01	The True Wheelbase						02:58
	02	They Walk Among Us						03:34
	03	Coco Boudakian						05:46
	04	I Don't Need No Crystal Ball						03:20
	05	Chariots Of Fire						02:47
	06	Magic Fingers (25 Cents)						06:07
	07	Faultline						04:40
	08	On The Street Where You Live						04:05
	09	Maybe I Will						06:07
	10	There Is No One						03:46
	11	Slo-Boy						04:28
	12	Pteropold						04:32
	13	Just Say Yes						05:13

Faultline
Released: 1989, CD/Cassette Cuneiform Rune 19

Steve Adams - tenor and alto sax, synth, bass clarinet, percussion, drum machine
Martin Swope - guitar, samples
Rick Scott - synth, percussion, piano
Ken Field - alto and soprano sax, percussion
Erik Lindgren - piano, samples, trumpet, drum machine
and
Willie Loco Alexander - percussion (tracks 9,10)

CD includes three additional tracks "Magic Fingers (25 cents)," "Pteropold," and "Just Say Yes"



Artist Birdsongs of the Mesozoic
Album Title Faultline
Date of Release 1989

This was the first Birdsongs of the Mesozoic album to be released after the departure of keyboardist and founding member Roger Miller. He was briefly replaced by reedman Steve Adams, who left before the completion of Faultline to join ROVA, a San Francisco-based saxophone quartet. Saxophonist Ken Field stepped in to take his place, helped to finish the album, and subsequently became a permanent member of the band. The addition of reed instruments marked a fundamental change in the band's sound. Instead of a rather architectural, if raw, sound based on the interaction of twin keyboards, Birdsongs of the Mesozoic began to sound a little bit jazzier, if no less structurally rigorous and aggressive. On "Coco Boudakian," guitarist Martin Swope sounds uncannily like Arto Lindsay; the title track rocks out in a blocky but complex way. But there are several moments of serene beauty as well, in particular the limpid Steve Adams composition that ends the program. Highly recommended. - Rick Anderson

1. The True Wheelbase (Lindgren) - 2:59
2. They Walk Among Us (Swope) - 3:35
3. Coco Boudakian (Lindgren) - 5:47
4. I Don't Need No Crystal Ball (Adams) - 3:20
5. Chariots of Fire (Swope) - 2:46
6. Magic Fingers (25-) (Lindgren) - 6:08
7. Faultline (Adams) - 4:41
8. On the Street Where You Live (Swope) - 4:05
9. Maybe I Will (Scott) - 6:08
10. There Is No One (Lindgren) - 3:44
11. Slo-Boy (Lindgren) - 4:26
12. Pteropold (Lindgren) - 4:30
13. Just Say Yes (Adams) - 5:13

Birdsongs of the Mesozoic - Producer
Willie "Loco" Alexander - Percussion
Erik Lindgren - Percussion, Piano, Trumpet, Keyboards, Sampling, Drum Machine
Steve Adams - Synthesizer, Percussion, Clarinet (Bass), Sax (Alto), Sax (Tenor), Drum Machine
Ken Field - Percussion, Sax (Alto), Sax (Soprano)
Roger Seibel - Mastering
Martin Swope - Guitar, Percussion, Sampling, Cover Design
Ken Winokur - Photography
Bob Winsor - Producer, Engineer, Mix Down
Kathy Chapman - Photography
Richard Scott - Percussion, Keyboards
Rick Scott - Synthesizer, Percussion, Piano

1992 CD Cuneiform RUNE-19-CD






Birdsongs of the Mesozoic [USA]
Updated 7/13/01
Discography
EP (83)
Magnetic Flip (84)
Beat of the Mesozoic (86, EP)
Sonic Geology (88)
Faultline (89)
Pyroclastics (92)
The Fossil Record (93)
Dancing on A'A (95)
Petrophonics (00)


Reviews
Birdsongs of the Mesozoic - Rick Scott, Ken Field, Michael Bierylo, Eric Lindgren

