Denton, 10.30.2024

A diverse array of sounds at this month's Molten Plains, including two touring acts. There was another show in the main room, so things were shifted to the Rubber Room, which worked fine and accommodated a decent size crowd, plus a few latecomers from the other show. 

Opening set was by a trio of Kristina Smith, Rachel Weaver (Python Potions), and Stephen Lucas (who can usually be found recording audio of the performances). Smith and Weaver were seated at a table at the edge of the stage so as not to block the rear projection. This provided an opportunity to observe more closely than usual as they manipulated their electronic devices, vocalized through electronic treatments, and in Smith's case, operated a camera with a glitchy UV filter that provided visual accompaniment in real time. Lucas played synth and electronics and also contributed to the visuals. The net effect was something like what Paul Baker used to do with Sub Oslo: empiric reality cut up and distorted, giving way to moving, textured colors that flowed and reconfigured themselves as the music unfolded, deep bass undertones overlaid with static, distorted sounds of nature, and fragments of melody. A totally enveloping sensory environment.

Next up was Ojai, California polymath Rob Magill, who started his set by encouraging audience members to talk to him after his set, "because sometimes people don't want to after hearing me play." He started out playing a semihollow electric guitar, left-handed using fingerpicks, beginning with the most basic sounds, looping and adding effects as he went, creating layers upon layers of searing sound that evolved and changed as the set went on. Next he picked up a curious-looking instrument with rows of vertical pipes. Later he explained it was a sheng, a Chinese multi-reed instrument that's played like a harmonica. He finished up on tenor sax, on which he has a big, burnished, Ben Webster-via-Archie Shepp tone, at times using a microphone to amplify the sound of keys and wind without the reed, at others blowing percussive blats and using circular breathing to sustain keening notes. An ever-evolving set replete with variety. 

Closing set was by Australian expat Will Guthrie from Nantes, France, whom we'd seen duet with Gregg Prickett at The Wild Detectives the previous night. Will's a student of gamelan and an enthusiast of Ronald Shannon Jackson. He'd spent the day in Fort Worth, visiting Shannon's house on the Northside and I.M. Terrell High School, where Gilbert A. Baxter taught Shannon, Ornette Coleman, Dewey Redman, and Julius Hemphill, among others who went on to make their mark in music. For his solo set, his compact kit was augmented with hanging gongs and he delivered a bravura performance, laying down propulsive polyrhythms and exploring all the timbral variations of his instruments, deftly moving between sticks, mallets, and beaters, employing a surprisingly light touch to cymbals, gongs, and singing bowls. A virtuoso whom I hope will return to this area again.

Molten Plains co-curators Ernesto Monteil and Sarah Ruth Alexander announced that November 20th will be another improv lotto, and December 14th this year's Molten Plains Fest, with a lineup of touring acts and locals that's still not final, but already enticing. It's been a great year for live music, and these folks are responsible for much of it. How fortunate are we.