Skeleton Key Orchestra performances 2004

Adrian Rollini Trio +
Nathan Hubbard-vibraphone
Melonie Sacalamitao-piano, voice
Justin Grinnell-acoustic and electric bass
James Burton-drumkit

across the bridge (1998)
walled garden (for Ruth Larabee) (1992)
there is beauty there waiting for you (for Joni Mitchell) (2002)
….. (1992)
piano pieces 1/2/3 (1992)
waterlillies (for James J. Lynn) (2004)

Looking West Ensemble
Isaac Tubb-trumpet, flugelhorn
Karl Soukup-trumpet, flugelhorn
Kathleen Moran-horn
Steve Vertigan-trombone
Brandon Jagow-bass trombone
Samuel Behar-tuba
James Burton-drumkit, percussion
Nathan Hubbard-drumkit, kpanlogo drum, conducting

No Rain/No Water (for Fela Kuti) (2003-2004)

miss you peter (2003)

(Keep Your) Eyes On The Snake (2003-2004)

notes-

across the bridge (1998) - Much of the music written in this period (1996-2000) focuses on the expansion of rhythmic and harmonic concepts from the jazz tradition. across the bridge is a modally based composition in 5/4 time, with attention on the changing colors of various major and minor modalities and the use of melodic and harmonic anticipations. For kelly.
walled garden (for Ruth Larabee) (1992) - One of my earliest pieces, walled garden was originally written for the ensemble Return To One, but was never performed. walled garden is dedicated to Ruth Larabee, founder of the Quail Botanical Gardens in Encinitas.
there is beauty there waiting for you (for Joni Mitchell) (2002) - my gift to you - for the roses - my dreams with you - when i'm gone - all i want - to be with - you sleeping here - by my side - don't wake my love - till the morning - late night left for you - when i'm gone
..... (1992) - Another early pieces, also never performed. This is a vamp based composition with extended harmonies giving way to open solos.
piano piece 1/2/3 (1992) - Three early piano pieces forming a suite, mainly focusing on variations of a single motiv.
waterlillies (for James J. Lynn) (2004) - The most recent composition of this concert, waterlillies was inspired by the meditation gardens of the Self-Realization Fellowship in Encinitas. This 17 acre Hermitage was built in 1936 for Paramahansa Yogananda, and it was there he wrote his life story, Autobiography of a Yoga.
No Rain/No Water (for Fela Kuti) (2003-2004) - Why does great art always come from struggle? Inner struggle, struggle with outside forces, it doesn't matter. This piece is humbly dedicated to Nigerian musician Fela Kuti, who spent his life fighting the injustices of the Nigerian government.
miss you peter (2003) - for Peter Kowald - bass player, improviser, shining ray of light for hope.
(Keep Your) Eyes On The Snake (2003-2004) - It's the end of the program notes as we know it, and i feel fine. This piece is about conductors, snakes and other dangerous possibilities. Finally retiring, heh don? It's about time.

Early this year, after finding a large folder of early undocumented compositions, Nathan Hubbard set up a recording session to record them. The Adrian Rollini Trio + pianist Melonie Sacalamitao spent the day dealing with Hubbards horrible handwriting and less than inspired harmonic language of that period. Much of the music for this concert comes from this setting. The music of these sessions seems to be a move from the multi-layered approach of the trio to a more tradition look at harmony and rhythm with the quartet. Is this a step back? Who can tell. Hubbard is happy to tonight present pieces ranging from his earliest notated works to more recent extended works, as well as several pieces from his continuing large work, the san diego cycle.

Looking West Ensemble was formed as a splinter group from Hubbards large ensemble, Skeleton Key Orchestra. The splinter group concept examines the inner workings of the large group by separating the ensemble into smaller groups to focus on musical and social interation, continued investigation into each instruments extended possibilities and the (re)defining of community vs. individual. LWE is a brass sextet + double percussion which finds its inspiration in the myriad possibilities of colors and textures provided by the brass family.