First off, I must say that aside from The Fossil Record, I have not heard any of their other studio material. I have, however, seen them live a few times in the past year or two. The Fossil Record is a collection of studio material from the "early years" of Birdsongs that didn't find its way onto any of their albums. How does it compare to the rest of their work? Well, judging from their recent live performances, I would say they have matured quite a bit as composers, and their sound has also grown much fuller. Birdsongs play a unique, quirky mixture of minimalism, 20th century "classical," and prog. One can hear strains of Steve Reich, Stravinsky, Satie, Louis Andriessen, and Univers Zero running through their pieces, and they are not afraid to use a little musical humor on occasion. The music on this CD, however, betrays their influences as well as their "formula" a bit more than the material I've seen them perform live. Most of their pieces develop by taking a theme, usually melodic, and rhythmically and harmonically fragmenting and mutating it. This deconstruction works beautifully at times, but as with other musical "processes," the process can sometimes overshadow the music. I saw them perform a piece which was announced as a cover of a song off of The Yes Album, the challenge being to figure out which one. Though I am quite familiar with The Yes Album, I still couldn't figure out what song they were deconstructing. It didn't matter. The music stood on its own, apart from the clever process. Some of the pieces on The Fossil Record work as well as that one did, while there are others that don't. There are about 15 tracks filling up more than 70 minutes on the CD. The last track is a 23 minute piece called "To a Random"; a *very* sparse and atmospheric piece written to accompany a film of the same name. The rest of the songs are mostly in the 3-6 minute range. I am eager to hear some of their newer studio material, and I imagine albums like Faultline are probably in fact a better place to start for those new to Birdsongs. Nevertheless, this is a worthwhile compilation that will definately be of interest to fans of Birdsongs. And no matter what your tastes in prog are, don't miss these guys live if you get a chance to see them!

Birdsongs of the Mesozoic are one of those unclassifyable groups. I have two of their albums Sonic Geology and Faultline. SG is a compilation of their first three albums, with two bonus tracks. This is the one I would recommend people to start with. Their music is a mixed bag of punk, post-punk, progressive, avant-guard, and classical (there are probably several other styles thrown in for good measure). Their music is pretty much all electronic (I believe they had three keyboardists at one point).
I have Birdsongs of the Mesozoic's The Fossil Record and Petrophonics which are, as of this writing, their oldest and most recent recordings respectively. I've also seen them live at NEARfest 2001. Excellent use of acoustic piano along with drum sequences, processed guitars and electronic keyboards, plus a woodwind player made this band very enjoyable at their NEARfest appearance. Aside from a few nay-sayers who were murmering "man, they were sorta weird", the bulk of the audience seemed to enjoy their performance as much as I did.
In spite of what has been said about them above, I don't find them that difficult to classify ... they are somewhat uneasily within the scope of RIO, with superficial resemblences to bands like Henry Cow or Univers Zero, but not really sounding much like either of them. They combine avant-garde noise, neo-classical sounds, hypnotic sequences, minimalist "pulse" music and prog rock in a very interesting mix.

The Fossil Record is a collection of early works from 1980-87 (cute album title, huh?). This recording certainly shows the band trying to find their sound, though all of the pieces bear some resemblance to the 2001 band I saw. In addition to original compositions, this album also contains covers of Brian Eno's "Sombre Reptiles" and the Ventures' "Out Of Limits", so they definitely run the gamut musically. This earliest line-up consisted of Erik Lindgren, Roger Miller, Rick Scott and Martin Swope. The sense of experimentation and breaking the rules is already there in this line-up, and this is an enjoyable listen, perhaps more melodic than they came to be by the time of Petrophonics.

By 2000's Petrophonics release (and the previous release, Dancing on A'A), only Lindgren and Scott remain from the original line-up, joined by Guitarist Michael Bierylo and Saxophonist Ken Field. Petrophonics is an excellent album, again in the RIO vein, but also fairly minimalist. I am occasionally reminded of Philip Glass along with the previously mentioned RIO artists. Very nice stuff. These albums are highly recommended for the adventurous. -- Fred Trafton




Birdsongs of the Mesozoic
Formed 1983

Birdsongs of the Mesozoic began as a side project by Roger Miller and Martin Swope, who were members of the Boston band Mission of Burma. They were joined by Rick Scott and Erik Lindgren for their debut recording, a self-titled EP, in 1983. With Mission of Burma dissolving at about this time, Birdsongs of the Mesozoic became a full-time band. The group released the LP Magnetic Flip in 1985 and an EP, Beat of the Mesozoic, in 1986.
Miller left the group in 1988 and was replaced by Ken Field on saxophone, keyboards, and percussion. The new lineup released Faultline and Pyroclastics. Swope left the group and was replaced by guitarist Michael Bierylo. This last lineup released the CD Dancing on A'A on Cuneiform.

