Big Az Music Turk

The Sound of Music was a bar in the Tenderloin, which featured drag shows. By 1980, the proprietor, Celso Roberto, became amenable to trying other genres. Linda Barnhizer and Alan Naldrett, two local promoters who occasionally ran shows at a venue at Fort Mason, convinced Celso that punk music would be a good match for the club. The new genre of punk music was already thriving at a few venues in the city, including North Beach's Mabuhay Gardens, a Filipino restaurant during the day and punk nightclub in the evening. The Police, Devo, and Blondie were some of the notable bands that made their first Bay Area appearances at the Mabuhay Gardens.[1]

Jason's journey into traditional music began in a family that cherished Irish music. Traveling across England and Scotland in a campervan, his family was drawn to settle in Cork, Ireland, by the allure of Irish music. The piano accordion became his main instrument, seamlessly blending his love for the piano with the rich heritage of Irish music. Seeking new ways to express himself, Jason integrated his passion for electronics into his music, from building his own optical MIDI analyzer for his accordion's bass to adding synth sounds in bands. Then, he discovered the Seaboard RISE 2.

Big Az Music Turk

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Cork, Ireland, serves as a vibrant hub for traditional Irish music, immersed in a rich cultural heritage that resonates with captivating melodies from the past. Traditional Irish music, characterized by lively jigs, reels, and haunting ballads. The legendary sessions, held in pubs and intimate venues, offer musicians from various backgrounds and skill levels a unique opportunity to come together in a spirit of collaboration and camaraderie. Each musician contributes their unique voice, weaving a tapestry of melodies that evoke a profound sense of community and belonging.

RISE 2 has become an integral part of Jason's musical arsenal. This innovative instrument opens up a world of possibilities for expression, infusing his performances with unique nuances. Its sleek design and portability offer a refreshing change from traditional bulky keyboards, allowing Jason to seamlessly blend in with fellow musicians during sessions without disrupting the musical flow.

"I feel it's like it's an instrument that should be played in a real life setting rather than just doing a little bit of noodling for something that you're producing," he tells us. "I've been able to use it right from the start to play for 3 hours for a gig and play 50 tunes on it, play 10,000 notes, just to be able to do that and to treat it and expect it to be a real instrument and to be able to perform like that. So, I think it sat better probably in the Trad music circle than I expected."

Equator2 boasts an extensive library of meticulously sampled sounds from real instruments. Jason discovered the versatility of the Rhodes sample, finding it well-suited for Irish music due to its organic quality that enables him to experiment with different textures and tones, perfect for his evocative performances. Additionally, customizable features like the RISE 2's Touch Faders which enable players to assign custom parameters, allow Jason to adapt the sound to suit the unique requirements of Irish music.

Jason actively seeks collaborations with fellow musicians within the Irish music scene and beyond. He believes that collaborating with artists from different genres and backgrounds brings a fresh perspective to his music, leading to exciting creative endeavors. Jason's future plans include composing original music that blends traditional Irish melodies with modern elements, incorporating Seaboard RISE 2 as a central instrument. Make sure to subscribe to his Youtube channel to see a new episode and a new collaborator each Sunday.

Jason's dedication for traditional Irish music and his embrace of modern technology exemplify the passionate landscape of music in Cork, Ireland. With Seaboard RISE 2, he seamlessly merges the expressive qualities of traditional Irish sounds with the versatility and innovation of contemporary technology. Through collaborations and his own compositions, Jason aims to further enrich the Irish music scene, captivating audiences with his unique blend of history and modernity.

Background/aims: Endoscopy and colonoscopy are frequently performed procedures to evaluate the gastrointestinal system. These procedures are sometimes disturbing and painful for the patient. In gastrointestinal suits, endoscopy and colonoscopy may be performed on awake or sedated patients. Music therapy is a common and non-pharmacological treatment for various medical conditions, pain, and anxiety. The aim of the present study was to add music therapy to sedation administered during endoscopy and colonoscopy. The effect of music treatment on drug consumption, anxiety, and pain was investigated.

