David Barrows, Tenor Sax
R. Wiley Evans, Baritone Sax
Tape
strubbornness, strident, struggle, stricken, strapped, strewn, straining, stranged, stranded, stridor, struck, stringed, stretchered, stratified, strifled, strupefication, stridulous
For the past two years I have been struggling to gain some type of control over a variety of aspects of my visit here on earth, only to find that THAT is unobtainable. I have found nothing ever goes as you envision it. For example, in order to create order one must have no order...and that's Strouble.

These works reflect my current interest in improvisation as a process of discovery. Each normally has a duration of 6-10 minutes.

I don't actually have much to say about Visioning Confinement. I coerced it into reality as a sound track for a video by former Calartian Mick Baker. The visuals were in slow motion of caged animals in a zoo all pacing behind bars. It's about tension.

Ronda Rindone, Bass Clarinet
Evelyn Mann, Flute
Albert Mathias, Percussion
We exist in several realities and altered states.
What we do in the present effects the past and the future. We communicate with the past and the future. Messages are sent and received, or not. Act accordingly.

for Piano, Shaman and Electronics
Adam Frey, Piano
...being an account of the trajectory of the psyche immediately prior to and following an intense experience of selfhood ...
Something to think about.
... and then all that had come before became suddenly somehow meaningless...
The preparation ...
The gift of the hawk
The strength and wisdom of the tree in the forest
The egg(s) in the nest
Cleansing
Blossom/Flowerreachesforsky (morphology of affirmation)
Leavetaking

A very, very special thanks to Denise Garibaldi and Virginia Ann Huffer without whom this piece would never have been possible.

Geiger Counter is a a live Geiger counter feed from New York to San Francisco and performed on a synthesizer

Elizabeth McNutt, Flute and Piccolo
Andrew May, Violin
Tendencies for flute doubling piccolo and violin consists of 33 short to very short movements which may be played in any order with the one exception that the last movement must be for flute & violin. The piece was written at the request of Andrew May during the spring of 1994, and is dedicated to Andrew May and Elizabeth McNutt.

Rapides is a cycle of pieces written for various instruments and electronics. The title Rapide was chosen for its double meaning -- both descriptive and substantive. All the pieces in the cycle have the piano sonority as the central element. It generates, transforms, combines and destroys the musical materials, and sometimes even ends up becoming the material itself. The primary sonic element is a looped piano sequence taken from Rapide #3, transformed mostly through granular synthesis. My main purpose here was to move progressively farther and farther away from the pianistic universe and not to return.

No doubt if I had more money I'd be working with samplers; instead I work with $1.49 transducers (contact mics). My current interest is in steady state sounds which are composed of infinitesimal percussive attacks - indistinguishable as isolated events, but which create a dynamic to the perceived-as-continuous sound which I find beautiful. I've selected other sounds in this piece for the theatrical instruments which create them, and because they sound bizarre.

Evelyn Mann, Flute
Ronda Rindone, Clarinet
Don't say a word. Far from where I have started there have been many creations. I wanted to tell you about five. There are no words.

Evelyn Mann, Flute
Ronda Rindone, Clarinet
I Know You Know. Written for and by and with and inside of around and reaching for, we are, we're really right there - my baby. Here I am. Scratching fishes in the sand.... I know you know.

R. Wiley Evans, Stereo Trombone
Ronda Rindone, Clarinet
Schmi Theangks is for a tonal instrument, the bass clarinet and the construction of a mythical (make beleive) instrument, the stereo trombone. This is a continuation of what I call "one liner" pieces: pieces that have but one core idea that is stated simply and contains no universal conclusion (but sometimes does).
I have been working on and troubled by the health and well-being of a piece of machinery. Due to my lack of total understanding of this machinery, it seems to have taken on a persona. This "one-liner" is an attempt to describe my lack of understanding, and the mythical qualities that the persona of this machinery has to me.

R. Wiley Evans, Tuba
Ronda Rindone, Bass Clarinet
You Make Me So... And realizing for the first time that every note ever written was ever only ever for you. By you. Every moment of this life, even loss of beautiful friend in car accident in '88 to lead to you. I rewrite all program notes.
Dedicated to the memory of John Hendrick, and always all things all ever things always and forever dedicated to Steven Abrams, the man who has defined and redefined the all of my life for me.

