"This is the same recording as the other version but with the vocals intact. The title, 'My Room' may not seem to connect with the music until the lyrics are heard, perhaps not even then, so a brief explanation: the lyrics come from a kind of cut-up I did, from local and national newspapers. That is, similar to the method used by Burroughs & Gysin but I did actually structure them a bit after the initial cut-up was done. I had planned to do a new one each time we performed the piece but the first one was quite intense and it just stuck".

It is often the more obscure and unheralded events, performances, works, etc, that are most inspired and innovative. On rare occasions all the elements are in place for something extraordinary to occur. This can involve so many intangibles and factors that are beyond the performers' control that only chance can claim credit for bringing it all together at a certain time and place... for setting the stage so to speak. What is then most required of the performers is surrender, and in doing so to discover and explore possibilities far more interesting and inspired than a more contrived effort could possibly render.
Such was the case one night in September, 1980, Nashville, TN : a performance, a sonic journey, an assault, a plunge into uncharted territory. The band: Actuals. The music of the band in general was always difficult to describe; but this piece, and especially this particular performance, is truly unprecedented and beyond the scope of any genre. Perhaps the most accurate (if inadequate) description is to say that it is 'insanely original'.
The occasion and the setting in which this performance took place was quite extraordinary as well. The little club (Phranks 'n Steins) was packed to overflowing and charged with an energy only possible at that time and place and among those individuals and collective spirit. As the music progressed, people in the crowd were yelling, screaming, at times even crying. Especially strange are points of interaction between the music and sounds from the crowd, for instance toward the end the guitar can be heard mimicking yells from someone in the crowd and similar occurrences with the keyboard. Among the audience were the members of a little-known band called REM, who were also playing that night. All this, and many other factors made for a very unique and special event, one of the most singular and intense performances of this, or perhaps any other, period in Nashville, however obscure and lost in time. At least now the music is found and finally presented here. More details are forthcoming on the experiences of this unusual night.

my-room-actuals-live-1980



My Room-Actuals live-1980

A short piece for exp film, by Stephen Anderson/ Actuel.

Gatto (1982)

Recorded live at the Frist Center, Nashville, TN. The title relates to a few things, mainly that the piece is built on an 8-note scale (oct=8), sometimes called a 'symmetrical diminished' scale. Also, the title comes from lyrics in a Syd Barrett song titled 'Octopus'-  but there is no musical connection or similarity, I just like the sound of the words. The sound quality of this recording is not the best, as it was recorded live on a small mini-disc recorder, but the content is what matters. 

 This was a solo gig so for this piece I play an initial phrase or motif and use a device to loop and play it back: an ostinato pattern over which I play- mostly improv. The pattern consists of 3 measures which repeat sequentially. It's rhythmically interesting in that each measure is in a different meter, that is, each one has a different time signature- as follows: 4/4, 5/4, 7/4. Since the 3 measures make up a single repeating phrase, it can also be thought of as one long measure, with a time signature of 16/4 or 4+5+7/4. 

Actually when engaged and into playing, I seldom count but rather it's a matter of feel and flow. The mixed meter is a challenge but it inspires many ideas that would never occur in simple time. Once the unusual meter feels and flows more naturally, the challenge becomes, not dealing with the mathematics, but allowing the piece to unfold in the most musical fashion, melodically and harmonically, as well as rhythmically.    

Octopus Ride

21 years ago today, June 4, 1993, one of my oldest friends died, suddenly and unexpectedly. I met Carlos Hernandez around 1969, when I was 15 or so. When I realized the date today I wanted to somehow revive his memory, to find a way to evoke something of that singular, wildly unique, Cuban ex-patriot:  painter, performance artist, fellow explorer on many roads, through Nashville- San Francisco- South America- NYC- and many points in-between and beyond. So I decided to share something from a recent discovery: a tape of Carlos with my band Actuel, a live show in 1982. 
A bit of history: the very first incarnation of Actuel was in San Francisco, a duo: myself & Yael Gaubert on bass. For one of Carlos' performances (in San Fran-1980 or 81) we recorded a piece called The Job, which was the music from a piece of mine called The Wait, with text by Carlos', a piece titled, The Job. Forward a couple of years: Carlos shows up at an Actuel gig in Nashville. It happened that we did The Wait that night and were playing it when unplanned and unexpected, he commandeered a mic and recited The Job text as we played. Well, I had forgotten all about this until recently when I discovered a box of several tapes, etc, from those days and on one I found this... it had been recorded but lost for all the years since.  
So here's remembering Carlito... some music, a voice- disembodied but not forgotten.   


