Input/Output – February Edition

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We’re one month and 12 days into 2018 and it’s time to check in.

Input (What I’ve been putting into my eyes and ears this year…)

Podcasts

Podcasts now far outweigh TV shows and films as my medium of choice. I use Stitcher to listen and have a number of absolute core shows I listen to.

Hellbent – The tagline is ‘a feminist podcast for those who resist and persist’. the two hosts, Devon and Drexel are great and their remit covers all kinds of important topics – lots of current affairs and politics especially as it relates to equality, healthcare, family law etc. The tone is strong and honest and bold. This one is a new find but I love what I hear so far.

Inflection Point – Presented by Lauren Schiller and always with a fascinating roster of guests. The tagline is ‘how women rise up’ and there’s some great episodes like How to bring Joy into the Resistance and one about Alex Bernadotte’s Beyond 12 programme for underserved college students including first gen immigrants and low income families.

Slow Burn – This is an incredible series about Richard Nixon and Watergate made by Slate. The theme is fascinating enough but this podcast goes beyond the standard stuff we all know about the enormous garbage fire that was Watergate and goes deep with lots of interview content with those close to the various stages of the story.

The Gender Knot – Exploring the new masculinity and femininity is their remit and the topics are far-reaching and always interesting. It’s thought-provoking and contemplative with broad topics like Does Gender Shape Business? as well as topics that reflect the current climate such as How Will #Metoo Affect Dating?

Up and Vanished – Late to the party, I know but to the 7 of you that haven’t listened – DO IT NOW. I’m just glad I discovered it when all the episodes were available so I didn’t have to wait in between. It’s made by Payne Lindsey and focuses on a 12 year old cold case  – the disappearance of 30 year old Tara Grinstead in Ocilla, Georgia. It really is extraordinary to listen as it turns from a cold case to an active case during the course of, and as a direct result of, this podcast.

Last Podcast On The Left – I. LOVE. THIS. SHOW. Hosted by Ben Kissel, Marcus Parks and Henry Zebrowski. If you want in-depth investigations into true crime, cults and aliens, finding this will be like all your Christmasses come at once. This is the podcast that makes you snort with laughter on the Tube and wake up the snoozing commuter next to you. It’s really hard to pick a favourite episode but I will say I keep episode 81: Female Serial Killers on my downloaded list at all times because it is gold.

Output

February’s turned into a lovely month for gigs so you can see me as part of a small, a medium AND a large ensemble setting across England –

19th – Calum Gourlay Big Band @ The Vortex, London

21st – What Love? @ The Lescar, Sheffield

22nd – Deep Tide Quartet @ Claptrap, Stourbridge

23rd – What Love? @ Listen, Cambridge

I did a pretty in-depth interview for LCoM which was published today as one of their Alumni profiles. Read it in full here.

Here’s a snippet…

 Some of your recent work has involved the use of graphic scores and the visualisation/sonification of data. How important to you think it is for jazz musicians to push the boundaries of musical notation?

I think it’s important for musicians to be true to themselves and that it’s ok if your voice as an artist sits outside of the mainstream. I’m at home in the world of improvised music and graphic scores because it feels very honest to me. Part of developing as an artist is about trying lots of things on for size and figuring out what fits and what doesn’t. Visualisation and sonification of data is something I’m really excited by at the moment. For example, I wrote a score for the Visualising Music event at the RA called Feeling Truth, which took data sets from the Earthquake Swarms in Oklahoma caused by the oil industry’s wastewater injection process. Through that performance, I’ve started working with an artist called Liz K Miller on a graphic scoring project and I’ve quite a few things in the works for this year in that field. I LOVE hearing people talk about their work and about artistic process, so I try to incorporate that into my work, too. I mainly use my website for that purpose.

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Inside A Tune: Epitaph Part I – The Soul

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Later this month, I’m playing with a new group that’s been put together by Seth Bennett, a wonderful warm human being who plays double bass and composes. The project’s called What Love and is an octet of improvisers re-imagining the work of the great Charles Mingus.

Seth asked each of us to contribute a tune and opened up the vast canon of Mingus music for us to choose from. I dithered around as one by one, the band picked their pieces. It wasn’t that I didn’t feel inspired, it was just that I’d had my head burrowed in other composing projects and it was difficult to shift focus. Which work of Mingus’ did I have an emotional attachment to? I realised on a London bus as I travelled to teach one Wednesday evening. Epitaph. Mingus’ huge, bizarre, ambitious monster of a work that spans over 2 hours and 4,000 bars. I performed it for a friend’s final recital. It was difficult to get together, by turns ugly and beautiful and impossible and sublime. It’s a fitting Epitaph to Mingus, I think. So I decided to pick eight sections from Epitaph and create 8 individual graphic scores, each written specifically for a particular musician.

This is Part I: The Soul

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I don’t want to reveal it all before it exists as sound with the band and I’d like them to be the first ones to fully understand the piece, but this score is the one I’ve written for myself so I can afford to elaborate a little on what you can see.

Each musician will be given three things – 1) a graphic score 2) fragments of notated music from the section of Epitaph the piece is based on and 3) information about the Epitaph is it inspired by.

In my case, the piece is The Soul which is the 6th part of Epitaph. There’s a video snippet of it being performed here on the mingusmingusmingus website.

The epitaph the score is inspired by is that of Chemist, writer and Holocaust survivor Primo Levi.  I would urge you to read the profoundly important If This Is A Man and The Truce.

Levi was held in Monowitz, also known as Auschwitz III, a labour camp which was one of three main sites at Auschwitz complex. Of the 650 Jews transported to the camps with Levi, he was one of the 20 who left alive.

174517 was Levi’s record number, branded on his arm and used to identify him during the 11 months he was held. During that time, it defined him. Afterwards, it remained on his skin as a symbol of his past, his experience and his resilience.

Along with his birth and death dates and his name, 174517 is engraved on Primo Levi’s headstone.

174517 is written in red and black ink across the score, in columns roughly reminiscent of the Periodic Table. Layered on top of the columns is the floor-plan of Monowitz.

The piece also draws on inspiration from a work by Jasper Johns, a piece he created in 1992 called Nothing At All Richard Dadd. The dark, pencil drawing has layers of content built upon the floor-plan of Johns’ childhood home.