Reflections on Parenting (featuring Tony Trischka)

Bret H. Hart - "NC maverick outsider artist"

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Reflections on Parenting (featuring Tony Trischka)

June 28, 2006 07:00PM

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"reflection on parenting"
bret harold hart: "bowed things" (processed acoustic guitars)
Tony Trischka: banjos

During the 10th Annual Charlie Poole Music Festival in Eden, North Carolina I had the pleasure of meeting and talking with banjo legend Tony Trischka (who's played with Béla Fleck, David Grisman, the Violent Femmes, REM, William S. Burroughs, Leftover Salmon), who was one of our headliners.
Turns out T.T. is from Syracuse, New York same as me, and knows where all the great pizza joints and record stores used to be in the 70's! Very cool.
On the freak chance that he might have time, I asked whether Tony could stop over at my studio the day after the festival and record something with me for an album I have been working on ("Finding Grace in America") for a few years.
Serendipity smiled.

I was able to capture Tony improvising against my song 'Daddy Only Did the Best He Knew How', TWICE!
Yup, a spontaneous banjo duet with himself.
During the recording of the 8-track arrangement of the song, I welded two tracks of "bowed things", a blanket term for a particular effects configuration I like that makes everything sound like a bowed instrument (very slow attack, no sustain, very slow decay) onto it. Here, it was a 1950's Kay acoustic through an electret condenser mic into a Boss BR8 digital platform.

the instrumental "reflection on parenting" is a later minimalistic mix of only my "bowed things" and Tony's banjo playing. listen carefully and you can hear a continuous deconstruction of John Newton's hymn 'Amazing Grace' occurring.

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Podcast Summary

This series of podcasts, large and small, will follow no fixed schedule and can be expected to be sporadic at best. The online-collection will consist of the first release of new works and works-in-progress, as well as the gradual reissue of excerpts from my K7 (cassette) and flexidisc music releases from the 1980's/90's (Kamsa Tapes, O-Right Records, HipWorks). Because the album-length projects I have recorded between 1977-present number nearly 200, I will concentrate on culling podcasts largely from 'out-of-print' cassette albums which received favorable press or critical attention. Some things, I will publish simply because they are simply timely, freakish, unknown, or some freshly realized signpost toward now.

Bret Harold Hart

Bret H. Hart [1959 - ] is an improvisor, composer, educator, instrument- builder, sculptor, and published writer living with his family in Eden, North Carolina. MUSIC REVIEWS ---------------->>> "Hart differs from his solo musician peers in his choice of playing an electric guitar fed through a barrage of tube screamers, compression units, and boosters. The result was a sound not unlike that of a whale giving birth." -Eric Hellweg / Fitchburg State College 'Strobe' -------------------->>>>> "If you're the type that likes to listen to improvisational guitar music in one ear and Hawkwind and Ash Ra Tempel in the other..." -Jerry Kranitz / Aural Innovations ----------------->>>>> "He utilizes, again and again, one of the most wicked slides of any white boy since John Lennon. One single-take, one-track bit...even plays the Derek Bailey subjective guitar game." -Glenn Thrasher / Lowlife Magazine --------------->>>>> "...will bring to mind the gentle mourning of "Deja Vu"-era CSNY one moment, then Sonic Youth and Shellac aggressiveness the next." -Scott McLennan / Worcester T & G ------------->>>>> "The guitars on "The Hamburger Song" are playful and remind me of something from Fred Frith's Gravity/ Speechless albums." -Jerry Kranitz / Aural Innovations ---------------->>>>> "The un-thinking man's Richard Thompson." -Mark Paolini/WCUW fm ------------>>>>>- "He does this percussive guitar music. Yeah, it's been compared to Fred Frith. That sort of angular percussion, guitar jamming, strange and freaky, lots and lots of fun for the deranged. Fortunately, I'm deranged myself, so I can really go to town on this, otherwise unfathomable, three hour trip into guitar-space-out- ville." -Dan Fioretti / Sound Choice ----------->>>>> "Dementoid, fuzzed-out guitar-improv-noise, sometimes set to drum machine, sometimes not, sometimes topped with synthesized vocal lines that are not meant to be easily understood. Deliberately obscure, arty noise-compositions that would probably work well as soundtracks to some smoky, dark film about the urban underground...something like Liquid Sky. Undeniably freaked-out stuff, that works best when it isn't trying to be obscure. More inspired than past Bret tapes...and a richer, ingeniously textured mix. Try and picture a cartoon featuring Elmer Fudd on 2 hits of acid...here's the music for it." -Bob Z / Bad Newz ------------->>>>> "Some sort of dreamy Bob Dylan-in-Jujuland digital breeding pool." - CyberSong Quarterly ------------->>>>> "But from "There's Plaid In My Soup!" we launch into beautiful chaos with a mosh of Snakefinger-like guitar and an array of high volume sound. And speaking of the late great Snakey one, "Uncle Don's Umbrella" struck me as being something like Part II of the Residents/Snakefinger rendition of "Satisfaction", only here the individual players stand out more amongst the madness." -Jerry Kranitz / Aural Innovations ------------>>>>> "Jerry Jeff Walker meets Faust for beers with Phish!" -SHAN'T RANT ------------->>>>> "...can be somewhat reminiscent of the Grateful Dead, in that it relies heavily on melodic progressions. Their compositions often leave the listener sensing that the arrangement was created from improvisational experiments (which many of them are)." -Charlene Arsenault / Fitchburg Sentinal ----------->>>>> "Anchored by Hart's unique guitar style, a slinky, spindled thing reminiscent of ex-Beefheart axeman Gary Lucas, (Hart) creeps through mental crawlspaces stacked with dark revelations. Bret's voice, a gruff, prosaic baritone in the style of Dylan and Robbie Robertson is the perfect compliment to his weirdo folk-skronk." - Jim Santo's Demo-Universe ----------->>>>> "A quirky pace is set, almost like an avant-garde musical or something like The Residents "Mark Of The Mole". I think that's a good analogy." -Jerry Kranitz / Aural Innovations -------------->>>>> "He's like a verbose Henry Kaiser. -Bob Jordan/improvisor/musicologist ------------>>>>> "There's some Jazz influence in here, some bluesy riffs, and unexpected, Brechtian tape-editing where we get to hear the artists chatting about the music as they are putting it together, like a camera's-eye view of the artists as they are doing their recording..." -Bob Z / Bad Newz ----------->>>>> "Bret's like an amoeba -- he just plays, and his heroes are right there with him. Other reviews I've read make some comparisons with Fred Frith, maybe even Davey Williams. ..those giants, and many other players, are "right there" in his studio with him..." -Dick Metcalf / Electronic Cottage --------->>>>> "Hart utilizes an organic-electronic approach to create his dissonant and melodic songscapes: guitars, Casio sampling, frying pans, boxes, bells, and a host of Korean instruments (including: hey-goom, pook, kweng-gwa-ri, chook-pee, and doh-doo-me-tole). A quick and all-too-ready list of references springs to mind (Hollis-Schwartz and Mick Karn, in particular). -Andy Pierce / Gajoob -------------->>>>> "...reminded me of what I saw and heard Fred Frith doing in a solo performance on prepared guitar in the mid-80s." -Jerry Kranitz / Aural Innovations -

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Jeff Sampson's "OUTSIDE INNER SPACE "

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