Tag Archives: free jazz

Fuchsprellen Colog-nuh

A quick update on the adventures of Fuchsprellen. If this band is wrong I don’t wanna be right…

We secured a date at Cafe Nine in New Haven, on very short notice, and played a double bill with Light Upon Blight on November 9. LUB is Jeff Cedrone’s project, and I have been playing bass along with Peter Riccio on drums. Normally we would have Neil McCarthy on alto sax but he couldn’t make it for this gig. This means that the Fuchsprellen rhythm section opened as a trio under Jeff’s direction, then we switch back to Fuchsprellen mode with the Fuchsprellen Horns. This could go horribly wrong, but so far it has not. Jeff’s concept with LUB is heavier, darker, and more brutal than 90% of anything Fuchsprellen does. The result is improvised “doom jazz” in power trio format.

Note: this is an expanded version of the “Mother’s Day Debacle” show where LUB and Fuchsprellen played trio sets in the same way: LUB trio, followed by Fuchsprellen trio. Just as a musician can train for sight reading, or chord chart reading, or soloing over set forms, there is a strong New Haven area improvisational tradition that has New Haven Improvisor’s Collective at its core. All of the musicians I have been involved with through NHIC have improvisation backgrounds and ambitions, but the formalized work done at NHIC has helped with both vocabulary/skill building as well as providing context for musicians to launch their own projects, like LUB, and Fuchsprellen, among many. But I Digress…

We had a trio of reeds for the Fuchsprellen set: John Venter on tenor sax, Richard Brown on Alto, and Steve Chillemi on bass clarinet. The rhythm section is there to provide support for the horns, and keep them flying for the entirety of the set. One thing is for sure, these guys are ready to rock from the downbeat. The hardest thing we face is giving the rhythm section a chance to settle in before the horns get down to bid-nezzzzz. We did a great job at finding balance at this gig (audio to come, real soon now, and maybe video too).

Huge thanks to Michelle and the good folks at Cafe Nine, and all the people who turned out for the gig. We had an excellent crowd for a Sunday , and I expect that we will be back at the Nine over the winter. Hooo-Yeahhhhh!!!!

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Light Upon Blight – photo by Hank Hoffman

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The Fuchsprellen Horns – photo by Hank Hoffman

Fuchsprellen makes a small jump sideways

One of the things I push for in Fuchsprellen is to avoid having too much predictability. I want to be surprised by what the band members play, and be surprised by what I play. What started out as a few duo gigs with Peter Riccio morphed into a four-piece ensemble with Steve Chillemi and Richard Brown. That gave the band two multi-instrumentalists in front of a flexible rhythm section. For the August 28, 2014 gig I made a few changes. Steve and Richard were only playing reeds, we added John Venter on tenor sax, and Jeff Cedrone joined us on guitar and synth. I played an acoustic bass guitar, which sounds very similar to a double bass. Not identical, but similar.

These musicians have all taken part in some of the NHIC workshops (Richard, maybe not), and that has proven to be a very good place to build a foundation as an improvising musician. I spent over five years playing in NHIC workshops and ensembles, and have played in many NHIC “satellite” bands where the members can be traced back to NHIC projects. While the musicians are all very individualistic they have learned a type of common language. This can not be overstated: it makes a huge difference in the final product. You don’t need to know how to read, but you must be able to listen and play at the same time.

Fuchsprellen at Best Video, Hamden, CT

Fuchsprellen at Best Video, Hamden, CT

Without much in the way of warning, this performance turned into a freewheeling sextet with a pulsing Mingus-style backbone. Everyone jumped right onboard and we put together a propulsive performance.

After the gig I was doing my usual post-mortem and it was apparent that as good as the gig was, it was a proof of concept. We added another dimension to the Fuchsprellen palette. I wish I had been better prepared for an evening playing bass, but I know that wasn’t possible. I have not played a complete gig on bass in a while, and the best way to get back into shape is to jump into the pool and swim.

I can see this format progressing over the next few dates. It might even clear the bar for the “Fuchsprellen Rehearsal Rule”, aka the Prime Directive: If you call a rehearsal, it has to be for one hell of a good reason. I think we could use a rehearsal session to nail down a few themes, and lend a smidgen of organization to the proceedings. Wish us luck.

