Rebecca Norris Webb is among my favorite contemporary photographers and here picks her favorite photo books from 2017. Photo-eye has several such lists from compelling photographers that are worth a look.
My most recent trip to Los Angeles finally yielded a visit to the Watts Towers. I’m not sure what I expected to see but the effect of the towers rising, as their designer and builder Simon Rodia put it, “up to the sun,” was both breathtaking and calming. There, in the middle of a tidy, residential area, is the Watts Towers Arts Center, home to the single city block environed by the towers and their relevant structures, as well as a museum of contemporary art, a handfull of faded but still compelling murals, and some freestanding sculpture. It is a celebration of the neighborhood, the vibrancy of Watts, a full embrace of its past, and full advocacy of its present and future. There are artist residencies and music festivals, and jazz education and mentorship for emerging and developing youth musicians, but above all are the towers, Nuestro Pueblo.
[A note about the photos: I opted to develop the photos of the towers in black and white because my color versions were overwhelmed by the late-morning sunlight. The same light, of course, served ground-level photography quite well, making it possible to capture the brilliance and array of colors and textures that make up the rest of the work.]
“From a Spark to a Fire” from Damon Locks’s Where Future Unfolds.
The playlist below includes four examples of what BELLS≥ has been doing towards our next album, a collection of music called North American Spirituals. If you saw any of our performances on our tour last August, you heard quartet versions of another two of the pieces (“The First Ray” and “May You Bury Me”), both of which were written thus far with the group’s then-current line-up in mind.
That is, the pieces that will comprise “North American Spirituals” remain in variously-preliminary states, and while Chris Ernst has been working on them in Baltimore and Stephen Shodin and I have taken a swing at them here in New York, Gordon Withers recently performed some of his own ideas at the Galaxy Hut in Arlington, VA.
At the root of Gordon’s cello sketches are drum demos I recorded with J. Robbins at The Magpie Cage back in May. We set up a drum kit and some other drums and percussion and recorded for an hour or so. The next few hours were spent on edits, overdubs, and rough mixes. Chris Ernst was there, too, and by the time we left the studio that evening, we had drum tracks for a handful of pieces ready for distribution to each other and our collaborators. It’s not the way we’ve worked in the past, but we thought we should give it a shot, passing the tracks back and forth until Chris, Stephen, and I sense completion, and in the meantime, with hopes of such an outcome as Gordon has provided here. BELLS≥ has always been a collaborative group with its three core members at the compositional center, and since the beginning, Gordon, like J., has been a key contributor to BELLS≥. To have Gordon playing along with loops of my beats sounds, in the end, as natural as the two of us playing together.
Additionally, I’ve included in this post a Pete Duvall photo of Gordon and me from a few years ago in hopes of providing evidence of our performative unity in this somewhat unusual situation.
All of which is to say, here are four pieces from Gordon’s last show. One of the selections includes some organ from J. and orchestra bells from Chris, both recorded when I cut the drum tracks, and not live with Gordon. Be advised that these are only sketches, improvisations on some rhythmic ideas we have in mind. But we thought you’d enjoy them so here they are.
Béla Tarr, Sátántangó, 1994.