Ok, so, I was thinkin about doing the announcement for Drums & Drones on the YYYs facebook page to let people know, and, I was like, “wow, a buncha people are gonna come check this music out and are gonna be like, whoa!”  Now, YYYs are basically a rock-pop band (speaking very generally), and D & D is an experimental sound-art project (ditto).  For many listener’s out there, the material of D & D may at first seem unfamiliar, I realize.  How do we bridge the gap and make the connection?

Well, music is a language, and like it is when hearing a new language, at first it will sound unfamiliar.  But, after a little while, with some exposure, the sound of it will start to make sense.  Soon after that, the language takes shape as communication…

I grew up listening to and playing a variety of styles: punk, grunge, thrash, jazz, blues, classical, avant garde, some Afro-Cuban and Puerto Rican, various world musics, oldies, classic rock, etc…  Going between genres and styles seemed very natural for me.  Having heterogeneous tastes was a part of my upbringing in my time and place: I grew up just outside of NYC, a place which itself consists of a hodgepodge of culture and diverse histories.  What John Zorn was doing on the downtown scene in the ’90s reflects the eclecticism I was discovering and experiencing on my own as a teenager at that time.  As an enthusiastic young musician, I learned, or at least became acquainted with, the ‘language’ of a broad range of musical styles; my ear had grown accustomed to them.  The biggest part of it, perhaps, was that I was starting to hear their similarities rather than their differences…

In hearing the language of various musics I was starting to hear the expression of the artist… How many ways are there to say, “Thank you?”  It’ll sound different in different languages but the message is still the same… There is the emotion of romantic love expressed in classical musical, there is the emotion of romantic love expressed in jazz, there is the emotion of romantic love expressed in pop R&B… If one hears a Beethoven symphony, or Billie Holiday singing a jazz ballad, or Rhianna doing her thing, is there one that is more powerful?  Basically, I’m saying don’t be so quick to judge or be dismissive.. Just because the language might sound unfamiliar doesn’t mean the communication isn’t there.. it might take a second before realizing it but you’re instinct will probably know instantly.  Punk is known for its simplicity and Jazz is known for its virtuosity but if you read the stories of the musicians that created these musics then you will find many similar themes (identifying with being outcast, finding a voice amongst social hardship, substance abuse, etc…)  The forms are different (yet some similarities do exist) but the spirit and drive can be very similar.  Early punk bands like the MC5 and the Stooges brought in some free-jazz elements to their music because they felt a kinship with the attitude and energy it expressed.

Now, with that said, the way something is expressed can be almost important as what it is being expressed, and it is important to respect the different languages for what they are.  I have also found that different genres tend to emphasize different aspects of the ‘language’ of music.  For instance, classical music can be considered as very painterly, as in the sound can be thought of as colors and each composition can be thought of as a painting.  That’s not to say that this approach doesn’t exist in rock music because it does; in the production of rock records, even the ones on radio, the layering of different sounds can be very ‘orchestral.’  It’s just that in classical music there tends to be more liberties in the rules of its styles which allow for more room to paint.  Or maybe that same ‘room to paint’ exists in pop music, except its rules bring out a different stacking of options…

In regards to the Drums & Drones project, the sound of its music takes it form because it is part of my musical vocabulary.  In fact, many of the specifics of the language weren’t there yet when I started and I had to discover them on my own as I did it, which was part of the process of creation of the material.  But, I had a starting point for it, even an historical background for it.  This background ‘language’ comes from the minimalist and ‘psychoacoustics’ trends in new classical music as inspired by composers such as La Monte Young, Pauline Oliveros, and Maryanne Amacher.  It was the form of these specific trends of classical experimental music which was going to be the main language used to express the concepts I was intent on exploring- mainly a sense of stillness, ‘deep listening,’ and the impact of the physical sensation of sound on the body and mind.  Does this mean that one need be acquainted with experimental classical to find value in D & D?  Absolutely not!  It’s qualities are all there right on the surface and beneath the surface, and it is made to be accessible.  All that is required is to sit and listen.  Some people will be into it immediately, some might require a few listens before ‘feeling’ it, and some might not ever like it.

