The Second Movement

When this blog was initiated, it was to provide insight into the creative process of Temporal Mechanics Union, as we prepared for our first large-scale performance, MIGRATIONS for marimba and percussion ensemble, by good friend and great soul Todd Harper. Alas, looking back on it, we did not meet the potential of this narrative format.

Now, after a very, very long hiatus, I'm reviving this blog to explore the development of a solo program, as well as the behind-the-scenes of TMU. I'll use this space to reflect on the creative process and rehearsal progress of my Solo Ritmo project, and to mentally manage the continual work in progress that is Temporal Mechanics Union. No doubt there will be 5 Man Trio notes as well. And who knows, I may yet get into another band, one of these days...

If by some bizarre sequence of links you have randomly stumbled across this blog, or if you're here because you know me, I hope you will check back from time to time. Otherwise, I'm just talking to myself, and I get enough of that at home.

"REPENT, MECHANICS!" said the Drummerman.

Ah yes, this is it. TMU is back at it...Every semester, we go through the same gentle chaos, in which we found out who is back, and who is gone and who is new. While I always have plans for the semester's program, those first few rehearsals are as much about discovery and improvisation as they are planned. Last night's rehearsal was the hurdle. Excellent work all! TMU is back at it, baby, new for 2006.

First, all props to our newest Mechanics, Wayne Farley and Jared McGuire. Welcome, gentlemen, we are very glad you've joined us.

PROGRAM
For May 4, our concert program is as follows:
Rumbas: yambu, guaguanco, columbia
Unknown Rhythmic Composition
Tahitian beats
"Repent, Harlequin!" said the Ticktockman

We may add another work, but I want everything to be tight, and of course, the "big thing" needs it's due. Our rehearsals over the next couple of weeks will be a mix and match of all the material; once these things are more firmly in hand, we have more concetrated rehearsals on individual works. See this space for the weekly "Drumming Notes," and notices of the next rehearsal (as below!).

MOVIE NIGHT
It is still my intent to do Prince Achmed as a finals-week entertainment. Since this is 90% improv, we will hold off some weeks before we get into it.

REPENT! (a minor manifesto)
I am well and truly chuffed after last night's read of this work. As noted above, I'm always diving into the deep end, especially with my own works, at the start of any semester. I am moved to say TMU has never let me down. I'm very excited about the possibilites of this piece, and think it can become another showcase for the ensemble, alongside MIGRATIONS.

My role model as a composer and ensemble director is Harry Partch. He had a unique vision of performance that was at once very primal and deeply rooted, and at the same time truly innovative and artisically brave. Best known for his new instruments and working with just intonation, it is his philosophy of performance that influences me the most. Partch looked back to the ancients, and to what he referred to as "primitive man," and noted that music, dance, poetry, drama and literature were all one for the ancients, a seamless multimedia whole that makes for a meaningful event in human life. This as opposed to the singular, often sterile "concerts" and "recitals" in the "classical" academic sense.

Before TMU first formed, long before, I've wanted to follow in Partch's considerable footsteps. Bringing together these performance elements, adding the visual arts and electronica is the goal. Some call this kind of thing percussion theatre, and I suppose I like that turn of phrase. Todd Harper's MIGRATIONS was a perfect debut, a righteous first step in that direction. Without losing touch with the traditional rhythms and grooves, it is my artistic (thus, social) goal to see Temporal Mechanics Union an innovating force in percussion theatre.

None of it, not any of this could be possible with out the Mechanics past and present, and without those who have sat in audience. My heartfelt thanks to you all, for all your contributions.

A Bit of News
Heard the other day that Kim Garey, who graciously provided the marimba for MIGRATIONS, is making her way to NYC to make her mark as a jazz drummer. She's a hell of a player, and I'm sure the mark she makes will be considerable. All the Mechanics wish her the very best.

SO Percussion Ensemble
In concert, Tuesday, Feb 21, 7 PM at OKC Community College. Next rehearsal, we'll talk out the who-what-when-wheres.

Next Rehearsal
Like unto Gaul, next rehearsal shall in three parts be divided:
4:30 - 5: Rumbas
5 - 5:30: Tahitian beats
5:30 - 6: Mike, Mark, Bryan, Jared--"Harlequin" theme

See you next Tuesday!

First Rehearsal 2006

Just a reminder to all Mechanics that the time is now: our first rehearsal of 2006 will be Tuesday, 17 January, at 4:30 PM in the Band Room.