Birdsongs of the Mesozoic plays a unique mix of rock, punk, classical, minimalism, and free-form music. Instrumentation is piano, two synthesizers, guitar, saxophone, and electronic and acoustic percussion.

Previously unreleased music by the band's original formation is presented in The Fossil Record 1980-1987 (Cuneiform). This CD includes music the band composed for To a Random, a film by Boston filmmaker Michael Burlingame. The band has collaborated with New York City's "Wooster Group" and composed music for two PBS series, Nova and Sesame Street. In 1994, members of the group were invited to be Artists-In-Residence at Dartmouth College, Massachusetts College of Art, and Emory University. During 1998, Birdsongs of the Mesozoic collaborated with NPR commentator David Greenberger to present the spoken-word/music performance 1001 Real Apes for a five-city tour. The work was expanded into a new Birdsongs album, released one year later. In the summer of 2000, the band released a new album of entirely new material, Notes From the Mesozoic. Petrophonics was also issued that same year. - Jim Dorsch



1984 Magnetic Flip Ace of Hearts
1987 Soundtracks Arf Arf
1989 Faultline Cuneiform
1991 Pyroclastics Cuneiform
1995 Dancing on A'A Cuneiform
2000 Petrophonics Cuneiform

1987 Sonic Geology Rykodisc
1993 The Fossil Record, 1980-1987 Cuneiform




Birdsongs of the Mesozoic

Birdsongs of the Mesozoic EP (1983)
Magnetic Flip (1984)
Beat of the Mesozoic (1986)
Sonic Geology (compilation 1988)
Faultline (1989)
Pyroclastics (1992)
The Fossil Record (Recorded 1980-1987, Released 1993)
Dancing on A'A (1995)
Petrophonics (2000)
The Iridium Controversy (Coming May 2003)

Birdsongs Homepage http://www.birdsongsofthemesozoic.com/

County Of Origin: USA
Established: 1980
Styles: Instrumental, Chamber-rock


Biography

Birdsongs Of The Mesozoic began in 1980 as a side project by half of Boston's now legendary Mission Of Burma, Roger Miller and Martin Swope. Miller and Swope joined forces with Rick Scott and Erik Lindgren for what was originally conceived as a recording project only. In 1983, they released a self titled EP, Birdsongs Of The Mesozoic. With the demise of Mission Of Burma at about the same time as the EP's release, Birdsongs Of The Mesozoic became a full-time band for all involved. In 1984 they released their second LP, Magnetic Flip, and began extensive touring to support its release. A year later they released another EP, Beat Of The Mesozoic, and again set out on tour.

Roger Miller left the group in 1987 to concentrate on solo projects and was temporarily replaced by saxophonist Steve Adams, before he in turn would be replaced by current saxophonist Ken Field. Birdsongs' new lineup recorded Faultline, released in 1989 for Cuneiform Records. The follow up, Pyroclastics, appeared in 1992. Shortly afterwards, guitarist Michael Bierylo replaced Martin Swope, who moved to Hawaii. In 1993 a collection of previously unreleased material from 1980-1987 featuring the band's first lineup was released. The Fossil Record paid tribute to Birdsongs' early years not covered by the Ryko release, Sonic Geology, another compilation featuring tracks from the first three LPs. 1995 saw the release of Dancing on A'A, the first album to feature the current lineup of the group.

Birdsongs' instrumentation is as varied and striking as its music: two keyboards, guitar, and saxophone blend with electronic and acoustic percussion (including a Mercury Cougar hubcap and a paint can) to produce sound "...as meditative as it is physical, as rooted in classical structure and jazz improvisation as it is in rock 'n roll." (The Boston Globe) Since 1994, the members of Birdsongs have been Artists-In-Residence at Dartmouth College and Massachusetts College of Art. Other recent notable performances have included those at the Knitting Factory in New York City, the Honolulu Academy of Arts, and the Monadnock Music Festival in New Hampshire.

