Tuesday, October 5, 2010

Daren Burns' Onibaba and Open Gate Theatre @ Center for the Arts, Eagle Rock 10-17-10

Open Gate Theatre @ (626)795-4989
Center for the Arts, Eagle Rock

Presents Onibaba:

Onibaba exists between composition and improvisation and is described as being somewhere between the light and the dark, the ethereal and the earthly - Creative Music. Created by Daren Burns in 2006, the band synthesizes its sound by using elements of the Chicago avant-garde, jazz, rock, world, techno, noise, and classical, to create a new type of fusion that is definitely not the smooth, funky jazz of the 80’s and 90’s, but a new living music.

Vinny Golia - woodwinds
George McMullen - trombone/electronics
Scott Collins - guitar
Daren Burns - bass
Craig Bunch - drums
Kio Griffith - live video


Open Gate Theatre:

Alex Cline - percussion
Will Salmon- voice,flute, piano
Joe Schenck - dance and drama
Vinny Golia - woodwinds
George McMullen - trombone
Kathryn Nicole Nockels- Bassoon and tuba
Argenta Walther - voice
Heather Rhea Dawn - dance

Center for the Arts, Eagle Rock
2225 Colorado Blvd.
Los Angeles, California 90041

Starts at 7:30PM
General Admission: $10 General
Students, Seniors: $5

Wednesday, August 4, 2010

08/05 Don't Knock The Rock Fest presents: Deconstructing Dad: The Music, Machines And Mystery Of Raymond Scott

Don't Knock The Rock Fest presents: Deconstructing Dad: The Music, Machines And Mystery Of Raymond Scott
*plus* The Secret Animated History Of Raymond Scott!
Get Tix here:

...Deconstructing Dad... - 8:00pm
The Silent Movie Theater
611 N. Fairfax Ave
Los Angeles, CA

One of the true enigmas of 20th-century music, Harry Warnow -- better known to the world of jazz aficionados, record collectors, exotica fiends and electronic music tinkerers as Raymond Scott -- was a highly prolific figure with a career that began in the 1930s swing/big-band era, and continued on through the experimental music age of the 1970s. Practically everyone on Earth can instantly recognize Scott's off-kilter melodies as heard in many of Warner Brothers' cartoons, but few also know that he also invented his own dazzling array of gadget-based musical instruments (as well as other devices like an early fax machine), played a part in busting racism on network radio -- and was the Director of Electronic Music Research and Development for Motown! Stan Warnow, Scott's son and renowned film editor (Woodstock, Hair, and many collaborations with Robert Downey Sr.), leads us on a thorough and revealing tour of Scott's multi-faceted life, while attempting to reconcile the myth of the man with the reality of a father he never fully knew.

Stan Warnow will be at the Cinefamily for a Q&A with Michael Des Barres after the film, and DJ Musician Skip Heller will be here to spin Raymond Scott tunes before and after the show!

Dir. Stanley Warnow, 2010, digital presentation, 70 min.

The Secret Animated History of Raymond Scott! - 9:30pm

Raymond Scott's musical legacy is felt not only throughout the classic age of Warner Brothers' Looney Tunes, but also across the animation spectrum. Tonight, after our screening of Deconstructing Dad, join animation historian Jerry Beck as he takes you on a guided tour of Scott's work as heard in such shows as Ren & Stimpy, The Simpsons, Duckman, Animaniacs and more!

Get Tix here:


The Silent Movie Theater
611 N. Fairfax Ave
Los Angeles, CA

L A Collective Finale Performance/Open Rehearsal 08/09

L A Collective Finale Performance/Open Rehearsal On SUNDAY, Aug. 8-- the last performance of this year by the interdisciplinary/international improvisation group:

L.A. Collective
This Sunday, Aug. 8, 8:30 at Pieter
420 Avenue 33, Unit 10
Lincoln Heights, 90031

From Italy:
Sabrina Mazzuoli, dance
Nick Liceti, percussion

From Ohio:
Stan Smith, guitar

From Los Angeles:
Kio Griffith, video
Cheryl Banks-Smith, dance
Ellen Burr, flute/conducting
Laura Osborn, flute
Ken Luey, clarinets
Alexander Vogel, saxes
Jeff Schwartz, upright/acoustic bass
Oz, Chapman stick
Sarah Phillips, piano
Steve Lockwood, percussion
Charlie Lowery, percussion
Breeze Smith, percussion
Tom Steck, percussion
(painting by Eliana Cetto from 8-1 rehearsal)

Wednesday, July 21, 2010

Angel City Arts presents: Onibaba Live @ Royal/T Aug. 7th, 8PM

Onibaba exists between composition and improvisation and is described as being somewhere between the light and the dark, the ethereal and the earthly - Creative Music. Created by Daren Burns in 2006, the band synthesizes its sound by using elements of the Chicago avant-garde, jazz, rock, world, techno, noise, and classical, to create a new type of fusion that is definitely not the smooth, funky jazz of the 80’s and 90’s, but a ...new living music.

In live performance, the band is also committed to the use of live video images to expand the ensemble from sound to sight. The video doesn’t act as a narrative or as a background, but as a sixth element and contributor to the performance.

Also Misuzu and Daren are moving to Sedona, AZ on the 9th so this will be his last performance in LA for a little bit. Come out and say 'Hi'!


Vinny Golia-woodwinds
George McMullen-trombone
Scott Collins-guitar
Daren Burns-bass
Joe Berardi-drums
Kio Griffith-live video


Onibaba @ Royal/T - Aug. 7th 8PM

8910 Washington Blvd.
Culver City, CA 90232
Price: $12.00, $8 Students

Friday, July 16, 2010

Billy Childs Trio @ Vitello's July 23rd

Heres something more on the jazz side of things and a little outside the scope of this site, but I like Billy Childs playing immensely and drummer Joe LaBarbera is just awesome. I highly recommend!

Fridays performance will feature:

Billy Childs - piano
Tom Warrington - bass
Joe LaBarbera - drums

Special guest appearance - Dwight Trible - vocals

Time: July 23 · 8:00pm - 11:30pm
Location: Vitello's Jazz Club
4349 Tujunga Ave.
Studio City, CA

Open Gate Presents: "Strange Events" July 29th

Heres a great performance that should have many surprises:

"Strange Events" - An evening of performance and music in a great little theater.

Featuring Mitsu Salmon (back from Kyoto etc.), the OGT Band, and some great guest artists.
Artists include: Mitsu Salmon, Jones Welsh, Doug Knott, Will Salmon, George McMullen, Bill Casale, Spencer Ludwig, Vinny Golia ...and Joe Berardi.

$15 tickets ($10 students and seniors)
limited seating, parking is on the streets (plan ahead)
Information and Reservations at opengatewills@gmail.com
or (626)795-4989

Time: July 29 · 8:00pm - 10:00pm
Location: Son of Semele Theatre 3301 Beverly Blvd LA, 90004 ( in Silver Lake)
Created By: William Salmon, Doug Knott, Mitsu Salmon, Jones Welsh

Thursday, July 15, 2010

The Confabulators @ South Pasadena Music Center July 23rd

Very tragical mirth featuring Rich West as Mayo Grout in The Confabulators, improvisation on graphic notation and hard tunes for readers starring (in order of appearance) Haskel Joseph - guitar; Brian Walsh - reeds; Jeff Schwartz - bass; Sarah Phillips - keyboards; Jerry Wheeler - trombone; Charles Sharp - reeds; Dan Clucas - trumpet/cornet; Bruce Friedman - trumpet/flugelhorn; and Nathan Smith possibly making a cameo. Experiments in hocket, variations, and counterpoint for modern minds and grooving bootys.

