Posts Tagged ‘terry riley’

2 shows this weekend, Alt-Classical EP released 021611

2 shows this weekend, Alt-Classical EP released 021611

Just wanted to let you know I’ll be playing 2 shows this weekend (Long Beach and DTLA) with Chris Schalrb’s wonderful Psychic Temple project. It’s very interesting music that falls somewhere between the gaps of folk music, modal jazz, and the modular improvisation of Terry Riley.  You can preview the music we will be performing on the show here.

Also my Alt-Classical EP is “officially” going to be released this coming Tuesday (02/16/11). You can download a copy for free at my SoundCloud and Bandcamp pages and it should be showing up at all the usual online sites (iTunes, Emusic, Rhapsody, Zune…) in the next few weeks.

Alt-Classical EP (streaming or download via SoundCloud)

Alt-Classical EP (download multiple file formats via Bandcamp)

Life’s Too Short Graphic Libretto (.pdf)

sat feb 12
{open} books.music.magazines.art
2226 e. 4th st.
long beach, ca
8pm $5 (we go on around 9pm)
sun feb 13th
the smell
247 S. Main St.
Downtown Los Angeles
$5 All Ages

Fearless Leader (2006, revised Spring 2007)

Fearless Leader (2006, revised Spring 2007)

my new Alt-Classical EP is coming out in january and while i’m finishing up the liner notes here is the first track. click below for links to the download and score.

Fearless Leader was partially inspired by a quote from the Hungarian composer Gyorgy Ligeti: “Now there is no taboo; everything is allowed. But one cannot simply go back to tonality, its just not the way. We must find a way of neither going back nor continuing the avant-garde. I am in a prison: one wall is the avant-garde, the other wall is the past, and I cannot escape.”

Fearless Leader by pbailey

this piece was originally conceived as a modular improvisation (in the style of Terry Riley’s Tread on the Trail) but didn’t work as intended (modular improvisation and the resulting rhythmic syncopations didn’t mix well). the orchestration also went through quite a few revisions and for a long time i considered it the black sheep of my PBE repertoire. i guess it goes to show that sometimes you gotta stick with something until you get it right.

Fearless Leader (2006, revised Spring 2007)

clarinet, trombone, vibes, keyboard, electric guitar, bass guitar

download on soundcloud

download score via .pdf, finale, midi

this track is released via creative commons: attribution, noncommercial, and share alike which basically means to me feel to download, remix, mashup, deconstruct, etc… as long as you give me credit and don’t sell it. if you do i will have my critter army hunt you down and hug you until you change your ways.


end of the year housecleaning

end of the year housecleaning

i was enjoying a little extra time over the break and was able to upload some recordings from our late summer concerts that we played with the LANME.

here are our performances of Terry Riley’s “In C” and my “Principle of Sufficient Irritation”at our performances at collumbia (recording) college and in san pedro.

enjoy!

Terry Riley: In C (PBE and LANME Live at Columbia College)
Terry Riley: In C (PBE and LANME Live In San Pedro)

Paul Bailey: Principle of Sufficient Irritation (PBE and LANME Live In San Pedro)

LANME:
christina giacona, clarinet
patrick colon, violin
kelly haley-sibler, flute
james miller, voice
audrey snyder, cello
daniel formidoni, sound design

PBE performers included:
paul bailey, trombone
scott mcintosh, clarinet
matt menaged, bass guitar
ryan nunes, vibes
nicholas white, piano



Principle of Sufficient Irritation

Principle of Sufficient Irritation

some pieces you ‘compose’ and other come out fully formed. “Principle of Sufficient Irritation” (POSI) is one of those pieces that sprang out of me almost fully realized almost exactly 4 years ago.  even though i’m just a part-time adjunct teaching monkey, fall has always been very busy for me and not really a good time to compose and by the time november rolls around i’m itching to get some new pieces written. thinking back in 2005 it’s pretty telling that i remember most of the details around this piece.

Background

i know i had some rehearsals coming up with the PBE and really wanted to get some pieces written, especially something modular and improvisatory. besides having played terry riley’s “In C” the lloyd rodgers group had been performing many of his very simple and effective ‘black book‘ improvisations. i had already written one decent modular improvisation (tong aesthetics from the music from summerland CD), and i really wanted to explore another approach than the large through-composed pieces that were common in the late 60′s and 70′s.  the funny thing is that when POSI was created (we originally referred to it by the day it was created. 11/25/05 was the original title)  the particulars really didn’t matter anymore, i just needed a piece for a rehearsal and using improvisation as process sounded like a great way to create something new in a short time.

Writing Process

the process creating POSI was pretty simple; play a lick on my trombone, plug it into the sequencer and loop it while i improvised another one. i pretty quickly realized that the first gesture worked so well in canon that it was almost a piece by itself and after the initial inspiration my only goal was to “make it change”. my luck/the god(s)/karma must have been smiling on me that day b/c although i have never been good at writing canons, that day i figured out that i’m pretty good at improvising them (at least in this modular style). the rest of the piece pretty much wrote itself and needless to say i was pretty excited for my upcoming rehearsal.

