Junk Kitchen #18

Toy Instrument Toy Drive

Friday, December 13th at 8pm.
The Lily Pad 1353 Cambridge Street Inman Sq. Cambridge. 

Junk Kitchen pairs up with Toys For Tots of Boston and Children's Closet of Peabody in presenting "Toy Instrument Toy Drive": A toy drop event that brings creative music, charitable cause, and community awareness together in one special holiday musical event! 

Donate $10 and/or an unwrapped toy of equal or greater value at the door, and listen to a diverse mix of local Boston musicians perform their music on toy 

Our mission: To help these charities raise awareness for their causes, help families who would benefit from these donations, and encourage local musicians, performers and audiences to engage proactively with the community. 

Friday, December 13th at 8pm.
The Lily Pad 1353 Cambridge Street Inman Sq. Cambridge.

Featuring: Compostions, Arrangements and Improvisations
Ben Dicke
Matt Samolis
Alfred Marra
Jacob Mashak of the Mobius Toy Piano Festival
. . . more!
The Resurrectionists


Junk Kitchen #17


A Musical Tasting 

Organic music is paired with local food samples! 

FEATURING: Eve Boltax, Mary Joy Patchett, Matt Simolis, Ryan Kowal, Paul Jacobs, Ben Dicke and many more TBA!

Friday November 15th - 8pm - $10
       The Lilypad 1353 Cambridge Street- Inman Sq - Cambridge 

Music has its miniatures, its songs, the sonata form and the symphony. Food may come to you as an appetizer, a side, a main course or a dessert. Both have existed for millennia (perhaps food having been around a bit more) and both have maintained their designated places in society, i.e. the dance hall and the greasy spoon. The body can’t live without food and the soul can’t survive without forms of expression. It seems rather difficult to imagine a world without either… Well, perhaps certain sects of monks can survive without food… But for the rest of us, both are as important as the air we breathe! So if this is true, why are these two so disconnected? 

Food definitely has its tastes, textures and smells to lure one in. And in some echelons of restaurants, the presentation of food can be visually stimulating as well. But does food have a sound? No, I don’t mean the sounds of food being made i.e. the noises of a backed up kitchen with the head chef about to loose his head. I mean an aural stimulus that’s experienced while eating. Aside from crunching and slurping, food never really found its way into the sonic realm. I mean eating is a social activity, after all, and why should any extra noises spoil a good conversation? 

Well, what about music? Sure we all pretend one way or another that we have a relative amount of “taste” in the arts (though I hope you haven’ t taken the term too literally) and so we all tend to express our feelings through borrowing terminology from other disciplines. For music, we seem to lavish it with the use of visual and temporal metaphors to express the sensations it provokes. Phrases like “blue notes,” “harmonic color,” “dark chords,” “melodic shapes,” and “warmer tones,” are used throughout all musical genres to describe intangible characteristics of pieces, and are spoken by virtuosic classic players and “hippies” alike. In fact there’s so much of this vocabulary floating around that it would be quite possible for one to mistake music as a visual art, if you were only hearing descriptions of it. Perhaps that’s why so many ethnomusicology graduate students end up with careers in… professional photography?

As Thanksgiving marks the beginning of this year’s ever turbulent holiday season of consumer spending slip-and-slide we should finally attempt to acknowledge music’s place within this festive feasting once and for all. I don’t mean by intentionally performing dinner music live although an in person Muzak show is on my bucket list… I mean this: can these two pillars of history, culture and experience finally be on the same mutual bill? For generations these two things have traded off their limelight in their respective venues with one being more important than the other. If I go see live music at a bar, will the food surpass the quality of musicianship? Or if I go to a “fancy” establishment, is there ever a possibility that the canned music will outshine my pumpkin ravioli in cream sauce? Well, not likely. But who has really tried before? Can the two ever be on the same plane without one being on the backburner or playing second fiddle?