The band's latest, and most likely best, album Petrophonics was released in 2000 to widespread acclaim. The band has played quite a few dates in support of the album including two festival appearances (NEARfest 2001 and Guimaraes Art Rock Festival in Portugal), as well as select NYC appearances at the Tonic, Knitting Factory and Triad Lounge. The band also celebrated its 20th anniversary with a concert in their hometown of Boston. Work is slated to begin soon on new material for a possible 2003 release. - Mike Prete [September 2001]

Source: BotM Website

--------------------------------------------------------------------------------

Sonic Geology (1988)

Sonic Geology is a near-complete collection of songs from Birdsongs' early '80s releases on Ace of Hearts (Beat of the Mesozoic, Magnetic Flip, and the self-titled EP). These albums were never released on CD, but this compilation contains 16 of the 21 songs featured on those early releases (as well as two previously-unreleased songs: "Pulse Piece" and "The Common Sparrow").

This early version of Birdsongs of the Mesozoic featured pianist/composer Roger Miller. Miller wrote about half of the material that appears on this compilation, and as such was an integral part of the band's creative nucleus (indeed, the band originally began as a studio project of Miller's). Miller left the band in 1987, a year before their first Cuneiform release (Faultline). This album is a snapshot of the Miller-era Birdsongs. Compared to more recent albums from Birdsongs, the material on Sonic Geology is raw and perhaps could be described as "noisy". An eclectic (to put it mildly) brand of music mixing RIO prog with neo-classical/minimalism and avant-garde styles, Sonic Geology is difficult to pin down with labels. The band relies heavily on keyed instruments (three of the four members on SG are credited with either piano or synthesizer), but they also throw in anything and everything that they can get their hands on - the CD liner notes contain an exhaustive list of various other instruments (sometimes make-shift, such as "hubcap" or "chain on metal") used by themselves or a slew of guests.

The typical song on this album is 3-6 minutes long, and features a basic theme that is then twisted, turned, and generally deformed to create something delightfully different. Highlights of this compilation for me include "The Tyger", "Ptoccata", and "Pulse Piece". More importantly, there are no songs that I would complain about as being bad... one by one, every song on this 71+ minute compilation steadfastly refuses to suck. Not all are memorable, but none are terrible or out of place. While the band has since released The Fossil Record (1980-1987) on Cuneiform, this album remains important. Out of the 18 songs on Sonic Geology, only two ("Sound Valentine" and "Pulse Piece") also appear on The Fossil Record. The Fossil Record mostly contains previously-unreleased material, as well as two songs from the early Ace of Hearts albums that didn't make Sonic Geology. As such, The Fossil Record is not a replacement for the now out-of-print Sonic Geology, but rather, the two compliment each other. Together, they offer a complete look at "early" Birdsongs of the Mesozoic.

For established fans of the band, purchasing this disc is a no-brainer. Despite being OOP, I picked up a copy of this CD from eBay (for a mere $2.25... some CD vendors just don't realize what they have). For people interested in hearing the band for the first time, however, I would suggest picking up a copy of Petrophonics or Dancing on A'A (but if you see Sonic Geology being sold somewhere, grab it - you'll thank yourself later). - *Legion* [July 2001]


--------------------------------------------------------------------------------

Petrophonics (2000)

Damn. Petrophonics is yet another excellent album from the more avant-garde wing of the progressive rock family tree. Though the group was described to me as RIO, Petrophonics certainly not what I expected. The album is extremely melodic and beautiful, putting the listener at ease rather than jarring him with teeth grinding dissonance. Birdsongs of the Mesozoic play in a highly experimental style driven mostly by piano, synthesizer and smooth saxophone. The band combines traditional prog, RIO, jazz, electronic and classical music into a distinctive and thoroughly enjoyable blend. Electronic pulses and percussive textures quiver behind grand piano dashes, swelling synths and soaring, melodic sax. The band delves into intentional repetition and dissonant territories every once in a while, making the ethereal melodies all more powerful when they return. This is definitely an inspired band that knows what they're doing.

Some of my favorite tracks include "One Hundred Cycles", with its enchanting rhythms and surprisingly effective turntable scratches. Another is "Birdhead", which uses a distorted drum track as the basis for its choppy piano rhythm, to fascinating effect. "Dinosaurs Theme" simply rumbles over you with its churning guitar riff, while "Gravity Theme" has a beautiful, lilting jazziness to it that reflects a delicate compositional touch. My only problem with the album is that it runs a little long and tends to lose me if I attempt to take it all in one sitting, which would keep me from declaring it an unequivocal masterpiece. Other than that this is extremely original, inspired and definitely something different for me personally. Birdsongs of the Mesozoic are one of the jewels of current progressive rock scene, and this album is a must for fans still hoping to find adventurous and original music within the genre. - Greg Northrup [February 2001]

