Duets
I love collaborating. It's a great way of expanding one's personal horizons. I've already created 2 websites on the subject: COLLABORATIONS that lists movie projects that didn't necessarily primarily originate from me in which I was an actor or made a cameo appearance or was a cameraperson or did the soundtrack or was the subject, etc. Then there's the Collaborations where I list my primary collaborators (& some less-than-primary ones) with the intention of eventually making separate websites for each. As of this writing (July 4, 2018), I've only made websites for 7 of them so I've been pretty slack.
In a way, making this Duets website helps compensate for the drastically unfinished state of the Collaborations one because by restricting the focus to just duets I can still provide an index of links to a vast amount of material without having to be as thorough in the way a more comprehensive overview requires. The duets are presented in reverse chronological order with the more recent ones at the top. For the moment, at least, they're restricted to (M)Usical ones & don't get into all 2 person collaborations.
Duets are partially interesting for me, personally, because they represent a level of comfort & confidence. When I started playing piano as a child of 6 or 7 I basically had no idea what I was doing. When I started playing songs as a teenager on piano, guitar, & fiddle I had much more of an idea of what I was doing but not much confidence about playing with other people outside of the conventional metered chord progressions. I felt most comfortable improvising playing harmonica or whistling.
Even though I started improvising on guitar in the fall of 1972, I don't think I played what I now think of as a 'free improvisation' until what was probably the fall of 1975 or thereabouts with Brian Wolle. We shared musical interests, I admired his musical abilities, & he was very spontaneous so it was circumsubstantially good for me to just play. Unfortunately, the tenant living overhead didn't, ahem, have the same enthusiasm for our playing that we did. I really wish there was a recording of that one.
As I begin to attempt to compile this list, I'm immediately confronted by how vast the list would have to be to even approach completeness. Many duets will be left off that I didn't document in any way.
Much of the presentation will be confusing. Some entries are numbered but there're multiple lists from which the entries are taken &, therefore, multiple numberings. There're entries from my Complete Movieography, from my Mere Outline, from my YouTube or Internet Archive notes, & from my Audiography - each with their own numbering.
- July 4-5, 2018 tENTATIVELY, a cONVENIENCE note
2019.11.24 - with Coal Hornet:
607. "Coal & tENT: tENTATIVELY, a cONVENIENCE & Coal Hornet discuss IMPROVisation: 2019.11.24"
- 1:06:31
- 1080p
- on my onesownthoughts YouTube channel here: https://youtu.be/KX4QDzHpyJo
- on the Internet Archive here: https://archive.org/details/coaltent
"Coal & tENT: tENTATIVELY, a cONVENIENCE & Coal Hornet discuss IMPROVisation: 2019.11.24" notes - 1080p - 1:06:31
https://archive.org/details/coaltent
"Coal & tENT: tENTATIVELY, a cONVENIENCE & Coal Hornet discuss IMPROVisation: 2019.11.24": Coal Hornet had been living across the street from me fo 3 years before I met him. I was certainly surprised & delighted to then discover that he was a Free Jazz multi-instrumentalist improvisor & has been since 1968. How fortunate could I be? I quickly arranged for us to play & record a duet together on June 7, 2018, as part of my "365" project. We played a few more times at my house & then for the premier of the "365" movie with live sound at the Regent Square Theater in Pittsburgh on April 7, 2019. Our collaboration is now continuing as I prepare for a quintet uncert under the name "The Ticket that Exploded" in the Music Department of the Oakland branch of the Carnegie library schedlued for the beginning of 2020. As part of the preparation for this, Coal suggested that we get together to discuss our respective takes on improvisation so I drove out to his new (to him) small town home in New Brighton, PA, set up 3 cameras &.. off we went! This is the record of that. I find this to be a valuable document because Coal gets into some of his fascinating history, a history more or less undocumented elsewhere. We end with a short improvisation with Coal on guitar & me on piano. It was fun! - November 26, 2019, notes from tENTATIVELY, a cONVENIENCE
Tags: Coal Hornet, Andrew Wleklinski, tENTATIVELY a cONVENIENCE, free jazz, deaf people and music, improvisation, guitar, piano
2019.10 - with {AN} EeL:
220 "Hurdy-EeLy"
- a duet with {AN} EeL made in October, 2019
- tENTATIVELY, a cONVENIENCE playing hurdy-gurdy (from kit), spinet, music boxes, 3/4 violin. Arp Odyssey, Lilipudlian Mebranophone, halusi
- a 2:33 track in a 14 track release
- "Duets Vol. 1" CD
- also on Bandcamp here: https://soundsfromthe corridor,nadcamp.com/track/hurdy-eely
- released on October 28, 2019, by Sounds from the Corridor
2018.08.19 - with Tanya Solomon:
Tanya Solomon had just completed the last day of her "Truth Assassin" tour & I'd been in attendance at her show at the Glitter Box Theater (presumably the Buffalo gig was cancelled). We'd met a fair amount of times before over the last 17 years or so but this was my 1st chance tina long time to spend a little quality time with her. I found her every bit as likable as ever.
As a part of my ongoing "365" project wanted to make a movie of us playing together so I asked her if there were any instrument that she played & she told me piano & accordion. As it turned out, she reads sheet music & had played accordion in several bands. She told me that she doesn't really improvise & that she hadn't played for awhile so we settled on her playing a French accordion tune while I attempted to follow the simple chord progression. After one go-through of the chords we were to break out into something more chromatic & free-form. Playing metered chord changes is something I left behind long ago but I wasn't too inept & Tanya's proficiency wasn't nearly as out-of-shape as it might've been after long disuse. I played piano. The duet was brief but the French accordion tune made it pleasurably unique.
2018.08.09 - with Dick Turner:
555. "4 X 2"
- four duets with Dick Turner shot in Pittsburgh on August 5, 6, 8, & 9 & edited end to end
- tENTATIVELY, a cONVENIENCE: Erector Set, music boxes, "Harps & Angles" samples, electronics, reading, alto sax & Liverpoolian Membranophone
- Dick Turner: trombone, piano
- edit finished August 12, 2018
- 24:56
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel August 12, 2018: https://youtu.be/1v2B4LgivH0
2018.08.08 - with Dick Turner:
"Boning Up" notes - 4:31
https://archive.org/details/BoningUp
"Boning Up": My old friend Dick Turner was visiting me from Paris in order to participate in the UNDERAPPRECIATED MOVIEMAKERS FESTIVAL that I organized. Dick's a composer/performer/keyboardist/singer/trombonist. Independent of the FESTIVAL we played together at my house. Since Dick was still visiting when the monthly Spoken Word Open Mic was to happen at the Biddle's Escape Coffee House it occurred to me that we should perform a short piece as part of it. I looked through texts of mine that reference the trombone & picked an excerpt from my review of Joan Peyser's "Boulez, Composer, Conductor, Enigma" because it delves into issues of composer/performer relationships in a way that also touches on class. I proposed to Dick that he play trombone while I'd read the text & I decided to add elements to my presentation that he wasn't forewarned about: the modified megaphone & the Ren toy that I'd just been given by my other 2 house guests Florian & Mariette. I asked Dick to be subdued at 1st, as if he were playing background music, & to then respond indignantly to the typically arrogant quote from Boulez. I was planning to use the megaphone & toy later in a 'battle' of sorts between the 'composer' (me) & the 'performer' (Dick). The trombone being a loud instrument & Dick's not having a mute led to an immediate clash between our volumes so I saved the extra props for the end to faux-upbraid him. All in all, I was quite pleased with the 'performance': Dick's playing was excellent & his performance persona spot-on. - August 10, 2018 notes from tENTATIVELY, a cONVENIENCE
Tags: spoken word, Biddle's Escape, Dick Turner, tENTATIVELY a cONVENIENCE, trombone, music theory, class struggle, Pierre Boulez, Karlheinz Stockhausen, Vinko Globokar
2018.08.08 - with Marco Lucchi:
"This is not a Cricket Thermometer"
213.a. "Friday, May 18, 2018" - 8:13
b. "Nondo Snake" - 4:50 (duet with Lezet)
c. "This is not a Cricket Thermometer" - 3:56 (duet with Marco Lucchi)
d. "Moves" - 3:07 (composed & performed by tENTATIVELY, a cONVENIENCE + additional material from Lezet & Marco Lucchi)
- 4 of 8 tracks
- initiated & curated by {AN} EeL as part of his "Three Way Dance" project
- BandCamp release entitled "Moves"
- online here: https://panpanpanaviandistresscall.bandcamp.com/album/moves
2018.08.06 - with Dick Turner:
555. "4 X 2"
- four duets with Dick Turner shot in Pittsburgh on August 5, 6, 8, & 9 & edited end to end
- tENTATIVELY, a cONVENIENCE: Erector Set, music boxes, "Harps & Angles" samples, electronics, reading, alto sax & Liverpoolian Membranophone
- Dick Turner: trombone, piano
- edit finished August 12, 2018
- 24:56
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel August 12, 2018: https://youtu.be/1v2B4LgivH0
2018.08.05 - with Dick Turner:
555. "4 X 2"
- four duets with Dick Turner shot in Pittsburgh on August 5, 6, 8, & 9 & edited end to end
- tENTATIVELY, a cONVENIENCE: Erector Set, music boxes, "Harps & Angles" samples, electronics, reading, alto sax & Liverpoolian Membranophone
- Dick Turner: trombone, piano
- edit finished August 12, 2018
- 24:56
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel August 12, 2018: https://youtu.be/1v2B4LgivH0
2018.06.30 - with Jeff Weston:
550. "2018.06.30 duet with Jeff Weston - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electric guitar, guitar samples; Jeff Weston: acoustic stand-up bass
- edit finished June 30, 2018
- 28:24
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 13, 2018, here:
& to the Internet Archive on the same day:
2018.06.29 - with Stephen Bradley:
548. "2018.06.29 duet with Stephen Bradley - BalTimOre, MD - via FaceTime"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Stephen Bradley: miscellaneous electro-acoustic objects
- edit finished June 29, 2018
- 20:50
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 11, 2018, here: https://youtu.be/94oRrRpviYs
& to the Internet Archive on the same day: https://archive.org/details/2018.06.29Stephen
2018.06.28 - with AG Davis:
547. "2018.06.28 duet with AG Davis - Florida - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); AG Davis: voice
- edit finished June 28, 2018
- 4:38
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 9, 2018, here: https://youtu.be/RTVYv8yRBjU
& to the Internet Archive on the same day: https://archive.org/details/2018.06.28AG
2018.06.27 - with Michael Boyd:
546. "2018.06.27 duet with Michael Boyd - Pittaburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, "Skeletal Remains" samples; Michael Boyd: electric bass
- edit finished June 27, 2018
- 10:32
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 7, 2018, here: https://youtu.be/WmChx3AoRo4
& to the Internet Archive on the same day: https://archive.org/details/2018.06.27MichaelBoyd
2018.06.26 - with Jason Belcher:
545. "2018.06.26 duet with Jason Belcher - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electric guitar; Jason Belcher: melodica
- edit finished June 26, 2018
- 15:46
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 5, 2018, here: https://youtu.be/Hz2hzuvnH9k
& to the Internet Archive on the same day: https://archive.org/details/2018.06.26Jason
2018.06.25 - with San Salamandra:
544. "2018.06.25 duet with San Salamandra - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); San Salamandra: electric bass
- edit finished June 25, 2018
- 7:16
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on August 3, 2018, here: https://youtu.be/09d0pD5ZZMY
& to the Internet Archive on the same day: https://archive.org/details/2018.06.25SanSalamandra
2018.06.24 - with William Davison:
543. a. "2018.06.24 duet with William Davison - Toronto, Canada - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, Set of 5 #1 samples, DX-27S; William Davison: miscellaneous electro-acoustic materials
- edit finished June 24, 2018
- 18:12
- Custom HD 1920WX1440H
b. "2018.06.24 duet with William Davison - Toronto, Canada - via Skype (FB version)"
- w/ the addition of a Facebook movie celebrating William's & my 7th anniversary there with the sound removed from it
- edit finished July 7, 2018
- uploaded to my onesownthoughts YouTube channel on August 1, 2018, here: https://youtu.be/DR7tT77Lbu8
& to the Internet Archive on the same day: https://archive.org/details/2018.06.24William
2018.06.23 - with Neely Bruce:
542. "2018.06.23 duet with Neely Bruce - Middleton, CT - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, Brazil samples, DX-27S; Neely Bruce: grand piano
- edit finished June 23, 2018
- 17:59
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 30, 2018, here: https://youtu.be/RG9hAspi9Qw
& to the Internet Archive on the same day: https://archive.org/details/2018.06.23Neely
2018.06.22 - with Skizz Cyzyk:
541. "2018.06.22 duet with Skizz Cyzyk - BalTimOre, MD - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, pre-fab samples, MIDI-guitar; Skiss Cyzyk: electric ukelele
- edit finished June 22, 2018
- 6:45
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 28, 2018, here: https://youtu.be/uTWI5d5GEjc
& to the Internet Archive on the same day: https://archive.org/details/2018.06.22Skizz
2018.06.21 - with Ben Opie:
540. "2018.06.21 duet with Ben Opie - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, troAc Fragm samples. MIDI-guitar; Ben Opie: tenor sax
- edit finished June 21, 2018
- 12:27
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 26, 2018, here: https://youtu.be/KfDnnPqIH_A
& to the Internet Archive on the same day: https://archive.org/details/2018.06.21Ben
2018.06.20 - with Spat Cannon:
539. "2018.06.20 duet with Spat Cannon - Leeds, England - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Spat Cannon: electric stand-up bass
- edit finished June 20, 2018
- 9:48
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 24, 2018, here: https://youtu.be/Qb0UPboWnbk
& to the Internet Archive on the same day: https://archive.org/details/2018.06.20Spat
2018.06.19 - with Unfinished Symphonies:
538. "2018.06.19 duet with Unfinished Symphonies - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, micro-Korg synthesizer (borrowed from public library); Unfinished Symphonies: electric bass (with spanking new bass amp)
- edit finished June 20, 2018
- 8:10
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 22, 2018, here: https://youtu.be/fljzUuSCQtc
& to the Internet Archive on the same day: https://archive.org/details/2018.06.19Rob
2018.06.18 - with Tom DiVenti:
537. "2018.06.18 duet with Tom DiVenti - Eastern Pennsylvania - via FaceTime"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, percussion, micro-Korg synthesizer (borrowed from public library); Tom DiVenti: movie sound bytes
- edit finished June 18, 2018
- 17:08
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 20, 2018, here: https://youtu.be/4p7EfpowkLA
& to the Internet Archive on the same day: https://archive.org/details/2018.06.18Tom
2018.06.17 - with Eric Lipsky:
536. "2018.06.17 duet with Eric Lipsky - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Eric Lipsky: cello
- edit finished June 17, 2018
- 5:34
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 18, 2018, here: https://youtu.be/c6o8ixWg4RA
& to the Internet Archive on the same day: https://archive.org/details/2018.06.17Eric
2018.06.16 - with Michael Pestel:
535. "2018.06.16 duet with Michael Pestel - Middleton, CT - via FaceTime"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"), vibraphone, Mexican ocarina; Michael Pestel: concert flute, piano harp, slide guitar, percussion, prepared piano, miscellaneous small instruments
- edit finished June 16, 2018
- 20:54
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 16, 2018, here: https://youtu.be/cNQDKLqeK34
& to the Internet Archive on the same day: https://archive.org/details/2018.06.16Michael
2018.06.15 - with Warren Burt:
534. "2018.06.15 duet with Warren Burt - Australia - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano. micro-Korg synthesizer (borrowed from public library); Warren Burt: computers
- edit finished June 15, 2018
- 10:20
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 14, 2018, here: https://youtu.be/6DJRuxzjz8Q
& to the Internet Archive on the same day: https://archive.org/details/2018.06.15Warren
2018.06.14 - with Devin Sherman:
533. "2018.06.14 duet with Devin Sherman - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Devin Sherman: guitar
- edit finished June 14, 2018
- 6:24
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 12, 2018, here: https://youtu.be/OBAhNYmN658
& to the Internet Archive on the same day: https://archive.org/details/2018.06.14Devin
2018.06.13 - with Hyla Willis:
532. "2018.06.13 duet with Hyla Willis - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Hyla Willis: erhu
- edit finished June 13, 2018
- 3:20
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 10, 2018, here: https://youtu.be/bo9CKfjzNWU
& to the Internet Archive on the same day: https://archive.org/details/2018.06.13Hyla
2018.06.12 - with Roger Dannenberg:
531. "2018.06.12 duet with Roger Dannenberg - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Roger Dannenberg: trumpet, flugelhorn, sampling & looping software
- edit finished June 12, 2018
- 28:28
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 8, 2018, here: https://youtu.be/uD3i755cqPg
& to the Internet Archive on the same day: https://archive.org/details/2018.06.12Roger
2018.06.11 - with Alex Stanton:
530. "2018.06.11 duet with Alex Stanton - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Alex Stanton: guitar
- edit finished June 11, 2018
- 6:56
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 6, 2018, here: https://youtu.be/DRfKdm5YLQ0
& to the Internet Archive on the same day: https://archive.org/details/2018.06.11Alex
2018.06.11 - with Lezetmusic:
"Nondo Snake"
213.a. "Friday, May 18, 2018" - 8:13
b. "Nondo Snake" - 4:50 (duet with Lezet)
c. "This is not a Cricket Thermometer" - 3:56 (duet with Marco Lucchi)
d. "Moves" - 3:07 (composed & performed by tENTATIVELY, a cONVENIENCE + additional material from Lezet & Marco Lucchi)
- 4 of 8 tracks
- initiated & curated by {AN} EeL as part of his "Three Way Dance" project
- BandCamp release entitled "Moves"
- online here: https://panpanpanaviandistresscall.bandcamp.com/album/moves
2018.06.10 - with Kenny Haney:
529. "2018.06.10 duet with Kenny Haney - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Kenny Haney: banjo
- edit finished June 10, 2018
- 5:50
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 4, 2018, here: https://youtu.be/qTaN1zyRzPA
& to the Internet Archive on the same day: https://archive.org/details/2018.06.10Kenny
2018.06.09 - with Slavek Kwi (Artificial Memory Trace):
528. "2018.06.09 duet with Slavek Kwi (Artificial Memory Trace) - Ireland - 'telepathically' (involving file exchange)"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, small nondo; Slavek Kwi: miscellaneous electro-acoustic
- edit finished June 11, 2018
- 10:14
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on July 2, 2018, here: https://youtu.be/7e_jY_cb0no
& to the Internet Archive on the same day: https://archive.org/details/2018.06.09SlavekKwi
2018.06.08 - with Little Fyodor:
527. "2018.06.08 duet with Little Fyodor - Denver, CO - via Skype"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Little Fyodor: plastic slide whistle
- edit finished June 8, 2018
- 6:37
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 30, 2018, here: https://youtu.be/droAU62tfA8
& to the Internet Archive on the same day: https://archive.org/details/2018.06.08LittleFyodor
2018.06.07 - with Coal Hornet:
526. "2018.06.07 duet with Coal Hornet - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano (with "Template #1"); Coal Hornet: contrabass clarinet
- edit finished June 7, 2018
- 5:25
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 28, 2018, here: https://youtu.be/0BqliMfTxhM
& to the Internet Archive on the same day: https://archive.org/details/2018.06.07CoalHornet
2018.06.06 - with Dick Turner:
525. "2018.06.06 duet with Dick Turner - Paris, France - via file exchange"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, voice; Dick Turner: voice
- edit finished June 6, 2018
- 5:15
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 26, 2018, here: https://youtu.be/_sNrKmaiYmY
& to the Internet Archive on the same day: https://archive.org/details/2018.06.06Dick
2018.06.05 - with Rich Randall:
524. "2018.06.05 duet with Rich Randall - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electronics; Rich Randall: tapan
- edit finished June 5, 2018
- 10:20
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 24, 2018, here: https://youtu.be/bJZVdmssFDA
& to the Internet Archive on the same day: https://archive.org/details/2018.06.05Rich
2018.06.04 - with Jim Storch:
523. "2018.06.04 duet with Jim Storch - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano; Jim Storch: percussion
- edit finished June 4, 2018
- 7:01
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 22, 2018, here: https://youtu.be/ErfvcYsVTMY
& to the Internet Archive on the same day: https://archive.org/details/2018.06.04Jim
2018.06.03 - with Caleb Gamble:
522. "2018.06.03 duet with Caleb Gamble - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, vibraphone; Caleb Gamble: alto horn
- edit finished June 3, 2018
- 6:44
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 20, 2018, here: https://youtu.be/HyyR32b-QCU
& to the Internet Archive on the same day: https://archive.org/details/2018.06.03Caleb
2018.06.02 - with Noah Rectenwald:
521. "2018.06.02 duet with Noah Rectenwald - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, electronics, oboe samples; Noah Rectenwald: bassoon
- edit finished June 2, 2018
- 11:49
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 18, 2018, here: https://youtu.be/CH67VT5McGs
& to the Internet Archive on the same day: https://archive.org/details/2018.06.02Noah
2018.06.01 - with Ben Opie:
520. "2018.06.01 duet with Ben Opie - Pittsburgh, PA - in person"
- part of a series of duets played every day of June
- tENTATIVELY, a cONVENIENCE: moviemaking, piano; Ben Opie: soprano sax
- edit finished June1, 2018
- 10:05
- Custom HD 1920WX1440H
- uploaded to my onesownthoughts YouTube channel on June 16, 2018, here: https://youtu.be/I8vngkQtrt8
& to the Internet Archive on the same day: https://archive.org/details/2018.06.01Ben
2018.05.10 - with Pamelia Stickney:
517. "Sleeping Together"
- a collaboration with theremin player Pamelia Stickney at the Glitter Box Theater on Thursday, May 10, 2018
- using a GoPro + a Vivitar sports camera (tENTATIVELY, a cONVENIENCE)
- edit finished May 11, 2018
- 22:30
- 1080p (1920WX1080H HD)
- on my onesownthoughts YouTube channel here: https://youtu.be/VNNRBa5Z-cM
427. "Sleeping Together"
- with Pamelia Stickney playing theremin
- Glitter Box Theater, Pittsburgh, us@
- Thursday, May 10, 2018, 10:15PM
- Pamelia Stickney & I planned a gig together for May 10. In a message exchange a little over a month before, Pamelia wrote "i am gonna be totally wasted tired with jetlag beyond that... needing to hit the hay recouping... but our improv theme could be - sonic nightcap, lullaby on a worknight, maybe even as we improv i start to fall asleep at the wheel... ha! anyhooo... lemme know whatcha think... i think it could be fun - getting sleeeepy and drowsy... try to make everyone sleepy drowsy along with us... maybe get peeps to lie down - tell them, bring a pillow! and i end up doing knob twisting lying down... like, is it possible to get into that halfdreamalmost asleep state and bringing out an improv while in it? that could be fucking cool... hehehe! but then i should have tried to book out glitterbox so that i just stay asleep so i dont have to pack my shit afterwards... hahaha... wake up next morning... hearing audience snoring... that would be fun... hehehe... anyhooo... even in tired state i know i still can musickify, and oh man, if i am sitting on a comfy chair, you know how when you start falling asleep and yer trying to talk sometimes your words go wonky and nonsensical? maybe that happens too as i get sleepy while playing?" & I countered by saying that "It'll give a new meaning to "sleeping together"."
As is my typical practive, I gave a substantial amunt of thought to what I might do with the theme & developed a few things in preparation - even getting a pair of Darth Vader pajama pants to wear. Pamelia started it by playing Brahms's "Lullaby" while I got ready for bed by changing into my PJs & switching on various nightlights. I opened my "Total Mobile Home Suitcase" which activated a tape loop of booing & removed a pillowcase. Closing the suitcase stopped the loop & I shook out the pillowcase before putting it on my pillow. I activated an "Envirascape Rainforest Fountain" which produced a waterfall lit by chaning light & has the option of 6 different soundtracks including rainforest & loons. The speaker to this was amplified with a contact mic that went into a 4 channel mixer & from there to a sampler mixer & then out to the sound system.
I also played my 5 music box instrument which had a version of Tchaikovsky's "Swan Lake", a version of the same with major 7ths added to the lower notes, & 3 other music box melodies of my own composing. This was also miked & fed into the sound system. There was a miked metronome.
There was also a radio miked halusi with 2 drone pipes that could be sounded with both out & in breathing.