Junk Kitchen wants to bring these two worlds into one program by pairing them accordingly as a part not of the same show, but… the same menu. “A Music Tasting” is our attempt at bridging the gap by presenting pairings of organic music and local food simultaneously. The night will be made up of a variety of different performers and local food venders who through these pairings will hope to create a new way to eat and listen. Perhaps this is our take on “smell-o-vision,” the early 60’s theater trick of releasing scents into the air of things that were on screen so as to enhance the audience experience. This is most likely something NOT approved by the EPA, FDA, CDC, the Chemical Hazard and Safety Board, or the Clean Air Act. But with organic music and local trusted food I think we’re safe to explore the frontier of “aural tasting.” Our mission: to discover how music and food when paired together enhance our sensations in a complete experience beyond their individual parts.

Eve Boltax, Mary Joy Patchett, Matt Simolis, Ryan Kowal, Paul Jacobs, Ben Dicke and many more! -



                               FRIDAY OCTOBER 25TH 8PM $10 

                 The Lilypad - 1353 Cambridge St - Cambridge  


      90’s alternative under the DANGEROUS influence of 1930’s Jazz and Blues 

The Junk Kitchen wants to bring to attention the dangers of “Blues” and “Jazz” by performing Grunge classics under the influence of this highly energetic and dangerously sexual “swing” style. Music of the Stone Temple Pilots, Soundgarden, Nirvana, Collective Soul and other 90’s hits will be performed in ways that until now weren’t imaginable. We will show you how it is possible for jazz and blues to be played through this music and how a little dancing, improvisation and “vibe” can really change they way we hear and experience live music performance. 

Kelly Robarge – Tenor Sax      Allie Bosso - Trombone             Eric Hofbauer - Guitar 

Paul Jacobs – Piano      Scot Fitzsimmons – Bass    Ben Dicke – Drums, Arranger, MC 

Jazz and Blues have done it again! They’ve attacked some unassuming songs by jumping its form, overtaking its chords, and shaking its feel into a woozy sway. These attackers make their victims contain the quality this gang claims to represent: Swing. But unlike their normal tirades of forcing “blue notes” and “Jazzy” rhythms onto the ancient great American song book, this time they’ve put their filthy, dangerous stylings on Grunge. 

“Wait! Really? . . .Grunge?” one might ask. Yes! The music of our generation. Jazz and Blues have infiltrated the sacred soundtrack of our suburbian consumerist subculture of twenty years ago with loose feeling swing, raunchy syncopated rhythms, and off-putting ‘blue’ notes that are the hallmarks of lively Jazz. According to authorities, last week our music was found in Inman Square, knocked out in an alleyway, reeking of bad whiskey and “jazz cigarette” ash. They were quickly revived and performed by local musicians, checked for vital signs of “grunge” authenticity: heavy distorted guitar riffs, overly personal lyrics, and super straight drums grooves. But due to the spell that Jazz and Blues had put on these victims, these songs seem to display a new lease on life as they’ve been reported to be drunk with swing, unable to walk on a straight beat, slurring their notes, bending their tones and singing in highly sexual ragged syncopation!

For a long time we’ve assumed that grunge and other sterile musical styles would be safe from these attacks. Why would the limited harmonic language and indulgent lyrics of 80’s new wave, late 90’s rap rock, and today’s pop music be tempting to these terrorists? Perhaps it’s payback from the appropriation of Rhythm and Blues to the more social acceptable Rock and Roll of white audiences in the 1950’s. Perhaps they are giving us a way to listen to and enjoy our music in the same ways it has been brought to generations before us… Could it be that? Is it possible to make this introspective music of the past a fun social event of today?? Or is it a dirty trick!!?! Don’t let this M.U.I.O.M (Music Under the Influence of Other Music) tempt you into believing that “swing” is the prerogative for “fun” with grunge. These are dangerous individuals!

