Racer Session #504 | Ronan Delisle | Jan 19, 2020
Dearest Racerheads,
The year 2020 has been off to an enjoyably busy start for me. I’ve been recording with my nimble trio Thorn (with Tony Lefaive and Raymond Larsen) and rehearsing with Fig for another upcoming recording session. I hope to release that music by late Summer of this year. Also requiring ongoing energy are my studies at the UW, which have been fascinating and will culminate in a recital mid-June. Despite having a lot going on, I’m excited to be able to fill in last-minute to host this Sunday’s Racer Sessions at Cafe Racer! I recorded a 20 minute piece during a practice session yesterday and have included a chunk of it via Soundcloud to accompany your reading of this blog entry. Thanks for reading.
Through my studies I came across a wonderful book by R. Murray Schafer entitled The Tuning of the World. In this book Schafer explores present-day soundscapes and how humans interact with the world of sound around them. The fourteenth chapter is called, “Listening” and discusses acoustic “ecology” and acoustic design. I found this passage in particular to be captivating:
“The best way to comprehend what I mean by acoustic design is to regard the soundscape of the world as a huge musical composition, unfolding around us ceaselessly. We are simultaneously its audience, its performers, its composers. Which sounds do we want to preserve, encourage, multiply? When we know this, the boring or destructive sounds will become conspicuous enough and we will know why we must eliminate them. Only a total appreciation of the acoustic environment can give us the resources for improving the orchestration of the soundscape”.
I love the idea of a shared power and responsibility in the creation of an inclusive and mindful sonic environment, of ecology. Everyone at Racer is involved in the Racer Sessions whether they know it or not. Caleb is behind the bar serving customers and making delightful conversation, doors are swinging open, music is being made on stage, folks are conversing at various volumes before, after, and during improvisations....it would be interesting to note while music is happening on stage what other sounds within and without Racer in addition to the ones I’ve just mentioned.
In my own experience, Cafe Racer has been both the best and worst sonic environment I’ve found myself playing in, and is a good space to notice just how seemingly small sonic impulses can affect the soundscape and thus the experience of your fellow humans in the room. What if an awareness of texture, rhythm, and sound weren’t simply the attributes of a great musician at a session, but were also the traits of a dynamic and sensitive human being in the great jam session that is life? (heh)
I can’t wait to play with Neil and Gregg and to collaborate on music during the jam session. See you Sunday!
Ronan