On Nov. 21, audiences were captivated by a remarkable performance as part of the Kaufman Music Center's "Artist as Curator" series. This evening's music delved into two significant and distinct sonic and philosophical spaces, offering a unique auditory experience.

Uncover the Depths of a Thought-Provoking Performance

Samesoul Maker - An Hour-Long Journey

Written for two female-identifying voices, two male-identifying voices, and vibraphone, Samesoul Maker is an hour-long exploration that slowly unfolds in 15 parts. Accompanied by the stardust twinkle of small hand bells held by the vocalists, it takes the audience on a journey through Afrofuturistic Sci-Fi worlds. The work depicts an alien birth ritual, exploring "the commitment of the feature figure during the process of childbirth on the planet Or'gen." With its vast, open harmonies often in the nude of accapella voices, it immediately assumes an air of the sacred. Sunder Ganglani's performance as the father figure was particularly beautiful, embodying the titular Samesoul Maker. Each cyclical repetition depicted his prayer of wishes and love for the new child. Repeated intonations of alien words, muted and unmuted ringing and scraping of the hand bells, and slowly shifting sonorities add to the overall impact of the work.

The Four-Movement fLuXkit Vancouver - A Jam Session Peek

The four-movement fLuXkit Vancouver had an air of a jam session that we weren't invited to but were peeking in on. Written for alto saxophone, drums, two violins, cello, and bass, each musician frequently seemed to be in their own world. Communication between the musicians was surprisingly subtle throughout. With an often-amorphous beat, the manufactured chaos of sound had some fun moments alongside the confronting. The work opened with tremolos, bold strokes, and honking tones. Unfortunately, the piece often soared to uncomfortable amplitudes in the small hall with amplified strings and drumkit. However, Jones' passion and wide aural palette were well on display, whether leading the band with high pips of sound or low long tones, golden and guttural.

Outstanding Moments and Performances

With this type of piece, it's difficult to determine from the audience whether particular musical gestures are overtly composed/written out by the composer or the result of improvisation. But there were many standout moments. Gerald Cleaver's concentrated, scene-grabbing rimshots and bassist James Meger's slow, deliberate solo where he tapped on the body of the instrument, savoring the exploration of each area of its real estate and showing the amplified rainbow of simple timbres available from that gesture were particularly memorable. Darius Jones treated the audience to thrilling sonic saxophone acrobatics throughout the work and had several lovely moments with cellist Peggy Lee. The two violinists, Jesse and Josh Zubot from Saskatchewan who grew up on a farm with a free jazz saxophonist father, gave extremely convincing, dedicated, and athletic performances. Josh's frenetic, crazed, and absolutely wild-shredding solo in the second half of the work was unforgettable. Dressed in matching black jeans, baseball caps, and chelsea boots, the brothers Zubot brought the audience to their feet on more than one occasion.It's unclear why there were no program notes in the otherwise informative program book for this performance or why Jones chose not to introduce the works himself from the stage. In an "Artist as Curator" series, there is a heightened expectation and opportunity for a composer to bring us in on the behind-the-scenes and meaning of a piece. And after the performance, reading Jones' detailed descriptions of his works online shows that context is an incredibly important aspect of how audiences experience his works. His bio states that his music is a confrontation against apathy and ego. Fortunately, even in the absence of program notes, this work transported the audience into provocative spaces of emotion and self-questioning.I CARE IF YOU LISTEN is an editorially-independent program of the American Composers Forum, made possible by generous donor and institutional support. Opinions expressed are solely those of the author and may not represent the views of ICIYL or ACF. You can support the work of ICIYL with a tax-deductible gift to ACF. For more on ACF, visit composersforum.org.