As we approach a post-post-9-11 world we must recognize that any aspect of normalcy can be a potential target for a terrorist attack- regardless of its likelihood. And these efforts should not fall short of protecting our music, arts and culture from such threats. Even if these threats come not from a foreign ideology but a… past American popular culture. Nevertheless it’s of great importance that we inform people as a public service to the dangers of music being swung drunk and beaten blue just as these songs have been. Doing so can protect a public from the dangers of their influence and inform future generations to stay away from the gateway drug of the swung 8th note. 

The Junk Kitchen wants to bring to attention the dangers of “Blues” and “Jazz” by performing Grunge classics under the influence of this highly energetic and dangerously sexual “swing” style. Music of the Stone Temple Pilots, Soundgarden, Nirvana, Collective Soul and other 90’s hits will be performed in ways that until now weren’t imaginable. We will show you how it is possible for jazz and blues to be played through this music and how a little dancing, improvisation and “vibe” can really change they way we hear and experience live music performance. Especially music that was once so definable by being the opposite of what it has become. But beware: if we don’t stop Jazz and Blues now from seducing others into their spell, there’s no telling how far they’ll take their acts of musical terrorism into other styles. ‘Cause you never know what music they’ll turn onto next! Love songs? Nursery rhymes? Children’s songs? Your own children? In this case, if you hear something, say something!


1. Stay away!! Cover your ears and run in the other direction. Once at a safe distance urge others to do the same. Try not to frighten them, especially seniors, babies and small dogs. Just tell them to “act normally” and to ignore the music that may be within earshot. 

2. Listen to the radio! Now’s the time to pull out that old battery operated radio that you’ve been waiting to use for hurricane disasters and such. Make sure it’s battery operated because listening to your home stereo won’t make it feel much like an emergency. Turn to any Religious AM talk, Sports, or right wing radio. That will keep you informed about this and other relevant social issues. Any pop/dance stations touting to be “the new” so and so or “hot” whatever are best bets!

3. Listen to CDs! . . of preferably the original versions of what you’ve just heard. Resist the urge to rush to iTunes, Spotify or YouTube though. If you want to fully cleanse yourself, using the original 90’s medium is the best. Don’t have any CDs anymore? No problem! Originally marked at $19.99 in their heyday, Compact Discs are now likely to be found in the dollar bin at most consignment stores. But don’t be fooled, the price tag just reflects the lack of demand for the last great physical medium, not its quality… those 1’s and 0’s still know how to rock! Plus, CDs seem to be safe from any culture predators like Jazz and Blues because digital formats inherently have no vibe. This also makes CDs hipster-proof, too, because they don’t seem yet to capture some quirky nostalgic value like tape cassettes do, and they don’t nearly hold the same aesthetic and cultural capitol as vinyl does. I mean, you really can’t hang up framed CD cover of Pearl Jam’s “TEN” and feel cool about it… can you? 

4. Watch TV! - Flipping through a few hundred channels works, although watch out for classic movies of the 40’s and 50’s and the weather channel - they might feature this music as well. MTV is a good stand by even though it tends not to play music videos anymore. Their programming consists of a lifetime’s worth of pathetic mindless self-indulgent pop culture dribble… which is good!

5. Buy Something! Anything! Spending money will get you to forget the Traumatic Cultural Event (TCE) that just happened to you. Shopping online is OK but to be safe the mall is your best bet. After trying on a few pairs of shoes, eating a giant fake butter inspired pretzel and being surrounded by the kids of today, you’ll say to yourself “wha- just happened?” (FYI - CDs are NOT sold in Malls anymore)

 FOOTNOTES - 1 Grunge is a style of rock music that came out of the early 90’s Seattle music scene and shares lineages with hardcore, punk, and other underground scenes of the time, but not with 80’s Hair Metal. It gained popularity with acts like Nirvana, Pearl Jam and Soundgarden who overthrew the then flamboyant 80’s Hair Metal sound, attitude and aesthetic. Typical characteristics of Grunge music are medium tempos of dark riffs, spacey vocals, deeply personal lyrics and generally creepy music videos and not being 80’s Hair Metal. The popularity for the music grew mainly because the kids of that time were in desperate need of something that could serve as a soundtrack to their seemingly unique lives of: living in suburbia, going to the mall on Friday nights, hating your parents for worrying about you, hating school, wearing bad clothing, not grooming, being bored, being depressed (or at least thinking you were), hating school (and those who excelled in it), filling spiral bound notebooks filled with bad poetry about extremely localized first world problems i.e. “Why am I so weird?” and, of course, not listening to 80’s Hair Metal.

