Most artists who star in a documentary are dead or sliding into
dotage, which is why I’m excited about Trimpin: The Sound of
Invention—a superb portrait of a thriving Seattle-based
artist whose mammoth and often-whimsical installations unite sound
and sculpture.
By capturing Trimpin in his prime,
producer–director
Peter Esmonde avoids the hagiography endemic to documentaries made in
the sunset years of the life of a “great artist.” No portentous
narrator renders a verdict, as in Ken Burns’s Jazz or the
CBS profile Stravinsky. Instead, the cameras capture Trimpin
tinkering, negotiating with musicians, futzing, installing his work,
performing, and, perhaps most importantly, shopping.
Cameras follow Trimpin trolling a salvage yard. He holds up a
propeller, putters through some bins, and ends up buying an olio of
gears, O-rings, and broken gadgets destined for a future
installation.
Expert talking heads appear, but not too many: Trimpin’s sister and
father recall the artist’s precocious youth in Germany. Composer Kyle
Gann explains Trimpin’s connection to Conlon Nancarrow, the 20th
century’s kingpin of rhythmic complexity and unwitting godfather of
sonifying data into music. Sound poet and festival impresario
Charles Amirkhanian chimes in as well.
But Trimpin does most of the talking in the film, and the most
telling moments arise when he works with the Kronos Quartet. Almost
every composer craves a commission from Kronos, but Trimpin holds his
own when Kronos violinist David Harrington questions Trimpin’s
suggestion to smash a violin. “I have philosophical issues with
that,” Harrington declares. Unflustered, Trimpin listens intently
to various objections. A less-experienced artist would fight or
abjectly yield, but Trimpin takes the middle path; he lightens the
room’s gloomy mood by suggesting, “We could smash a cheap cello, too.”
Everyone laughs, and the discussions continue. No violin gets smashed,
but the film concludes with the resulting collaboration: Kronos
performing with an array of toys and custom-built instruments.
At a recent private screening in Seattle, Trimpin stood before the
audience and, after the requisite thank-yous, testified to the film’s
down-to-earth approach. “There was no phony-baloney stuff,” he
recalled. “The camera crew was invisible. I was never asked to ‘Stand
over there’ or ‘Gee, could you say that again?’ I was lucky to work
with Peter [Esmonde], who really understands my work.” Indeed.
Look for Trimpin: The Sound of Invention on the
film-festival circuit in late 2008 and early 2009.
Thurs 9/25
MACEO PARKER
The saxophonist who funked up dozens of hits for James
Brown—notably “Papa’s Got a Brand New Bag,” “Mother Popcorn,”
“Cold Sweat,” “Funky Drummer,” and “Doing It to Death”—has become
a virtuoso bandleader himself. Count on a slew of soul-jazz classics,
including “Pass the Peas.” Through Sun Sept 28. Jazz Alley, 2033
Sixth Ave, 441-9729, 7:30 pm, $45.
SEATTLE SYMPHONY
Kvetch if you will about Gerry Schwarz, but his performances of
Mahler almost always deliver the goods. A squad of soloists and the
Northwest Boychoir join the symphony and the chorale for Mahler’s
mammoth, rafters-raising Symphony No. 8, nicknamed the “Symphony
of a Thousand.” Also Sat Sept 27 at 8 pm and Sun Sept 28 at 2 pm.
Benaroya Hall, 200 University St, 215-4747, 7:30 pm,
$17–$105.
JADE SIMMONS
I rarely recommend concerts in the UW’s President’s Piano Series;
typically, the programs exalt the warhorses of the solo piano
repertoire while occasionally deigning to add a token contemporary
piece. Simmons, a stunningly talented pianist, takes a different tack,
stocking her program with two semisafe bets—preludes by Gershwin
and Samuel Barber’s imposing Piano Sonata—with several
works by living composers: John Corigliano’s Etude Fantasy,
TaleSpin for piano and tape by Russell Pinkston, and selections
from the Hip-Hop Studies and Etudes of Daniel Bernard Roumain.
Avant diehards might still crave Helmut Lachenmann’s fierce clusters or
the strafing counterpoint of Chris Dench, but this gutsy program gets
my vote. Preconcert talk at 7:10 pm. Meany Hall, UW Campus,
543-4880, 8 pm, $20/$31/$34.
Fri 9/26
DECIBEL FESTIVAL
The two night “Optical” section of this electronic-music event pairs
experimental sound and video artists. The first night features the
return of Jeff Greinke, a seminal part of the Seattle scene in the
1990s. Also, William Basinski, chiefly known for the marvelous
Disintegration Loops, pairs up with video artist Scott Pagano.
Sat Sept 27 showcases Akira Rabelais, maker of the cryptic freeware
Argeïphontes Lyre, Kamran Sadeghi (aka Son of Rose), and others.
Northwest Film Forum, 1515 12th Ave, 800-838-3006,
6 pm,
$18.
Mon 9/29
SHOCHETMAN/TAUB/OSBORN
Here’s the crate digger’s equivalent of a chamber-music concert: A
few august hits such as Poulenc’s Sonata for Clarinet and Piano and four selections from Shosatakovich’s brilliant Preludes and
Fugues for solo piano mingle with the Prokofiev’s Sonata for
Flute and Piano in D major, op. 94 and morsels by French composer
Camille Saint-Saëns (1835–1921). Fourth floor Chapel
Performance Space, Good Shepherd Center, 4649 Sunnyside Ave N,
547-8127, 7:30 pm, $15/$25.
Tues 9/30
LARRY CORYELL
A fleet-fingered guitarist and jazz-rock pioneer returns in the
classic jazz organ trio format. With Los Angeles keyboard stalwart Joe
Bagg at the Hammond B-3 and ex–Weather Report drummer Alphonse
Mouzon. Also Wed Oct 1. Jazz Alley, 2033 Sixth Ave, 441-9729, 7:30
pm, $24.50.
SPICCIATI AND GRINSTEINER
Pianist Amy Grinsteiner and UW faculty oboist Shannon Spicciati
perform Poulenc’s pastoral Sonata for Oboe and Piano along with
compositions by Boismortier, Ravel, Ibert, and Messiaen. Brechemin
Auditorium in the Music Building, UW campus, 685-8384,
7:30 pm,
$10.
Wed 10/1
ANDREA NEUMANN
This Berlin-based sound artist and improviser reimagines the
prepared piano of John Cage by carefully amplifying the microscopic
sounds made by rattling screws, vibrating rods, and other shivering
detritus between the strings. A marvelous presence at the 2006 Seattle
Improvised Music Festival (SIMF), she appears here in an “inside the
piano” duet with Gust Burns as well as among a quintet that includes
violist Mara Sedlins and the seldom-seen bassist Mark Collins. A
benefit for the 2009 SIMF. Free Sheep Foundation, 2400 Third Ave, 8
pm, $10 suggested donation.
