Suns of Mothers (Live) 12-29-2024
The second installment of the trio I’m part of with Tommy Guerrero and Nino Moschella. Performing live at Little Hill Lounge, El Cerrito California 12-29-2024. (Free)
We spent two days in the studio last week to record some ideas and shape together some songs. It has been quite liberating to play in a small ensemble with so much space for texture, silence, and rhythm. We just started playing together a few months ago but we have spent decades drinking from a lot of the same musical fountains and when we get together, things just flow.
This happened....rocking with Togetherness Ensemble at Gray Area Mission SF
My plan was to have had this post up before this happened, but it was a crazy week. So it’s in past tense. On 10-26 I performed with the Togetherness Ensemble as part of an emergent composition in four movements. the first three movements featured eight different musicians and we all got together for the fourth. You had to be there. I met a lot of really wonderful people, most of whom for the very first time. It feels good to be part of a musical community again.
The Togetherness Ensemble is convened on occasion by Zekarias Musele Thompson to hold space for communal resonance through collective improvisation. Prompted by the historical and contemporary creative sensibilities of African and African diasporic peoples, and the possibilities of emergent composition as the scaffolding for recognizing ourselves as free.
The Togetherness Ensemble made its debut interpreting James Weldon Johnson’s Lift Every Voice and Sing, during closing performance of Possible Dialogues: Vol 1 in July 2023 at the BAMPFA.
For this fifth iteration we will explore Togetherness in three parts with a new composition titled RE-EDUCATION. Inspired by the current moment, the ecstatic motions of Alice Coltrane’s 1972 epic Lord of Lords, as well as Floating Points' and Pharoah Sanders' 2021 collaboration, Promises.
RE-EDUCATION
Movement 1: A Curiosity
Movement 2: A Recognition
Movement 3: A Promise
with: Salimatu Amabebe, Matt Brownell, Gabriele Christian, Roco Córdova, B Dukes, Christopher Robin Duncan, Mary Graham, Cat Lauigan, Phillip Laurent, Amina Malika, Micah Morris, Maya Nixon, Jasmine Nyende, Martin Perna, Justin (Hongry) Robinson, Benjamin Rodgers, Joel St. Julien, Zekarias Musele Thompson, David Wilson, Josh Wismans, and Gaia WXYZ.
Los Angeles: The Golden Thread
Playing multiple woodwinds in this really fun concert with a few of my oldest musical friends and some brand new ones, at one of my favorite venues in Los Angeles.
New album: Martez “Goodbyes”
“Goodbyes” is the sixth album in my series of grieving rituals called LAMENTOS. This year I lost my father, an aunt and an uncle, all while bearing witness to the intensifying barbarity around the world. Take time to grieve.
Interview with Jesse Rifkin
Jesse Rifkin, author of “This Must Be the Place,” interviews me about my experiences in mid-90s Williamsburg, Brooklyn and the bands and scenes I was a part of creating.
Last year, I came across the writing of Jesse Rifkin, an astute chronicler of the music scenes of New York at the end of the last century into this one, and author of the book “This Must Be the Place.” I was curious to see if he had done his homework, as many other music writers have really fallen short of chronicling the music scene since the demise of print. Jesse is the real deal.
After a few months of phone/text tag we finally met up in person at a little bar on Avenue A in the late summer of 2023 during one of my swings back to NYC. As buckets of rain poured down, we sipped our pints, and I looked across the window to the Pyramid Club, where I had done some of my first gigs ever in the mid-90s, including one of the first with Sharon Jones and the Dap Kings (we were still the Soul Providers at the time: you can tell because there is a piece of me on the cover of the album where I’m wearing a gray suit. A few months later, Gabe had us all fitted for the first round of matching green sharkskin jackets and skinny black ties.
Jesse and I could have talked forever, but we ran out of time and made a promise to get up sometime for a proper interview. Read it here.