2 References to “our generation” and “our music” in this description actually refer to a specific demographic of people of this country in a very specific time period with shared specific interests and aesthetic traits… so on the worldly grand scheme of things “our” is more exclusive than it may seem. Basically if you went to high school in the 90’s, and meet the social characteristics displayed in footnote 1, you’re generally a part of our “our.” One could also say that this was the last generation to not grow up with Apple products, cell phones, and the Internet until at least college. If you did grow up in the 90’s and still don’ t know what I’m talking about, you might have of spent more time involved with sports, forming meaningful relationships with positive people, and/or overachieving in high school, playing classical music and thinking about the future, fully unaware of the great popular sub-culture revolution of the early 90s… or you were listening to 80’s Hair Metal.



Thursday August 29th 8pm @ The Lily Pad

1353 Cambridge St. Inman Sq. Cambridge


They’re flying around, flustering about and making those chirping sounds! Birds are everywhere!        But what are they singing about? . . . and why?!?

Junk Kitchen investigates this phenomenon as close as you can without binoculars or birdseed. We’ll analyze their songs and interpret them into musical pieces as well as perform works that use bird songs as thematic material. In the end we hope to appreciate these birds in ways that most of us never of thought to do so. For all the music that these creatures have made for us, perhaps it's time that we make a little music for them too. 

Wait. . . What? Is that right? Did you say that birds actually learn their songs? Huh well I guess they’re natures musicians after all! I didn’t know that! Hmm. . . what other interesting bird facts are there?  Well, fly into the Lily Pad and find out! It’ll be a Hoot! . . . (sorry.)  $10 


Bird Calls:  We'll perform F. Schuyler Mathews transcriptions of bird calls cited from his classic "Field Guide to Wild Birds and Their Music" from 1902. 

Bird Call Tunes: Original music written especially for this program, with melodies based around these bird calls and songs. 

Messian Selections: Piano pieces by the ultimate bird-song composer. 

Bird Music: tunes inspired by these fascinating little creatures.  

Soundscapes and Improvs - imagine yourself in the Lily Pad imagining that your in a imaginary forest of these sounds. . . .  


Matt Simolis - Flute
Pam Marshall - Horn 
Eric Hofbauer - Guitar 
Paul Jacobs - Piano 
Scot Fitzsimmons - Bass
Ben Dicke - Drums and M. of C. 



Breathless: A Kenny G. Tribute 

186 Hampshire Street Inman Sq Cambridge 
 Can this avid high-level amateur golfer
 ever score a ‘hole in one’ with musicians?

In 1966, a 10-year-old boy of Seattle, Washington, by the name of Kenneth Gorelick, took up two hobbies: golf and playing the saxophone. His swing—at golf that is—proved quite successful as it eventually granted him a place on his high school team. His abilities on the saxophone, on the other hand, left something to be desired: he was initially rejected from joining the school jazz band.*

Always the optimist, Kenneth stuck with music and was determined to learn the craft that is jazz saxophone. He soon joined his school’s band after properly mastering the basics, listening to Grover Washington records for inspiration. These late night ‘sessions’ of listening to well-produced R&B jazz-like ballads in his childhood home would prove formative in the quest for his personal sound. This music was also popular with a demographic that would eventually become his fans.