Basically, to sum up, if it sounds unfamiliar at first, don’t let ignorance hold you back.  There is an entire world of music out there beyond what is known  individually.  Listening is a process and I am participating in that process, too, continually.  Hearing a commonality between musics is a type of language in itself and some prefer to not go there, which is cool, and it, too, comes in varying degrees.  But, just because it can’t be seen doesn’t mean it’s not there.  We find our same self in the various selves that the form can take.  John Cale from the Velvet Underground played in a drone band with La Monte Young prior to joining the VU…

Liner note exerpts:

I sit and I listen; the physicality in wave relationships washes over me; thoughts and emotions, in relationship with one another, come into balance in their place of being. In time, settling and subduing, the periodicity of the tones steadies the vibrational impulses; I can see beyond what I identify as it to a point beyond identification, seeing. I gain perception from exposure, and not being able to experience all at once, my piece is it as it is a part of the entirety itself. From a multitude, one emerges, and from one, a multitude.. Perceptibility expands in its stillness, as expression, complete in itself. All I have to do is listen.

Drums and Drones began for a concert at the Stone, John Zorn’s club in NYC, on February 1st of 2007.  Mary Halvorson, a Brooklyn based guitarist, was curating the month there and asked me if I’d be a part of it.  I took this as an opportunity to present new work, and I did.

With the pieces that were developed for this concert, a starting point was formed for what was to grow into a recording project.  I had the idea of approaching the project as being a series of etudes, each one a study in the different ways of the application of the Just Intonation tuning theory to drums and percussion.  As I experimented with various methods, I began developing more pieces with each one showcasing a specific playing technique and focusing on a complimentary set of overtones.

In this initial stage, which lasted from 2007 through 2008, I developed a basic method which laid the groundwork for a ‘how- to’ of D & D: 1) tune the drum head to a specific fundamental frequency 2) mic the drum and run the sound into a computer 3) with recording software, use very precise, a.k.a. “surgical,” equalization to isolate and boost the frequencies of the drum’s overtones. (The fundamental I would use was most typically 60Hz, like La Monte, because it is the frequency at which Con Edison generates its electricity.  In theory, the pieces on this album should be in tune with the hum of electricity  in the environment.)

The impetus for the next phase of Drums and Drones came with an invitation to perform in May of 2010 at the Melbourne International Jazz Festival, courtesy of Sophia Brous, a Melbourne based singer/band leader/visionary… For this concert, I had it in mind to change my technique of approaching D & D as a live performance vehicle; I wanted greater user friendly equipment, particularly computer software that interacted more fluidly with the acoustic instrument…  I took a friend's advice and brought Ableton Live with a MIDI controller into my set up… Now with Live and a MIDI controller I could ‘play’ that computer like it was an instrument, so to speak.    The pieces developed in this second phase are the most dynamic of the bunch, as they are very much about more dramatic gestural and textural changes.  Bringing the MIDI controller into the set up greatly enhanced the ease and range of expressivity between the acoustic drum and the electronic software.

While still in Australia I decided to record the material that I had developed for the solo performances [at the MIJF and the Make It Up Club].   I reached out to Casey Rice, an established live sound and recording engineer originally from Chicago who had moved to Melbourne…  We took two days to record, doing full takes of the four pieces on each day if I am remembering correctly.  These are the only tracks on this album which were recorded by someone else and with the guidance during this process of another set of ears… On this album the tracks from this second phase are: “Bass Drum Drone,” “Snare Brush Drone,” and “Cymbal Drone;”

The ‘third phase’ of material had its beginnings in August of 2010 for a concert at the Cinders Gallery in Williamsburg, Brooklyn.  The pieces developed during this phase seemed to put more of an emphasis on the process of listening: finding stillness in sustained environments and letting our ears open to the subtleties of sound in sustained exposure; the perception of time ceasing to matter and what remains is absorption in the experience of sound.  [During the final stages of tracking for the recording of this material], I remember I was working on one piece, all the way up to sunset on [a] Friday night, and let the loop play as I stepped away from the drums and computer, knowing I wasn’t going to be back to it until Sunday afternoon.  On that Saturday night, New Year’s Eve, I played the two sets for the Stone Improv Night which is a thrilling experience and an honor, and then headed back to Brooklyn to spend the turning of the year with a big group of friends. The next morning I got up early to meet my family for brunch, and after that made it back home, picking up where I left off almost two days earlier with the loop still running.  In recalling this now, it’s nice to notice how the Stone, friends, and family, are at the bookends of the process for the creation of the material.  The tracks on this album from this third phase are: versions 1 and 2 of “Drone State of Mind,” “Melody Drum Drone,” and “Feedback Drone;”

Anchored amidst the changes is the constant that is at the source – I am still me, We are still We, and It is still It, as we go about expressing that which never changes, the fundamental that is the root at the core, the 1 of the 1/1, so to speak.

