Last weekend was the 29th edition of the Seattle Improvised Music Festival held as it has been for years now at the Chapel Performance Space in the Wallingford Neighborhood of Seattle WA. This year among others they invited Bonnie Jones and Andrea Neumann whose work I’ve enjoyed for quite some time. Bonnie of course plays in the excellent duo English with Joe Foster and Andrea has been a stalwart of the Berlin scene performing on numerous great albums. They’ve been playing as this duo for some time now and of course put out the excellent green just as I could see on Erstwhile Records. So even though it’s been so cold and it constantly threatens to snow I made out Wallingford to see them perform. They played days two and three of the festival, their duo on the third day and in combinations with Seattle based improvisors on the second.
SIMF 2014 Day 2 (02.07.14)
Joe was playing a hollow body electric guitar run through a simple amp with minimal (or no) effects. He played three short improvisations, generally favoring a pretty continuous stream of sound with a mix of melodic and more abstract elements. The first was sort of harmonic Fahey-ish bits interspersed with Bailey-esque angular bits. The second piece, which I found the most interesting, was based around continuously strumming a few strings which generated a really un-guitar-like metallic high pitched effect. This he moderated by chording high on the neck and the interactions of this created some odd tones and lingering overtones. The last piece seemed to be the longest and it again explored more melodic territory. It seemed pretty wandering and not much of it really stuck in my mind except the ending which was with a harmonic that seemed to surprise Joe a bit and which he immediately recognized as a sign to end. A nice ending to a set that was very well done for what it was, though what it was isn’t necessarily my thing.
Andrea on autoharp, electronics, Gust on seemingly on turntable. I have to admit I was expecting a duo of Gust on piano and Andrea on her custom piano guts. But perhaps that would have been to obvious? This turned out to be pretty interesting and riskier I think. The sounds were rather cut up with piano samples from Gust (perhaps a record of himself?), a chopped up and frequently cut-off speaker, perhaps a recorded lecture, (couldn’t tell if who was doing this, Gust I suspect) with Andrea initially tapping on the heavily amplified strings which generated a compellingly rich ponging sound. She later worked feedback in various forms, plucked out a little melody on the strings toward the end placed a contact mic on her throat and mixed in some sub-voclizations. At various times throughout the piece there were silences but I have to say these came across as rather forced. The noise floor from Andrea’s setup is pretty high and when you go from that to silence you either let that hum play out or fade it down. She did the later and that I think is what came across as pushing the sounds around. I tend to think it’s best to let it ride but I know there are those who feel that gives a floor upon which the improvisor can rest. Always choices.
Bonnie Jones/Jonathan Way/Naomi Siegel
This trio featured Bonnie Jones playing her usual open circuits but she also has added a small laptop, contact mic’s and percussion elements to her setup. Jonathan Way, of Seattle Phonographers Union
fame (and whom I played with in EyeMusic
) seemed to be processing field recordings. He stuff was soft and subtle, often sounding as washes or wind and faint environments. Naomi Siegel, whom I don’t recall having seen before, played trombone with and without mutes and recordings via her smart phone. The ensemble did two fairly short pieces. The first featured Bonnie on open circuits most of the time, though she also did some contact mic work. There was this rather tribal-ish percussive bit at one point that could have been Bonnie playing from her laptop though it certainly could have been a field recording from Jonathan. Jonathan primarily seemed to work with processed field recordings, winds and washes and pretty subtle ambient stuff. There was some overlap between his and Bonnies’s sounds at times which nicely layered and merged together and I didn’t expend much energy separating them. Naomi primarily worked with extended techniques on her trombone mostly in the static-y, sputtery realm but she also would drop in these melodic phrases almost like a jazz quotation. At least once she held her smart phone up to her mic and played some recorded sounds of what sounded like crowds, or conversation of some sort. In the main I found she didn’t quite fit with the electronic duo, though sometimes the more abstract and subtle trombone bits mixed in nicely.
Their second piece began with Bonnie playing percussive stuff with two cable ends, banging on the frame of her chair and the table and eventually hitting little bells and metal bowls on her table. Jonathan layered in some wind sounding washes and via her smartphone Naomi dropped in distant vocal samples. This piece was more episodic with silences and near silences between it’s several “movements”. After the initial percussive intro, Bonnie moved open circuits and Naomi returned to the trombone. Later she did more percussive work, tapping around the body of the ‘bone. The piece concluded with a wash of sound that gradually increased in volume and intensity with radio from Bonnie and sputtery trombone from Naomi. Jonathan increased the volume of his wash of sound until they all dropped out and he quickly faded his sound out a moment later. This piece varied a bit in structure and elements from the first, which did have a bit of testing each out to it. While still a bit mixed I definitely enjoyed this one and it was a good ending to this night.
Check out all of my photos from SIMF 2014: SIMF 2014