Sunday, October 31, 2004

Coarse to Fine Fringe Links

Year Round 24-7 Resources
Jimbo's Links
Friends of Baltimore Fringe who would like to choose events for themeselves will find a selection of links in the sidebar. Most of the sites will be familiar to regular readers. Jimbo uses these sites to compile this calendar and he is very grateful to their owners for making Baltimore the center of fringe.
http://jimbosbalto.blogspot.com/
James Beau photo courtesy of Happy Halloween!

Thursday, October 28, 2004

OCT 27--NOV 3 Events

Friday, Oct. 29 at 8 p.m. Theater
MacBeth
How is it that Shakespeare seems to be mainstream and fringe at the same time? This production puts the audience at the center and the play on the fringe. [Followed by Spooky Vision at 10 on the 29th, costumes encouraged] Fridays and Saturdays through Nov. 13. $10
http://www.thetopfloor.org/
The Top Floor Theater Company
5440 Harford Road
443-691-7040


Saturday, October 30 at 7:30 p.m. Primeval Ritual
Great Halloween Lantern Parade
It's magic just watching the hundreds of children, parents, artists, many in costume, parade through Patterson Park with bobbling handmade lanterns lit by candles. The parade ends near the pagoda where shadow puppets perform an original play by Molly Ross set to original music. The children and some adults make their own lanterns at neighborhood schools or at workshops in a Creative Alliance program coordinated by Linda DePalma earlier in the month. In residence visual artists make large, often spectacular lanterns to lead the parade. Fringe and life at it’s best. Free
www.creativealliance.org
Patterson Park
Linwood & Eastern Avenues

Saturday, Oct. 30 from 7 to 10 p.m. Unknown
Tell Me Window
Artist Temple Crocker works in several art forms and this will literally be in the spare room of an apartment, so it's hard to predict what you'll find. Go after the Great Halloween Lantern parade. Free
http://tiger.towson.edu/users/rroyer1/allies.htm
Spare Room
3720 Greenmount Avenue

Saturday, Oct. 30 thru Nov. 7 by Appointment Visionary Art Fringe
Satire (works by Les Harris)
While you’re on your Open Studio tour, take some time to see the Labyrinth at the Amaranthine Museum. Yet another Baltimore world, well worth the trip. Usually $7 for admission, check when you make your appointment. http://www.aneventhorizon.com/
Amaranthine Museum
3500 Clipper Mill Road
410-366-2368


Saturday & Sunday, Oct. 30 & 31 from Noon to 5 Art
Uptown Open Studio Tours
Take the big bus tour or go on your own. Don’t miss Rick Shelley’s studio and be sure to get on his mailing list for his shadow puppet shows! Fabled among those who know in Baltimore. Bus tour $20, reserve now.
http://www.school33.org
School 33 Art Center
1427 Light Street
410-396-4146


Tuesday, Nov. 2 at 12:15 p.m. Music
Countertenor
Peter Thoresen will transport you another world. He was great as the satyr in Ignoti Dei Opera's production of La Calisto. Give yourself a lunchtime break. Free.
Old St. Paul’s Church
Charles & Saratoga Streets
410-685-3404

Tuesday, Nov. 2 at 8:00 p.m. Fringe Benefit
Defense of Marriage Bridal Line
Celebrate a John Kerry victory or bemoan four more years of George Bush with local burlesque artists Trixie Little and her cute, Evil Tap-Dancing Monkey (if you’re lucky maybe you’ll even get to watch her spanking the monkey) and more at a benefit for Equality Maryland. As good as election night gets! $10.
http://www.equalitymaryland.org/
Center Stage
700 North Calvert Street
410 986-4050


REVIEWS: Sam Holden Photography and USS Constellation Adrift

Photographs by Sam Holden
Tuesdays through Fridays 11-6 and Saturdays Noon-4 through November 20
Mission Space
338 N. Charles street
410-752-8950

Sam Holden shows 78 photographs, dating from 1996 to 2004. The images, approximately 18” x 18”, are almost entirely portraits--often rock star legends, local groups, and individuals. There is even one of John Waters. A few of the images are erotic studies, primarily of women in patent leather corsets, stockings, or other fetish wear. Jimbo reads these as portraits of the photographer.