1. Petrophonics
2. Ptoccata II
3. One Hundred Cycles
4. Nevergreen
5. Study Of Unintended Consequences
6. Birdhead
7. Allswell That Endswell In Roswell
Music Inspired By 1001 Real Apes:
8. Time Marches On Theme
9. Dinosaurs Theme
10. Gravity Theme
11. Quincy Sore Throat Theme
The Insidious Revenge Of Ultima Thule:
12. Part One
13. Part Two
14. Part Three

Michael Bierylo - Guitar, Programming, Sound Design
Ken Field - Alto & Soprano Saxophones, Flutes, Percussion
Erik Lindgren - Acoustic Grand Piano
Rick Scott - Synthesizer, Sound design (Piano on "Study Of Unintended Consequences")
with:
Jerry Donahue - Percussion (Selected tracks)
Pacey Foster - Turntable (Selected tracks)
David Greenberger - Voice (on Gravity Theme)
Eric Paull - Drums (On One Hundred Cycles)
John Styklunas - Acoustic Bass (On One Hundred Cycles)
Ken Winokur - Percussion (Selected Tracks)


Cuneiform Records - Rune 137 - 2000






Ken Field and Erik Lindgren / Birdsongs of the Mesozoic

As many of you may already know from reading these pages, Birdsongs of the Mesozoic are one of my favourite bands. I was lucky enough to catch them six times this past year, and I'm already looking forward to seeing them again this year. Their unique blend of such different genres such as classical, jazz and rock into a complex, yet inviting modern chamber style is like nothing I've heard before, and will always rank among my favourite music. I've been able to chat with the band on various occasions, but never really got into much detail about various aspects of the group, and I am honored to present this interview conducted via e-mail with pianist Erik Lindgren and reeds player Ken Field. Enjoy.



Birdsongs has been together in various forms since the early eighties. How do you feel the group has progressed since the beginning, and what do you see as your strongest moments?

Ken: Birdsongs has certainly changed through the years, and I hope we will continue to do so in the coming years. But I also hope that there is a recognizable element that consistently characterizes the "Birdsongs" sound. I think our strongest CD is the next one, due out in January 2003 on Cuneiform.

Erik: I am especially partial to Birdsongs' first era circa 1980-'87 (you could call it our "Triassic") which included Roger Miller on piano, myself on Mini/Memorymoog and crude rhythm machines, Rick Scott on Farfisa organ (later DX-7), and Martin Swope on guitar. Much of the material was written by Roger and the pieces were very quirky and angular in a good way. That was when the band was at it's punkiest and we did a considerable amount of touring throughout the states. We would go on these 10, 20 or we even had one 30-day tour and it was pretty insane since we usually played every night and had to sleep on peoples floors and couches. Often we would have local bands open for us so we really got a heavy dose of what indy rock was about during the '80s.

Right now, I'd have to say right now is the most satisfying phase for me personally since we've never had a higher degree of pure musicality and musicianship. I also tend to favor the more complexities of our music and like the direction of our recent compositions. Usually a musician will tend to think that what they are currently doing is the best. I'm actually quite proud of the entire musical legacy that we've created. Birdsongs has never been able to be pidgeon-holed which is a good trait although confusing for our prospective audiences and booking agents.

What do you have in mind, if anything, when you get together to write and record new material? How much of the pieces are written individually beforehand?

Erik: All of the compositions are written by individual members so there is very little collaboration. This winter the group is currently in a phase where we are composing new material for the forthcoming CD slated for release in January 2003. We go from having prolific and creative periods like these, to times when we are primarily rehearsing, to other times when we are focusing our energies on recording or performing.

Ken: As Erik says, almost all of our music is written individually, and then brought in to the group for feedback and performance. Each of us has a different approach to composing for the band. I generally write using Finale music notation software on my Mac, which lets me listen to what I'm writing as I go along. I try to create music that I haven't heard before. Writing music for Birdsongs is very different (and much harder for me) than writing music for my other projects. For one thing, writing for two keyboards and guitar presents many more possibilities than writing for saxophone trio or quartet...

For me, your material has always been instantly appealing, before revealing the complex structures beneath. Is there a conscious approach to this, or is that just how it happens to fall into place?

Ken: I think that we write music that above all appeals to us personally. The underlying complexity is often a direct fallout from some other simpler aspect of the music. For example, what might appear to be a complex time signature might be the result of the needs of a specific melody line.