Notes on the video artists:

Erik Zajaceskowski, along with Rachel Nelson, who helped greatly in the making of Erik’s videos, runs the Brooklyn gallery and performance space, Secret Project Robot.  This venue is a leading cultural center for the arts community in Bushwick and Williamsburg.  Gallery installations, music performances, ‘Noise Salons,’ birthday parties, and holiday sales, are a small sampling of the events that go on here.  Every one from prominent figures in the Brooklyn music/arts scene who have been around since ‘back in the day’ to those who are new to the ‘hood regard SPR as ‘home base.’  I first came across Erik’s work when he was doing video for early Williamsburg bands such as Oneida and Yeah Yeah Yeahs as part of the legendary Mighty Robot A/V Squad back around the um, turn of the century.  He quite literally mesmerizes and entrances audiences, blending amusement and playfulness in the liberation of form and color, bringing about an awesome sense of ‘wow.’  It’s been that way for me as I’ve experienced it continually over the years in environments ranging from crowded rock shows, to sound-art performances, to multimedia gallery installations.  Following the close of the Mighty Robot performance venue came the opening of Secret Project Robot, a gallery and performance space which was on one of three floors of the ‘Monster Island’ building; it was here that Erik and I did our first of several live video with audio collaborations.  After the end of the Monster Island era, Secret Project Robot relocated out of Williamsburg and established firm ground in Bushwick.  This is the space which I think of as home now when I think of the heart of the Bushwick/Williamsburg arts scene, and also where Erik and I have continued our collaborations.  It’s an amazing and very special place to hang out, see mind blowing performances, and check out mind expanding art, thanks to the strength of vision and curatorial powers of Erik and Rachel, in addition to their dedication and tireless work.

www.secretprojectrobot.org

I first became aware of Ursula Scherrer through her affiliations with La Monte Young and Marian Zazeela.
I was working at the Dream House and I would see Ursula’s name around and only knew that she worked closely and personally with La Monte and Marian.  Somehow, I ended up on her mailing list, and would get notifications of her live video performances that she was doing in the US and across Europe, in addition to special NYC events such as OptoSonic Tea, an audio/visual happening that she co-hosts with Katherine Liberovskya.  Ursula had been working with those who have come a little bit before me and who have helped establish the path on which I now walk, so meeting her for the first time had me a little nervous.  I first saw her perform at small gallery space in Brooklyn, the Microscope Gallery (the same concert at which I met filmmaker and later collaborator Tenzin Phuntsog), where she was doing live visuals to live improvisations by Shelley Hirsch and David Watson.  I introduced myself then, and it wasn’t too long after that possibly that we met again after another performance.  It was apparent that we had some mutual friends and shared similar artistic interests that when it came time for me to put together a Drums and Drones show I asked her if she’d do video for it.  The show was in November of 2011 at the La Sala art space in Williamsburg.  I shared the night with David First, composer/guitarist/electronic musician and also member of the pioneering ‘art-rock’ band the Notekillers.  David is also someone who has come before me and has contributed, and continues to contribute, to establishing and setting the path with his music and writings which many of us now walk.  To share a night of music and video with David and Ursula is an honor.  The night went very well and we followed it up with a second performance in February of 2012.  Many thanks go to violist and concert promoter Jeanann Dara of La Sala for her support and making these concerts possible.  From performing with Ursula in these concerts, it became apparent the outstanding impact video has on the presentation of the Drums and Drones material, and how well that material lends itself to video.

www.ursulascherrer.com

Drums and Drones is a project dedicated to the application of Just Intonation to drums and percussion.

The Drums and Drones project initially came about from inspiration by La Monte Young and Marian Zazeela’s Dream House installation in TriBeCa, NYC.  I had spent a good amount of time, almost a year and a half maybe, volunteering there as a “monitor,” someone who minded the installation and greeted visitors during its open hours.  The duration of my shift, about 4-5 hours, was mostly spent sitting outside of the gallery space, with the immense sound pulsing through the door and walls, while reading up on the principles of Just Intonation and the historical background of La Monte, Marian, and their cohorts of the NYC experimental art scene.  I accumulated many hours, too, sitting in the space itself, embracing the impact of the finely tuned sound and light vibrations.  One can hear the installation, which is set three flights up from the entrance, as soon as the door is opened to the building.  The sound grows in intensity as the stairs are climbed, leading to the climactic moment when one reaches the landing on the third floor, opens the door there, and takes the first step to enter into the space.

