flowing changes.) There were a couple of moments that I thought were building to something rich and complex, but those soon quickly faded away. So I was left wanting something more whether a treat for my ears, something moving, something painful/physical, something new. In addition, I took issue with the duration. It was a long piece--close to an hour I think--that didn't seem to need that duration. Again, as Jon pointed out this was a series so perhaps it is unfair of me to critique it only on 1.2 of 4 parts. Anyway, I hope that clears up my perspective.

The main reason I posted in the first place was because I was quite shocked at Jon's original post about being fully satisfied by the show. I know Jon has his hands full at the moment so I don't expect a write up from him right away. From those of you there and thought it was good, I'd love to hear how it moved you, how it made you feel, how it was better/worse/more interesting than the last performance you saw... Why did you think the environment worked or did not work for the set? How did you feel watching the performers work? etc...

[042]

It'll be pretty damn ironic if one of the aspects of these series and 'rotation' would also be the age, like rotating different patterns and aspects of personality/signature around the Rowe-center, concluding with that center left alone by his own in the act of self-recognition (Pisaro followed by 'punky' Lambkin then Wolff (also being the 'influential' figure in these frames)), in the vein of a theory about Amplify '08 Rowe sets being a mirror of a four-part symphony. Not really serious about all that stuff, but that would've certainly launched the 'old white men' conversation to another level.

An early question, but still worth a shot: has any of these sets been recorded?

[liquidmodernity]

As a friend of mine said at the break between sets, "There is zero sense of humor in this performance."

Obviously your friend was talking about the Rowe / Pisaro set here, but I wouldn't call any of the four performances in the last two evenings "humorless" in the least bit. one thing about this type of music is that I think it lends itself extremely well to really vibrant playfulness - the integration of radio and pop music into a couple of the sets, Lambkin's toolbox of household items, Rowe's use of hand-held electric fan. To be fair, though, I do think you're right in that the set with Pisaro was probably the most subdued of the series, or at the very least the most 'calculated'. Still: not "humorless", I don't think.

From those of you there and thought it was good, I'd love to hear how it moved you, how it made you feel, how it was better/worse/more interesting than the last performance you saw... Why did you think the environment worked or did not work for the set? How did you feel watching the performers work? etc...

Let me qualify my response by letting you know that I've only gone to a handful of these types of performances, and that my experience with this sort of music is primarily from holing myself in my room with recorded releases. take my thoughts w a grain a salt, hopefully someone more articulate will come around with their thoughts soon..

Have to say I was very impressed / moved by both nights, especially the Lambkin and solo sets. I'm not sure how familiar with any of the artists' solo works you are, but I think that the most 'fun' aspect of the series was seeing very distinctive artists reconcile their aesthetic differences in real time. in the hours leading up to the event, I was dumbfoundedly trying to guess exactly what a Rowe / Pisaro or Rowe / Lambkin collaboration would sound like, and for me a lot of the excitement and tension during the performances sprouted from that anticipation. Pisaro seems to me to be an almost exclusively ''compositional'' artist, so it was exciting to see him interact with comparatively madcap "improvisational" Rowe; Lambkin, who's been referred to as 'punker than fuck' earlier in the thread, can be really abrasive, anxious, and just generally non-'beautiful' compared to Rowe, so it was neat to see that play out.

it wasn't just the novelty that made me enjoy the performances, though. I was all-around wowed by all parties' playing and presence. i'd find myself lost in a '''soundscape''' only to realize seconds later that it's being made by bits of metal, a contact mic, a mixing board, and an oscillator - something really unique about that balance between the 'transcendental' and the 'mundane', although that could just be my personal wide-eyed excitement about seeing this type of music played live for the first time. you seem to criticize the artists when you say they were "focused on delicately tweaking their 'instruments'", but I think that's confusing concentration with pretension or self-absorption. something to be said two artists simultaneously engrossed in separately creating one work.

as for yr concerns with the 'environment' and vibe of the event, certainly some of it couldn't be avoided due to ISSUE's reliance at the moment on (graciously) donated space. not sure how keen I was on the gallery space either, but I think it was far more fitting / intimate than a church or auditorium show would have been, like some of ISSUE's events last season. also not sure if anyone guessed how well-attended both nights would be. I was comfortably seated both nights near speakers, but a lot of attendees didn't get that benefit. most importantly, the event didn't feel 'stuffy' or 'concert hall'-ish to me, which i think is crucial for something like this.

Still reeling from tonight's performances, and might have to give it some thought before I'm really able to comment on them. Will say that I am totally arrested by Rowe's solo set. btw - thanks to everyone who helped put it together. the most engaging two nights of music I've been to since ISSUE's 'Voices and Echos' program a couple months back.

