McKinney Part 1

Posted on November 20, 2017 by John C.S. Keston

This improvised performance from Bryan Nichols, Cory Healey, and Cody McKinney was recorded by Dave Kunath on Wednesday April 26th, 2017 at Jazz Central Studios during Sound / Simulacra.

Bryan Nichols is a pianist, composer, and educator based in Minneapolis. Often found playing jazz and improvised music, but at home in a variety of musical worlds, he leads and composes for his own trio, quintet, and nonet in addition to performing, recording, and touring with forward-thinking artists like Nicole Mitchell, Ron Miles, and Olga Bell, and groups like the Gang Font, Dead Man Winter, and Halloween, Alaska. He has taught jazz piano at MacPhail Center for Music, University of Minnesota – Morris, and University of Wisconsin – Eau Claire, while presenting clinics and masterclasses at a variety of colleges and high schools around the midwest. www.bryannichols.org

Cory Healey’s unique drumming has led to collaborations with artists from many different genres. He has toured North America and Europe and had the privilege of performing with Kenny Wheeler, Dr Lonnie Smith, John Abercrombie, and David Berkman. While living in Chicago, he performed and recorded with Algernon, Fareed Haque’s Flat EarthEnsemble, W.W. Lowman, Ike Riley, and Scott Hesse. In 2013, Healey moved to the Minneapolis, where he’s worked with some of the Twin Cities’ most prominent artists including Dead Man Winter, Dosh, Marijuana Deathsquads, and Anthony Cox. www.coryhealeymusic.com

The series explores musical improvisation as a “faithful and intentionally distorted” representational process bringing together some of the Twin Cities most unique voices to “recreate, distort, and create the hyperreal”. Please enjoy listening!

Sound / Simulacra: IOSIS & John C.S. Keston

Posted on November 20, 2017 by John C.S. Keston

This performance of IOSIS & John C.S. Keston was artfully recorded by Dave Kunath on Wednesday April 26th, 2017 at Jazz Central Studios for the Sound / Simulacra monthly series that I have been doing with Cody McKinney.

IOSIS is ritual in the shape of gnarled dronescapes, wrestled from the back of a hardware beast made of diverse synthesizers, tangled patch cables and contact microphones snaked through space-making delay and reverb units. Sometimes verging on the edge of breaking noise, sometimes swimming in lush beauty, witnessing IOSIS is a fully enveloping ceremonial experience imbued with transmutational significance. IOSIS is the musical project and collaborative platform of artist Alex Bissen.

Drone Trick with Arturia KeyStep and Novation Circuit

Posted on September 1, 2017 by John C.S. Keston

Lately I’ve been using a capo (yes the kind for guitar) to hold down a note on the KeyStep in order to drone a note on the Novation Circuit’s Synth 1 while playing notes on Synth 2. It’s awkward but works. Today while prepping for ISSTA.ie I stumbled on a way to drone a note on the Circuit with the KeyStep and no capo necessary! Here are the steps to drone Synth 1 and then play new notes/sequences/arps on Synth 2:

1. Make sure the KeyStep is setup in Keyboard Play mode by pressing Shift and Oct+.
2. Enable hold by pressing the Hold button.
3. Put the KeyStep in pause mode so that the pause/play button is flashing.
4. Hold Shift and press the low F to set the KeyStep to MIDI channel 1.
5. Play and hold the note(s) you’d like to drone (anything but the low Gb because you’ll need that key to switch channels)
6. Keep holding the note(s) and switch to MIDI channel 2 (Shift + the low Gb).
7. Un-pause play/pause and release the note(s)

Once you’ve lifted the note(s) you can re-pause or play arps or seqs on Synth 2 because essentially you have a stuck note on Synth 1 (just double tap stop to unstick the note). If you don’t want to hear Synth 2 when un-pausing, just make sure it’s down in the mix. This trick works while the Circuit is stopped or playing and will continue until double tapping stop on the KeyStep. It’s even possible to change the existing stuck note(s) by following the same steps. It’s easier than it reads, as you will see in the video below:

Upcoming Concert at ISSTA September 8, 2017

Posted on August 31, 2017 by John C.S. Keston

I’m pleased to announce that I will be performing a version of my piece Vocalise Sintetica at the ISSTA Festival and Conference on Sound. The conference will be held on September 7th and 8th, 2017 at the Dundalk Institute of Technology in Dundalk, Ireland. Please check the website for details.

I have developed new content and features for the AVGM (Audiovisual Grain Machine) which I’ll be using during the performance. I also be triggering samples and playing patches with a hardware synthesizer to accompany the audiovisual content. Here’s a video that demonstrates some of the new media:

A post shared by John Keston (@jkeston) on Aug 23, 2017 at 1:46pm PDT

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45 Delusions for Common Time at the Walker Art Center

Posted on June 26, 2017 by John C.S. Keston

45 Delusions was commissioned by the Walker Art Center for an event with former Merce Cunningham Dance Company (MCDC) dancers as part of the Common Time exhibit and performance series. The piece was performed and recorded with the dancers on March 30, 2017 in the Perlman Gallery at the Walker Art Center, Minneapolis. My setup included Rhodes, Moog Sub 37, PreenFM2, Korg KP3+, and a Moog Minifooger Delay. Graham O’Brien performed on percussion and electronics triggered from his drums.

John Keston's Setup for the Common Time Event

My Setup for the Common Time Event

The score is two pages. The first page (pictured at top) is the timeline for both performers. The timeline is vertical and made up of cells that last between one and five minutes each. Frequently the cells correspond with each player, but they are arranged so that at times they overflow. Rests are also included as cells. Each cell includes brief instructions and/or graphics that give suggestions to the musicians. Some of the instructions are expanded on the second page of the score.

Graham O’Brien’s Setup for Common Time

The second page also includes a list of forty five delusions. These include terms such as alternative facts, capitalism, corporate culture, equality, freedom, fossil fuels, greed, justice, and so on. There are also a few technical delusions such as erotomania (belief that a celebrity is in love with you) and lycanthropy (belief that one can turn into an animal). The second page explains the delusions and what to do with them:

DELUSIONS
Anything that might be considered or is delusional. These are not necessarily medical or technical examples of delusions and may involve individuals, societies, or organizations. Prior to performing the piece, each musician chooses one “delusion” applied to each cell within the score.

Take a look at the PDF at the end of this article to see the complete list of delusions as well as expanded instructions for some of the cells. Obviously this is an improvised piece of music, but this approach steers the improvisation in directions that would be unlikely to occur freely. Particularly the timing. As one performs or listens to the piece it is possible to discern distinct variations as the musicians transition from one cell to the next. If you are inclined to listen to the piece in full, try following along with the score and placing a SoundCloud comment where you hear the cells change. The timing on the recording doesn’t exactly match the score, but it’s pretty close.

The reasons I took this approach are multi-faceted: (1) It keeps the piece moving. Often free improv tends to stagnate as ideas are repeated and refined. With this approach the challenge is to express ideas with concision and then move on to the next (this is possible, albeit rare, in free improv – we call it channel surfing). (2) It is possible to strictly define the length. We used a timer that counted up to 30 minutes. One quick glance at the timer illustrates the need to move on to “High Speed Arps” for example. (3) Mood, dynamics, and theatrics can be injected to create a narrative with scope and meaning. It is a way to ask questions, discover sounds, explore, and experiment. (4) It enhances my musical engagement. I am influenced by my collaborators and surroundings, but I’m also interpreting the language of the score, and hopefully to the benefit of the musical output.

45 Delusions by John C.S. Keston (148K PDF)