I was exposed to this ‘tone sculpture’ for hours on end.  After a while, I would finally get it, only to have new doors opened in the pathway of experience.  Prolonged exposure only deepened its impact, and revealed it as the unending infinity it was designed to be with the only limit being myself.  The tones would dance in my head, hypnotic and entrancing, and I would hear tones that previously seemed veiled which were now resonating loudly and clearly somewhere between the air, my ear, and my brain.  I was mesmerized by the power of this emphasis on the physiological experience, and its psychoacoustic impact had me hooked.

Ultimately, this psychoacoustic impact is the result of the careful physics of the installations’s design, which is based on the Just Intonation tuning system.   All tuning systems are structured on relationships- tones are relative, some are higher and some are lower.  These tones are vibrations (as it is important to remember that sound is physical), sound waves that reach our body; the body/brain receives the impulse of these sound waves and absorbs them in its physiological process.  It is important to consider the vibrational relationship between sound waves and their  connection to the quality of being ‘in tune’ or ‘out of tune.’  Some vibrations exist in a harmonious way and others exist in a more dissonant way.  In the tuning system of Just Intonation, the relationship between pitches is set in a such a way that each sound wave is an extension of a single fundamental reference tone, in that each sound wave is derived from it and also refers back to it.  Whether seemingly consonant or dissonant, each tone configured in this way is related to one another in that it is a physical extension of this original root pitch.

Just Intonation uses as its basis, its blue print so to speak, the naturally occurring phenomenon known as the overtone series.  There is a clearly defined organizational pattern to the overtone series, which can be thought of as a form of musical DNA- it is an organic structure with each singular overtone acting like a gene in a larger chain.  Taken as a whole each overtone functions to determine the overall character of a given sound.  The structure of this musical DNA is universal and the pitch relationship between the overtones are always the same, yet what individualizes specific sounds is that within the larger framework of the overtone series there may be emphasized or de-emphasized areas along the length of the overtone chain.  Different sounds have different combinations of predominant overtones.  

Just Intonation uses as its founding principle the premise that from one fundamental frequency an endless infinity of frequencies exists and with that all tones emerge and can be derived.  This process occurs from whole number divisions of this single fundamental, the One.  From one, we get two, then three, then four, then five, etc…  For example, the fundamental frequency of One can be divided in half, with each half vibrating at twice the speed as the fundamental (think of a string that is then cut in half- each length of the half will then vibrate at twice the rate of the length of the whole.)  The next step up is to divide the fundamental into thirds with each third vibrating at three times the rate of the fundamental.  This process can continue infinitely with each division representing a different overtone, or harmonic.  In this way the relationship of pitches can be expressed as ratios 1:2, 1:3, 1:5, etc.. because they are all derived from the same source, a fundamental.  When pitches are combined according to this system they release many subsidiary tones, referring to numbers above and numbers below, as they all stem from the same source.  For example, when two tones are played in a relationship of 3:5, what results is the addition tone of the 8th harmonic as well as the difference tone of the 2nd.  This phenomenon was also part of my fascination of the acoustic properties of the Dream House installation.

A compelling part of hearing tones organized according to Just Intonation is the feeling of ‘infinite depth’ that it brings.  Each tone is directly related to one another in whole number relationships and exist as derivations from the same fundamental, the same source.  With each tone referring to one another as being a part of the same continuum high and low a sense of unending expansion pervades.  Also, in this way, the tones, even ones that seem dissonant, fit neatly together like pieces in a puzzle.  When tones sound together in a specific whole number relationship, like 7:4 let’s say, then that cyclic response rate is triggering that same neurological pattern repeatedly throughout its duration.  This wouldn’t be the case for tones that exist in non-whole number relationships like they are in the standard Western tuning, 12 tone equal temperament.  With the brain receiving signals that cycle at 7 times for every 4 then after a while this relationship, because of the regularity of its periodicity, starts to deepen its impact.  This makes Just Intonation very suitable to sitting and listening for extended durations.  Indian classical music uses this premise for much of what gives it its distinctive sound.

Drums and percussion have seen some but not much exploration of JI, yet they are designed to represent it as such.  Think about it: a drum head is tuned to a single pitch, one frequency.  It has strong vibrations and is rich with harmonic material.  How do we go about isolating and controlling these frequencies, as overtones, in accordance with the principles of JI?  Well, that became the task at hand of the Drums and Drones project.  It is inspired by the experience of the beauty of the vibrations of sustained tones organized according to the overtone series, a naturally occurring system which implies that from a single source an endless infinity presents itself, simultaneously simple and complex.. all we have to do is listen..

