Well let's see... this was all so clear to me last night when I was driving to the airport to pick up my brother. I knew that I wanted to write something. It's been a long time, and a lot of important stuff is happening. I've been so busy trying to get ready for this Headache project. I feel like I'm ready for a second career as a travel agent/composer. I spent the last week with the phone pressed against my ear, arranging flights, hotels and schedules, van pickups and departure times, alternating with my chicken scratch against manuscrīpt paper. Originally I was resigned to not writing any new music for this project, so busy and so forth, but I saw this kid with a rubiks cube on the train. He was doing the thing extremely rapidly, basically without looking at it. He completed, and I bullshit you not, completed the cube like 4 times in 2 mtr stops. very impressive. All with this completely absent, disinterested look on his glazed eyes. I wondered at first if he makes his living with that thing. The hilarious part was that I was totally amazed at this kid's speed, but no one else on the train even looked at him. not a once. I guess I don't ride the train enough. Anyway it gave me an idea for a kind of degrading counterpoint. A counterpoint that degrades the material over time. You know, how things fit together. Pretty obvious really. But when I got home I started working with these two melodic ideas, seeing if they could fit together. It kind of worked on paper and in the computer, but today is the big day when I get to try it with the musicians. Then I'll know for sure. I did a second "rubics" which I think has the potential to be much more beautiful, also must wait to play to know for sure. And my brother promised me that he brought a song that is the "downtown version of Blueberry Hill". Fast forward to a medium shot of an eskimo, standing victoriously on top of a supersized walrus. Cue piano triplets. Singing: "I got my thrill,,, ,,,, ,,,, ,,,, on Blubbery hill,,, ,,, ,,,, ,,, Actually I read a review of a Fats Domino concert recently. According to Nate Chinen, Fats has still got it. Amazing. Anyway, I was on my way to the airport. Seriously starved for music. I was unable to reach my usual state while driving, which is moderate fourth chakra bliss. This because I was driving a loaner. No, I don't give a shit what I drive, BUT I couldn't for the life of me find the cd changer so I couldn't get my music going, so no transcendent bliss at the wheel. I called the mechanic that gave me the loaner. If he knew where the cd changer was, he wasn't saying. It occurs to me now that I could have simply listened to the cd's that were already in the changer. That's obvious. Why didn't I think of that? Anyway, I was skipping between channels trying to find something, anything. Just some music. I like Canto pop. I like Mandopop. Whatever. It was mostly adverts, but occasionally I would get a little sugary vibe going: Wo shi hen kai shi shi zhe shi ngai ni ngai ni walla walla, etc Fine. I can deal with that, but after the song there would be ten minutes of traffic report. Monotonous, but not enough to induce the trance that I sought... I lucked into a pretty good program for about ten minutes of this guy demonstrating beat box rhythms in Cantonese. Yi ga ngaw jaw gogo Roland TR baat Ling Baat ge seng: Boom boom bap, boom ba boom bap. And then tepid applause from the studio audience. Ok, fine. Maybe some of you heard that. Hell, maybe a few of you were actually there watching... I dunno. Finally I went into the shing mun tunnels after Sha Tin, and got some static noise, some low growling static, it was starting to sound like, um, wait a minute, um, maybe a little Merzbow, zhssszzzsnappple snapple whizzz grrrrraaaooooopppp... a little Oval Process, I, I ahh... I could feel myself relax, the chakras gradually lining up in sequence, a slight, almost imperceptible glow on that fourth