Paul Hartsaw / Damon Smith / Jerome Bryerton - Precipitation of a DecisIon (January 2022 Balance Point Acoustics)

1. Demarcation of Contents 05:38

2. Memory Prop 04:12

3. Sea of Reeds 06:08

4. Empty Time 05:28

5. Dissolution Through Expansion 02:41

6. Bits of Heat 04:05

7. Elimination of Empty Spaces 08:28

8. Light in the Pool 04:06

9. Reversal of Loss 06:12

10. Trickling from Dripping Wounds 04:25

11. Memory not Reliable 04:38

12. Paul Hartsaw / Damon Smith - Ghost with Necktie 02:41

13. Paul Hartsaw / Damon Smith - Flour in the Sausage 05:06

14. Paul Hartsaw / Damon Smith - To Each His (Own) Palm Tree 11:19

15. Paul Hartsaw / Damon Smith - Potato Pyramid in Zwirner's Cellar 04:43

16. Paul Hartsaw / Damon Smith - Higher Beings Command-Paint an Angel 02:35

17. Paul Hartsaw Damon Smith - Knitted Alps 01:27

18. Paul Hartsaw / Damon Smith - Untitled (Platypus) 04:53

19. Paul Hartsaw / Damon Smith - Protocol from the 29th of July 07:44

Cover Art:

Eliot Daughtry Postcard 1 & 5

Photographs by Melissa Venator

Design by Alan Anzalone

Disc 1 Precipitation of a Decision (track 1-11)

Artist: Paul Hartsaw – Damon Smith – Jerome Bryerton

Title: Precipitation of a Decision

Recorded: Bird Cloud Studio in St. Louis, MO

Date: May 15, 2021 (05/15/2021)

Recording Engineer: Ryan Wasoba

Paul Hartsaw – tenor saxophone;

Damon Smith – double bass;

Jerome Bryerton – percussion

Ttitles from Anselm Kiefer's Notebooks

Disc 2: The Ride on the 8 Of Infinity (tracks 12-19)

Artist: Paul Hartsaw – Damon Smith

Title: The Ride on the 8 Of Infinity

Recorded: 1510 Studio in Oakland, CA

Date: February 2, 2008 (02/02/2008)

Recording Engineer: Scott Looney

Mastered by Weasel Walter

Paul Hartsaw – soprano & tenor saxophones;

Damon Smith – double bass, laptop, field recordings

For Sigmar Polke

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Rebecca Novak / Danny Kamins / Sandy Ewen / Damon Smith / Jerome Bryerton - Groundwater Recharge (September 1, 2021 Balance Point Acoustics)

1. Groundwater Recharge 07:17

2. Trio A 04:45

3. 2-way speakerphone system with caller ID 06:59

4. Trio Anemone 05:04

5. Hierarchy of Furniture* 07:41

6. Trio A/B 04:08

7. Back Channeling 08:48

Improvised music for Quintet (+Trios)

Rebecca Novak - piano, cornet, radio, glassware

Danny Kamins - baritone sax

Sandy Ewen - guitar

Damon Smith - double bass

Jerome Bryerton - percussion

Track 2 - Ewen, Bryerton, Smith

Track 4 - Novak, Bryerton, Smith

Track 6 - Kamins, Bryerton, Smith

*Alauna Rubin - clarinet (Track 5)

Recorded in May 2016 by Jonathan Chan and Alauna Rubin at SugarHill Recording Studios, Houston, Texas

Mixed & Mastered by Ryan Edwards

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Jerome Bryerton / Damon Smith - .​.​.​There Must be a Reason for Generating Sounds​.​.​. (July 2021 Balance Point Acoustics)

11 duos for Wolfgang Fuchs

From the late 1990s to the early 2000s, Jerome & I toured & recorded with the great Wolfgang Fuchs. It was a formative experience for both of us. All titles are quotes by Fuchs. He was a constant source of wisdom and humor.

1. Three (-1) Italian Dogs 02:05

2. This is Clear 07:07

3. I Don't Want to go to Porky's 06:30

4. One Minute, One Espresso, One Cigarette 05:42

5. I am Sorry, You Cannot be Both 06:08

6. I Played Very Loud and I did not Listen 09:22

7. This is not About Friendship 08:54

8. The Blue Letter 04:03

9. From the East 03:10

10. I like Music - and Musicians (Gary Peacock in memorium) 03:36

11. Your Lights Made me Public 03:40

Recorded by Ryan Wasoba

Mixed and Mastered by Weasel Walter

Design by Alan Anzalone

Cover artwork by Max Neumann

© Max Neumann

Photgraph of Fuchs & Bryerton by Damon Smith

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Guillermo Gregorio / Damon Smith / Jerome Bryerton - Room of the Present (March 2021 Fundacja Słuchaj)

This album is structured around two performances of Guillermo Gregorio’s graphic score Moholy 2, inspired by the remarkable art and ideas of László Moholy-Nagy (1895–1946). More about him later. Gregorio’s fascinating score, illustrated here, deserves center stage.

