Hi everybody,
This has been a really odd week for me, starting with a very satisfying trip to play the Red Room in Baltimore with the great Jen Baker. Devin Hurd reviewed our performance at his (always stimulating and well-written) blog: http://hurdaudio.blogspot.com/
A sneak peek:
"The two minds at work displayed an uncanny sense of timing that allowed for natural contours to develop and the rare improvisational feat of collaborative conclusions."
We play our last gig of this run together tonight in Brooklyn at the Infrequent Seams series at Dakar in Clinton Hill. Come on down!
Next wednesday the 25th at 6pm eastern I'll be the guest on the Musician Show on WKCR. Listen at 89.9 FM in NYC or listen online from anywhere! wkcr.org gets you to the live feed. I'll be playing some of my music and that of the group Crackleknob w/ Mary Halvorson and Nate Wooley. Our CD is due out in 2 months on Hat Art. I'll also be plying lots of music by my friends and influences and no doubt some of these recordings will be a surprise to some. I really hope you'll tune in.
The other thing going on this week was that I had surgery to crush a giant stone lodged in my left kidney. It seemed to go well! The procedure I had is explained here: http://en.wikipedia.org/wiki/Lithotriptor
Fun to think that I was healed by sound. I was out cold at the time so I have no memory of the experience. I'm having to take it kinda easy today, but I'm not in pain, and that is a real blessing.
Thursday, February 19, 2009
Thursday, February 5, 2009
Point-Counterpoint
As promised, the new Point of Departure webmag has a healthy roundtable discussion with Jen Baker, myself, and Jon Raskin about the current state of creative music in such tricky times. Editor Bill Shoemaker seems to be especially interested in focusing on hardship, which I find a distraction from the more important questions we could be facing. After all, music is about a lot more than making it and getting paid for it. There's also hearts to inspire and our own characters to develop and grow! I think Jen did the best job of getting to the heart of things, and Jon did a great job of rounding up all the bottom line factors. I found myself somewhere in between. Funny to see how my own perspective lines up in the spectrum of voices.
Anyway, go read it for yourself: http://www.pointofdeparture.org/PoD21/PoD21WhatsNew.html
Anyway, go read it for yourself: http://www.pointofdeparture.org/PoD21/PoD21WhatsNew.html
Monday, February 2, 2009
Back From The Void
I was shocked to notice recently that I haven't blogged in a year. 2008 was a confusing and intense ride, with a lot of upheaval and chaos. Now that the smoke is clearing and there's so much newness in my life (and on the horizon) I think it's a good time to get back into it, and hopefully on a regular basis.
First, I want to tell you that this Friday, Feb 6th, 2009 at 4pm Eastern I'll be broadcasting 30 minutes of solo bass from my home as part of the Deep Tones For Peace NOW project. You can watch me from your computer at http://www.ustream.tv/channel/reuben-radding---deep-tones-for-peace and for more info on the project go to http://www.deeptonesforpeace.org/live/
It's great to have a reason to get back into solo playing. I didn't do as much of it in 2008 as I had the previous couple years. Since I'm going to be doing a lecture/demo at the International Society of Bassists convention this June the time is definitely now...!
Later this month (on Valentine's Day!) I'm returning to The Red Room in Baltimore, one of my favorite rooms in one of my favorite cities! This time in duet with improvising trombonist Jen Baker. The next day we're at the COMA series in Manhattan, and then on Thu the 19th at the Infrequent Seams series in Brooklyn, which happens at the Le Grand Dakar in Clinton Hill. Check out our myspace page for full info and sounds: http://www.myspace.com/jenbakerreubenradding
Jen and I have been participation in a roundtable discussion slated to appear soon in Bill Shoemaker's excellent online magazine Point of Departure, along with Jon Raskin of ROVA. Should be out any day now. I'll keep you posted!
First, I want to tell you that this Friday, Feb 6th, 2009 at 4pm Eastern I'll be broadcasting 30 minutes of solo bass from my home as part of the Deep Tones For Peace NOW project. You can watch me from your computer at http://www.ustream.tv/channel/reuben-radding---deep-tones-for-peace and for more info on the project go to http://www.deeptonesforpeace.org/live/
It's great to have a reason to get back into solo playing. I didn't do as much of it in 2008 as I had the previous couple years. Since I'm going to be doing a lecture/demo at the International Society of Bassists convention this June the time is definitely now...!
