from Leftfield Electronic to illbient Downbeat
organized by ELSA Productions on behalf of the Cultural Services of the
March 15, 2003
Rio Theatre, 8 p.m.
1205 soquel ave, Santa Cruz
Wheeler Auditorium, 8 p.m.
Tickets available at Streetlight
record stores ($10)
Locations: check out www.streetlightrecords.com
“Sounds French” (from Leftfield
Electronic to illbient Downbeats) celebrates Luc
Ferrari, one of the great unsung pioneers of electronic
music. The founding director of the Group de Musique Concrète in
1958, Ferrari was one of
the first composers to seriously build upon John Cage’s maxim, “music
is all around us if only we had ears”. Ferrari’s
soundscapes based on ambient sounds of daily life are both evocative and
socially engaged. Through a wide range of musical projects, he has influenced
several Generations of experimental composers.
Ferrari hosts and performs in two concerts with the Bay
Area’s foremost new music and improviser percussionist, William
Winant, and with DJ Olive,
also known as the audio janitor
from East-Village underground digital lab.
This program features Ferrari‘s
sound journey through the U.S. (Far West News)
and a joint-performance mixing from his own compositional archive with
DJ Olive and William
Winant (Archives sauvées des eaux).
For the second set, visuals will be provided by Warren
Stringer with his visual instrument Sky (Santa
Cruz,) and by Sue Costabile
from Santa Cruz free radio, will provide the intermission SAlon atmosphere
for both dates.
“Sounds French” is
a month-long festival of new music from France taking place in NYC in
March 2003 and coordinated by the Cultural Services of the French Embassy
From the New-York time (Feb. 23 2003):
What’s French about French Music?
The festival also explores the last 55 years of French electronic
music, from the pioneering taped sounds of musique concrète to
recent electroacoustic music created at the Groupe de Recherche Musicale
of Radio France, paying particular attention to the work of the “renegades”
Luc Ferrari and Pierre Henry.
Far-West News #1 (March 1999)
September 11 to 16, 1998
From Santa Fe to Monument Valley
29 minutes 30 seconds
At first the idea went something like this: A composer, with a weird
life full of instrumental and electroacoustic compositions, specialist
in travel-microphone is planning to make a random trip across South-West
The trip took place in September 1998. Day after day, the highway unfolds,
recordings are dated, places indicated in an atmosphere of car (rented),
day after day, sound encounters are made, people are passed, life's
fabric is woven.
Back home, after listening, a three-part composition takes shape, each
part built in the same way out of different events.
What to say about it.
It's not a report or a soundscape, not a Hörspiel
or an electronic work, not a portrait or a recorded reality exhibit
not a transgression of reality or an impressionist account, not a so
on or so forth. It's a composition.
At first I thought it was manifest, a soft, derisory manifesto. I also
thought that my "radiophonic" compositions were a new way
of writing a biographical book. Then I called it a sound poem around
a real voyage since it may very well be that poetry is playing life
like an accordion, and that composition in some cases, especially in
mine, and increasingly in my life, is a perverted game with truth.
What more can be said? That the subtitle could be "sound
poem after nature."
And what else?
Archives Sauvées des
Eaux (January - April 2000)
Exploitation des Concepts 1
(for 2 CDs and Vinyls . about 50')
Since autumn 99 I undertook the composition of a new series
with the general title "Exploitation of the concepts".
The aim is precisely to use the concepts I experimented
during my whole life as a composer and this in all possible directions.
Just as well in writing for instruments as in electroacoustics, in video,
in multimedia-installations, in using the new technologies as well as
the old ones, in composing concertlike works, which means with a duration
that suites to the idea of concert, or concertunlike works which means
with an "undetermined" duration. These exploitations are going
in all directions: the tautology, the superposed cycles, the minimalism
of the "Presque rien", the random architecture, the anecdotal,
the narration, the everyday life, the poor art, the memories and so
on, all these concepts which came up in my preoccupations but which
I have not really exploited until now.
The idea for using my archives grew up from the necessity
to update the aids of these memories. In my studio I have actually magnetic
tapes representing all the recordings I have made since 1960 and which
I have used or not. Copying these elements on CD I suddenly felt the
desire to transform this boring work into creative work. And instead
of copying I began to compose. By this way was born a new composition
which exploits the archives from 1974 (one must begin somewhere), was
born also from the commission I got to perform with a DJ: encounter
between Wim Wabbes, leader of the Vooruit in Gent, DJ
Olive from New York and me.
first obtained a thorough, traditional technique in composition. He
proceeded to become interested in the recording process to such a
degree that he began to make tape pieces using altered ambient sounds
and later incorporated electronics into his work in an effective and
original manner. Taking John Cage's exhortation seriously, that "music
is all around us if only we had ears”, he completed
Presque Rien No. 1 (1970), a kind of musical photography
of a small village in Yugoslavia, recorded throughout a long day,
in which no apparent “musical” sounds are included. Shortly
thereafter, Ferrari appeared on KPFA Radio in Berkeley.