No matter his subject, Holden uses a similar approach: he carefully composes the image for strong contrasts and theatrical effect. Then he uses a few select, often lurid and artificial colors, to enhance the image. This technique produces powerful images with a cool, yet emotional impact.

In addition to some provocative Ray Lewis studies which used yellow-green tints on sepia or black, Jimbo particularly liked “The Pain Crew” four guys and three beers at a bar, 2004; “Chaser Front Page” another bar scene, 2002; “X-Mas #7” four legs, striped stockings, very high heels, and a polka-dot gift box, 2003. Framed, the photographs cost only $300; unfortunately the Ray Lewis portraits are not for sale. Remember Mission Space as an interesting place to stop whenever you’re on Charles Street.

www.missionmedia.net/space/
www.samholden.com

USS Constellation Ceremonial (Morning Coffee)
Tuesday, October 26, 7:30 a.m.


First off, it was great to see seven men, wearing forest green and brown camoflage uniforms on a blue and gray water-camoflaged runabout with a bright blue sign saying FBI, circling the Inner Harbor. I felt so safe. Vote for John Kerry on Tuesday!

For the price of listening to a corps of bagpipers and a few speeches, Jimbo enjoyed, 'free' hot Starbucks coffee and Krispy Kreme donuts on Pier One while the USS Constellation crew and a few tugboats tried to get the ship to drift towards the U.S. Naval Academy. The deportation was scheduled for at 8:30, but the boat didn’t show much headway until 9:20.

It was a beautiful morning, a nice easy crowd, some funny moments, canon firing, a close call with the dock, confetti, boat horns blasting, bunting, U.S. Coast Guard, Harbor Police, fireboat fountains, and a museum director out of central casting. The bagpipers played the 'other' tune, the one that isn’t "Amazing Grace," almost without interruption.

Jimbo was sad to see the Constellation go because he believes it is the heart of the Inner Harbor. The old ship is also a wonderful escape from the modern into the mid-nineteenth century. And its view down the Patapsco towards the Outer Harbor is a great reminder of the heart of the city: the port. Fortunately, if all goes well, the Constellation will be back next week, we'll have a new President-elect, and the FBI will figure out how to camoflage itself on the Inner Harbor.
www.constellation.org


Wednesday, October 20, 2004

OCT 20--OCT 26, 2004 and REVIEW of Miss Leon's Pageant

Friday, October 22 from 5—7 p.m. Visual Arts
Open Studio Tour 2004 Party
School 33’s annual open studio tour is the best introduction to the work of scores of artists. Plus you can talk to them in their studios about their art. Both established and emerging artists participate. Free
http://www.school33.org
School 33 Art Center
1427 Light Street

410-396-4641

Friday, October 22 at 9 p.m. Rock-a-Billy and Bowl Fringe
Bill Kirchen and Too Much Fun
Hon, you are in Baltimore. Great guitar. $10 includes bowling and shoe rental.

www.billkirchen.com
Seidel’s Bowling Lanes
4443 Belair Road
410-485-5171


Friday, October 22 from 7—10 p.m. “Fine Art” Fringe Porn
Opening Reception for Photographs by Sam Holden
Elegant photographs of various subjects. Exhibit continues through November 20. Free
www.missionmedia.net/space
Mission Space

338 N. Charles street
410-752-8950

Saturday & Sunday, October 23 & 24 from Noon to 5 Artists' Studios
Downtown Open Studio Tours
The big bus tour will get you to studios in Butchers Hill, Fells Point, Little Italy, Canton, Highlandtown, Federal Hill/South Baltimore, SoWeBo, Mt. Vernon/West Franklin, and Station North Arts District. Don’t miss it! (Uptown Studio Tours weekend of October 30/31) $20, reserve now.
http://www.school33.org
School 33 Art Center
1427 Light Street

410-396-4641

Saturday, October 23, 8 p.m. & 10 p.m. Jazz
Jacky Terrasson Trio

Great French jazz pianist ahead of his time. $20, students and seniors $18
www.terrasson.com
www.andiemusiklive.com
An Die Musik
409 N. Charles Street
410-385-2638


Sunday, October 24 at 8 p.m. Marimba!