Later this month (on Valentine's Day!) I'm returning to The Red Room in Baltimore, one of my favorite rooms in one of my favorite cities! This time in duet with improvising trombonist Jen Baker. The next day we're at the COMA series in Manhattan, and then on Thu the 19th at the Infrequent Seams series in Brooklyn, which happens at the Le Grand Dakar in Clinton Hill. Check out our myspace page for full info and sounds: http://www.myspace.com/jenbakerreubenradding
Jen and I have been participation in a roundtable discussion slated to appear soon in Bill Shoemaker's excellent online magazine Point of Departure, along with Jon Raskin of ROVA. Should be out any day now. I'll keep you posted!
Wednesday, January 30, 2008
inspiration and attendance
New York has an expensive reputation. The classic irony: live here to catch the amazing concerts and culture happening every night, and then end up staying home because you paid all your money on rent and bills. For the resourceful though there are many incredible and affordable treasures out there, whether it's the free night at MOMA, or free concerts at Downtown Music Gallery. This week, FOCUS! is hosting six free concerts of the music of Elliott Carter up at the Juilliard school in honor of his 100th year. I attended last night and the one before and experienced some amazing music and a further irony: light attendance!
On Monday I arrived at 7pm expecting a line at the door, but found only 3 people waiting. By the time they started letting us in, we were a line of maybe 9 or 10. By the 8pm start time the theater was maybe half full. Tuesday night there were a few more people, but not many. I wonder how many people stayed home expecting to have to fight a crowd. You could have showed up 5 minutes before the concert and still gotten a seat in any section. Totally bewildering to me.
Anyway, the music these last two nights has been a much-needed shot in the arm for me. Too many highlights to even talk about I guess, but special note must be given to their performance of Tempo e tempi (1999) which I know via the recording by Ensemble Sospeso. Soprano Jennifer Zetlan really was spectacular.
Carter was in attendance last night and for several minutes we applauded the man, 99 years old, still working, still writing. Unable to make it onto the stage itself, and too surrounded by well-wishers to be seen by most, he raised his cane above his head and shook it, a gesture of the aged but not infirmed...
Speaking of composers, Monday February 4th I have the honor of performing at the Cornelia Street Cafe in NYC with Guus Jansen on piano, with Thomas Heberer of ICP on trumpet and Harris Eisenstadt on drums. Harris, Thomas, and I have played a few times now but this will be a first with Guus. Should be exciting! Then Wade Matthews, Andrew Drury, and I have gigs in Philly and New Haven, and I have a couple gigs at Barbes in Brooklyn with Butch Morris, a hit at Zebulon with Mary Halvorson, Peter Evans and Kevin Shea, and another trip to Cornelia Street this month with Joe Giardullo, and Todd Capp doing Paul Motian's music.
Amidst all of this I'm trying to write new music for my string group which will be playing Roulette in the spring...
Exciting times.
Meanwhile: I had to leave my studio space in September and am starting to look around for another. If anyone has any leads on something in Brooklyn please let me know so I can continue the Studio STATS tradition. In the meantime I continue to mix and master projects for myself and others at my home. It's working out well and I like not paying an extra rent, but I miss recording groups. Your ideas are much appreciated.
On Monday I arrived at 7pm expecting a line at the door, but found only 3 people waiting. By the time they started letting us in, we were a line of maybe 9 or 10. By the 8pm start time the theater was maybe half full. Tuesday night there were a few more people, but not many. I wonder how many people stayed home expecting to have to fight a crowd. You could have showed up 5 minutes before the concert and still gotten a seat in any section. Totally bewildering to me.
Anyway, the music these last two nights has been a much-needed shot in the arm for me. Too many highlights to even talk about I guess, but special note must be given to their performance of Tempo e tempi (1999) which I know via the recording by Ensemble Sospeso. Soprano Jennifer Zetlan really was spectacular.
Carter was in attendance last night and for several minutes we applauded the man, 99 years old, still working, still writing. Unable to make it onto the stage itself, and too surrounded by well-wishers to be seen by most, he raised his cane above his head and shook it, a gesture of the aged but not infirmed...
Speaking of composers, Monday February 4th I have the honor of performing at the Cornelia Street Cafe in NYC with Guus Jansen on piano, with Thomas Heberer of ICP on trumpet and Harris Eisenstadt on drums. Harris, Thomas, and I have played a few times now but this will be a first with Guus. Should be exciting! Then Wade Matthews, Andrew Drury, and I have gigs in Philly and New Haven, and I have a couple gigs at Barbes in Brooklyn with Butch Morris, a hit at Zebulon with Mary Halvorson, Peter Evans and Kevin Shea, and another trip to Cornelia Street this month with Joe Giardullo, and Todd Capp doing Paul Motian's music.