[jon abbey]

An early question, but still worth a shot: has any of these sets been recorded?

all recorded, yes, but I am leaning towards just letting these stay as a live event, since I just released Wolff/Rowe and September, Keith/Graham are about to do a few days of recording for their certain-to-be-awesome Erst, and Keith has a 4 hour ErstSolo DVD-A in the works.

fantastic two nights, music, attendance, atmosphere, everything. hopefully many more impressions are forthcoming, I'm sure I will write more at some point. I did just ask Michael P to write about it for surround, but he very understandably passed on the opportunity.

[jon abbey]

liquidmodernity, that is a very strong post, I fully agree with quite a bit of that.

[jon abbey]

a bit more from Brian O on FB today, he will try to write this up at length on his blog today or tomorrow.

"Massively wonderful concert last night, two in a row--lovely Wolff/Rowe set followed by one of the strongest, most ruthless Rowe solo performances I've seen."

also there should be a NY Times review of the first night running maybe tomorrow...

[Dan Warburton]

An early question, but still worth a shot: has any of these sets been recorded?

all recorded, yes, but I am leaning towards just letting these stay as a live event, since I just released Wolff/Rowe and September, Keith/Graham are about to do a few days of recording for their certain-to-be-awesome Erst, and Keith has a 4 hour ErstSolo DVD-A in the works.

Sounds good, but (said it before) I have no objection to decent quality netlabel releases. Don't feel like putting them online?

[042]

Sounds good, but (said it before) I have no objection to decent quality netlabel releases. Don't feel like putting them online?

That's exactly what I was hinting at, so I have the same question to Jon.

[jon abbey]

the festival just ended, I haven't even heard them yet. I do think that some things are better left as live events, we'll see.

Michael Pisaro on FB just now:

"It was an amazing experience and a great privilege to be a part of AMPLIFY 2013: rotation. Keith Rowe managed to find a different approach (what he might call a "construct") for each set, building to a shattering finale last night. Truly wonderful work by Graham Lambkin and Christian Wolff, as well as a good (and large audience), and inspired organization by Jon Abbey and ISSUE Project Room. Very powerful two days -- congrats to everyone!"

[negative potential]

Maybe it's nostalgia, but every time I attend an event like this I lament what this type of music has become. "Experimental" music seems to have codified around a sort of worship of this light-weight compositional approach masquerading as avant-garde improv practiced by mostly older white men.

FWIW, this is my reaction to pretty much all of Keith Rowe's output for the last 6 years or so. I don't know if it's that he switched his setup around that time, or what, but his recent work just has this anemic, emotionally vacant quality to it, just a bunch of overly precious, scritchy-scratch of ostentatious gesture.

I compare it to the raw energy or emotion of things like The World Turned Upside Down or Weather Sky or the Perlonex collaboration or the duo with Burkhard Beins and think "what the fuck happened?" It's like he's turned into Radu Malfatti or something.

[jon abbey]

without you jumping down my neck again, can I ask if that blanket statement includes the September recording or not? I don't agree but I could see how one could say that about the Radu and Sachiko collaborations, not really any others.

FWIW, I would say that the last three of the four sets in this fest had at least as much "raw energy and emotion" as any of the ones listed above. Keith said after the Christian set last night that he's never heard Christian play so viscerally, and don't forget they played together in AMM contexts in the sixties.

[negative potential]

without you jumping down my neck again, can I ask if that blanket statement includes the September recording or not?

Actually, I haven't heard that one. Some of what's been written about it makes it sound like it might be an interesting exception to the general trend, and I think Richard Pinnell might be onto something that Rowe might be better off just making solo recordings, but to be perfectly honest these days I've been spending my money almost exclusively on Cuban music, and there's a gazillion essential recordings of son/danzon/bolero/trova I still need before I'll spend anything on a new Keith Rowe recording.

[jon abbey]

I think Richard Pinnell might be onto something that Rowe might be better off just making solo recordings

and this is exactly what was so exciting about the Lambkin duo (and the other two, to different extents), I can't wait to hear what Keith/Graham come up with in the recordings they're starting today.

[Gerardo A]

a bit more from Brian O on FB today, he will try to write this up at length on his blog today or tomorrow.

"Massively wonderful concert last night, two in a row--lovely Wolff/Rowe set followed by one of the strongest, most ruthless Rowe solo performances I've seen."

also there should be a NY Times review of the first night running maybe tomorrow...

Just wanted to add another voice to the people longing for these sets (and the Rowe/Lambkin?) as ErstFree DLs (especially the solo Rowe set), given what Jon said about them not likely becoming ErstLives in the future.