NMH solo + Hubbard/Burton Duo and large group improvisation 101 Artist Colony August 27th 2003


Gerry Hemingway, Nathan Hubbard June 22 2003 Athenaeum Library


Skeleton Key Orchestra recording may-july 2003

The pre-production for this recording started in the early part of 2003 with rehearsals/improv workshops held fairly regularly at the Space. It usually worked out to two or three people playing and then talking afterwards. The most regular people to attend were Al Scholl, Isaac Tubb, Steve Vertigan and a few others. I had slowly been accumulating all the equipment I needed to make this recording happen, and I started recording in March, mostly small things, sometimes demos. The first recording was at DHCC and was a improv quartet for the beginning of Don't Look (which didn't turn out to well) and the double rhythm-section groove section of A Murder Of Crows. We also recorded the electronics section of AMOC at the Space a few weeks later. In addition to the rehearsals and recordings, we had several SKO gigs and I started the "splinter groups" project, forming smaller groups based off different sections of the large group and setting up performances for these ensembles. I decided to split the recording into two parts, the medium size pieces in one session and the large pieces at a later date. Most of these pieces were to be used for the SKO CD and a few were to be recorded for the san diego cycle recording. I made final decisions on arrangements and ensembles for the medium size pieces, sent out a million emails figuring out schedules, found a horn player, never got ahold of the second cello player (he did walk past the room we were rehearsing in - story for another day), reorchestrated Ty Constants percussion parts, found a harp player and copied parts. We had one rehearsal and then a gig at Dizzy's the night before the recording. The gig went amazingly smooth for what i was trying to do and considering there was a different line-up for each piece. The recording session went fairly smoothly (i was conducting, playing and engineering) with a few temper tantrums and missing trombone players along the way. We did around three takes of each piece, fixing small problems and adjusting mics as we went. Here is the schedule - 10:00am- San Dieguito River, 11:00am- Sand, Wind and the Vast Pacific Ocean, 11:45am- Making My Way Thru It/Waiting In Vain, 12:30pm- Sleeping Against Other Warnings (first section), 1:15pm- Next Love, 2:00pm- Is That You (Earl)? After the session I packed up, dropped off all the equipment I had borrowed from various people, picked up Curtis Glatter, drove home and crashed. We left the next morning with Jason Robinson for the Big Sur Experimental Music Festival.

NMH, Damon Holzborn, Darren Evans, Stephanie Robinson
NMH conducts A Murder Of Crows
After my truck breaking down on the way back from Big Sur, i got home and got down to work. I had two and a half weeks to finish inking the big scores, copy parts and get everything else together. Started pulling all day sessions of writing and copying - once a section of score was done i'd start on the parts. Listening to a lot of System Of A Down. Decided to do a weekend of recording, two days, almost everybody could make it. We would record at DHCC, a warehouse in San Marcos. The place is big enough for everybody (see above right), we'll make the lunch room the control room (see above left), and there is a soda fountain and popcorn machine plus a large cow head on the wall. Making a million phone calls/emails, changing schedules, got Eric Sbar and Harris Eisenstadt to come down from LA for the session. No percussionists. Found the solution in Jon Szanto, who had shown up at the last SKO gig to listen, sent me a very nice email. Funny, i would have never thought he would be interested in playing my music. So Jon came in to play the mallet parts, and then Jon, Curtis Glatter, Andy Burton, Marcos Fernandes and myself ended up overdubbing quite a bit of stuff later. Set up brass, woodwind and string rehearsals plus one rehearsal with everybody. A couple last minute flakes. Borrowed a marimba from Danlee, brought my kit, congas, vibes + full recording rig. Trying to find time to build a few more dopplerophones, we ended up with six. Got my brother and uncle to move my prepared piano to the warehouse for Steph and Scott to record with. Checking my sanity. Driving around borrowing equipment, mics, music stands and chairs. Set up most of the stuff friday afternoon, I did all the engineering, set up the mics, ran cables etc. Darren Evans came in to (save my ass) watch levels and press record. He also ended up playing percussion on a few things. Here is the recording schedule - Saturday June 14th - a murder of crows (section 1 and 4), sleeping against other warnings (sections 2 and 3), lunch, east on 53rd street (opening section recorded outside), don't look says the crow (ending section recorded outside). Sunday June 15th - don't look says the crow (section 3 and 4), raincastle (section 2 and 3). A totally insane recording session, we had electronics and Szanto on Saturday, Angela and Harris on Sunday, Lee made popcorn, Marcos and my brother took pictures on saturday, Kelly took pictures on sunday.


