speakeasy at yr own risk

Now we dive into the multidifferentiated flow — fertile and febrile territory of dread where no death can gain ground as long as the fear is palpable. Sacrifice the angels to the greater glory of doom. The steel-toed undertaker wears a pin-striped suit.

Our greatest fear, of course, is that death will bring no end.

Witness sparring subjectivities, as follows:

Wednesday, April 27, Bickett Gallery, 10 pm: Unwieldly
Tom Whitelock - guitar; Rick Lassiter - double bass; Browbeet Bob - reeds, guitar, maybe some ‘bone.

Sunday, May 1, The Cave, Chapel Hill, 10 pm or so: Quisp
John Randall Pelosi - guitar, tenor sax; Nathan Logan - drums; Chris Eubank - cello; Browbeetle Bob - alto sax, guitar.

Wednesday, May 4, Bickett Gallery, 10 pm: as-yet-un-settled-upon-group-entity

Saturday, May 7, Kings Barcade, Raleigh, 10 pm: The Nein with Proof and Audubon Park.
CD release party for the Nein. Carrie Shull (oboe), Amy Wilkinson (clarinet), and Browbeet Bob (alto sax/bass clarinet) will be joining their line-up for a song or two.

Wednesday, May 11, Bickett G, 10 pm: The Blue Rose Case
More treasures of jazzcomprovisation from Chris Eubank (cello), Carrie Shull (oboe), Dan Hall (drums), Browbleat Bob (reeds, guitar).

Friday, May 13, Jayzz, Raleigh, 10:30: Odd International
After a 70s-Miles fashion: DJ Kraze (vinyl, samples); Mike Isenberg (drums); Christopher Thurston (electric bass); Parrish Anderson (alto sax, keys); Q Jones (congas); Browbeet Bob (sundry items).

Until we meet in the long returning,
The Ventriloquizer DL

the papist chase

Now that they’ve invested Robert Anton Wilson with the Papacy, we can begin the preparations. The Next Step has begun. The New World Order is only a hair away. When we bathe in the blood of the altar-boy-virgins we will surpass God-Our-Father and transcend the cosmos. Amen.

Wednesday, April 20, Bickett Gallery, 10 pm: Catalytic Birth Trauma
No telling what may transpire with this particular roster of ruffians: Rob Koegler - drums; Aimee Argote - guitar (des-ark.org); Bob Jaffe - possibly vox or guitar (http://prooftheband.org/); Joey Chorley - electric bass (Trousers, Another Tombstone Dream); Slowfeet Bob - alto sax, guitar, sundry other items.

Friday, April 22, Percolator Coffee Shop (http://percolatorlounge.com/), Raleigh, 7-9 pm: Razor Wire Safety Net
This breathing-together will be Dan Hall (Countdown Quartet, Defenestrator) on drums, Peter Lamb (Countdown Quartet) on tenor sax, Christopher Thurston (Defenestrator, Odd International, Micro East) on double bass, John Hubbard (Negative Nancy, Black Castle) on tenor sax, Slowfoot Bob on alto sax, guitar, bass clarinet.

Monday, April 25, Henry’s (http://f-use.com/), Chapel Hill, probably around 11 pm: Mowing Lawns
Mowing Lawns is sorta like that Palace kid but with saxophone and not so much voice-cracking. Mike Meyerson is the songwriter, Todd Emmert plays lead guitar, Mike Glass plays drums, not sure who’s playing bass this time, Slawfeet Bob plays bass clarinet, alto sax and slide guitar. Don’t know if there’s another band.

Wednesday, April 27, Bickett Gallery, 10 pm:
Tom Whitelock - guitar
Rick Lassiter - bass
Bob Le Corbeau - alto sax, guitar, bass clarinet

The blind terror awaits us all in the Fourth World.
–The Ventriloquizer DL
Regional Papist
Retroactive Dynamics, Inc. (an affiliate of the Thomas Carlyle Group)
“Carrying all your debts to the after-life was never so easy.”