Eric Beach and guest conductor William Henry Curry
With the Peabody Symphony Orchestra
Beach won the 2004 Yale Gordon Concerto Competition, add percusion and... $18, seniors $10, students $8
www.peabody.jhu.edu

Friedberg Concert Hall
1 East Mt Vernon Place
410-659-8124


Tuesday, October 26 at 7:30 a.m. Morning Coffee
Drifting Off...

Watch the tugboat-powered USS Constellation float towards the U.S. Naval Academy as you gradually recover from a bleak Monday. Free
Pier One at the Inner Harbor
410-539-1797

REVIEW

2004 Miss Leon’s Pageant
Saturday, October 16 at 9:30 p.m.
Tysons Place Restaurant

Last week Jimbo forgot to check the local gay papers, a reliable source for high-potential fringe events.

After attending his first drag show a few years ago, Jimbo discovered that this genre is flat-out great theater. When he heard through the grapevine that Baltimore’s oldest gay bar, Leon’s, would hold its annual Miss Leon’s Pageant, a benefit for GLCCB, he couldn’t resist show number two.


Jimbo arrived too late for the evening gown competition, but the doorman told him that the talent portion would be starting soon. Because Leon’s is too small for the pageant, it is held in the adjacent restaurant, Tyson’s Place. The narrow dining room has a rectangular bar in the front, and rows of booths in the back. Center tables were moved to the sides to create a ‘runway/stage’ opening in the middle.

The place was jammed. Fifty/fifty men and women—although it wasn’t definitive which women were female or which men male. At one point the emcee, ‘Miss’ Shawnna Alexander, asked how many in the audience were straight. About half raised their hands.

The only place for me to stand was between the light crew—a slender man wearing a kilt, jacket and tie, standing on a tipsy bar stool and working a spotlight balanced on a bar table in front of the stool—and the sound crew. Several times I had to rescue the light crew, who was as tipsy as the stool, or the spotlight from falling. Just before the last act the light crew suddenly quit, but a woman from the audience took over the job, seamlessly and competently.

Despite the fact that there were only two contestants, D’maje and Samantha Paige, the Miss Leon’s pageant was a very funny and lusty show.


The judges, four leather men, included “Mr. International Leather, Sir!” (!), another man in full leather drag, and two shaved-head men who wore leather pants and shiny, satin, leopard-skin patterned vests. These prancing tough guys were a show themselves.

Several former Miss Hippos, Miss Stagecoaches, and Miss Leon 2002 performed while the contestants changed and while the judges’ votes were tallied.

At one point, Miss Alexander, wearing a two-foot high, white, blonde, beehive wig decorated with cups to hold tips was assaulted by a female from the audience. The woman 'danced' on her hands and knees backing into Miss Alexander in time to the music. Miss Alexander’s facial expressions were worth the $5 price of admission alone.


The pageant producer escorted the assaulter back to her table. Then the woman's breasts fell out of her zip top (several tiimes). So the producer interrupted the show to wrap duck tape around the woman's top to end the overflow. Turns out the woman is an elementary school teacher who was at the show with her mother!

Another highlight was Miss Leon 2002, who wore a strapless, ruffly white gown with pink ribbons, a la Cinderella. She expertly lip-synced and danced to a songy about how much she loved being a girl. However, her dress, including falsies, kept sliding down, revealing his nipples.

In conclusion, Miss Leon’s Pageant 2004 raised $347 for the GLCCB. Miss Samantha Paige won first runner-up, and D’maje won Miss Leon 2004. Her final performance as a New Orleans jazz singer in a huge headdress that nearly touched the ceiling was simply fabulous.