His interviewers, Richard Friedman and Charles
Amirkhanian, decided to follow his lead and solicit ambient
sound recordings from individuals all over the globe. The World
Ear Project of KPFA proceeded to broadcast hundreds
of such tapes, made on then-new cassette machines in the field. Numerous
composers on the West Coast began to incorporate such sounds into
their electronic works.
Beyond the mere acceptance of ambient sounds as musical, Ferrari found
that his forays with the professional tape recorder into public places
added a level of social engagement to his work. This led him to compose
pieces in which the audience becomes voyeuristically involved with
a kind of audio home movie. Beyond his work involving technology,
Ferrari has composed a large body of instrumental music. And among
his important credits are a series of invaluable television films
which he made about the rehearsal processes of Varèse,
Messiaen, Stockhausen and others.
Gregor Ash, aka DJ Olive
the Audio Janitor
, along with DJ Spooky, is one of
principal representatives of the "illbient"
scene of New York (www.phonomena.com
a swing atmosphere, urban soundscapes, and the rhythms of drum'n bass
and dub, he has been a member of Christian Marclay
turntable trio which has performed at the Whitney Museum in New York,
the Pompidou Centre in Paris and the Philharmonia in Koln. He was
also involved in SYR5
. a project with Ikue
, Kim Gordon
and Yuka Honda
mixed by Jim O’Rourke for Sonic Youth
He worked on Uri Caine"s Mahler record in 1997 and more recently
in Caine's Goldberg Variations. With "We"
he released several albums on the San Francisco label Asphodel
and with his trio "Liminal"
, he created
at the Knitting Factory in NYC the sound track for the film Noseferatu
Dj Olive is developping a concept of "Vinyl
for the turntable. These are pallettes of
sound produced and aranged in his studio pressed on vinyl then interpreded
by turntablists. Composition 11
turntables was commissioned by Roulette in '97, performed in '98 and
was released as a vinyl score in '99. He developed and performed a
vinyl score for Franz Triechler's "Copier/coller"
He premiered his vinyl score "perpetual sound check"
in Brussels in '00. This event featured eight separate live interpretations
by international dj's.
- William Winant (www.newalbion.com/artists/winantw/),
"one of the best avant-garde percussionists working today"
according to Mark Swed of The Los Angeles Times, has collaborated
with some of the most inovative and creative musicians of our time,
including John Cage, Iannis Xenakis, Keith Jarrett, Anthony Braxton,
James Tenney, Cecil Taylor, Steve Reich, Jean-Philippe Collard, Frederic
Rzewski, Ursula Oppens, Joan LaBarbara, and the Kronos String Quartet.
He is principal percussionist with the San Francisco Contemporary
Music Players and the John Zorn Chamber Ensemble.
Since 1995 he has been the percussionist with the avant-rock band
Mr. Bungle, has made two recordings (Disco Volante
and California on Warner Brothers), and has toured throughout the
world with the group. Recently he completed tours of the United States,
Great Britain, and Japan with the world-renowned cellist Yo-Yo
Ma in collaboration with the Mark Morris Dance Group.
first musical memory was crawling under a grand piano and kicking
up at the sustain bar to hear a magic echo of resonant strings.
It would be a while before he found that the upper reaches of piano
could render a more diverse sequence of sounds, that some say might
call melodies. Within a few years, he was programming synthesizers
and creating quadraphonic vortices and Fibonacci feedback chambers
– returning back to the kick-bar sustain of his youth. Meanwhile,
he was writing code to compress language and to organize anything
worth knowing. This led to some interesting gigs designing user
interfaces, database engines, and multimedia projects for clients
like Borland, HP, Intel, Lotus, Microsoft, Xerox, and so on. After
a prolonged period of writing code, visuals, and music, he began
to see similarities. This led to the creation of a visual synthesizer,
, that can be performed live
– like a musical instrument (www.muse.com
is a photographer and video artist working with a combination of
analog and digital processes, both as a solo artist and in collaboration
with various musicians. Born in long island, new york in 1974, she
has resided in San Francisco’s Lower Haight since 1996. With
academic training largely focused on both the natural and built
environments (first studying ecology and then architectural engineering)
themes of the organic and the inorganic are often explored. Her
live improvisational video performances involve various media including
photographs, negatives, drawings and tiny objects, set in motion
and digitized in real-time, then processed in the Jitter
- Clatterbox is/has
been a diverse collective of live electronic music and auditory pontification
broadcasting live on FRSC for 6 years ongoing...utilizing any and
all sources mixed live by DJ Matter Embryo and DJJ.geewhiz
at the Mega Studio A.