Here are more pix from the Stormy Weather Arts Festival, November 3-5, 2017; at the Jeffrey Hull Gallery and the next day at the Coaster Theater.
Beautiful water color and oil paintings, by Jeffrey Hull Gallery, Cannon Beach, OR. Visit the gallery at 172 N. Hemlock St., downtown Cannon Beach, and join me for some KotoJazz at 5pm, Friday, November 3rd. Visit http://www.hullgallery.com/the-30th-annual-stormy-weather-arts-festival/
Come join me at what promises to be an enjoyable event that offers you a visual introduction to all things Japanese. This includes a colorful fashion show to original Japanese performance by famous Kokyu performer Daikuke Kiba and my own variations on 1,000 year old Japanese koto music played on the keyboard. These include Haru no Umi, Tori no Yo Ni, and Kojo no Tsuki. I will also play my originals including recent art show selections Windy Wheat Fields and Snow Blossoms, and hyper fast Snow Flurry.
Sample previews are available here: https://kotojazz.wordpress.com/2017/03/27/sanger-de-christo-arts-center-represents-the-west-with-classy-exhibit/
The Sangre de Cristo Arts Center in Pueblo, Colorado showcases a stellar presentation, professional art exhibit “Representing The West”. My music was selected among 550 artists as part of the digital media section:
Song 01: Windy Kansas Wheat Fields
Song 02: Snow Blossoms
Song 03: Snow Flurry
In and Around the “Representing the West” Exhibit:
Out and About the Sangre de Cristo Arts Center:
Indeterminate music happens when a musician creates a base melody, and leaves the rest to spontaneous chance and free flow of expression. Instead of the musician taking the driver’s seat, the musician surrenders to letting the music take the driver’s seat; take the musician wherever it leads. It was first practiced by John Cage and Brian Eno say some, but this type of creative expression has been around since the first music was created.
In the mid- and then late 1900s, it has been made into somewhat of a classification of its own. Indeterminate music, a “composing approach in which some aspects of a musical work are left open to chance or to the interpreter’s free choice”, according to Wikipedia.
With that, here is an attempt to create some form around it. First you have the music piece itself. This music can itself take on its own life and expression around its main themes – deter, detract, explore outside of its originating themes, chordal structure and basic musical patterns – and then later return to those main themes. In fact, the whole idea of “indeterminacy” means it does not necessarily need to return to the original themes. It just seems to help the listener connect to the music more effectively, to hear some semblance of familiarity with the musical score.
Systems based indeterminate sound seems to have its own characteristics and tendencies. It takes advantage of all the ways of changing an original score. These include:
A truly indeterminate music piece can not only deter off the main themes, but it also may modulate, reverberate, delay, compress, and distort at any given part of the music piece. This indeterminacy might have a connection with the concept of “chaos jazz” I’ve discussed in previous blogs entries on Kotojazz; e.g., Li Pui Ming’s style of jazz.
Chaos variations of known music scores have been a topic of intrigue at various times and places. For example, Diana Dabby an MIT graduate in electrical engineering sought to make the connection between music and math, including using “math to create new musical ideas.” Beyond that, using math to generate inspiration and far reaching creativity. “The principles of her work have now been used to create new dance “chaography” and even a chaotic remix of Lewis Carroll’s ‘Alice’s Adventures in Wonderland,’ according to a 2013 article about her in t he Boston Globe (see “What a little chaos does for music”). Her works refer back to Ilya Prigogine’s “chaos theory” in physics and mathematics. The article says that in mathematics, “‘chaos’ is actually the result of a system that is evolving according to set rules”, even though it often does not appear that way. The reason chaotic systems seem so unpredictable and random is that they are “sensitive to slight changes in initial conditions, commonly referred to as the butterfly effect”. So too, the “butterfly effect” applies to music as well. These are the makings of the “nonlinear dynamics”, as explained in the article by Dabby’s associate and University of Colorado, Boulder professor Liz Bradley. Just as musical expression challenges people to explore their deepest most personal secrets, music will find its way to unleash all of it and more. So in this sense, it is a reflection of our self awareness and what I believe we refer to as spirituality.
Another stroke of luck. In January – March 2017 two of my original Kotojazz tunes are recognized as “Representing the West” at the Sangre de Cristo Arts and Conference Center annual exhibit. These are pure new age Americana folk songs. “Snow Blossoms” was inspired by the blue violets peeking through melting snow on a sunny winter day along Boulder Creek trail in Boulder, Colorado. “Windy Kansas Wheat Fields” was inspired by strong wind blowing over fields of grass and wheat creating a steady undulating flow like ocean waves. You can see the wind blowing through wheat fields in eastern Colorado and Kansas. Both feed our souls, in their simplicity and stillness (snow blossoms) and their awesome enduring power (windy Kansas wheat fields).
