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Apr 122010
 

John Bohannon, the force behind the experimental psyche-folk band Ancient Ocean, was visiting Nashville from New York for just one day, and he had asked me to assemble an improv for him. We decided on the extremely-capable participants Craig Schenker (saxophone), Jamison Sevitts (trumpet), and Tommy Stangroom (drums). John played electric guitar and lap steel. We were on a VERY tight schedule. For this thirty-three minute improv, we had about an hour and a half from set up to break down. The just-do-it vibe really adds to this show’s vitality and spontaneity. John’s only direction was to play in the vein of Jack Johnson era Miles Davis. The players delivered in spades.

I had just put some old stock Mullard tubes in my Art Tube preamp/compressors and gave them a spin for this show. I’m really quite happy with the sound. The setup is extremely simple: One mic on each instrument mixed to my Mackie 8 channel mixer, sent stereo to my Art mic pre/compressors and then recorded 16 bit 48 khz by my Marantz digital field recorded. If I had things to do over again, I would probably move the mic a few more feet away from the trumpet to give it more room and turn up the saxophone, which at times gets lost in the mix. Otherwise, this is one of the best sounding shows we’ve done thus far. Enjoy.

Apr 042010
 

On tonight’s episode, we bring you the very first episode of ~ORE~ Prefab Audio Extrapolations, broadcast October 15th, 1998 at SIU’s student station WIDB in Carbondale, Illinois. Self-titled simply as “Prefab Audio Extrapolations,” the episode features years and years of field recordings and audio experiments by myself, my brother, and my cousin, crystallized into 48 minutes and combined with television recordings, dorm-banter, unscreened-calls, and warped-up beat records. Featuring myself, Wess Youngblood, and Jacob Riley in the original tapes, and myself, Tom Denney and (possibly) Wil Bernel live in the studio. DaveX would first appear on the second episode of ~ORE~ P.A.E., coming soon to this podcast. Enjoy.

Mar 282010
 

On October 18th, 2009, seven of us got together and created a new soundtrack to the 1931 film Dracula, directed by Tod Browning and starring Bela Legosi.  This is one of my favorite episodes to date.  The orchestration is extremely lush, and the performers were especially good at knowing when and what to play.

Before the show, we paired a performer with a character in the film and had that performer come up with a character theme.  Ken Soper on keyboard provided the theme for Dracula, for example.  Things really started to get interesting when the characters interacted with each other, and the performers had to find ways to mix the themes together.  Aside from coming up with some themes in advance, the show was completely improvised.

You can listen to this episode in sync with the film (and I’ll tell you how in the podcast intro) or you can just listen without the visuals.  If you can get a copy of the film (and the version we use is the 2004 Universal Legacy collection dvd) I highly recommend you use it.  But if you can’t get the film, don’t let that stop you from listening to the show on it’s own.  The improv still works great by itself.

Dracula Improv features Ken Soper on keys and Theremin; Jamison Sevits on Fender Rhodes; Craig Schenker on saxophone and flute; Charlie Rauh on electric guitar; Cody Bottoms on percussion; Melody Holt on musical saw, autoharp, and Theremin; and myself on a circuit-bent Cool Keys keyboard, musical saw, autoharp, and wind chimes. We had a small audience that also participate by making screams, etc.  They were Mara Bissel, Amanda Tucker, Pimpdaddysupreme, and Deklan.  I did the live mixing and post-production.  Enjoy.

Mar 142010
 

Nine of us sat in my cold basement, sitting on amplifiers arranged in a circle and armed with guitars of all shapes and calibers.  We had just recorded a level-check for the all guitar episode, and Charlie was uncomfortable.  I shared his worry that the episode may degenerate into a cacophonous kludge of competing frequencies, each guitarist in his own little world.  We solved the problem by dividing the show into mini-concepts lasting between 5 and 15 minutes each.  It wasn’t long before the tape rolled and JJ sprang into action as one concept’s conductor; waving, pointing, raising and lowering his appendages, signaling players when to play and with what intensity.  After an inspired smoke break, Will Floyd orchestrated the theme of a bank heist as told through guitar.  Charlie played the carefree bank customer whose happy notes took a turn for the sour when the bank robbers shot up the place with distorted axes.  Charlie’s departed ghost rose from the grave and played a sweet coda as the bank concept ended.

All in all we recorded an hour and seventeen minutes worth of material — some good, some bad, some golden.  When I edited the show a month later, I had forgotten most of the themes, which was probably for the best.  Free of our intentions, I was able to edit simply on what sounded good.  The parts that didn’t work or felt too much like a jam band got thrown to the side, leaving a brisk thirty seven minutes.  All Guitars stars Anthony William Herndon, Brey McCoy, Charlie Rauh, and first-time participants Ben Lowry, Brady Sharp, and Adam Louis.  Each brought something unique to the table, and I look forward to having them on again.  Will Floyd and JJ Jones each directed a segment.  We recorded live to my Tascam 80-8 reel to reel tape recorder.  I did the live mixing and editing.

We had a great time making this one, and I hope you get the same pleasure out of hearing it.  All Guitars.  Enjoy.