Meanwhile, years of determination on the golf course led Kenneth to be featured in many tournaments. Learning from legends Tiger Woods, Jack Nicholas, and Arnold Palmer, he won Golf Digest’s Best Musician in Golf Award in 2006, and second place in 2008. Many professionals and enthusiasts consider him quite an accomplished player, sporting a +0.6 handicap. Unfortunately, however, praise for this golfer would remain confined to the course. Kenneth Gorelick would have to become Kenny G in order to change the world. His Arme de Choix (Weapon of Choice): the soprano saxophone. His followers: confused pop instrumental music lovers convinced they listen to jazz.   

Pat Metheny on Kenny G:
I can understand why people don't like Jazz, because right now, sometimes you say the word 'Jazz' and people think of some of the worst music on earth. Like, for instance, Kenny G. I mean, there's nothing more stupid than that – let's face it, it's the dumbest music there ever could possibly be in the history of human beings. There could never be music any worse than that. And now people think that that's what Jazz is. That's not what Jazz is, at all!

Kenny G on Kenny G:

I’ve never personally criticized anyone else's music, but I know that the public's real problem is not the music I make but the perception that I play simple music for money only and for the notoriety and to increase my popularity.

According to Einstein, ‘Great sprits have always faced opposition from mediocrities.’ Of course we tend to forget another quote from dear Alfred: ‘Too many of us look upon Americans as dollar chasers. This is a label, even if it is reiterated thoughtlessly by the Americans themselves.’   We need to realize that at the core, all Kenny G wanted was the respect of his peers at the cost of Kenny Gorelick’s reputation. After decades of hard work at bringing his brand of jazz to the listening public, selling over 75 million albums and touring all over the world, one would assume that musicians like fellow ‘fro-haired’ guitarist Pat Methaney would be singing his praises, inspired to reach for similar heights.  Unfortunately, this is far from true. To understand G’s accomplishments, one has to accept him for who he is: one of the most controversial jazz musicians of all time.  But unlike jazz pioneers before him, he has avoided the conventions of pushing technical boundaries and transcending contemporary jazz harmonic tendencies and melodic phrasing. Kenny G set out to create his own musical language by not following these trends, but by playing only with the aesthetics of ‘harmless’ jazz.

Consider the following imaginary scenario: If you described jazz to a musician, without letting him hear it, and then had him perform what he thought jazz was, you would have smooth jazz. But it’s hard to explain the experience of ‘real’ jazz, leading to the common claim that jazz music picks up where words fall short. In the case of smooth jazz, however, words can describe it just fine. It’s not the notes Kenny G plays, but rather the sounds that come out of his horn that people want and love. G’s music consciously downplays the more contemplative and emotional aspects of conventional jazz, arguably rendering a comparison between the two ‘jazzes’ somewhat irrelevant. Perhaps we could better compare Kenny G with… Grover Washington, right?

The great saxophonist  Hoots “the Owl” of Sesame Street fame said once that it is considered wise to ‘put down the ducky if you want to play the saxophone.’ In Kenny G’s case, you might have to ‘put down the golf club if you want to play jazz.’ But with smooth jazz, it might be possible to double-fist both and do just fine. The controversy here is not that Kenny G is failing to pay his dues to the jazz tradition while making quite a pile of money (even though that can get annoying.) The real issue lies with the greater jazz community desiring that he tote his share of the burden of being a contemporary jazz musician. What if he were just to play ‘smooth music?’ Then most of his critics wouldn’t think twice about him! But by using the word ‘jazz’ to classify but not describe his music, it suddenly puts jazz musicians on high alert. They often curse the style and demand that this ‘smooth music’ carry the same meaning and authenticity that ‘jazz music’ has for them. But Kenny G doesn’t play the authentic jazz musician’s definition of authentic jazz music. He plays authentic smooth instrumental music whereby he is authenticating the aesthetics of authentic inauthentic sounding jazz, authentically. In other words, just because McDonald’s offers hamburgers and fries does not mean you should expect them to accidently give you steak frites. (Because secretly that’s what you really wanted, but you didn’t want to spend the money.)