Ghee
Cumin (1-2)
1 cup White Basmati Rice
2 cups Water
Salt

Heat Ghee
Add Cumin seeds, and sautee the seeds until they release their aroma and turn a little darker
Add Rice and coat with the cumin butter
Add water, bring to a boil, and add a pinch of salt.  Cover the pot with a tight fitting lid, turn the heat to a low simmer and cook for about 15- 20 mins.

This dish can be made without ghee but dry roasting the cumin seeds

Coconut Rice

1 cup rice
Cumin Seeds (2)
Shredded Coconut (2)
Creamed Coconut (2)
An imperceptible amount of crushed red pepper flakes, like 1 or 2 tiny seeds
2 cups Water

In the pot in which the rice is to be cooked, dry roast the cumin seeds until they brown gently and release their aroma, and then add the shredded coconut.  Toast over medium heat until browning begins.  Bring the heat to low as the c.c. can burn easily.  When the creamed coconut melts and the shredded coconut is toasted with it, add the rice.  Toast the rice with the coconut mixture until it is well coated with cumin/coconut mixture.  Add the water, chili, and cook about 15-20.  Turn off the heat and let it sit for 5 to 10 minutes.  Enjoy coconut rice.

Heat Ghee in the pot
Add Cinnamon stick and heat, then add the Cardamom, followed by the Cloves.
Heat spices thoroughly.  Allow the stick to unfurl.  The cardamom pods might pop.  The cloves might split.  All ok.. Get that flavor going!
Add Mung and saute in the oil with the spices.
Add water and Turmeric
When the water boils add the ginger.  Stir and add the black pepper.
Turn the heat down to a simmer, and cook, partially covered, for 25-30 minutes or until tender.

I recommend  serving this dish with some jaggery.  You can mix some jagger with water to make it more of a “sauce.”  It compliments the dish really well, which isn’t a surprise..

 
Sweet Dal

1 cup yellow mung
4 cups Water
Ghee
Jaggery
Ginger powder or fresh grated ginger (2)
1 or 2 Cloves

Add a very generous dollop of ghee to the pot.  Heat and add jaggery.  Once the sugar gets a little melt-y, add the mung.  Sautee the mung with sugar, coating it thoroughly.  The more the sugar cooks the ‘darker’ the flavor will get, due to the molasses of the jaggery.  Notice the color and smell to gauge when it seems to be at a good level.
Add the ginger and saute, followed by the water (if using ginger powder make this process quick as the powder burns easily).  Add clove.  Turn the heat down to a simmer and cook, partially covered, for 25-30 mins.

These recipes in this section are listed as being without oil but work just as well by adding ghee to the pot at the beginning of the recipe.  To do this, add a big dollop of ghee to the pot at the start of the cooking, and heat.  The first spices will then be sautéd in the ghee rather than dry roasted.  I do encourage making these recipes with ghee.

Simple Dal #3

Cumin seeds (2-3)
2/3 cup dal  and 1/3 cup rice (mixed together and rinsed in a strainer)
5-6 cups Water
Turmeric
1 Clove
Quality Salt (1-2)

Add the cumin seeds to the pot seeds roast until they brown and release their aroma.
Add dal and rice mixture.  Coat with the cumin seed butter
Add water followed by the Turmeric
Bring to a boil and add the clove
Cook partially covered for 25-30 ins.

Turn off heat and add salt

Dal no oil  (heating)

1/3 cup rice
2/3 cup dal (yellow mug)
6 cups water
Cumin seeds (3)
Sesame seeds (2)
Turmeric
Fresh Ginger, grated, or Ginger Powder (2)
2 Cloves, or 1 Black Cardamom Pod
Salt (2)

In the pot, dry roast the cumin seeds until they turn a few shades darker and give off their aroma
As the cumin seeds are going about this process, add the sesame seeds.  Let them turn golden.
Add the rice and dal mixture
Add the water
Add the turmeric and bring to a boil
Add fresh grated ginger, or ginger powder
Add the cloves or cardamom pod and bring the water to a simmer
Let the kitcheree cook for about 25 -30 minutes, partially covered
Turn off the heat and add the salt

 
Dal no oil (cooling)