Date: Friday, July 23, 2010
Time: 8:00pm - 9:30pm
Location: South Pasadena Music Center
Street: 1509 Mission St.
City/Town: South Pasadena, CA

Angel City Arts presents Mercury Falls + Norton Wisdom - Live @ Royal/T


$15 admission at the door. $10 for students

RSVP on facebook

For one night only San Francisco-based Mercury Falls (written by Ryan Francesconi and Patrick Cress) will perform music from their debut record, Quadrangle. They will be joined on stage by one of L.A.s treasures, live painter Norton Wisdom. Wisdom will have a rich musical landscape on which to paint his lush, texture-rich canvas. The music of Mercury Falls combines ambient textures with driving rhythms and the freedom of jazz. The two idioms fit together like a glove to create an exciting night of sensory stimulation.

Mercury Falls was born out of a multi-media project called Octagon, combining a jazz quartet with four dancers and a live painter. The quartet was first named Quadrangle and performed a series of shows together in 2005. San Francisco-based label Porto Franco Records has enabled the band to reunite and finally release their debut record five years later. Members of Mercury Falls have performed or recorded with Tom Waits, Joanna Newsom, String Cheese Incident, the London Symphony, Jolie Holland, Lili De La Mora, Sean Hayes, Michelle Amador, Scott Amendola, Nancy Ostrovsky and Telepathy.

Mercury Falls manipulates a combination of ambient beats and textures with the freedom and feel of jazz. Their fresh approach to melody is a seamless connection between acoustic artistry and imaginative programming. Subtle electronic coloring, created through field recordings, is combined with the traditional jazz combo and countless musical influences. With the music of Mercury Falls, you'll hear the naked acoustic guitar as it moves across a varied digital soundscape; driving ride cymbal accompanying serene unison melody; or the cry of saxophone over the pulsing tone of upright bass. Mercury Falls will bring you to a place of emotion; from hope to heartache, always with a sense of wonder.

From 1979 performance painter Norton Wisdom has worked with musical ensembles and spontaneously paints images that capture the essence of the moment and has exhibited and be collected by museums and galleries around the world. You must see this unique and original artist perform live with band to appreciate his talent. Performance Collaborations include Disney concert hall with organist Christoph bull: Monterey jazz fest. 2005. Lincoln center united nations "bloodless diamonds": Wisnter Olympics 2002, Salt Lake. Opening of the Baliagio Hotel Las Vegas. Premier of the Cirque Du Soleil, George Clinton, Beck, Flea, Mike Watt, and Badal Roy to name a few.

Royal/T will open at 7pm and will be serving an eclectic selection of Japanese/French tapas and beer/wine/sake drinks.





Date: Saturday, July 24, 2010
Time: 8:00pm - 10:30pm
Location: Royal/T
Street: 8910 Washington Blvd
City/Town: Culver City, CA

Tuesday, July 13, 2010

New Music by Casey Anderson, Cecilia Lopez, and Jacob Wick @ Pieter PASD

New venue Pieter PASD having new music by Casey T. Anderson, Cecilia Lopez, and Jacob Wick. Will be a great night of music.

Start Time: Saturday, July 17, 2010 at 8:00pm
Location: Pieter PASD
Address: 420 West Avenue 33, Unit 10, Lincoln Heights
City/Town: Los Angeles, CA

Noise Night Out @ The ResBox 7.15 w/ SMEGMA, Joe Potts, Wormses

July's Resbox is for the noise fan It will feature legendary noise outfit Smegma, Joe Potts, and Wormses!
Come check it out Thursday the 15th at the Steve Allen...



- WORMSES (San Francisco)
feat. Bobby Adams (Loachfillet) + Tony Dryer + Jacob Felix Heule (Basshaters)

Thursday, July 15, 8PM
ResBox @ Steve Allen Theater
The Center for Inquiry
4773 Hollywood Blvd.
Hollywood, CA 90027

$10 at the door or reservations at: (800) 595-4849
more info: (323) 666-4268

all ages + free parking in lot


ResBox presents an eclectic roster of experimental music luminaries and emerging artists on stage every third Thursday of the month at the Steve Allen Theater in Hollywood.

Now in its third year, ResBox alumni include Lukas Ligeti, Carl Stone, Z'EV, Steve Roden, Soriah, Laetitia Sonami, Tatsuya Nakatani, Vinny Golia, Motoko Honda, Ezra Buchla, Lisle Ellis, Steamboat Switzerland, Leticia Castaneda, David Scott Stone, Elise Baldwin, G.E. Stinson, Jim McAuley, Daedeuls, Baseck, Phillip Greenlief, Thollem McDonas, Alex Cline, Marco Eneidi, Urban Electronic Music, Kadet Kuhne, Becca Mhalek, Ice Cream, Brotulid, Metal Rouge, Ronit Kirchman, Dottie Grossman, among many others.

"The only place in town to tap the really freaky brew." - MetalJazz.com

And check out our ResBox series video clip on YouTube...

Video Archive Playlist:

Wednesday, June 30, 2010

OGT Presents; Ellen Burr's L.A. Collective and the OGT Ensemble July 11th

Another great show by Will Salmon at the Open Gate Theatre in Eagle Rock. Check it out!

Open Gate Presents:

Ellen Burr's L.A. Collective is a multi-disciplinary improvisational ensemble working with structures, textures and the interdependence of the mediums.
Ellen Burr, flutes,
Laura Osborn, flutes,
Bruce Friedman, trumpet,
Jeff Schwartz, upright/acoustic bass, Oz, stick,
Steve Burr, percussion and
Charlie Lowery, percussion
featuring Anet Ris-Kelman - performance

Open Gate Ensemble will include:
Brad Dutz, percussion
Vinny Golia, woodwinds
George McMullen, trombone
Will Salmon, flute, voice
guests include:
Heather Rhea Dawn, dance
Joe Schenck, dance

Admission is $10, students, seniors, and series performers half price.
Free parking is plentiful.

Frank Macchia: Folk Songs for Jazzers Band Show! July 5th!

Here is a stellar band line-up that the multi-grammy nominated, reedsman Frank Macchia has put together. A who's who of LA Jazzers. Not to be missed!