the past catches up with us

Repetition as Difference

If, as Moore, Dick and other scholars have been careful to point out, your spirit is in fact time-reversed to your body, then the past as our physical body-memory recalls it is a mode of pre-determination for the spirit. But since these memories exist only as an imagined interpretation of the “real” events, we may be turning the key in a prison cell door for our spirits each time we conjure a memory to the surface of the body and presume it is factual.
Creative forgetting is the only way of freeing the spirit toward Augustinian will to power. Future and past are only a binary reduction of the multiplicitous spacium of time-flow projection. The present is a lens through which the time-flow variations are focused into experience. (see G. Sonnabend, Obliscence - Theories of Forgetting and the Problem of Matter, cf., for a lucid account of experiential planes.)
The forgetting is creative in the sense that memories are always memories of one possible past that might have informed the present, subject to alteration or at the very least recognized as a dream-like fabrication of the human brain’s tendency toward a logical cause/effect schema.

ut nunc res se habet, ex spatio, ex tempore:

Wednesday, April 13, Bickett Gallery: Prima Facie Evil
We will be performing from our repertoire pieces by James Blood Ulmer, Eric Dolphy, Archie Shepp, Sun Ra, Duane Eddy, Michael Leroy Isenberg and Robert Chandler Pence. Join us. Mike Isenberg on drums, John Hubbard on tenor sax, Phil Martelli on electric bass and Crowmeat Bob on alto sax, bass clarinet and guitar.

Wednesday, April 20, Bickett Gallery: Catalytic Birth Trauma
Rob Koegler on drums; Aimee Argote (des-ark.org) on guitar; Bob Jaffe (aka Mike Salmon of Proof and Cole, http://prooftheband.org/) on guitar; Joey (Trousers, Another Tombstone Dream) on electric bass, Crawmote Bore on horns/guitar.
We will be toasting Charles Mingus in honor of the impending anniversary of his birthday (the 22nd).

More information as tendencies approach greater predictability.

–The Ventriloquizer DL
Executive Creative Evolutionist
Retroactive Dynamics, Inc. (an affiliate of the Thomas Carlyle Group)
“Always is always already forever, as one is one is one.”

the whiteness of the weal

Thus we see that, given the reverse symmetrical relation between extensive curved space and human perception, the prima facie convexity of the earth’s surface is in fact also a concavity, in simultaneous coextension with its apparent convexity. When one asks “Who are the denizens of the hollow earth?”, one scarcely realizes that the inquirer is the very one about whom the question is put.
We cannot speak of being inside or outside of the earth’s surface. We can only, according to the strict dictates of logic, speak of the other side. As in, “Who are the denizens of the other side of the earth?” Meaning, of course, not the ones who reside on the supposed diametrical opposite side of the “globe”, but rather the ones who reside on the upper or lower, or left or right, side of the ground that extends through a curved space, wrapping in upon itself through a Moebian network of multidimensional wormholes.
Next week, we’ll discuss the qualitative difference, or impossibility thereof, between left and right.
Up and down are obviously the product of a paranoid schizophrenic concept known as “gravity”. We needn’t debase ourselves by disproving such a deranged notion.

Wednesday, April 6, Bickett Gallery, 9:30 sharp, $3: amazing multi-regional throwdown.
There will be three sets of fine fine music, starting at 9:30.
The first two sets will consist of formations from these four individuals (you will not regret being on time for this):
Audrey Chen (Baltimore) — cello, voice http://www.highzero.org/2004_site/the_musicians/index.html#chen
Tatsuya Nakatani (NYC) — percussion http://www.hhproduction.org/TATSUYA_NAKATANI_WORKS.html
Jack Wright (Easton, PA) — reeds
http://www.springgardenmusic.com/jackbio.html (see also his bio below)
Ben Wright (New Mexico) — double bass, brass, saw (see his bio below)

The third set will be these folks (along with whomsoever from the first group feels like playing):
Michael Thomas Jackson (Winston-Salem) — clarinets, found objects
http://www.microearth.com/jackson/
Ian Davis (Chapel Hill) — percussion
http://umbrellarecordings.com/
Morgan Kraft (Marshall, NC) — guitar
http://www.microearth.com/morgankraft/
Dave Menestres (Greensboro) — double bass
Dave Fox (Greensboro) — keys
http://umbrellarecordings.com/release.php?id=7
Crowmeat Bob (Raleigh) — reeds, guitar, trombone

Thursday, April 7, Nightlight, Chapel Hill, 10 pm or so: Kolyma with postcore gurus Cantwell-Gomez-and-Jordan, funnyman David Nahm (Aududon Park), and HO-AG from Boston, MA (’complex and arty’ sez Cantwell).