Finally there was a megaphone that I'd altered by putting arms & a football-with-a-face mask on it. This latter was playing prerecorded heavy breathing sounds.
Both Pamelia & I gradually lay down & continued to manipulate our sound sources as we pretended to fall asleep. Pamelia introduced it as "gentle but mental" & I thought that was a pretty good description. I usually avoid drone-like audio production in favor of clashing disjunctive references but it was fun exploring this direction & using so many props & lightings. Pamelia was her usual excellent musician self. A good time was probably had by all.
- on my onesownthoughts YouTube channel here: https://youtu.be/Q_zMsJFB9Is
- recollections from tENTATIVELY, a cONVENIENCE
2017.12 - with Anthony Osbourne:
211. "Sawed into Halves" (tENT order)
- a collaboration with Anthony Osbourne as arranged by {AN} EeL
- credied to tENTATIVELY, a cONVENIENCE - Anthony Osbourne
- made in December, 2017; published February 15, 2018
- 9:14
- 1 of 11 tracks, all duets
- initiated & curated by {AN} EeL
- BandCamp release entitled "Two Halves Volume Three"
- online here: https://panpanpanaviandistresscall.bandcamp.com/album/two-halves-volume-three
- my track is here: https://panpanpanaviandistresscall.bandcamp.com/track/sawed-into-halves-tent-order
2017.10.13 - with Meg Graham:
421. ""MM 76 - Amusical Music Atheatrical Theater" CD release (mm 77)"
- Glitter Box Theater, Bloomcraft, Pittsburgh, us@
- Friday, October 13, 2017EV, evening
- In November, 2011, I started having a series of meetings, mostly at my house, called "mm"s - which stood for "m(usic(ian's))m(eetings). It was fun at 1st but by 2013 interest seemed to be flagging so I proposed that the main attendees produce a collective CD to showcase our talents. That way, if the mms faded out altogther there would be the audio recording as a memento. We had 2 CD release events, both poorly attended, & we all lost money on the project - with me losing far more than everyone else. It had been my hope that if we managed to make money by sales we would continue to release publications representing the work of other people in Pittsburgh. The interest in this seemed close to nonexistent.
By 2016, attendance was once again on the wane, with me being the only person there at some of the mms. By 2017, I decided to cut back on the actual meetings & try another CD & another release. The CD included some people who'd attended meetings & others whose work I was just interested in as possibly appropriate to the theme of "Amusical Music Atheatrical Theater". After a bit of wrangling, the release date & place were set & the available acts became:
Noah Rectenwald
Warren Burt (who sent a movie of him performing from Australia)
Ben Opie (who came from another gig that day)
tENTATIVELY, a cONVENIENCE & Meg Graham
How Things Are Made (only Matt Aelmore & David Bernabo because the usual 3rd member, Brian Riordan, was just getting back from Europe) (they, too, came after an earlier performance elsewhere)
& Mike Boyd
The Glitter Box Theater provided 2 assistants, Carlee Freeman & Jen Cooney, 2 of my favorite colorful people in Pittsburgh. Alas, only ONE paying vaudience member was there, Anthony Levin-Decanini, who had had something on the 1st mm CD & who had been very supportive of THAT CD.
The actual program was fairly diverse insofar as Noah played pop songs of his; Warren performed a piece on 2 iPads & an iPhone using simulated piano sounds; Ben played a phenomenal sax solo (alto & soprano); Meg & I performed the 1st 6 paragraphs of my 'opera' in-progress, "Endangered Languages, Endangered Cultures, Endangered Ideas"; How Things Are Made improvised on trumpet (Matt) & analog synthesizer (David); & Mike performed one of his scores for building an instrument in real time.
A music writer for the local weekly paper had claimed that she was going to give the event a "Critic's Pick" in the paper that week but then didn't. When that didn't happen, the main publicity I was relying on doing any good was null & void. When I confronted the music writer about this she claimed that it had 'slipped through the cracks.' I didn't believe her & still don't. I think she might've listened to a few seconds or minutes of the CD, decided it was 'too weird' & decided to support a more 'normal' musical act. Not long after, she had a feature story with a front cover picture about a music act that was apparently more to her liking. What was it? A single woman in her 20s who played guitar (as we all know, guitar is the only instrument), sang with country-inflected vocals, & was releasing an EP of the only 4 or 5 songs she had. In other words, unbelievably amateur & unoriginal. That confirmed my suspicions of how banal & biased (women, young) her tastes were. But young women on the cover of newspapers probably sell better than older guys.
I made 3 movies of the event:
485. a. "MM 76 RELEASE"
- shot using 4 cameras on Friday, October 13, 2017, at the Glitter Box Theater by tENTATIVELY, a cONVENIENCE with one additional iPhone provided by Noah Rectenwald of his section
- performers in order of appearance: Noah Rectenwald; Warren Burt; Ben Opie; tENTATIVELY, a cONVENIENCE & Meg Graham; How Things Are Made (Matt Aelrmore & David Bernabo); Mike Boyd
- 1:28:38
- on my onesownthoughts YouTube channel here: https://youtu.be/XuoZopfS4CQ
b. "MM 76 RELEASE (medium rare)"
- 39:33
- on the Internet Archive here: https://archive.org/details/MM76RELEASEmediumRare
c. "MM 76 RELEASE (well done)"
- 12:24
- on Vimeo here: https://vimeo.com/241244343
2017.06.26 - with Libby Ramer:
489. a. "Double Embrace"
- a celebration of the in-person meeting of tENTATIVELY, a cONVENIENCE & Libby Ramer from June 19 to June 26, 2017E.V.
- A Romantic Experimental Music Documentary Comedy
- 1700 X 1275
- 1:50:49
- on my onesownthoughts YouTube channel here: https://youtu.be/1GDXxp_g168
b. "An afternoon in Casa WHO UNIT?"
- the improvisation section excerpted from the above
- 1:04:01
- on the Internet Archive here: https://archive.org/details/AnAfternoonAtCasaWHOUNIT
207. "An afternoon at Casa WHO UNIT? (track 08)"
- credited to: tENTATIVELY, a cONVENIENCE: BioSonic tuning forks, acoustic piano; Libby Ramer: electric piano
- recorded 2017.06.26
- 1:57
- self-published on July 19, 2017, on Soundcloud here: https://soundcloud.com/user-200009324/an-afternoon-at-casa-who-unit-track-08
208. "An afternoon at Casa WHO UNIT? (track 16)"
- credited to: tENTATIVELY, a cONVENIENCE: mixer/sampler, vibraphone; Libby Ramer: electric piano
- recorded 2017.06.26
- 4:28
- initially published on July 20, 2017, on Libby Ramer's Soundcloud & then republished on tENTATIVELY, a cONVENIENCE's Soundcloud in August, 2017 here: https://soundcloud.com/user-200009324/an-afternoon-at-casa-who-unit-track-16
2017.04.28 - with Roger Dannenberg:
419. Premier of excerpt from "Endangered Languages, Endangered Cultures, Endangered Ideas"
- Babyland Loading Dock, May Day Cabaret, Pittsburgh, us@
- Friday, April 28, 2017EV, evening
- Starting in February, 2016, I began having the mms (m(usic(ian's))m(eetings)) that I have at my house center around speicifc intrsumentation that I want to have part of my 'opera' in progress: "Endangered Languages, Endangered Cultures, Endangered Ideas". I had 15 of these mms & I shot footage of all of them & made QuickTime movie samples from each. My friend & collaborator, Roger Dannenberg, then developed software to my specifications that enabled sampling from these movies & enabled other speicifc things to happen.
tENTATIVELY, a cONVENIENCE
The libretto for this, which I'm still in the process of creating, is based around research into enfangered languages & what's lost when the languages become extinct. Roger had only recently gotten the ELsoftware to the point where it could be used in performance & I decided to try to perform the 1st 6 paragraphs of the piece at this May Day Cabaret. Unfortunately, the venue was exposed to the weather & rain, as well as sotware failure, led to a very short & somewhat fumbling performance. The libretto, if I'd even managed to make it through the short excerpt selected for the vent, would've been:
""The extinction of languages is part of a larger picture of worldwide near total ecosystem collapse. Our research shows quite striking correlations between areas of biodiversity and areas of highest linguistic diversity, allowing us to talk about a common repository for what we will call "biolinguistic diversity": the rich spectrum of life encompassing all the earth's species of plants and animals along with human cultures and their languages. The greater biolinguistic diversity is found in areas inhabited by indigenous peoples, who represent around 4 percent of the world's population, but speak at least 60 percent of the world's languages."
Roger Dannenberg
""Like species, languages too can be thought of as occupying ecological niches. The majority of the world's languages are, however, narrow-niched, like Taiap in Papua, New Guinea. Relatively few languages-such as English, Arabic, or Chinese-are broad-niched. At the same time tropical ecosystems are typically rich in number of species, they are poor in the number of organisms-the opposite of northern latitudes. Thus, the population of any one species may be relatively small; it is variety which is great-another characteristic of a stable ecosystem. If we apply this biological analogy to languages, then we would expect to find great numbers of languages spoken by relatively small numbers of speakers in the tropics."
"Most of my personal interests have been in what I tend to think of as "narrow-niched" cultural equivalents: culture & ideas that're "rich in number of species" & "poor in the number of organisms".. or to put it in an admittedly distorted other way: 'rich in imagination' & 'poor in the number of people appreciating this richness'. The 15 mmmovies I made to cull from for my 'opera' exemplify this.
"It's important to understand just what's lost as a language disappears. Detailed local knowledge is lost. Imagine having to reinvent the wheel every thousand yrs or less? Imagine losing the names for a variety of animals, imagine reducing them all to just "animals" & then not noticing or caring that 60% of what's in that category becomes extinct. Now imagine that applied to yr friends & family, imagine that they all become just one 'thing' to you, just "friends & family" & nothing more differentiated. Now imagine 60% of them dying off & yr not noticing b/c you cd no longer tell any of them apart anyway.
""Younger Dyirbal speakers now also use the term iaban, which originally referred to a spotted eel, to refer to all kinds of eels. In traditional Dyribal eels had individual names. On a bush expedition one younger speaker was able to name various species of trees such as bottlebrush and ironbark in English, but could give only the general Dyribal word for "tree" (yuqu) for all of them. In earlier years, Bob Dixon had recorded names for over 600 plants from older speakers."
"In today's day & age the natural environment has become less compelling for many people than the media(ted) one. As such, far more people that I know are likely to know names for apps available for their iJoneses than they are to know the names of the trees in their backyard. Given that the apps are human-made, that the phones are human-made, that the internet is human-made, that prioritizes everything human-made over life that exists on its own. Such a process is dangerous to the environment not only b/c of the way resources become allocated but b/c humans lose the ability to feel connected to anything that's unmediated. They lose their kinship w/ the non-human."
