Once again, the productive drive in the early months of the year fizzled out shortly before spring. But perhaps April showers will bring some writing on this blog.
Lately, plans have been underway for the second annual Monongahela Pop Festival, which will happen on October 2 & 3 here in Pittsburgh, at the Government Center. I'm not able to confirm the bill either night but, as long as travel costs allow, it should be good. Check back. Incidentally, there is now an Igor Records (my label) Instagram page that will keep track of such things. It can be found at igorrecordspgh. Pink Gin Marimbas, in which I play drums, will be playing the first night of the Millvale Music Festival on Friday, May 15. We're at Cousins Lounge at 6 pm, which means you might be able to catch us before the borough gets mobbed with people.
Along with Easter busyness, there have a been a few shows happening around here. Back on March 28, saxophonist Caroline Davis came to town, a day after the release of her new album, Fallows (Ropeadope). She played a solo show at Stage MK, the home/performance space of Mark Micchelli and Mai Khôi, arrmed with her alto and some electronics.
Davis is a productive musician and a diverse one at that. While her albums Anthems and Portals Vols. 1 & 2, reveal his thoughtful writing in a more structured jazz framework, she has also released albums like Alula, that bring in the electronics and get a little freer. Accept When was a collaboration with guitarist/vocalist Wendy Eisenberg, where the adventurous streaks and more song-oriented tendencies of both performers came together.
Fallows is a wild ride, in the best sense, a rather personal one too it seems, and her set at MK incorporated that. Early on, a dreamy version of Geri Allen's "Barbara Ann" filled the room with sound. "Cloudburst" (an original, not the Jon Hendricks classic) incorporated a looped spoken sample of the late pianist Connie Crothers, which slowly became clearer as the piece continued. She used the same technique in "She Know She Is Water," [sic] using a sample of Vietnamese monk and peace activist Thich Nhat Hanh.
To begin the night, host Micchelli (who was celebrating a birthday), played prepared grand piano in a trio with Patrick Breiner (tenor saxophone, bass clarinet) and Antonio Croes (electric piano, harmonium, melodica) in a project called Two of Anything. Breiner projected several short phrases of music on the wall, but admitted beforehand that they might not use any of them during the set. Regardless of what was used, they delivered an exciting three-way improv, which included Micchelli taking drum sticks to the piano strings and dumping balls into the frame for visual and sonic effects.A good time was definitely had by all.
