Los Angeles Times
Review
Music
January 10, 2001

 

EAR Unit's Toughness and Tranquility
By JOSEF WOODARD

SPECIAL TO THE TIMES

Suitably enough, the four-concert festival attached to the Los Angeles County Museum of Art's "Made in California" exhibition ended with a Monday Evening Concerts homecomiing. The California EAR Unit, raised on Southland soil, gave a performance linked to the festival and its long-standing LACMA residency. It was an evening chokablock with premieres, local and global.

Unit players Amy Knoles and Robin Lorentz gave world premieres of their own very different pieces, both involving video. Lorentz's entrancingly spare "Blind Window" eschewed virtuosity, with its palette of wind sounds and desultory percdussion complementing Angie Bray's black-and-white imagery of gently fluttering fabric. Knoles' "Squint" builds its rough, tumbling mesh if rhythmic phrases around imagery, in a video by Richard Hines and Knoles, of hypnotic slo-mo traffic.

The EAR Unit's Rand Steiger honors a late UC San Diego colleague with his "For Marnie Dilling" - in it Dorothy Stone's piccolo wandering ruefully through a house-of-mirrors backdrop of pre-recorded flutes.

The ensemble's flexibility was neatly showcased in Nicholas Frances Chase's "Sp!t", the title's exclamation point justified by the work's brawling yet taut energy, "Rite of Spring"-meets-Metallica accents and smart use of a turntable. Steven Hoey's mercurial "Coloratura" brought out the group's gift for shifting gracefully between atmospheric passages and intricate coordination.

Michael Jon Fink's "Before and After/I Hear it in the Rain" is an unapologetically tranquil, meditative affair. Coaxing substance from seemingly vaporous materials, it represented the West Coast Minimalist ambient school.

Bay Area guitarist-composer Paul Dresher's "Chorale Times Two," from his Concerto for Violin and Electro Acoustic Band, typifies his tidy, rock-influenced touch. In the electro department, chordal washes on synthesizer, plug-in textures from Knoles' MIDI-operated mallet instrument, and Dresher's distorted electric guitar lines were in collusion and collision with the acoustic elements of violin and bass clarinet. The melodic lines riffed as if they were written-out improvisations, riding over dropping chords.

That rock-ish attitude segued naturally into the concert's one unplanned piece, a raucous impromtu version of the Beatle's "Birthday" to toast Dresher's 50th. It was a giddy moment in an otherwise fairly somber outing by EAR Unit standards.

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