Erik: It's fortunate that all of us has a sense of Pop inherent in our compositions. I am just glad that none of us have an Elliott Carter or Schoenberg fixation. Aside from Stravinsky, I am also a big fan of good melodies and intelligent harmonic movement. It's probably sacrilegious to say this but I probably own every Hall & Oates album ever made. I'm also a huge Big Star and power pop fan and things get interesting when you try to merge that aesthetic with the complexities of Webern, Steve Reich, or Varese. Most of my compositions these days work both sonically and as puzzles on paper. I like international relationships and consider that to be one of my strengths compositionally.

How do you approach writing the drum and percussion parts on the Mac [computer]? Is this something that Michael does solely, or is there more of a group involvement?

Erik: I've always been a "note" man and conceive the percussion parts after the score has been written down and rehearsed with the band. Many of my pieces are constantly changing meter so it's hard to lay down a 4/4 groove underneath. On Petrophonics, I did an interesting experiment with "Birdhead," in which I took a pre-recorded rhythmic 4/4 groove played by the NYC band Drumhead and literally composed a complex work overtop that constantly shifts meter. It was a very bizarre experiment but I like the end result.

These days I much prefer working with acoustic percussion rather than sequenced parts. We were fortunate to have 2 members from the Alloy Orchestra play percussion on a bunch of the pieces on our latest CD.

Not having a traditional drummer suits the more chamber-like aspect of your sound, but are there any times where you feel that the electronic percussion has limited you in any way?

Ken: The biggest drawback to sequences is that they do not listen to you. A human player listens and responds to the other players, maybe only in very subtle ways, or maybe in dramatic ways. Playing with sequences, whether they be percussion or other sounds, is very demanding on the human players because of this one-sided listening thing: you have to listen and follow the sequence, but it doesn't reciprocate.

Erik: Much of our music from Faultline and Pyroclastics employs too many stock '80s drum machine sounds and stiff sequences. I'm actually working with an all acoustic ensemble consisting of flute, clarinet, bassoon, myself on grand piano, and a world percussionist and have reincorporated some of those vintage works into our repertoire. Having ethnic percussion on a rocker like "The True Wheelbase" really turns me on. It breathes, which is something sequenced parts don't necessarily do well.

Your music covers a wide array of styles. What are the individual influences that are brought together to form the end product? Do you see any dominant individual influences showing through the finished pieces, or have they become melded to a group sound?

Erik: The unique thing about the members of the ensemble is that each person brings something unique to the table. I am a huge fan of '60s garage/psychedelic rock and try to incorporate aspects of that era of music with my compositions. Rick is very into jazz harmonies, improvisation, and sound design. Ken comes from a groove/funk background while Michael is strongly influenced these days by Bulgarian Music and techno. So with all these diverse styles, it makes for an intriguing melting pot of sounds and synthesis.

The final product of your songs seem very composed, and while playing live, you all read sheet music intently. Is there any point during the writing process where improvisation plays a role in the songs? Has improv ever been a part of your live performances?

Erik: I'm primarily interested in contemporary classical composition these days in which every musical parameter is specified. But I'm always doing some very experimental works outside my work with Birdsongs. Two years ago I wrote an 5-movement 25-minute experimental opera called "Rude Awakenings" in which all four musicians followed stopwatches and a timeline. The libretto was a series of pre-recorded phone answering messages written by my good friend and author Pagan Kennedy. I also incorporated a lady back-lit from behind a screen talking on the phone. It sounds fruity but I was satisfied with the end result and released it on the 1999 CD "Stimuli' (sFz-003).

With Birdsongs, there are pockets of improvisation in which a member will solo on given parameters for a specified period of time. Michael does a hellacious guitar solo in "Nevergreen" which atonally dive-bombs and swerves in a chaotic frenzy.

Even though there are masters at improvisation like Thelonius Monk or Benny Goodman, I feel that it is often rehashing ideas that easily fall on one's fingertips. If you go to a lounge and see people do commercial jazz, you'll usually hear something that sounds like jazz but is probably a string of cliches that the musician has played for years.

You've played a number of live dates this past year, and your shows are always great and a lot of fun (I should know, I've been to almost all of them ;). How do you choose which songs will get played live? Are there some that can't, due to overdubs or studio effects?