- paragraphs 1, 2, & 5 are quotes from the great book by Daniel Nettle & Suzanne Romaine's entitled "Vanishing Voices - The Extinction of the World's Languages" & the 3rd, 4th, & 6th paragraphs are from my review of that ( https://www.goodreads.com/story/show/524556-biolinguistic-diversity?chapter=1 )
I made a movie of these 1st 6 paragraphs being performed in various ways. This movie includes footage from this May Day Cabaret premier: https://archive.org/details/ELIPabridged
- recollections from tENTATIVELY, a cONVENIENCE
2017-03-04 - with mIEKAL aND:
200. "oWL pONG"
- a collaboration between: tENTATIVELY, a cONVENIENCE & mIEKAL aND as initiated by {AN} Eel
- 4:40 track on a 10 track BandCamp compilation called "Two Halves: Volume One"
- mIEKAL aND & tENTATIVELY, a cONVENIENCE also designed the cover
- published by {AN} Eel on March 31, 2017 here: https://panpanpanaviandistresscall.bandcamp.com/album/two-halves-volume-one
- There's also a 'making-of' movie online that uses the entire "oWL pONG" piece for the soundtrack of its 2nd half. It's called "Making Dü" & it's on my onesownthoughts YouTube channel here: https://youtu.be/OKqsWt_q_3o
480. ""Making Dü"
- a document re tENTATIVELY, a cONVENIENCE's "Ping Pong" & mIEKAL aND & tENTATIVELY, a cONVENIENCE's "oWL pONG" made by tENTATIVELY, a cONVENIENCE
- iJones on "Ping Pong" footage from Gwen Sedlar
- "Two Halves" cover design images from mIEKAL & tENT
- "Ping Pong" footage shot on March 1, 2017
- edit finished April 8, 2017
- 8:53
- 1700X1275 (4/3)
- on my onesownthoughts YouTube channel here: https://youtu.be/OKqsWt_q_3o
2016.08.12 - with Ryan Broughman:
453. "cellfeed 01"
- shot at Who Unit? August 12, 2016
- in collaboration w/ Ryan Broughman
- idea: tENTATIVELY, a cONVENIENCE; impetus: Ryan Broughman
- 4 iJoneses performed with, 2 apiece, by tENTATIVELY, a cONVENIENCE & Ryan Broughman
- edit finished August 17, 2016
- 15:14
- 1700X1275 (4:3)
- on my onesownthoughts YouTube channel here: https://youtu.be/sQLig-7ZfRw
194. "cellfeed 01"
- a collaboration between tENTATIVELY, a cONVENIENCE & Ryan Broughman
- 12 minute loop audio cassette published in an edition of 4, 2 of which immediately broke, & packaged in cigarette packs with 2 cigarette stubs stuck in the cassette spindles
- recorded August 12, 2016 & releeased at mm 69 on Sunday, August 14, 2016
2011.01.08 - with Michael Pestel:
improvisation at Who Unit? (tENTATIVELY, a cONVENIENCE's home)
- Michael Pestel: concert flute (with occasional stunted head joint), alto flute, piano, SonLuminous, various bird calls, harmonica (in C), square bass recorder (in F), slide whistle, voice (modified Mongolian throat singing), & colander
- tENTATIVELY, a cONVENIENCE: Erector Ste, DX27S, sampler, K1m, piano, electric guitar
- an excerpt from this can be heard here: https://archive.org/details/PianoIlliterature-Volume3/2011.01.08Improvisation.mp3
2008.04.30 - with Ben Opie:
355. "Backwards Masking in Rocks" premier & "Mechanically Repetitive / ReRecorded Records RECORD" release
- Pittsburgh Filmmakers, Pittsburgh, us@
- Wednesday, April 30, 2008
- AARGH!! Another elaborate event that I'll try to reduce to a few paragraphs in the interest of writing something about it at all! "Backwards Masking in Rocks" is my Rock Book Opera. It's a movie that was premiered at Pittsburgh Filmmakers' Melwood Screening Room with both a pre-recorded & a live sound track - as well as live 'acting' related to the movie. It was also the premier of my vinyl LP entitled "Mechanically Repetitive / ReRecorded Records RECORD" - released by Dear Skull Records <http://www.myspace.com/dearskullrecords>.
Pittsburgh music journalist Manny Theiner was kind enuf to write a 2pp article advertising this event for one of the local daily newspapers. You can (probably) read the entire article @ Music Preview: Local artist unveils an inconvenient sound <http://www.post-gazette.com/pg/08115/875882-42.stm> or read my edit of it that's only about the movie @ Local artist unveils an inconvenient sound <http://www.hi-beam.net/mkr/tac/tENTINCONVENIENT.html>.
The movie begins, the great reed player & electronics performer Ben Opie is to audience left. I'm vocalizing, mixing, playing 2 copies of the new record, & playing samplers to audience right. We both have foot-pedal controlled lights on us that we can turn on for dramatic effect when so moved. The movie is about the conspiracy of rocks to sexually turn on humans so that humans will masturbate on them. Once the resultant bodily fluids soak the rocks they can grow into giants larger than humans & use us as sex-toys. Or something like that. Periodically, footage of a talking head geologist talking about his personal experiences along these lines appears. Simultaneously, the very same geologist appears on the stage & contemplates what appears to be a rock by using his head-lamp to light it & a magnifying lens. At some point, a 'bible scene' happens: a pregnant woman crossing the desert is stabbed by someone that GOD later orders KILLED. On stage, the very same woman is impaled by me & carried away. Throughout, I sing the copious subtitles & intertitles as the libretto in my best ROCK style (well.. sortof). It's all the fault of BACKWARDS MASKING IN ROCKS - if you didn't already know that.
About an hr into the movie, scenes of people playing ringing rocks are shown - mixed live w/ overhead shots of the records playing (also mixed live into the sound). Ben goes wild. He's been mainly playing theremin (& thingamagoop & clarinet) but now he's probably switched to alto sax & he's damned good. The geologist starts to stroke a vulva that appears onscreen in a rock & it starts to SQUIRT BLOOD OUT FROM THE SCREEN (thanks to S/F/X Joe). The damned thing is menstruating! Thank the holy ceiling light that there's a fabulous documentary made about this.
- recollections from tENTATIVELY, a cONVENIENCE
2008.03.21 - with Caleb Gamble:
@ Who Unit? (tENTATIVELY, a cONVENIENCE's house)
- Caleb Gamble: 2 turntables, electronics kit, organ, slide guitar with Digitech pedals, piano, vibraphone, glass xylophone
- tENTATIVELY, a cONVENIENCE: guitar, E-Bow, pitch-to-MIDI converter, sampler, Kawai K1m, fx, piano, vibraphone, slide guitar with Digitech effects pedals, Erector Set, record player / radio, MR/RRR record
2004.07.17 - with Michael Pestel:
@ dumpster @ Michael Pestel's house
2004.07.16 - with Michael Pestel:
"Persisting Resisting" (t,ac)
@ Michael Pestel's house
- Michael Pestel: flute, percussion, contrabass clarinet, bass crumhorn, flute-propelled spitball percussion
- tENTATIVELY, a cONVENIENCE: cello, guitar, percussion, prepared piano
- an excerpt from this can be heard here: https://archive.org/details/PianoIlliterature-Volume3/2004.07.16PersistingResisting.mp3
126. "pond(er)"
- credited to: Michael Pestel, Elise Springer, Mika Kimula, & tENTATIVELY, a cONVENIENCE
- 79:54 CD-R
- published by: tENTATIVELY, a cONVENIENCE in Pittsburgh, Pennsylvania, USA
- created from July 16, '04 to August 12, '04 & published in August '04
- unlimited edition not likely to exceed 200
2004.04.24 - with DJ Cutter:
- Radio Bronka, Barcelona
- the entirety of this can be heard as the 1st 4 tracks here: https://archive.org/details/Radio2004
2004.03.26 - with Michael Pestel:
339. Harps & Angles (new duet version)
- Brew House, Pittsburgh, us@
- Friday, March 26, 2004
- See entries 329, 330 & 333. This was the 1st time I ever applied for funding & received it. A whopping $400 from which was subtracted $150 for expenses. I had edited an approximately 30 minute 'performance' version of the vaudeo documentary that my collaborator & I had made of the original installation & the related 'performances' & other uses of it. Only 2 of the piano tables were installed for this & instead of having surveillance cameras mounted over them we used 2 mini-dv camcorders. The tables were facing each other in front of an audience seated on bleachers. The mixed together image from their 2 cameras was projected behind them to the left on a screen. We began by having the prepared tape projected onto the right side of the screen with its soundtrack audible. This played for several minutes & then my collaborator, Who is Like God? (Pestel), & I entered from the audience rear & assumed our positions at the piano harps. WiLG?(P) was wearing somewhat ordinary clothes but had spiked his hair with blue gel which was also covering most of his visible skin. I was wearing the brightly colored turkey feather covered outfit that I'd made for the Harps & Angles Quartet 3 described in 333. The vaudeo sound was potted down for the remainder. We played the harps by rubbing glass bricks along the strings producing an eerie & dense high-pitched resonance & then gradually switched to other methods of sounding the strings & other objects that we were using. As usual, WiLG?(P) & I occasionally coordinated our movements so that special visuals would result in the superimposition projection. After 20 minutes or so of this, I switched to playing samples of the Harps & Angles Quartet 2. As such, I left the overhead shot. This left WiLG?(P) to dominate the performative element which he did wonderfully with such touchs as playing small whistle-like instruments with his nose while climbing about on his piano-harp table top. Near the end the Videonics video mixer that we were using to combine the overhead images was set to its demo mode so that it could quickly cyle thru its selection of wipes to make the left projection more spectacular. Then WiLG?(P) & I wound up 2 fake birds in cages that then 'sang' & we climbed onto the tables in a precomposed manner. When the vaudeo ended I turned off the mixer so that both images stopped around the same time & the whole shebang ended.
- recollections from tENTATIVELY, a cONVENIENCE
191. "Significantly Different from the Other One"
- credited to: tENTATIVELY, a cONVENIENCE
- retrospective CD published as mm bad 003 in Pittsburgh, us@
- published June 2016
- initial edition of 300
2003, fall - with Rick Gribenas:
123. "RPGR-428977-tEaCO-4953-003" Rick Gribenas box set made to accompany an installation @ the Foreland St Studio
- no credit visible on package except "tEaCO" as an abbreviation for "tENTATIVELY, a cONVENIENCE"
- a collaboration instigated by Rick Gribenas
- 1 of 7 10 minute cassettes
- published by: Rick Gribenas in Pittsburgh, Pennsylvania, USA
- created & published in the fall of '03
- unknown edition size not likely to exceed 50
2002.02.17 - with Michael Pestel:
for "Guitarists Anonymous Withdrawal Aids"
@ Michael Pestel's apartment
- recorded on mini-dv by Kent Bye
- Michael Pestel: sub-contrabass recorder in C, gongs, wooden concert flute with kotata silver head joint [that can be moved to adjust tuning] with Chinese membrane, bass crumhorn in F, melodica, harmonica, cylinder gong, electric piano, clamp lamp cover, something like a bull-roarer, voice, Thai circular pan pipes, E1 salt-fire ceramic jug
- tENTATIVELY, a cONVENIENCE: 1st-time psaltery, gong, harpsichord, vibraphone, cymbals, banjo, voice, clapping, something like a bull-roarer
"DUET February 17, 2002E.V.: Michael Pestel & tENTATIVELY, a cONVENIENCE" notes - 53:31
"DUET February 17, 2020E.V.: Michael Pestel & tENTATIVELY, a cONVENIENCE": From 1997 to 2005 Michael Pestel was my main (M)Usical collaborator. His position as Art Department director at Chatham College enabled us to do many things there & we both were organizing events. This particular duet was generated to produce footage of us playing multiple instruments other than guitar that I could use in my "Guitarists Anonymous Withdrawal Aids". It was shot by Kent Bye at my request. He also planned to use the footage in a documentary that he was making about me. After 7 fairly intensive months Kent decided against finishing the documentary because it had become more complicated than what he'd had in mind. Because of this, most of his footage has 'languished' & I only recently rediscovered this duet raw footage in my aRCHIVE. Since I'm trying to make my duets more public I decided to edit this & add titles & to put it online. Playing with Michael is always a joy because he's an excellent multi-instrumentalist, very inventive, & he loves to run from instrument to instrument. PLUS he has an excellent instrument collection. Everytime we play together there's a frenzy of creativity. This duet gives an excellent look at how we plunge right in & whip through a variety of possibilities until we feel satisfied that we've 'got a take.' - June 12, 2019 notes from tENTATIVELY, a cONVENIENCE
Tags: Michael Pestel, tENTATIVELY a cONVENIENCE, Kent Bye, experimental music, improvising, instruments
Part 1: https://youtu.be/hYMMgww0gLg
Part 2: https://youtu.be/hYMMgww0gLg?t=875
2002.02.17 - with Michael Pestel:
@ a Chatham Collge sound room
- recorded on mini-dv by Kent Bye
- Michael Pestel: record/turntable, blender base
- tENTATIVELY, a cONVENIENCE: piano laughter
122. "w/ Michael Pestel"
- credited to: Michael Pestel + tENTATIVELY, a cONVENIENCE & collaborators
- 90 minute cassette
- published by: Widémouth Tapes in Pittsburgh, Pennsylvania, USA
- Tape #22
- created from March 12, '97 to March 25, '03 & published in June '03
- unlimited edition not likely to exceed 100
- on my onesownthoughts YouTube channel here: https://youtu.be/hYMMgww0gLg
2001.12.21 - with Greg Pierce:
See same date entry for Daryl Fleming.
