MESSAGIO GALORE take IX
an evening of chant, sprechgesang, genrificational transubstantiation, glossolalics, aural climates & other things resembling, sharing properties with or being sound poetry through the voices of
jwcurry
Alastair Larwill
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
6 may 2o12 at 7 PM
ArrayMusic Studio
6o Atlantic Avenue
Toronto
__________________________________________________
1st 1/2
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in extract from Paul Haines, Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with refernce to Michel Contat's reading on Paul Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. breath is, bill bissett (Canada, 1966?); source: fires in th tempul or TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). concrete scattertext arranged by curry (2oo9) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, Larwill
3. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'sounds. readers: curry, Larwill
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
6. GOING CRITICAL, jwcurry/Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, edited by Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wolin in CANADIAN ART 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing. full quintet
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines. our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Larwill, Pirie, Robert
8. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of politics & semantics. reader: curry
9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. readers: curry, Pirie
1o. Pieces of Error, Alastair Larwill (Canada, 2o12); source: unpublished. a slice of seriously afflicted time in far-removed homage to Robert Ashley & bpNichol. full quintet
11. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK 1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war" (dsh in KROKLOK 1), an anagrammatic poem in 3 vowels & 4 consonants. readers: curry, Mordasiewicz
12. WORM, bob cobbing (England, 1954); source: CEOLFRITH 26 (edited by Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. full quintet
13. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK 2 (edited by dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/translated by Helen Weaver, Selected Writings (New York, Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 september 1945). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies, Insanity and Black Magic, The Return of Artaud, Le Momo, To Have Done with the Judgement of God, Van Gogh, The Man Suicided by Society) & formally linked as a suite. readers: curry, Larwill, Pirie, Robert
14. It Can't Happen Here, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Sheena Mordasiewicz as Suzy Creamcheese (after she got her shots). full quintet
15. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by curry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quintet
16. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach". an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Larwill, Pirie, Robert
2nd 1/2
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, here arranged by curry as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
18. Mon Olivine, Claude Gauvreau (Canada, 196-?); source: Lords of Winter and of Love, edited by Barry Callaghan (Toronto, Exile Editions, 1983). an intact excerpt from Boucliers mégalomanes, a suite of poetic corruptions. reader: Robert
19. TWO: Less Time, bpNichol (Canada, 1982?); source: THE CAPILANO REVIEW 31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984). vowelless gridtext with variable reading paths. full quintet
2o. The Dangerous Kitchen, Frank Zappa (USA, 198-?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983). while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate approach toward parasepsis. full quintet
21. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974?); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). everyone in the band gets put through the grinder on this one, just in case we might use it; it develops articulational skills, breath control & body memory. inserted into 2o above. full quintet
22. TAR TRAITS, Richard Truhlar (Canada, 1977); source: unpublished. curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1975), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Pirie, Robert
23. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995); source: Mike Patton, ADULT THEMES for Voice (New York, Tzadik, 1996). transcribed by curry (2oo7) from solo construction for voice & tape recorder, the transcription (& reading) attempts to replicate the extreme edits, abruptions & machine stresses of the collage original. reader: curry
24. SHIFT 3, jwcurry/Peggy Lefler (Canada, 1982); source: monograph (Toronto, Curvd H&z, 1982). notes stated in reading. introduction: Pirie; readers: curry, Mordasiewicz
25. Four for Time, Alastair Larwill (Canada, 2o11?); source: unpublished. a determined hoiking up of the textures & procedures spurred by bpNichol's TWO: Less Time (19 above). full quintet
26. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); surce: monograph (2nd edition, Ottawa, 1cent, 2oo8). hocketed statement that builds multiple syntactic paths as its fragments split further en cycle. readers: curry, Larwill, Pirie, Robert
27. Salmon River Soliloquy, david uu (Canada, 1973); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
28. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, edited by Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). Nichol's next-in-sequence "for the 4 Horsemen" to his TWO: Less Time (19 above). readers: curry, Mordasiewicz, Pirie, Robert
29. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quintet
3o. My Olivine, ClaudeGauvreau (see 18 above)/translated by Ray Ellenwood (Canada, 197-?); source: ELLIPSIS 17 (edited by Richard Giguère & Larry Shouldice, Sherbrooke, 1975). Ellenwood's casting of Gauvreau's pornographic neologistics into an english setting, every bit as lurid as its progenital. reader: curry
31. WHITE TEXT SURE version ten, bpNichol (Canada, 1981); source: INDUSTRIAL SABOTAGE 63 (edited by jwcurry, Ottawa, Curvd H&z, 2oo8). a gridscore "for the Horsemen"'s massed vocal textures, based on Nichol's earlier (1966) collaboraton with David Aylward, WHITE SOUND. this version of this version reïncorporates randomly the colour panels of Nichol's interim revision, WHITE SOUND :a variant (1976). readers: curry, Larwill, Pirie, Robert
32. MUSHY PEAS, Steve McCaffery/bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry,Larwill
33. SIZERZ, Steve McCaffery (Canada, 1976); source: (as 19 above), with reference to Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quintet
__________________________________________________
cover: bill bissett (source for score to 2 above)
also illustrated on rear cover, a page from 32 above
Very Big Thanks to Rachel Lindsey (who was to read with us but was prevented from doing so by a family tragedy), Sandra Bell (who made the studio rental painless), Gio Sampogna (camera duties) & Pearl Pirie (manning the door). Special Thanks, of course, to the band, whose abilities, enthusiasm & relentless rehearsal have in no small way helped shape the final form of tonight's take.
__________________________________________________
filmed by Heinz Gloss
__________________________________________________
see also:
announcements:
www.flickr.com/photos/48593922@N04/7454268492/
pagehalffull.com/pesbo/2012/05/04/messagio-galore-ix-toro...
www.facebook.com/events/285060778241711/
reviews:
MESSAGIO GALORE take IX
an evening of chant, sprechgesang, genrificational transubstantiation, glossolalics, aural climates & other things resembling, sharing properties with or being sound poetry through the voices of
jwcurry
Alastair Larwill
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
6 may 2o12 at 7 PM
ArrayMusic Studio
6o Atlantic Avenue
Toronto
__________________________________________________
1st 1/2
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in extract from Paul Haines, Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with refernce to Michel Contat's reading on Paul Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. breath is, bill bissett (Canada, 1966?); source: fires in th tempul or TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). concrete scattertext arranged by curry (2oo9) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, Larwill
3. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'sounds. readers: curry, Larwill
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
6. GOING CRITICAL, jwcurry/Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, edited by Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wolin in CANADIAN ART 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing. full quintet
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines. our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Larwill, Pirie, Robert
8. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of politics & semantics. reader: curry
9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. readers: curry, Pirie
1o. Pieces of Error, Alastair Larwill (Canada, 2o12); source: unpublished. a slice of seriously afflicted time in far-removed homage to Robert Ashley & bpNichol. full quintet
11. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK 1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war" (dsh in KROKLOK 1), an anagrammatic poem in 3 vowels & 4 consonants. readers: curry, Mordasiewicz
12. WORM, bob cobbing (England, 1954); source: CEOLFRITH 26 (edited by Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. full quintet
13. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK 2 (edited by dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/translated by Helen Weaver, Selected Writings (New York, Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 september 1945). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies, Insanity and Black Magic, The Return of Artaud, Le Momo, To Have Done with the Judgement of God, Van Gogh, The Man Suicided by Society) & formally linked as a suite. readers: curry, Larwill, Pirie, Robert
