Bassist Carl Testa, who began the Uncertainty Music Series ten years ago, spoke about the word “uncertainty.” “It’s partly about the music itself but with some unknown element that’s different every time you play it,” he said. “This series started as a chance for me to play original music, but then became about asking the audience to take a chance and having myself and other musicians take a chance as well.”
Another person who took a chance on this series of experimental music was Roger Uihlein, owner of Never Ending Books on State Street, who offered his space up as a home for the series on the second Saturday of every month ten years ago and, according to Testa, “never asked for anything in return.” As a thank you to Uihlein, Testa set up the final show of the series at Never Ending Books on Saturday, Aug. 12, with proceeds from the show going to the venue. The Uncertainty Series will itself end with a two-night sendoff at Firehouse 12 on Sept. 23 and 24.
Testa mentioned that he had decided five years ago to not let the series go past the 10-year mark, and while it had been an enjoyable and successful venture for him and others, he said he would now concentrate on his own music. He also noted that there are more opportunities to play experimental music in the city now than when he first arrived in New Haven 10 years ago. These types of performances were continuing to thrive in many other forms and venues — thanks to many of the musicians participating in Saturday’s event as well as others throughout the city and the experimental music scene.
In front of the stage of Never Ending Books with his bass, Testa announced that the show would consist of improvisations in groups of threes. The first trio — of 10 — consisted of Testa, Grant Beale on guitar, and Lou Guarino, Jr on trumpet. As Testa went from plucking his bass to bowing it, Guarino and Beale complimented the change in texture with a marriage of sound that rose and fell in intensity and immenseness. This continued as Adam Matlock replaced Beale for the second set, playing accordion and adding guttural vocals to the three-piece band, creating a sound that, if you closed your eyes, sounded like an entire orchestra.
When Anne Rhodes replaced Guarino in the group for the third song, she brought her and Testa’s three-and-a-half-year-old son, Florian Testa, to the stage with her, offering him a ukulele and tambourine.
“Listen to what people are doing and see what you can add,” Rhodes instructed him in a soft voice. He ended up off the stage after about a minute and played Matlock’s accordion with him, grabbing the tambourine at the end of the piece as well and playing it with minimal coaching from Rhodes. He continued to play the tambourine and even began singing during the fourth set, when Conor Perrault replaced Testa and played the ukulele while Matlock continued on accordion and shared vocals with Rhodes. These two sets received the most applause of the night, with much laughter heard and much joy apparent on the faces of the audience members and fellow musicians.
The next set saw Rhodes, Matlock, and Perrault, who switched to guitar, all experimenting with their voices as instruments. Chris Cretella replaced Matlock for the next set, adding another guitar to the mix. While Perrault used his amp to create feedback for this piece, Florian came back up to the stage. Cretella gave him a noisemaker, and he again added to the sonic joy.
Karen Ponzio Photo
The next three sets were compromised of a trio of guitarists. Bob Gorry replaced Rhodes. Then Jeff Cedrone replaced Perrault. Finally, Beale replaced Cretella. Each offered his own intimate take on the guitar’s sound while creating a singular sound as a group, each one deeply ensconced in their playing but cognizant of what the others brought to the stage. Cedrone used a pedal board and selected each sound with care and finesse. Gorry used a stick and his hands to create percussion from his instrument. Perault slid a beer bottle along the neck of his instrument while Cretella picked at his instrument both delicately and furiously. It was a testament to uncertainty; just when you think you know what an instrument can do, you are then surprised by what someone does with it.
The final set brought Guarino and his trumpet back to the stage to replace Gorry. Guarino was also thanked for recording and videotaping the Uncertainty Music Series for the past 10 years, by both the group and Uihlein.
Cedrone thanked Uihlein for his part in supporting experimental music (the show raised $183).
“You have unintentionally made this a living room for all of us,” Cedrone said.
“It doesn’t get much better than this here,” Uihlein said.
The Uncertainty Music Series holds its sendoff at Firehouse 12, 45 Crown St., Sept. 23 at 8:30 p.m. and Sept. 24 at 7:30 p.m.