energy center that I love... and then I left the tunnel and... massive deflation. Boom ba boom ba boom. Ah shit! There was just no way I was gonna get my groove on. So I tried to focus on the transitory nature of... well basically everything. It wasn't hard, seeing as I couldn't pick up a steady signal to save my life. Finally I got to the airport. People look better at airports. You get to see what everybody looks like when they are coming. I like airports. Hey, I have a big China tour coming up, and I will be in Hong Kong at Le Rideau on 21 and 22 December. Here's the deal: Anyone who comes to the show by way of his blog, and is not totally satisfied with our performance can mention this blog, and their unhappiness. If they can come up with a reason why they don't like the music that makes me laugh, I will give them their $150 dollars back. On the spot. That's a promise. I'm gonna carry a little cash. I usually do. Would be thieves take note: I mean don't take notes. from me. God dammit. This is an incredible band. Read the info below, please come to the show, please say hello. Thanks. Below are the relevant details: Headache: instrumental improvised rock/jazz featuring the cream of the NY Downtown scene. Friday December 21 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150 2850 8833 reservations recommended Saturday December 22 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150 2850 8833 reservations recommended Headache is bassist Peter Scherr’s musical brainchild. He writes music for this project with a very special set of circumstances and musicians in mind. Headache’s music uses elemental rhythmic and melodic building blocks which fuse Pan-American and African aspects in a furnace of electric guitar and drums. These strange miniatures, stated forcefully and spun out of control in a thousand different directions, contrast with moments of exquisite tenderness. The band’s melodic focus is in the hands of saxophonist Briggan Krauss, whose entrances guide the music to striking peaks. Guitarist Tony Scherr deploys a huge expressive range, from delicate strings of passing chords to blaring, splintery rackets, at once dramatic and quite beautiful. The music rides on a wave of explosive rhythmic interplay. Jim Black, one of the five most interesting drummers working in creative music today, is an essential part of this group. A compact, elfin presence, Mr. Black fearlessly embodies the demonic and angelic, drawing a huge range of effects from his instruments and colleagues. Jim Black has been playing drums for twenty-eight years. Born in 1967, he grew up in Seattle, WA, playing music ranging from garage rock to big band swing. In 1985 he went to Boston, MA to attend the Berklee College of Music. During this time he recorded numerous albums, performed in Europe and taught summer classes at Berklee. In 1991 he moved to Brooklyn, NY, and has since become one of the most in demand drummers in the jazz/new music scene today. In addition to co-leading and composing for the groups Pachora and Human feel, Jim records and tours extensively with diverse groups, including Ellery Eskelin, Chris Speed's Yeah No, Tim Berne's Bloodcount, Dave Douglas' Tiny Bell Trio, Uri Caine's Mahler, Bach, and Berio Projects, and Laurie Anderson. Briggan Krauss attended Cornish College of the Arts in Seattle, Washington where he received a Bachelor of Fine Arts degree in music performance in 1992. In 1994 Briggan moved to Brooklyn, New York where he still lives today. Briggan has performed and recorded with musicians such as John Zorn, Wayne Horvitz, Bill Frisell, Eyvind Kang, Robin Holcomb, Anthony Coleman, Steven Bernstein's "Sex Mob", Madeski Martin and Wood, Bobby Previte, Jim Black, Hal Willner, Joey Baron, the New York Composer’s Orchestra and many others. Peter Scherr is an American double bassist/composer living in Hong Kong. He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and avant-garde music performance and composition. He has performed and recorded with leading creative musicians such as his brother Tony Scherr, drummers Kenny Wollesson, Jim Black and Anton Fier, Bruce Huron, John Carlson, Matt McMahon and Simon Barker among many others. Mr. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts. One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world. Since coming to New York in the 80s, Tony Scherr has become one of the city's most prolific and in-demand sidemen, playing integral roles in the music of such notable artists as Willie Nelson, Bill Frisell, John Lurie (Lounge Lizards), Steve Bernstein (Sex Mob), and Norah Jones, as well as some of New York's better-kept secrets, such as Jesse Harris and the Ferdinandos, The Wollesens, Ursa Minor, and Slowpoke. Tony has recorded most of these latter artists at his Brooklyn home studio, helping to foster and document a tight-knit, intimate scene of players who are as skilled and daring as they are broadminded and modest. 頭疼： 紐約音樂世界精華提議搖滾樂或騎士器樂頭疼 即席是低音提琴手彼得Scherr想法音樂項目。他由於小組特別場面和音樂家來為這項目編輯音樂。頭疼音樂通過電吉他使用一些基本的節奏和曲調模塊、這些模塊和鼓平底鍋美國和非洲典型保險絲一起。這些奇怪的小片段由強有力的方式使用并且狂放地動搖，形式醒目的對比以美好的柔和的片刻。樂隊的曲調主要由Sachs手Briggan Krauss扣除，他加入教導音樂對上升組成你衝擊的峰頂。吉他演奏員Scherr表現是充分的托尼，範圍是寬廣的，打雷弄出聲響的撕裂由精妙的處理弦曲調，是極端精妙的，當富有的戲劇時。在音樂家之間協調造成音樂提出波形形式，易爆和富有的節奏動搖。多數讓現在五鼓手作為人感興趣的創造性音樂世界，黑色是這個樂隊的重要組成部分的吉姆之一。black先生短小，年輕和聰明是可能的同樣，大膽彙集惡魔，并且天使在一個身體，通過他的樂器和同事，做不斷變化的作用。 吉姆黑色參與了音樂表現已經28年。1967年他出生，長大在華盛頓州西雅圖，在期間演奏了每种音樂，搖擺的愉快從車庫搖滾樂到大樂隊。1985年，他對是被找出的馬薩諸塞狀態波士頓去的Burkley音樂學院學校，在填裝期間做了無數的特刊，去歐洲執行，并且教了暑期學校在Burkley。1991年，他搬到紐約釀造Kelin，從現在起和成為騎士或新的音樂世界多數人現在邀請的其中一位鼓手。除共同的主導的簽名人Pachora和人的感覺以外這二個樂隊和為它組成的音樂，吉姆用各種各樣的樂隊和遊覽廣泛也填裝系統唱片。這些樂隊包括Ellery Eskelin，呀克里斯速度沒有， Tim伯爾尼Bloodcount，戴維・道格拉斯微小的響鈴三重奏， Uri Caine Mahler， Bach和Berio射出，並且Laurie安徒生。 Briggan Krauss研究在華盛頓西雅圖的康沃爾藝術學院，在1992獲得音樂執行學士學位。1994年Briggan移動了向紐約釀造Kelin和總居住那裡。Briggan執行和抄錄了唱片音樂家與它合作包括約翰Zorn，韋恩Horvitz，比爾Frisell， Eyvind Kang，知更鳥Holcomb、安東尼Coleman，史蒂文Bernstein 「性暴民」， Madeski馬丁和木頭， Bobby Previte，吉姆黑色， Hal Willner， Joey樂隊男爵，紐約作曲家，等等。 Scherr是你的彼得居住海外香港的美國低音提琴手，并且作曲家，有超過20年連續體驗的專業，從交響樂表現到騎士和最尖端的音樂表現和組成音樂。一次他與多數頭等創造性音樂家以臺灣表現和抄錄唱片，包括他的兄弟托尼Scherr，鼓手Kenny Wollesson，吉姆黑色和安東Fier，布魯斯休倫湖、約翰Carlson，馬特McMahon和西蒙剝皮器等等。shcerr先生在獨特的興趣領域音樂雄偉和啟發追求。他當前重點是創造性音樂概念表現。他的一個遠程宗旨，用途世界每位地方多數卓越的即席音樂家的能力，在中國認識創造性音樂普及。 來自到紐約80年代，托尼Scherr成為在城市執行最頻繁，并且多數接受歡迎的其中一陪同，承擔在多數著名藝術家的音樂的不可缺少的角色。在這些藝術家包括比爾Frisell，約翰Lurie (花花公子)，史蒂夫Bernstein (性暴民)和Norah瓊斯，以及紐約一些仍然安置內在樂隊，例如Jesse哈里斯和Ferdinandos， Wollesens，小熊座並且Slowpoke。托尼在自己的在多數人位於釀造Kelin的家庭把室全部錄音為後面這些記錄藝術家的，幫助培養和記錄一個關係接近的音樂家圈子成長。這些人不僅天分和技巧卓著，大膽的創新，同時觀點也是開放的并且普通。 And if you are gonna be in China, you can maybe catch these shows. This is not a commercial. Just information. Headache China Tour venue info巡演场地资料: Saturday, December 15 无锡市北仓门37号北仓门生活艺术中心(保利广场家乐福一侧的巷子尽头) BCM Art Center, 37 Beicangmen, Wuxi , Jiangsu province. Sunday, December 16 深圳市福田区华强南上步路1019号根据地酒吧 755-8363 3533 The Base Bar, 1019 Shangbu Road, Huaqiang South, Futian District, Shenzhen Monday, December 17 广州市水荫路城市会副大堂喜涡 1st Floor, Chengshi Hui, Shuiyin Road, Guangzhou Tuesday, December 18 青岛电视塔顶楼，青島市中心櫸林公園內 Qingdao TV Tower, Julin Park, Qingdao. Wednesday, December 19 南京路100号 创意100产业园 3号楼401室 Room 401, Building 3, Creative 100, Nanjing Lu 100 Qingdao Thursday December 20 Shanghai JZ club 46 Fu Xing Xi Lu 10:00 pm start Friday December 21 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150/$350 with dinner 2850 8833 Saturday December 22 Le Rideau 1/F Hilltop Plaza, 49 Hollywood Rd., Central $150/$350 with dinner 2850 8833 Sunday December 23 重庆江北区观音桥步行街新世纪百货2楼芭莎酒吧 Bossa Nova Bar, 2/F New Century Department Store, Guanyin Bridge Foot Street, Jiangbei District, Chongqing Tuesday December 25 北京东城区张自忠路3-2号愚公移山 010-6404 2711 Yuyongyishan, West Courtyard Duanqi Rui Former Government,3-2 Zhang Zizhong Road, Dongcheng District, Beijing. Thanks and hope to see you there!
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