Amidst all of this I'm trying to write new music for my string group which will be playing Roulette in the spring...
Exciting times.
Meanwhile: I had to leave my studio space in September and am starting to look around for another. If anyone has any leads on something in Brooklyn please let me know so I can continue the Studio STATS tradition. In the meantime I continue to mix and master projects for myself and others at my home. It's working out well and I like not paying an extra rent, but I miss recording groups. Your ideas are much appreciated.
Tuesday, November 6, 2007
revived
I was down for the count the last couple days, almost sick, not quite well, in that limbo in between...
The Denman Maroney Quintet conquered Baltimore this weekend! Thanks to Bernard and the crew from An Die Musik for treating us so well. I had a blast playing on Denman's evil charts, as usual. Ned drove which was as luxurious for me and it was fun to get into some iPod shuffle-play blindfold testing. Ned stumped me yet again with a Jaki Byard quartet date, and I got him with Alan Shorter's "Orgasm."
This friday we hit Real Art Ways in Hartford, and The Flynn in Burlington, and then it's back to Brooklyn to bring Denman's new thing to CIM on Douglass St. http://www.schoolforimprov.org/ Check it out...
Before I go I'm playing Goodbye Blue Monday in Bushwick with World on A String (Wednesday) and Thursday I'm at the Tea Lounge with Laura Cromwell's Queen Moonracer. Busy week!
Speaking of "revived," I'm doing a rare performance of my trio music on Nov 24th at the Jalopy Theater in Red Hook, Brooklyn. Details to follow, but we'll be playing the hits from "Intersections," with Matt Moran on vibes, and Matt Bauder on clarinets.
Another revival coming up soon is the Nate Wooley Quartet, hitting it at CIM on the 25th. Color me psyched!
The Denman Maroney Quintet conquered Baltimore this weekend! Thanks to Bernard and the crew from An Die Musik for treating us so well. I had a blast playing on Denman's evil charts, as usual. Ned drove which was as luxurious for me and it was fun to get into some iPod shuffle-play blindfold testing. Ned stumped me yet again with a Jaki Byard quartet date, and I got him with Alan Shorter's "Orgasm."
This friday we hit Real Art Ways in Hartford, and The Flynn in Burlington, and then it's back to Brooklyn to bring Denman's new thing to CIM on Douglass St. http://www.schoolforimprov.org/ Check it out...
Before I go I'm playing Goodbye Blue Monday in Bushwick with World on A String (Wednesday) and Thursday I'm at the Tea Lounge with Laura Cromwell's Queen Moonracer. Busy week!
Speaking of "revived," I'm doing a rare performance of my trio music on Nov 24th at the Jalopy Theater in Red Hook, Brooklyn. Details to follow, but we'll be playing the hits from "Intersections," with Matt Moran on vibes, and Matt Bauder on clarinets.
Another revival coming up soon is the Nate Wooley Quartet, hitting it at CIM on the 25th. Color me psyched!
Sunday, October 14, 2007
Same old Surprises
A few weeks ago was the 25th anniversary of the first gig I did with the first serious band I ever played in. We were only together for a little over three years I think, but in my memory it was a lot longer. We were incredibly prolific, writing hundreds of songs together and recording constantly. That band got me started playing bass, got me started improvising, and trained me well for the grassroots tours and organizing I do to this day. I was the baby of the group, a high school dropout, and serious as cancer. At the time I really had no idea what a kid I was. I look at teenagers now and think "I was THAT?" Thank you Dan Kozak, Pete Levine, and Sam Imhof. I'm forever in your debt.
I just got back a couple weeks ago from a long tour in Spain, Portugal, and France with Madrid improviser extraordinaire, Wade Matthews, and something happened that should not have surprised me, but did just the same. For the last 25 years it's been pretty much a constant that the town I wasn't expecting much from turns out to be the sweetest gig. Every tour I forget this. Every tour I'm surprised. It never fails.
Hospitalet is a suburb of Barcelona. People I met in Barca said not to expect much from Hospitalet. They described it as a dull place, a conservative place. They couldn't be bothered to go there, and were surprised that we were. Wade had never even been there. Well, sure enough, after basking in the touristy lameness of Nice we drove an eternity and arrived in Hospitalet, expecting nothing, and what we got was something like a heroes' welcome. People cheered for us, gave me gifts, the room sounded great, and the vibe reminded me a little of Brooklyn. The audience was full of visual artists. I love artists. They always seem to meet the music in a very special way. I had a beautiful evening there, and though I shouldn't have been surprised, I was.