2001.12.21 - with Daryl Fleming:
315. Release Party for Street Ratbag #5
- Mattress Factory, Pittsburgh, us@
- Friday, December 21st, 2001, 7 to 10:00PM
- The 5th issue of the Street Ratbag Liberation Front's magazine features a picture on the cover from the Mark Dixon initiated project "Think Tank VIII: Automobile Re-Visionaries" in which Mark & 4 others (etta cetera, Steve, Erik, James) lived in a roofless room for 2 weeks with an '85 Saab car & turned it into musical instruments. The inside color centerfold is pictures from "CircumSubstantial Playing & Blindfolded Tourism" (see entry 312). There are RATicles about both of these & audio excerpts from both on the CD that comes with the issue.
As such, the evening's program somewhat revolved around politics & quasi-documentation from the above. It began with the premier of "Guitarists Anonymous"- a self-help group designed to help guitarists withdraw from their debilitating addiction. This consisted of my asking the guitarist attendees to raise their hands &, when they didn't do so, explaining that they shouldn't be embarrassed because we were there to confront the problem - not to hide it. After more spiel along those lines the testifyin' began with a duet by Daryl Fleming on guitar & myself on samples of me playing guitar & ended with a duet with me on the same samples & Greg Pierce playing guitar (in a white shirt with subtle drawings on it). This was the 1st time I'd played publically with these guys - even though I'd played with Greg many times in the last 7 years.
This was followed by the 2nd version of the vaudeo from "Auto.. Re-Vision". After an entirely too long intermission during which I loaded a massive array of Mechanically Repetitive & ReRecorded Records samples, the Hip Criticals portion of the evening began. They're a "generic HipHop" group consisting of radical cheerleader extraordinaire HipHopCrates (aka etta cetera - see every entry under the sun from the last 4 &1/2 years) & Little Orphan Anarchy (aka Neo Havok). This was my 1st attempt at sortof playing HipHop (& I do mean sortof) & I probably wasn't very successful at it! My samples were culled from my archives of pieces of mine that I thought were conceptually relevant to some formal aspects of HipHop as I perceive it thru my no-doubt skewed & ignorant perspective. Nonetheless, my friend Spat (who does like HipHop & listens to it) liked it alot so I guess I didn't fail too miserably. The set list of etta & Neo's material consisted of:
"Terrorist Attack" -> Intros -> "Rape Rap" -> "Andie" (a personal favorite about a genetics experiment crossing something like a monkey with a jellyfish - in which family reunions weren't taken into consideration!) -> "WWW - U.S. Economy" -> "Rachel's Revolt" (against rhyming about clits & such-like) -> "Trash Rap" -> "Apparatus" -> "Graffiti"
The evening concluded with a screening of 16 minutes of the feature quasi-documentary from "..Blindfolded Tourism" showing attendees who'd been blindfolded (there were at least 3 present) what they hadn't seen. I thought that this bit of tantalizing would've attracted a large crowd but perhaps they didn't know about it because most people there were friends who hadn't been to the August 10th "..Blindfolded.." experience.
- recollections from tENTATIVELY, a cONVENIENCE
113. "Street Ratbag #5 Release Party"
- credited to various
- 79:43 CD-R
- published by: tENTATIVELY, a cONVENIENCE in Pittsburgh, Pennsylvania, USA
- recorded Friday, December 21, '01 @ the Mattress Factory & published shortly thereafter
- unlimited edition not likely to exceed 10
2000.04-06 - with Warren Burt:
438. "The Warren Burt Show & Tell"
- shot from April - June, 2000 in Australia on VHS
- edit finished March 1, 2016
- 3:55:38
- on my onesownthoughts YouTube channel here: https://youtu.be/TiCYlcBm5nM
289. Hard Listening
- Musician's Club, Melbourne, Australia
- Sunday, April 9, 2000
- The "Hard Listening" series is a series of "new music concerts" (or some such) organized by Aemon Sprod every Sunday night at the Musician's Club. I had asked for a video projector but Aemon was unable to provide one so I had to change my plan at the last minute. 1st I screened 2 16mm films of mine: "Diszey Spots" & "How Orgone Cinema Treats Its Visiting Filmmakers". This was followed by my walking thru the audience whistling (without any announcement that this was part of the presentation) for a few minutes. I reached my electronics & started playing a whistling sequence & then started playing other sounds & my film "Subtitles (16mm version)" was screened. I was playing a DH-100 Digital Horn, a Mirage Sampler/Sequencer, a Kawai K1m wave-table synthesizer, a Multi-Verb f/x unit, a MIDI-Patcher, 2 CD Players, & 3 Mixers. The CDs being played were made especially for uncertizing purposes & consisted of miscellaneous s/f/x & such-like meant to be played in shuffle mode + all of my sequences in various versions, etc.. After "Subtitles" ended, I was joined by Warren Burt on laptop while my 16mm film "Funny Farm Summit Meeting" screened. Warren started this section by playing a sample saying: "Jack, that organ over there looks like it requires a jet pilot's license to operate it. Who's the musician in the family?". I chose to begin with this sample that Warren had recorded because it seemed to've come from a kitsch culture source similar to ones that the Funny Farm contained in the thousands & because Warren & I were playing with a large amount of technical resources at our control. Warren & I had rehearsed once for this gig but this was our 1st public presentation together. Our portion of the night ended with our wandering into the audience whistling while one of my whistling sequences played again.
All of the footage shot in Australia during this tour with Warren Burt in it is on my onesownthoughts YouTube channel here: https://youtu.be/TiCYlcBm5nM , this entire Uncert starts here: https://youtu.be/TiCYlcBm5nM?t=51m5s , the rehearsal for it starts here: https://youtu.be/TiCYlcBm5nM
- recollections from tENTATIVELY, a cONVENIENCE
298. Conjuring (a.k.a. "Mad Scientist Duet & Sonic Tag Team Wrestling Match")
- Planet Cafe, Make It Up Club, Fitzroy, Melbourne, Australia
- Tuesday, May 30, 2000
- I began by giving a pompous & highly exaggerated speech about the importance of Warren Burt (see 287, 289, & 294) & myself (amplified thru a mike on a mike stand) - giving a history of all the people that we'd supposedly studied with - probably including: Wagner, Harry Partch, Conlon Nancarrow, John Cage, & many others.. The purpose of the speech was to irritain the audience into wishing I'd shut up. This was finally interupted by Warren calling me from a mobile phone to a mobile phone I was carrying. The use of mobile phones was partially inspired by my annoyance at their omnipresence in Australia. I excused myself & answered the phone & then pretended that it was for someone in the audience.
I had a radio-mike attached to the front of my clothes. This mike sent a signal to a pitch-to-MIDI-converter which, in turn, sent a MIDI signal into Warren's laptop computer so that they could activate 4 banks/patches of samples that Warren had patched together. Which bank was activated when was controlled by Warren. All of the banks were organized into 4 pitch ranges meant to be activated by my vocals: a low drone range for the lowest pitch I was capable of (meant to be sounded as a sustained note), my normal speaking voice range, my falsetto range, & my whistling range. The agreed-upon 1st bank had been structured by Warren & myself so that the drone would trigger scat singing either by Eddie Jefferson or an unknown woman; my normal speaking pitches would activate 19 possible words organized so that their pitches ascended in correspondence to the words' alphabetical order. A 2 second delay preceded each of these words so that they could appear as if in conversational response to my own speaking. This 1st patch was drawn from various people's voices & the vocabulary was (perhaps roughly):
Conservative
Dawesses ["Dresses" lisped]
Face
Flat out
Function
How will you eat?
Insanity runs in my family.
Kick
On the floor
Organ
Precious
Puritanism
Radio
Rock
Same
Sample
Totally illogical
What's up?
You see
My falsetto voice triggered the broadest range of samples & my whistling activated all sine waves (of varying forms: ie: multiple sine waves simultaneously, glissandi, etc..). All of the work done creating these samples was by Warren. Each of these ranges was conceptually mutually exclusive. As such, there were only words in the normal speaking voice range & nowhere else & only sine waves in the whistling range & nowhere else, etc..
Independent of me, Warren had created the other 3 patches without my knowing what the samples in the drone, falsetto, & whistling ranges were as of the time of this presentation. Shortly prior to beginning, he presented me with a list of the vocabularies. Whether these new words had alphabetic pitch correspondences (as with the 1st patch) is unkown to me. These last 3 lists are presented here as they were presented to me & are, therefore, not in alphabetic order:
Patch 2: Cinema People
Alive
Alligators
Awful Silly
Boys
Capers
Cigarette Lighter
Clothes [male voice]
Clothes [female voice]
Dracula
Good
Guess
Handbag
Have to kill
I feel bad
They eat
Victory
Washstands
Well
Wonder Dog
Patch 3: Humphrey Bogart
Bad
Drinking your lunch
Cross Examine
Looking
Kid
Rocco
Less
Dying
The-uh
Made
Dreams
'tuff ["Stuff" without the "S"]
Decide
Maybe
Get
Buried
Here
Manners
Myself
Patch 4: Vineta's words
Abstract
Assertive
Caricature
Complex
Elbows
Eyes
Falsetto
Fast
Gibberish
Gentle
Hysterical
Limp
Nonsequitur
Relaxed
Rhythmic
Shy
Simple
Squirmy
Vehemence
The delay time preceding each of these words varied from patch to patch.
When my mobile phone rang & I answered it, I passed it to a member of the audience saying that I thought it was for them. When I made sounds into the radio mike & triggered samples from Warren's laptop patches these were played out from the laptop's speakers into Warren's mobile phone mouthpiece &, from there, to the earpiece of the receiving phone. At this beginning stage, the samples were only faintly audible to the audience coming from the deliberately muffled laptop speaker & from the mobile phone earpiece. After passing the phone to the 1st audience member chosen, I took it back & asked if had been for them - acting confused about what was going on. I then talked into the phone again as if talking to someone & pretended that I'd gotten further info about who 'the call' might be for & then continued to pass the phone thru the audience.
After a few minutes of this, I returned to the mike stand & blithered a bit more. This was subtly interupted by Warren then phoning our friend in the audience Steve Charman's mobile phone. They proceeded to have a fairly ordinary conversation. Steve knew that something was going to happen with his mobile because he'd been asked to bring it but he hadn't been prepped otherwise. His conversation was as if he was trying not to be too loud for fear of interupting the 'performance' he was attending.
Finally, the laptop was plugged into the PA & the triggered samples were loudly audible. I started this part off with saying, in falsetto, something like "I've been having all sorts of technical problems here so I think I need to do some free association." This was meant to prep the audience for my saying words from the vocabularies & then having words from the same vocabularies, but said by different people, be sounded shortly thereafter. The majority of the words I spoke from this point on were drawn from the patch vocabularies. I both stayed near the standing mike so that my vocal sounds could be occasionally amplified along with the samples & wandered thru the room so that they would be most audible to be people in my vicinity. It was probably clear to the audience that my vocals were activating the sounds but exactly how it was being done would've been difficult to determine. Two studio recordings of this last section were later recorded.
At one point I wandered down the front steps of the Planet Cafe & into the restaurant area below just as 2 people looking for the 'performance' entered the front door. I was cupping my hands around the radio mike & making a variety of sounds & saying vocabulary words as I walked thru the restaurant & then up the back stairs to the performance space again. I was later told by the 2 people who entered at this point something like "we knew we'd found what we wanted when we saw you doing that & then went upstairs & realized that your vocals were somehow connected to the samples." The person who told me this was quite enthusiastic. To people in the restaurant unaware that a 'performance' was happening, I might've seemed like a mysterious 'deranged' person muttering to myself.
At other points, I wandered thru the audience putting the radio mike in front of audience members' mouths to try to get them to attempt to trigger samples themselves. At least one person was loath to do so, presumably shy about her abilities as a performer, so I took back the mike & said "Just say NO to microphones!"
Given the technical vagaries of this process, the pitch-to-MIDI conversion (etc) was hardly 'perfect'. The converter (with, perhaps the 'assistance' of the radio mike's somewhat inaccurate transmission, etc) didn't necessarily 'interpret' my attempted pitches as what I intended them to be & there was a tendency for systemic feedback & other difficult to control extraneous pitch-to-MIDI info resulted in a somewhat less clear sequence & mix of samples than what Warren & I were aiming for. Nonetheless, the whole process was a stimulating CONJURAL process in the sense that my 'chanting' into 'thin air' brought forth 'spirits'.
