mike shiflet – tetracosa ensemble

Super pleased that my pal of twenty years, Mike Shiflet, invited me to be a part of his ambitious follow-up to his Tetracosa release from 2018. He assembled a lot of friends for a Tetracosa Ensemble 24 hour release and then on the same day released a solo version of it. Talk about work!

I’ll just direct you to Mike’s Bandcamp page where you can explore all of his releases including Tetracosa from some years back, the new Ensemble release, and then the new Tetracosa solo release. Enjoy! Here’s the cover of the first volume.


all ‘press’ here

hi, i guess at some point i made pages for the press on a couple releases, but that seems sort of tedious. so i’m just sharing a google drive folder with any and all press that i’ve managed to accumulate – that i know of – from the last 20 odd years. view the drive folder here.

more news soon on hopefully a new release and a few shows in the midwest this fall.


flocking 19 review from underhill lounge

grateful anytime someone listens, let alone shares their thoughts. but apparently this review surfaced yesterday. thanks to underhill lounge for the thoughts. i suppose i need to dig into some steve lacy now. review below:

I’ve recently been interested in building layers of intentional chaos and exploring perceptions of order and the natural human tendency to seek and find patterns within that sound.  There is a deliberate contrast between the controlled chaos simulating the natural world and the synthetic sounds I’m working with.

Two longer pieces and 4 shorter pieces.

Names of the pieces use words in combination with three primary words, Flock, Flap, and Chirp.

Sounds seem primarily programmatically generated or manipulated. While it says below that these were recorded during a “sampler performance”, the sounds themselves seldom sound as if they were drawn from the natural world, except in the most abstract sense.

With the quote from their website which opens this writeup, it is hard to know how many of the event streams are simply set in motion and how many of them might be manipulated during their progress.

In general, what order which is expressed in the pieces is more like the order of nature sounds than the order of music. I.e., in general, there is no apparent tempo in most pieces relating the divergent sounds to the other sounds. When tempo does develop in events, as in track 4, “FLOCK1_MILCHI”, the tempos of the different event streams converge, but don’t affect the tempo of other event streams.

As if, in an algorithmic forest, we are listening to the sounds of algorithmic wind ticking through algorithmic branches as algorithmic creatures frolicking in that artificial world, all to the tempo or progress along the events of their algorithmic day.

On the other hand, while synthetic, it is not particularly harsh or dissonant, and somehow a pleasant feeling of lightness or almost whimsy is present in most pieces.

As an exercise, I recommend you listen to “Chirps” by Steve Lacy and Evan Parker, before, during, or after listening to Flocking 19 by Shedding.

“Assembled from July 2019 sampler performances in Milwaukee (Jazz Gallery) and Chicago (Elastic Arts)”