Thanks to the performers, Han-earl Park, Jesse Ronneau and Veronica Tadman, and to the evening’s Real-Time Company (for the Ad-Hoc Association) of… Andrea Bonino and Kevin Terry. Special thanks, as always, to all who came to listen (it was good to see both the regulars and new faces in the audience). Finally, thanks to the UCC Department of Music for providing this month’s venue.

Stet Lab returns!

Thursday, October 9th 2008

7:30pm

Ó Riada Hall [map…]
UCC Department of Music
Sundays Well
Cork, Ireland

Free admission (€5 recommended donation)

Cork’s monthly improvised music event returns on Thursday, 9th October, at the Ó Riada Hall, UCC Department of Music, Sundays Well. Stet Lab is an onstage meeting of improvisers, and this month features guitarist Han-earl Park, double bass player Jesse Ronneau, vocalist Veronica Tadman and guests.

Stet Lab is a curated jam session, and a forum for improvisers—novice, veteran; student, teacher; part- or full-timer; amateur, professional; local or visitor. Come and witness music in progress and in process, and real-time mutations and hybridizations. Featuring a diverse gathering of Cork-based improvisers, this month’s event is a relaxed, informal introduction to a six month season that will go on to feature artist from England, N. Ireland, California and elsewhere.

Audience members are welcome to participate in association with the programmed artists; please introduce yourself to the Stet Lab curator on the night.

Next month (November 2008), Stet Lab will celebrate its first birthday with a very special session with Franziska Schroeder.

Stet Lab gratefully acknowledges the support of the UCC Department of Music in providing a venue for this month’s event.

updates:

09-24-08 update info on the November event (remove Hugh Metcalfe‘s billing). [More info…]

Okay, let me walk you though my misguided attempts at putting that square piece into that triangular hole on July 10th.

you have to answer them

Go to the recordings from July and have a listen to Tony O’Connor and my duet (entitled ‘you have to answer them’) that opened the Lab.

Duets are hard, and listening back now, I think Tony did some very fine playing on that.

On the other hand, I’m not at all impressed by the guitarist’s playing. Like I said, I still can’t shake that post-Campbell pseudo-bluegrass. If you can’t beat ’em, join ’em, so I figure I take that bluegrass line for a walk. Unlike June, however, this time the results sounded a little too forced (triangular block into circular hole). I’m still trying to figure out how much milage I have on this collection of disparate techniques (held together by their idiomatic associations), and, from my point of view, my playing never quite took-off in the July Lab.

At the time of performance, in fact, it was Tony’s contribution that was more interesting to listen to. At points, it felt like I was only providing filler material.

One thought that flashed through my mind during that duet:

This might be a good time to pause; have a change in texture / density / orchestration / social make-up; let Tony have a solo….

Good idea, huh? Except doublethink kicks in:

Uh-oh, wonder if Tony’d feel like he’s stuck out there by himself… Seconds thoughts, better not drop out right now.

I’ve talked to some of the Stet Lab (ir)regulars about this off-line, but sometimes I seem to be the one holding the group back in performance. Listening back to, for example ‘evening echo’, it’s the guitarist holding the group back. Marian Murray, Neil O’Loghlen and Veronica Tadman do not need me to make concessions. They know how to swim, and I don’t need to provide the floatation device.

And that’s my problem during my duet with Tony: an unjustified lack of trust in Tony’s abilities. I think I’m still stuck thinking that I’m performing in a classroom context, and not in the big bad world.

I really gotta unlearn that!

Now, when Eoin Callery joined in (on ‘let me have the funny hat’), that was a different story. Not exactly musically successful perhaps (but let’s not dwell on that), but at least I didn’t feel like there was a lack of trust. Wonder why…

exactly like next time

Mike Hurley’s solo (‘heard in my foot’) was fantastic. One of thing I caught in his solo was a kind of physicality—a corporeal logic—in its construction. However accurate this observation was, I (right or wrong) felt an affinity towards this mode of musical construction; an affinity that maybe bordered on familiarity.

So far, so good, but here’s where I make a mistake: I think

Hey, I could do that!

When, before you go up on stage, you imagine how compatible you might be with what is on-stage, you’ve doomed the possibilities. It’s like being a little too enthusiastic on your first date by, say, jumping straight to talk of marriage; the multitude of possibilities of what that relationship could be collapses.

