this is important: http://thingsreplacedwithsloths.tumblr.com/
It's been an eclectic listening list these last few weeks:
Serge Gainsbourg - Histoire de Melody Nelson (How come no one hipped me to this record years ago? Thanks, Chuck.)
Tigran Hamasyan - The Poet EP (Perhaps the most exciting new music I'm aware of.)
Talk Talk - Laughing Stock (Sounds like late Radiohead but was released in 1991.)
Charles Mingus - Ah Um (Duh.)
Chris Thile - Bach: Sonatas and Partitas, Vol. 1 (All the notes.)
Final Fantasy - He Poos Clouds (Owen's a perpetual favorite.)
Wayne Shorter - Without a Net (What.)
Wilco - Sky Blue Sky (Nels Cline!!!)
Also, I'm just beginnig to organize my thoughts surrounding a research project which would situate the corpus of philosophical literature addressing the transcendent, numinous, ineffable, "sending" nature of musicking in relationship to the debate over qualia as defined by thinkers like Dennett, Nagel, Chalmers, Churchland, etc. This might be a HUGE undertaking. It might be a dead end. The coming months will bear it out. This is, though, the overarching theme of my work for some years. Feels good to finally get some traction.
all the young dudes0:00
Sometimes it's late but you can't sleep so you record an Iron and Wine style arrangement of a glam rock anthem with GarageBand on your laptop. So there's that.
Well, it's finally happened. The 2nd edition of my Chris Potter transcription book is available in print and as a digital download. Click on the BUY tab to, you know, buy it ($20 plus shipping) as well as other Kluth-related goodness.
In other news, I have a moustache again. Happy holidays everyone!
I live in Hollywood, Los Angeles but I used to live in Brooklyn, New York City. While they’re very different places (famously different, in fact), they share a noticeable type of interpersonal insularity. In a big city you learn to maintain a kind of bubble around you, a buffer protecting you from other people who are everywhere. In NYC, they’re above you, below you, in front and behind you, in the path you’re walking, next to you on the train, etc. But you don’t talk to them. You don’t strike up conversation on the train. Even though you might be crushed up against them, you respect and maintain an illusion of personal space. It’s not dense in the same way in LA, but there’s still a “keep to yourself” kind of vibe as a kind of illusory attempt to maintain anonymity in a city built on perceived value via appearance and status.
So, you get into your iPhone, or your book or whatever. You get good at acting like you don’t notice people. You don’t maintain eye contact. And in doing so you somehow get to feel alone in a city of eight million. You also lose out on the chance to learn from eight million people living lives not so different from your own; dealing with similar problems, doubts, successes and celebrations, too.
It can be lonely living in a big city - but it doesn’t have to be.
To that end, Brandon Stanton has been photographing and interviewing people in New York City since November of 2010 and sharing the portraits and bits from interviews on his blog, Humans of New York. You can lose hours on this blog reading people’s insights, struggles, little celebrations. It’s crazy addictive. I’ve always been pretty sociable with strangers but living in big cities for years has been beating it out of me. Reading Stanton’s blog has been helping me see people as people again, not just as obstacles. Hope it might do the same for you if you’re feeling alone in a crowd. Here's a favorite of mine:
TLDR: Go read Humans of New York
Jerome Holloway, an old friend and musical associate from my Chicago days, has recently ended up calling Los Angeles home. In the last few weeks I've had the pleasure of hanging, playing, and writing with this serene and talented man and am happy to report that a few of us are heading to San Diego this weekend to record his music at the beautiful Lost Ark Studio. He's been described as playing "brown-eyed-folk," something like if Marvin Gaye and Ray LaMontagne had a love child. Check it out!