- on my onesownthoughts YouTube channel: https://youtu.be/TiCYlcBm5nM?t=3h20m32s
- recollections from tENTATIVELY, a cONVENIENCE
103. "2 Men Behind the Curtain Getting Progressively Shorter"
- credited to: Warren Burt & tENTATIVELY, a cONVENIENCE
- 74 minute CD-R
- published by: tENTATIVELY, a cONVENIENCE in Pittsburgh, Pennsylvania, USA
- created in Australia from April 8th, '000 to June 2nd, '000 & published in mid '000
- unlimited edition not likely to exceed 50
104. "Tip of the Australian Urban Rim Job"
- credited to: tENTATIVELY, a cONVENIENCE & Warren Burt
- 74:18 CD-R
- published by: tENTATIVELY, a cONVENIENCE in Pittsburgh, Pennsylvania, USA
- created in Australia from April 9th, '000 to June 2nd, '000 & published in mid '000
- unlimited edition not likely to exceed 50
189. "1975-2015"
- credited to: tENTATIVELY, a cONVENIENCE
- retrospective CD published as mm bad 002 in Pittsburgh, us@
- published December, 2015
- initial edition of 300
2000.02.06 - with John Dierker:
278. Making Odd-Ball Sports History by Uncertizing by Playing a Game of Black Rectangle over the Eye
- Ottobar, Baltimore, us@
- Sunday, February 6, 2000, 10:30-1:00PM
- I organized this evening. I had a self-inking rubber-stamp made with an image of a boy's face with a black rectangle over his eye taken from my filmstrip entitled "The Postman Always Rings the Homunculous of Woody Allen & Hollis Frampton, Twice" with "Black Rectangle over the eye" written underneath it. I rubber-stamped this around downtown Baltimore & near & in the Ottobar to subtly establish the image & the "game" name in advance.
The program began with Scott Larson playing his one-man band "Abomination". I had made an 8'X8' white Spandex screen for rear projecting onto & this was erected at the front of the stage at a slight angle. John Evans then projected a 16mm film of his by bouncing the projection off a mirror so the image could be larger than the shallow stage depth would've otherwise allowed. John Dierker improvised a tenor sax soundtrack to the film, which was otherwise silent.
"Black Rectangle over the eye" was introduced thru a screening of "The Postman.." filmstrip & a pamphlet relevant to the strip was handed out to the vaudience by etta cetera (a.k.a. etta cetera & Rita Rodentia - see most of the recent entries - starting at 212 with etta cetera mention).
Midway up the screen on either side were 2 2' slits for John Dierker & myself to stick our torsos out of from behind. Wearing rubber costume versions of towering Thai hats, I explained something like "that there's nothing like wearing ersatz Thai hats to make me feel like playing a game of Black Rectangle.." & we began. I played a digital horn controlling a wave-table synthesizer & played a loop on a CD that I'd specially contructed for such purposes. etta rear-projected the "Where We're" filmstrip (mentioned in 274) in the upper middle of the screen (without its soundtrack). John Evans projected my 16mm film "How Orgone Cinema Treats its Visiting Filmmakers" overtop my head - following the same projection technique used in the Music Gallery premier of John Henry Nyenhuis' & my "Bogus Piano Concerto" (see entry 199). John Dierker played tenor sax. This "game" was in 17 parts & John D had specific pitch sets & styles to play in during parts 2-9 after which he could play mostly free-form. At the entry to the 3rd part, Dave Scheper began shining a flashlight around & thru his "Codzilla" sculpture to shadow-project on the entire screen. This is a "junk-metal" sculpture of something resembling a codfish skeleton standing about 5' tall on its tail. The shadow was very dramatic & dynamic. Highlights of this were when etta cetera confronted Codzilla with a hand-shadow of a dog profile & when she 'fed' Codzilla a beer. At various points, John D & I would take black rectangles of tape & place them above our eyes - sometimes acting as if we were somehow 'triumphant' - such as by raising a fist & shouting "YEAH!". At the end, I announced that John D had won the game.
This was followed by a projection of etta's "The Truth About the Dimensionally Challenged" & then by my "Shuffle Mode" (in filmstrip versions). The evening ended with a trio improv played by Scott, John D, & myself.
- recollections from tENTATIVELY, a cONVENIENCE
230. "Black Rectangle Over the Eye"
- shot in Baltimore @ the Ottobar on february 6, 00 except for the parts excerpted from other movies
- 1/2" VHS cassette + 35mm filmstrip + 16mm -> 1/2" VHS cassette
- 18:32
- february 6, 00 / april, 02
- on my onesownthoughts YouTube channel here: https://youtu.be/QBTFTpscd4M?t=5821
1999.11.27 - with Monty Cantsin Amen! (Istvan Kantor):
275. Collaboration with Monty Cantsin/Istvan Kantor/Amen!
- Neoist Festival, the Dairy, Windsor, Ontario, CacaNada
- Saturday, November 27, 1999
- This began with Bernie Helling playing software 'random' generation of various samples. I entered with synthesizer/sampler/sequencer/CD playing - using for the 1st time publically my digital horn + CDs made especially for performative purposes. Then Bernie's computer sounds were faded out. Monty Cantsin (see entries 48, 49, 52, 56, 57, 61, 121, 168, 216, 218, 224, 227, 228, 230, 233, 236, 238, & 271, etc..) joined me & began hitting a small metal file cabinet with a contact mike attached to it fed into an f/x device for looping the results. He proceeded to trash & quasi-fuck the file cabinets, a wooden chair, & a couch & to draw his blood & throw it around while I continued to mix my sounds with his extremely loud loops.
- recollections from tENTATIVELY, a cONVENIENCE
191. "Significantly Different from the Other One"
- credited to: tENTATIVELY, a cONVENIENCE
- retrospective CD published as mm bad 003 in Pittsburgh, us@
- published June 2016
- initial edition of 300
1998.08.18 - with David Prentice:
257. S.P.C.S.M.E.F. Approved Sprocket Scientists
- Cinecycle, Toronto, CacaNada
- Tuesday, August 18, 1998, 8:30 to 11PM
- I started off wearing my "Cloud Suit" (sky camouflage with the front covered with square buttons with pictures of clouds on them) + the S.P.C.S.M.E.F. stuffed Killer Whale toy described in 253 + a rubber 'horror' novelty item of a man's head cut off around the mouth with a pool of blood spilling out from its rim which I wore as a hat. During the opening projection of my 16mm film "Bob Cobbing", I read a tailored variation of the S.P.S.M.E.F. text reproduced above (again in 253) - while etta cetera (see most of the entries from 212 on) handed out the text with a picture of me being eaten & shat out again by the Whale under a bridge at Coney Island. After this speech, I removed the Whale. This was followed by the movies "What's Your Fucking Problem You Bloody Gash", "National Cancer Institute Documentary", & "Peterson's Restaurant". After this latter movie, I quizzed the (v)audience about what they got from it (which turned out to be very little). This was followed by "Department of Failures", "The Postman Always Rings the Homunculous of Woody Allen & Hollis Frampton Twice", "Mirthplace of the Republicans", & the 1st 3 "Background Movies for Home Music". Next the "Volunteers Collective" vaudeo made for 252 (& now incorporating footage from 252) was projected simultaneously partially superimposed with a slide show. While this was happening & I talked about the slides, the great violinist David Prentice played -moving a little around the room. The final slide was of one of etta cetera's Story Dresses (dresses & other clothes on which she writes stories) & she came to the front wearing the same outfit & spun her story parasol. The evening ended with "Death Bed Aerobics" (see 254). Interspersed throughout this I played bursts of canned laughter that etta, Jubal Brown (the person who arranged the screening), & I taped.
- recollections from tENTATIVELY, a cONVENIENCE
1998.02.15 - with Michael Pestel:
Volunteers Collective - "A Year of Sundays #11"
- February 15, 1998ev
- Chatham Music Room, Pittsburgh, PA, us@
- Michael Pestel: Thermal Oscillators, Voice, Propane Torches, 2 Prepared Pianos, Toy Piano, Cymbal, Bass Recorder, Bass & Alto Crumhorn, Concert Flute, Theremin, Electric Piano, Electric Harmonium, Misc Metal, 2 Typewriters, Flower Pots, Tongue Drum
- tENTATIVELY, a cONVENIENCE: Yukiko's Glass Marimba, Theremin, Fire Extinguisher, Electric Piano, Electric Harmonium, 2 Prepared Pianos, Misc Metal, Rattles, Toy Piano, Voice
253. Volunteers Collective @ the National Aviary
- Marsh Room, National Aviary, Pittsburgh, us@
- Sunday, February 22, 1998, morning
- Sharyn Lee Frederick, etta cetera, Moya Luckett, Michael Pestel, Jon Skuldt, & I arrived @ the Aviary's Marsh Room an hour or so before it officially opened to interact with the birds there. These latter included one or more of each of the following: Wattled Currasow, Coral Billed Ground Cuckoo (named "Monster"), Greater Flamingo, Red Rumped Cacique, Red Crested Cardinal, Inca Tern, Giant Cowbird, Spackled Mousebird, Blue Eared Glossy Starling, Orange Bishop Weaver, Crested Oropendela, Kiskadee, Buff Throated Sultator, Black Head Woodpecker, Ruddy Duck, Cuban Whistling Duck, Hooded Mergansee, Wood Duck, Bahama Pintail, Rubybill, Argentine Red Shoveler, Hamerkop, Southern Lapwing, Scarlet Ibis, Roseate Spoonbill, Yellow Crowned Night Heron, Green Backed Heron, Boat Billed Heron, Snowy Egret, Bluegrey Tanager, Painted Bunting, Scaley Naped Pigeon, Red Bellied Macaw. Michael Pestel had been coming to the Aviary regularly to play & record & has selections from these sessions on his Ornithology Shadows CD. Michael played flute, Vile Air (a hybrid violin & slide whistle), & tape player; Sharyn played wood, rubber, ocarina, trombone, voice, greeting card, pie pan, whistles, & corrugated tube; etta played crow call, voice, micro-cassette player, floor (by squeaking her shoes on it), chime tree, siren whistle, & whistling. Jon played a tape player that produces an unintentional by-product drone, corrugated tube, slide whistle, & pie pan; Moya played very quite clarinet & harmonica; & I played voice, trombone, bells, violin, chime tree, Jon's droning tape player, whistles, bird calls, rattle, whistling, & corrugated tube. etta & Sharyn mimiced bird mannerisms & we all attempted to interact with the birds in various, usually sound based, ways. The public wandered thru & occasionally a child would play the chime tree or some bells.
- recollections from tENTATIVELY, a cONVENIENCE
1998.02.15 - with Michael Pestel:
Volunteers Collective - "A Year of Sundays #10"
- February 15, 1998ev
- J. Rustler's 9 Cylinder Gongs, Chatham College, Pittsburgh, PA, us@
- Michael Pestel: Gongs, Cymbal, Bowed Music Stand
- tENTATIVELY, a cONVENIENCE: Gongs, Cymbal, Music Stand, Rattles
252. [Volunteers Collective @ Jessica Rustler's Cylinder Gongs @ Chatham College
- Chatham College outside near Woodland Hall, Pittsburgh, us@
- Sunday, February 15, 1998, near sunset
- As with many actions I'm involved with, this wasn't intended for an audience nor was it intended not for an audience. Michael Pestel & I simply played an approximately 40 minute set using this sculpture of 9 hanging gongs made from metal cylinders with their ends cut off while people on campus wandered by & lingered for a few minutes here & there. Michael also played a music stand by bowing it, played a cymbal, & played the gong support. I played the music stand by scraping it with various parts of a pocket knife, & played the cymbal & gong support too. I wore a latex 'hat' that looks like a human head severed below the nose with a pool of blood issuing out from it (the 'brim'). I played an extended cymbal section with the 'severed head' on the cymbal.]