The Wait/The Job- Actuel W/CH Live

'Will o' the Wisp' is a Spanish-Andalusian folk melody. It's played many ways traditionally: on guitar, ensemble, etc. Probably the most recognizable version in more modern times is by Miles Davis on his LP "Sketches of Spain". I've done this piece many ways through the years, including versions with band Actuel, but this version is done with guitars only: 3 parts/tracks on nylon string, including the bass line played on nylon string guitar as well, but tuned down to a lower register.

Will 'o the Wisp (sda-guitars)

'Letter to Hermione' by Stephen Anderson: guitar, Rusel Brown: vocals. From a live performance: "Mosaic: Ides of March- implore" on March 15, 1989, the 2nd performance of a project by Stephen Anderson and Rusel Brown (O'Brien) with Giles Reaves and many contributing allies, including Andy Norman, Suzy Ashmore, Jon Ausbrook, Matt McClendon, Marky Nevers, Carlos Hernandez, John Murray, Bill Wise, Margaret, Tony Crow, Tommy Dorsey and others. It was staged in a space next to the World's End, a presentation with live music (guitar & percussion)and  voice, taped sound, spoken word, and film. "Letter to Hermione" is a David Bowie song from 1969; this is a short & somewhat ethereal interpretation .

Letter to Hermione- live/Mosaic

From 1st live performance by Stephen Anderson and Rusel Brown (Mosaic), Dec. 18, 1988 at 12th & Porter. Sound quality of the recording is not very good, recently found on an old cassette tape, but a unique performance so perhaps that makes up for the low quality recording. With Stephen(Steve): guitar and Rusel: vocals, also Tony Crow & Giles Reaves helping with production/sound. A Christmas show titled 'The Present'-packed house.

My Funny Valentine (Mosaic live)

Stephen Anderson: guitars, music; Rusel Brown O’Brien: vocals, words; Giles Reaves: production, recording 
From 1988-89, Mosaic was essentially a duo project with myself (Stephen Anderson) and Rusel Brown O’Brien, but with contributions from a number of artists and friends, most notably Giles Reaves, a third member in a manner of speaking, who produced most of our music; also Tony Crow, Tommy Dorsey, Andy Norman, Tony Gerber, Jon Ausbrook, Marky Nevers, Suzy Ashmore, and a few others. Most of the recordings that exist are unfinished, including this one, but the essence is intact so I decided to post. Stephen Anderson: guitars, music; Rusel Brown O’Brien: vocals, words; Giles Reeves: production, recording

Mosaic studio

I Need Time (Mosaic)

Stephen Anderson: guitar, Gary Rabasca: fretless bass. Song written by Rabasca and Anderson, recorded live in basement on Cedar Ln. 'Outside-In' (aka: 'Balloons').

Back Pages

Outside-In

Someday My Prince Will Come- Lenny live
Found this recently on an old reel-to-reel tape. Recorded by my friend & fellow musician, bassist Barney Evers, in Nashville at Mississippi Whiskers, I'm not sure of the date. Lenny is in fine form and high spirits and his playing is really together. Also, the rhythm section is giving him exactly the kind of support that allowed him to go places that weren’t possible with a less sympathetic section. This is largely due to the drummer. Lenny played with some fine drummers here but few that I felt were able to really listen and flow with Lenny, and to anticipate the directions he loved to go. Partly it is rhythmic playing with subtle pulse, without dictating the groove so much, not pushing too aggressively. Some players respond to this kind of thing but Lenny needed something quite different, and the drummer on this tape, Marty Canfield, is right where he needs to be, at least on the part I’ve heard so far. 
On bass is Richard Cotten, who played with Lenny very often, but never with the kind of feel that he does here and on some of the other tunes on this reel, I don't think. Richard was really a guitarist & mostly only played bass occasionally with Lenny, for support. But he knew the changes on countless songs and was always solid. But on this night he is playing better than I recall before at Mississippi Whiskers. 
So this was an exciting discovery, especially when I thought I had found all the tapes made here during those times, by myself and others. This first song I’m posting is, “Someday My Prince Will Come”. Another special & unique thing about this tape is that Lenny seldom played this song. I have heard him play it at home but I don’t remember any other recordings he did of it, live or studio. He may have done but I cannot recall it. He plays it here with such a range of dynamics and some of the feel and changes that Bill Evans' employed when exploring this tune. I’ll try to post more from the reel in future.    Stephen Anderson

SDAnderson

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