As I begin my doctoral studies at UCLA’s department of Ethnomusicology, I can’t help but notice the pronounced and ongoing disagreements within the discipline as it tries to circumscribe its interests, methods, and bounds. The discipline comes by this discord honestly as it was originally comprised of the coupling of traditional empirical musicological methodology with empirical sociological/anthropological methodology. That original coupling is not the problem, rather the problem has been the gradual but seemingly begrudging admittance of the import of music’s non-empirical (or extra-empirical) character. Namely, its practical manifestation as phenomenal human experience and activity which is not entirely describable via empirical methodology. Much of music’s situatedness in culture has to do with its numinous character, its perceived otherness, its embodied what-it’s-like-ness, articulated as affect or mood. To effectively address this feature of musical phenomena we must turn to a different epistemological model. The reigning and most entrenched epistemological model used in academia is based upon a correspondence theory of truth, famously articulated by the sentence, “The cat is on the mat.” This utterance asserts that observable entities the cat and mat both exist and are situated in a singular relationship to one another. The cat is on the mat and, if the observed world agrees with the utterance, the utterance is true. In this framework of truth, the cat either is or is not in the stated relationship to the mat and can not simultaneously be on and not on the mat (tertium non datur, or the law of the excluded middle). This example of adequation between communicated concept and what-is-the-case is representative of the elements which make up an observable, empirical truth. It seems, however, that we inhabit and experience the world in another way (perhaps many other ways) as well. The familiar but strange effects of music, for example, are consistently described in terms of both/and rather than either/or. Musicked agents commonly describe the phenomenal experience of being musicked as allowing them to be simultaneously themselves as well as part of a community, mind, or spirit, to be both here and there, to lose their concept of individuated self, to lose or experience dilation of time, etc. These phenomenal experiences are incoherent to and violate the empirical, correspondence theory of truth and can only be addressed by a model of truth which respects embodiment, intuition, and the para-logical chiasmic reality of the both/and - the phenomenological model of truth. I prefer to think of empirical and phenomenal models of knowing not as incommensurate, but estranged. Both models of knowing are real, both are useful, and we must encourage cross-training of theory and methods within our discipline so that we may fully engage the rich and complex phenomenon that is music. Living concepts of truth in the Western world have historically been determined by the interplay of these two concepts: the truth of description and the truth of revelation, truth as adequatio and truth as aletheia. We ethnomusicologists, as the acting body of our discipline, must learn to respect, address, and use them both.
I was fortunate to check out John Scofield’s Uberjam and Dave Holland’s Prism last night at UCLA’s Royce Hall. The music reminded me of something I’d written years ago with regard to non-diatonic music - a bit of writing inspired by repeated listening to John Abercrombie’s Class Trip record some time around 2008. I now recognize some of what I was talking about as intuiting the discipline and content of Poetics Theory, Husserl’s On the Phenomenology of Consciousness of Internal Time, and maybe even Meyer’s Emotion and Meaning in Music - all things I hadn’t read yet upon having written this five years ago. The feature of non-diatonicism I discuss as manifest in jazz, experimental pop, and concert music has the dual role of attractor and repeller for listeners depending on their proclivity or training to work for affective payoff in art. For both listeners and musicians, it’s true what they say: Art is hard. The affective payoff, though, can be substantially greater and more informing propping up that other old phrase: Nothing ventured, nothing gained.
On Melodic Narrative In Non-Diatonic Music: John Abercrombie's Class Trip
How is it that western listeners, upon listening to musics situated in non-diatonic harmonic structures, can recognize melodic narrative as cohesive and forgive culturally trained notions of diatonicism? For instance, in the music of John Abercrombie, melodies are often characterized as having large jumps in tessitura, jagged melodic movement, yet somehow a smooth resolution – all in non-diatonic harmonic contexts.
In diatonic music, including music which employs traditional methods of harmonic variation (borrowed dominant, neighboring modulation, etc.), melodies can seem more musically “home” oriented than in Abercrombie’s music. Large melodic jumps are forgiven quickly as they are locatable within a diatonic context, their use and employment obvious and easy to follow to the acculturated western ear. The effect of Abercrombie’s melodic jumps is more jarring as the normal functions of melody/chord tones are violated leaving their acculturated expectations unfulfilled.