While you do that, here is a link to the second set from that show. The full set will be released soon, and the audio should be better. Until then, enjoy:

Eric Dolphy Was Punk Rock

  • Peter Riccio – drums
  • Jeff Cedrone – guitar, synth
  • Steve Chillemi – alto sax, bass clarinet
  • Richard Brown – alto sax
  • John Venter – tenor sax
  • Pete Brunelli – acoustic bass guitar, electronics

Fox Tossing, and other musical concepts

Over the past two years I have been pursuing my musical goals with more focus, specifically on my commitment to “free music” and improvisation. I caught the free jazz bug early in life and it has continued to be a fundamental force in my musical life. One of the things that has become more clear as I continue to perform music is the gradation within any artistic medium or genre.

An example is “painter”. You meet someone, it turns out that they are a painter. Once you determine that it is “artistic” painting, not house painting or interior painting (an art in itself), what do you really know? Do they work in oils, watercolors, acrylics, natural pigments…? Do they paint people, landscapes, futurist fantasy, naturalist tableau…? Are they working in an established tradition, or school? Otherwise all you know is that they apply paint to a substrate and consider it to be their art.

Music is the same, and might be even harder to pin down. When people hear that I play music they first ask if I am in a “band”. At any time that answer could be “no”, “several”, “yes, kinda”, or “I am a band”. Either way, it is almost never the kind of band they are thinking of, rocking out Mustang Sally to beer-soaked Hartford fratboys. Even if they have a broader conception, they might not get that my band does not have “songs”. In many ways each artist can be considered their own genre. Even if I have been highly influenced by Zappa, Art Ensemble of Chicago, Sun Ra, Last Exit, and Charles Mingus? Those artists have produced an incredibly broad variety of musical art (OK, maybe not Last Exit 🙂

I have made this statement as a idee-fixee regarding musical influence: “I love what Mingus was doing in 1964, but he never had to worry about being influenced by Led Zeppelin or Jimi Hendrix”. And he didn’t. I do. All the time.

As a result I spent most of my life playing improvised music and avoiding those influences. Starting in the late 90’s I began to examine and embrace those influences, and act out on them in live performance. I took advantage of an opportunity to play the music of Don Van Vliet (Captain Beefheart), and that led to opportunities to delve into the music of Frank Zappa from the performance end of the operation. In there was the opportunity to play “indie rock” with The Sawtelles, and get exposed to a huge array of “indie rock” music that was incredibly diverse. All through that period I was digging deeper into my early influences. The huge array of “unreleased” and “re-issued” Sun Ra recordings continues to be a wonderland of freaky jazz. Getting my ears around the music of Kawabata Makoto and his various Acid Mothers Temple projects was equally revelatory. Stuck in the middle of this period was a seven year string where New Haven Improvisors Collective was my primary outlet for improvisation and structured chaos in music.

I also found out that I have certain skills and priorities that can conflict with musicians at the more “laconic” end of the spectrum. One way in which I have found myself separated from my peers is in my insistence on urgency and timelines. I will literally lay out rehearsals in terms of “we have X rehearsals, totaling Y hours, until date Z to prepare this band”. I believe that results do not happen accidentally, especially when learning to play the work of other composers. Nailing a version of a Frank Zappa composition is not done by accident. Jamming and getting “close” will not suffice. It is my inner Project Manager reaching into my artistic life and getting all pragmatic on the process.

As well, I am aware that each musician I have met and worked with has a very personal set of motivating concepts. Some want to be “the guy”, in the spotlight performing technically difficult material with seeming ease. Some want to validate their love for the party lifestyle. Some want to control others’ actions and occupy the head chair of their personal musical fantasy land. Those motivations are always underlain by other needs, experiences, compensations… And, for better and worse, exposure to those people has allowed me to better understand my own desires and motivations.

That decade of self-education was the densest and most exciting I have experienced. It allowed me to expand my performance opportunities and abilities, and develop a small but exciting network of like-minded muso nutjobs. It allowed me to do something I have done on a regular basis since I was a boy: throw it away and start over.

Not unlike the abstract painter, I feel like there are plenty of other people to participate in the music equivalents of hyper-realism, landscape, portraiture, pop-themes, etc… I have the desire to make music “on the spot” and leave the world of highly structured compositions to other musicians. Following this approach is not easier, at least not in my experience. Just as a Motown band needs a bass player versed in Jamerson, a free music ensemble needs to have members who are versed in the confidence of their ears and reflexes. That is much easier said than done. It is definitely not “easier”.

My current attempt at this musical pathway performs under the name “Fuchsprellen“, an old German word for “Fox Tossing”. You can look it up, or take my word for it that it was a blood sport of 16-17th Century royalty in which small woodland creatures were introduced to a walled compound where royalty would use cloth straps to launch them into the air. This was typically fatal for the animal. But the sheer absurdity of it struck me in a way to use it as a name for my band. It also sounds bad-ass.