- recollections from tENTATIVELY, a cONVENIENCE
1997.07.25 - with John Henry Nyenhuis:
089. "Livid @ the Schmaltzwald"
- credited to: Party Teen on a Couch #2 & Sir Henry the Organ Slayer
- 120 minute cassette
- published by: Widémouth Tapes in Pittsburgh, Pennsylvania, USA
- Tape #14
- recorded in Berlin July 25 to July 26, '97 & published in November '98
- unlimited edition not likely to exceed 100
1997.07.08 - with Dóra Atilla:
233. Uncert with Dóra Attila
- Neoista?! Puccs Tilos Rádio Party - Orczy Kert / Orczy Park Hall, (Buda)Pest, Hungary
- Tuesday, July 8th, 1997, night
- Dóra Attila's a Hungarian improvising wind player. On the main stage of a huge auditorium that had 3 large scaffolds as alternative stages we played a set. I had a video-projection of some of my "Concrete Mixing Vaudeo #2" (a fast encapsulation of many of my movies) showing both on the partially lowered corrugated metal garage-type door at the front of the stage & onto the back wall behind the stage. Under these conditions, the images were barely decipherable & the video became more of a light show. Attila played soprano sax, Turkish clarinet, & trombone with a reed mouthpiece. I took my zipper pants off & wore them as a shirt. During a sortof 'film noir jazzy' part made from CCMC samples, I sang in a sortof 'childish' 'Betty Boop" type voice something like this: "Hewwo, everybody. I'm Monty Cantsin & I'm going to sing a wery, wery, wery special song. It's for you, & you, & you , & YOU! & it goes something like this: doopie-doo, doodie-woo-be-doopie-doobie-doo-doo. Thank you." Due to electrical problems, my equipment started going haywire. As such, my sampler/sequencer, midi-patcher, & effects unit were all disabled. I was only using 2 K1 module synthesizers erratically controlled by a borrowed keyboard & tapes. It was swell.
- recollections from tENTATIVELY, a cONVENIENCE
1997.03.04 - with Daryl Fleming:
Volunteers Collective XXX - March 4, 1997ev - Nu-Nu, Pittsburgh, PA, NUsa
- Darryl Fleming: Electric Guitar, Effects
- tENTATIVELY, a cONVENIENCE: Performa Computer, S/F/X CD, DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Multi-Verb, Midi-Patcher, 4 4-Channel Mixers
1996.07.10 - with Ben Opie:
Volunteers Collective XXVI - July 10, 1996ev - Nu-Nu, Pittsburgh, PA, NUsa
- Ben Opie: Alto Sax, C-Melody Sax, Soprano Sax, Bassoon Reeds, Voice, Corrugated Tube (app. 5' long) w/ Bass Clarinet Reed, C-Melody Sax Mouthpiece, Alto Sax Mouthpiece, Water
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Multi-Verb, Midi-Patcher
593. "Volunteers Collective XXVI"
- my 2nd duet with Ben Opie shot on July 10, 1996E.V. with a static lo-def surveillance camera to VHS at NU-NU, Pittsburgh
- titling & effects finished on May 31, 2019E.V.
- 46:38
- on my onesownthoughts channel here: https://youtu.be/0L--0Faiq_Y
1995.10.09 - with Terry Klein:
Volunteers Collective XXIII
- October 9, 1995ev
- The Get-Outstitute, Buffalo, NY, us@
- Terry Klein: 2 Slide Whistles, Electric Guitar, Electric Bass Guitar, Electric Guitar tuned in 5ths, Voice, 4-String Fretted Rebec, Midi-Verb, Misc. Small Instruments, Digital Delay, etc..
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Multi-Verb, Midi-Patcher, "Erector Set" Percussion
172. "VC XXIII"
- w/ Terry Klein
- 8mm vaudeo -> 1/2" VHS cassette
- :18
- october 9, '95 / may 17, '99
- a 2:36 excerpt from the full session that the above is taken from is in the context of "UNCERTS" on my onesownthoughts YouTube chnnael here: https://youtu.be/ShRgYeTSK40?t=1h18m48s
1995.09.11 - with John Henry Nyenhius:
Volunteers Collective XXII
- September 11, 1995ev
- John Henry & Mila's Apartment, Toronto, Ontario, CacaNada
- John Henry Nyenhuis: Emax HD Sampling Keyboard
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Multi-Verb, Midi-Patcher, 3 4-Channel Mixers
1995.09.08 - with John Henry Nyenhuis:
200. a sO-cALLED wHATEVER
- Music Gallery, Toronto, CacaNada
- Friday, September 8th, 1995, 8:00PM
- This was divided into 4 parts:
1st, the "Total Mobile Home Suitcase" (named after the micro-cinema run by Rebecca Barten & David Sherman in San Francisco that the suitcase was semi-inspired by) was placed on the lap of each audience member & opened. With each opening a different short audio piece was heard & the suitcase was then closed. When the suitcase reached a friend that I hadn't seen for 8 years (Alan Lord), it greeted him with "Hey, Baby". Another audience member pulled out a pouch of tobacco & pointed to it when the suitcase played a coughing sound for him. The 2nd part consisted of Colin Hinz & myself playing the double groove sides of "Usic minus the square root of -1". Colin played on a turntable that he'd made that has a wider variety of speeds than normal. Colin dropped fishplates on the record while playing it - just as he had during 1 part of the same record (on which he's represented remaking the "Official Wafer Face Record"). The 3rd part began with a straight presentation of my film "Diszey Spots" & was followed by my film "Funny Farm Summit Meeting". This latter is a film of a nudist mask party at the Funny Farm - a 19 room farm house in Ontario covered from floor to ceiling with kitsch & novelty items (etc..) collected, created, & organized thematically by the humorous "mastermind" of Laura Kikauka. This was where I'd been residing for the previous year. The film's sound-track was accompanied by John Henry Nyenhuis's playing grand piano whilst naked wearing the same mask that he was shown wearing in the film (whilst also playing piano) & by myself playing synthesizers & sampler while also naked & wearing the same mask as in the film. The 4th part was the fabulous world premier of my "A Year & a Day at the Funny Farm Bogus Piano Concerto - in 2 Rapid Bowel Movements". This involved John Henry playing keyboard while I played synthesizer modules, sampler, sequencer, midi-patcher, multi-verb, etc.. The relationship between our 2 parts was a sort of intricate mutual subversion in which John played with an almost super-human virtuosity & I mutated & immersed his pianistic linearity. The structure was such that John Henry began by playing furiously (in the "Left Wing Movement") & gradually slowed down. He began the 2nd, & last movement (the "Chicken Wing Movement"), playing minimally but triggering more notes than he touched. As this last movement progressed he gradually returned to furious playing but his pitch output was drastically reduced by my controlling. As such, the audience was presented with a variety of relationships between what his fingers were actually doing & what they actually heard as a result. Simultaneously with this was the projection of an extreme slow-motion film of mine (collaboratively made with the loveable Orgone Cinema folks) entitled "How Orgone Cinema Treats Its Visiting Filmmakers". This film, at 24fps, is only 5:40 long - but in this projection it was extended to 45:00 by having the projectionist play bits of it in both forward & reverse. The film features, amongst other things, fertilized duck eggs being thrown at the back of my head.
footage from the suitcase portion of this is here: https://youtu.be/ShRgYeTSK40?t=1h11m58s
footage from the Usic LPs portion of this is here: https://youtu.be/ShRgYeTSK40?t=1h17m39s
footage from the Funny Farm Summit Meeting portion of this is here: https://youtu.be/ShRgYeTSK40?t=1h21m33s
footage from the Bogus Piano Concerto portion of this is here: https://youtu.be/ShRgYeTSK40?t=1h35m17s
- recollections from tENTATIVELY, a cONVENIENCE
589. "tENTATIVELY, a cONVENIENCE @ the Music Gallery, a sO-cALLED wHATEVER"
- featuring the talents of tENTATIVELY, a cONVENIENCE: 16mm films, record making, electronics, d composing; Colin Hinz: specially constriucted turntable, projecting; John Henry Nyenhuis: mind-nogglingly great keyboard playing
- shot on VHS by Istvan Kantor on September 8, 1995
- edit by tENTATIVELY, a cONVENIENCE finished May 28, 2019
- 1:35:54
- on my onesownthoughts YouTube channel here: https://youtu.be/kjkDZsaWhkk
1995.09.08 - with Colin Hinz (see the following John Henry Nyenhuis entry):
"Usic LPs" (t,ac): https://youtu.be/ShRgYeTSK40?t=1h17m39s
1995.09.08 - with John Henry Nyenhuis:
076. "A Year & a Day @ the Funny Farm Bogus Piano Concerto in 2 Rapid Bowel Movements"
- credited to: John Henry Nyenhuis & tENTATIVELY, a cONVENIENCE
- 45 minute cassette
- published by: Widémouth Tapes in Pittsburgh, Pennsylvania, USA
- Tape #5
- created from July 24 to September 8, '95 & published in March '96
- unlimited edition not likely to exceed 300
1995.05.11 - with David Prentice:
Volunteers Collective XX
- May 11, 1995ev
- Funny Farm, Ontario, CacaNada
- David Prentice: Violin, "Erector Set" Percussion, Vibraphone, Acoustic Piano, Harmonica, Voice, Small Nondo
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Midi-Patcher, 3 4-Channel Mixers, Multi-Verb
1995.03.12 - with Rob Johnston:
Volunteers Collective XIX(II)
- March 12, 1995ev
- Funny Farm, Ontario, CacaNada
- Rob Johnston: playing of variations on Erik Satie's "Vexations" on the Prepared Piano (prepared by Rob)
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Midi-Patcher, 3 4-Channel Mixers, Multi-Verb, Tapes, Radios
"Volunteers Collective XIXb": https://youtu.be/ShRgYeTSK40?t=1h9m41s
591. "Volunteers Collective XIX: "Vexations""
- Rob Johnston: prepared piano; tENTATIVELY, a cONVENIENCE: electronics, movie-making - performing an abridged & expanded version of Erik Satie's "Vexations" in the Turquoise, Beige, & Flesh Room at the Funny Farm on March 11th & 12th, 1995E.V.
- 1:34:40
- on my onesownthoughts YouTube channel here: https://youtu.be/dVOd7vtMveE
- on the Internet Archive here: https://archive.org/details/Vexations_201905
1995.03.11 - with Rob Johnston:
Volunteers Collective XIX(I)
- March 11, 1995ev
- Funny Farm, Ontario, CacaNada
- Rob Johnston: playing of variations on Erik Satie's "Vexations" on the Prepared Piano (prepared by Rob)
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, 2 K1m Synthesizers, Mirage Sampler/Sequencer, Midi-Patcher, 3 4-Channel Mixers, Multi-Verb
"Volunteers Collective XIXa": https://youtu.be/ShRgYeTSK40?t=1h3m11s
1995.02.24 - with David Prentice:
092. "2 Duets"
- credited to: tENTATIVELY, a cONVENIENCE & Neil Feather (The "Official", February 7th, 1992E.V., Symphony Orchestra) + tENTATIVELY, a cONVENIENCE & David Prentice
- 90 minute cassette
- published by: Widémouth Tapes in Pittsburgh, Pennsylvania, USA
- Tape #19
- recorded February 7, '92 & February 24, '95 & published in December '98
- published in 2 slightly different packagings in editions of 50 each = 100
1994.09.02 - with Neil Feather:
194. [duet with Neil Feather
- the Normill, Durham, CacaNada
- September 2, 1994
- A stop on Neil's motorcycle tour. My new, improved playing (DX27S Synthesizer, 2 K1m Synthesizers, Mirage 8 bit Sampler/Sequencer, 2 4-Channel Mixers, Multi-Verb Processor) + Neil's motorcyle portable rig (NuGuitar, Portable Vibulum, Effects) & Small Nondo. The audience seating was partially church pews which had been sawn in half so that the inclined at an angle (since there was no vertical support at one end). Two audience members (Norman White & Dan) provided spirited accompaniment by lifting & dropping the Pews.]
