After a bit of hiatus, Bipediment Music is back with a new pair of releases. Unfortunately, one of them is an event sale only release.

On May 17, 2019, Obliterati will perform it’s final show at Will’s Pub. To commemorate the event, Bipediment is selling an Obliterati compilation titled Six Figures Finger: A Taste Of Obliterati.

This release will contain long out of print recording from Havy Baubau Inflience, a sampling from the sold out Bipediment Music release, Unbliterati: Instant Songs, and a selection of unreleased gems. This release will only be made available at this final show.

The other release this month is the second from Black Beast of CHANG! The pieces from Theoretical Beasts were titled based upon mythical characters contained in “The Book of Imaginary Beings” by Jorge Luis Borges. The beings were selected according to what the sounds dictated. This limited edition CD will be made available on May 17, 2019.

More releases to come. Stay tuned…

The main goal of this exploration is to juxtapose seemingly conflicting concepts and approaches, and display them in an aligning way; to show how antagonistic forces and unfamiliarity can create a cooperative friction and become formidable allies. The intent being that all portions of the whole (notated music, text, improvisation) were at once independent of and mutually dependent upon each other; symbiotic; each being a part and apart simultaneously.

By coordinating loosely written themes that rely on improvisation for story detail, the inclusion of musicians with vast differences in musical background and influence, semi-spontaneous arrangements and impromptu conducting, Pisang Zapra is presented as more of an experimental “state of the union” than a completed work.

Creating an environment where the construction of composition is immediate and experientially apparent has been an objective of mine for some time. The game piece, Milton Bradley (2012), attempted to coax improvisors into immediate composers by interpretation.

The Dada poetry of Tristan Tzara shows its influence in this piece of music in two ways. First, through the words themselves; poignant and clever, sharp and witty, dark and humorous, deconstructive and fluid, all at once. Getting to the point was not the end goal, but was part of the process.

Also influencing the music is the rhythm and phrasing of Tzara’s poetry; very musical but very non-Western and collage-like. As with most stream of consciousness writing and use of “cut-up” or random phrasing within a context, many times the gist of a paragraph or work will not present itself entirely until late or even at the end of the piece. The idea is not realized until completed.

Juxtaposition is used between the words of Tzara and my own personal “responses”, both in words and sound. This is meant not so much as a call and response, but rather like a conceptual “inside/outside” viewpoint of the same situation.

I am extremely honored to share this journey with the musicians here. Each of these performers brings vast knowledge from vary diverse spectrums of the musical universe.

All compositions written and arranged by myself with the exception of the final piece, written by Joseph Jarman, with my rearrangement.

Here are photos from the performance as the closing act to this year’s AMF Marathon. The ensemble consisted of Dan Reaves (electronics), Simon Klochko (guitar), Sean Hamilton (percussion), Josh Dampier (viola), Thomas Milovac (bass), Sarah Morrisson (violin), Matt Davis (cello), Pat Greene (spoken word), and myself on saxophone, composition and conducting.

Photos courtesy of Andreas Volmer.

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Saturday, August 5th, will see the debut release from Bear Dream, a band consisting of former and current members of Happy Valley, Obliterati, Franchise, The Crack Rock Opera, and Bengali 600.

Here’s a preview from Bao Le-Huu and the pages of The Orlando Weekly:

This Orlando band’s name won’t be familiar to many – that is, unless you’re an especially keen reader of “This Little Underground.” The new act is the vehicle for Evan Shafran, whom most know as the wild caveman drummer of freak-rock group Happy Valley. Word came our way – then was confirmed by Shafran himself – that the inspiration for the name was a 2014 column reviewing Happy Valley that described the burly performer known for playing shirtless as a “bear dream.” Though they haven’t played out much, Shafran and the boys – a band that includes notable Orlando weirdos Danny Feedback and Jim Ivy – have created an album’s worth of material to officially unveil at this release show. That debut LP is a melted prog-punk kaleidoscope that’s cut from the same mischief and subversion that made Happy Valley so individual and exceptional. And once you lay your eyes on the glorious cover art, you’ll see just how far Shafran is willing to go to live the dream.

A quick word to help promote the upcoming show: May 18 at 7pm at The Gallery at Avalon Island. The In-Between Series presents Jim Ivy’s Tangled Bell Ensemble performing Midaregami.

Anna Wallace: voice
Midori Imhoof: japanese voice
Andrew Toth: trumpet
A.J. Herring: trombone
Jim Ivy: composition, reeds
Sarah Morrison: violin
Matthew Davis: cello
Steven Head: guitar
Thomas Milovac: bass
Elizabeth Baker: piano
Nick Boutwell: accordion
Evan Shafran: drums.