Thursday, October 14, 2004

Events October 14—October 20, 2004

Thursday, October 14 at 7 p.m. Philosophy of Aesthetics Fringe
Spacey Concept of Beauty!
Panel discussion between MICA’s Timothy Druckrey, expert on the transformation of representation; the Peabody Institute’s Mark Katz, Chair of Musicology, and the Space Telescope Science Institute’s Mark Livio, an astrophysicist who has evaluated current theories about the universe in terms of whether or not they are beautiful. Marc Steiner moderates. Free
http://www.mica.edu/news/news.cfm?action=detail&press_ID=375
Brown Center
Maryland institute College of Art
1301 Mt. Royal Avenue
(410) 225-2300


Saturday, October 16 from 9 a.m. to 1 p.m. Ornamental Fringe
Artisan Contractor Workshop Tours
A rare opportunity to visit professionals and see how the decorative arts are incorporated into architecture. Worcester Eisenbrandt (masonry, wood windows and woodwork restoration), Hayles & Howe (ornamental plaster work), Thomas Moore Studios (decorative painting), and Artisan Glass (art glass restoration). RSVP required by October 6, but call Anath Ranon (below) and beg if you want to go. $15 non-members; $5 students.
http://www.baltimorearchitectureweek.com/
Anath Ranon
ranon@page-turnbull.com
410-385-9973

Sunday, October 17 from 1—5 p.m. Fringe Benefit
The Tuscan Palace—better than Fringe Sex!

Owners of one of the world’s best fringe homes, “Vince Peranio and Dolores Deluxe host a fantasy Tuscan autumn garden party in their lush courtyard surrounded by the five alley row-houses known as The Palace. Props from Vince’s works as art director for John Waters, Barry Levinson, and David Simon add a piquancy matched only by the lusty cuisine catered by co-host Chef Nancy Longo.” Buffet, festive casual dress, limited to 75 guests, benefits the Creative Alliance. At $60 per person, a bargain, even for cheapo Jimbo.
http://www.creativealliance.org/events/eventItem361.html

Wednesday, October 20 at 8 p.m. (bar opens at 7)
Horror Movie
Eyes Without A Face (1959, directed by Franju)

George Figgs’ favorite horror film has got to be good. Orpheum film series movies are a can’t miss for FOFBs. Free popcorn for Creative Alliance members. $5
http://www.creativealliance.org/events/eventIndex.asp?ID=5
Orpheum Film Series
Creative Alliance at the Patterson
3134 Eastern Avenue
410-276-1651


Thursday, October 07, 2004

Fringe Events October 6--October 13, 2004

Thursday, October 7 at 7 p.m. Public Sculpture Fringe
Who, What, and Why of Public Sculpture
A unique opportunity to hear how the Jonathon Borosfky “Male/Female” enhances Penn Station and will become the icon of Baltimore. Panel Discussion led by Peter Doo of the Municipal Art Society, which donated this sculpture to the city, representatives from MICA, Baltimore Commission for Historical and Architectural Preservation, and the Baltimore Office of Promotion (and the Arts) [parentheses are Jimbo’s]. Free
www.mdhs.org
Maryland Historical Society
201 W. Monument St.
410-685-3750


Friday, October 8 (Part I) & Sunday, October 10, (Part II) 8 p.m. The Bard
Shake-Speare: Who Was He? A Demasquerade
Kinetic Energy Theatre Company, Australia’s “dedicated dramaturgic duo” opens x-files, cracks codes, and reveals the true author by his own words. Part of the Shakespeare Fellowship Convention this weekend. $15
http://www.shakespearefellowship.org/
Black Box Theater
Baltimore School for the Arts
712 Cathedral Street
410-951-4171


Saturday, October 9 through October 16 Architecture Fringe
Baltimore’s First Ever Architecture Week
Get hands-on experience building a permanent residence from bales of straw ($60, reservations required 410-833-4814); take neighborhood tours; learn the latest about low-income, environmentally sensitive housing by lecture and exhibit; and more. A production of AIABaltimore, in conjunction with the Baltimore Architecture Foundation, Baltimore Heritage, Inc., the Neighborhood Design Center, and the UMBC Center for Art and Visual Culture. See their website for events, schedule, and locations. Various prices.
www.baltimorearchitectureweek.com
Various Locations

Saturday, October 9 8 p.m. & 10 p.m. Tri-Centric Music
Kevin Norton and Haewon Min perform Anthony Braxton
Percussion and piano perform music by MacArthur award genius on the fringe. Nothing less than fascinating. $20
http://www.andiemusik.com
An Die Musik
409 N. Charles Street
410-385-2638