Now I'm in upstate New York, crashing for the evening at Art OMI (www.artomi.org) after an enjoyable afternoon concert with the Flexible Orchestra. Tomorrow I play a solo bass gig in Boston and then Thursday I fly to Seattle for a couple gigs in the Earshot Festival, one with Wally Shoup, and one with Jane Rigler. Really looking forward to it. I haven't been to Seattle for a couple years...
Then when I get back from that I go into daily rehearsals with composer/pianist Denman Maroney for his upcoming tour with a quintet including myself, Ned Rothenberg, Dave Ballou, and Mike Sarin. I can hardly believe my good fortune. Then a handful of New York gigs with good friends, and I go on the road for a week with brilliant young players Jacob Wick (trumpet) and Andrew Greenwald (percussion). I'm a lucky man.
I just got back a couple weeks ago from a long tour in Spain, Portugal, and France with Madrid improviser extraordinaire, Wade Matthews, and something happened that should not have surprised me, but did just the same. For the last 25 years it's been pretty much a constant that the town I wasn't expecting much from turns out to be the sweetest gig. Every tour I forget this. Every tour I'm surprised. It never fails.
Hospitalet is a suburb of Barcelona. People I met in Barca said not to expect much from Hospitalet. They described it as a dull place, a conservative place. They couldn't be bothered to go there, and were surprised that we were. Wade had never even been there. Well, sure enough, after basking in the touristy lameness of Nice we drove an eternity and arrived in Hospitalet, expecting nothing, and what we got was something like a heroes' welcome. People cheered for us, gave me gifts, the room sounded great, and the vibe reminded me a little of Brooklyn. The audience was full of visual artists. I love artists. They always seem to meet the music in a very special way. I had a beautiful evening there, and though I shouldn't have been surprised, I was.
Now I'm in upstate New York, crashing for the evening at Art OMI (www.artomi.org) after an enjoyable afternoon concert with the Flexible Orchestra. Tomorrow I play a solo bass gig in Boston and then Thursday I fly to Seattle for a couple gigs in the Earshot Festival, one with Wally Shoup, and one with Jane Rigler. Really looking forward to it. I haven't been to Seattle for a couple years...
Then when I get back from that I go into daily rehearsals with composer/pianist Denman Maroney for his upcoming tour with a quintet including myself, Ned Rothenberg, Dave Ballou, and Mike Sarin. I can hardly believe my good fortune. Then a handful of New York gigs with good friends, and I go on the road for a week with brilliant young players Jacob Wick (trumpet) and Andrew Greenwald (percussion). I'm a lucky man.
Tuesday, July 17, 2007
accounts
Both my solo shows this weekend got writeups.
One from David R. Adler in the Philadelphia Inquirer at http://www.philly.com/inquirer/magazine/20070716_Abstract_sounds__lots_of_rhythm.html and a far more interesting and enthusiastic account of the Balto gig from composer/engineer Devin Hurd.
I am really torn when reading reviews like Adler's. On the one hand it's great to see a journalist from a daily newspaper show up for such a grass-roots gig, stay for the whole show, and try to describe it. On the other hand, his writing comes off like that of an uninformed, prim, school marm who conspicuously leaves out any judgment of quality or mention of historical reference, resulting in a passively snotty tone that makes it seem like he may or may not have an underlying contempt for experimental music, or assumes that his readers do. Nevertheless, I'm opportunistic and practical enough to lift a half-sentence quote from it for my website, ("One of New York's top avant garde improvisers.") and I really hope Adler continues to come out to Bowerbird events in Philly. They are presenting an amazing array of great experimental music.
One from David R. Adler in the Philadelphia Inquirer at http://www.philly.com/inquirer/magazine/20070716_Abstract_sounds__lots_of_rhythm.html and a far more interesting and enthusiastic account of the Balto gig from composer/engineer Devin Hurd.
I am really torn when reading reviews like Adler's. On the one hand it's great to see a journalist from a daily newspaper show up for such a grass-roots gig, stay for the whole show, and try to describe it. On the other hand, his writing comes off like that of an uninformed, prim, school marm who conspicuously leaves out any judgment of quality or mention of historical reference, resulting in a passively snotty tone that makes it seem like he may or may not have an underlying contempt for experimental music, or assumes that his readers do. Nevertheless, I'm opportunistic and practical enough to lift a half-sentence quote from it for my website, ("One of New York's top avant garde improvisers.") and I really hope Adler continues to come out to Bowerbird events in Philly. They are presenting an amazing array of great experimental music.
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