I sometimes perceive a melodic narrative as an organism on a path; a three dimensional shape moving through harmonic space being “lit” and “colored” by the surrounding harmonic environment’s various colors. Imagine for a moment a melody as a magnificent worm working its way through labyrinthine structures in which various lights shine upon it both temporally and with regard to its situatedness in three-dimensional space, illuminating various features and characteristics as it travels. In familiar diatonic structures, the organism-melody-narrative is illuminated in ways that, though possibly unexpected, are beautiful to behold - if safe and culturally expected/accepted. In non-diatonic harmonic constructions our melody-worm-narrative is illuminated not in the generally accepted manner but from different angles, different colors, in unfamiliar volumetric spaces. Hence features of melody are brought to light that are unexpected, ugly, or breathtakingly beautiful. Is this the function of non-diatonic harmonic structure within a primarily diatonic culture? Is this why some listeners are drawn to musics that make them listen in new, surprising ways? The element of harmonic surprise will often be the very component of a composition or improvisation that will keep me listening to it repeatedly, surprised and delighted by a harmonic turn again and again. Not only the particular harmony, but the ways in which the particular harmonies color melody; allowing it to be seen from different angles and perceived from unfamiliar aspects as it finally resolves.
Instrumental music has this unique opportunity to interest the listener subtly, perhaps obliquely, as the listener is not being fed discursive language in tandem with melody and harmony. Harmonic complexity can, as in the case of programmatic music, paint complex affectual pictures by shining different “colored lights” on melodic narratives that are unreachable via traditional song form. There are perhaps certain affects that can be touched more effectively via wordless musical prodding than a direct rough handling.
AJ Kluth -2008
Damn! I swear that I have more to talk about than Chris Potter. Really, I do. Bud, DAMN! - this video of the band, their process, etc., is fantastic. Plus, shot at Roberto's and 55Bar in Manhattan? Makes me miss NYC so bad. Check it out!
I've finally gotten around to editing my Chris Potter Transcription book, first published in 2007. The 2nd edition fixes a few errors and switches out Potter's interpretation of Lotus Blossom from Lift: Live at the Village Vanguard with his solo on Solar from Introducing Chris Potter. Though his reading of Lotus Blossom was quite beautiful, the Solar improvisation offers much more harmonic material to chew on. Look for physical copies to be available very soon. Download the first 12 pages for free HERE - or - download the whole .pdf book for only $18 HERE. Thanks!
So, I'm still plowing through Jaynes' The Origin of Consciousness in the Breakdown of the Bicameral Mind, and today had a few thoughts I look forward to considering further:
1) If consciousness (meta-cognition, really) is an emergent epiphenomenon of mimesis, association, and metaphor, is the explosive popularity of social networking, tumblr, etc., due to it's mimicry of the process of consciousness? We associate, link, like, and share ideas and memories while growing our narrativized selves and "analog I"'s. It's all very satisfying, perhaps for this reason. Is this type of shared meta-reality the beginning of collective consciousness?
2) If meta-cognition (consciousness of consciousness) is dependent upon language and metaphor, music's mysterious affective vehemence makes perfect sense as it is a pre-linguistic evolutionary artifact and pre-dates consciousness.
3) How come no one told me about Julian Jaynes/this theory/this book years ago?
I'm currently wading through bunches of literature about Process of Mind including Julian Jaynes' "The Origin of Consciousness in the Breakdown of the Bicameral Mind" and Terrence Deacon's "Incomplete Nature." Way too much consideration of the common assumptions of consciousness.