Monday, October 11—October 14 7:30 p.m. Hip Hop Theater
Bridge of Ages: A Spoken Word Theatre Production
Theatre Morgan, The Dri Fish, and Native Son’s performance piece in response to Bill Cosby’s controversial comments on the use of English by young black Americans. $5 MSU students, $10 students & Seniors, $15 general admission
www.murphyfineartscenter.org
Murphy Fine Arts Center
2201 Argonne Drive
443-885-4440


Monday, October 11 4-6 p.m Support Group Fringe
Song Writers Support Group
If you think you’ve got it bad, you could be a song writer.
Wydeye Coffeehouse
1704 Aliceanna St.
410-342-7474

Sunday, October 03, 2004

High Zero Gives Good Fringe: Eight Reviews

Introduction

Given that High Zero Festival 2004 performances run from September 24 through October 3, (sound installations run a little longer) and that by the organizers’ count, there are three hundred “acts of participation” this is a very long blog. Even so, it covers only twenty-six acts of participation I experienced on Friday, my High Zero day. All quotations below are from the Festival Program Book distributed at the Theatre Project Concert.

Review One—Hi Jinx Snacks Attacks!
Nine o’clock. Mt. Washington Whole Foods Market.

I’m not sure what I’m looking for; I ask a clerk because I don’t have much time. The clerk doesn’t know about it, but seems interested. I look around outside and don’t see or hear any music. At first I think they might be late, then I wonder if it’s a ‘concept’ experimental improvised music piece, a la conceptual art work, where the listener is simply given instructions to go somewhere and make music of it himself.

Since I’m in a hurry, I decide to make what I can of the time in an open-minded experimental improvised music mode: I simply listen carefully to the ambient sounds outside the market. I begin to note them and make a list, beginning with the white, background sound of tires on the nearby JFX overpass and ending 13 distinct sounds later with the low throaty macho muffler exhaust of an expensive sports car. My hearing becomes more acute and I am enjoying this, it’s beautiful day. So I go back inside and listen to the sounds inside the market where I hear twelve more sounds.

None of the sounds are really unpleasant, so they aren’t just noise. But they also don’t seem like music or even my pre-conceived notions of experimental improvised music (to my knowledge I’d never heard any before). So I figure either they are late or there is a change in schedule—all the literature for the festival advises to confirm ahead for Hi Jinx events. But my ears are now more attuned to sounds. Nice.

Later I learn the planned site-specific performance is “Snacks Attacks! Underfed electro-gurgle duo disrupt Whole Foods in Mt. Washington for digestive matrix refresh, near Starbucks.” By my count, three acts of participation (AOP): the actions of the duo that I didn’t see, but that got me to the site, plus my own response.

Review Two—Sound Installation
“The Perilous Fight” by David Moré
The True Vine Record Store, Hamden

The store owner directed me to a room with two constructions, each attached to a box with a red button, which he told me to step on to make them work.

I didn’t learn that “This year’s High Zero sound installations focus on unusual experiences created by unusual mechanical methods of sound production and transmission” until seeing the program book that night. So I had the pleasure of finding this out for myself.

The first machine consisted of the bottom of a Styrofoam ice chest attached to an easel. Seven metal ‘pins’ less than a foot long stuck at different angles through the Styrofoam. Their points rested on different tracks of the LP “This is My Country” performed by the Mormon Tabernacle choir. In turn the LP was on the turntable of an old Fisher-Price portable, which rested on a doll high chair. A very odd contraption. Stepping on the red button started the turntable.

The pins, acting as needles, carried the vibrations of the record tracks to the ice chest which amplified them. Because the pins were stuck in one place, they would track a bit, then skip back. The tracks (or songs) played simultaneously included The Star Spangled Banner, Land of Hope and Glory, and Finlandia among others.

The resulting sound was a rhythmic rrrr er rrrr er rrrr, not entirely regular. I also could hear the needle skipping slightly less regularly. I thought the little change of pitch and tone suggested the repeating sound of the choir singing a word fragment.

Certainly the fidelity was low; several tracks were being amplified simultaneously. The construction made me think about the process of creating sound with vibrations. I don’t know if it was music, but it wasn’t simply noise.