The main goal of this exploration is to juxtapose seemingly conflicting concepts and approaches, and display them in an aligning way; to show how antagonistic forces and unfamiliarity can create a cooperative friction and become formidable allies. The intent being that all portions of the whole (notated music, text, improvisation) were at once independent of and mutually dependent upon each other; symbiotic. Each being a part and apart simultaneously.

By coordinating loosely written themes that rely on improvisation for story detail, the inclusion of musicians with vast differences in musical background and influence, semi-spontaneous arrangements and impromptu conducting, Midaregami is presented as more of an experimental exercise than a completed work.

Creating an environment where the construction of composition is immediate and experientially apparent has been an objective of mine for some time. The game piece, Milton Bradley (2012), attempted to coax improvisors into immediate composers by interpretation.

This piece is based on the collection of 400 tanka poems written by Akiko Yosano titled Midaregami (Tangled Hair). Appearing in 1901, Midaregami brought a passionate individualism to traditional tanka poetry, unlike any other work of the late Meiji period. A Japanese author, poet, pioneering feminist, pacifist, and social reformer, Akiko Yosano (1878-1942) would become one of the most famous, and controversial, post-classical woman poets of Japan.

In other news, The Delusionaires hit the road north-bound once more winding up at the Midnight Monster Hop in NYC. More details to come. June is already full.

Never seems to be a dull moment with the “revitalized” Delusionaires. Next stop is Coney Island, NY where we will be performing a set at the Mermaid Parade Ball at MCU Park on Saturday, June 21st. The parade will start at 1pm, the ball will start at 6pm. Hope we survive to tell you about it.

We follow that spectacular spectacle with a hometown throw down at our favorite watering hole, Will’s Pub on Saturday, July 12, where we’ll be joined by (hold onto your pantaloons) Little Sheba and the Shamans and Tiger! Tiger! Woah, now that’s something to come home to.

Summer got a whole lot hotter!

May always brings about some very exceptional moments. As is the case almost every year, it is the month when creative music fans congregate to a smallish town in Quebec known as Victoriaville and witness one of the greatest music festivals in North America; FIMAV (Festival Musique Actuelle de Victoriaville). This year, some of the highlights will be Meredith Monk, Marshall Allen with The Ratchet Orchestra, a quartet of Richard Pinhas, Keiji Haino, Merzbow, and Tatsuta Yoshida, a duo of Fred Frith and Evan Parker, Ken Vandermark’s Audio One Ensemble, Evan Parker Septet, Maja Ratke, and Fred Frith’s Gravity Band!!! Yeah, I’ll have a good time.

Almost immediately after I return from Victo there are two shows of note, both in the northeastern parts of Florida.

 Friday, May 23rd, as part of the Truth Is Marching In: an Albert Ayler Commemoration, itself a part of the Jacksonville Jazz Fest After Dark series, I’ll be presenting an interpretation of the Ayler composition Bells performed by the quartet version of Gatto Pazzo (myself on saxophones, Kris Gruda on guitar and devices, Evan Shafran on percussion and trumpet, and A.J. Herring on trombone). I’ve always felt that Bells was a composition based upon feel. With the extended range of Gatto Pazzo and adding A.J. in the mix, I felt we could really do it justice. It will be part of a three night commemoration at the Karpeles Manuscript Library Museum beginning at 10pm each night. Also performing over the course of the three nights: Jamison Williams, Dan Kozak, Lenni Bukowski, Michael Lenier, Bill Henderson and Jason Dean Arnold.

Speaking of Gatto Pazzo, we have a new CD and digital download out called The Buffalo (in 42 parts). It can be listened to as it was performed, as a one take improvisation, or you can set your CD player to shuffle and create your own bison folklore. We suggest the latter listening experience. Get it at the show or buy it (or download it or just listen to it) here.

The following night, Saturday, May 24th, in the confines of Saint Augustine’s merriment known as Nobby’s, The Delusionaires will once again take the stage; this time sharing the stage with a dream team of acts: The Harmonious Fists (!), The Wildtones (!) and D.J. Dots(!!). This will be one for the ages…

This show will be the release party for our new 45 rpm called The Scump, out on Hidden Volume Records, with cover art by Stainboy! Of course it would have to be on lovely pink vinyl. Get it at the show or through Hidden Volume. Limited to 300 copies, it won’t last long.