Oñi Ocan: The Heart of Sweetness
It has been a pleasure to collaborate with my partner Courtney Desiree Morris, finally, on more big art things that put our heads and talents together. Below are shots from Oñi Ocan: The Heart of Sweetness, a multi-modal performance art piece she designed/directed and performed in. The multi-channel video piece and altar installation just went up at Yerba Buena Center for the Arts in San Francisco. Below are shots from the performance of the work at Berkeley Art Center. I did live sound and sound design in collaboration with sound artist/scholar SA Smythe.
Oñí Ocan: The Heart of Sweetness (dir. Courtney Desiree Morris, 2023)
live performance programmed for Rabbit Hole (exhibition feat. Courtney Desiree Morris)
Berkeley Art Center, Berkeley, California, USA
Curator: Adrianne Ramsey
all photos © Carla Hernández Ramírez
The Yoruba term oñí ocan is typically applied to initiates of Oshun, the orisha of rivers, freshwaters, sweetness, and everything that makes life worth living. Like all orisha she operates in duality: she is the divine embodiment of abundance, sensuality, fertility/pregnancy, wealth, pleasure and good fortune. She is also an orisha who has experienced grief, disappointment, abandonment, rejection, and loss. Because of this complexity, Oshun is known as a healer who works with honey and cool water to restore the body and bring mental clarity and self-awareness through the use of her mirror. She is also the patron orisha of sex workers and LGBT practitioners. Oñí Ocan is a multimedia performance ritual that focuses on the use of honey as a material and metaphysical healing modality, as well as a way to honor current and former sex workers and pleasure activists. It is composed of a five-channel experimental film as well as live performances of honey rituals.
The Honey Drippers (actors): Arianne Benford, Kendall Benford, Kiara Brown, Monica Canilao, Odaymar Cuesta Kruda, Rachel De Souza Bolden, Ashara Ekundayo, Dillon Gardner, Sura Hertzberg, Ignacia, Alie Jones, Aja Lenae, Janelle Luster, Sam McGinnis, Pi Palomo, Callan Porter-Romero, Kiara Sample, Savannah Shange, Annie Sprinkle, Undine, & Avery Zeus
Support for Oñí Ocan provided by: The Panta Rhea Foundation, The City of Berkeley, Yerba Buena Center for the Arts, & the Foundation for Contemporary Art
Film shot on location at Toro y Moi Studios in Oakland, California
Liver performance at the Berkeley Art Center in Berkeley, California
all photos © Carla Hernández Ramírez
New album: Martez "RIVERS" out now on Bandcamp / Streaming 6/15/23
The sound of my life as my family and I experience displacement due to flooding and atmospheric rivers. Travels around the world - some rivers swell as some shrink. Meditations on rain, rivers, and love.
NEW ALBUM: Martez "DRONE POEMS" out 2/17/23
The Drone Poems series represents meditations, feelings and moods expressed through expansive breathy textures. These pieces reflect a radical aesthetic departure from the Lamentos series, which primarily features wind instruments (flutes, saxophones) as the primary engines of sound.
I composed and recorded Behind the Veil and the other pieces on Drone Poems over the summer of 2022 and early 2023 in Oakland and Berkeley, California during what we now call fire season, when a barbecue spark, a misguided bottle rocket, or a random lightning strike can set off a chain of ignitions to poison every breath with smoky air for days on end. Fortunately last year wasn’t that bad, but each day nonetheless began with the anxiety and dread and the question: “Is today gonna be the day?”
The daily news: Russia brutalizing Ukraine, government fuckery, ongoing plagues, colonization of space, schools shot up, cops gone wild, catastrophic storms and everyone stressing about money.
Drone Poems is the effort to bear witness to the world while remaining connected to the eternal.
New Music: Martez - Lamentos
A new album very unlike any of my others- minimalist instrumental sonification of various moods, feelings and moments of the first eighteen months of the pandemic reality. Recorded in Oakland, CA.