From Frank Macchia:

I just wanted to let you all know that my Folk Songs for Jazzers Band will be playing a one night only rare performance at Vitello's Jazz and Supper Club in Studio City on Monday, July 5th. This is the holiday for Independence Day, so come on by and celebrate America's Independence with a fun filled show of all your favorite American folk songs whacked out by yours truly, and played by an incredible group of Los Angeles finest jazz musicians. We'll be debuting 8 new arrangements for the new CD we'll be recording in August ("Son of Folk Songs for Jazzers"), as well as playing many of the classics from the original CD. The band will be:

• Wayne Bergeron - Trumpet and Flugelhorn
• Peter Erskine - Drums and propulsion!
• Grant Geissman - Guitars
• Michael Hatfield- Vibes and mallets
• Trey Henry - Acoustic Bass
• Alex Iles - Trombone, Baritone Horn, and Tuba
• Christian Jacob - Piano
• Valarie King - Flutes
• Sal Lozano - Saxes, Flutes and Clarinets
• Frank Macchia - Saxes, Flutes and Clarinets
• Jay Mason - Saxes, Flutes, English Horn and Clarinets (including the ever romantic Bass Sax!)
• Kevin Porter - Trombone, Baritone Horn, Bass Trombone, and Tuba
• Bill Reichenbach - Trombone, Baritone Horn, Bass Trombone, Bass Trumpet and Tuba
• Bob Sheppard - Saxes, Flutes and Clarinets

We'll be doing two shows, at 8 PM and 9:30 PM at:
Upstairs at Vitello's Jazz Room,
4349 Tujunga Ave., Studio City, Ca 91604.
$20 cover (it's a BIG band!!) and 2 drink minimum, but remember, the more you drink, the better we sound!
Call 818-769-0905 for reservations.

Thanks and I hope to see y'all there!!

Monday, July 5, 2010
8:00pm - 11:00pm
Vitello's Jazz and Supper Club
4349 Tujunga Ave.
Studio City, CA

Midtones Returns! Plus Shin Kawasaki CD Release! July 7th!

The Midtones makes a mighty return!

From Shin Kawasaki:

well folks, here it is; after much experimentation, pursuit of perfection (and procrastination) - I am releasing my 1st solo effort. honestly, yet there’s still much room to improve, I believe that I managed to enclose a lot of different aspects of my musical interests in these tracks; some borrowed, some twisted and some improvised. it also showcases the amazing talents that I had the privilege of knowing over the course of 10 years that I lived, loved and grew old in this city of Los Angeles. it’s a kind of thank you note to the community that I was lucky enough to be a part of.

on July 7th, MidTones will make a comeback to its good ol’ 1st / 3rd Wednesdays routine. and I wanna invite you people to come out on a school night (I’M SORRY) to hang with me and the gang at Grand Star. in true MidTones spirit, I’m gonna invite the regulars and beyond to “jam” on some of the tunes included on the album. I am curious to see how these “constructed-inside-a-MacBook” grooves would be interpreted with a live ensemble…the night will also feature a special performance from ever-lovely MidTones Madeleines. the limited-run physical CDs will be available for you to purchase, which features an amazing drawing by Phloe!

2nd part of the night will be MidTones as we know it…we’ll open up and have people jam, dance and laugh (you can cry too) like we have legalized marijuana. you are welcome to bring friends who like jamming with new people, dancing to the music that ranges from Paranoid to My Funny Valentine. or Akon. maybe NOT Akon. don’t know. that’s a tough one.

FOR THOSE WHO CANNOT ATTEND due to geographical reason;
the album will be available for digital download AFTER the party,
I will let you know when it is!

Start Time:
Wednesday, July 7, 2010 at 9:00pm
End Time:
Thursday, July 8, 2010 at 1:00am
GrandStar Jazz Club
943 N.Broadway (Sun Mun Way)
Los Angeles, CA

Scott Heustis Group Live @ The Hive July 3rd

The Hive Gallery is full of amazing art and artists, and this Saturday night. The Hive will also be full of some amazing improvised live music by The Scott Heustis Group. We go on at 8:00PM and the cover is only $8 ($5 if you wear black and yellow... bee colors!)

Scott Heustis guitar, Robert Leng sax, Jeff Schwartz bass and also special guest drummer Wayne Griffin!

There is street parking as well as parking lots across the street and to
the left (south) of the Hive.

Here is The Hive website:


And my albums can be found here:


Saturday, July 3, 2010
8:00pm - 9:00pm
The Hive Gallery
729 South Spring St.

Biolectric Live this Friday night

Come check out cosmic tech house jazz band BIOLECTRIC at the h.wood in Hollywood...John von on bass together with Matt Piper (guitar), Koorosh Daryaie (percussion) and Viktor Carrillo (electronic beats).

Biolectric recently released our first track thru Beatport on Xeriscape Records, a remix of 'Cold Flamenco' by Satta. Check out the track on Soundcloud at this link...


No cover charge.


Friday, July 2, 2010
8:00pm - 10:00pm
the h.wood
1738 N. Orange Drive
Los Angeles, CA

Monday, June 7, 2010


SUNDAY MAY 27 2010 @ 7PM

$18 admission at the door. $12 for students

DAPP THEORY is a quintet that blends contemporary funk, groove and hip-hop into jazz
with such seamless, casual precision its almost freaky. (LA Weekly)

ANDY MILNE - Keyboards
JOHN MOON - Percussion

As demonstrated on their recent release Layers of Chance (Contrology Records,
2008), Dapp Theory displays an uncanny ability to blend various instrumental textures
and infectious grooves, with lush harmonies and poignant, socially conscious lyrics.
Founder Andy Milne, whose jazz cred is evidenced by his work with such acclaimed
artists as Ravi Coltrane, Ralph Alessi, Steve Coleman, and Cassandra Wilson, as
well as by being voted Rising Star Keyboardist by Down Beat Magazine, composed
much of the music on Layers of Chance as part of the Chamber Music America New
Works commission he received in 2006.

Jazz Times Magazine describes Dapp Theorys remarkable chemistry . . . [as] . . .
so impeccable, its practically a musical Unied Field Theory.

The idea behind Dapp Theory is to create complete musical compositions that groove
as hard as they express melodic and poetic lyricism. - Andy Milne

Milne formed the band in 1998 as a vehicle to tell passionate stories, promote peace
and inspire collective responsibility towards uplifting the human spiritual condition.
Since then, the band has evolved and built a loyal following, in large part due to their
commitment to grass-roots touring, an ideology more often associated with indie rock
bands. Dapp Theorys style is indenable yet highly recognizable, blending inuences
ranging from Joni Mitchell and KRS One to Thelonious Monk and Van Halen.
The concert will start promptly at 7pm and will end at 9:30pm. Royal T will be serving its
signature Japanese fusion tapas and an eclectic variety of beers, wines and sakes
starting at 6pm.




JazzPOP Outdoor Concerts Return to the Hammer in August

JazzPOP Outdoor Concerts Return to the Hammer in August
Featuring Darren Johnston Quintet, Bennie Maupin Ensemble, Industrial Jazz Group, & Nicole Mitchell Trio

Los Angeles – The Hammer Museum’s free JazzPOP music series celebrates its fifth year of outdoor concerts in the Hammer courtyard. Veteran artists and bold new voices perform original, adventurous music that combines inventive composition with improvisational prowess and propulsive groove. Musician Lisa Mezzacappa, JazzPOP’s curator, programs diverse artists with a special focus on musicians with west coast roots. Mezzacappa, an accomplished double bassist and composer, takes an inclusive approach, honoring what musicians are creating, without boxing them into categories of “jazz” and “not jazz.” JazzPOP explores the sounds of contemporary, diverse and often underexposed jazz artists and ensembles. During the concerts, guests may also enjoy signature JazzPOP cocktails from a cash bar, as well as dinner from Cafe Hammer by Wolfgang Puck.

