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	<title>Stet Lab (a space for improvised music in Cork, Ireland) &#187; green room</title>
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	<description>Stet Lab is a space, based in Cork, Ireland, for improvised music. A celebration of the diverse practices of improvisation (whether you call it free improvisation, open improvisation, idiomatic, non-idiomatic, pan-idiomatic, etc), Stet Lab is a musical meeting place for improvisers of varying backgrounds (whether novice, veteran; student, teacher; part- or full-timer; local or visitor).</description>
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		<title>Lab report April 14th 2009: little instruments</title>
		<link>http://www.busterandfriends.com/stet/2009/05/25/lab-report-april-14th-2009-little-instruments/</link>
		<comments>http://www.busterandfriends.com/stet/2009/05/25/lab-report-april-14th-2009-little-instruments/#comments</comments>
		<pubDate>Mon, 25 May 2009 22:40:45 +0000</pubDate>
		<dc:creator>Han-earl Park</dc:creator>
				<category><![CDATA[reviews]]></category>
		<category><![CDATA[anthony braxton]]></category>
		<category><![CDATA[april 2009]]></category>
		<category><![CDATA[bill frisell]]></category>
		<category><![CDATA[chick lyall]]></category>
		<category><![CDATA[derek bailey]]></category>
		<category><![CDATA[for alto]]></category>
		<category><![CDATA[frank zappa]]></category>
		<category><![CDATA[fred frith]]></category>
		<category><![CDATA[furt]]></category>
		<category><![CDATA[green room]]></category>
		<category><![CDATA[han-earl park]]></category>
		<category><![CDATA[instruments]]></category>
		<category><![CDATA[ishmael wadada leo smith]]></category>
		<category><![CDATA[joey baron]]></category>
		<category><![CDATA[katie o’looney]]></category>
		<category><![CDATA[owen sutton]]></category>
		<category><![CDATA[pedro rebelo]]></category>
		<category><![CDATA[richard barrett]]></category>
		<category><![CDATA[tony oxley]]></category>

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		<description><![CDATA[Okay, okay, I’m a somewhat born-again luddite so I can sound a little evangelical and pig-headed, but bear with me… Here’s a little back-story: in my first semi-public attempts as an improvising guitarist, I had my guitar, amp and volume pedal… plus a compressor, a distortion box, a delay pedal and a chorus unit. Eventually, [...]]]></description>
			<content:encoded><![CDATA[<p>Okay, okay, I’m a somewhat born-again luddite so I can sound a little evangelical and pig-headed, but bear with me…</p>
<p>Here’s a little back-story: in my first semi-public attempts as an improvising guitarist, I had my guitar, amp and volume pedal… plus a compressor, a distortion box, a delay pedal and a chorus unit. Eventually, this chain would be joined by a wah. (I did, incidentally, my first recordings (a piece by <a href="http://www.sarc.qub.ac.uk/~prebelo/">Pedro Rebelo</a>) with more or less this complex of equipment.)</p>
<p>Why am I going through this guitar-geek fetish confession? I started as an improvising guitarist of the ‘if-only-I-had-a-gizmo-I-would-rock’ school of wishful, self-delusion. Somewhere in my head, I had this naive idea that what separated me from the <a href="http://www.billfrisell.com/">Frisell</a>s and <a href="http://www.fredfrith.com/">Frith</a>s of the world was the hardware. (Oh, I almost got myself, don’t laugh, an SG thinking that this would get me closer to Frisell and <a href="http://www.zappa.com/">Zappa</a>.)</p>
<p>Yet <span title="Derek Bailey">Bailey</span> never got better than with a guitar, terrible sounding fuzz box, a volume pedal and amp. Heck, <a href="http://www.wesleyan.edu/music/braxton/">Braxton</a>, age 24, got <a href="http://www.delmark.com/delmark.420.htm">two LPs</a> from a single alto.</p>
<p><em>Who was I kidding here?</em></p>
<p>I only got through my personal-political-musical-technical hiccups and hang-ups by jettisoning, first the wah, then the compressor and delay, and eventually the distortion and the chorus boxes.</p>
<h4>Fast-forward to the present…</h4>
<p>I feel I’ve melowed from my fundamentalist, luddite stance from years ago, but, as I sat watching <a href="http://web.me.com/kolooney/">Katie O’Looney</a> setup her behemoth kit, as I helped her carry her atomized percussion setup out of her van, up the stairs, into the performance space, I couln’t quite figure out what I was feeling.</p>
<p>My mentors include <a href="http://www.myspace.com/chicklyall">thos</a><a href="http://www.myspace.com/greenroomcentral">e wh</a><a href="http://www.brunel.ac.uk/about/acad/sa/artstaff/music/RichardBarrett">o en</a><a href="http://furtlogic.com/">roll</a> gargantuan complex of musical resources and those who <a href="http://music.calarts.edu/~wls/">do not</a>. How do I figure in this equation? There are, of course, pragmatic dimensions to this (I travel from one gig to another, by and large, via public transport), but nonetheless what are the political/ideological implications of subscribing to one position?</p>
<p>Part choice, perhaps: I did, for example, suggest to <a href="http://www.myspace.com/owensaussutton">Owen Sutton</a> that he might want to “decide whether you’re an everything-but-the-kitchen-sink drummer (a la Tony <span class="il">Oxley</span>), or happier with a more spartan approach (like Joey Baron). Neither [is] the wrong choice, of course….” Sure, neither’s <em>wrong</em>, but neither are they neutral; they have very different implications and possibilities.</p>
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