The Alan Sondheim Mail Archive

October 3, 2010

music from last night and more

chris funkhouser's recording (with added small-club echo)
of azure and me last night performing after chris and amy
(thanks, chris!)

i'm playing electric-acoustic oud, electric-acoustic guitar, viola,
electric saz and i'm playing them all too well.

so now i can retire.
i hate retirement (since the last sentence).
now i can do all the things i've always wanted to do.
i can steal from anyone, jail will last such a short time.
did i tell you i was the one who burned down brooklyn?
no? well i'll keep you guessing.

now if brooklyn burns down tonight for any reason you can say -
he did it. he said he would do it and he did it. you know he's
retired and he thinks that gives him the right to do anything.
well maybe that's true, look what he did - he burned down brooklyn.

i should add that even though i have a deep attachment to brooklyn,
it is not my native land.

since i'm retired, though, the whole world is my oyster.
however, it would be truer to say my oyster is the whole world,
especially if my oyster were our red-eared slider, who has not yet
retired (our turtle is very young). did i tell you i forgot my name?
did you ask me?

walking away and into second life residency and too sad momentum

the arctic overflows with mourning and uttermost grief of cauldron. arctic pngs

i might as well be dead.

Fire Museum Presents:

Vavoom Quintet
  Alan Sondheim,  Helene Espvall, Barry Weisblat, Margarida Garcia,
  Azure Carter

Eric Carbonara

George Korein

Saturday, October 9th 8:00PM
Highwire Gallery
2040 Frankford Ave.
Philadelphia, PA $6

Vavoom Quintet:

Taking their name from a character from the Felix the Cat cartoon that
could level a mountain with the sound of his voice, this is the debut
performance of the Vavoom Quintet.

Starting with releases on the ESP Disk and Riverboat labels in the late
60's, multi-instrumentalist Alan Sondheim returns to Philadelphia with
this new group. About his Fire Museum release Ski/nn, The Wire had this to
say: ?He wades into each track using a strong sense of rhythm to tame and
shape his often harshly dissonant figures. Whether at a stately pace or in
rapid scrabble, the music evokes an ethnographic hybrid of countless
string instrument traditions, from koto to bluegrass, vigorously wiping
past idiomatic technique as it does so.?

Perhaps best known as the cellist for Philadelphia psych-folk group
Espers, Helena Espvall has collaborated with such diverse figures as
Fursaxa, Oluyemi Thomas, Sharron Kraus, Ernesto Diaz-Infante, Lukas
Ligeti, Samara Lubelski, Eugene Chadbourne, Pauline Oliveros, Scorces,
Katt Hernandez and many others.

Recently relocated from Lisbon to Brooklyn, Margarida Garcia is a central
figure in Portuguese experimental music. A member of the group Curia, she
has collaborated in live/recording settings with Manuel Mota, N?el
Akchot?, Otomo Yoshihide, Oren Ambarchi, Loren Connors, Marcia Bassett,
Ruth Barber?n, John Tilbury, Eddie Prevost, Rhodri Davies, Matt Valentine,
Alex Neilson, Mattin & (of course) many others.

Barry Weisblat is a sound artist and electronic instrument builder who
extensively experiments with electro-magnetic devices, solar technology,
homemade and modified circuits for application in sound
generation/manipulation and audio engineering. He has collaborated with
Tower Recordings, Mattin, Tim Barnes and Tetuzi Akiyama, and has built
instruments for Peter Kowald, Toshio Kajiwara, Manuel Mota and Matt

Azure Carter is an artist/performer/vocalist living in New York City with
her husband/collaborator, Alan Sondheim. She has a bachelor's degree in
contemporary art history from UCI and a master's degree in environmental
conservation from NYU. She writes songs and texts, makes videos and
costumes, and performs live.

Eric Carbonara:

Tonight is the pre-release party for Eric?s newest release, The Paradise
Abyss. Eric Carbonara is a Philadelphia based guitarist, whose search for
raw aural expression has led him far and wide ? from noise &
electro-acoustic music to taking deep root in the bounty of the wooden
guitar. Carbonara?s playing draws on the rich musical styles from
Andalusian Roma-Flamenco to Hindustani & North African folk to form a kind
of exalted pidgin style of playing that covers a wide emotional terrain
from meditative calm to restless unease. He has developed a unique idiom
of gypsy music for non-existent cultures by combining rogue self-taught,
free-form classical and flamenco techniques with those learned from formal
studies in India. His live solo performances range from contemplative
acoustic meditations to aggressively loud electric sets; both encompassing
Carbonara?s ability to draw the listener in to his world. He has toured
extensively throughout the United States and Europe promoting his releases
on Locust Music, Majumua Music and New American Folk Hero as well as
various self-releases for solo guitar and solo upright-chaturangui music.

George Korein:

"How lovely is it that I can write, ?I?ve never heard anything like this
before,?? Korein builds (his) unlikely themes from even more unlikely
sounds? piercing electronic tones, dissonant loops of feedback, distorted
horns, Helena Espvall?s cello, kissing noises, and a sizeable portion of
his own unique approach to guitar. In many ways, the enjoyment of ?Another
Corpse? is watching Korein keep it all up in the air. Overall, it reminds
me of what my old driving instructor used to say, ?it?s a series of small
adjustments?? well, expect when it isn?t. At times, particularly during
the black metal drum pounding of ?Pulsing Corpse,? Korein crashes this
bizarre vehicle just for the fun of it. ?Another Corpse? does seem to have
a bit of structure to it, though, with the somewhat cold and austere
beginnings gradually leading towards the introduction of more organic
instrumentation. Clearly this cracked genius/800-pound gorilla can go
anywhere he damn well pleases.? ? It?s Too Damn Early review of ?Another
Corpse? (Majmua Music)

This evening is a benefit for Partners In Health's Haitian Relief Work.

links at

Generated by Mnemosyne 0.12.