This month’s podcast features composer/clarinetist David Rothenberg, who came to the studio with his bass clarinet, field recordings, samples and electronics for an afternoon of sonic exploration. The results of our collaboration are surprising and delightful!
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This month brings the 100th Errant Space podcast!!
To mark the occasion, I organized a live event featuring eight past podcast participants which took place on July 1, 2023 at the Howland Cultural Center in Beacon, NY.
It was a three hour performance with the performers surrounding the audience, who were encouraged to listen while horizontal. The musicians played in rotating groups of three. This podcast is taken from that performance.
These are the musicians who participated in the experiment:
Al Margolis (piezo micro sounds)
Dean Sharp (processed percussives, samples)
Katie Down (glass and metal instruments, flutes)
Thom Uliasz (TV synthesizers)
Bonnie Kane (saxophone, flute, processing)
Sandy Santra (piano)
Neil Alexander (piano + processing)
Andy Rinehart (piano, accordion)
and me (Craig) (guitar, processing)
We had a fair number of audience members come through during the performance, you’ll hear people moving about on the recording. For best results, listen while laying down, it will almost be like you were there…
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This month’s podcast is a collbo with Scary Mountain Wizard who brought his hybrid modular synth/guitar rig over to the studio for some ambient explorations.
I’m very pleased with this one, it has a nice mellowness and there’s a feeling of gentle exploration. At times it gets very slow, almost to the point of stillness…
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This month’s podcast is a binaural recording from the July 2022 Space Out, Outside.
It features Bob Lukomski (granular synthesizers, samples) and Irman Peck (conceptual cello/bass guitar).
Its a really beautiful field recording, best experienced in headphones, with subtle interactions between the players, and their environment.
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This month’s podcast is a live solo performance from June 2021 in Goshen, NY at the Orange County Arts Council.
Its a field recording, so you’ll be able to hear the environment where I was playing; there’s a little pond, lots of birds talking, and some traffic. Its nice to post an unedited performance like this as a snapshot of where I am creatively. One of the audience members described it as “sonic acupuncture,” which I think is fitting. I hope you enjoy it!
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This month’s podcast is another in the Remote Variation Series, featuring Anders Nils from Brooklyn, NY. Its very ambient; minimal and droney.
Anders Nils is an electronic musician and producer who primarily focuses on generative ambient music, sound design and instrumental soundtracks. He uses a modular synthesizer, software synths and guitars fed through a wash of delay and reverb effects.
LInks to hear/see more of Ander’s work:
https://www.andersnilsmusic.com
https://www.youtube.com/channel/UCz3XfB2EMyifyfKuRzWzKuA
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This month’s podcast features sound artist/therapist Katie Down. It was recorded binaurally in Katie’s loft instrumentarium where Katie played flute, and glass and metal instruments. Its always a treat to play with acoustic instruments and Katie creates some amazing sounds and textures on hers! This one is quite immersive and best experienced in headphones for the full binaural effect.
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This month’s podcast is a field recording of a very ambient solo performance at Quiet Village 3.0 which was a backyard show that took place September 27, 2020.
There’s a nice intimacy about this recording; you can hear the squeaks of my chair, the acoustic sound of my guitar and birds flying by. It fits well with the Quiet Village ethos of ambient music blending with the ambience of the environment.
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This month’s podcast features some beautiful, contemplative improvisations with pianist Sandy Santra. These recordings capture our first time playing together; I think there’s a special quality that comes through as we learn to communicate musically. And it’s always nice to play with an acoustic instrument, as I spend so much time in the world of electronics.
Sandy Santra was born in Pennsylvania in the late 1950s, grew up in the San Francisco Bay Area, attended Reed College in the 1970s, and moved to New York City in 1996. He began playing piano at the age of five, improvising at the age of sixteen, and has recorded and performed as a solo pianist for over forty years. He has played with numerous ensembles on both coasts of the United States, and his new wave band Counter Parts performed all over the Bay Area in the early 1980s. He has also composed and recorded soundtracks for his own short films, and accompanied numerous dance ensembles. Additionally he is a professional photographer [source photo for header image courtesy of Sandy], award-winning filmmaker, and has lectured on technology in New York City and semiotics in London. His videos may be viewed at his YouTube channel, which includes all his performances during the “Play Me, I’m Yours: New York City 2010” piano festival. Sandy currently resides in Hudson Valley and is writing a novel.
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This month, having just passed the five year mark, I’m taking a look back with the intent of creating a sea of tranquility for you to submerge yourself in. The source material is from three sessions going back to 2015. This podcast uses previously unreleased parts from those sessions.
It starts by revisiting a collaboration with saxophonist Brad Hubbard (ES Podcast #24) playing the Electronic Wind Instrument. Brad is a fantastic and thoughtful improvisor, and here he brings some nice synth tones and textures to our musical conversation.
The middle section is from an all day solo performance (installation?) in 2015 during Newburgh Open Studios (ES Podcast #6). These durational performances really let me take my time and slow waay down. I try to get to a similar place in my shorter performances, but its always a challenge. This one is cascading and minimal, it reminds me of watching little waves rushing to shore, or gentle raindrops.
Finally there’s more contemplative improvisation this time with vocalist Ella Ray Kondrat (ES Podcast #34). This recording was literally the first time we played together. I think at the time I edited the original podcast I may have thought it was too raw, but listening to it now I find it has a sort of fragile beauty.
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