14. It Can't Happen Here, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Sheena Mordasiewicz as Suzy Creamcheese (after she got her shots). full quintet
15. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by curry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quintet
16. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach". an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Larwill, Pirie, Robert
2nd 1/2
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, here arranged by curry as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
18. Mon Olivine, Claude Gauvreau (Canada, 196-?); source: Lords of Winter and of Love, edited by Barry Callaghan (Toronto, Exile Editions, 1983). an intact excerpt from Boucliers mégalomanes, a suite of poetic corruptions. reader: Robert
19. TWO: Less Time, bpNichol (Canada, 1982?); source: THE CAPILANO REVIEW 31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984). vowelless gridtext with variable reading paths. full quintet
2o. The Dangerous Kitchen, Frank Zappa (USA, 198-?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983). while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate approach toward parasepsis. full quintet
21. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974?); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). everyone in the band gets put through the grinder on this one, just in case we might use it; it develops articulational skills, breath control & body memory. inserted into 2o above. full quintet
22. TAR TRAITS, Richard Truhlar (Canada, 1977); source: unpublished. curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1975), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Pirie, Robert
23. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995); source: Mike Patton, ADULT THEMES for Voice (New York, Tzadik, 1996). transcribed by curry (2oo7) from solo construction for voice & tape recorder, the transcription (& reading) attempts to replicate the extreme edits, abruptions & machine stresses of the collage original. reader: curry
24. SHIFT 3, jwcurry/Peggy Lefler (Canada, 1982); source: monograph (Toronto, Curvd H&z, 1982). notes stated in reading. introduction: Pirie; readers: curry, Mordasiewicz
25. Four for Time, Alastair Larwill (Canada, 2o11?); source: unpublished. a determined hoiking up of the textures & procedures spurred by bpNichol's TWO: Less Time (19 above). full quintet
26. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); surce: monograph (2nd edition, Ottawa, 1cent, 2oo8). hocketed statement that builds multiple syntactic paths as its fragments split further en cycle. readers: curry, Larwill, Pirie, Robert
27. Salmon River Soliloquy, david uu (Canada, 1973); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
28. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, edited by Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). Nichol's next-in-sequence "for the 4 Horsemen" to his TWO: Less Time (19 above). readers: curry, Mordasiewicz, Pirie, Robert
29. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quintet
3o. My Olivine, ClaudeGauvreau (see 18 above)/translated by Ray Ellenwood (Canada, 197-?); source: ELLIPSIS 17 (edited by Richard Giguère & Larry Shouldice, Sherbrooke, 1975). Ellenwood's casting of Gauvreau's pornographic neologistics into an english setting, every bit as lurid as its progenital. reader: curry
31. WHITE TEXT SURE version ten, bpNichol (Canada, 1981); source: INDUSTRIAL SABOTAGE 63 (edited by jwcurry, Ottawa, Curvd H&z, 2oo8). a gridscore "for the Horsemen"'s massed vocal textures, based on Nichol's earlier (1966) collaboraton with David Aylward, WHITE SOUND. this version of this version reïncorporates randomly the colour panels of Nichol's interim revision, WHITE SOUND :a variant (1976). readers: curry, Larwill, Pirie, Robert
32. MUSHY PEAS, Steve McCaffery/bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry,Larwill
33. SIZERZ, Steve McCaffery (Canada, 1976); source: (as 19 above), with reference to Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quintet
__________________________________________________
cover: bill bissett (source for score to 2 above)
also illustrated on rear cover, a page from 32 above
Very Big Thanks to Rachel Lindsey (who was to read with us but was prevented from doing so by a family tragedy), Sandra Bell (who made the studio rental painless), Gio Sampogna (camera duties) & Pearl Pirie (manning the door). Special Thanks, of course, to the band, whose abilities, enthusiasm & relentless rehearsal have in no small way helped shape the final form of tonight's take.
__________________________________________________
filmed by Heinz Gloss
__________________________________________________
see also:
announcements:
www.flickr.com/photos/48593922@N04/7454268492/
pagehalffull.com/pesbo/2012/05/04/messagio-galore-ix-toro...
www.facebook.com/events/285060778241711/
reviews: