Earnest Eclecticism

If eclecticism is your thing, San Francisco's Mission Dance Theater was the place to be on Sunday for the first annual Switchboard Music Festival. Billed as "eight hours of nonstop, genre-defying music by the Bay Area's most innovative artists," it was founded to bring together people who are "creating new sounds that defy description." The informality of Dance Theater's black box provided a suitable environment, as well as a familiar one for those of us who have performed on these types of adventurous "new music" forays. It conjured up memories of my days as a graduate student, when we periodically were compelled to assist our colleagues in composer recitals that too often featured taste-impaired, soulless abominations that never would see the light of day beyond the halls (or black boxes) of academia, such as pieces for prepared piano, or works for solo instrument with tape loop accompaniment. During my three-hour stint at this event, however, a good portion of the programming reflected endearing, if not always satisfying, levels of earnestness, creativity, and honesty that bode well for the future of this festival. I'm not sure how many of the sounds truly were new, but some of the composers employed unusual groupings of instruments that yielded effective results. Dan Becker's Droned, for brass quintet and drum kit, is a happy journey infused with Philip Glass' minimalism, John Adams' perpetual motion, and the infectious syncopations of a New Orleans brass band. Drummer Erika Johnson was locked in, especially with her "second line" bass drum groove that gives this piece its unique flavor. Unfortunately, the same cannot be said of Ian Dicke's Blonde Buddha, written for brass quartet (minus horn) with the addition of drum kit, electric guitar, and electric bass. A few minutes into the work, it was clear to me that this young composer possesses considerable craft. But craft doesn't always guarantee a memorable musical result. This dull, plodding, amorphous work struck me as a purely intellectual exercise, with no hint of a melody or any emotional content. It was, in short, instantly forgettable. Too often, young composers become so enamored of their command of minutiae and so obsessed with their manipulation of esoteric musical elements that their endeavor can seem self-serving and insular. This set concluded with festival codirector Ryan Brown's enjoyable Thick Skin. Brown skillfully blended the above-mentioned brass quartet, drums, and electric instruments with amplified bass clarinet, played by the other festival codirector, Jeff Anderle. The playing on all three works in this set was on an extremely high level.

Quirky Music on an Edge

The edgy quartet Slydini raised the musicianship bar even higher. Comprising Vicky Grossi on electric bass, Bill Wolter on guitar, Jan Jackson on drums, and John Ingle on alto sax, this exciting ensemble utilizes odd meters, quirky melodic lines, daring improvisation, and jarring volume levels to deliver a rare example of material that just might qualify as avant-garde.

In the quartet's opener, Twice Baked, the audience was introduced to Ingle's penchant for false fingerings, overtones, squawks, impressive command of the altissimo register, and even a hint of multiphonics. His playing showed a disciplined and committed approach to contemporary techniques. In Baby Wants to Play, both Ingle and Wolter demonstrated admirable fluidity while improvising in a frenetic 11/8 time signature. I was impressed that both soloists completely avoided jazz cliches while maintaining the character of the tune's angular melody. Wolter seems heavily influenced by the seminal Bill Frisell. Their last tune (I didn't catch the title, as my ears were bleeding by then) was a raucous adventure in 15/16 time. With pulsating guitar lines and incessant 32nd notes in the drums, it could best be described as surfer rock on acid. At this point, it became abundantly clear that any tune in 4/4 time would not make this band's set list. I also concluded that this music is best enjoyed in a "festival" format — that is, in small doses. The quartet delivers strident, raw, and importunate music at a volume level that borders on sonic assault. Clearly, its sound was too big for this venue. Still, the ensemble earned my respect for its drive, originality, and urgency.

Jiving to O'Hara

The opening set included an engaging work by trumpeter Erik Jekabson, titled A Step Away From Them. Jekabson supplemented a jazz trio of bass, drums, and vibes with vocals by Ann Moss and Becca Burrington. In addition, Paul Murray spoke the text by American poet Frank O'Hara. Jekabson cushioned the poetry with lilting vocal harmonies of open fourths above an E-minor swing groove. I enjoyed this tune, as well as the fine performances by all the musicians. Finally, Inner Ear Brigade presented a set of original tunes that left me worn down and unsatisfied. There was some evidence of good musicianship, but excessive volume levels and bad sound mix lent them all the polish of an above-average garage band. The vigorous contributions of drummer Doug Port were not enough to transcend this perfunctory set. If you enjoy "mongrel" music (the codirectors' term, not mine), you'll want to mark your calendar for the second Switchboard Music Festival, slated for next spring. I have sincere respect for my colleagues who are committed to finding their own voices and new vehicles for musical expression. Still, my festival experience was characterized by a steady erosion of interest in the material, because so much of it appealed only to the analytical side of my brain. There were precious few passages of subtlety or beauty that I would like to have in generous doses.