A special performance by the Long Beach-based Jack Curtis Dubowsky Ensemble group will occur at 8:00 p.m. on the evening of Saturday, August 9th in Long Beach at Third Ear Records. The new music ensemble is presently an electroacoustic trio consisting of founder/composer Dubowsky on synth, Scott Worthington (wasteLand new music group) on acoustic double bass, and Alicia Byer on clarinet. Dubowsky eloquently discusses the upcoming performance and more in an intriguing series of responses:
W.E. Can you please describe your composing process, especially in creating the new piece "How I Got to Long Beach?"
J.C.D. The first step for a show like this is to establish a narrative framework, to help the audience navigate our musical weirdness. In this case, there's three parts: San Francisco, Minnesota, and Long Beach. This represents my journey and how I see or feel about each. The next step is to make the video component. It gives everyone something fun to watch and solidifies the timings within the piece. Within this established framework, I can deploy composed material or structured improvisation that communicates those feelings or ideas. So, I see Minnesota as really cold and gray, and I took lots of pictures there. What does cold sound like? I was there during a blizzard so bad they closed the freeway; I have pictures of that too. What does a closed freeway sound like?
W.E. What are you most looking forward to about the Aug 9th Long Beach performance at Third Eye Records?
J.C.D. I'm most looking forward to being part of a local community that's doing engaging things, to doing a local show at an independent record store that specializes in carrying rare weird electronic and avant-garde LPs, because we fit right into that. I collect vinyl, and I met Gary at one of the local record shows, and he has a knack for finding oddball music that is actually pretty similar to what we do.
W.E. What do you foresee in terms of future projects?
J.C.D. Right now I'm working on a song cycle about the demise of San Francisco, the destruction of the art scene by the tech monster. I'm always angling to do more film scoring; a feature documentary I scored, I Always Said Yes, screened at Redcat Theatre on July 12. Being here in soCal is great because so many people are making films. I'm also working on an academic book for Palgrave Macmillan in their culture and media series. I'm mainly a "practitioner" at the moment, but I've written a few academic articles.