Thursday, August 5, 8PM
Darren Johnston Quintet

Thursday, August 12, 8PM
Bennie Maupin Ensemble

Thursday, August 19, 8PM
Industrial Jazz Group

Thursday, August 26, 8PM
Nicole Mitchell Trio

ALL HAMMER PUBLIC PROGRAMS ARE FREE. Seating is on a first come, first served basis. Hammer members receive priority seating, subject to availability. Reservations not accepted, RSVPs not required. Parking is available under the museum for $3 after 6:00p.m.


Hans Fjellstad's Resbox series offers up anothergreat line-up in his Hollywood series at the Steve Allen Theatre.

feat. Frank Gratkowski (Berlin) + Phillip Greenlief (Oakland) + Jon Raskin (Oakland)


feat. Breeze Smith + Jeff Schwartz + Robert Leng + Scott Heustis

Thursday, June 17, 8PM
ResBox @ Steve Allen Theater
The Center for Inquiry
4773 Hollywood Blvd.
Hollywood, CA 90027

$10 at the door or reservations at: (800) 595-4849
more info: (323) 666-4268

all ages + free parking in lot


ResBox presents an eclectic roster of experimental music luminaries and emerging artists on stage every third Thursday of the month at the Steve Allen Theater in Hollywood.

Now in its third year, ResBox alumni include Lukas Ligeti, Carl Stone, Z'EV, Steve Roden, Soriah, Laetitia Sonami, Tatsuya Nakatani, Vinny Golia, Motoko Honda, Ezra Buchla, Lisle Ellis, Steamboat Switzerland, Leticia Castaneda, David Scott Stone, Elise Baldwin, G.E. Stinson, Jim McAuley, Daedeuls, Baseck, Thollem McDonas, Alex Cline, Marco Eneidi, Urban Electronic Music, Kadet Kuhne, Becca Mhalek, Ice Cream, Brotulid, Metal Rouge, Ronit Kirchman, Dottie Grossman, among many others.

"The only place in town to tap the really freaky brew." - MetalJazz.com

And check out our ResBox series video clip on YouTube...

Video Archive Playlist:

Saturday, May 29, 2010

Timur and The Dime Museum at the ALOUD Series

Operatic Vaudeville with a Bohemian Attitude

with Timur Bekbosunov, tenor; Daniel Corral, accordion; Matthew Setzer, guitar; David Tranchina, bass; Brian Walsh, clarinet; with special guests Cassia Streib, viola; Jennifer Lindsay, violin; Mary Au, toy piano and Alex Noice, guitar.

Blending a tenor's haunting vocals with cabaret-inspired reinventions of songs both old and new. Featuring selections by Russian Gypsy songwriter Vadim Kozin from the 1930s to songs by Radiohead, NIN and David Bowie, this eclectic performance will provide the eyes and ears with beautiful and slightly dark entertainment.

$7.00 Admission/Free to Library Associates

Purchase Tickets: http://www.lfla.org/event-detail/492/Timur-The-Dime-Museum
To reserve 6 or more tickets for a single program,
please call (213) 228-7025.
Directions: http://www.lfla.org/about/directions.php

Kazakh-American tenor Timur Bekbosunov is a renowned interpreter of contemporary music in the United States. He has made solo appearances with Los Angeles Philharmonic, Bang on a Can All-Stars, Israeli Opera/JMCLA, BAM, Santa Cecilia Academy, Opera Boston, American Repertory Theater, DeVotchKa band, Long Beach Opera and Rosanna Gamson/World Wide; at the Hollywood Bowl, Walt Disney Concert Hall and Berlin Konzerthaus, among many others. Praised by La Reppublica as "effective and rewarding" and the Wall Street Journal as "program's promise fulfilled", he is currently producing his debut album, The Collection, and collaborating on Total Eclipse project with filmmaker Sandra Powers.

Daniel Corral is a composer and multi-instrumentalist. He has accompanied avante-garde puppetry all across the USA, had his music performed by an orchestra riding the Santa Monica Pier Ferris Wheel, been featured at a USC faculty concert of original player piano music, and displayed his massive multi-movement music boxes at galleries all over Los Angeles.

Brian Walsh is a clarinetist, bass clarinetist, saxophonist, improviser, composer and teacher, active in Los Angeles. He has studied clarinet with William Powell, Gary Bovyer, Debra Kanter, and Val Grayson. He has studied improvisation with Bobby Bradford, Vinny Golia, and Ben Goldberg.

Matthew Setzer is a musician, composer, and music technologist living in Los Angeles California. He is the guitarist for the gothic industrial band London After Midnight.

David Tranchina, bassist, teacher, and composer, is an up and coming musician on the Los Angeles scene. David has played some of the top jazz venues in LA, and performed with Bennie Maupin, Patrice Rushen, Bob Mintzer (The Yellowjackets), Nate Wood (Kneebody), Bobby Watson (Art Blakey), Butch Morris, William Winant, Smith Dobson, Vinny Golia and many others.

Jennifer Lindsay is a classically-trained singer, violinist and composer. At the age 11, she was a founding member of the Disney Young Musicians Symphony Orchestra. Since then, she has gone to perform at the Essence Awards/NYC and Carnegie Hall.

Hong Kong born pianist Mary Au collaborated with many renowned artists, including appearances in Columbia Artists Management Community Concerts, has been enthusiastically received. As a former executive of the GRAMMY Awards, Mary Au continues to dedicate herself to cross cultural projects.

Alex Noice is a graduate of CalArts' jazz guitar department where he studied with Larry Koonse, Miroslav Tadic and others. He's been teaching for over five years and enjoys working with beginners through advanced students. He also teaches and leads clinics at Glendale Community College and Hoover High School.


Open Gate Theatre Sunday concert, Feedback Wave Riders and Devin Sarno & G.E. Stinson

Open Gate Theatre Sunday concert, Feedback Wave Riders and Devin Sarno & G.E. Stinson

The Feedback Wave Riders

Michael Jon Fink- electric guitar
Ulrich Krieger- electric guitar
Tony DiGennaro- electric guitar
Chas Smith- "enhanced" pedal steel guitar
Vinny Golia- woodwinds
Brian Walsh- woodwinds

Devin Sarno + G.R. Stinson

Devin Sarno- bass guitar, electronics
G.E. Stinson- electric guitars, electronics

Eagle Rock, Center for the Arts

2225 Colorado Blvd., Eagle Rock
(one block west of Eagle Rock Blvd.)

General Admission: $10 General
Students, Seniors, and Series Performers: $5

About Open Gate Theatre

Open Gate Theatre was founded in 1982 by Artistic Director Will Salmon. They are dedicated to opening the gates between music, dance, and drama; between cultures; between the unconscious and the conscious; between emotion, mind and spirit. Open Gate is both an ensemble and a creative collective, combining image with sound, voice with movement, and poetics with light; Open Gate strives for a theatre that is both passionate and numinous. Open Gate is a unique approach to theatre; unified in its expression and impulse, diverse in its sources and disciplines. For more information, contact Artistic Director Will Salmon 626.795.4989.

Vinny Golia Sextet @ ASTO Museum of Art

Vinny Golia Sextet @ ASTO Museum of Art Saturday, June 5, 2010
7:30pm - 9:30pm

This will be a great night of music featuring Vinny Golia and his outstanding ensemble.

