Thoughts on an Astral Project show, or I feel like a teenager again

My step-son (Blake) asked me to take him and a friend (Taylor) to hear Astral Project at Snug Harbor tonight. One of the cool things about Snug (and there are many) is that young people are allowed to come in to the club and hear the music, when accompanied by an adult. There aren’t many places that 17 year old aspiring musicians can go to hear good live jazz.

I hadn’t heard Astral Project live in quite some time. I was nice to be reminded how great they are. When I was about the age of Blake and Taylor, I spent a lot of time listening to Astral Project. Many of my early musical inspirations and revelations happened at Astral Project shows. I hadn’t thought about that music much recently, but tonight I was reminded how much the sound of this band is a foundational aspect of my musical and aesthetic DNA. I realized that most jazz drummers leave me flat, because I want them to be Johnny Vidacovich. I remembered a night in Dixon Hall at Tulane, when I heard Tony Dagradi, and his sound made me want to find a voice on trombone that is that personal and vibrant. They are really a special band, and it was nice to be reminded of that tonight.

I have been trying to do a good job of exposing Blake to good music, and giving him a chance to find the things that he likes. He returned the favor tonight by asking me to take him to a show that left me feeling just as inspired as it left him. I love the nights that remind us that music is fun.

Hanging with composers, or electroacoustic name dropping

Meeting people who are well known in one’s field is always a great learning experience. Sometimes all you learn is that a person you thought you respected is just a jerk. More often (at least in my experience), you learn that this person is not only a great artist, but a great person as well.

I have always had trouble separating my perceptions of an individual human, from my perceptions of the art he or she makes. I am predisposed to like the work of people who I have met and like on a personal level, just as I have trouble enjoying the work of people who I have met and determined to be jerks.

A couple of weeks ago, I had the pleasure of meeting Jon Appleton. He spent a week at Loyola University as guest composer. The New Orleans electroacoustic scene is littered with Appleton students…well, ok, Paul Botelho at Loyola, and Tae Hong Park at Tulane, were both Appleton students. Paul brought Jon to town for a week of teaching and a concert. I had several chances to spend some time with him, and it just confirmed that the famous guys are famous for a reason. He premiered a new piece, and his mastery was obvious. His thoughts on music and life as a musician were both clear and inspiring. And, he is equally fun to talk with about pizza, bourbon, and removing chili stains from pink shirts.

Last weekend I had the pleasure of hearing Lukas Ligeti. Lukas is a composer and percussionist, and he performed a solo concert of his works at Zeitgeist in New Orleans. The stuff he did that night was all electronic, and was a cool mix of sampled and synthesized sounds. He spent an extra day in New Orleans after his show, and ended up back at Zeitgeist the next night, when I played a duo show with Dave Cappello. Dave, Lukas, René (from Zeitgeist) and I ended up having a nice post gig meal/hang. Lukas has done a lot of travelling and has some interesting political ideas, so it made for a great night of conversation. It was so interesting, that we didn’t even talk about his famous father, although I did learn the correct way to pronounce the name.

Meeting cool people is far and away one of my favorite things about the life I am blessed to lead. I now have an even greater enjoyment of the works of Jon and Lukas.

We learn from our students

Students can turn you on the the oddest stuff. We talked about musique concrète in my Intro to Music Tech class the other day, and after class a student (Spencer) said it reminded him of this:

Dig the lederhosen wearing, serpent playing horn section. Spencer’s favorite part was the record scratching parrot voice. It’s like a modern day Officer Krupke…sort of.

LOLs video

Maybe the only way to break my unfortunate “one post per month” recent pace is to make multiple posts on one day a month…

Anyway, last Tuesday the Laptop Orchestra of Louisiana (LOLs) played a concert in Free Speech Alley at LSU. It was fun. There was sunburn. Someone shot video.

We did a number of pieces that day. The piece in this footage is something we called “own instrument improv.” It is an improvisation, in which we each play an instrument of our own design. I was playing a joystick instrument that I designed for a piece called Forbidden Butch and another instrument that I call R2D2 because it sounds a little bit like the droid. They were both made in Max/MSP. The forbidden butch instrument uses a Logitech Joystick, and the R2D2 instrument uses an AKAI LPD8 as a controller, although it can be played without the LPD8. If you want to check out the patches, send me an email, and I’ll send them to you.

In Bb 2.0 or internet art

My friend John Worthington tweeted this link earlier today. It is a fun instance of internet art.

http://www.inbflat.net/

As described on the site:

In Bb 2.0 is a collaborative music and spoken word project conceived by Darren Solomon from Science for Girls, and developed with contributions from users.

The videos can be played simultaneously — the soundtracks will work together, and the mix can be adjusted with the individual volume sliders.

Hamid Drake’s Bindu-Reggaeology in Tampere (photos)

The following photos of our performance in Tampere (Finand), on November 6, 2010, were taken by Alejandro Lorenzo. Alejandro is a fine photographer, and he was also on the staff of the Tampere Jazz Happening and helped keep us all running smoothly.

I won’t label each pic, but the band was: Napoleon Maddox (vocals), Jeb Bishop and me (trombones), Hamid Drake (drums), Joshua Abrams (bass and guimbri), and Hervé Sambe (guitar).

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AAJ review of Hamid Drake and Bindu: Reggaeology at the London Jazz Festival

Hamid Drake and Bindu: Reggaeology at the London Jazz Festival:

“Having worked together since 2006 when they hooked up to form Lucky 7s, it was no surprise that the two trombones spent much of the evening hanging on each others coat tails, phrasing as one, veering between seat of the pants counterpoint and raucous support for each other’s solos. New Orleans resident Albert boasted the fuller tone, and brought with him some of his natal cities’ second line sensibilities, while Bishop tended more to the abstract and dissonant. Both took fine features: Bishop’s muted ‘bone on his own ‘Fred’s Gift’ was particularly noteworthy, while Albert tore it up with the plunger mute on ‘Mother Kali’s Children No Cry.'”