Coming up this Sunday, I’m really looking forward to this duo set with Olie. Our album ‘Conduits’ is coming out on Relative Pitch in March – and apparently the CDs have reached Olie from the States, so will be present at the gig! More soon from this duo but it’s great to start the year with a gig at Cafe Oto. Tickets are available from the Oto website.
This post is an attempt to document the process of making my piece And then the next thing you know (coming up on Friday 19th November at hcmf//), as it has involved working in new ways. I wrote briefly about this here last summer, when I was chosen as one of the artists to receive a COVID-19 commission from hcmf//. The brief was to create a new work for up to three players to be performed at the 2021 edition of the festival, and my pitch was a trio piece for Tullis Rennie, Otto Willberg and myself inspired by Cornelia Parker’s Cold Dark Matter: An Exploded View.
I’ve had a photo of Parker’s artwork – the fragments of an exploded garden shed hung in a gallery space – pinned up by my desk for a few years. The image of the component parts suspended in space resonates with my ideas about structuring compositions; a lot of my approach to writing music involves breaking down the elements of a composition and thinking about what should be pre-determined (and to what extent) by me in advance and what should be improvised collectively in the moment by the band. Then, when the pandemic hit in early 2020, the deconstructed fragments frozen in space began to reflect both my state of mind and the state of my work life, which had been turned upside down by cancellations, postponements and general uncertainty. It was these feelings that led to my idea for the hcmf// piece.
My plan was to make a giant graphic score and then deconstruct it – destroy it really – so that it became a collection of disconnected fragments. The original structure of the score and the information within it would be lost, leaving a garbled mess of partial material and no obvious way to go about playing it. This would then become a giant hanging object that I would suspend in the performance space, and that would be our ‘score’ for a piece improvised trio music.
Turning an idea into reality
Once it had sunk in that this was really happening, my first job was to work out how to construct the physical object. What would it be made of? How big did it need to be? How and where would I make it? This was a fascinating process and opened up a whole new area of making something. Although I regularly make physical objects as part of my work – collage scores, booklets, a zine, hand-printed CD covers, etc – I’d never made anything this….big. Plus, the space we would play in was suddenly important in a new way: I needed to know its dimensions so I could have an idea about the size of the hanging score-fragment-cluster-object. Once I had that information, the way forward seemed to be to build a scale model. Again, not something I’ve needed to do before…
Busting out the paint and cardboard
Over the summer of 2021 I started to gather what I needed to make the score. I wanted the whole thing to be made out of recyclable (and ideally compostable/biodegradable) materials, so I settled on using greyboard; a very stiff, recycled cardboard. It has a textured looking surface but is actually smooth and perfect for painting onto. After working out the size of my giant score (6m x 4m!) I ordered up the board.
Initially I’d imagined the score to be a greyscale object, with the information painted on using black lines – like a giant version of my usual paper scores. Once I started gathering materials though, I realised I wanted to add colour. As time went on, the grey and black object seemed a bit bleak, and I wanted to add an injection of energy and hope, so I decided to use….neon paint! For the black lines I got some really fat paint markers.
The next thing to sort out was where to make the giant score. Unsurprisingly there isn’t 6m x 4m of free floorspace in my flat, so it needed to be somewhere else. Luckily, the building where I use a shared studio has a bookable project space, and my friend and studiomate Sam had some time booked in August that he didn’t have any plans for. I moved in and spent an intense few days making the score.
As the fragments were ultimately going to hang in space, I realised that I needed to make it double sided. This meant painting it twice. It took a day to do each side, leaving the paint to dry overnight before flipping all the panels and starting again from scratch. The two sides ended up looking really different; based on the same structure but with a lot of variation in the graphics and notation.Painting the giant score
Once it was all painted up, I had to get it out of the space asap as the room was about to be used for an s10c gig! I took a lot of photos of the score laid out – both sides and a scrambled combination of both – as this would be the last time it would appear in this form.
Cutting room floor
It was the beginning of October when I was able to work on this project again. The painted boards were waiting under the sofa, and the next stage was the cut. I had already tested cutting the greyboard with a stanley knife over summer, so I got straight on with carving up the panels over a couple of days. It was interesting to think about the fragments hanging in the space, making sure I had a variety of different sizes and shapes. My scale model was very useful at this point to keep a clear idea of what I was aiming for – although the final arrangement would be improvised once I was in the physical venue space in November.
To hang the fragments I decided to use neon-coloured twine. I conducted a few tests to see whether the twine I was looking at was up to the job, and after hanging large pieces of cardboard around the flat for days at a time decided that it was. With all my cut-up pieces finished, the next job was to make the holes for hanging. Once that was done the physical object was finished and ready to be shipped to Huddersfield!
