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@jeffreylependorf
On a sunny September 29th in the White House Rose Garden, President Lyndon B. Johnson signed the “National Foundation on the Arts and Humanities Act of 1965,” creating the agencies we know today as…
My latest little act of arts advocacy, on LitHub...
Solitude is a condition best enjoyed in company.
The Luminaries, by Eleanor Catton
A grief shared is half a grief A joy shared is twice a joy
Candy Darling
A free improvisation for shakuhachi flute and percussion, performed by Jeffrey Lependorf (shakuhachi) and Matt Hannafin (percussion) as part of "Limb, Wind, ...
MANIFESTO For Abstractionists and friends of the non-objective BE A FORCE Don't shoot blanks Black and Brown: that shit is the future Triangles are your friend Don't pretend you don't work hard When in doubt, spray paint it gold Perverse formalism is your god You are greased lightening Bring your camera everywhere Never stop looking at macrame`, ceramics, supergraphics and suprematism Make work that is so secret, so fantastic, so dramatically old school/new school that it looks like it was found in a shed, locked up since the 1940's Wake up early, fear death Whip out the masterpieces Be out for blood You are the master of your own universe Abstraction never left, motherfuckers If you can't stop, don't stop Strive for deeper structure Fight monomania Campaign against the literal ABSTRACTION FOREVER!
--Rebecca Morris
Take an object Do something to it Do something else to it [Repeat]
—Jasper Johns
Writing a novel is setting yourself a goal and then walking there in your sleep.
Lawrence Durrell, as quoted by Karl Ove Knausgaard in MY STRUGGLE (Book Two).
Very Fine is My Valentine
A belated valentine—Soprano Elizabeth Eakin with pianist Susie Garcia performs an excerpt from my setting of Gertrude Stein's "Idem the Same: A Valentine for Sherwood Anderson," from her 1995 traveling one-woman show devoted to Stein and featuring many songs by yours truly.
Don't miss this upcoming dance and music concert if you will be in Portland, OR on Sunday, February, 23rd. Everyone who attends will also receive a copy of our recording, "Eight Songs Between Morning and Dark," available for the first time as a physical CD! You can also download it online HERE.
Depuis plusieurs années, à intervalles réguliers, les sorties du label Ayler Records s’apparentent à un cabinet de curiosités qui offre à des têtes chercheuses, des musiciens atypiques ou transgenre la possibilité de se rencontrer et d’échafauder un dialogue en toute liberté, voire de creuser de nouvelles pistes. Avec Everything Is In The Instructions, ce sont le guitariste Scott Fields et le compositeur de musique contemporaine Jeffrey Lependorf qui empruntent ensemble un chemin de traverse ; (...)
And another fantastic review—Thank you, Eyal Hareuveni!
___________________ CD/LP/Track Review
Scott Fields / Jeffrey Lependorf: Everything is in the instructions (2013)
By EYAL HAREUVENI, Published: December 25, 2013 Composer of contemporary chamber music and opera and certified master of the Japanese shakuhachi flute Jeffrey Lependorf cites an insightful incident he had with iconoclastic composer John Cage that reveals much about typical misconceptions about what is right and what is wrong in music and art. Lependorf wanted Cage to clarify his vague instructions for a theater piece he was assigned to assist a choreographer to prepare. But Cage insisted, kindly enough, that “everything is in the instructions.” After the performance of this piece, and following the standing ovation, Lependorf asked again Cage for his opinion, and Cage, typically but again, kindly enough, answered that he “did everything wrong.”Â
Back to the Present. Lependorf’s collaboration with idiosyncratic guitarist and composer in avant-jazz and New Music Scott Fields does not bother itself with questions about what sounds right or wrong. All sounds are beautiful, as Cage once said, and these two masterful and resourceful musicians do not attempt to replicate any form of new world music or new-agey, meditative kind of interplay (as the Shakuhachi is associated with the Zen school of Buddhism), or to follow any familiar concept.
The two musicians suggest how innovative and original music of the 21st century can sound. Music that patiently, almost methodically, explores new timbres and sonic options; uses silence as basic element; is compassionate but never sentimental, gifted with dark humor but not emotionally detached; and always demonstrating deep listening and careful sensitivity to the the most fragile qualities of the music making process and and its immediate options.
The improvised pieces “Objects in Relation to Other Objects” and “The Politics of Solitude” are masterful expressions of the high art of these two musicians. Music that is comprised from brief, abstract and subtle articulations, loosely connected, but eventually accumulate to profound, mesmerizing pieces. The intimate, chamber interplay on “Oh yes” and “Tip bloused” is simply timeless with its thoughtful references to classical, contemporary and East-Asian music. The surprising cover of John Coltrane’s “Naima” is a moving tribute to the great master, performed with deep emotional gratitude but without reverence, wisely sketching this timeless classic.
Unique masterpiece.
Track Listing: She comes from nowhere; Terror babies; Objects in Relation to Other Objects; Oh, yes; The Politics of Solitude; Tip bloused; Advice for some young man in the year 2064Â A.D.; Naima.
Personnel: Scott Fields: acoustic guitar; Jeffrey Lependorf: shakuhachi.
Record Label: Ayler Records
Thank you, Monsieur de Lire, for this latest review of the latest CD?:
SCOTT FIELDS & JEFFREY LEPENDORF / Everything is in the instructions (Ayler Records)
Ahhhhhh… Splendide session studio entre Jeffrey Lependorf au shakuhachi et Scott Fields à la guitare classique. Des improvisations libres feutrées, alliant merveilleusement abstraction et mélodisme. Lependorf manie le shakuhachi (flûte traditionnelle japonaise) avec beaucoup de grâce, alliant dans son jeu tradition et innovation. Et Fields trouve le moyen de respecter l’esprit de cet instrument divin tout en demeurant lui-même. En finale, une interprétation très libre, incroyablement aérienne de “Naima” de Coltrane.
And for those who don’t read so well the French:
Ahhhhh… Gorgeous studio session between Jeffrey Lependorf on shakuhachi and Scott Fields on classical guitar. Zen free improvisations marvelously pairing anstraction and melodicism. Lependorf handles the shakuhachi (a traditional Japanese flute) with much grace, working tradition and innovation into his playing. And Fields finds the way to respect the spirit of this divine instrument while staying true to himself. The CD concludes on a wonderfully free and aerial rendition of Coltrane’s “Naima.”
It is with books as with men: a very small number play a great part.
Voltaire
From now on, when you think of the shakuhachi you must only think of Jeffrey Lependorf.
Alexander Schmitz, in Jazz Podium (from his recent review of Everything is in the Instructions, a recording of new works for shakuhachi and guitar with yours truly and Scott Fields, recently released on Ayler Records)!
Paik once told a story about buying books in Japan: he succeeded in buying all the most important Japanese philosophical works on the subject of time, in order to study them in the original, only to discover on his return to New York that he didn't have time to read them.
from "The Anti-technological Technology of Nam June Paik's Robots', Nam June Paik: Video Works 1963-88, Hayward Gallery, London, 1988, as quoted in Peter Osborne's The Politics of Time: Modernity and Avant-Garde
I think movies are becoming novels and it's terrific that people like Norman Mailer and Susan Sontag are doing movies now too. That's the new novel. Nobody's going to read any more. It's easier to make movies. The kind of movies that we're doing are like paperbacks. They're cheaper than big books. The kids at college don't have to read any more. They can look at movies, or make them.
Andy Warhol