In the complete score, at top, shapes float in a blank void. Bars of notated music and sections of musical staff are the only reminders of a conventional score. Look at them again and imagine that you can’t read music. Black dots scatter, one by one, across five parallel, horizontal lines. Gregorio isolates the dot and the line and reimagines them as the vocabulary for a new visual language that only exists in this universe. Dots grow into circles and shrink into specks. They rotate to form ellipses and cut off into hemispheres and circle segments. Lines wander and multiply, streak across the void at dynamic angles and assemble with martial order to create geometric shapes. One renegade line in the upper right arranges itself into a nest of intertwined triangles. Like all good graphic scores, Moholy 2 offers the performer countless variations of simple units to interpret.

But this complete score with all its richness is only part of a two-layered system. A second sheet, which Gregorio calls a “mask,” sits on top of the complete score, blocking it except for twelve open circles that focus the performer’s attention on specific passages. Moving the mask invites the potential for endless permutations. For these performances, black-and-white versions of the score were used, but the color versions illustrated here introduce a new layer of complexity.

The score’s hybrid status as art and music, its geometric abstraction, elegant simplicity, and infinite variety, continue the spirit of Moholy’s expansive art. A polymath, he introduced Russian-style constructivism to Berlin, led the Bauhaus metal workshop, worked as a set and lighting designer for experimental theaters, and founded the New Bauhaus in Chicago, now the Institute of Design, all before his death at the age of 51. Even more impressive are his writings, which open a window into one of the 20th century’s most inquisitive minds. In his first book, Painting, Photography, Film published in 1925, Moholy exhorted his reader to understand art as part of the Gesamtwerk, the wholeness of life, a vast integrated totality of action and idea. More than his paintings, Moholy’s words continue to inspire creative artists like Gregorio today.

1. Improvisation 4 04:51

2. Moholy 2 take one 06:57

3. Madi Piece nr. 1: Planimetria 08:10

4. Cards 10:10

5. Coplanar 1+2 07:35

6. Improvisation 1 06:22

7. Improvisation 2 10:17

8. Madi Piece Nr. 2 06:12

9. Moholy 2 take two 04:54

10. Otra Musica 4b 06:09

11. Improvisation 3 06:40

Guillermo Gregorio - Bb clarinet, A clarinet, alto clarinet, and alto saxophone, conduction (Moholy 2)

Damon Smith - double bass

Jerome Bryerton - percussion, selected cymbals, misc. drums

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Damon Smith Trio - Color Architecture (March 2021)

As i delved into the SF creative music scene in the 1990s, i met a whole community of artists that i would be working with... some to this day. among those early collaborators were Damon Smith and Jerome Bryerton. we had some good times making music, eating and arguing and i'm happy that we were able to document some of our work together here on Color Architecture as the Damon Smith Trio.

1 Color Architectue #1 (to Tom Schultz) 03:04

2 The Eye of Ra (to R.B._R.B.K.) 01:51

3 Emphasized Weights in Black and White (to Günter Christmann) 03:33

4 Grey Light for Flute solo (to John Stevens) 02:29

5 Elegy for Glenn Spearmann 02:29

6 The Algebra of Revolution (To Wadada Leo Smith) 02:19

7 Solo in E Minor for Fred Hopkins 01:25

8 Not Everything is in Line With the Ear (to Gianni Gebbia) 02:35

9 (Bert) + Nancy 02:47

10 Freedom is Necessarily only Partial (to Eneidi) 00:48

11 Abitrary Real Values (to Cy Twombly) 02:21

12 Ghost World (to Dan Clowes) 00:54

13 A Lesson for Later Work (to R.M.S.). 02:47

14 Lines for Trio (to Paul Klee) 03:46

15 The Division of Cells 01:54

16 Generatin Function and the Like (to L.S. Ellis) 02:20

17 Black Holes Dark Fields (to Peter Kowald) 04:07

18 Closely Bound up with Utility 01:11

19 40L 01:56

20 Color Architecture #2 for solo percussion 02:33

21 The Thin Lines Hold Their own in the Presense for the Heavy Point (to Mark Dresser) 02:16

22 A Force Capable of Dislodging one From the Gravitational Pull of the Earth (to Bill Dixon) 02:42

23 51A 02:18

24 10, No 20! 00:16

25 The Inner Attitude of the Observer 00:59

26 Dream Told by Moto(haru) 01:18

27 Governed by Contradiction 01:05

28 Lucifer Lies to Bring Time to a Stop 01:53

29 Color Architeture #1 (to Tom Schulz) Flute version 02:01

Damon Smith - contrabass

Jerome Bryerton - percussion

Jeff Chan - flute, bass clarinet and tenor saxophone

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