Junk Kitchen will be the caddy that hold up the flag at the ‘hole,’ if you will, of the smooth jazz debate. We will present both sides of the argument with respective role reversals in an attempt to finally achieve what players of both styles of jazz really want: to be at once popular and artistic! Selections from Kenny G’s smooth jazz catalogue, arguably the most hated in all of jazz, will receive the ‘legitimate jazz treatment’ and be performed in honest and meaningful ways. The flipside will be jazz classics performed smooth jazz style. The centerpiece of these two sets will be a live reenactment of Kenny G’s most controversial performance of Louis Armstrong’s ‘What a Wonderful World.’ This show will help you take your own swing at the tee, but be careful, for the wind might change direction as soon as you let fly.

And now, folks, for our witty conclusion: Could the music presented here be a smooth hole in one, or will this jazz music leave you stranded in an emotional sand trap? The golf course is Outpost 186. The hole, Installment #14. Tee time is Sunday June 16th at 8pm. The entrance fee is, as always, a humbly suggested $10.

Kelly Roberge– Sax
Esther Kurtz – Oboe
Eric Hofbauer – Guitar
Paul Jacobs – Piano
Scot Fitzsimmons – Bass
Ben Dicke – Drums

*Typical high school jazz bands are made up of 14 to 17-year-old students who display an intermediate proficiency level on their respective instruments and show a marginal interest for jazz music and/or participating in afterschool activities. Though ‘Jazz’ may be the genre these students are understood to play, often core elements of traditional jazz performance are omitted, namely improvisation, stylistic inflections, and ‘bluesy’ melodic vocabulary. Instead, these HS ‘Jazz Band’ ensembles tend to favor practices such as ‘just being able to play in tune’ and perfecting the art of  ‘everyone coming in at the right time.’ Many of these challenges are addressed by having students perform through-composed parts and solos, sometimes leaving out improvisation altogether à la Gunther Schuller’s Duke Ellington transcriptions (minus Duke Ellington.) Thus, apparently the young Kenneth Gorelick did not display proficiency even at this very rudimentary level.  His failure to meet the requirements of joining such an ensemble is of particular import, as it demonstrates the hill that the young instrumentalist had to climb in order to become the world famous smooth jazz visionary, Kenny G.



Electronically Yours, Acoustically Speaking

Friday May 24th 10pm 
The Lily Pad 1353 Cambridge St
Inman Square Cambridge Ma 

Click here to listen to this show!!!

Could the final frontier of electronic music be to perform its broad repertoire of composition, sound experiments and popular song acoustically?


Landmark pieces will be arranged and performed without the use on any electronic component. Video game themes, audio logos and music from electronic pioneers Raymond Scott and Kraftwerk featured. $10    


To say that electronics have sneaked their way into the music world is a bit of an understatement. For decades, this music technology has pushed the electric impulse—that damn one and zero—into every corner of music performance, recording, composition and synthesis. (Exceptions being, of course, traditional world folk music, early Bob Dylan, and holiday performances of Handel’s Messiah on 18th century period instruments.)

By harnessing the sine wave, the great sonic explorers of the 50s, 60s, and 70s employed newly invented ‘sound machines’ to shape the attack, sustain and decay of pure tones. With the synthesizer, a few twists of a nob and a few patch cables later, experimental artists were able to replicate the sounds of a full orchestra just as easily (well maybe not quite in those days) as they were to birth sounds we associate with post-space-age life. Today this technology is largely used to eliminate the hassle of . . . playing actual instruments or, worse, hiring people to do so. Not long ago, recording a jingle required hiring an army of musicians and arrangers! Today this music can be manufactured at a fraction of the time and cost. Most of us simply accept this sonic substitution as part of the aural soundscape. But with so much of this music in our ears why should we ignore it? It is perfectly possible for people today to live their entire lives and never hear music in its purest form: the live acoustic performance. Not through a digital recording, not on a DJ’s laptop, and not through the MUZAK station blaring soft rock classics through tinny speakers hanging in the drop ceiling of your ‘local’ pharmacy chain. For the ‘techie,’ this is a mission accomplished! For the purist, this a frightening thought. For the Junk Kitchen Concert Series, this is yet another challenge! 