It didn’t work out too badly (on the appropriately enough entitled ‘exactly like next time’), but my playing misses something. It misses, for example, the interplay between Eoin Callery’s and Mike’s pianos. It misses Tony and Neil’s busy bass frequency sounds that threaten to (but never quite) blow every other sound out of the room. Again, I was preempting the music.

The best thing I did was to bow out, and let the quartet finish the performance.

some random observations

The closest thus far that Stet Lab has got to a free jazz gig: ‘it’s gotta be worth something’ and ‘bass player have a light?’

Curating Stet Lab is an art, not a science…. No, better yet, curating Stet Lab is like organizing a faith exercise; like running a klugy, ill-thought-out cult meeting: now we breathe, er, now we go over here, um, light some candles, not we chant, and, er… oh, now we go back and sit in this little box…and, er, chant some more…. I’m still figuring out the ropes, folks, and this change to a more formal space of the Ó Riada Hall didn’t help none. I’m never quite sure how much hand-holding and stage direction we need or want (especially as I want to only put enough topdown direction as to make it run without hitch, but little enough so that the performers can initiate direction).

Marian starts-off both ‘it’s gotta be worth something’ and ‘they’re going to demolish the music department’, yet the two performances go very, very different directions. (Certainly Kevin Terry was not about to go into the free jazz realm.) Wonder how she felt about that? Her playing on ‘they’re going to demolish the music department’ was very different from her usual nonstop bursts of scratches and noise. A lovely, relaxed, chill’d (almost lounge-like) end to an exciting evening of music with Mr. Hurley.

Even taking into account Marian’s very valuable contributions, jeez, was this the most male Stet Lab (at least since January’s)? The last minute change of venue and earlier start time seems to have also played havoc with our testosterone levels.

one question

Was this too much music to absorb as an audience member? Melanie L. Marshall remarked that improvised music requires a lot of concentrated engagement from the audience, and that, as wonderful as the music was, without the bar breaks, it was perhaps a little too much information for the ears. What do you think?

A very warm thanks to Mike Hurley who not only demonstrated his abilities as, to quote Eoin Callery, a “sh*t-hot pianist”, but also demonstrated his generosity as a performer.

Thanks to Neil O’Loghlen for keeping Mike company on stage. And thanks, as always, to all who came to listen and play, including the evening’s Real-Time Company (for the Ad-Hoc Association) of… Tony O’Connor and Han-earl Park, and Eoin Callery, Marian Murray and Kevin Terry for jumping into the (improvisative) deep-end.

Finally, Stet Lab gratefully acknowledges the support of the UCC Department of Music for coming through with this month’s venue.

Stet Lab

featuring Mike Hurley
plus The Real-Time Company (for the Ad-Hoc Association) of…

Thursday, July 10th 2008

7:30pm [earlier start time!]

Ó Riada Hall [new venue!]
UCC Department of Music
Sundays Well
Cork, Ireland

€10 (€5)

Following the success of June’s convention, Cork’s monthly improvised music event—Stet Lab—continues its Summer 2008 season of on-stage mutations and hybrids on Thursday, 10th July, at the Ó Riada Hall, UCC Department of Music, Sundays Well. This regular, yet unique meeting between novice and veteran improvisers alike welcomes the co-founder of the Birmingham Improvisers’ Orchestra, Mike Hurley to the rostrum.

Stemming from the bright lights of Birmingham, Hurley is an exciting and innovative young pianist, capable of both furious extemporizations and the “angelic piano” (Downtown Music Gallery, NY), who has quickly established himself as an original voice in the free improvisation scene. A mover and shaker within the English improvised music community, according to the Birmingham Post, Hurley is “making quite a mark in the British free jazz arena, and has already played with such stalwarts of the scene as Lol Coxhill and the Pauls, Rutherford and Dunmall.” This is Hurley’s first performance at Stet Lab and will see him performing both as a soloist and with the local musicians. However, he is no stranger to the Lab’s style having founded his own fortnightly free improvisation event FiZZLE, and curates, in association with Birmingham Jazz, the quarterly Invention Convention.

Also performing at the event will be Stet Lab’s house band; a group of Cork-based improvisers appearing as The Real-Time Company (for the Ad-Hoc Association) of…. Audience members are welcome to participate in association with the programmed artists; please introduce yourself to the Stet Lab curator on the night.

Stet Lab gratefully acknowledges the support of the UCC Department of Music in providing a venue for this month’s event.