I am reminded that the “The wind blows where it wishes and you hear the sound of it; you know neither from where it comes nor to where it goes, and so it is with the Spirit.”
Previews of these songs are available here:
David Wilborn likes to jazz it up with some upbeat, almost ragtime rhythmic tunes. His music is mostly improvisation and this is one of those. As a gifted creator of sound into melodic rhythm, it’s been a pleasure and privilege to have Dave as a friend for over 20 years, and as a music partner for the past year.
Sometime the smaller venues are more fun and interactive and relaxing for us both, and we find that C&P Coffee Company which hosts music performers like us every week, is just such the place to make you feel at home. It is located right on the main drag in West Seattle at 5621 California Street, just south of the West Seattle “Junction”. Stop by sometime and you just might find us rockin’ up this classic coffee house, or someone else like us. The coffee and service there is fabolicious!
This new CD mostly live production was crazy, experimental fun – anchored by a few George Winston covers, a touch of Narada/ Silver Wave- style new age, a koto jazz tune, and some “off the beaten path”, eclectic wacko improvisations . . . and you have a metamorphosis of the senses –
From the Sounds from the Coast CD, “Whales Breaching“ is a celebration of life, sharing the seas with our ocean friends, and a hope that we will never take them for granted. Let’s support their rights as our own.
Here is a live recording of a tune I first played at Stone Way Café’s Fremont Art Walk on April 1st, then recorded live at The Royal Room on April 13th with Koto Jazz accompaniment by Patrick Wilson on the SyntHorn –
Join me and Koto Jazz partners next week in Pioneer Square and Northwest Folklife –
April 29th, 7-8:30PM, Saturday, Koto Jazz @ FREDERICK HOLMES AND COMPANY Art Gallery, 309 Occidental Ave., Occidental Mall, Pioneer Square, dowtown Seattle; #206-682-0166.
May 27, 4:30- 5:10 PM, Friday, 2016 NORTHWEST FOLKLIFE;“Koto Jazz – Sounds On the Coast” by Chris Kenji, Center Theater, Seattle Center, Seattle WA. No cover
Take a mid-week break next Wednesday and relax by stopping by The Royal Room at 7:00-9:30pm, April 13th as Patrick Wilson and I demo our experimental session of Koto Jazz with bossa nova rhythm and beat on the Steinway and Patrick’s invention, the SyntHorn. We’re attempting to further refine it to make it truly stage worthy in preparation for Northwest Folklife opening day. We perform for Northwest Folklife on Friday, May 27 at 4:30pm-5:10pm. The Koto Jazz will be stage worthy with bossa nova fusion. The Royal Room is located in south Seattle’s Columbia City neighborhood at 5000 Rainier Ave South, Seattle. See http://theroyalroomseattle.com for quality dining and drinks. This will be part of a donation of $100 I plan to give to the Royal Room and Wayne Horvitz toward piano repairs!!
Bass guitar was originally invented in Seattle native Paul Tutmarc developed this instrument in the early 1930s, although he didn’t receive much recognition or success from it. It became more revolutionary after Fender and Fullerton’s rendition came out shortly after in the 1950s (source: onlyinyourstate.com).
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For the off beat eclectic innovator, the SyntHorn is an amazing, fun and crazy instrument. One of my neighbors and friends Patrick Wilson in Seattle created a digital instrument he calls The SyntHorn (short for synthesizer horn). The horn itself produces an unique, distant echoing cavernous sound effect. The SyntHorn includes the horn, a mini- digital keyboard, Oscillator, Chaoscillator, Monotron delay unit, two Internal Horn speakers, and one external speaker. Since the the features and function completely run on rechargeable batteries, it can played anywhere at any time. A carrying strap fits over the shoulder. All this resides in one unit.
Here is a sampling of Patrick live on the SyntHorn –
Join me in my next performances at C&P Coffee, Columbia City’s Royal Room, and Stone Way Café to hear our progressive electronic jazz. Patrick, a former DJ at a local college radio station, will join me in jazzing up my koto jazz tunes and offer up a few of his own originals with my accompaniment on the keyboard.
It makes sounds and rhythms you’ve never heard before.
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Traditional Chinese melodic patterns by cellist Tina Luo merged with Peter Kater on the keyboard makes for a powerful fusion combination –