1/3 cup rice
2/3 cup dal (yellow mug)
6 cups water
Cumin seeds (3)
Fennel seeds, preferably crushed in a mortar and pestle (2)
Shredded Coconut (2) (optional)
Cumin Powder (1.5 – 2) and Coriander Powder (2)
Turmeric
Fresh grated ginger (3)  As an alternative, some crushed black pepper (2) is ok
1 Clove
Salt (1.5)

In the pot,
Dry roast the cumin seeds.  Let them smoke and turn a few shades darker.
While they are doing this, add the fennel seeds.  Let them turn a few shades darker and release their aroma.
Add the coconut, if using, being careful not to let it burn.
Add the rice and lentil mixture
Add the cumin and coriander powders
Add the water
Add the turmeric
Bring to a boil and add the fresh grated ginger or black pepper.
Stir, and then add the clove
Bring the water to a simer and cook for 25 ins, partially covered, or until tender.

Turn off the heat and add salt

Simple Dal:

Ingredients
4 cups water
Turmeric Powder (2)
1 cup red lentils (masor dal)
1 clove
Good quality salt (sea salt is recommended) (1.5 – 2)

Method
Bring water to a boil with turmeric
Add lentils
When water re-boils add clove
Bring the water to a simmer and cook for about 20-25 mins. partially covered, until tender

Turn off heat and add salt

Simple Dal #2

Cumin Powder (1)
Coriander Powder (2)
1 cup dal  (Yellow mung or red lentils or a combination; urad dal is ok, too, and good for moments when food with heating properties is beneficial)
4 cups Water
Turmeric (1)
Fresh Grated Ginger or a pinch of crushed black pepper (2)
1 Black Cardamom Pod or 2 cloves (optional but recommended)
Mango Powder (2) (optional but good for adding the element of the sour taste)
Quality Salt (1-2)

Dry Roast Cumin Powder gently, and then add Coriander Powder
Quickly add the mung beans and stir to mix with the powders
Add the water, followed by the turmeric
Once the water comes to a boil add the ginger or black pepper
Bring the water to a simmer and add the cardamom pod or clove
Cook at a simmer, partially covered, for 25-30mins. or until tender.  Adding water is totally ok if it starts looking dry.  The pot can be fully covered, too, to keep moisture from escaping.
Turn off heat
Add the mango powder and stir
Add the salt

Spice party for simple dals:

Spice Party #1

Simple Dal recipe as above
Ghee
Cumin seeds (3)
1 Whole red chili pepper (or fresh sliced ginger)

To the finished Simple Dal add spice infused oil (Tadka):
In a small frying pan or durable measuring cup heat a big dollop of ghee over medium heat
While the ghee is heating start reheating the pot of simple dal (only let it get to a gentle simmer.)
When the ghee is hot add the cumin seeds.  Let the seeds sputter a bit and turn a few shades darker.
When the seeds smoke they are releasing their aroma, but do not let them get too far past this point or else they will burn.
Add the chili pepper, let it sizzle for a second, and turn off the heat.
Add the spice infused oil to the pot of the dal, stir gently, turn off the heat on the dal, and cover.
Let it sit for a few mins and allow the flavors to settle.

Spice party #2

Simple Dal recipe
Ghee
Black Mustard Seeds
Cumin Seeds
Curry Leaves
Black Cumin Seeds
1 Whole Red Chili Pepper
A little fresh diced ginger, or some fresh cilantro (optional)

As the pot of completed Simple Dal heats gently, prepare the oil:
Heat the ghee in a small frying pan or durable measuring cup over medium heat
When the ghee is hot, add the black mustard seeds.  They will sputter and smoke and start turning grey.
Once and as the mustard seeds start doing this, add the cumin seeds.  Let the cumin seeds start turning a few shades darker.
Add the curry leaves immediately followed by the black cumin seeds.  Let them mix with the oil for a sec.
Add the chili pepper.
Add the ginger or coriander (or both!)
Turn off the heat and add it to the pot of dal.