Vinny Golia (baritone & soprano saxophones, piccolo)
Gavin Templeton (alto saxophone)
Dan Rosenboom (trumpet & flugelhorn)
Alex Noice (guitar)
Jon Armstrong (bass)
Andrew Lessman (drums)

ASTO Museum of Art
4505 Huntington Dr. South
Los Angeles, CA
BYOB or coffee and rose tea at their cafe

Thursday, May 27, 2010

CD Review: Neck N Neck, "All In" on Nextagem Records

Neck N Neck
Nextagem Records

CD Review: All In


Joe Caploe (electric vibes & percussion)
Andy Strasmich (flutes)
Rob Block (piano & guitar)
Mark London Sims(electric bass)
Leonice Shinneman (African drum set, tabla, and kanjira)

“All In” is the second release by vibraphonist/percussionist Joe Caploe’s world jazz ensemble Neck N Neck, an ensemble that dates itself back when the members attended the California Institute of the Arts together in the 80’s, and what an impressive recording it is! “All In” features Interesting compositions/arrangements with musicianship that can only be described as world-class! Players are all veterans and have played with such luminaries as Frank Zappa, Roscoe Mitchell, Don Cherry, Stevie Wonder, and Sting; as well, Neck N Neck have delivered performances at San Jose Jazz Festival, The America Festival, Iowa City Jazz Festival, and much, much more.

Each of the players in Neck N Neck is masterful. Joe Caploe’s vibraphone playing is highly skilled and he is surely a vibraphone player to listen for. He plays with great imagination and skill. Percussionist Leonice Shinneman and bassist Mark London Sims attention to groove is impeccable, and Marks modern bass tone is spot-on. You wish more bassists had this balanced and smooth of a sound. Leonice Shinneman is a percussionist of the first order, masterful. Rob Blocks piano and guitar playing (!!?) are flawless, lines well-developed, and interesting to listen to. The flute of Andy Strasmich is elegant, fantastic tone, and simply beautiful.

With this much great musicianship, you’d think the CD would devolve into a chops fest, but it is simply not the case. The ensembles musical skills are used to bring out the compositions and are used in subtle, tasteful ways, while still leaving you impressed. Not an easy feat to accomplish, for sure!

I find it difficult to single out any single track on Neck N Neck’s “All In” as each of the tracks are all excellent in their execution, but I did enjoy No Space For Space, Jacob’s Well, and Hang Time immensely. Overall, this CD is expertly produced, has interesting compositions, and features a masterful, well-rounded ensemble that is second to none. Definitely not another world music snooze/cheese fest, these guys have the musical skills and credentials to lay it down. Fans of the Repercussion Unit or maybe the Pat Metheny Group would find this an easy add to their collection. I highly recommend!

Wednesday, May 26, 2010

CD Review: Scott Heustis Group - Ushante and Live at Spincycle

Ensemble: Scott Heustis Group
Label: Redline Park


Scott Heustis (guitar)
Breeze Smith (drums, percussion)
Jeff Schwartz (upright/electric bass)
Robert Leng (alto sax, tenor sax, keyboards)

Here are two great releases, Ushante and Live at Spincycle from the Scott Heustis Group on the Redline Park label, an online “net” label that is a subscription-based Internet music label featuring adventurous, experimental and innovative music from the Los Angeles area. The Scott Heustis Group features some of LA’s best improvisers and each of these recordings were done live, are completely improvised, and show-off what these extremely capable musicians can do.

Ushante includes eleven tracks and runs just about an hour. The titles are mostly humorous and add to the playfulness of the music. The laughter and the pseudo Miles Davis “between take banter” of Scott and band also gives you insight to the fact that they are happy to be there and to be making music together. While serious, they don’t seem to take themselves too seriously. The chemistry of the ensemble is evident and there is a deep level of listening going on. Never does the music seem to erupt into a free-for-all, noise-fest. Each player shows mature restraint. Stand out tracks for me are the opening track “Enter The Bagman” and “Translucent Geometry”. “Enter The Bagman” is a guitar and drum duet that starts off with Scott playing his guitar is quirky and melodic and the track builds with a thoughtful, angular, momentum. “Translucent Geometry” is a very successful ballad. Robert Leng plays some nice keys on the track and adds a nice texture to the ensemble. Jeff Schwartz bass playing is commanding and Breeze Smiths drums are supportive and always seem to be the right thing at the right time. The group never devolves into mere showing off.

Live at Spincycle includes seven tracks and comes in around thirty-one minutes. Guitarist/bandleader, Scott Heustis’ sound is reminiscent of Frank Zappa/Adrian Belew at times and the overall group sound is reminiscent of Tim Berne’s Science Friction at others. The music on this recording is also a bit edgier compared to the Ushante recording, partially due to the fact that Jeff Schwartz is playing electric bass instead of the upright. The vibe of the music on this session is a more overall rock & roll sound. The group has some great moments and there is again, definitely some deep listening going on. Saxophonist, Robert Leng and percussionist Breeze Smith are also very complimentary and are able to add their ideas sympathetically and the right amount of firepower when it is called for. Highlights for me included track 5, "Subatomic Courtship Ritual" (which features a great sax and drum intro) and track 7, Dilemma Darwin, a moody piece that has an interesting arc.

I can recommend both of these recordings of the Scott Heustis Group. The band is made up of musically sensitive, veteran players that know how to listen and how provide interesting information to the musical dialogue. Redline Park's business model, with their subscription based format of distribution, is interesting. For improvised and experimental music that doesn't generate a lot of revenue, this might be a good way to get the music out there and generate some income for these deserved artists.

Sunday, May 16, 2010


MAY 20 2010 @ 8PM


$12 admission at the door. $8 for students and seniors

RSVP on facebook at:

The Eclipse Quartet will perform music for string quartet and precessed sound by Morton Subotnick, Roger Reynolds and Zeena Parkins.


"A ferociously good quartet" - San Francisco Classical Voice

THE ECLIPSE QUARTET is a new music ensemble dedicated to the music of the late twentieth century and present-day composers. This quartet is made up of four women with strong backgrounds in international and national chamber music performance, new music and recording. Their combined experience represents a wide range of musical styles and collaborations.
Eclipses repertoire contains works by such composers as Julia Wolfe, Terri Riley, John Zorn, Fred Frith, Philip Glass, Morton Subotnick, Roger Reynolds, and Loius Vierk. They have also premiered new works by Zeena Parkins, Carla Kihlstedt, Justin Haynes, and David Jaffe. The quartet often collaborates with film makers, visual artists and performance artists, exploring the interaction of the seen and the heard. In May 2006, the quartets recording of the string quartets of Zeena Parkins was released on the Tzadik label.






Friday, May 14, 2010

Billy Childs Jazz/Chamber Ensemble At Redcat

This should be a great concert. Billy Childs is one of the greatest pianists in LA, who always writes exciting music, and this looks like an interesting work that he is showing off. It also includes a stellar line-up of high-caliber, musicians. Highly recommended!