In addition to the deconstructed score, I wanted to bring in an element of fragmented audio to the performance. The trio had rehearsed several times in lockdown remotely, using JackTrip, so I had server recordings of our improvisations. This struck me as the perfect raw material: the sounds of us trying to connect musically when we couldn’t be in a room together. I listened back to the sessions and pulled out some snippets, then distributed them to the trio. In performance, we will all have the material on hand to throw into the music, using samplers and electronics to mangle, chop and distort our original sounds. Here they are in their raw form:
At the time of writing, the performance is later this week. All the elements are in place and I’m looking forward to finally being in the space, impovising with the score and fragments to create some collective music together in a room….
LUME has three new gigs booked at Hundred Years Gallery this autumn. I’ll be playing a solo set, a duo with Ruth Goller, and a trio set (cr-ow-tr-io) with Otto Willberg and Tullis Rennie. The trio will be launching our new album ‘Hold Music’, out on Luminous in December. Head to the LUME website for all the info about these gigs.
On Saturday 9th October, Sloth Racket will play its first gig since September 2019 – and it’s something a bit different. A few months ago Marsden Jazz Festival invited us to play at their 2021 edition as part of the New Stream programme, but it soon became apparent that Anton would be away on parental leave. As the band hadn’t played live for so long, Anton suggested we do it anyway – with a guest. Interesting! The festival were up for this plan, but everyone agreed that we shouldn’t just book a ‘dep’ guitarist. It was an opportunity to do something new and take the group into another sound-world…
With this in mind, we’ll be playing a special one-off set with our friend the amazing improviser Hannah Marshall on cello! This will be the first time we’ve played with a different line-up, and we’ll also be playing all-new music, bringing in ideas that have come out of our online lockdown R&D project ‘A Room Inside The Internet’ from earlier this year. I can’t wait to get most of the band together for this first meeting of new/old collaborators, and see where the music takes us.
You can catch our set at 5pm in St Batholomew’s Church, Marsden. There’s music all afternoon: we’re on after Vula Viel and John Pope Quintet, so it’s probably worth turning up for the whole event. All the info is on the Marsden Jazz Festival website and tickets are on sale now.
We’re getting close to the day when Spinningwork, a quartet that so far has only played online, will finally gather in the same room! Our set at Newcastle Festival Of Jazz And Improvised Music 2021 will also be the recording of our forthcoming album on the New Jazz And Improvised Music Recordings label attached to the festival. Tickets for our set are on sale now.
Ripsaw Catfish has a couple of live dates coming up this month, our first since pre-pandemic times. We’re at the Hexagon Theatre at the mac, Birmingham on 23rd September, sharing the bill with Richard Foote’s Double Trombone Quintet for TDE Promotions. After that we head to Manchester to play for NQ Jazz on 26th September, soundtracking the 1924 soviet sci-fi film Aelita: Queen of Mars for their film night.
Between those two gigs we’re going into the studio to record our third album for Raw Tonk Records. The label will be celebrating its tenth anniversary in 2022, and this release will be part of a batch of Raw Tonk Ten Years albums. During lockdown Anton and I have been experimenting with bringing my tabletop synths and objects into the Catfish setup, and I’m looking forward to continuing these explorations in the same room as each other…
Coming up on Friday 6th August, a duo set with Dee at s10c. This is the gig series attached to the Lewisham studio that I share with Sam Andreae, Mio Ebisu, Tom Ward and Hannah Marshall. Hannah, Sam and Mio put on a lovely gig in the space in 2019, so it’s great to see them starting up again. And the first gig for Dee and I for a long time too! The programme is still developing, so keep an eye on the website so see which artists will be involved.
It’s been a while! LUME is back, putting on gigs again in London. Our first outing is a pair of dates at Hundred Years Gallery, where we haven’t hosted a gig since December 2017. Three sets of improvised music in July and August, featuring a whole bunch of our favourite people…
Places are limited, so email the venue to reserve your place (pay on the door when you arrive).
More about the artists can be found on the LUME website, where you’ll also find a refreshed archive of all our gigs and projects since 2013. It was amazing to go through it all while working on the site….quite a list of stuff.
A nice gig for the Autumn has just been announced. I’m part of Spinningwork, a collaborative quartet that has been playing monthly on JackTrip during the pandemic. Tom Ward, Olie Brice, Johnny Hunter and I initially had a one-off online jam organised by Johnny, but it soon became something that met regularly. All the members are bringing compositions, and we’re now working towards an album, out in 2022 on New Jazz and Improvised Music Recordings.
The album will be recorded live at The Black Swan Venue Space, Newcastle Arts Centre as part of Newcastle Festival of Jazz and Improvised Music 2021. How exciting to be going up to Newcastle for a gig again – it will be the first time in a long while. Tickets are on sale for the gig: it would be great if you could join us for this special live recording.