Idiom, tradition, identity, history (personal or collective) are things that I value. I tend not to subscribe to the vanilla notion of a pure, non-idiomatic state. I value the meeting: I want to know who you are, who I am, and that fascinating stuff is when those things collide—what we have in common, and what separates us. Border crossings are always fascinating; full of contradictions and (potential) misunderstandings….
…Meetings and border crossings make me think of brief encounters, limited investment, not long-arc relationships. Is that what free improvisers are left with: connecting only in that moment? Is that initial collision potentially more interesting to hear than when musicians get to know each other intimately (and calculate accordingly)?
…I do value the band, of long-term collaborations. It allows for greater complexity of interaction, greater speeds of decision making, more oblique, unexpected, choices. We, Eris 136199, coined a new term—‘weirderation’—after our last performance, to denote something—a set of relationships, decision making process—getting just that little bit weirder with each iteration.
On the other hand, spaces such as Crucible Sound have their own value. I’m not sure ‘brief encounters’ necessarily equates to ‘limited investment’ in those relationships.
weirderation wir-də-ˈrā-shən noun. process that results in something just that little bit weirder with each iteration. [compare examples A and B]
I am greatly indebted to Catherine Sikora and Josh Sinton for doing the heavy lifting, and turning my barebone sketches and speculations into music; for engageing intelligently, adventurously and imaginatively with the context at hand. These past months have been a learning experience for me as tactician, and I couldn’t have asked for better teachers.
Thanks to Bruce and Manny at the World’s Best Record Store for hosting us, and for their unshakable advocacy of new music. Thanks to Carol Parkinson, Hans Tammen, Kevin Ramsay, Emilio Vavarella and everyone at Harvestworks for hosting our performance, their enthusiasm, and for their support. Thanks again to Kevin Reilly for his video documentation of the DMG performance [watch/listen…], and, as always, thanks to all who came to listen and witness the musicking—real-time and interactive.