1st rehearsal

well… here’s where i tell you that i took it to rehearsal and the group ‘got it’ and we played it down the first time. but actually the group was pretty stumped and it took us 3-4 rehearsals to get the hang of it. and it took a few tries of figuring out how to move from section to section and what the “rules” of the piece are.  the main thing i remember is that when we finally played it like it was in my head i had that feeling of completion and pure joy that i experienced when i first wrote it and immediately became the piece that we ended all rehearsals with promising a frolicking good time at the end of every rehearsal (and performance)

Improvisation, Performance and Recording

even though the licks are written out, one of the best feeling of performing a modular improvisation (like POSI) is the ability to not worry what to play, but how to play it. each performance is like you get to visit something musically familiar, but each time you can experience it differently. i think performing a modular improvisation is very similar to giving actors an outline for a scene and telling them what needs to occur.

this recording of POSI was our last take of a two day  session and in which we were all pretty mentally tired and loopy. if you were listening to the piece while looking at the score i’m sure it would be pretty hard to follow along, but if you listened a few times you should be able to hear that we are basically playing variations of variations of what was originally written down.   i think its a great example of the pure improvisatory and musical joy that the PBE creates during many of our live show and i know that getting it on tape in a semi-artificial studio setting (in which the vibes and clarinet were recorded in separate rooms without being to see anybody else) is a testament of the great musicianship of scott, ryan, carl, bruce and eric. overall the way we were playing that afternoon i think we could have recorded the album over the phone and still have captured a great performance.

principle of sufficient irritation
enjoy,

paul

Principle of Sufficient Irritation (originally 11/25/05)

* Paul Bailey, Trombone
* Bruce Gallego, Electric Guitar
* Eric Hendrickson, Keyboards
* Scott McIntosh, Clarinet
* Ryan Nunes, Vibraphone
* Carl Stronach, Bass Guitar

Recorded and Mixed by Paul Bailey and Marlon Luna
Recorded at California State University Fullerton and Swing House Studios Hollywood 


Terry Riley's "In C" midnight performance

Come out and listen/perform Terry Riley’s modular improvisatory masterpiece “In C”
this Thursday night (august 6th 2009) at Midnight with members of the Paul Bailey
Ensemble and the Los Angeles New Music Ensemble.
Everybody is invited!
“In C” is shaping up to become this century’s new Messiah (via steve layton at Sequenza 21) — except wedon’t need no stinking Christmas to trot it out and have a go. So why not get into the spirit, and do your bit for communal music-making?  To give you a head start, here is a PDF of the score, so you can spend a little time beforehand brushing up on your chops. Bring your friends and a music stand if you can. If you are planning to play please RSVP with your name and instrument at pbeinfo@gmail.com

We also are still playing with the LANME this Friday night in Santa Monica. i have really enjoyed playing the last two shows with them and putting together this show is all about getting all these great musicians I know together in one place.  After playing our first show together it occurred to how much fun it would be to do it with all my friends.

We will do a short rehearsal/soundcheck to go over the piece at 11:30pm

Thursday, August 6th

10:30pm load-in (ish)
11:30pm reh (10:30 setup/load-in
midnight performance

Juanita’s
5930 York Blvd.
Highland Park (Los Angeles, Ca 90042)

Friday, August 7, 2009 (8pm)
PBE and LANME
SMAS (Santa Monica Art Studios)
3026 Airport Avenue Santa Monica, CA 90405
performing: “in C” terry riley
“principle of sufficient irritation” paul bailey
and music by patrick conlon, dan formidoni, evan ziporyn and marvin lamb.christina giacona, clarinet/musical director
kelly wakelin, soprano
james miller, baritone
patrick conlon, violin
audrey snyder, cello
kelly haley, flute
sarah edgmon, clarinet
scott mcintosh, clarinet
daniel formidoni, keyboard
nicolas smith, keyboard
paul bailey trombone
matt menaged, bass guitar

In C, PBE and LANME  (excerpt)

Download now or preview on posterous

InC.pdf (227 KB)

Posted via email from paulbailey’s posterous


TWO SHOWS ADDED

TWO SHOWS ADDED

PBE and LANME

performing: “in C” terry riley
“principle of sufficient irritation” paul bailey
and music by patrick conlon, dan formidoni, evan ziporyn and marvin lamb.