Billy Childs - piano
Larry Koonse - guitar
Carol Robbins - harp
Bob Sheppard - sax, flute
Hamilton Price - bass
Smitty Smith - drums
Sarah Parkins - 1st violin
Sarah Thorneblade - 2nd violin
Kate Vincent - viola
Maggie Parkins - cello

Thursday, June 10, 2010
8:00pm - 11:00pm
Redcat Theatre (in the Disney Concert Hall)
631 West 2nd Street
Los Angeles, CA

Steve Lockwood Ensemble - Jazz/Improvised Music Concert

Here is a great concert coming up by Steve Lockwood at Santa Monica College. The bill includes some of LA's great players, not to be missed!

Steve Lockwood Ensemble with Ken Rosser- guitar, Hamilton Price- bass, and Chris Wabich- drums.

Friday, May 21, 2010
6:30pm - 10:00pm
Santa Monica Comm. Coll. Perf. Arts Ctr. (Edye 2nd Space)
1310 11th St.
Santa Monica, CA

Monday, May 10, 2010

Interview with composer/multi-woodwind player Vinny Golia

So here is the first installment of my interview series of Southern California musicians who focus on 'Creative Music', or music that utilizes compositional elements and improvisational elements. I plan to interview as many musicians as I can, from longtime Angelenos, to up and coming players, as well as some recent transplants to Los Angeles, so I may get their perspective on LA compared to some of the other 'Creative Music' hotbeds. (Look for upcoming interviews with: Susie Allen, William Roper, Steuart Liebig, Wadada Leo Smith, Emily Hay, Ulrich Krieger, and more)

I'm not a professional interviewer and took my inspiration from Art Taylors book, Notes and Tones: Musician-to-Musician Interviews where he decided to interview jazz musicians, from a musicians perspective. If you haven't read it, it is a very good read and the tones of the interviews are quite different the usual reads you get in the "regular" journals.

My first interview, I decided, would be someone who has been a fixture of the 'Creative Music' scene in LA and one who could also give some historical perspective of Los Angeles' often neglected scene. Unfortunately I lost most of the historical talk due to my own ineptitude. (Vinny and I are due to conduct a follow-up interview to readdress these matters in the near future) So what follows here is the second part of the interview where we talk more about how Vinny went from painting to saxophone, some of his upcoming projects, and we touch on the state of the music business for an improvising musician.

Hope you enjoy and please leave some feedback for me so I can grow!

Interview with Vinny Golia conducted on 02-24-10 @ CalArts

Daren Burns: I know you have an interesting background in starting music and I was wondering, when did you start playing music and how? I mean; I sort of know some of the story…

Vinny Golia: I mean, that’s not as interesting as the other stuff…but…

Daren: Well, I want to do both and I want to talk about your music too. You personally.

Vinny: I started as a painter, a lot of people already know that and I was, like I said before, living in New York, that’s where I was born. And when I started painting I used to…painting is kind of a lonely thing, you know? You got to sit in a room and I worked on big canvases with a certain amount of…eventually a certain amount of finesse (laughs) and a lot of modulation of color and little forms and stuff so that one color might start as one thing and then transform to this other thing but, create this moving shape thing, very, kind of tone conscious. All the precepts of what I do with painting kind of transferred over to music but, that’s a whole other thing.

Seems to me that one day…I was listening to everything, but I started to get this bug about jazz and improvised music and new classical music. I was listening to a lot of Indian music and blah, blah, blah, blah, blah. They always kept talking about improvisation and even in the blues guys, they talked about improvisation and they kept using the word jazz and I kept buying stuff and it didn’t really…it was okay, you know, I was listening.

Daren: What age were you?

Vinny: I don’t know, I was in college.

Daren: So you were in your twenties?

Vinny: No, 'cause I graduated college when I was twenty-one. So I must have been like twenty, nineteen…something like that. Anyway, to make a long story short, one day somebody said, “You like this stuff all the time; you should go see it.” And it, it had never dawned on me that you could actually go see these guys play. ‘Cause I had gone to rock concerts and all that kind of stuff. Fillmore and seen Hendrix and all those kind of things and blues guys and Indian music live. But it never, I didn’t know where to go, or do any that kind of stuff and this guy, John Colagne, he's an old friend from years back, he says, “Oh man, I saw ‘Trane and Dolphy play together at this place called Slugs.” And I said, I mean I didn’t know anything, I said, “You’re crazy, they never played together!” and he said. “Yeah they were on the same stage, I saw it!” I said, “Awww, you’re nuts!” (Laughter from both of us) I mean I really, seriously didn’t know anything yet and so I went one day to find this place called Slugs and, I think that, I’m trying to think who I saw first, but I think that the first group I saw was Alice Coltrane maybe. Alice was there with Carlos Ward and Bob Cranshaw played bass maybe…drummer must have been Ben Riley, or something like that. Oh, and Pharaoh Sanders played and I was like “Oh…this is home!” you know? So I started going there like, really, pretty regularly and…after awhile I started to get antsy so I took some paper with me and started to draw. And then I started to meet everybody because they were interested, “Who’s this guys that always comes and draws these pictures?” So then, I met a lot of musicians because they all would all look at the pictures. I think the very first time I met Dave Holland, I was drawing pictures of Miles and he came by said he was going to be there next week and he was surprised we had come back the next week and he said, “Oh, I like these drawings!” and he said, “Can I show these to Miles?” and I said, “Uhhhh…yeah…okay.” (Laughs) You know, if you want to keep one its fine with me!

Anyway, uh, uh, we became friends and I started to meet more of these people like Dave Liebman, (Anthony) Braxton, Barry Altschul, Chick Corea, blah, blah, blah, on and on, you know. And uh, from drawing, I started using my painting, eventually, as music notation. Tried to. That’s kind of further down the road. I was looking for a way to interact with their music more. Dave Liebman, a dancer, and I, and a percussionist did a concert, ah, Nancy Toft was the dancer and Armen Halpurian was the percussionist. We did this concert of “Live Media.” I had painting…I would do live-action painting and stuff, but the medium wasn’t really…its not like now where you could do stuff like fast and really work with light the way that Carole Kim or one of those…that stuff; there were no computers. There was nothing, it was very primitive. I have a video of it someplace.

Daren: Really?

Vinny: Yeah, it’s actually…I was thinking about it the other night or so. (Laughs) That would be cool to see again.

I had to transfer it from ah…the original video tapes were reels; you know, I had to transfer it from reels to…

Daren: VHS?

Vinny: Yeah, yeah something like that (laughter) yeah, its pretty funny.
Anyway…uh…at one of the concerts I had drawn this shape and stuff and I worked on it as a painting and I showed it and Dave (Liebman) saw it and said, “Oh, this would make a nice album cover.” And I guess Chick liked it and so they used it for Song of Singing

Daren: Oh, really? Wow!

Vinny: Yeah, and that’s how I got money to buy my first saxophone and that was 1971 so I was maybe 25 or so. Yeah, I used to think I started playing when I was twenty-one, but wasn’t possible because I had been out of school so it was later, you know.

Somebody said, “Well, that math doesn’t add up Vinny.” (Laughter) So I realized, “Oh shit!” I was twenty-five when I started.

So, I got a saxophone and I wanted to take lessons. The only guy that actually sounded different to me at the time…because you gotta remember, I was hanging around with guys like (Dave) Liebman and Steve Grossman and Mike Brecker; and they all come from that Coltrane thing pretty strongly, and they all gave me a lot of pointers and tips; it was great, really fantastic! Matter of fact, I was staying with Dave Liebman, ‘cause I didn’t have a place of my own at the time and a he gave me some really good pointers. Embouchure things…and you know, how to start.

