loren chasse

MusicWatch Weekly: Look before you leap day

A weekend of concerts and a Portland Weird undectet

Fry Day

As usual, we’d like to start by bringing you last minute news of a few shows happening tonight, tonight, tonight. As you read this, Mike Dillon and Band are packing up their road bags, leaving Eugene (where they played at Whirled Pies last night), and trekking up I-5 to Portland, where they’ll head straight down to the Jack London Revue subterraenan social club for an evening of what we can only call “gonzo punk jazz.”

See, from a technique perspective these dudes are all basically just avant-garde jazz musicians (bandleader Dillon is in wide demand as a vibraphonist and all-around killer percussionist), but–like so many others over this last half-century of escalating strangeness–they’ve found the grittiest, truest expression of both “avant-garde” and “jazz” not in the relatively staid traditional world of characters like Henry Threadgill and Branford Marsalis (who are, of course, total badasses and not to be trifled with except for purposes of this strained comparison), but instead have seen the true face of “jazz” and “avant-garde” in the wooly realm of punk, metal, and other folk musicks of the rough and ragged variety. If that’s your bag, dear reader, get on it!

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MusicWatch Weekly: natural classical

Sounds inspired by nature and spring highlight this week's Oregon music performances

Oregonians live in a nexus between the natural world that drew so many of us here and the human-created environment that nurtures us. That juxtaposition has inspired several of this week’s musical highlights.

Read my ArtsWatch preview of Habitat, Third Angle New Music’s immersive multimedia performance created by Portland composer/sound artists Branic Howard and Loren Chasse,
Thursday and Friday, Studio 2 @ N.E.W. 810 SE Belmont St. Portland.

• Lewis and Clark College faculty chamber ensemble Friends of Rain’s annual new music concert features music that responds to the natural world, written by a cast of top Northwest composers from accomplished veterans like Susan Alexjander to an award winning rising star, Andrea Reinkemeyer.
Friday. Evans Hall, Lewis & Clark College.

• One of the stalwarts of Portland’s classical music scene, Violinist Adam LaMotte is probably most familiar for his sterling work in Portland Baroque Orchestra. He’s launched a new, conductor-less orchestra to explore repertoire for bigger bands than the standard chamber ensembles he also performs with, and that stretches across a much wider time period than PBO — from the 17th to the 21st centuries. Amadeus Chamber Orchestra seeks to “bring new audiences into the realm of classical music via education, outreach, and vibrant live performances, collaborating with other entities to present multifaceted events.”

The added facets this time: interpolated readings by one of Oregon’s greatest nature writers, Kathleen Dean Moore (who has done similar shows with a pianist), and nature photography by Larry Olson. Both complement the nature-inspired musical selections in this “concert devoted to Mother Earth”: two of Vivaldi’s famous seasonal concertos, a flurry of English Baroque master Matthew Locke’s music for Shakespeare’s The Tempest, early 20th century English composer Ralph Vaughan Williams’s famous The Lark Ascending, long a popular evocation of spring’s impending arrival, and even an original composition for piccolo and strings by LaMotte himself.
Friday, Lincoln Recital Hall, Portland State University.

• There’s more English music for chamber orchestra in this Saturday’s Oregon Mozart Players concert. The program includes one of Haydn’s miraculous London symphonies (written for a much bigger orchestra than OMP’s chamber orchestra forces) to a couple of mid-20th century works, Benjamin Britten’s Rossini tribute ​Soirées Musicales and Malcolm Arnold’s ​Serenade for Small Orchestra​, to contemporary composer Jonathan Dove’s ​nifty Mozart tribute Figures in the Garden.​
Saturday, Beall Concert Hall, University of Oregon.

• The Lark Ascending reappears, in a much larger flock, when the Oregon Symphony mixes a pair of much-beloved classics with a brand new piece from one of the country’s leading active composers. Oregonians can sympathize with a 19th century German composer’s joy in visiting sunny Italy — Felix Mendelssohn’s ebullient “Italian” Symphony. The big news is the world premiere of leading American composer Christopher Theofanidis’s new concerto Drum Circles, co-commissioned by the Oregon Symphony, which incorporates a percussion quartet as the soloists rather than the usual violinist or pianist. Theofanidis wrote it for an all-star group called the Percussion Collective, who will play it with the orchestra.
Saturday-Monday, Arlene Schnitzer Concert Hall, Portland.

