|
 They perform as the group
described above, and in larger settings as the Sound Sculpture
Ensemble, playing Bashaw's Sound Sculptures. The Sound Sculpture
Ensemble created and recorded an improvised musical work,
"China Memory" for Michael Lyons, former vice president of the Royal Society of
British Sculptors. The music was played as part of Lyons' twenty
year retrospective at the Yorkshire Sculpture Park in Wakefield,
England. The CD, "China Memory", is now available in
limited edition. On several occasions, the Sound Sculpture
Ensemble has been joined in concert by Steve White (Blue Man
Group, NY), Gordon Gottlieb (NY Philharmonic percussionist,
instructor at Julliard) or Jamey Haddad (Berkeley School
instructor, Paul Winter Consort; on tour with Paul Simon).
Michael Bashaw's Theatre of
Sound created and recorded incidental music for The Dream Catcher, an independent film by Ed Radtke and on July
22, 2000, they gave a Sound Sculpture concert at Fallingwater,
the house designed by Frank Lloyd Wright for the Edgar Kaufmann
family, located in Mill Run, Pennsylvania.
Michael Bashaw:
Sculptor / musician Michael
Bashaw has become well known for the large-scale, welded steel
instruments which he designs and builds. The instruments, known
as Sound Sculptures are played in a variety of ways: Some are
mallet instruments, some have strings which are hammered or
bowed, while others are made up of chimes. These
very unique instruments are combined with the more traditional
flute, guitar and hand percussion to create a "New
World" musical experience.
Bashaw's Sound Sculpture
concerts are engaging; a provocative blend of sound, movement
and theater aspiring as much to ritual as to entertainment.
Audience members often describe the concert experience as
uplifting -- even healing. Dramatic, thunderous
rolls of sound mix with exotic timbres. Atmospheric tone poems
segue into more traditional musical structures, but all employ
the sonic uniqueness of Bashaw's Sound Sculptures.
2008-2009
TOURING PROGRAMS:
Sound Sculpture Concert
RESIDENCY
ACTIVITIES:
Michael Bashaw has been
working in an interdisciplinary medium of Sound Sculpture and
Sonic Installations for the past twenty years. Some of his
work is used in concert settings, and others as part of
large-scale public access installations. His multi-media
workshops and residencies stress the communal aspects of
building and music making, which often focus on cross-cultural
influences in the arts. These sonic environments create a
powerful experience open to anyone rather than limiting
participation to trained artists and musicians. His enriching
workshops give students a chance to interact with and learn from
a working artist. Students are exposed not only to design
and construction concepts, but also improvisation in art, music
and life.
While Michael's workshops are
usually conducted in school, he does host workshop/visits at his
studio. The studio (in Dayton, Ohio) houses Michael's
large scale, welded steel Sound Sculptures, which are used in
more elaborate concerts than the one described above.
Visitors will see and hear the instruments; sometimes a jam
session develops.
Discography:
MYSTERIUM
"Mysterium" is
a CD of meditative music, presented in one track of 43 minutes,
played by husband and wife team, Sandy & Michael Bashaw on
"Sound Sculptures" and flutes. The Sound Sculptures
are large scale, welded steel instruments designed and built by
Michael. When the Sound Sculptures are
played, they produce swirling natural harmonic overtones. This
one-track format is perfect for a session of theraputic massage
or reiki. The music also works as an aid to meditation and
relaxation, as well as yoga or tai chi practice.
Sandy & Michael have worked largely in
experimental/alternative forms of music for some 20 years,
giving concerts in performing arts venues throughout the US. On
numerous occasions, after the concert, people would report their
own feelings of well being and healing, so the Bashaws decided
to record music specifically for that purpose.
As the career of an
experimental musician is not without stress, Michael & Sandy
are grateful to have come under the care of a wonderful
bodyworker, Margaret Knapke, NTS, MA, and Reiki Teacher. It is
in large part because of her care and influence that they
decided to record this CD of meditation/ relaxation music. The
sounds on the CD, MYSTERIUM, are unique: they are the pure,
natural, acoustic sounds of the Sound Sculptures, mixed with
alto and bass flutes. The instruments' giant resonators produce
harmonic overtones with palpable healing qualities. Margaret has
described
the music as "strange and wondrous."
"Mysterium" is the
first release in a series of music CDs which will explore the
healing potential of these sounds. We believe the music to be
transformative, and perfect for meditation, reiki, massage,
yoga, tai chi, etc., as it is all natural sound.