Materials and methods: American Anesthesiologist Association I-III adult patients scheduled for endo/colonoscopy were randomized to music treatment and no music treatment groups. Patients with endoscopic ultrasound and endoscopic retrograde colangiopancreaticography were excluded from the study. Anxiety score and pain severity were evaluated before and after the procedure. Heart rate, mean arterial pressure, and oxygen saturation were recorded before, during, and after the procedure. Total drug consumption was recorded. Patient satisfaction and desire for the same protocol for recurrent procedures were investigated.

Conclusion: The present study may serve as the beginning of using music therapy for pain treatment in gastroenterology procedures in our hospital with/without sedation. Music and other non-pharmacological treatment methods must be remembered to increase patient comfort during enco/colonoscopies and other painful procedures.

I'm also very passionate about raising women's issues in my work as well as more general social, cultural and political issues. It's not just about the music that comes out, it's the whole act of music making, so I include a lot of improvisational and collaborative elements in my music. When I'm working with musicians of different cultural or indigenous traditions, I'm sharing my platform, giving voice to marginalised voices and giving them each a perspective on the issues.

It's a good question because when you're working with improvisers, how much of your voice is recognisable? Your voice is kept partly from the act of choosing collaborators that are representative of your artistic intention. As an artist, collaboration can be demanding because you're constantly challenged to justify your musical choices. But there's always a sense of osmosis in between myself and my collaborators so my voice inevitably comes out. It will obviously compromise for the benefit of the production and what we are trying to say as a whole, but there's always my musical language there.

Audiences will get a chance to observe how a composer works with their performers. That will probably be quite eye-opening for them. The way I explore my musical ideas is not just through the score, but also through the music. I end up showing diagrams and charts to make it clear and I sometimes express my musical ideas orally or tap the rhythm. There are all these things that you can't really notate exactly because, how can you express the feel of a certain a musical phrase? You can write all the dynamics, of course, but then you lose the spirit.

In this event the audience will probably observe me trying to plead for the musician to take their heads out of the page, asking how they would sculpt an improvisation, so in a sense we're co-composing together. I've already sown the seeds with all the written material and the musicians can then develop that, distort it, elongate it, decorate it.

They'll make everything come to life. They melt the divide between audience and performer/composer. There's always a psychological barrier, but when the audience are given the insight and it makes sense to them how and why you wrote a work, how it came about, what musical materials you used, it's like their bodies come off their seats in the performance - they get it. These insights are their way in, and our way out as well - reaching each other somehow.

It's the way into common understanding, it's our way into finding all the common denominators between us. British ways of music education are different from Austrian ones and schools of thought are very different all over the world. It's going to be interesting to explore the way these cross-border interactions will spark similarities and differences.

You hold the role of co-director of The Alternative Conservatoire and work a lot with young people. In your experience, what are the main issues affecting the next generation of musicians?

The real problem is the musicians from lower socioeconomic backgrounds who are not getting in, that's the biggest obstacle. I teach such wonderful, talented kids, they inspire and amaze me every day, but it's quite sad that they're mostly from private schools.

That's what I'm addressing with the Alternative Conservatoire. It's a three-month accelerator course designed as a starting point for music creators who are financially challenged and who find themselves alienated by the traditional mold of the Conservatoire and of the university. It's also addresses the idea of a world village where we look at melody, not from a Euro-centric sense, but as expressed through different cultures.

So when Levon passed recently, shortly after my 35th birthday, I went into a very intense state of reflection. I was sad to lose such a powerful presence in the world of music, but mostly I was thinking about what my dad must be going trough. The stories my dad has told me of his times with Levon up until the end are priceless, and are treasures I will carry around with me forever.

Mr. Helm, thank you for always showing your smile and your joy, and for giving us so many great years of music. Also, thanks for giving my dad the experiences that he had, I know he will cherish them forever. You brought us all together my man, and we will stay that way even though you are gone. 2351a5e196