Erik: Live, we generally like to focus on newer material although there are always old Birdsong chestnuts that we just like to play. Recently we've been revisiting some older compositions and doing more contemporary arrangements of them. One in particular that has been revived is "Lost In The B-Zone," in which Michael has brought the sequenced rhythmic track into the new Millennium. He's also reworked the percussion part to "Birdgam" so that now it now sounds like a Donna Summer disco track!

Thanks to Michael's hard work, the group recently brought back our 7-minute suite of Stravinsky's "The Rite Of Spring". That was always a defining piece in our repertoire and works as well now as it did in the past.

Oddly, some pieces don't seem to work anymore and have been dropped for good. When Martin Swope left in 1991, we tried to keep Brian Eno's "Sombre Reptiles" in repertoire but it just never worked. Michael obviously can play the notes but there was something Martin brought to it that just can't be recreated again.

The band's performance at NEARfest 2001 seemed to go over great with the entire audience. Do you feel that the band fits into the current progressive rock scene? What were your thoughts on some of the other bands that played that weekend?

Erik: NEARfest was a real revelation for me personally because I was unfamiliar with the current state of progressive rock. Again, most of my listening is of contemporary classical composers from the first half of the 20th Century like Prokofiev, Stravinsky, Debussy, Satie, plus Steve Reich who I consider to be the Beethoven of our era. I also listen constantly to obscure '60s psychedelic and garage rock since I run Arf Arf Records, which focuses on preserving that musical chapter in American history. I'm also an avid record collector and am always looking for new discoveries from that prolific dayglow era.

I really had a fantastic time connecting with many of the people who attended the festival. NEARfest is without doubt the best run event I've ever been to and both Chad and Rob should be raised to sainthood! Even though I am unfamiliar with many of the progressive acts today, I am an aficionado of first-generation prog rock bands like Egg, Arzachel, Khan, Soft Machine, Magma, Caravan, and early Kraftwerk.

Are there any other projects you are working with outside of the band?

Erik: As I mentioned before, I'm playing piano with the Sonare wind trio and our repertoire is exclusively my original compositions, works by Raymond Scott, or anything else I personally want to do. We're not a function ensemble but curiously the group performed at Julia Child's going away bash in Boston this Fall. It was really satisfying to be playing our unique repertoire and have someone come up and enthusiastically say, "Hey, That's Powerhouse." We're currently working on a CD which I hope to release on my sFz label later this year.

Ken: I have a number of outside projects. I have released several solo CDs of my compositions for layered saxophones, and I perform regularly with a saxophone quartet ("Dig Big"), a New Orleans influenced brass band ("Revolutionary Snake Ensemble"), and an improvisational groove project ("Board of Education"). I also write music for Sesame Street. My projects are detailed at my website, http://fieldk.home.att.net.

The cover of "In C" you played in September in NYC was amazing. Any chance of this piece being recorded for an upcoming album? Are there any other pieces the group has played that have not been released?

Ken: That's a great idea, which we hadn't considered: to record and release "In C" for a future album. It's a great piece, and I agree that the performance of it in NYC was special (maybe due to the circumstances - we did this piece specifically as an opportunity for us and the audience to reflect on 9/11).

Erik: Speaking of "Powerhouse," that's one we played out and even performed live with the Rova Saxophone Quartet a few years back. As for "In C," it's always been a nice cerebral piece but so far we haven't chosen to record or release. I would want to do something radical with it--like put a hip hop beat behind it. We're getting a new repertoire together this winter and will hopefully perform many of the pieces live when we tour this April.

Every Birdsongs album has steadily evolved from the last. Can we expect anything radically different on the next recording? Any other thoughts on the forthcoming album?

Erik: I've recently done three new music/psychedelic arrangements of traditional American spirituals and will be sampling my good friend/bass baritone Oral Moses next month when he comes up to my studio. Having vocals out front on a couple pieces will be a radical departure from our previous instrumental stance. Obviously we'll "Birdsong-ize" it so don't expect us to compete with Britany Spears or Michael Jackson.

Outside of that, I think it will be a logical extension of our previous work. How that will take shape sonically is anyone's guess.

Thanks for the interview guys. Anything you would like to add?

Erik: Esquivil passed away on January 3rd of this year. If any of your readers are unfamiliar with his outrageously original arrangements, I would strongly recommend checking out his remarkable recorded legacy. He is a master of orchestration and will hopefully become more than just a footnote or sidebar in the History of American Music.



- Mike Prete [January 2002]