Cleaning Out the Garage

summer is here and i’m actually think it might be productive. it’s not like i don’t need the break, i’m just not that productive when i don’t have any real structure to my day. overall the last few years have been a little too much drama for me and it’s time to “get my house in order” (literally as well as figuratively).
1st up is cleaning out my garage and turning it into a rehearsal studio/performance space. over the last few years i have definitely outgrown my “office” and now that i’m teaching private students at the house i need a bigger space to work in. after editing and mixing three albums (not to mention most of the composing that i do at home)i also have to admit that i really need a change of scenery. even though i wasn’t writing that much music this past year i found it very hard to want to sit down at my desk to do anything creative so i ventured out anywhere i could think of as an alternative creative space (including different rooms in the house) and came to the conclusion that having a larger space in my garage should do the trick for now. it will also allow me to setup and properly practice with the all the gear i’m using with my “music for controllers” setup. instead making music through headphones i really have needed to spend the time figuring out how to play these pieces “live” and have come to realize it’s much more involved than when I just played trombone.
the main problem is getting a proper balance when you are mixing live acoustic instruments (trombone, voice) and controllers (kaossilator, drone/scruti box, buddha machine, ableton live, launchpad, etc…). i also have realized that mixing electric and acoustic instruments without sound reinforcement can be very a very disjointed listening experience in a live performance and in many ways my even though much of this music is not technically hard to perform my “practicing” centers around how to setup gear, mics, and amps which means that i have to pretty much be practicing/performing with a stereo/PA system to make my performances aurally make sense.
with all that being said (and after trying to mostly “practice” at other locations) the reality is that the setup and teardown of this technological spectacle (a few amps, mic/stand, laptop/keyboard stand/table, MOTU traveller(digital/audio interface), and 2 pedal boards) can take almost as long as the rehearsal so for the time being i’m going to be only performing solo or with whomever musicians that can make it to the 90042 for a weekly rehearsal.
after driving down to fullerton and back for the last 20 years for PBE and DIE rehearsals can really take it’s toll and at this point in my life i think it’s only natural to change things up and make music in a different way. to me it’s kinda funny b/c on one hand i know there are a lot of people who over the past few years have been introduced to my “Retrace Our Steps/PBE 1.0″ music who really wish i was making more music with the larger group and really like the strings/winds/rock band orchestration. there are also another group who have only seen the “PBE 2.0 rock band” (as we jokingly called it) and keep asking when that group is going to perform again. all i can say is that part of making alt-classical music is not really having the control to make those choices which leaves me to make music with the equipment and musicians that are available (and not continually banging my trying to fit a round peg in a square hole)
the good news is that if all goes well I should be performing on a regular basis soon. when and if there will be a PBE 3.0 is yet to be seen. right now one step at a time is fine with me.
Retrace Our Steps (Emusic Review/John Schaefer)

i was very happy to see that WNYC’s John Schaefer wrote a great review of Retrace Our Steps for the E-Music website.*
“Composer Paul Bailey winningly describes his ensemble as an “alt-classical garage band.” With 4 singers (two of whom also speak), strings, winds, piano, electric guitar, vibes, and electric bass, it’s as good a description as any. Retrace Our Steps is his “secular oratorio in 4 acts,” and while the opening notes of Act I and of Act IV sound like they might have come from Arnold Schoenberg’s Transfigured Night, the dominant musical references are to Philip Glass and Michael Nyman. Bailey’s pulsing, tonal chamber music is married to texts by Gertrude Stein, Guy Debord and Jenny Bitner. All four acts are highly rhythmic affairs, but each has its own character: Act I insistent, Act IV a more reflective cousin (a neat trick since the rhythm seems to be the same); Act II with a stinging electric guitar part leading the way; Act III with an elegant combination of vibes and rocking strings and guitar. Rather than providing a narrative in a traditional oratorio sense, Bailey gives us a series of aural snapshots dealing with isolation, alienation, and the irony of modern communication (that when it is so easy to communicate, it is still so hard to communicate effectively). A further irony is that this message is carried by some immediately accessible music; if the message is that instrumental rock and new classical music are not so far apart, that message comes through loud and clear.”
and last week WNYC recently replayed the original show that featured my music.
*i’m not sure what is going on but it looks like Act II hasn’t been uploaded properly on the emusic site. If you have had problems and have downloaded an incomplete track please email me and besides giving you a link to Act II, i’ll also be happy to send you a special “surprise”.
and of course you can download the whole album right here for free at anytime
Retrace Our Steps, Act 1
Retrace Our Steps, Act 2
Retrace Our Steps, Act 3
Retrace Our Steps, Act 4
(download graphic libretto)
(download Graphic Libretto and Mp3′s)
Minimalist Music Theatre: WNYC New Sounds Podcast (2008)