"O, what a world of unseen visions and heard silences, this insubstantial country of the mind! What ineffable essences, these touchless rememberings and unshowable reveries! And the privacy of it all! A secret theater of speechless monologue and prevenient counsel, an invisible mansion of all moods, musings, and mysteries, an infinite resort of disappointments and discoveries. A whole kingdom where each of us reigns reclusively alone, questioning what we will, commanding what we can. A hidden hermitage where we may study out the troubled book of what we have done and yet may do. An introcosm that is more myself than anything I can find in a mirror. This consciousness that is myself of selves, that is everything, and yet is nothing at all - what is it?
And where did it come from?
From the introduction of Julian Jaynes' "The Origin of Consciousness in the Breakdown of the Bicameral Mind"
Check this stuff out if you've got months of free time to think:
Arrived in Los Angeles after a month on the road. Landed in West Hollywood for the time-being to catch my breath. Got comp passes for the Sunset Strip Music Festival, checked out a bunch of bands I'd never heard of, caught my good friend Luke Thomas killing it with NOVI at the Roxy, and finished it with a huge house party in Los Feliz. So far so good.
Click HERE to see the whole thing on his website.
File under "Cosmology", "Philosophy of Mind".
I've recently finished with Thomas Nagel's recent book Mind and Cosmos and wanted to share my thoughts about it. Please bear in mind that I am not a professional philosopher and, therefore, welcome any corrections, questions, or concerns you may have. Really. I am, though, very happy to be part of the discussion. Really.
Nagel thinks there’s something missing within science’s picture of reality and is here broaching the topic after much reflection. He does assert the traditional belief in the coherence of the universe and its naturalistic physical laws but thinks that the holes in our understanding of our own origins, our faculty of reason, and the presence of the phenomenon of value suggest we may not yet be aware of all of them. His Mind and Cosmos addresses issues he perceives within the dominant Western paradigms of consciousness, cognition, and value as situated in our dominant cosmology/ontology and asserts them as problematic. The holes in each of these systems have been glossed over via what he terms “the Darwinism of the gaps”, and though they are not yet fully understood they are assumed to be within the realm of future understanding via the march of materialist reductionism. After attempting to address the causal and historical natures of consciousness and cognition as adaptive evolutionary artifacts he finds the evolutionary methodology lacking. The evolution of material beings which are self referential, introspective, and who act upon perceived systems of value is far too unlikely to have occurred by the currently held Darwinian process of natural selection - no matter how protracted. He asserts that value, ethics, etc., can not be natural evolutionary artifacts via arguments (shallow ones, though capable of being further developed) of irreducibility and historicity. It follows, he suggests, that value must be part of the cosmos as a natural law. He several times refers to evolution and the appearance of sentient creatures as a cosmic process of “the universe waking up to itself” and thereby seeks to learn by what process and which natural laws this must proceed. After entertaining several possibilities including pan-psychism and intelligent creation, he lands on a sort of Aristotelian natural teleology as the most likely. This would suggest a universe which was slowly organizing itself into structures which favor complexity, consciousness, reason, and ultimately the appearance of value. With this in mind he chooses to embrace an objective, value realist perspective over a constructivist/subjectivist value system as said natural teleology offers value itself as an integral element of the cosmos.
It is laudable that Nagel is seeking to dig under the rug, as it were, to point out that there are still many as-yet un-plumbed questions and as-yet undiscovered truths regarding the nature of our cosmos and its relationship to conscious, reasoning, and value-driven creatures. The fact that these questions are often glossed over is certainly problematic and the “Darwinism of the gaps” is likely an act of hubris. To believe that in only a few centuries of “enlightened” scientific progress we as a species have chosen the right assumptions about the cosmos and developed the tools to understand not only ourselves and our universe, but also our place in said universe would be foolish. Regardless of his book’s outlandish suggestions or admitted faults, his point that the truth of the matter is likely far less intuitive than we can guess will likely prove correct. Our current understanding of ourselves will likely in a few centuries appear as outmoded and fallacious as the theory of phlogiston.