Big Sur Experimental Music Festival 2003







May 8th 2003 Tucson Arizona (pilgrimage to see Evan Parker, Alex Von Schlippenbach and Paul Lytton)
RTO buys beer with Evan Parker


Earl Howard Thursday April 17th 2003

pre concert lecture
mandeville recital hall
processing - taking peoples sound
play the music - it's a lot of fun
processing - the traces of the music
decide - well, i wanted to go on
- ah, lets play with this
alternatives that they didn't think of
the confined of what you're going to do
seen thru the eyes of someone else
another level of interaction
they get to discover it
Anthony - certain predictable outcomes?
they do certain things - logical things
i've prepared
processes that are made for specific contexts
fixed. its not
take that into account - what its going to sound like
its going to determine what I'm going to do next
they don't know they're open, but they are
clouds of sound - those things can be generated
this doesn't exist
Ann - harmony
you're just a little part of the machine
can't make motifs - its made out of blocks
that's all right - i'll drive it into the ground
submerged by a flood of something else
stories or not
don't want to make a mistake
the difference between the beginning and the end
contrast and blend with the instruments
geometric constructs
- from one harmonic construct to the next
if you set up a field of sound
hopefully it varies
there is no keys - thank you, that's good
i don't need to constituent harmonics
fields of sounds (linear processes)
it was gorgeous
its really old
spectrums - to keep them so its not always a bed of sound
i should be more precise
what i mean

sound that shifts in context all the time


Tuesday April 8th 2003
bright moments

back row-Chuck Perrin, Todd Sickafoose, Nels Cline, Jason Robinson, Scott Walton, Phillip Wachsmann, Katherine Hope-Jones, Justin Grinnell, Martin Blume, Bonnie Wright, Greg Buhlert, Lilse Ellis, Earl Howard, Miya Masaoka, George Lewis

front row-Scott Amendola, Eric Crystal, Joscha Oetz, Nathan Hubbard, Curtis Glatter




Nathan Hubbard Spring Tour 2003 - the Born On Tuesday Tour

Wednesday, March 12th 2003
Nathan Hubbard solo + Return To One
Lestats Coffeeshop
Adams Avenue, Normal Heights







Sunday, March 9th 2003
live in-studio @ KFJC 89.7FM
12345 El Monte Road
Los Altos Hills California




Friday, March 7th 2003

Disjecta, 116 NE Russell Street
Portland Oregon




  Thursday, March 6th, 2003
8 PM, $7 donation, All Ages
Polestar Gallery
1412 18th Avenue (at east union)
Seattle Washington
Nathan Hubbard (San Diego)
Steve Barsotti & Dave Knott (Seattle)
San Diego percussionist Nathan Hubbard, member of that city's creative music umbrella group, the Trummerflora Collective, comes to Seattle to play a solo percussion set on everything from drum kit to his own invented electro-acoustic instruments. Seattle improvisors and instrument builders Steve Barsotti and Dave Knott treat us to an opening set string-and-percussion conflagration. They will also join Hubbard for an invented instrument summit - not to be missed.

Wednesday, March 5th 2003 8:00pm
Nathan Hubbard - Phillip Greenlief/Garth Powell Duo
21 Grand
449B 23rd Street Oakland, CA 94612






feb. 12 2003

wednesday no andy
lunch at siamese - raining for days
baxters b-day yesterday - duo w/ lee quibble
up late monday night recording the rain - look at it coming down
crow=scavenger - to many of them this morning
bought wire for the drone machine (200 feet)

straw mushroom=good
flow chart of the infatuation
(don't look)

everything i need for a sustained artistic career is on my patio

i have been hungering for
chocolate and sex
i miss your smell, your touch
this morning i sat in bed wanting
hot tea and you


feb. 10 2003

how we end
or, as j&j said - when we fail

two women
four reasons to not pay attention,
and stare at the actions of
the blonde (fake) with the tattoos
to much m. gira
lou harrison is gone

real (fake) reverb
drone - warehouse - plectrum - pickups
skeletons in my closet
leftstump / castor and pollux