SOUND SCULPTURE CONCERT at
FALLINGWATER
Recorded live at Fallingwater,
July 21 & 22, and Feb. 6 & 7, 2000.
As visual and performing artists, we have long had an
appreciation for architecture in general, and specifically a
fascination with the work of Frank Lloyd Wright. Mr. Wright's
masterpiece, Fallingwater, and its history, inspired the music
on this CD. The house served as our musical score; the
cantilevered terraces became long tones, the stonework,
percussion patterns, etc. The house spoke to us, and we
composed music based upon its physical structure, creating a
kind of aural architecture. Much of the music was written
for
the Sound Sculptures - completely unique, large-scale musical
sculptures designed and built by Michael Bashaw. The music
was recorded live at our concert on the grounds of Fallingwater
in July, 2000 and during a two day session inside the house the
previous February. For us, the music on this
CD describes a journey, beginning with our entrance into the
highlands (Laurel Ridge Fanfare), then moving back and forth
through nature and architecture as they are so perfectly
integrated in Fallingwater. This journey ends with a piece
called August 1956, which tells the story of a
severe storm that flooded Bear Run and racked the house.
But the house survived, and its surroundings are still serene.
Thus, the music addresses nature and structure; tension, and
finally, peace. We hope that our Fallingwater Music will
become an enduring tribute to this architectural
treasure in the Laurel Highlands of Pennsylvania.
WHAT THE CRITICS
SAY:
"original genre-blending sound, emphasis on instrumental
work, improvisational impulses and heavy use of percussion . . .
intricate musical journey through the elastic regions of light,
time and space . . .daring, innovative and worthy of repeated
spins." Dayton Voice
 "the most interesting and
inventive troupe of music-makers in our area . . . so diverse
that it's beyond categorization" . . . "Go ahead and
try to fit into our preconceived . . . notions of what
things are supposed to sound like. Bashaw, Kreitzer, and
Thompson . . . have chapels to fill with sound, rocks to play, grand adventures to
undertake. Just thank your lucky musical stars that they
always come back here to share the things they learned." Dayton
Daily News
"At the onset of this rare
evening of interdisciplinary art, the dark stage lent echoey,
mystic, eerie sounds of metal being scraped and bowed into the
dark theater. Chunks of random noises scattered.
Edgar Varese-like loud to decaying percussion strikes were
overwhelmed by a deafening gong announcing the arrival of a
thunderous tribal rhythm. Bashaw's visual/acoustical landscape
was illuminated in its lovely sculptural shapes . .
. The nearly two hour concert is an aural/visual universe unto
itself, and the otherworldly nature of this very organic
sculpture is a freaking riot for the imagination."
Grand Rapids Press
WHAT THE
PRESENTERS SAY:
"A Michael Bashaw
residency is an extraordinary experience, as unique as the
community in which it takes place. With co-conspirator
Sandy Kreitzer, Michael empowers and involves every person he
encounters in contagious creativity. In Wausau, Wisconsin,
we invited them to explore the limits of
the new, multi-purpose Great Hall on ArtsBlock. Using
bamboo, empty fire extinguisher canisters, feed corn and local
industrial components, and working with high school and junior
high students and members of our Boys and Girls Club, Michael
and Sandy installed an irresistible sound sculpture environment
that simultaneously brought new possibilities out of and new
patrons into our recently-expanded facilities. During the
three days it was open, Michael's construct inspired an array of
activities: Three times, he and his young collaborators
demonstrated their creation to floor-sitting
students, from pre-k through high school, in sessions that
explored visual art, music and the physics behind them. To
see Michael explain improvisation to 200 elementary schoolkids
and then lead them in an interactive group percussion session
that produced music -- real music! -- was the kind of magical
experience that can only be called Art.
 Then, at two open-houses and
before, at intermission, and after Michael and Sandy's marvelous
Theater of Sound performance in the adjacent Grand Theater, not
a person -- from a snow-suited toddler to a uniformed nun to a
schoolteacher to a factory worker to our crew of volunteer
ushers to the bridal party from an upcoming wedding who just
dropped in to look at the Hall -- no one could resist
"playing the room." And no one left without a
grin of amazement. I don't want to overlook the marvelous
music-making Michael, Sandy and their ensemble provided in their
evening concert. Their massive touring sound sculptures
are astonishingly versatile instruments as well as glorious
works
of art. And the choreographed chaos of a quartet of
percussionists moving among them to evoke everything from New
Age to the Blues renders the performance as visually arresting
as it is aurally rewarding.
