Die Posaune

I presented this piece with Felix del Tredici and Siw Laurent at my graduating recital at The New School in May 2018. Felix and I met Siw a week before my recital at the Creative Music Studio workshops in Greenwich Village. Her role in our collaboration presented itself in the most natural and serendipitous way – she brought to the workshop a sense of Shamanic dominance that emanated from her soul, voice, and Nordic frame drum. For months, Felix and I have been dreaming up a piece that involved the trombone as an object/installation, sympathetic resonance and feedback, and BDSM theatrics. Siw witnessed our informal workshopping of the piece in the basement of the Greenwich Music School that weekend and it became immediately clear that the piece needed her involvement.

The improvisation lasted around 10 minutes, a soundscape of slide-controlled karaoke mic feedback and Siw’s powerful vocalizations and drumming. Felix and I became slave to the instrument; we embodied ourselves as anchors tied via pulley to the trombone slide, control of the slide limited to the rope that tied it to our mouths. As we floated farther from the mothership, the slide would extend upwards, changing the pitch of the feedback duet while Siw’s energy blanketed our eventual demise.

TRUBACI MCGILL

I came back to Montréal from Guca in 2014 determined to immerse myself in balkan brass band tradition. I had an overwhelming response from my brass colleagues at McGill and we formed our own “Trubaci”, a brass orkestar I started where we would learn from the field recordings I took while I was in Serbia. We recorded this one song I picked up from a young band who was competing at Guca and named it rather arbitrarily as is the custom when names are unknown, or simply because it is more common to identify songs by the origin. Nonetheless, my travel-mates and I named it Power Shower. We lived in the basement of a local lady’s house up the hill from the festival where many of the competing bands were also staying. The bands would practice outside our shower and this tune stuck with us the most.

Women’s Day Tromboning

For International Women’s Day, So Wrong It’s Right wanted to make some serious noise for female artists from medieval and pre-medieval times. We broke ground at National Sawdust musing on three remarkable women who formed a deep bedrock of source material for our recording session that evening. For each woman, we dedicated a station that showcased their work, a quasi-installation which dotted the room and formed a route for our exploration. The evening began with a feminist found object jam, a playground of private items from our loved one’s arsenals.

At the first station, we paid tribute to Comtessa de Dia (1175 A.D.) who wrote the earliest surviving work by a trobairitz (female troubadour). Following this, we interpreted three poems by the Greek poet Sappho (630 B.C.) from the island of Lesbos. The third station focused on a beautifully preserved kufic script by the Islamic calligraphist Fadhl Mawlat Abi Ayyub (~907 A.D.)

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