An edited version of the entire event including both Neil's solo set & our duet was shot by Laura O. White & then edited & titled by tENTATIVELY, a cONVENIENCE on December 24, 2016. It can be witnessed on my onesownthoughts YouTube channel here:
- recollections from tENTATIVELY, a cONVENIENCE
471. "Neil Feather & tENTATIVELY, a cONVENIENCE at the NorMill"
- shot by Laura O. White using a VHS camcorder on September 2, 1994
- edited & titled by tENTATIVELY, a cONVENIENCE on December 24, 2016
- 1:01:14
- 720 X 480 (3/2)
- on my onesownthoughts YouTube channel here: https://youtu.be/HP5Gmmu97Jc
1993.11.25 - with Martha Colburn:
Volunteers Collective XIV
- November 25, 1993ev
- tENT's warehouse, BalTimOre, MD, us@
- Martha Colburn: Drums, Saw Blades, Bike Horn, Cymbals, Pot Lid, Cow Bell, Squeak Duck
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, K1m Synthesizer, Mirage Sampler/Sequencer, Multi-Verb, Effected Small Instruments, "Erector Set" Percussion
1993.11.22 - with Jeanine Farrall:
Volunteers Collective XIII
- November 22, 1993ev
- tENT's warehouse, BalTimOre, MD, us@
- Jeanine Farrall: Voice (Processed by tENTATIVELY, a cONVENIENCE thru all 99 presets of the Multi-Verb)
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, K1m Synthesizer, Mirage Sampler/Sequencer, Multi-Verb
1993.09.16 - with Jack Wright:
Volunteers Collective X
- September 16, 1993ev
- tENT's warehouse, BalTimOre, MD, us@
- Jack Wright: Trombone, Alto Sax, Tenor Sax, Soprano Sax, DX27S Synthesizer, Vibraphone, "Erector Set" Percussion, (Dry) Hydroencephalaphone
- tENTATIVELY, a cONVENIENCE: DX27S Synthesizer, K1m Synthesizer, Mirage Sampler/Sequencer, Multi-Verb, "Terrence Dougherty" Electronics, Lap Guitar, "Erector Set" Percussion
1992, fall - with Neil Feather:
153. a. "Great Moments in Odd-Ball Sports: A Cue Stick Guitar Duet"
- w/ Neil Feather
- moving camera: Martha Colburn, ladder camera: Michelle Cutler
- 8mm vaudeo -> 1/2" VHS cassette
- 6:23
- '92-'93
b. "Great Moments in Odd-Ball Sports: A Cue Stick Guitar Duet" (for YouTube)
- 3:22
- edited in computer & outputted to mini-dv december 26, '08
- on my onesownthoughts YouTube channel here: https://youtu.be/TJcoXlDmKb8
1992.06.15 - with Chris Astier:
Volunteers Collective VI
- June 15, 1992ev
- the beer-farming home of Chris Astier & tENTATIVELY, a cONVENIENCE, BalTimOre, MD, us@
- Chris Astier: Fretless Electric Bass, Voice
- tENTATIVELY, a cONVENIENCE: "Erector Set" Percussion, Synthesizer, Guitar, Voice, Tapes, Radios, Vibraphone, Trumpet
1992.03.21 - with Neil Feather:
160. the Official, March 21st, 1992ev, 14 Karat Cabaret, We're Not As Intense As John Duncan But We're As Worth Paying Attention To For Reasons More Complex Than There's Time To Explain In This Measley Band Name Band
- 14 Karat Cabaret, Baltimore, us@
- March 21, 1992
- Being on a double bill with John Duncan I decided against using any "sexual" film &/or vaudeo material & chose to present the more subtly conceptual "official" material instead. With Neil Feather surrounded by his inventions on the front of the stage to the audience's frontal left & me surrounded by my "erector set" percussion & many other devices behind him, the visual emphasis was overwhelmingly on construction. To the audience's frontal right was a movie screen on which I premiered an approximately 1/2 hour version of my 16mm film (still in progress as of this writing) entitled "John Lennon's Erection As Blocking Our View Homage & Cheese Sandwich" - a technically diverse, "non-linear", multi-mood extravanganza that parallels the "official" project in its genre reference juxtapositioning. Neil & I played largely in the dark occasionally flashing our foot-pedal controlled lights like lightning flashes to give the audience fleeting glimpses of the elaborateness of our gear. Much of the film contains construction footage so the feeling was of something elaborate being built inexorably in front of you too quickly to be able to grasp it all.
- recollections from tENTATIVELY, a cONVENIENCE
1992.02.07 - with Neil Feather:
092. "2 Duets"
- credited to: tENTATIVELY, a cONVENIENCE & Neil Feather (The "Official", February 7th, 1992E.V., Symphony Orchestra) + tENTATIVELY, a cONVENIENCE & David Prentice
- 90 minute cassette
- published by: Widémouth Tapes in Pittsburgh, Pennsylvania, USA
- Tape #19
- recorded February 7, '92 & February 24, '95 & published in December '98
- published in 2 slightly different packagings in editions of 50 each = 100
1992 - with Neil Feather:
146. a. "The "Official" John Lennon's Erection as Blocking Our View Homage & Cheese Sandwich"
- 16mm -> 1/2" VHS cassette
- 25:30
- '90-'92
- YouTube URL: http://youtu.be/z9f7mzn2euc
1991.10.28 - with Neil Feather:
156. the Official, October 28th, 1991ev, Pixilatin' Deadly Drolls
- 'Patanational PXL-2000 Movie Festival, BAUhouse, Baltimore, us@
- October 28, 1991
- Leading to the intermission in the PXL fest, Neil Feather & I played such things as small & demi Nondos while Valerie Dearing's Philosopher's Union Member's Mouthpiece played. I played my Nondo with wind-up toys & played vibraphone in public for the 1st time.
- on my onesownthoughts YouTube channel here: https://youtu.be/KIVUeDkKNDo?t=3684
- recollections from tENTATIVELY, a cONVENIENCE
1991.05.19 - with Neil Feather:
153. [the Official, May 19th, 1991ev, Open House in the Garage at 3PM Solo Quartet
- Neil Feather & Valerie Dearing's Garage, Baltimore, us@
- May 19, 1991, 3PM
- See the previous entry.]
- recollections from tENTATIVELY, a cONVENIENCE
1991.05.18 - with Neil Feather:
152. [the Official, May 18th, 1991ev, Open House in the Garage at 3PM Solo Quartet
- Neil Feather & Valerie Dearing's Garage, Baltimore, us@
- May 18, 1991, 3PM
- The "official" project had shrunk to its founding duet. This marked the premier of the "78" CAMU - a sequence of 78 beats that was to generate many a groan of anxiety from "official" players to encounter it. Personnel: Neil Feather, myself.]
- recollections from tENTATIVELY, a cONVENIENCE
1985 - with John Berndt:
020. a. "Abba's Tribute to TG."
- credited to: White Colors
[this could be credited to "White Colours" instead]
- 7:30 selection on "Side This" of a 90 minute cassette
b. "Monty Cantsin Psychoanalytic Encounter Group w/ Charles Boyd (MD.)"
- 27:47 selection on "Side That" of a 90 minute cassette
c. "Closing Remarks"
(credited with typo of "Tentitively, a Convienience" instead of "tentatively, a convenience")
- :07 selection on "Side That" of a 90 minute cassette
- from: "NEOISM: SMILE: THE EGGS IN THE GAUNTLET - ULTERIORISM..........."
{a variation on this tape exists entitled: "Monty Cantsin/White Colors Volume I: "Akademgorod" to "Ulteriorism""}
- published by: Applied Pornography Institute in Waterville, Maine, USA
- edited by: Dr. Charles Boyd
- created in '85 &/or '86? & published in '86?
- unlimited edition unlikely to exceed 25
1983.12.25 - with Doug Retzler:
065. X-Mas in Lacquerland
- a house in Baltimore, us@
- December 25, 1983
- Deciding that it would be more fun to work than to spend Christmas with our relatives, Doug "Sumu Pretzler" Retzler & I once again recorded a visit to "Lacquerland" (see #s 17 & 23). It was decided that every day is February 29th there & that the pterodactyl seems to be the most common bird.
- recollections from tENTATIVELY, a cONVENIENCE
1979, summer - with Herr Brain Storm Drain (Brian Wolle):
020. Visit to Lacquerland
- a construction site in Maryland, us@
- late March, 1979
- In fall of 1978, I started working as a hard-wood floor finisher. This job involved stooping over a bucket of lacquer & brushing the lacquer on the floors as a part of the finishing process. Inhalation of the fumes caused intoxication. Co-workers Brian Wolle (a.k.a. "Brain" &/or "Herr Brain Storm Drain") & Doug Retzler (a.k.a. "Sumu Pretzler") & I exploited this high & tried to have fun at work by improvising vocally while lacquering. These improvs centered around creating a mythology about the living conditions in "Lacquerland" - our name for the state of mind & body gotten into from the fumes. Our audience, when there was one, were our fellow construction workers - who were apparently entertained but who made jokes about our being "crazy". There were a fair amount of these sessions but, for the purposes of this history, I've restricted myself to only listing the 3 that we audio recorded.
- recollections from tENTATIVELY, a cONVENIENCE
026. Another Visit to Lacquerland
- another construction site in Maryland, us@
- date uncertain, possibly mid 1979
- Another mythology-spewing plunge into derangement by myself & fellow denizen of Industrial High Society Herr Brain (see #17).
- recollections from tENTATIVELY, a cONVENIENCE
1977 - with David Hummer
@ tentatively, a convenience's house
- "dadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadada" (score from tentatively, a convenience
1976, beginning - with Chas Brohawn
@ tentatively, a convenience & Pat Browb's apartment
- "dadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadada" (score from tentatively, a convenience
1976, beginning - with Pat Brown
@ tentatively, a convenience & Pat Browb's apartment
- "dadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadadada" (score from tentatively, a convenience
1976 - with Chas Brohawn
@ tentatively, a convenience & Pat Browb's apartment
- "profile drawing of face smoking cigar on grapoh paper" (graphic score from tentatively, a convenience
189. "1975-2015"
- credited to: tENTATIVELY, a cONVENIENCE
- retrospective CD published as mm bad 002 in Pittsburgh, us@
- published December, 2015
- initial edition of 300
1975, fall - with Brian Wolle
@ Brian Wolle's house
- Brian Wolle: cornet, piano, drums
- tentatively, a convenience: piano, electric guitar, trombone
idioideo at verizon dot net
to the tENTATIVELY, a cONVENIENCE Anti-Neoism page
to the tENTATIVELY, a cONVENIENCE Audiography page
to the tENTATIVELY, a cONVENIENCE Bibliography page
to my "Blaster" Al Ackerman index
to the tENTATIVELY, a cONVENIENCE Books page
to the tENTATIVELY, a cONVENIENCE BYOC page
to the tENTATIVELY, a cONVENIENCE Censored or Rejected page
to the tENTATIVELY, a cONVENIENCE Collaborations page
to the tENTATIVELY, a cONVENIENCE (d) compositions page
to Amir-ul Kafirs' Facebook page
to the "FLICKER" home-page for the alternative cinematic experience
to tENTATIVELY, a cONVENIENCE's GoodReads profile
to the tENTATIVELY, a cONVENIENCE Haircuts page
to the tENTATIVELY, a cONVENIENCE Home Tapers page
to the tENTATIVELY, a cONVENIENCE index page
to the tENTATIVELY, a cONVENIENCE Instagram Poetry page
to a listing of tENTATIVELY, a cONVENIENCE's manifestations on the Internet Archive
to the tENTATIVELY, a cONVENIENCE as Interviewee index
to the tENTATIVELY, a cONVENIENCE as Interviewer index
to tENTATIVELY, a cONVENIENCE'S Linked-In profile
to tENTATIVELY, a cONVENIENCE's Mail Art page
to the mm index
to see an underdeveloped site re the N.A.A.M.C.P. (National Association for the Advancement of Multi-Colored Peoples)
to tENTATIVELY, a cONVENIENCE's Neoism page
to the DEFINITIVE Neoism/Anti-Neoism website
to the Philosopher's Union website
to the tENTATIVELY, a cONVENIENCE movie-making "Press: Criticism, Interviews, Reviews" home-page
to tENTATIVELY, a cONVENIENCE as Reviewer page(s)
to tENTATIVELY, a cONVENIENCE's Score Movies
to SMILEs
to find out more about why the S.P.C.S.M.E.F. (Society for the Prevention of Cruelty to Sea Monkeys by Experimental Filmmakers) is so important
to the "tENTATIVELY, a cONVENIENCE - Sprocket Scientist" home-page
to "Top 100s" index
to Psychic Weed's Twitter page
to the Vermin Supreme page
to tENTATIVELY, a cONVENIENCE's Vimeo index
to Vine movies relevant to tENTATIVELY, a cONVENIENCE made by Ryan Broughman
to tENTATIVELY, a cONVENIENCE's presence in the Visual Music Village
for info on tENTATIVELY, a cONVENIENCE's tape/CD publishing label: WIdémoUTH
to a very small selection of tENTATIVELY, a cONVENIENCE's Writing