Daren: Basics.

Vinny: Yeah and so I took a couple, two, three lessons with Anthony. You know, G scale, C scale, Bb scale

Daren: Braxton?

Vinny: Yeah, and he went on the road so that was that, for that. And then I got books and taught myself and I started traveling…and it was very difficult to paint and do stuff, so I wound up playing more and then I wound up concentrating on it and trying to do things with more portable medium like laser beams and stuff like that, but it was very expensive at the time and I kept blowing them up and I just started to gravitate. Music was easier and I wound up on an Indian reservation as a substitute teacher with a friend of mine who was a great bassist and he said, “Oh, you have a saxophone, lets play!” and I said, “Oh, no, no, no! You’re like…you know what you’re doing”, I said, “I just got this a couple of months ago” you know. He said, “Alright, I’ll write out some exercises, you play those, and we’ll get together…”

But he had studied with Pran Nath, the Indian vocalist and stuff and had played with Nina Simone and Roland Kirk and stuff. So he would, you know, do stuff, and I would improvise; ‘cause that’s all I could do…make stuff up, ‘cause I didn’t know anything, so that was just…whatever…

I did that for a little while and wound up with my first band. One year…almost by the end of the first I did a gig…and so then I got the bug and I…this is a little out of sequence, but you know…I was still trying to do painting as music notation when I landed a spot…then I realized like, most people just kind of “do what they do”…so if I learned how to play this a little better, I could show them what I wanted musically, but you know, once you know how to play it better, you’re basically writing music. So, you don’t really need to paint anymore. So that…one kind of supplanted the other.

And then for a long time I did a lot of the album covers for Nine Winds (Vinny’s record label) and that kept that part alive; I haven’t done a lot lately. So its been mostly writing. really concentrating on music; really doing it, you know?

Daren: How long has that been since you really did the visual art?

Vinny: A year and a half.

Daren: Year and a half?

Vinny: Yeah…’cause…

Daren: That’s it? (Laughter)

Vinny: Well, albums covers…

Daren: I was expecting like, you know, twenty years! (Laughter)

Vinny: Maybe a little longer maybe like, 2 or 3 years…you know. Something like that…

Daren: Okay…recent.

Vinny: well, the last few years the label has taken kind of a…its kind of been on hiatus because my mom was ill and it had been a lot of traveling and other things happen and you know personal life stuff happens and it gets in the way. You have to deal with that as opposed to putting out CD’s and stuff. Most of my CD’s in the last few years have been for other people, as a sideman, or else on other labels, you know. I have a CD with Bert Turetsky, a CD with Peter Kowald, on a bass player; JC Jones from Israel; Kadima Records, and he’s putting out…as you can see he’s a bass player and he concentrates on bass player records, so…I have another one coming out with Mark Dresser, so there's that. I just recorded…so what’s in the can, is a box set of the large ensemble, I have a CD with Bobby Bradford, a duo with Ken Filliano, and then two projects I have to record are the ah…there's an octet that I did that’s coming out soon, I hope. And then there's two…yeah, Kio’s (Griffith) supposed to be doing the artwork…and then I have…what else?

Daren: But, these are all on other labels…

Vinny: No. The things that are on other labels…I was called to be on the Albert Ayler tribute CD and uh…I just got a copy of this new Weasel Walter CD I did with John Lindberg, and Weasel, and William Winant, Henry Kaiser, Joe Morris, Liz Albee…

Yeah that just came out...and then there's a trio with Weasel and Damon Smith. That came out where I played mostly bass saxophone and saprillo. I think there's one cut on tenor. So...those things are on other labels. The other litany of stuff is…I was trying to do the box set on Innova (record label) but I haven’t heard anything from them. I sent them some stuff; they were interested; they were gonna try to get a grant to do some production and stuff, but now I haven’t heard anything. My emails have gone to the void…wherever…(laughs)

Yeah, so… I’d have to activate Nine Winds again but at this point in time, it’s easier to have somebody else do the artwork for now.

Daren: Right…this actually segues perfect. As far as activating Nine Winds or any of this, what do you think about the climate out there for recordings and physical CD’s versus non-physical CD’s, distribution, and with the Internet, stuff like this?

Vinny: Distribution for our music is a fallacy. It’s always been a fallacy. You know, I mean no ones gonna put it in stores if they don’t know who you are. This goes back to that other thing…you know? I mean, people need to have an artifact to review. You can’t…there aren’t that many people who specifically review downloads.
I have a download quintet record on Redline Park (Online Record Label) I’ve got one review from that; that’s pretty cool and uh…its nice that its there and people can access it. I have a lot of music on my website where people can download that music, but they can also buy the CD from Cadence North Country (Jazz Distributor) or Indie Jazz, or Jazz Loft, or one of those places, you know; or, Downtown Music Gallery. I mean, in the United States, those are the places to buy this kind of music. So you really don’t need distribution, you just send it there, you know. Cadence North Country has digitized a fair amount of music on Nine Winds and out that out and pretty soon we’ll be on Dram (Online), which will be music you can listen to online, streaming, but not download. So people who; if they want those CD’s, can go to any of those distributors and get them.

Daren: So, you think; with this music you still need to do physical CD’s to be viable?

Vinny: The people who enjoy this music are collectors. They want to go back in time and have an artifact and go back and see the progression of what the music is. You can’t really do that; as much, with the downloads. Now, they’ll take that artifact and put it in their computer and stuff, you know and maybe listen to it once and have it in a portable medium like that. So, I think you need to do both nowadays. You need to cover three or four bases. You can’t just do one thing, you know. Just the way it is and that’s fine. The prices have come way down from when I started. CD’s were very cost-prohibitive when I started; as a matter of fact, I think I was a holdout for vinyl. I lasted until 1988, the last batch of records we did was 1998 and then we switched to digital format, but I prefer…ah…I like CD’s because of the length; you can really get a thing. Most people that put out CD’s, they don’t think of the CD as a concert performance, they think of it as an LP and I don’t think that peoples attention…people don’t have time to listen to that kind of thing unless their in a closed environment; like their on an airplane, their in a car, their in such and such. They like to shuffle around. Well, I like to make CD’s where it has a nice ebb and flow with the compositions and stuff and…it takes you to a place when you finish. So, it’s a different approach to recording. I frankly think there is too much… there was too much stuff. Now everybody’s kind of scaled back if you notice, you know? They’ve kind of glutted the market with a lot of music so that everybody has to pick and choose. Now, not everybody’s buying CD’s so people have become more picky, and can actually discern what’s good, what’s not so good, who they want to hear, who they don’t want to hear. So that’s an interesting development.

