Noon on Saturday and as yet coffeeless, I am compelled to write now about a musical experience I shared with many good people last night that bordered on the religious.
To set the stage however, there are a handful of things in this world I consider sacred, and the transgression of which I take personally in the gut. Anything relating to Italian-American culture falls neatly into this category, so you can imagine my chagrin when I discovered that alongside the first invading, pretentious hipster “art gallery” that’s lamely popped up along 9th street south of Washington in south Philly’s Italian Market, there is now another such gallery. The first I was uneasy about, lamely called “BoBo’s on 9th,” more so after first visiting it and bearing witness to some god awful junk last summer. Much, much more so when I heard about a performance of Riley’s “In C” being given there by some friends of mine, preceded by a performance of some other friends of mine. The proprietors, in all their hipster wisdom, at some point decided that they didn’t like the opening act (said friends) that they themselves had booked, and tried in the most obnoxious and hipsterish (read: passive aggressively annoying, these people have no backbone, not even aesthetically) of ways to cut their set short of the previously agreed upon time. In a fit of great justice, one of the guys in the band, after going back stage and reportedly having shit talked to him after his set by one of these proprietors, punched the guy in the fucking face and left. I had to take my hat off to this, as there is no better way of dealing with bullshit than transcending the tacitly understood rules of engagement, defined by the context, and taking it to a level the assholes wouldn’t dare go in order to put the whole thing to rest.
So after all this, you can imagine I was hesitant last night to attend a show at yet another small gallery on 9th, a place where I really have doubts about galleries belonging. I was expecting that I was in for the same kind of scene and atmosphere, but was extremely pleasantly surprised to find that this other place, The Purl, was presided over by some extremely good people, with great taste in music, a friendly relationship with their south Philly neighbors and were able to, with very little effort, create a positive and welcoming space through a combination of all kinds of factors. Most of all, I was impressed when they let an older man that I would wager was homeless, come in an stand for a while to listen. I don’t think he really was into the music, but I toasted him with my beer when I turned around to see who was coming in. The place is tiny, and I was standing by the door.
In any event, there were two acts of the night, along with much banter and good people I haven’t seen in a while for various reasons. The first, who’s name escapes me now because I think it’s just something these two guys do now and then, was pretty good. Although I am staunch in my insistence that it was not by any stretch as great as a lot of other people think it is. Not to be ridiculous, but it really does take a lot to win me over to music these days, and I tend to not at all give anyone the benefit of the doubt. The setup was like this: an amazing, and I mean amazing drummer and a guy (friend of Ben’s) playing a saxophone with effects and pedals to give it some really interesting sounds.
While I do salute anyone who can use electronic effects well, actually integrating them into making music, at the end of it I felt a little let down despite the enthusiasm with the rest of the crowd. Really, in the end this was just mathrock. Now, it was mathrock with a saxophone, and while that’s interesting for about 5 minutes, I’ve heard plenty of people in either straight math or mathy-hardcore bands make pretty much the same sounds along with the same level of drumming excellence. Coupled with the fact that despite some people’s technical musical prowess, they really don’t know how to effectively limit their set such that the audience actually wants more, rather than wants it to end. This was the case with these guys, they just played way too fucking long, and I think the sax guy was just overly smug and proud of himself for his gimmick, which is always a turnoff for me. It reminded me why I turned from being interested in virtuoso playing to punk at a young age, because I just can’t stand the self-satisfaction of musicians who like to show off that much.
The long and the short of it was that in the end this just sounded like a lot of things I’ve heard before. Having been, arguably, the only person in the room that was old enough and in a position to see this sort of thing before because of my own past musical endeavors, it may explain why I ultimately found this boring after about the second song. Whereas it was a new experience for some others. Who knows, it was cool but it didn’t do it for me, and it still came off as gimmicky. One last thing about this band though, in a major nod to the drummer, sitting on the floor in front of his set, I was periodically overwhelmed by a whoosh of air that would emanate from the set like some kind of cascading barrage of whatever energy is left over when the pedals, sticks cymbals and heads meet with such force.
The next band however, was easily one of the most amazing, difficult, strenuous, joyous and beautiful musical performances I have ever had the privilege of witnessing. This is an experimental jazz group called Mostly Other People Do the Killing. And my god, these guys are indescribable. As the byline on their myspace page says, “100 Years of Jazz History in Every Byte!!!” With a mouthful of all kinds of other stuff. The most striking thing about the group is that they truly integrate jazz sounds and styles (not to mention a lot of other non-jazz desiderata) into what they do, integrating all these things together in a way that’s usually not heard, at least not to younger people. They do everything from New Orleans and Louis Armstrong to Coltrane in a way that’s so playful, intense and ultimately fun that I kept saying to myself as I looked around the room last night that these guys really make people happy.
This kind of joyous reverie is deftly combined with an amazing use of extended technique, particularly in each of the four members solos, in a way that to me brings their live performances up to the level of some kind of out-of-time liturgical revelation. I had the unique phenomenological experience of feeling both that I was having a great time and going through an intense ongoing religious ritual. This show made me feel the way I did the time I meditated for 5 days straight in a monastery in Taiwan, it was that complicated, difficult, beautiful and ultimately satisfying. Riding our bikes home through the long dark cold back to West Philly, Kobza and I felt like a great weight had been lifted off our shoulders, and me like my insides had been unloosened, put back in place, made right.
As a quick vocabulary note, “extended technique,” put loosely is when you do stuff with instruments that they weren’t really made to do. The great thing about these guys is that, as Ben put it in an email, they use their powers of extended technique for the forces of good and actually make music with it, rather than just some stupid annoying sounds.
Time to eat. If this band is coming to your city, take my word for it and go see them because the live show will be somewhere on the spectrum of completely fun to transcendental.