Sunday, August 2nd 2009 (2pm)
Angels Gate Cultural Center
3601 South Gaffey Street
San Pedro, CA 90731

Friday, August 7, 2009 (8pm)
SMAS (Santa Monica Art Studios)
3026 Airport Avenue Santa Monica, CA 90405

christina giacona, clarinet/musical director
kelly wakelin, soprano
james miller, baritone
patrick conlon, violin
audrey snyder, cello
kelly haley, flute
sarah edgmon, clarinet
scott mcintosh, clarinet
ryan nunes, vibes
daniel formidoni, keyboard
nicolas smith, keyboard
paul bailey trombone
matt menaged, bass guitar

In C; PBE and LANME (excerpt)


Top 10 Reasons

Top 10 Reasons

op 10 reasons to see the PBE and LANME this friday night :

more cowbell

1. last minute gig
2. great to collaborate with other groups
3. in tarzana (hooray for our valley friends?!)
4. get to hear terry riley‘s “in c”
5. new music concerts usually suck
6. at least you can preview principle of sufficient irritation in advance
7. it’s in tarzana
8. ryan nunes’s last show before going to law school
9. flute, clarinet, violin, cello, vibraphone, piano, trombone and bass guitar
10. it’s free (except for the gas and having to drive out to tarzana)

members of the PBE (scott, matt, ryan and myself) will be performing with the los angeles new music ensemble (LANME) terry riley’s “in C” and my “principle of sufficient irritation” at columbia college in tarzana this friday night (8pm)

friday, july 31st, 8pm
los angeles new music ensemble (with members of the PBE)
free
performing: “in C” terry riley
“principle of sufficient irritation” paul bailey
and music by patrick conlon, dan formidoni, evan ziporyn and marvin lamb.

columbia college (columbia college theatre)
18618 oxnard street
tarzana, CA 91356-1411

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thanks steve!

thanks steve!

when i first got to college i was literally a “hayseed from kansas” (lenexa, kansas that is) and although i liked much of the music we were studying i kept asking my theory professor and long suffering composition teacher (dr. walter mays/wichita state university) for music by composers who were “alive now”.

to his credit he started with ligeti, then moved on to martin, stockhausen, berio, lutoslowski, penderecki… they were all interesting artists but none of them really “spoke” to me. all that changed after he gave me the score to reich’s “8 lines”. listening to that piece changed my life. i then knew i had found my “home”.

to his credit even though “those minimalists, that passing fad” (not said with a sneer, but more like a disapproving uncle) were not his cup of tea, he soon introduced me to glass and riley and always respected my early aesthetic. that little “push in the right direction” was all i needed.

steve reich might have won the award for the double sextet. but encountering his music in my youth was important because it showed that great art music was possible outside of the academic, orchestral, and modernist traditions.

FTO!


minimalist jukebox part III, terry riley

minimalist jukebox part III, terry riley

last night i got hear terry riley at the getty center. the first half featured his string trio and string quartet performed by the calder quartet who are currently in residency at julliard.

i hadn’t been planning to see the concert, mostly because of all the music being performed in the festival i knew this concert wasn’t featuring the any of terry’s sting music that i was most interested in. particularly cadenza on a plain and salome dances for peace. so when my friend j. michael walker called and asked if i wanted to go, i figured it was good karma to take him up on the offer.

in terms of artistic achievement the first half of the concert (string quartet and trio) really deserves little mention. i cannot figure out two things:

  1. why this music was programmed?
  2. who’s idea was it to have the calder quartet play it?

the first half of the concert resulted in a deep retrospective to show his development through two pieces; a boulez-influenced graduate thesis (string trio 1961) to the early lamont young/doug leedy influenced composition(string quartet, 1960).
because of the lack of any program notes, i’m not sure how many people in the audience came prepared with how these pieces related to the evening.
if riley’s name hadn’t been on the program, i’m sure many in the audience wouldn’t have any idea that the music was written by the same man.

using that same fuzzy logic, i guess since the first half featured music by riley written in his 20′s it only made sense to have musicians in their 20′s play it. the result reminded me of too many undergraduate composers forums i have attended. and i assume they came pretty close to reminding terry of his student days back in berkeley.

the second half of the concert was much more enjoyable. riley performed improvisations of much of the music he is known for. one of the first improvisations featured much of the repetitive patterns intermixed with a jazz standards (i’m fuzzy on my titles), coltrane influenced voice leading, with a little stride and ragtime piano thrown in. i’m sure the intent was a musical lecture (in the best spirit) to show the influences and relationships between all of the music he loves. i know many “important” composers wouldn’t dare show their “bag of tricks” that readily in public, but it only points to greatness of an artist when he/she is willing to show you what is behind the curtain.

oh yeah, on the last encore he played a improvised version of salome dances that i’ll never forget.

thanks terry,

paul


internet radio

i’m stuck cleaning the house today for tonight’s poker party with some old students from john marshall high school (now in mid-20′s and not members of the slacker generation). i decided to give internet radio a try again and found some great stations that have made the house cleaning not so miserable. iridian radio and […]


minimalist/postmodern listening list

Technorati Profile What to listen to? That is the question! I’m going to try and keep the descriptions brief and let you decide for yourself. Hopefully there will be something new for you to check out. Of course the following are just my opinions, so if you think something is missing, please let me know. […]