I was talking with Jeff Kaiser the other day, and I was telling him…and also Bobby (Bradford); just because both those people have been at school (CalArts) here for a visit, I was talking about them as like…It’s very curious to me that when we started playing music, we did gigs in order to make a recording. Now people have to do recordings in order to get a gig. So the whole things been flip-flopped, you know? Its kind of been inverted; and I think that will change also. ‘Cause there aren’t that many places to play right now, and that goes in an ebb and flow also. Lets see what happens, but its kind of curious. Actually, it’s a very challenging period of time, but I really think that you have to address multiple formats for the music at this point. Even if you just do downloads and CD’s you cover a lot of bases that way too. Plus, reviewers and radio stations which really help you to increase your base of operation, if you will. They want artifacts to listen to. There haven’t been any programmable, download, radio stations that I know of. You do have podcasts, but a podcast is still somebody gets a CD and organizes his show from the tracks. They don’t go looking around on downloads, because downloads are too difficult to deal with. They can just rip a couple of tunes from the CD and then podcast it. It’s a lot easier. Doesn’t mean they have to go back to the CD but they do have to do it once and that’s a sale! Just my opinion, but it seems to be the opinion of a couple of people in the industry right now. You can’t switch from one to the other even Maria Schneider, she had a record that was only downloadable…after the download point in time, people wanted a CD and she had to make CD’s eventually.

Daren: That’s interesting!

Vinny: You go to gigs, you can sell a download card, or you can sell a CD. I mean, most people would probably; for the ten bucks, would probably like to have the CD.

Daren: Right, yeah, that’s the conundrum…I think

Vinny: Yeah.

Daren: Myself too, downloads kind of don’t mean much to me…personally

Vinny: I think that also, in the long run; this is again another opinion, but I think it devalues how people view the music. I don’t know if that is true or not…can’t really say that that’s true. It seems to me to be a devaluation of the music, ‘cause there is nothing. It kind of just floats there. When you have a CD, its like oh… you can look at that, you can; with a microscope, read the liner notes or whatever (Laughs)…but it is an object and it is a direct connection to the artist when you do that.

Daren: It’s an art object.

Vinny: It’s a much more, personal thing. When you download something, it’s like an abstract. It’s just the way that is, you know?

Daren: It’s like the difference of having a sculpture and a picture of a sculpture.

Vinny: Yeah.

Daren: Especially for artists who art really means something and it’s not just necessarily pop and single driven, something like that. Which I think Jeff Gauthier tries to do with Cryptogramophone

Vinny: He tried to create a…His model was the ECM model and a nice very stately thing, music of a certain kind that would, you know, keep a label profile very even and stuff like that. He tried to do it kind of old school too with distributors and blah, blah, blah; and I don’t think that model works. It works for ECM because they’re who they are and they started it. I mean, I don’t think it works for Nine Winds because Nine Winds is; first off, one of these labels where we don’t have a separate category for everything. Everything is one thing. In a sense it probably hurt some of the chances for groups like Quartet Music, but it did get their music out there. On the other hand, people expecting an electric Nels Cline album and get an acoustic album are going to be disappointed. So there’s that too. You know my model is like, I like all kinds of music so I don’t really care, you know? I don’t have to have a profile. I’m representing the West Coast of North America. There's a lot of different music there. We go all the way from Mexico to British Columbia. There’s no way in hell that people that live in the San Joaquin Valley are going to play the same music as the people on Victoria Island. It’s just different.

Daren: You have a bit more of a Do-It-Yourself kind of attitude.

Vinny: I do. And we try to get the biggest bang for the buck that we could within a certain amount of budget. If things didn’t sound good, we didn’t put them out. Although some people think that the large ensemble records don’t sound that great, but I don’t have the money to bring fifty people in the studio. And to be honest with you, in Los Angeles a lot of those studios aren’t there anymore that hold fifty people.

Daren: Yeah, where would you even record it?

Vinny: Yeah. Fox sound stage, which I don’t have the money for.

Daren: My friend Frank Macchia, he did two orchestral albums, (saxophone concertos) but he used a Czech orchestra (City of Prague Philharmonic) through video link because it’s infinitely cheaper.

Vinny: Yeah, it’s like a hundred a minute…

Daren: I think he paid about ten thousand dollars for each of his recordings total and he recorded his saxes at home.

Vinny: Fantastic!

Daren: It’s still ten thousand dollars, but it’s infinitely cheaper than hiring an orchestra…

Vinny: If you had an orchestra like that in Los Angeles, you would pay a thousand dollars a minute. The record would have cost a hundred thousand dollars.

A Little Bonus:

Vinny on writers in NY vs. LA and the lack of research on Los Angeles' jazz history

Vinny: The thing about these writers is they’re supported there. They have an interest there. People care about the things. The Times puts people; you know, it’s a good position to have, to write about that kind of stuff. The people here don’t get any support. The musicians don’t get any support. The people that write about it certainly aren’t going to get any support and they don’t have an outlet to put their writings anywhere. And the people, who would be good candidates, get frustrated just like the artists do. They don’t want to deal with having to put out themselves. Now this guy, Charles Black you know, he wrote a very good thesis for his masters thing and with a little more input, or fleshing out, it would be a great book, you know? Steve Isoardi written two books one about Central Avenue and the second one was…no, three books, the second one was called “The Dark Tree” that was the story of Horace Tapscott, and the third one was about the people around…am I right? ‘Central Avenue’, ‘The Dark Tree’, and then there's one more book about the people around Horace (Tapscott) and the community surrounding him and stuff. So those books have been written. Those are good. The Central Avenue book is also quite good. These are all taken from the oral histories. That happened at UCLA, they did me someplace; I have it. They did Bobby (Bradford). This (A book Vinny is showing me) is called “Beyond Central Avenue”, and they did Bob (Bradford) and a number of…Buddy Collette I think, I'm not sure about Buddy, I think they may have done him. So, there's the documentation. Actually UCLA has a big archive of a lot of stuff. One of the best things about the archive is that Mark Weber’s photographs are in it, if you go look up Mark Weber on the internet, you’ll see a certain period of time when he went to everything. All kinds of music and photographed it and just did interviews with people, he used to write for CODA magazine.

Daren: I think I saw some old pictures of you and Alex Cline playing…

Vinny: Yeah, yeah, yeah! I mean, he's got tons of them, but here are a lot of John (Carter) and Bob (Bradford) and stuff like that. As a matter of fact, he used to ride around in a car with John (Carter) going to gigs and stuff and interviewed John all the time. Taped everything, so that archive is at UCLA…it’s a treasure trove. So there is a certain amount of documentation of what happened.

Daren: Why no research then, I wonder?

Vinny: Well, people don’t really understand the importance of the scene. Like I said, Mingus, Dolphy, Don Cherry, Ornette, you know, they all honed their skills here and at a certain point, went to the East Coast. Now why they went to the East Coast, I don’t know. John (Carter) and Bob (Bradford) stayed here. Horace (Tapscott) stayed here. Maybe bands traveled, and they went to New York and stuff. There were a lot of people playing in New York at one point in time. You know, it was the center of a lot of places like that, but not anymore than Central Avenue (In Los Angeles) or some of these other obscure places in other parts of the United States right after the war. But there were only a few places where Bop kind of took root. One was here. ‘Cause like I said, Teddy Edwards, Howard McGhee McGee, you know, ah…I think Dodo Marmarosa he even, but I’m not sure about that. Maybe I’m thinking of somebody else, but I think it was Dodo Marmarosa and a few others were all playing Bop here already. Wardell Gray…I mean arguably, Teddy Edwards might be the first Bebop tenor (sax) player. Somehow, that instrument and Bebop, you don’t think of it. You think more of the alto. Frank Morgan was here and a few others. So, I don’t know, I don’t know, but there as always a scene of very strong music here. You wrote down your questions?