This process of spice layering happens somewhat quickly, with the most time being spent on the mustard and cumin seeds.  Have the spices ready BEFORE you start cooking.
It might take some practice getting the timing just right of the mustard and cumin seeds as they go through their phases of being heated.  No worry, as the practice attempts will still be delicious, even if they are a tad burnt:)

Legumes:
Mung Dal, hulled and split  (little yellow beans)
Masor Dal, hulled and split  (little red lentils)
Urad Dal, hulled and split   (little white beans)
Whole Mung (small round beans with green outer skin)
Optional: Mung Dal, unhulled and split (little yellow beans with green skin) and Toor Dal (flat yellow peas)

Spices
1st tier: Turmeric powder, Cumin Seed, Cumin Powder, Coriander Powder, Quality Salt, Black Pepper
2nd tier: Black Mustard Seeds, Curry Leaves, Cloves, Black Cardamom Pods, Fennel Seed, Whole Red Chili, Red Chili Powder, Shredded Coconut
3rd tier:  Black Cumin Seeds, Ginger Powder, Cinnamon Stick, Ajwain seeds, Dry Fenugreek Leaves, Fenugreek Seeds, Mango Powder, Green Cardamom Pods
(the ordering of the spices into these ‘tiers’ can be very personal but this is how I’ve found it to work best for me in my cooking)

Fresh spices:
Ginger and Cilantro

Oil:
Ghee (highly valued in Ayurvedic cooking)
Olive Oil (NOT extra virgin)
Safflower Oil, or Vegetable Oil

Additional:
Nutritional Yeast
Creamed Coconut (different than coconut oil)

Preparing the dal:
Rinse the dal under running water in a colander or sieve.  Remove any small stones or pebbles:)  It’s rare but found on occasion…
The general proportions of dal to water for cooking is 4:1.  If I am only making 1/2 cup of dal I’ll use 2 cups of water.  There are some methods that call for more or less water, like, in soups or a ‘dry’ (a dal which is cooked in the steam from a lesser amount of water), but here the method will be 4:1 unless indicated

Preparing the rice:
I use almost exclusively white basmati rice.  Brown rice is heating and more difficult to digest.
The rice can be rinsed like the dal.  Alternatively, wash the rice in a bowl using several changes of water.  This way you can see the starch leaving the rice.  A great way to prep rice is to rinse it and then let it soak in a bowl with what is to be its cooking water.  For one cup of rice, use two cups of warm water.  Let the rice soak in the warm water for about 30 mins.  Drain the rice, reserving the water.  When it comes to cook, bring the reserved water to a boil and then add the rice.  This preserves many nutrients in the starch which would otherwise be lost.
The basic proportions of water to rice when cooking basmati rice is about 2:1, or sometimes just under two.

Recipes

• Simple dal
• One pot dal/rice (kitcheree) and no oil dal
• Special dal
• Rice

Me at my stove:

At that moment of me in front of my stove it’s me in front of my day.. All of my cares and all of my woes are there with me, and I’m the one that understands me best.. Cooking is there for nourishment, for growth, for an opportunity to take time out to connect our bodies and minds on an organic and fundamental level to that which regulates and unifies our system as a whole. Our days can be rough and they can be amazing, and when we cook it is our chance to reintegrate that healing and celebratory energy into our being.. Nobody knows us better than ourselves..

Cooking based on mood can be very good.. How am I feeling? From there we start.. Am I hot or cold, agitated or sluggish, dry or damp?  Each type of spice and ingredient has its own set of properties such as being cooling or warming, calming or invigorating, oily or absorbent, etc.  In keeping a sensitivity to these factors we can bring balance to our state of being, which is really the primary component in health and nutrition.

Our body and mind, in my experience, work on a system of balance and re-balance. At the center is peace and equanimity.  When we go about our days we expend energy or have experiences that can sway us either to the left or to that right.  In those cases the body and mind begin to ‘ask’ for what can recenter it.  What we think and feel is often based on this action/reaction mechanism.  In healing we bring acknowledgement to this factor and do what we do to regain our sense of center; in self-healing we take this opportunity for ourselves to recognize, express, and celebrate in what it is that nourishes and re-centers.  It’s an important and necessary process of being human; it comes in a variety of forms, and cooking has been one which has had great value for me.

In my cooking I’ve cooked almost exclusively Indian food. It’s worked exceedingly well and is a lot of fun, too.  Approaching it for the first time is not as daunting as one might expect.  I got some good books which gave me a foundation and, now, after some time of following recipes, I feel comfortable improvising based on mood. (I recommend Julie Sahni’s Classic Indian Cooking and Classic Indian Vegetarian and Grain Cooking, and Vasant Lad’s Ayurvedic Cooking for Self Healing)

The recipes here are for rice and dal, a staple in the Indian/yogic diet, and the dish I cook the most often.  It might seem like a dish with limitations, but in fact there are innumerable ways of preparing rice and dal.  First, there are many many different kinds of legumes, each with their own different properties.  Second, there are the spices themselves which provide a world of possibilities. Then, there is cooking method, in that the way both the rice and dal are cooked, the way the spices get cooked, and the order in which the spices are added all play a significant role in shaping the character of the dish.  Also, Rice and dal is a good dish to make for those who are busy and need to keep the day feeling productive.  With about 10-15 minutes of preparation, once the routine is familiar, the dal cooks on its own for about 25-30 minutes.  During that time one can check email, clean the house, or make a call to grandparents/grandchildren, for example.  I could have even had a pot of dal on the stove now as I’ve been writing this…

Enjoy!

