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The collective trajectory of this year’s colloquium links practicing various forms of improvisation to nurturing various forms of intersubjective well-being. By attending—carefully, critically and briefly—to solo and to collaborative electro-acoustic performances by the British saxophonist Evan Parker, I want to gesture at the nascent work of remediation that Lisbeth Lipari has recently called “an ethics of attunement,” a close listening that cultivates compassionate alterity within an attentive body: an akroasis—an audition, an audience—that provides a resonant and differential basis for the possibility of what Jean-Luc Nancy has provocatively named an “inoperative community,” a version for me of what Alphonso Lingis calls The Community of Those Who Have Nothing in Common, of our conflicted and diverse human species. Nancy’s philosophical interrogation of listening to music (as “the art of the hope for resonance”) offers contingent conceptual support with which it’s possible to assess the sensibly vibrant sounding of interstices, both between and within each human frame, that constitutes Evan Parker’s improvising.
http://www.npr.org/player/embed/309047616/309304660Rollins appears to be suggesting that, when you listen to yourself as you play, you lose your through-line, lose the formal sense of your music. But his point, I think, isn’t to romanticize or mystify his artistry—he focuses on his lapses, not his genius—but to assess the cognitive velocity at which that agon, that deliberation, can even occur. What Lipari calls compassionate openness wants to happen not as immediacy but on the fleeting lip of the present, closer to reflex than reflexive. Jean-Luc Nancy refers to “sonorous time” as “a present in waves on a swell, not in a point on a line; it is a time that opens up, that is hollowed out, that is enlarged or ramified, that envelops or separates, that becomes or is turned into a loop, that stretches out or contracts, and so on” (13). The challenge, the risk posed by such a hysteresis, is not merely the neglect of what is other—and this is perhaps why thinking about solo music, about the improvised solo, helps us to re-conceptualize otherness as such, not as a condition of the co-presence of individuals but even as a porosity of self, of voice—but also an issue of technique, of the virtuosic coordination of enharmonic singularities as they pass in and out of our membranous bodies. Listening, writes Nancy, “—the opening stretched toward the register of the sonorous, then to its musical amplification and composition—can and must appear to us not as a metaphor for access to self, but as the reality of this access, a reality consequently indissociably ‘mine’ and ‘other’ . . .” (12).
Writing in the early 1990s, John Corbett describes Evan Parker’s seemingly linear, monophonic instrument as more of an “assemblage” of body—“[f]ingers, mouth, tongue, teeth, lungs”—and horn—reed, ligature, keys, pads, bell—“constellated in such a way as to break the seeming unity of melodic expression” (82). But in Evan Parker’s solo playing, both live and on recordings, those fractures are not ends in themselves, and rather initiate—as what Lipari describes as “challenges” to passive listening—the possibility of tonal and linear multiplication, of what the reedist calls, with measured self-deprecation, a form of “polyphony”: “There’s a more complex sense of linearity,” he says, “to the point where the line folds back on itself and assumes some of the proportions of vertical music, and some of the characteristics of polyphonic music” (qtd. In Corbett 83). Combining circular breathing, cross-fingering, tonguing and biting the reed, Evan Parker is able to generate layers of overtones and nearly-simultaneous contrapuntal arpeggios at high velocity, effectively producing a continuum of cascading choruses from a single breath. But while Corbett is keen to endorse Evan Parker’s virtuosity and instrumental mastery, he also notes, as the saxophonist himself does, how accident and uncertainty find their way inevitably into any performance, subverting claims to absolute technique or intention and undermining the “notion of the unitary, intending subject”—that is, of self-expression—in improvisation. As Evan Parker puts it succinctly in a 1997 interview with Martin Davidson, “It’s to do with layering stuff that I don’t know on top of stuff that I do know.” Here, I think, is exactly the looping of self and other, of expressive intention and unruly, noisy sound, that Jean-Luc Nancy describes as listening. Evan Parker’s descriptions of his improvisatory practice align remarkably closely with Nancy’s philosophical investigations of listening:
Roulette TV: EVAN PARKER from Roulette Intermedium on Vimeo.
