This CD is a recording session again at Roger, my fellow colleague’s place. This time we asked Lane to improvise with us

Track 1 33:19
Track 2 38:00

Log of improvisation

1.Name: Long improvisation 1
Date/Time: Feb.15th,2006
Context: Trio session at Rogers’
Performer(s): Richard (Voice/Recorder/Flute), Roger (Electric guitar/Voice), Lane     (Electric guitar/Voice)
Track number: 1
Duration: 33:19

Intention: “B-flat blues”. Actually we were planned to improvise anything but conventional blues.

Materials used: Both Guitarists have numerous sound patches and other gadgets for making extended sounds. From the point of ~7:00 and beyond the structure becomes unrecognizable, constantly transforming. At least one of the three parts were playing past material or original theme to maintain coherence. Once the transformation becomes unstable and not able to continue (such as ~17:00) main theme is immediately reiterated. The transforming segments all have juxtaposing elements (sounds from the scraping of bass versus the trading of the blues melodies from the other two instruments), a complementing duo and a digressing “third wheel”.

Evaluation: The more parts the less organization. Consequently we as a group have discussed methods to maintain lucidity and not to make both half-hour improvisation like a “jam”. The 2+1 dynamic was closely observed and we have also talked about ways to retreat back to safety zones if the venture becoming unbearably hazardous. This is in fact one of the “most safe” trio improvisations with the greatest amount of liberty granted to all members. The “anti-listening” arise in couple places but in general there is a general focus in the mist of the ebb and flow.

2.Name: Long improvisation 2
Date/Time: Feb.15th,2006
Context: Trio session at Rogers’
Performer(s): Richard (Voice/Recorder/Flute), Roger (Electric guitar/Voice), Lane     (Electric guitar/Voice)
Track number: 2
Duration: 38:00

Intention: “Romantic and Long”-A day after Valentine’s. Again, we know it would be anything but romantic.

Materials used: General Mimesis of Eric Clapton, Sound of Music, Myer’s Cavatina, JAWS and Chaos.

Evaluation: As expected the definition of Romance (and Long) is uniquely labeled with our respective characteristics. Features of jamming becoming increasingly apparent as the piece progresses—it is not that our improvisations are random, but it is just that listening to 3 persons speaking differently simultaneously would be anything but clear. Moreover we have not planned nor limit our choice of musical parameters. The limitation of expressing an emotion has in fact amplified the general ambiguity inherent in this improvisation. The silence spaced between segments are not artistic choices, but rather I argue are signs of exhaustion—after periods of failing to reach out and connect to others.
There are several salvageable moments, yet they lack the necessary unifying element (besides confusion perhaps?) to attach the fragmented units into one single entity.

We should ask ourselves what good comes out of this experiment. Again I must remind ourselves that when listen to the parts independently or sections separately there are many enjoyable spots worth further development. This is yet another evidence convincingly suggest to us that “anti-listening” was in place-everyone was in their own world of expression, and only their most salient features was apparent, and it only digress the remaining focus of energy into disorganized mess.

Concluding Essay: reflection on improvisation and life

The work of improvisation never cease to give me more excitement and wonder. In my past four years of university education three I have been fortunate enough to participate in classes that are perpetually engaging, constantly challenging and continuously—and permanently benefiting to my musical and complete self.

My musical past can be reviewed at my past improvisation projects. Yet I still have one knot remained knotted, which is my reason to disclose them right now. Before while I was still deciding my choice for university education York is in fact not my first choice—It was University of Toronto. As my eyes were fixed on composition, fascinating at how mortals can through writing music create this ultimate illusion—of hope, of despair; of joy and misery; of love and hatred—the incredible power and energy that a thought can be completely transferred into the ears of the audience, remained as the most amazing thing I have ever realized.

Most naturally University of Toronto would become my first choice; their education on composition remained the most prestigious at least within the province. The assurance from my High school teachers, community choir conductors, and my colleagues gave me conviction that not only I should go to such school for education— but I should accept nothing less. In fact my interview with the faulty reinforced my view: they are duly impressed with both my aptitude in composition and performance (in voice and piano).

Yet I do not know how the force of destiny moves. First of all I was declined for my application to University of Toronto. Secondly the reason for rejection is simple: the English mark I got in my high school was below the minimum that the faculty requires. I was at once fell into the manic-depression loop: My capacity to articulate verbally (in English anyway) has very little to do with my musical abilities. I refuse to accept the fact that mutual communication is the essential condition for success and accomplishment.

The depression subsided slightly as I eventually received acceptance from York University; However the reality of my performance, and my lofty attitudes once set against the intensive demands of various courses I started to think how true the rejection to my application is, and perhaps I lack the basic skills to continue. I have literally lost my faith in learning, and quite possibly thinking likewise my future, and life in general.

This is where I started knowing about improvisation. My idea before taking the course is that improvisation is a way to display knowledge, showing to others how resourceful and astute can one (myself) be, at the same time as being in style, being popular and being musically appealing. In short, a musical power trip.

What I initially missed is that all of the above qualities of improvisation is but only the collective product of hard work and diligence, of countless hours of practice and actual experience. At first I was discouraged. It was not something I could immediately grasped. It was (and still is) beyond my intellect. As I have mentioned in my past projects I was on my verge of collapse—perhaps I would be trapped in this vicious cycle forever.

Then while I was working on my first recording project the idea suddenly came to me: it is the hard work itself, the effort that I must pay that gives improvisation its value and meaning. It is the same attitude that gave me composition, music with value and meaning! I have earned my respect in choir singing not because I am merely talented-but as my rightful reward to the time and effort I have spent into the edification of my aptitude, of myself in general!

The above incident became the turning point in my thoughts and attitude towards education: no courses are “waste of time”, no knowledge irrelevant, and nothing is worthless. Improvisation taught me how to become responsible to myself, while accountable to others. I cannot predict what kind of person I would be if I instead went to other school—Yet I owed my transformation solely to the opportunities offered every time I attend to the improvisation studio, how it slowly but surely instilled knowledge and virtue into my life. It truly give me light on how to live a life with competence to questions, confidence to obstacles, and hope in the midst of crises.

Then the final year of improvisation I decided to accept the new challenge, which is to use my flute as my primary instrument in the studios. It is because I wanted to expand my sensitivity into monophonic textures, and also looking forward to face more technical problems: on breathing, phrasing, sense of time/tempo/pacing within music. What I did not expect, but eventually realized is that I have also experienced improvisation as an ensemble, of collectively making a musical moment and learning how to listen and observe other improviser’s work. More importantly I am forced to communicate to many people directing and depicting my musical self.

Suddenly I realized that I was wrong all the while— not only that mutual communication is the essential condition for success and accomplishment, but how communication is the essential key for genuine expression and transmission of thoughts! It is only by communicating to others that one may understand about themselves. And the benefit that affects both parties—commensality gives expression and communication even more value and meaning.

Improvisation is not only self-edifying; it is also mutually benefiting. Consequently I have a new goal in my life, which is besides to live the best as I could be, to transmit whatever I have learnt to whoever that wishes to learn, while continue to learn whatever that whoever have to offer. Do let me reiterate: Why not try? Why not learn? Why not live? It would only get better!