Nathan Hubbard Skeleton Key Orchestra with Vinny Golia

Thursday May 6th 2004 Spring Reverb Museum Of Contemporary Art Downtown

1. I'm Gordon Hathaway and I'm from Manhattan

2. Six (for AK)

3. Lets move him over to short

4. I can't find it anywhere! (for Edwin Hubble)

5. There's an orange butterfly outside

6. Queste verde

all compositions by Vinny Golia

Ellen Weller - soprano saxophone, clarinet, piccolo
Adnan Marquez - alto saxophone
Jason Robinson - tenor saxophone
Gabriel Sundy - baritone saxophone
Karl Soukup - trumpet
Andrew Elstob - trumpet
Angela House - horn
Steve Vertigan - trombone
Brandon Jagow - trombone
Alex Panos - bass trombone

with special guest -

Vinny Golia - woodwinds

Derric Oliver - tuba
Gascia Ouzounian - violin
Sunshine Vogt - violin
Carolyn Tyler - cello
Jon Garner - electric guitar
Scott Walton - acoustic bass
Justin Grinnell - acoustic bass
Melonie Sacalamitao - keyboard
James Burton - drumkit
Nathan Hubbard - conducting

Saturday April 10th 2004 Percussive Arts Society San Diego Day Of Percussion, SDSU

Woodwind Ensemble - Ellen Weller/flute, clarinet, soprano sax - Adnan Marquez/alto sax, flute - Tracy McMullens/soprano, tenor sax - Jason Robinson/tenor sax, flute - Gabriel Sundy/baritone sax, bass clarinet, flute

1. improvisation / Promanade (Weller) / don't look says the crow (Hubbard)

2. improvisation / CT (Robinson) / Rag(Weller)

The Rubberband - Sunshine Vogt/violin - Al Scholl/electric guitar - Jon Garner/electric guitar - Justin Grinnell/bass - Joscha Oetz/bass - Scott Walton/bass

1. improvisation

This Rubberband concert was a nice opportunity for several members of SKO to stretch in an entirely improvised performance. Though we have played in such a context before, this evenings experience was much more cohesive and relaxed than previous outings, a reflection of our having developed a more complete history playing with one another. I felt that for the first time, this performance was truly an extension of the over arcing Skeleton Key Orchestra aesthetic. We were actually functioning as a splinter group of that larger ensemble rather than as six individuals. The music itself came very naturally and unlike so many improv sessions, nothing seemed force. The elastic interplay of simultaneous duos and trios within the group was befitting of the groups moniker. There was still an element of apprehension about individuals stepping to the forefront, but perhaps this was a result of the attentive listening and sensitivity that was taking place. Scott and Justin engaged in very playful exchanges while Joscha's aggressive approach functioned as the perfect foil. I consider it a testament to the level of musicianship that three bassists could occupy the same stage for a free set and still be so musical, never cluttering, never crowding anyone out. Jon laid down some tasteful inversions, adding fullness and breadth to the mix. Sunshine, a Skeleton Key newcomer, was a welcome addition to the ensemble. Her contribution was very musical and concise. Though she was understandably a bit shy, her churning, rootsy melodies were quite refreshing in such an experimental setting. I found the set a very inspiring one to be a part of and I felt that we approached some interesting spaces with minimal meandering. If we can abandon our musical manners a bit more and lose our inhibitions about jumping into the fray when the moment demands that we do so , I think we can stretch the Rubberband even further. One note; I did find myself missing the voice of a cello. I think that such a timbre presents a more complete spectrum to the string section. Be that as it may, I think I can say the set was a fulfilling treat for all involved. - Al Scholl

Thursday February 26th 2004

Robert Ackley - solo trumpet and electronics

1. improvisation

2.balinese gamelan piece

Skeleton Key Percussion Trio -
James Burton
Curtis Glatter
Nathan Hubbard

1.improvisation

2.improvisation

3.improvisation