Minneapolis: U of Minnesota P, 1991.
Still a jazz childat eighty-six, Sheila Jordan – who performed in her duo with bassist Cameron Brownlast night at Ironworks in Vancouver – has a vitality and playful joy that show no signs of abating. Her two sets consisted of well-developed material – medleys of standards and classic bebop, peppered with a few originals – that she’s been performing for decades, emerging primarily out of her work with Harvie Swartz. That said, every song sounds thoroughly fresh, immediate and compelling. Her lower register has taken on a little grain, but her lilting scat lines, the chirrup and purl that are hallmarks of her vocals, are undiminished: the lightly off-kilter cadences of her improvisations are as intimately compelling and as warmly engaging as they have been since her stunning 1962 debut record, Portrait of Sheila (where she defines close relationship to the bass – in this case, Steve Swallow – that comes to shape her music for the subsequent half-century).
We all have our favourite Sheila Jordan records; aside from Portrait of Sheila, which is an indisputably essential album for any collection, I love The Crossing (1984, on Blackhawk) and her performance on Steve Swallow’s settings of Robert Creeley poems, Home (1980, ECM): I often find myself unexpectedly humming “Sure, Herbert . . . ” out of the blue. Despite what can sometimes feel like a timbre of quiet restraint, Sheila Jordan’s voice attains a peculiar resonance; it stays with you, softly plangent and quickly sonorous. The performances last night closely matched the material on Celebration (2005, High Note), which is I think the first live recording of her work with Cameron Brown, but you could never tell that this music was over a decade old. This is late work, for Jordan, certainly, but it’s also vivacious and exuberant; aside from some street noise coming through the club walls, the audience was so quiet and intensely focused on the music you could hear Cameron Brown’s fingers brush along the strings of his instrument.
Following the performance of The Muted Note: Songs Based on Poems by P. K. Page by Scott Thomson and Susanna Hood, the International Institute for Critical Studies in Improvisation is convening a colloquium called “Extraordinary Presences: Women, Poetry, Art Song” from 2:00 to 5:00 on Thursday, 16 October 2014 in the Dodson Room of the Irving K. Barber Learning Centre at the University of British Columbia. Two panels of poets, composers, performers and scholars will talk about their own work and their collaborations. Presenters will be investigating the cultural politics of contemporary composition and performance by women: are there particular constraints or challenges that contemporary women artists face? Are there specific musical, textual or performative strategies that women employ in their creative work when faced with such challenges? Is it still necessary or even possible to address artistic work, as performers, composers and listeners, with attention to the complex cultural politics of gender and sexuality? In addition to the two discussion panels, there will be a performance by Lisa Cay Miller of her text-based improvisations for piano, “Lessing Stories.” Admission is free, and the colloquium is open to all, students, artists, academics and the general public.
2:00-3:00 Panel: Extending the Poetics of Song
Scott Thomson, composer and improviser, Montréal and Toronto
Susanna Hood, vocalist, choreographer, Montréal and Toronto
Sandra Djwa, P. K. Page biographer, Vancouver
Phanuel Antwi, Department of English, UBC
Lisa Cay Miller, “Lessing Stories”
3:30-4:30 Panel: Collaborations and Challenges, Sounding Out
Rachel Rose, Vancouver Poet Laureate
Jacquie Leggatt, composer, Vancouver
Bronwyn Malloy, Department of English, UBC
A downloadable PDF version of the colloquium schedule can be found here: Extraordinary Presences schedule
|Robert Kerr introducing Indigo Trio, with Hamid Drake and Harrison Bankhead|
|Indigo Trio, from the back of the room: Nicole Mitchell, Hamid Drake, Harrison Bankhead|
|KAZE: Satoko Fujii, Natsuki Tamura, Christian Pruvost, Peter Orins|