Gigs, dance, art

October 24th, 2008: Ian Nagoski / Po-Go

@instants chavirés

Almost a week without anything felt so long. Then again, late October has been a time for huge blunders for me in the past few years, so I played it safe.

Po-Go features Pascal Battus, Frédéric Blondy, Bertrand Gauguet and Dan Warburton. I don’t remember having heard Gauguet before, but the others are pretty familiar. The set was a bit too long in my opinion, but managed to cover a lot of ground. It started with a lovely dronish sound from Blondy’s piano, then went rhythmic and through a lot of different vibes. There was of course some of the usual patterns from that free-improv scene that have been annoying me so much lately, but here they didn’t seem to be all that prominent, maybe I didn’t get riled up because I thought that ensemble just worked, for no particular reason. Maybe Warburton played a part in that, because he always seems to bring out the best in whoever he’s playing with, even though what he does might not be most impressive to me.

Ian Nagoski impressed me. His music is really my kind of thing, I’m a certified sucker for layering of sounds. At first it was a single sequence with heavy spatializing, but that didn’t last — at least from where I was seating — and he proceeded to stack simple sounds to create a fascinating environment. I heard things that might not even have been there, fleeting audio glimpses at times. There was usually a kind of pulsating line and a few additional sounds patterns weaving in and out. Weaving was actually an idea that kept going through my mind during the performance. The basic back-and-forth of mixing sounds generating a sonic landscape akin to an intricate tapestry. That does make sense to me. And there was a fully satisfying depth to his sound, something full-bodied and physically engaging. I’m so glad I came there to experience this, my first choice would have been another gig but I got stuck at work and that turned out to be a blessing for a change.

Another reason why that one impressed me is the CDRs he was selling. I have only listened to one of those but it’s just as great as I hoped: recordings from South-Eastern Asia dating back to the 20s-40s. I also got one of percussions from the same area but dating from the 60s-70s and some Malaysian pop from the same period. He had more great stuff to sell but I didn’t have enough cash for more. But still, how could I fail to be impressed by that guy: I dig his music, and he puts together reissues of exactly the kind of music that I love even though that gets me alarmed stares at work. I wish I had a way to get more of these, those early 78s from Laos and Thailand are great, and even though those from Viet Nam were a bit disappointing, I chalk that up on being more familiar with that country’s music. I’m sure he has amazing gems in his collection from the places I’m most fond of musically: Northern Viet Nam and Okinawa. I guess I should have talked with that guy about it, but that was just too close to the time of Quiet.


October 25, 2008 - Posted by | Music | , , , , , ,

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