Minimalist Music Theatre (originally aired May 20, 2008)
“Hear some music theatre pieces on this New Sounds show. Listen to Philip Glass’s recent release “Waiting for the Barbarians,” adapted from the novel by the South African writer and Nobel Prize Winner John Coetzee. Also, there’s music by Paul Bailey – his post-minimalist music theatre piece “Retrace Our Steps.” He describes it as a four act vocal/instrumental spectacle based on texts by Gertrude Stein, Guy Debord and Jenny Bitner. The “alt-classical garage band” Paul Bailey Ensemble performs the work. And more.”
we cannot not change
my apologies up front for posting a political blog. you know i’m not the type to get “the sky is falling”. i have had enough of being cynical about our political system. if you were like me and 8 years ago thought that politics didn’t matter then this post might be for you. as you [...]
Life (We Cannot Retrace Our Steps)

my long life, my long life
RETRACE OUR STEPS is essentially a secular oratorio; a collection of thoughts, feelings, and opinions about modern life (consumerism, idealism, and alienation)
Traditionally oratorios functioned as a musical sermon, coordinated to biblical calendar to enhance the worship service. by setting these conflicting themes in a non-narrative format allows the contradictions and grey areas to become illuminated.
Instead of creating an “official” set of PROGRAM NOTES to accompany this recording (like the ones you are reading right now) I decided that a GRAPHIC LIBRETTO would far better bridge the gap between the trepidation many people feel today when listening to ART MUSIC (music meant for contemplation)
listen and download RETRACE OUR STEPS I-IV:
act 1
retrace our steps, act I
act 2
retrace our steps, act II
act 3
retrace our steps, act III
act 4
retrace our steps, act IV
download graphic libretto and retrace our steps mp3′s (66mb zip file)
Retrace Our Steps (2005), Background and Influences

i started assembling the librettro for retrace our steps at the end of my grad school experience sometime in spring of 03. i had never written any vocal music and was encouraged by vocalist nicole baker (who is on the faculty at csuf) to write her a piece.
background
i not really a “word” guy and have never been able to remember lyrics from any song, but writing for how the voice sounds was of course really appealing… duh.
influences
at the time i was writing retrace i was coming out of my grad school experience and had been studying major large scale works that represented composers at the top of their game. after studying monteverdi’s coronation of poppea, bach’s goldberg variations, and glass’s einstein on the beach i had been blown away by the amazing artistic and contemplative music that each had written. these pieces really make it for me as a listening experience, but to dissect them and understand how they are organized and the logic used to create them was very humbling. did i feel that my first vocal piece attain those goals? not really, but after writing large amounts of consumable music i really wanted to play in a different sandbox.
during this time i was also very taken with my friend and mental collaborator sean ferguson’s great piece society of the spectacle (2000?). watching its first performance was an electrifying experience and really motivated me to get off my ass and write. there are many similarities to both pieces (that should be discussed further) and we have had some great nights discussing my “plagiarism” of his work (the penultimate line in both of our pieces is plagiarism is necessary). the best thing of sean’s spectacle that i stole was the way he used levels of obliqueness to create meaning in his text . although i think philip glass’s non-narrative work einstein on the beach is the most important work written in the last 50 years, i do have one conceptual gripe with him and a few others. the non-narrative obliqueness of the text for three+ hours is a little much for my friends to endure. (i know… mtv generation) sean solved this problem beautifully by creating a non-narrative composition whose subject is vague and oblique (consumerism/alienation) and used levels of obliqueness to delay the first direct statement to the audience 3/4 of the way through his piece. he then retreats back into a more oblique setting of his libretto, leaving through the same rabbit hole he entered.
this was going to be my solution also… i could present a subject drama (oratorio) that contained a politically aggressive message by setting the text using various levels of obliqueness to obscure my “message”. as the piece unfolded it would i would come out of the rabbit hole and “get to my point” and then immediately retreat into the symbols and layers of the assembled text.
in short, i had a strong message to convey, but didn’t want to the performance to become “preachy” by dealing with the libretto in a direct fashion.
composer camp
just finished my composer camp victory lap with my pitbull pal javi. we took a very scenic walk through the hills above my house where you can see the jpl campus, mt. baldi, the hollywood sign, downtown los angeles skyline and catalina(on a clear day which today was!). victory laps are reserved for sunday nights [...]
"Let's Burn that Puppy Down" Rex Reason/OC Weekly (2005)

OC Weekly January 13, 2005 By Rex Reason
“Paul Bailey saw a lot of space between pop art and high art and decided to fill it, rather than just rant about it over fish tacos and soda—although he does a pretty good job at that, too. The jovial, articulate composer/trombonist/bandleader is just as likely to talk about Wes Anderson or Love & Rockets comics as elements of the baroque chamber music his nine-piece ensemble—two violins, cello, vibraphone, synthesizer, electric guitar, bass guitar, clarinet and trombone, augmented by vocalists as necessary—draws on. It’s classical instrumentation and architecture, but the amplified guitars are front and center, enough to scare off the furs-and-tiara set. And that’s fine for Bailey, who’s proud of a distinctly un-academic—though definitely not uninformed—take on classical composition, something between Weezer and Wagner. With many of his musicians coming from Cal State Fullerton, his ensemble is familiar with gigs at local art galleries, churches and other impromptu performance spaces; this month, however, Bailey will debut Retrace Our Steps , a work based on writings by Gertrude Stein, Guy Debord and Jenny Bitner that was commissioned by the Cerritos Center for the Performing Arts in what Bailey describes as a happy accident.
OC Weekly : So you left Kansas to become a professional musician in California, and you ended up . . . at Disney. How was that?
Paul Bailey: It’s Disney. Anything anyone else has said? It’s true. I was trained to be a musician, I practiced very hard, and I got there, and I basically had to make farting noises on my trombone and play show tunes. At Disney, you don’t have a choice. We played the same 12 songs for four years.
Is that what drove you to become a teacher?
Being a teacher is the only way I can be a composer and a musician and not have my soul taken out of me. Being paid to play trombone or being paid to write music, I have to worry about who’s going to pay me next. Now, in a sense, I have no filter. I can write whatever I want. It can be shitty, but at least it’s what I want.
So explain why you want to do what you do.
I’m 36. Are people my age supposed to listen to pop music their whole lives? The whole music industry is set up to please a 17-year-old kid. I don’t mind listening to that stuff, but am I supposed to live my life through the eyes of a 17-year-old?
But you told me earlier how much you like Weezer.
I love Weezer. They’re one of my favorite bands, but it would be false of me to write pop songs or rock songs. Is rock and pop music the only way you can express yourself in today’s culture? If I had drums, we’d be a rock band. Right now, it’s very deliberate—I’m not a rock band, although I use rock instruments
So is this something closer to an orchestra?
Fuck the orchestra. Let’s burn that puppy down and start over. The orchestra’s proper place is the museum. The idea you’re getting some cultural experience that’s going to make your life better and it’s going to expand your mind is total bullshit.
Then how do you reconcile the two forms?
There’s the technical aspect where I can say, academically, we’re not modernist music. We believe in stuff that has the same chords as Weezer, the Beatles or Radiohead. I’m choosing to deal with music I grew up with and that interests me. But I don’t want to make people go through all these things to decide whether they like it or not. In my latest work (Retrace Our Steps), there might be a message, but the actual music takes very little to understand. You don’t need to listen to Michael Nyman or Steve Reich or Phillip Glass to listen to my music—although it’s based on them. You don’t need to understand hundreds of years of music history in your mind to listen to stuff I write.”
phyrric victory
most of my friends are talking about how we are going to get through the next four years. i hope it is that simple. i’m really concerned about how easily people have been manipulated by the empty ‘family values’ rhetoric. i’m getting the idea its a new spin on an old game. i have been [...]
upcoming projects
now that the fall concerts are starting to wrap up, its time to get back to composing. over the next few months i’m going to try and document my progress on a few projects, as well as update my program notes for my concert at the cerritos center. much has been said here and here [...]
upcoming concerts-jouyssance early music ensemble and jacaranda music series
must see concerts saturday, october 16th, fullerton 8pm sunday, october 24th, santa monica 3pm jouyssance early music ensemble, music of dunstable, power, josquin, palestrina, and monteverdi the music director/vocalist Nicole Baker is my great friend and is the featured soloist in my new vocal spectacle retrace our steps saturday, october 24th, santa monica 8pm jacaranda [...]
Bookmarks for July 16th through July 19th [del.icio.us]
Bookmarks from July 16th through July 19th:[del.icio.us]
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