R. Wiley Evans, Tuba
Ronda Rindone, Bass Clarinet
Firewalk was written for Ronda Rindone in April 1994. The piece is based on an abstract notion of balance, meditation, and agility; a return to basic, perhaps primal instincts as a guide to form and relationship. We have two elements: the clarinet and the tuba. I thought the way in which they communicate should define their personalities. There should be no contrivance or external pressure. Just as a firewalker might evaluate and dance through a bed of hot coals with energy focused on the immediate and relevant. So too can musical elements create their own rules of conduct, free from unnecessary cultural influences.

"How can you run out on me like this when I'm still learning how to squawk?"
Ronda Rindone, bass clarinet, voice
David Javelosa, sampler, effects
L.A. Walking Blues is a frightening warning to America's youth about the evils of information sickness. The colors and textures chosen by the artist tend to describe an extreme tendency to avoid stress at all cost, including risk of life. Regarding the girl I never gave piano lessons to: "Well you can just kiss my ass!" I'm sick and tired of trying to live the example when all I get are excuses for why people are not having as much sex as they used to. Remember the girl on Haight Street with the beer on Sunday afternoons? Well, she never wrote back either. Contained in this piece is the encrypted blueprint for putting Punk Rock onto a single floppy disk.

Ronda Rindone, Clarinet

Sheldon Brown, Woodwinds
Nancy Clarke, Fiddle and Voice
Dave Levison, Guitar
Evelyn Mann, Flute
Ronda Rindone, Eb, Bb and Bass Clarinets

Michelle Sargent, Voice

Michelle Sargent, Soprano
Jeffrey Winter, Tenor

Cn cense fervo tesuv SF is many things. It is the corruption of diverse cultures from around the world that America encourages by stealing bits and pieces of the third world cognizance and contorting them to satisfy commercialized inclusion. Yet, it is melding and welding of a global continuum. Coke Adds Life!
The origin of the digital sound are Habibi Wa Enaya Featuring Salma, Kadabin featuring Ahmed Fathy, and the solo duduk player Djivam Gasparyan.

Klang, Kar, und Melodie uses sounds from my own mode of transport, a 1979 Chevrolet Monte Carlo. These sounds were then digitally processed and combined with other sounds to produce a 'concrete' piece that chronicles a day in the life of an Austin, Texas commuter.

Steven Mack, Jennifer Simmons, Albert Mathias, R. Wiley Evans - Cans
Christopher Forrest, prepared guitar
Adam Lane, double bass
Found Objects I. is one section of a larger work-in-progress that utilizes found objects as the primary source material for the compositional process.
In this case, the emphasis is on exploring the sounds inherent in the every-day, commonplace beer can, with improvised accompaniment by the guitar and bass.

Beatriz Kustin, Voice
Mark Alburger, Voice
Ellen Pesavento, Violin
Pamela Carey, Violin
Chris Jennings, Cello

2A. Caucasian Sketchbook
2B. Business As Usual
2C. Information Wanted
"Business As Usual" (1993), written on the road, was conceived and premiered in the Albrecht Business Auditorium of Claremont Graduate School in 1993. A trilogy of trilogies (itself the interior of a larger trilogy, "L.A. Stories"), "Business as Usual" is derived from the ejecta of contemporary life -- offhand comments, quotations from Aristotle, cartoons, thesis castaways, flip-chart remainders, wanted posters, crazed thoughts, billboards, Gregorian chant. Interior Trilogy from "Business As Usual" receives its San Francisco premiere this afternoon.

standing quite near the horizon
(much nearer than usual)
the air sits in still pools
tasting of distance and revelation
and almost burns
as we pick a path through the reeds
toward the edge of sight
and sence

R. Wiley Evans, Tuba

Caat Hay, soprano
Marion Garver, alto flute
Ryan Fransesconi, guitar

Michelle Sargent, michelle
Christopher Forrest, chris
Joe Metzler, joe

Derek Smalls-Smith, driver's seat