Posts Tagged Jack Hertz
It’s that time of year again… time for the dreaded Year-End Review. An attempt to make sense of 2014 and formulate an idea of where 2015 might lead.
I’m a little embarrassed to note that I didn’t even do this last year! But 2013 was a quiet year, and I didn’t work on anything solo. I recorded my parts for The Rage of Reason (see below) and Afterimages (from Memory Palace, below), and arranged my odd-meter electronic groove parts for Somewhere the Circle Stops (from Memory Palace), along with a handbell choir version of Arvo Pärt’s Summa. That was it. (Handbell choirs: please get in touch!)
Anyway, 2014 was the most productive year yet! The highlights are, predictably, its two releases, Divinations and Memory Palace (with Chris Russell). Each album was several years in the making, and included work recorded before I left Canada to move Stateside. Both are self-released on my Kalindi Music label, with Memory Palace being a joint release with Chris’ Void Music.
Four pieces were released on three compilation albums. The Relaxed Machinery label‘s collection reBOOT included two duo pieces: The Rage of Reason and Particles and Waves. On the first, Peter James provided a nice drone chord over which I laid a couple of guitar parts, using an original effects patch which I’m really pleased with and will definitely use again. For the second, Chris Russell took a metal-handrail-drumming groove of mine and bathed it in his signature synth atmospheres. (He also did this on Spatial Mnemonics from the Memory Palace album.)
(Details on the other two compilation pieces below.)
2014 was a great year for composition – most of it in the month of January. In the first week, I finished arranging and recording my part for Somewhere the Circle Stops, the ambitious closing piece on the Memory Palace album.
Still in January, I took up four improvised pieces from the April 2012 multimedia jam with art painters Royce Deans and Tali Farchi. I had to distill and rearrange the good parts into actual compositions. These will make up most of the next solo album. The artwork will be all from Royce and Tali.
I recorded one of these pieces, Fading Angel, shortly after its performance at my library concert in mid-November, which marked my return to live performance after a two-year break. One of the others, Sirens of Maya, was already recorded, but its live performance (also at the library concert) was so pleasing that I’m going to use that version instead.
Still in January, I applied the same distillation process to three of six pieces from the two September 2012 events (all six of which will make up the second next solo album). One of these, Emerge, was also played at the library concert and the studio version recorded shortly thereafter.
So that was a really good month…
After January, there wasn’t as much composition time as one would like, but I managed to work up three pieces, all for compilation albums.
Mister God, This is Taylor was published on the Waiting World Records album Shine Like the Stars. This memorial tribute was curated by Waiting World’s Michael Peck, in honor of a young and dear family friend, someone I would like to have met. Musically, this was a clear step forward in my composition process toward something that’s beginning to emerge as “my sound”. The story begins here.
Driven to Ground is a drone experiment, intended for the open-ended compilation I No Longer Love Blue Skies from Sound For Good Records. This is an evolving synth texture, which I’ve sketched out but not executed yet. I’ll know if it amounts to anything…. when it’s done.
The year closed in a rush, with the library concert and the subsequent recordings. With all that going on, there was just enough time to meet one more deadline: the compilation Power Beyond Fathom, from CRL Studios. This is a benefit for Chicago musician Don Hill and his family. Don, aka Millipede, was diagnosed with Stage 4 renal cancer late in the year. I’m honored to have my piece Transitional included in this 3-part, 47-track collection. Transitional marked my first use of more-or-less normal-sounding drum kits to drive the piece, and was a hallucination of what a collaboration with Don might sound like. Sadly, that now seems most unlikely.
The compilation pieces continue to serve as testing grounds for new ideas and approaches. Almost every one of them is a “first” of some kind.
2014 also marked the release of my first guest appearance, on the album Halla from Ari Porki and Christopher Alvarado. I contributed electric guitar and EBowed fretless electric to one piece, Ruska. My colleagues Jack Hertz, Cousin Silas, Stephen Briggs and Void of Realms also guested. Halla is available from the 45 Echoes Sounds netlabel.
We moved in late September, and the new studio is the most spacious yet. The layout changed only slightly, so v3.1 of The Keep goes something like this:
So what’s on the horizon for 2015?
I’m inclined to be cautious about looking ahead, because very few items from my hope-to-accomplish in 2013 list actually got done that year. So let’s just say what I hope to be working on:
Albums 4, 5 and 6 are all partly recorded, so the priority is finishing these and kicking them out of the nest.
After these, the Concerto for Ambient Orchestra looms as the most likely project to start up next. There are also the covers album and two collaborations, one already settled (with Chris Russell) and the other on a wait-and-see basis. So there’s never a shortage of choices…
There’s also one piece to be drafted for a potential collaborator, which would be the concluding track of a future album – which is part of a multi-album cycle. That one piece could be a year or two down the road; it’s a real case of “if and when”, so I’ll leave it there for now.