This week not only brought us
closer to a variety of audiences, it deepened and expanded our
relationships with educators, social service agencies, and our
leading local manufacturer. The positive echoes will
linger for a long time. I have been presenting the
performing arts for 35 years and I've never been associated with
an event that engaged more different kinds of people more
thoroughly than Michael Bashaw's sound sculpture residency.
And if I'm fortunate enough to be presenting 35 years from now,
it will still rank as one of the highlights of my career."
Jim O'Connell, Wausau (WI)
Performing Arts
Foundation on ArtsBlock
"Bashaw's sculptures are
giant musical instruments, whose amazing voices join with those
of instruments from around the world to present a truly
compelling performance. The original pieces [Puzzle of
Light] performs run the gamut of emotions; from sweet with a
kick to an incredible lonesome wail, from Celtic romp on giant
kalimbas to an exhausting explosion of
sound."
Mary Frey, Beloit College
TECHNICAL
INFORMATION:
The following equipment and personnel are required for the
Puzzle of Light "Sound Sculpture" performance:
Stage. Our general
minimum requirement is that the stage be 30' x 24', with back
risers (dimensions: 2' x 10' x 20') for the three large Kalimbas.
The three Kalimbas weigh approximately 400 lbs. apiece; the
monzithor, approximately 300 lbs., the wooden kalimba
approximately 250 lbs. The risers must be clamped or
tightened to minimize rattles or vibrations from the
instruments.
Lighting Equipment. All
available equipment, including, but not limited to the
following:
6 Beamers (moving mirrors)
Front and Rear Trusses
60 fixtures (120 fixtures preferred)
1 follow spot
6 floor cans (for backlighting the large sculptures)
Sound/House - Professional
stereo (3-way minimum) system capable of producing 105 db of
clear undistorted sound at back of venue. Preferred power,
Crown Crest QSC; Preferred speakers, JBL, EAW, E.V. (no Peavy).
Sound/Front of House -
Preferred console, Yamaha SOUNDCRAFT with 3 band parametric EQ.
Signal Processing, 4 channels compression, 4 channels gates;
Reverbs, Yamaha SPX 900, Lexicon PCM 80; Delay, Lexicon PCM 42,
stereo 1/3 octave KLARK Technic EQ
Sound/Monitor - 6 two-way
wedge monitors, 2 side fills, 1/3 octave EQ per mix 1 reverb 1
delay. +/- in venues under 1,000; 2 mixes from house
with 5 wedges channel 1/3 octave EQ per mix.
Sound/Microphones. All
mic stands need booms. Extended booms are best for the
kalimbas, to position the mic near the top of the 9'
instruments.
INPUT INSTRUMENT MICROPHONE
1. MONZITHOR condenser
2. LEFT KALIMBA condenser
3. CENTER KALIMBA condenser
4. RIGHT KALIMBA condenser
5. WOODEN KALIMBA condenser
6. BASS DRUM SM 58
7. DJEMBE condenser
8. CONGA condenser
9. DUMBEKS, Misc. drums and water station condenser
10. GUITAR XLR for Fishman Blender System
11. FLUTE SENNHEISER 421 or equivalent condenser
12. VOCAL SM 58 or better
13. VOCAL SM 58 or better
14. Michael's percussion/ water station condenser
15. GLOWBO condenser
Power Requirements (on
location):
Sound - Minimum: four 20 amp circuit; Preferred: tie in to
two 40 volt 80 amp service lines.
Lighting - Tie in to two 40 volt, 200 amp service lines.
Set-Up Time:
Load in: approximately 3 hours
Mic & light tech: 3 hours
Load out: approximately 3 hours
Personnel:
6 stagehands for load-in and load out.
1-2 Sound Technicians to plug in mics and work with the Puzzle
of Light
Technical Director on sound mix
1 TD or Lighting Technician |
Michael
Bashaw's Theatre of Sound is an ensemble of musicians with
individual musical backgrounds and experience ranging from jazz
and rock to ethnic and world music. These blended influences
have produced a distinctive "New World" sound that is
both original and familiar; a repertoire that is traditional and
experimental. The trio's instrumentation includes Michael Bashaw
on flutes, harmonica, whistles, vocals, kalimbas, balafons, and
exotic handmade instruments; Sandy Kreitzer on guitar, melodica,
kalimbas and vocals; and Bob Thompson on hand drums and a wide
array of other percussion. Their educational programs use these
instruments from all over the world to illustrate traditional
musical forms and to introduce improvisational concepts.
Notably, all of the very unique sounds are created with real
instruments; they use no synthesizers. They recently composed
and recorded a theme package for public radio station WYSO-FM
for the program Sounds Local.
