DUETS WITH TREY GUNN

After 7 years of friendship and a handful of collaborations with me in the business/administration chair, I finally got to play with Trey this past December.

I had a strong hunch that it would be beautiful, but I really didn't expect the level of communication & magic we accessed....it was, to echo Trey's words, "SUBLIME"......

A recording was made of the evening, and hopefully that will surface in the not too distant future.

I'm still swirling from it really, all of it, and can't help but wonder, if that's what happened when we played together for the very first time - in the very first moment - with no plans or preconceptions, then what could we do if we actually developed something, both improvisationally and compositionally....I honestly do hope there's an opportunity to find out...

COMPOSER SPOTLIGHT

This December I had the great opportunity of doing my first presentation on my current compositional practices - the blindfolded pieces and cross-stitched soundwave scores.

Thanks you Washington Composers Forum & Jack Straw!
http://www.jackstraw.org/programs/cspot/Composer_Spotlight.shtml

some of the blurbage..

Jack Straw Productions and Washington Composer Forum present
Composer Spotlight:
BETH FLEENOR
The Focusing Power of Form

Wed, December 14, 7:30pm

Composer Beth Fleenor offers thoughts, sounds, and a short performance expanding on her ongoing installation Mother May I, which features cross-stitched sound wave scores, as well as her developing etudes for Blindfolded Ensemble.

Exploring the power of focused intention, Fleenor has created a series of Movement Exercises for Blindfolded Ensemble that she uses as training pieces for unifying collective communication. In addition to performing and recording the works, she uses the blindfolded concept to develop ensemble awareness, as a means to move seamlessly through other forms of improvisation and composition. The blindfolded concept is currently being applied in training for performing the graphic notation of Mother May I's cross-stitched sound wave scores.

Both pieces are expansions of Fleenor's work, which revolves around committing to your individual voice and projecting that intent through the score or form you are working with.

Recorded works will include Seattle Jazz Composer Ensemble performances of Movement Exercise No. 1 for Blindfolded Ensemble, created through the Jack Straw Artist Support Program, as well as tracks from the Mother May I opening which featured Fleenor performing clarinet, voice & electronics with a seven-piece ensemble.

EXACTLY

"If you judge a fish by its ability to climb a tree, it spends its whole life thinking its stupid" (Albert Einstein)





(photo posted from unknown internet source)

THE TRUTH ABOUT LESSONS

sometimes you learn the most about what you do want by experiencing things you don't.
the future is bright...very very bright...and full of abundant LOVE


















(photo posted from unknown internet source)

LIVING ROOM PARTY 60

(AKA: beth tries to calm down after the FIGEATER gig)

POWER FIG

photos by Chris Davis

YUMMY LUMMI

At the hand of one of my good friends, I was treated to a food opera here:
http://www.willows-inn.com/

It was so incredibly delicious it physically made me cry.
At one point, after leaving the restaurant twice to calm down, I wasn't sure if I could complete the meal...honestly....it was like having 15 massive, consecutive orgasms and not knowing if you can physically take anymore.

It was art for your insides.
(all art is for your insides...yes, I know...but you see where I'm going here....it was a food opera - AN OPERA!!!!)

I will remember it as one of my life's most magnificent moments.
The moment I realized food can have the transcendence of music.

FULL SCORE

THE TASK

make an incision
and flood it with beauty

MALCOLM GOLDSTEIN

presented by
Earshot Jazz Festival & Nonsequitur

November 4, 2011

Malcolm Goldstein with BF, Stuart Dempster, Eric Barber, Esther Sugai & Lorri Goldston


photo by Daniel Sheehan







Composer and violinist Malcolm Goldstein has been active in the presentation of new music and dance in New York since the early 1960s, as co-founder of the Tone Roads Ensemble and as participant in the Judson Dance Theater, the New York Festival of the Avant Garde and the Experimental Intermedia Foundation. For nearly five decades, he has toured extensively throughout North America and Europe, presenting solo violin concerts and appearing as soloist with new music and dance ensembles. His “soundings” improvisations have received international acclaim for “reinventing violin playing,” extending the range of tonal and sound-texture possibilities of the instrument and revealing new dimensions of expressivity. Goldstein played solo and with an ensemble of Seattle musicians.