The Sequenza 21/MNMP Concert is fast approaching. This free event will be at Joe’s Pub on Oct. 25 at 7 PM (reserve a seat here). The American Contemporary Music Ensemble (ACME) will perform a program that features composers selected from our call for scores. In the coming weeks, we’ll be hearing from a number of the composers and performers appearing on the concert. First up is Jay Batzner, who teaches at Central Michigan University and contributes regularly to Sequenza 21. He tells us about his piece on the program: Slumber Music.
I remember a lot about composing Slumber Music, which is a bit odd since most of the time I don’t retain memories about the act of composing. I was asked to write a piece for cello and piano for a multiple sclerosis fundraiser in 2008. My initial plan for the piece was to take a melody and start disrupting it and distorting it, much the same way that MS interferes with messages in the nervous system. I wrote my cello melody but I just couldn’t bring myself to act on my original plan. I liked the line too much to destroy it so I just chose to repeat it. When I started to add the piano into the mix, all I heard was a very thin and very sparse accompaniment.
My inner critic kept screaming, “You can’t have NOTHING going on in the piano! You’ve got to give them something worth playing! It is all too simple! Make it sophisticated and interesting!” My inner critic was about to win when, for one reason or another, I decided to stick to my guns. I’ve followed a lot of bad advice in my compositional past, changed my original ideas when I was told to do so, even though I was right, and I was done with that. The stillness in this music appeals to me. The last thing I wanted to do was throw it away because I was insecure.
The second movement unfolded in a similar manner. I had the piano chords and just started taking them wherever they were going to go. It was now the cellist’s turn to have direct and focused motion, floating around the harmonies that were propelling the action forward. The movement came out in one single chunk, maybe 45 minutes of time.
When I was done, I was in a sort of daze. I went for a walk in order to process the experience. My compositional process was undergoing a radical shift. I had been a planner, plotter, and schemer, someone who had an Idea for a piece and then wrote according to that form. Slumber Music really changed that. My plan for the first movement didn’t work; the piece wanted to be something else. Where no plan existed for the second movement, it came together almost too easily. And here was music I was happy with! Ten years ago, during the height of my scheming days, I hated my own music. I seemed to be turning things around.
There is a distinct before/after within me that hinges on this piece. I don’t write music the same way now as I did before Slumber Music. I am much happier with my product and I know when to listen to my inner critic and when to shut it up. Coupled with Goodnight, Nobody, which I wrote the same year, Slumber Music is really important to my writing because now I see how it put me on my current compositional path.
After a terrific concert – including pieces by Eve Beglarian, David MacDonald, Dan Visconti, Colin Holter, and Julia Wolfe, we had a lovely party to celebrate the Locrian Chamber Players concert this past Thursday.
Those pictured include composers Eve Beglarian, Scott Johnson, Don Hagar, and David MacDonald.
Hail hail the gang's all here! Photo: Glen Cornett.
Alan Kozinn seemed to enjoy himself at the concert too.
Wearing both of those hats simultaneously, Hilary had a video chat via Skype with composer Max Richter earlier this week. Richter is one of 27 composers commissioned to write an encore for Hahn; she begins debuting the pieces this coming October. In order to spotlight the featured composers, Hilary’s planning to release a video interview with one each month. It makes us here at Sequenza 21 feel kind of special. After all, how many other websites have their video blogger booked two years out?
On an Overgrown Path‘s Bob Shingleton gives an intriguing sketch of the Vietnamese composer Ton-That Tiêt (b. 1933), well worth exploring. A small interview with the composer is here.
I just submitted the following comment to the Nonesuch Records blog in reference to Steve Reich’s unfortunate decision to change the cover art for his forthcoming recording WTC 9/11.
I’m a composer and recently blogged about wtc 9/11 on my Web site and reviewed it for Sequenza 21. I think that the cover is perhaps not what I would have chosen, but that said, who cares? It’s a cover. There are no bodies, in close up, falling from one of the towers (although that would certainly have made a more powerful statement than the current cover with the plane and the WTC). Just as with Different Trains, there are no images of bodies being piled up. I don’t think SR should have changed the cover, any more than I thought the Islamic cultural center a few blocks away should be moved. If some people are disturbed by the cover, so be it. They probably wouldn’t listen to the piece anyway. And Nonesuch might realize that the controversy, such as it is, might spur others to listen to the piece and purchase the album. I think it’s ridiculous, just like the objections to the John Adams opera about Leon Klinghoffer.
When I was a kid growing up in the 60’s, I had a LP set of Shostakovich’s Symphony No. 10 that had the photo of a poor Russian boy on the cover. Given that we were in the midst of a cold war and nuclear tensions, I don’t recall anyone complaining that he/she was offended or disturbed by the cover. I also had a recording of Shostakovich’s 13th symphony with a distorted, Munch-like photo of an old Jewish woman who one could imaging is being burned. Again, no controversy. Nor should there have been.
WTC 9/11, if you read my review and even worse, my blog post, is not my favorite piece by SR, whom I’ve met several times (I interviewed him 2-3 times in the early 80’s for my college radio program at the U of Chicago) and who had an important influence on the direction of my own music. But that’s my point-it’s the music that matters. Not the album cover. I am disappointed that the cover art is being changed. Artists should not bow to convention, even if the art in question is disturbing. Guernica is disturbing. Should we replace that too?
Those who’ve read File Under ? for a while may know that, two years ago, my wife and I went on our honeymoon to Tanglewood. We celebrated our first anniversary at the 2010 FCM (composers take note: if your prospective partner doesn’t mind taking in a contemporary music marathon as part of your honeymoon, he/she is a keeper!) Due to work obligations, Kay and I weren’t able to attend the first three days of the 2011 Festival of Contemporary Music. Those who’d like to read excellent coverage of the beginning of the festival should head on over to New Music Box for Matthew Guerrieri’sreview. But we did make it up to Lenox, MA for the final two days of the festival. And our short weekend was action packed; we heard five concerts and saw a play (a rather uneven performance of Romeo and Juliet by Shakespeare and Company).
Kay at Shakespeare and Company.
Pierre Jalbert, Music of Air and Fire: The Boston Symphony often does a contemporary work on one of its concerts during the week of FCM as a nod to the festival. This year, it was Pierre Jalbert’s Music of Air and Fire (2007), which the orchestra, lead by BSO assistant conductor Sean Newhouse, performed at the Shed on August 6.
Jalbert was a Tanglewood fellow back in the 1990s. A professor at Rice University, he’s now in demand as a composer, both of works for large orchestra and for smaller forces, as this month’s NMB profile attests.
This six minute overture was premiered by the California Symphony; it is Jalbert’s first piece on a BSO program. Music of Fire and Air is a lively and well-paced curtain-raiser, with deft writing for percussion and vivid neo-tonal harmonies from strings and winds. Apart from a small excerpt available for streaming on Jalbert’s website, it is as yet unrecorded. Given the bang-up job the BSO did with the piece, dare we hope they’ll commit it to disc sometime soon?
Karchin leads TMC Fellows. Photo Hilary Scott
Louis Karchin, Chamber Symphony: Karchin’s Chamber Symphony (2009) was the closer of FCM’s 10 AM concert on August 7 (one of three given in Ozawa Hall on the festival’s final day). Cast in three movements, its features limpid, flowing francophilic lines, daubed with tart counterpoint, as well brilliantly colorful verticals and bold Straussian horn calls. Despite leading an ensemble comprised primarily of student performers (albeit very talented student performers), Karchin’s conducting elicited a bright and assured rendition that rivaled its premiere by pros that I heard back in 2010. FCM should invite Karchin to return, both to hear his own works performed and to work with the students on contemporary repertoire.
Maura Lafferty is one of the most astute and social media savvy publicists of classical music around. Since several of her clients have used Kickstarter as part of fundraising campaigns, we asked her to write a guest blog about the platform. Maura’s been kind enough to share some tips for our readers about how to best employ Kickstarter to fund their next project.
Maura Lafferty
I get a lot of questions about Kickstarter and funding commissions through this tool, and have chimed in on a number of Twitter conversations about its effectiveness.
Kickstarter is a threshold giving system: for those unfamiliar with it, an artist or small organization can set up a fundraising campaign through the tool. Kickstarter provides a unique web portal for the giving, and takes a percentage of the fees. No 501(c)(3) tax deduction is offered, rather, the user sets up a series of giving benefits at different levels. For a new music project, this can boil down to basically fronting the money for a CD to make the project possible. The threshold offers a double safety valve to reduce the risk on a project driven by independent artists: the donor’s money won’t be wasted on an unsuccessful project, and the artist won’t be forced to work with insufficient resources.
Despite a number of successfully funded Kickstarter projects, many people are starting to resent seeing a link or request from the site, and this conversation is not unique to the new music community. Theater and other performing arts folks are also debating the challenges and usefulness of a site like Kickstarter. My response to these concerns is that you can’t blame the tool: blame the people whose behavior reflects a lack of understanding, and poor implementation, and, if you’re afraid you might be one of those people, try and figure out how to use it well.
A successful Kickstarter campaign – i.e., one that raises the money needed for the project (whether this is the threshold or a higher goal) – is the end product of successful communicating the value of one’s project, and converting that value into a dollar transaction on the part of the audience. This type of conversion is not unique to this platform: ticket and CD sales also require the same diligence when it comes to reaching audiences. Traditional marketing wisdom says that it takes 10 impressions/interactions with your product or brand before a new audience member reaches that point of conversion.
The advertising, promotion, and fundraising behavior that people resent comes from people who can’t think beyond their immediate circle of friends, colleagues and potential supporters, and just corner them or ask them repeatedly until they wear down. Christian Carey has likened composers sending him a Kickstarter link to the kid knocking on doors selling candy bars to his neighbors (“Well, only after I’d gotten twelve Kickstarter requests in a single day!” – CC).
Let’s be really honest: we all HATE that kid. He’s cute, the money goes to a cause that sounds good at the time, and you basically can’t say no when he’s standing on your doorstep. When you close the door, there’s a good chance you think to yourself: “Now what the HECK am I going to do with a box of 20 chocolate bars?” (Or, if it was my brother on your doorstep, you could basically kiss the money goodbye, because there was a chance that the envelope of money disappeared into the bowels of his completely disorganized desk.) This is why my mother always made me write a note to my neighbors, which I distributed in mailboxes, informing them that I had a school fundraiser, what it supported, and the deadline, and then I had to wait for the neighbors to call me.
This begs the all-important question: how do you find that audience, and how do you accumulate the 10 impressions needed per donor, without driving everyone around you completely insane? Like any good communication, advertising, or traditional fundraising campaign (some might say there is no difference from this latter), accomplishing a Kickstarter goal requires answering some key questions.
Identifying your audience requires thinking beyond your immediate circle and understanding what will motivate the target group of donors. The answer to what makes a YouTube or other Internet video go viral is identical: finding a point of resonance with something the audience already values, and providing something that taps into those values. This doesn’t mean “spinning” your pitch or changing anything you do artistically, but it does require some awareness and thoughtfulness at the outset.
I’ve worked on promoting three Kickstarter campaigns for new music projects, two of which were over-funded, and the most recent doubled its goal. My very first engagement as an independent publicist resulted in Meerenai Shim and Daniel Felsenfeld anchoring Chloe Veltman’sNew York Times article about evolving models of commissioning in January.
In Meerenai Shim’s case, her first Kickstarter campaign was successful because the concept of the project was something that everyone in her new music community on Twitter could get behind: an independent musician was undertaking a big fancy commission purely because she’s passionate about new music, and wanted to pay Daniel Felsenfeld a fair price for his work. The underlying values made this an easy project for the community to get behind. Meerenai had already done a lot of work building up this community online, and translated that work into her promotional pieces to drive the campaign: videos, reward swag like t-shirts, and even engaging a publicist to amplify the message beyond her immediate circle.
Dale Trumbore’smost recent campaign tapped into the communities of family and friends who had known her, soprano Gillian Hollis, and the other members of the project team. We reached out to personal circles that had known us growing up, attended the musicians’ high school and college recitals, which wanted to see the local girls accomplish something great. The video and other promotional materials focused on the members of the team, their talent, and the opportunity that this project represented.
An interesting side-note about Dale’s project: when she set her threshold, Kickstarter asks the artist to “ask for the minimum needed to make the project successful.” This is good advice: I’ve seen users set overly-ambitious threshold goals, which they then struggled to meet by the deadline. Dale took it to an extreme, setting her Kickstarter goal at $15, which meant that everything over that went directly to the project. The threshold does not have to be the fundraising goal: Dale’s real goal was $2,000.
The most challenging Kickstarter project that I worked on that was a challenge was Curtis Hughes’ campaign to fund his recording of “Say it Ain’t So, Joe,” which had premiered a few years prior to this project. I was initially enthusiastic: I could see a lot of potential tie-ins, and he mentioned the buzz that had surrounded the original production. Unfortunately, there were several things that added to the difficulty, and created stress that could have been avoided.
First, Curtis’ goal (and threshold) was significantly higher than any of the other projects I’ve worked on ($11,000). Second, the musicians engaged on the recording did not represent the full complement of the Boston-based Guerrilla Opera Company. Using part of an organization can present its own challenges. If only some are invited to participate, it may limit the rest of the organization’s drive to support the project and to spread the word among their audience. The intended audience I pitched was one that I really didn’t know very well (political writers), and I honestly didn’t know Curtis or the Guerrilla Opera community well enough before leaping into the project. Despite these initial challenges, we learned as we went and there’s a happy ending: the project ultimately did get funded, and I understand that the recording process went smoothly.
Audience awareness is the single biggest answer to any successful effort that an artist undertakes and converting those efforts into the bottom line that makes it possible to dedicate oneself to the project. The more we know ourselves, the art at hand, and the target audience, the more effectively we can communicate and produce results.
Fundraising through Kickstarter: pitfalls to avoid:
– Nagging your audience: whenever you post the link, make sure that there is always a new tidbit, fact, or supporting detail to offer your audience
– Wasting your credit with your support network/audience: make sure this is the project that you want your supporters to devote their attention to
– Setting an unreasonable goal/threshold for the scope of your support network and target audience: know how much your market is willing to give, and ask accordingly. If that means scaling back part of the project, or finding additional sources of funding from other arenas, adjust accordingly.
– Desperate, last-minute begging to reach an absurdly high goal: set your threshold at a comfortable place, so you can accomplish something meaningful, and your efforts aren’t wasted on a goal that you miss.
– Modeling your Kickstarter campaign too closely on others’: offer something distinctive
“I’ve never had a grand plan. Never even had an ambition – I still don’t, beyond wanting to write better music,” says Ford. “So I’ve done things as they’ve come along. Of course I also say no to things. I got into writing music journalism because, in 1983 when I came to Australia, I wasn’t, over all, very impressed with the music journalism I read. My radio work really came out of being an academic and gradually replaced it totally.”
Although born in England, Andrew Ford has become associated with his adopted homeland, Australia. He’s one of the most astute commentators on the country’s music scene, hosting “The Music Show,” a weekly broadcast on ABC Radio National since 1995.
“I live in the country, and most weeks I compose from Monday to Thursday. Then on Friday I drive the two hours up to Sydney and my producers hand me a folder full of research and a bunch of CDs relating to the guests I will have on The Music Show the following morning. There are usually four and we try to mix things up: I might talk to a jazz singer, a didgeridoo player, an opera director and the composer of a new string quartet. I do the show live, and then drive home on the Saturday afternoon. I try not to work on Sundays. If I’m writing a book, of course, that might have to take over for a while.”
Ford has written several books, and while most are accessible to a general audience, he’s never shy about exposing his readers to a wide array of adventurous music. He’s also the rare interviewer who’s able to “talk shop” with composers from the vantage point of a fellow practitioner. This is clearly demonstrated in Composer to Composer (1993), an excellent collection of interviews he conducted with many of Australia’s finest composers, as well as composers from elsewhere, such as the UK’s Brian Ferneyhough and Americans John Cage and Elliott Carter. Another one of his collections, Illegal Harmonies, has just been reissued in its third edition by Black, Inc.
Ford says, “Illegal Harmonies was a history of music in the 20th century and began as a radio series in 1997. There were ten 90-minute episodes, one for each decade. The book was published the same year, and this is its third edition. I’ve added a new preface and also there’s a new epilogue looking at music in the first decade of the 21st century.”
Black, Inc. has also recently published Ford’s latest book, The Sound of Pictures. He says, “Funnily enough, the book isn’t really about film scores. I’d say that, more accurately, it’s about films and how they used music and sound in general. It looks – and especially listens – to a lot of films, and finds some connections between them. The way films use sound to plant clues – including false clues – or to undermine, as well as reinforce, what is happening on the screen.”
Those wishing for an entrée to Ford’s own music might start with The Waltz Book, a recent CD release on the Tall Poppies imprint. It consists of sixty one-minute long waltzes performed by pianist Ian Munro. But these are hardly your garden-variety Viennese dance pieces by Strauss. They explore a wide array of sound worlds, using waltz time as a jumping off point for some truly imaginative musical excursions.
Ford says, “The piece was never really about waltzes. It was an attempt to build a single large structure out of a lot of small structures. I felt these small pieces should all be the same size – like a mosaic – but that each might have its own personality and be performable as an independent miniature. A minute seemed the obvious length for each piece, and having decided that, the idea of the minute-waltz followed. Of course, the fact that each minute is a waltz – or at least waltz-related – brings a kind of unity to the hour-long whole, but what interested me above all was two things. First, I wanted to experiment with putting different amounts of music into the minute molds: you can have a minute of furious activity, or a minute of Satie-like blankness. Second, I wanted the overall structure of the hour to be coherent. That’s a long time listening to piano miniatures, and the audience needs to have its attention held: there had to be a sense of a journey or a story being told. You can imagine that at the first performance I was quite nervous!”
Another of Ford’s most recent pieces found the composer working in another medium with a storied tradition: the brass band. The Black Dyke Band premiered his work The Rising at the Manchester Brass festival in January 2011.
Ford says, “Without wishing to make a pun, writing for a brass band was a blast, and especially writing for the Black Dyke Band which is the UK’s finest and has more than 150 years of history behind it. They can play anything – they are total virtuosi. I’d never written for band before. I wasn’t even terribly sure what a baritone horn was. I did my homework, but I confess there was an element of guesswork involved. But the piece came out well. It sounded just as I’d hoped. Better, in some ways, because one thing I’d failed to appreciate was just how homogenous the sound is – it’s like they are all playing different sizes of the same instrument. It was this big glowing mass of sound – the Berlin Philharmonic under Karajan – and I am completely hooked. I would love to write another band piece.”
Which other works would Andrew Ford like for listeners from outside Australia to hear? “I’m very happy with my Symphony (2008). I feel that, perhaps out of all my pieces, you could say this was really typical of me. There are no references, no extra-musical stuff: it’s just my music. And fortunately you can hear (and see) Brett Dean conducting the premiere of the piece at my website. I’ve revised it slightly since then, but nothing major. My opera, Rembrandt’s Wife (2009), is another piece I am very happy with. I had a brilliant libretto (by Sue Smith) and I tried to make it into one long song. I was determined it would be full of real singing from start to finish. It was a joy to write and I’ve never felt so unselfconscious in writing a piece. It felt as though it wrote itself. What else? Maybe Learning to Howl (2001), a song cycle for soprano, soprano sax/clarinets, harp and percussion, to words mostly by women.”
“One long-term project is called Progess. My earliest pieces – when I was a teenager – were rather influenced by Stockhausen’s then current intuitive music. This was convenient, in a way, because I must admit that I didn’t really know how to write everything down. As my technique improved, I have always wanted to return to that, to introduce more freedom into my pieces, but the trouble is I keep hearing them rather clearly in my imagination and I end up notating what I hear. Progress, right from the start, is designed as a fluid piece, with hardly anything pinned down and the players asked to improvise in various ways and based on certain melodic models. The instrumentation is totally flexible and so is the spatial layout. Indeed perhaps the most interesting thing about it is the way it will accommodate itself to the building in which it is performed – literally filling the building (not just the main performance space – even assuming there is one of these), so that it becomes a musical representation of the building. There will also be recorded voices – something I’ve used quite a lot recently – talking about the place, its history, its significance, what was there before it was built, etc. It should see the light of day next year with further performances in 2013, but it’s early in the process, so I can’t say too much more.”
When asked who, apart from Andrew Ford, are the composers born or residing in Australia that should gain more currency abroad, Ford replies, “David Lumsdaine, 80 this year and now living in the UK, is a very serious voice, I think. What interests me in particular is the way in which his soundscapes and his composed works intersect. There’s a new CD – White Dawn – that places them alongside each other. I’m very drawn to Mary Finsterer’s music, especially her latest stuff. It’s always interesting to observe composers in transition. Of course if you’re not in transition, then you’re drying up.”
Illegal Harmonies and The Sound of Pictures can be ordered via Black, Inc.’s website.
San Francisco Bay Area composer/performer Kanoko Nishi wraps up our series of interviews with composers who are premiering new works at the 10th Annual Outsound New Music Summit in San Francisco on Friday, July 22nd. The Friday night concert, entitled The Art of Composition,starts at 8 pm at the Community Music Center, 544 Capp Street, San Francisco. Tickets are available online from Brown Paper Tickets, and you can also buy them at the door. Listeners who don’t want to wait that long can get up close and personal with the composers, and learn about their creative process, at a free Monday night panel discussion at 7 pm on July 18th.
Kanoko is classically trained on piano and received a BA in music performance from Mills College in 2006. Her recent interest has primarily been in performing 20th century and contemporary music on piano and koto, and free improvisation in a variety of contexts. SF Bay Area contrabassist Tony Dryer and guitarist IOIOI, visiting from Italy, will perform Kanoko’s graphic scores as a duo.
S21: How has your classical piano training prepared you – or not prepared you – for improvisation and composition?
I think that one very important element that is particular to musical improvisation as opposed to improvisation in other fields is the role of the musical instruments one performs and interacts with, and classical training for me was just a very deep way of building a relationship with my instruments. What has been helpful is not so much the technique, vocabulary or repertoire, but the time, energy and thoughts spent in the process of acquiring these more concrete skills and knowledge. For me, every improvisation I do is like a battle with the instrument I’m playing, in my case, either the piano or koto, and though I cannot really practice improvising by its definition, it’s only by practicing regularly that I feel I can enrich myself as a person, build my stamina and confidence enough to be a suitable match for my instrument to bring out its full potential. (more…)
Krys Bobrowski is up next in our series of interviews with composers who are premiering new works at the 10th Annual Outsound New Music Summit in San Francisco on Friday, July 22nd. The Friday night concert, entitled The Art of Composition,starts at 8 pm at the Community Music Center, 544 Capp Street, San Francisco. Tickets are available online from Brown Paper Tickets, and you can also buy them at the door. Listeners who don’t want to wait that long can get up close and personal with the composers, and learn about their creative process, at a free Monday night panel discussion at 7 pm on July 18th.
Krys is a sound artist, composer and musician living in Oakland, California. In addition to French horn she plays acoustic and electronic instruments of her own design. Her collection of original instruments includes prepared amplified rocking chairs, bull kelp horns, Leaf Speakers, Gliss Glass (pictured at left) and the Harmonic Slide. Krys received her M.F.A. in Electronic Music and Recording Media from Mills College and her B.A. in Computers and Music from Dartmouth College. In addition to performing her own work, Bobrowski plays with the Bay Area-based improvisation ensemble Vorticella.
Her new work, Lift, Loft, Lull, is a series of short pieces exploring the sonic properties of metal pipes and plates and the use of balloons as resonators, performed by the composer and Gino Robair. The compositions have their origins in Bobrowski’s recent instrument prototyping work for the Exploratorium.
S21: Do your pipes, metal plates, and balloons come with any sound-generating history? Is there any “tradition” behind their use in music?
During my artist residency at the Exploratorium, I began experimenting with alternative resonators for musical instruments. I wanted to create an experience that would allow the listener to hear the ‘sonic bloom,’ the moment a resonator comes in tune and couples to a vibrating object.
As part of this project I started researching resonators in traditional and experimental instruments. I came across an interesting photo from the 1950s of someone playing an instrument made of glass rods attached to a series of inflated plastic cushions. The cushions were acting as the resonators for the glass. Later, I learned that the Baschet brothers, Francois and Bernard Baschet, invented this instrument along with dozens of other beautiful sound sculptures, including an inflatable guitar!
This started my exploration of using balloons as resonators, mostly for instruments made out of various kinds of metal: plates, pipes, bars, odd-shaped scraps. I also came across references to Tom Nunn’s and Prent Rodgers’ work with balloons and balloon resonators in a book by Bart Hopkin, ‘Musical Instrument Design.’ This led me to make a version of the ‘balloon gong’ instrument shown in the book.
The results of my sonic explorations and the ‘balloon gong’ will be featured in my composition, Lift Loft Lull. (more…)
Kanoko is classically trained on piano and received a BA in music performance from Mills College in 2006. Her recent interest has primarily been in performing 20th century and contemporary music on piano and koto, and free improvisation in a variety of contexts. SF Bay Area contrabassist 