Let this also serve as an invitation to any who might be reading this and wish to join us. The Band Room is in the Galle-Johnson building on the Cowley College campus in Arkansas City, USA. Go to our website for contact information.

It is an exciting time for TMU, with many new ventures in the works for spring and summer. But those plans will come to nothing without the Mechanics; now's the time, it is time to play!

After Effects

After the concert on that Thursday I was on such a natural high I couldn't sit still or anything. So Chansi came to the rescue and we went out to some resturant. I had so many compliments on my costume I which I was skeptical about in the beginning. Well it was pretty frightfully in getting everything together but it was a success in the end. I believe I was more blessed than anything just to be a part of it. Next semester is going to be a blast and I can't wait.

After the journey, and onward

So, here we are, on the other side of MIGRATIONS.

I want to thank all of the Mechanics, for your hard work, commitment, creativity and energy. This art would not have existed without you. I’m not sure if any other ensemble could make it exist, certainly not as you have. What we do is at times a hard thing, very demanding. It is always a great risk. But it is also a great joy. All of you have made this effort much more joy than work, and an exceptional reward for the risk. I’m very proud of you, and deeply grateful I get to share the stage with you all. Bravo!

Thanks also go to our soul brother and composer, Todd Harper. It has been our privilege to bring your creation to life. As a group, as individuals, as musicians and as people, we have grown. We have moved on from where we were before.

Heartfelt thanks also go to our guest soloist, Garrett Ward. You are a rock, our foundation in this piece, and to me a great friend. Thank you so much for being here with us.

I also want to say “thank you” to any and all audience members who might be reading this. You were very much a part of tonight’s performance; indeed, your presence made it all the more special. Thanks for your enthusiasm and support for our efforts. Hope the food was good.

Many thanks to everyone behind the scenes who made it happen, and to the other artists who joined in the ancillary efforts. You added so much to the event, it is impossible to think of it without you.

So, here we are, after this journey, starting a new one---no, many new journeys, many pathways will radiate out from this event. I can’t wait to see where we go….and we go...

Migrations

I love the idea of migrations, it relates to everyone. I have been wanting to put a name on the cycles of my life and migrations is no longer too limited of a term for me. I have so many parts of my life where, when I was finished I picked up and moved on and took what I felt was important for the future of my life. I have seen myself change in what I take with me and what I leave behind. I no longer leave the useful and take the useless. This migrations piece is something I will take with me after this station.

The idea of migrating has been implemented in such a musical way where it is comprehensive. The traveling instrument that we take, representing the useful tools I take with me to to every station (or setting) of my life. Using the instrument at each station shows how we take our surrounding and put them to use. Just as I move to a new town I go to that grocery store rather than traveling across state to go to the grocery store.

This experience as a whole has been amazing, opening my mind to new ideas. It has inspired me in my poetry and in my music as a whole not to mention my spiritual practices my personal artistic ideas have made leaps and bounds. Exposing myself musically has broadened my horizon so to speak. I have been able get out of the box that society has placed me into I believe that this is just the beginning. This "station" has been my favorite so far. "And we go......."

My migration

I am a native Kansan, and other than conferences and vacations, have always been in Kansas. Thus, physically at least, I've only migrated back and forth over a 400 mile stretch of the plains. Even in that, however, I've been honed and sharpened by every different landscape and their varied inhabitants. From the slow moving west, I've learned to appreciate the wide open space, the sunsets and stars, and a good (long) conversation. From the faster paced north east, I developed an appreciation for all things cultural and was first exposed to the peoples of the rest of the planet (at KSU I volunteered in the international student center). I settled down in a small town, Arkansas City, for over a decade, and there I rooted in community and service.

Then, when my father died, I returned to my native land of SW Kansas, thinking I could thrive anywhere...but finding I was malnourished, I returned to the greater Wichita area. Here, I find it possible to have the best of both worlds: when I want to be anonymous I can easily meld into the metro mix...when I want to stand up, stand out, or take a stand, I can generally find groups, like the Peace and Social Justice Center of South Central Kansas, roll up my sleeves and get involved.

Another migration I have experienced is one of spirit. I was born into a non-practicing Methodist household. I became a flaming southern Baptist. I found it too strictured. I've visited almost every house of faith, but I have yet to call one home. Some call it waffling, others exploring. I consider matters of the spirit to be paramount, and I resent those who label me as "lukewarm." It seems the more important something is to me, the longer I take to take hold. (It took me over 40 years to warm up to having children, for example.) So, in short, I'm moving all over the place on the topic of faith.

I'll attach my migration in music. It's not terribly interesting, but it's me.