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‘Habitat’ preview: capturing a city in sound

Third Angle commissions Portland composers to create an immersive soundscape that reflects urban and natural interactions

How do you evoke a city in music? George Gershwin used jazzy, brash orchestral music to summon 1920s New York’s bustling beauty. On Thursday and Friday, two Portland composer/sound artists will create a very different kind of soundscape to reflect our city’s 21st century collision between urban life and nature. The joint composition Third Angle New Music commissioned for its Habitat performance will conjure an immersive, meditative sound world from our environment itself.

The event is the brainchild of Third Angle New Music artistic director Sarah Tiedemann, who grew up in Hillsboro at the edge of the Portland metropolitan area’s urban growth boundary. “I was used to crossing a street and being on farmland,” she remembers. As the region grew explosively, that imaginary political boundary became “an image in my mind of the way the natural world around us is butting up against the urban world around us. We’re constantly in the presence of both.”

Branic Howard

Branic Howard

Tiedemann decided to commission a performance that would evoke Portland’s quintessential tension in music. She didn’t have to look far to find a composer to capture the area’s urban/natural interface in sound. Portland composer Branic Howard specialized in creating soundscapes. He also happened to be Third Angle’s sound engineer for many concerts. And he has a discerning ear for sounds — and not just what we traditionally think of as music. “Branic and I will be working in the office, and suddenly he’ll point out how the sound of a furnace coming on sounds so interesting,” she says.

For a collaborator, Howard thought of fellow Portland composer Loren Chasse. “He and I are on the same wavelength,” Howard said. For example, “you might spill dishwasher powder and not notice, and the next day you’ll step on it and it makes this certain sound. For Loren and me, that really is where a lot of the interest lies — situational sounds made up of interesting textures that we normally don’t home in on.”

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‘Extradition’ review: difficult on purpose

Creative Music Guild concert embraces experimental, aleatoric, multiphonic, ritualistic, electronic and ultimately rewarding sounds

Story, photos and video by MATTHEW ANDREWS

Below you’ll find an extended video recap of some highlights of this show. Read this before watching the video, or afterwards, or both, or at the same time, or not at all. In case of confusion, consult the I Ching, the Tarot, a sack of runes, or your pineal gland—whichever is closer at hand.

When John Cage is the most mainstream composer on the program, you know you’re in for something out of the ordinary. When Creative Music Guild is putting on the show, you know it’s really going to be something you haven’t heard before. And when it’s Portland percussionist and experimental music impresario Matt Hannafin’s Extradition Series doing their quarterly show, then it’s time to put away all your expectations, get comfortable, take whatever drugs or do whatever meditation exercises you need to, and open your ears for the most exigent listening experience you’re likely to have this season.

Last time I covered an Extradition concert, Hannafin and his crew ended a two and a half hour concert with rocks in their hands, rubbing and clacking them periodically with sine tone and pink noise accompaniment over the course of something like 30 minutes (Michael Pisaro’s Six Stones)… and this was the conclusion of a concert already overflowing with very slow, sparse music. It was mesmerizing, and haunting, and to be honest it was a little hard to sit through (or stand through, in my case, since I was filming). Ultimately, though, it was totally worth it.

Extradition’s April 22 concert was just as demanding and even more rewarding, as the community of CMG regulars and guest artists worked their way through experimental works by Cage, Alvin Lucier (the second-most “mainstream” name on the bill), G. Douglas Barrett, and two Japanese composers: Takehisa Kosugi and Toshi Ichiyanagi.

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Extradition Series: Listening differently

Creative Music Guild's ambient, improvised electroacoustic music concerts provide a different kind of listening experience

Story and photos by MATTHEW ANDREWS

The music started before the doors were even open. As the audience filtered in to Leaven Center and got seated, we could hear the sounds of forests, rivers, trains, windy canyons, and the complex sounds of the Oregon coast. Sound artist Tim Westcott’s recent quadrophonic piece A Land of Falling Waters emerged from four speakers positioned throughout the sanctuary.

Westcott’s was the first of many examples at this late October Creative Music Guild concert of how the ambient, improvised electroacoustic music presented at this and other CMG shows requires a different kind of listening than a typical concert.

Doug Theriault is a stalwart of Creative Music Guild happenings.

Doug Theriault is a stalwart of Creative Music Guild happenings.

There is the exotic technology; the extreme repetition; the use of drones, sparse textures, and long stretches of silence; indeed, there is often very little that is recognizably musical (i.e., distinct rhythms or hummable melodies). Some CMG performers even shun the ‘musician’ label altogether, preferring terms like “sound artist” as better descriptors of their craft. None of that should scare anyone away from CMG and its scene. Here’s a newcomer’s guide.

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