So here we are, and there we might go. As always, many thanks for your interest and support, and all the best for 2015! (My year’s already off to a great start, because I’m finally going to get to see Steve Roach play live in February. Hope to see you there!)
Three things are inevitable: death, taxes and year-end reviews…
2012. What a year it was! And it didn’t end early, after all…
First of all, many thanks to everyone who supported my musical explorations this year. Whether it was attending (or helping facilitate) a live event, spreading the word, keeping up with the music online, or whatever – y’all know who you are. Muchas gracias!
This year, I played my first live shows (six in all), which were a major learning experience, significantly changed the way I set up my gear, and yielded one album’s worth of finished music and a second album’s worth of work in progress.
In November we finished recording for the first album, The Separate Ones, completing a nearly seven-year odyssey. I expect to release it (on CD and by download) in late January. There will be a CD Release party at Royal Coffee in Chicago, and a streaming feature on StillStream (details to follow when ready).
In early November, I revisited the recordings of my live show on April 1, the multimedia jam with art painters Royce Deans and Tali Farchi, and determined to release them on yet-to-be-titled Album #4. The recordings need remixing and perhaps a few added brush strokes. Hopefully the entire art package will be Royce & Tali’s work.
With most of 2012’s studio time involving preparation for live events, the only finished compositions to emerge this year were Darklight Canon, which will be included on Album #4, and Snowdance in Starlight, which appears on the Free Floating netlabel’s third Christmas/winter collection, all|is|calm 2012.
In other compilation news this year, my early piece Last of His Breed made it onto two Sound For Good compilations: Oceans and S4G-Mix-I. The latter was a survey of the label’s entire output to that point, so being included was quite a feather in the old cap. Many thanks to Jack Hertz and Crazy Dymond, respectively, for choosing it! Last of His Breed was the last (and my favorite) of four formative early jams which launched my ambient journey in spring 2004.
Besides changing significantly in its arrangement, The Keep acquired some new gear this year: a Roland Loop Station, djembe, clay pot drum, mini-djembe, thunder tube, claves and a big loud shaker. I also picked up a couple of baskets for rocks and Go stones, cut five new claves from downed branches, made one shaker out of locust bean pods and another out of plastic curtain rings, and bagged fallen leaves for sampling. Many thanks to John Briggs for the loan of a mini-darbuka.
Now it’s time to be a studio hermit for a few months, so I can get some albums finished.
So far, the best-laid plans for 2013 shape up something like this:
Pastimes of Creation, the Keshava-Lila trio album, just needs one more bit of recording. I hope to release it in mid-March.
Album #4, which will be submitted to rM.
By this time, it should be spring (at least), at which point I’ll come out of the cave and play a home concert – at my place. If all goes well, the program will be six improvised pieces from the two September shows, which I hope to have worked up into final form. Those pieces should be Album #5. Highlights of their gestation can be heard on my Events page.
Album #6, Nuances of Illusion, with violinist Ezra Azmon (who tears it up on Like a Riven Cloud from The Separate Ones) providing source material for recycling. These last two will probably be released on my Kalindi Music label.
Then – after a short vacation – work on the long-planned covers album will begin the next phase.
Some compilation pieces and guest appearances are also in process:
Butterfly Effects, the James Johnson recycling album on rM, is cued up for release early in ‘13. My piece Two Fractured Mirrors is included, along with pieces from Altus, Disturbed Earth, Scott M2, Northcape and others. I also dreamed up the album’s title and acted as Info & Project Manager.
I’ll have pieces with Chris Russell (Particles and Waves) and Peter James (in progress) on the second rM artists’ comp, inFUSE, which title struck me through a nice dialogue with John Koch-Northrup and Steve Brand.
I’ve submitted a piece, Radiant Perception, for the Free Floating compilation a.m. If it makes the cut, a.m. will be the fourth Free Floating collection to include a piece of mine. Radiant Perception was the immediate follow-up to Exquisite Divination of Patterns (from Conception), and these – along with Crystalline (from all|is|calm 2011) – form a clearly-bound trilogy of softsynth pieces.
So far, the only live events I’m contemplating for ‘13 are a repeat at Daley Plaza and hopefully expanding the Carving Through Shadow workshop into an all-day deep dive. I’m always open to offers, of course…
Finally, as usual, it was a great year for music from my peers. In December alone, Steve Roach, Steve Brand and Max Corbacho all released awesome new work, to end the year on a high chord. Other releases of note came from Robert Rich, Lucette Bourdin, Andrew Lahiff, Chris Russell and Peter James. Low Volume Music by Steve Roach & Dirk Serries (returning from a ten-year hiatus) was the year’s coolest surprise and a major highlight.
Bring on the lucky ’13!