This is a piece that I created in collaboration with Christine Bard and Jim Pugliese (the other 2/3’s of ESP), based on an exorcism rhythm from West Africa. This rhythm is very deceptive. It has power.
It unfolds very slowly until some hocketing occurs along with the unisons. Then I metrically modulate and Christine and Jim eventually join my tempo. I play the first solo followed by my clicking of the sticks-quality of accompaniment rhythm, after which Christine plays her beautiful solo finishing to the end.
Jeff Arnal (wood percussion) & Michael Evans (wood percussion)
This improvisation is from the percussion duo record, MEJA (C3R records 008) with Jeff Arnal and myself. I had a real blast recording with Jeff. I felt a psychic-kinetic connection going on in our improvising all over this record. This, our wooden-orchestra piece proves it! Recorded at the Make Believe Ballroom, West Shokan, NY, 2004.
This is another very short track that features a drum melody taken through various quick stages, ending up with funny-ending silences. (recorded at L7’s Plastikville Studios, NYC during 1992)
Michael Evans (theremin, fed-back amplified snare drum, homemade piezos, electronics, Cameroon pods & hand cymbals)
This yet unreleased, newer solo material was It’s underwater soundtrack characteristics make it possibly one of the few tracks that I’ve thought recently about putting vocals on. Recorded at the Make Believe Ballroom, West Shokan, NY in 2003.
This very short track was a study in trying to create machine-like sounds that morphed from one texture of sound into another. The instrumentation was a kitchen mixing-whisk, massaged and struck various-shaped pieces of sheet metals and an adapted hi-hat. Recorded at L7’s Plastikville Studios, NYC during 1992.
Fever Pitch: Just Drums 2- The Project Fever Pitch records
Michael Evans (drumset solo)
This is dedicated to my brother, Pete Zeldman. This live concert’s improvisation climaxes, charting various appearances of times: bending, twisting and morphing with and within one another. Through familiar flows and resoundings, a bridge of drone lands into an eventual silence. The instrumentation was a four piece drumset (add a double bass pedal) set up, with 2 ride cymbals and a series of three homemade (motor driven) percussion instruments that accompanied me. Recorded live at Roulette, NYC November 2002 by Jim Staley.
Michael Evans (drums), Jarboe (vocal) & Lary Seven (guitars, bass guitar and sheet metal)
This track was an absolute blast to do with Lary 7 and Jarboe. It started with me listening to the West Side Story lp’s version and then L7 eventually recording me playing drumset along to that arrangement. I was told to play in a rather loosely hard-edged punk style, over which L7 later played the multiple guitar/bass parts on. Let us not forget L7’s No-Where guitar solo (along with sheet metal included !!!) Lastly, Jarboe sings wonderfully over it all. Recorded at L7’s Plastikville Studios, NYC during 1992.
Michael Evans (drums/percussion) & Karen Mantler (keyboards/vocals/composition)
This track is one of my favorites on this duo record. Karen was conveying a real darkness on this one. Most of the tunes written/performed on this record were about her long-lost-deceased friend, Arnold the cat. I’m playing a simple rhumba that became interesting sounding when I changed the orchestration of what I used in my left hand. I held a bead pod in my left hand simultaneously with an ankle-bell strap fastened around my wrist semi-loosely. I played the rhythm with a stick in my right hand and utilised the individual shakes of the bean pod and the ankle-bell strap with my left. Recorded at Grog Kill Studios, NY 1996.
Michael Evan’s Swirling Lotus Blossom Bandits Band (demo)
Featuring: Michael Attias : alto saxophone, Michael Evans: drums, Evan Gallagher: keyboard, Jeff Hudgins: alto saxophone and Adam Lane: upright bass (in the group, but not featured on this recording: Peter Zummo: trombone)
This particular track is our version of Sun Ra’s tune. This is a favorite of mine when the Bandits play live, because it really has the ability to morph into other harmonic, melodic and rhythmic directions that embrace unpredictability. Recorded in the basement of my home, spring of 2003 and was one of six tracks made for demo purposes.