The second installation played the same LP, using ‘only’ two wire needles, which were attached to a concave dish which Moré made from approximately forty split tin cans of various sizes, stitched together with wire. The sounds differed from those of the first installation and I heard no suggestion of the choir. AOP: two by the inventor.

Review Three—Hi Jinx Action at a Distance
One o’clock, Saratoga and North Charles Streets

Sitting in the shade on the porch steps of Old St. Paul’s and trained by the morning’s Hi Jinx, I listen, identify, count, and pay detailed attention to the much louder and more intrusive street and construction sounds, which I’m not so quick to dismiss as noise. Then I hear the bell tower chimes, drowning out all of the other sounds, ring in the hour. Is this the first music, or is it the first traditional music, I hear on Friday? Or after my morning experience, is this the site-specific performance?

I wait. At about 1:12, across Charles Street, I see and hear John Berndt playing long, low notes on his alto sax. They are really quite lovely, I associate them with the sounds of fog horns on boats, lighthouses, the Baltimore harbor. At 1:15 the bells chime the quarter hour: a duet!

Berndt tells me that that there is more of the performance along Saratoga to Calvert Street. In the St. Paul Street garden across from the Tremont Hotel there is another saxophone player making his own music, which I enjoy and which is more what I expected from the days performances.

But High Zero doesn’t leave my expectations alone for long. A man wearing an orange public works vest and carrying a red bag goes up to the saxophone player and starts chatting with him. After a minute or so, helpful me gets up and interrupts the man, asking him if I can help him—I thought he was just asking for information.

It turns out that he was a dancer and flute player, one of the performance participants, and that this is part of the performance. They continue, to be joined by a woman dancer.

For about a half hour, the saxophone player provides musical continuity; the dancers respond to him, to each other, to the lawn, and to the bed of orange Cannas. By the time their performance is over, they have the sidewalk in front of the Tremont Hotel lined with about ten viewers. An excellent, transfixing piece of street theater.

I never get to Calvert Street to see if there is more of “Action at a Distance Part II, Saratoga Street and Charles to Saratoga and Guilford. Diffuse movement/music collaboration focusing on distance and faint collaborations.” AOP: Five, including the unplanned Jimbo.

Review Four—Sound Installation
“Speakeroids: Object Disoriented Synthesis” by Samuel Burt and John Berndt
The Contemporary Museum

There is an artists’ statement which explains this sound installation that is precisely as obtuse and incomprehensible to me as its title. However, I have the pleasure of experiencing the installation before paying any attention to the fact that I didn’t understand the title or the statement. I am undeterred and in fact enjoy many things that I don’t understand.

Burt and Berndt created a very handsome cube-shaped volume, about 12’ x 12’ x 12’ delineated by white plastic pipe. Then with plastic clothesline, sometimes anchored by brick wall segments, they hung, attached, or connected eight speakers to amplification devices often by means of a Styrofoam sphere.

The amplification devices included a coiled wire and water carboy, a plate of glass with four finger cymbals, a metal object resting on a drum, a rectangular metal plate, and more. These sound-makers were arranged symmetrically around the volume and connected by electric wiring.

Somehow the speakers were electrically stimulated in a random order, sometimes simultaneously, sometimes at different volumes. Each of the amplification systems made its own noise; sometimes it seemed as though one amplification set was responding to another via sound waves rather than electronically. I sensed patterns of noises, even though it didn’t seem as though there actually were patterns. Maybe this is what the explanation said. To me it didn’t really matter, it was another approach to the same concept that David Moré was illustrating. AOP: Two

Review Five—Sound Installation
“High and Long/Low and Turning” by Neal Feather
The Brown Center at Maryland Institute College of Art

Continuing on the mechanical sound production and transmission theme, the first of Feather’s installations used wind and gravity to control the pitch and duration of the sound. Materials included an oscillating fan, sail made of saran wrap and flower support grid, and string. The second began with a modified industrial machine, called a mangle.

I found the sounds created by these two systems to be more natural, like of the ebb and flow of ambient outside noises, than those of the others. Feather aptly describes the sounds made by Low and Turning as funny/ghostly. AOP: Two.

All three of the sound installations are well worth the investment of time. Check
http://highzero.org to see what hours they may be seen over the next week.