Nagel’s assertion of the reality and subsequent problem of qualia as uniquely real subjective phenomena not explainable by reductionist claims is problematic (See Dennett’s take-down of qualia in Sweet Dreams, particularly the “What RoboMary Knows” chapter.) It would be just as well, and less problematic, if Nagel were to appeal to the problem of value and not bring up the qualia argument. This appeal to qualia and his favoritism of the value-realist platform over the subjectivist is based on an intuitive hunch and not on methodologically sound reasoning. This is, of course, a big problem, though one he admits. Finally, Nagel’s assertion of value as an elemental law of the universe - part of his proposed natural teleology - forwards an interesting possibility for philosophy of aesthetics. If value and self-organizing tendencies toward sophistication and coherence were elements of the cosmos, a grounding for universal ideas of beauty, truth, and goodness would seem far less naive than they currently might in a constructivist/subjectivist worldview.
Nagel might not be right on all counts here. He's stepping on lot of toes, he's making rather wild and difficult-to-support suggestions, but he's forwarding a necessary discussion and humbly inviting argument. This little work is well worth the read and will, I'd bet, place Nagel on the "Thinkers who were on the right track" lists of the future.
Played my last couple of sets at Sleep No More's Manderley Bar last night backing the delightful Karen Marie (Stella St. Claire). I've had the good fortune to play many sets at SNM over the last year with three of the musicians in the above video - Mr. Scott Bradlee (piano), Adam Kubota (bass), and Karen Marie (voice) - and can attest not only to their fantastic collective sense of humor (as evidenced in said video), but also their fantastic musicianship. These guys can play the shit out of anything and particularly play the shit out of the American Songbook. It's been a pleasure and an honor to have fun getting paid to play with these folks and I'll certainly miss them as I head to CA.
I've been working at Brooklyn's fantastic restaurant Saraghina for two years now in addition to gigging A LOT and being a full time student. As I look back, I'm happy to say it's been one of the best things I've done in my time in NYC. The restaurant is a gem smack in the middle of Bed Stuy, Brooklyn's rough (corner of Lewis and Halsey) that makes some of the most consistently high-quality Italian food I've ever had the pleasure to eat. While the food and drink (there's a fantastically stocked full bar) are amazing, what really makes the place shine is the people. Both the neighborhood regulars and the staff are made up of sweet, personable, and creative folks from around the world that seem to be happy to be around one another. I've not known a place like it. Plus, they've taken great care of me these two years not only feeding me, helping me pay my rent, but also in exposing me to new ideas. And, I've eaten more meals at Saraghina than anywhere else - including my apartment - in my time here. That alone makes me one lucky guy. Realizing that I only have six remaining work-days at Saraghina before I leave for California to begin a doctoral program at UCLA is rather bittersweet. New York has seen me gig my ass of, ace a challenging graduate program, and take the city up on as many of its amazing offers as possible, but it's also seen this place take care of me. I may not be the best waiter in the world, but I'll miss Saraghina. I hope they'll miss me, too. Saraghina, ti amo.
ON. POINT. (except that I actually love doing the work, asking the questions, synthesizing epistemological frameworks, etc. The Academy is absolutely full of Sadists.)
Tonight I had the pleasure of hearing the Dan Tepfer/Ben Wendel Duo at Smalls in the company of Caroline Davis, Sean McCluskey, and Brian Lindner. Oh, and LEE KONITZ. As if that weren't enough, Ari Hoenig's band was on afterward. New York has a mindbending concentration of amazing musicians and I was so happy to be swept up in it tonight. Do yourself a favor and check out the new Tepfer/Wendel record Small Constructions. Amazing record.
(Also - Yes, I know the picture is sideways. Meh.)
From The Guardian, Friday, April 26th
We seem to have evolved into a society of mourned and misplaced creativity. A world where people have simply surrendered to (or been beaten into submission by) the sleepwalk of work, domesticity, mortgage repayments, junk food, junk TV, junk everything, angry ex-wives, ADHD kids and the lure of eating chicken from a bucket while emailing clients at 8pm on a weekend...