In an age of digitizing the world, can this process of analogue to digital be reversed? Can music created on computers, played on electronic instruments, and recorded digitally be performed acoustically? And if so, what is lost? What is gained? Why should anyone care to do so anyway? Well, great attention has been brought to the hazards of eating processed foods; shouldn’t there be at least a dialogue about the potential risks of consuming ‘processed music’? 

This program will be broken into four sections. We will take what is generally considered ‘functional’ electronic music and tear it away from its digital and midi files to perform it in the flesh, with an all-acoustic ensemble. Not only will this show allow the listener to hear some of this music live for the first time, but we are also giving this music an artistic acknowledgement that’s long overdue.

The Program:

Video game music: The music of the Nintendo video game system has long been a staple of 1980s and 90s pop culture. Selections from the Mario Bro’s franchise will be performed with a live ensemble, along with a special performance of ‘Duck Hunt.’

Kraftwerk: This German group of the 1970s paved the way of the electronic/industrial music movement. Their songs, with simple melodies and strict dance rhythms recorded on an array of synthesizers, were to be the soundtrack to an inevitable singularity between man and machine.

Audio logos: What’s an audio logo? Simply put, it’s a musical motif that acts as a sonic identity, used by corporations in radio and TV promos. Think of it as the bird song of business. Isolated out-of-context, the audio logo may seem like a familiar sound never before really ‘heard,’ or a 
warm childhood memory of watching public television.
 Such a thing of modern beauty, the audio logo. 

Raymond Scott: An unsung hero of composition and electronic innovation. We’ll perform pieces created under the Manhattan Research Inc. alias. Under this firm, Scott first commercialized musical electronics produced by his invention, the ‘electronium’: an early electronic synthesizer and algorithmic composition/ generative music machine. From the May 2012 ‘Raymond Scott Review’ the selections ‘Lightworks’ and ‘Paperwork Explosion’ will be performed.

 Junk Kitchen is paying tribute simultaneously to both worlds: Electronic music played with acoustic instruments, baby! 

Those who refuse to believe that this music can be performed accurately won’t go to this show. They’ll regard this description as nothing more than a just another one of our rambles about a program that puts opposites together and whatnot. They’ll stay home and spend the evening in an enclosed darkness, searching for something online that will, at best, only give them a fraction of what this show will offer. We shouldn’t blame them for their reluctance. We live in a world where the feeling of doing something is replacing the actual experience of doing it.

 Ironically, defying this is at the heart of this installment’s mission. Will these pieces be acoustic imitations of electronic sounds or are they somehow the original sounds on which the electronic music is based? And upon answering this question, could a new frontier of music, or at least a conversation, be founded on the exploration between the two? How do these sounds measure up in the compassion of curious ears? How will the dark timbres of strings stretched taught over aged wooden bodies compare to the purity of the sound wave? How will a quantized pulse of time be felt against the mighty swing of the heartbeat? How will a chorus of cent-by-cent auto-tuned voices support the cry of blue notes sung out of the depths of genuine human experience? The end result will not only allow us to gain an understanding of how acoustic performances differ from electronic ones, but it will ultimately reveal what we have lost by giving way to these technological innovations. It’s quite possible that the sounds of this music might make it unrecognizable to a few or sound a bit funny to others. At minimum, the music of this night should lose its digital characteristics. Such a cost is negligible, for this night of acoustic performance may finally give electronic music back its soul.

 Electronically Yours, Acoustically Speaking

The Junk Kitchen Concert Series 


William Kenlon- Flute 

Esther Viola Kurtz - Oboe
Eric Hofbauer - Guitar 
Al Marra - Vibes
Paul Jacobs - Piano
Scot Fitzsimmons - Bass
Ben Dicke - Drums/MC