Wednesday, April 13, Bickett Gallery, 10 pm: Prima Facie Evil.
A jazz-like quartet featuring compositions by Sun Ra, Eric Dolphy, Archie Shepp, James Blood Ulmer and Duane Eddy, as well as original material and improvisations.
John Hubbard on tenor sax, Mike Isenberg on drums, Phil Martelli on electric bass, ChickenJaw Bob on reeds/guitar.

Wednesday, April 20, Bickett Gallery, 10 pm: Birth of the Catalyst.
Aimee [ah-MAY] Argote (des-ark.org) on guitar; Bob Jaffe (aka Mike Salmon of Proof and Cole, http://prooftheband.org/) on guitar; Joey (Trousers, Another Tombstone Dream) on electric bass, Crawmote Bore on horns/guitar; no drummer confirmed yet.

Wednesday, April 27, Bickett Gallery, 10 pm:
Tom Whitelock — guitar; Rick Lassiter — double bass; Foghorn Bobb — horns, guitar.

Forever left behind,
The Ventriloquizer DL
Principal Investor & Seminal Aggressor
Retroactive Dynamics, Inc. (an affiliate of the Thomas Carlyle Group)
“The past is retension, the future is protension, the present is tension.”

from Jack W’s promo pack:
JACK WRIGHT has been a bold, even outrageous saxophonist, as well as an influential musical personality over the past twenty years. Continuously on tour, or organizing the next one, he has been called the Johnny Appleseed of free improvisation. As a musical explorer as well, his music passes through radical shifts of style and approach from one year to the next, yet always somehow identifiable as his own. The Washington Post says, “In the rarefied, underground world of experimental free improvisation, saxophonist Jack Wright is king”. He plays alto, tenor, and soprano saxes, contra-alto clarinet, and piano, in every possible direction, but rarely what is recognizable. Now, after fifteen years living in Boulder CO, he has returned to his native Pennsylvania and resides in Easton, which enables him once again to become active in the New York and East Coast music scene.

A recent review in a German publication, Bad Alchemy, had this to say of his solo: “Wright does not make music, he embodies it, he transforms it with a naiveté of another order. It grows into a sound river, he is part of the diaphragm through which the heterogeneous whispers.”

Jack has over sixty partners around the US and in Europe with whom he plays on his travels and records. His most recent tours in the US have been with Reuben Radding, bassist, Phil Durrant, English laptop musician, French soprano sax player Michel Doneda, trumpet player Tom Djll from Oakland, soprano player Bhob Rainey, and cellist Bob Marsh of the Bay area. In May 2004 he toured across the US with Berlin flutist Sabine Vogel and percussionist Michael Griener.

For a full bio and writings go to his website: www.springgardenmusic.com
sounds: http://www.springgardenmusic.com/sounds.html

mp3 of Jack and Ben Wright:
http://www.redroom.org/mp3s/highzero2000/jackwright2.mp3

feature article in Signal to Noise Magazine: http://www.paristransatlantic.com/magazine/monthly2003/04apr_text.html
2001 interview with John Berndt (also available in French, as published in Improjazz):
http://www.redroom.org/documentation/wright.html

BEN WRIGHT plays acoustic bass, brass, and saw. He lives in northern New Mexico far from traditional venues for improvised music. The experience of creating music with people drives him frequently to Santa Fe and Albuquerque, and less often to the coasts and the nether regions of the U.S. to perform and to seek concurrent communities of
musicians. He persistently experiments with various forms of music, but is inevitably drawn back to experimental music.
His current projects include a long standing duet with trombonist Kurt Heyl, an anarchist marching brass band, The Rumble trio, Submersible Trio, a Baroque ensemble, periodic tours with his dad, and instantaneous collaborations with odd musicians across the US.
A new recording with Kurt Heyl, Gross Motor Music, will be arriving in Spring ’05.

“I believe that experiential free improvisation is the musical form from which all others radiate. I play music for the bliss of that instant when I lose consciousness of my surroundings, my instrument, and myself… there is only music. The attraction to improvising is an attraction to the mutability of the moment. That is the crux where spontaneous creation between performers and audience is conceived. In improvised music, it is a mystery what the next moment will bring, so it becomes charged with the excitement of finding out… like life.”