Review Six—Hi Jinx Rooftop Assault Defeat
Four o’clock, Mt. Vernon

Daytime High Zero ended for me the same way it began—if this site specific performance was there, I missed it.

Billed as “Rooftop Assault! Area around Mt. Vernon… sound from various rooftops creates mysterious aesthetic delectation” this performance was inaudible and invisible to me. I started at four on Mt. Vernon Square. After a walk around the park I sat on a bench facing the monument, looking at rooftops for sites or sounds. Around 4:20 I walked on Branch alley and others, as well as up Charles Street, still looking and listening. However, nothing.

AOP: None noticed.

But, I’d had a rewarding day. What I had seen and heard was either fascinating or entertaining, and often both. I felt prepared for my first improvised experimental music concert.


Review Seven—High Zero Friday Concert
Eight thirty o’clock, Theatre Project

One of the five concert centerpieces of High Zero, this evening featured a solo dance followed by four sets of music.

Although the High Zero Festival is in its sixth year, this is the first year a concert has featured a dancer. Nicole Bindler, “a student of complex release techniques, Kegal Gyrotonics, Butoh, contact improvisation, martial arts, and modern dance…” held the full house transfixed with her solo performed without accompaniment.

Unfortunately, I do not know the words to describe Bindler’s movements. Many were of a body part moving or twitching while her feet were flat on the ground or while she was sitting or lying on the floor. She connected her standing, sitting, or lying positions with leaps and spins. Her hands, wrists, arms, and eyes were especially expressive. While I cannot relay a specific story, I felt that there was a narrative, perhaps about movement and it’s relation to her, rather than about her and her relation to movement.

There was complete silence in the theater while she performed.

Of the four sets, I heard and saw only the first three. I was exhausted.

Each set consisted of three to five musicians playing their instruments and responding to the sounds each other makes. Some of them had never met each other prior to the performance. Some of the musicians are highly trained in traditional music genres, others perhaps less formally trained. This results in frequently unimaginable combinations of sounds that come from the experiments of the performers. As the emcee said, if you hear something you don’t like, just stick around and you will hear something you do like.

I tend to be a very visual person and usually close my eyes so that I can focus on the music when I am at any live concert. However I watched the performers almost three quarters of the time—just to see who was making the sound, how they were making it, and what they were making it with.

Set One: Scott Larson, guitar, percussion, inventions; David Moré, inventions; Howard Stelzer, tapes (yes, tapes); Daniel Higgs, voice, jaw harp; Bob Wagner, acoustic and electronic percussion. An excellent introduction to experimental improvisational music. It was especially fascinating to see David Moré playing on instruments which were closely related but more complex than those in his sound installation at The True Vine.

Set Two: Susan Alcorn, pedal steel guitar; Joe McPhee, reeds, pocket trumpet; Dan Breen, multi-instrumentalist. Clearly McPhee is an extraordinary talent, and Alcorn and Breen rose to the occasion. They achieved some lovely lyrical passages, responded graciously to each other, and gave each other space. Breen was delightfully inventive and opportunistic. His more rough-edged sounds, both figuratively and literally, were a great contrast to the experimental improvised polish of McPhee and Alcorn.

Set Three: Catherine Pancake, percussion, inventions; Le Quan Ninh, percussion; Daniel Higgs, voice, jaw harp; David Moré, inventions; John Dierker, reeds. Pancake introduced me to dry ice used as a musical instrument--definitely hard core. Le Quan Ninh, from Toulouse, France, was a fantastic addition to the set—if I had known how great he is I would have attended the workshop and performance he did at UMBC earlier in the day. Moré and Higgs showed their professionalism both in the continuity they brought from the first set and in some unique sounds they made in response to their co-participants. Dierker made awesome noise.

Parts of this set were so loud and high pitched that they were painful to my ears. But pain did not last long and the sound was fun. What happened to my music, sound, noise distinctions? AOP: Thirteen
High Zero Festival 2004 is definitive proof that on October 1, Baltimore gives great fringe. Friends of Baltimore Fringe should definitely plan to go to High Zero Festival 2005.
For year round improvised experimental music, go to the Red Room, 425 East 31st Street.
http://redroom.org/