Taylor Deupree and Marcus Fischer at Spectrum NYC
More on Taylor Deupree and 12k: http://12k.com/
More on Marcus Fischer: http://www.mapmap.ch/
Compared to many, I am a relative latecomer to works on the 12k label (within the last 5 or 6 years), but I have listened to experimental, acoustic/electronic and improvised musical works for decades. Having missed other recent chances to see artists’ work that I admire in a live setting, I was quite pleased that the stars aligned last night to see Taylor Deupree and Marcus Fischer perform in an intimate and comfortable setting at the Spectrum NYC on Ludlow Street in Manhattan as the final part of The Cellar and Point Presents series. My elder son also came along–it was nice to share the event with him.
The type of work I do often involves long spans of time between inspiration and tangible result, months and frequently years. So, being able to witness creativity translated into a reality in a comparatively short interval is pleasantly stimulating. Mostly I’ve seen it in jazz collaborations or rock music solos—taking a true creative risk and watching the outcome unfold and evolve (although the latter is often pre-scripted these days).
Deupree’s own work I know primarily through his 12k label and I have reviewed a number of his label’s albums here, and Fischer’s with various collaborations and solo works on a number of labels including Tench, Kesh, Optic Echo, Flaming Pines, 12k as well as self-released. Aside from their live performance with Corey Fuller, Tomoyoshi Date and Simon Scott on the 12k CD Between, Deupree and Fischer also collaborated on a studio project in 2011 entitled In A Place Of Such Graceful Shapes (and I was VERY fortunate to find the gorgeous original limited edition release thanks to a referral from Marcus Fischer who spotted a lone remaining copy at Beacon Sound in Portland, Oregon a couple of years ago).
I’ve been trying to find the text source, but I recall Taylor Deupree advocating that musicians of electronic or experimental works avoid using their laptop computers as primary music generators at performances, recommending artists create sound in the moment via other methods, rather than playing prerecorded sequenced works. Live performances need not be perfect, and sometimes fascinating things come out of failure or happenstance. Last night’s performance lasted a bit more than an hour (audio and video were recorded by Joseph Branciforte of The Cellar and Point), and was a sonic journey that could have fallen unexpectedly to quirks of some rather complicated equipment set-ups (see photos below), but the back-up plans in place were not needed at all.
Initially, Deupree and Fischer spent about 15 or 20 minutes recording and layering sounds and textures loosely reminiscent of Graceful Shapes with percussion, melodic instruments, bows and various effects before branching off and working, more or less, independently of each other yet still curiously bound together. At about 40 minutes, both added new sounds and effects to take the performance into an alternate realm (Deupree being somewhat freer in applying contrasting textures).
Taylor Deupree’s Equipment
After the opening, Deupree’s sound creation and processing were primarily via electronic means, adding sounds from his modular synthesizer and shifting resonances between the channels of Spectrum’s surround-sound system. Whereas Fischer used largely acoustic instrumentation, plucking strings, bowing (actual bow and E-bow), tuning forks and other objects to add layers and textures. Before long, sounds that started as staccato percussives sounded more like fluid, perhaps akin to an ocean or at a shore, and light breezes mixed with occasional Manhattan street noises (the happenstance).
Fischer, who also works with tape loops (such as his recording At Frame) had a vintage tape recorder with an expanded trapezoid of magnetic tape stretched between microphone stands to supplement the fabric of sound. Fischer would at times modulate pitch by physically moving the tape (also, watching the tape splice pass across the stands was rather hypnotic). Only occasional glances between Deupree and Fischer occurred as the piece developed, no words exchanged, just the sounds they created that filled the space. At an appointed moment, Fischer snipped the tape loop, it unraveled, and the music gradually faded into the night.
Marcus Fischer’s Equipment
It was an inspiring and soothing diversion from the realities that compete for space in an overly active mind, and Taylor Deupree and Marcus Fischer’s performance gives me hope that in an age where ceaseless media, noise, and clamoring for wealth and power dominates many of our collective daily experiences, it is possible to remain true to a more peaceful and well-crafted vision while remaining spontaneous and creative in a quiet timelessness.
A couple of pre-show photographs by jotabu
Marcus Fischer Pre-Performance Set-up
Marsen Jules – Sinfonietta
CD DR-28 – Time: 45:56 (Limited Edition of 100 and Deluxe Edition of 100)
Dronarivm – http://dronarivm.com/2014/11/21/marsen-jules-sinfonietta/ & http://dronarivm.bandcamp.com/album/sinfonietta
Almost two years ago The Endless Change of Colour (12k1074) presented a peaceful timelessness borne from a phrase on a jazz record split into three stems disguised as something entirely different. The resulting single movement instrumental work was grounded in a calming earthiness.
Sinfonietta is similar in form, although in contrast it’s loosely held to the bounds of sonic gravity. From the opening, the music phrases materialize definitively then ease in gently to create a feeling of gazing over what could be a familiar realm below with the observer being gently suspended and the vision staying just beyond reach. Recurrent themes occupy a somewhat narrower range of sound and emotion compared to TECOC, yet there are no detectable patterns and the entire work is elegantly devoid of monotony. Periodically, slower flowing waves materialize and vanish gracefully, like evaporating clouds, a languid aurora or another vision from the imagination.
Even with a seemingly minimal palette, Marsen Jules (the nom de plume of Martin Juhls) cleverly interlaces and produces three dimensional visualizations in sound. Listening to Sinfonietta, I feel as if I am serenely traveling in space, perhaps orbiting the Earth (or another as yet undiscovered planet) and marveling at the sights from my comfortable observation craft where I am quite content to remain.
This is a solicited review.