Notes on eating(!):

Time Out
In eating, take time out from the day, time out to connect.. eating is the chance to give our bodies and minds a rest and reconnect to the ‘bigger picture.’  It is important to recognize this and acknowledge it.  Having eating be a moment for a mental time out is what helps restore balance, and bring clarity and joy to the rest of what we do.  What do we with the mind during this time out? One way to go about it is to bring our minds to focus on taste.  What is its flavor as it sits on the tongue?  Each food has its own character and good food is there to be enjoyed.  What does it feel like when the nutrients of the food which we ingest reach our muscles, blood and cells?  The answers are instantaneous.  If we are thinking (or talking) excessively over this process then we can easily miss out on the mentally nourishing qualities of the eating ritual.  In addition, eating with a relaxed and steady mind reinforces those qualities as our body breaks down and absorbs the food.  And, the inverse is true in that eating while agitated or nervous can bring those restless states back into our system, for example.  Taking a mental ‘time out’ while eating will prove to be rewarding.  Mostly, the moment to channel the mind towards a more relaxed state will in turn only positively enhance the work which has brought us to this point.  Of course, this is easiest in ideal circumstances so that time I ate that deep fried twinkle while standing amidst the crowd in Coney Island had its own special set of conditions:)

Soul Food
I have a conceptual image for the notion of ‘soul food:’ the food that we eat is itself not which gives us energy, rather it only feeds a greater internal source which itself is responsible for nourishing the body.  Much like adding coal to a fire, it is not the coals itself which provide the heat, it is the fire.  Food is only surface level but really what fuels us is an inner energy, or fire, at the core.  It is this core energy which keeps us alive.  Food which promotes balance, growth, and well being is what allows a greater connection and higher functioning of core energy.  Keeping this principle in mind helps emphasize the body as a self sustaining and regenerative mechanism.   In connecting to the internal source which ultimately sustains us is what I consider to be soul food.

Video excerpts from the album Drums & Drones.  Videos by Ursula Scherrer and Erik Zajaceskowski

http://vimeo.com/album/2285617

The first audio excerpt below is of a long tone drone piece based on specifically tuned feedback generated between the resonant drum head and speakers.  I used digital eq to boost the precise frequencies I was intending on getting and a Peterson Strobe tuner to help dial in what I was hearing.  As this piece is best suited for stereo speakers or a well tuned P.A., the broad spectrum of frequencies here will not be fully represented over computer speakers… As some might notice, this piece draws its inspiration greatly from the Dream House, the ongoing installation in TriBeCa, New York, by composer La Monte Young and visual artist Marian Zazeela.

The second excerpt is from a more dynamic piece based on a specific type of roll done on a snare drum.  The technique brought forth chiming harmonics, and, as the stick was moved across the head the different areas of the playing surface emphasized different sets of overtones.  After recording the piece, I used precise digital eq to bring out and highlite the harmonic content according to JI principles. [Both of these excerpts later became pieces as part of the Drums & Drones album]

Live:

This a live performance version of the second sound excerpt above, which has since been titled Stick Shot Harmonics Drone.  It is from a concert at the Abrons Arts Center in New York City, which also featured MV Carbon, and Alan Licht and Aki Onda.  This recording has been included as part of a benefit for Search and Restore, a non-profit organization supporting the New York based jazz and experimental music community.

Two excerpts here from a performance at La Sala in Williamsburg, Brooklyn in February of 2012 w/ live visuals by Ursula Scherrer.  The concert also featured a set by David First.  Documented by Emi Kariya / Trans Culture Party System.  This footage is from the second of two concerts with Ursula and David in a series tentatively titled “State of M(eye)nd”:

https://vimeo.com/album/2285651

Click:

Great review here:

http://www.newmusicbox.org/articles/sounds-heard-brian-chase-drums-drones/

D & D for Tmm Mulligan’s web-based performance venue/gallery/blog:

http://radioruidotriangulation.blogspot.com/

Thanks to Tmm and Che Chen!!