the cartesian reunion "school" (a short history of a long tradition 1979-present)

Although I have decided to at least temporarily continue to make my music available, I am entirely finished with the music establishment. No mainstream American music institution will be permitted to perform my work (Not that there's much chance of it anyway). Why? Because it's a rigged game and because it's run by the elite; the same people who profit from dead Iraqi women and children. Some of the same people who stage terror attacks. Am I saying that, for instance, Esa-Pekka Solonen is a terrorist? No, but I am saying he works for terrorists, among others. I don't want that job.Publish

william houston- socal composer/music director/bomb thrower

the above statement could sound like sour grapes from a bitter artist who has not been 'anointed' by the mainstream. knowing a little about our little antisocial 'club' can put this bomb-throwing statement into a proper context.

in any type of music making, being an independent/alternative artist means that we don't accept the status quo. "the content of the media (composition/creation) is irrelevant, the form of the medium is what changes our consciousness." marshall mcluhan's statement that the medium is the message means as much today as when it was first thrown (1964) into the public discourse. technology makes it possible to freely bypass the 'official' delivery systems of art music (through bittorrent, youtube, myspace, and blogs like this), while we freely compose, perform and distribute our compositions and performances however we like.

unlike some students who sit in the back of the class quietly waiting to be called on, we do not wait. our current situation hearkens back to an outdated patronage system based on control and that expects everybody to know their place. today, for most composers, getting music performed means that the music is submitted for approval by committee. in this world musicians are expected to audition for the privilege to perform. some of us have chosen the alternate path, the path less traveled (and of course less profitable).

everybody knows where the 'money' (though not easy money) is. if you play by their rules you can be in their club. we have chosen to bypass the 'approved' media of the art music delivery system (concert hall and orchestra). we have chosen to form our own institutions, and perform in our own venues. i'm proud to be a member of this loose collective of southern californians that have been composing and performing an alternative/art music that has been largely undocumented for almost 30 years.

as you can see below, our little 'club' has grown over the years to make music for our own ensembles on our own terms. now it should be easy to see the teeth behind Bill Houston's words. Starting in 1979 the founding members of the Cartesian Reunion Memorial Orchestra (Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers) have blazed a trail through many actions and few words, lending force to the credo: "say little, do much." when every once in a while one of them pops into the zeitgeist with something to say, we might want to listen.

a short history of southern california new music ensemble-based composer collectives

Cartesian Reunion Memorial Orchestra (1979-1992)
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello

Domes (1987-1990)

performance orchestra featuring the works of Jeff Fairbanks, Mary Thompson, Michael Coleman, Alysse Sanner, Chris Tardif, Martin Tardif, and Stuart Miller. featuring performers William Houston, vocals; Martin Tardif, electric bass; Dave Black, string bass; Steve LaCoste, flute; Jeff Fairbanks and Steve LaCoste, percussion; Joe Bouchard, guitars; Brian Beshore, violin; Eric Berkqvist, bass trombone; Diane Barkauskas, accordion/keyboard; and William Houston, keyboard.

William Houston Ensemble (1988)
Alan Lechusza, saxes; Diane Barkauskas, accordion; and William Houston, keyboard.

Illustrious Theatre Orchestra (1992-1999)
Shane Cadman, Paul Greenhaw, John Hoover (composers); Shane Cadman, tenor saxophone, keyboard; Christine Dietrich, vocals; Paul Greenhaw, keyboard; John Hoover, baritone sax; Scott Mcintosh, clarinet; Douglas Fairbanks, keyboard; and others.

Liquid Skin Ensemble/Steve Moshier (1998-present)
Steve Moshier, vibes; John Glenn, bass; Jannine Livingston, keyboard; and others

Lloyd Rodgers Group (1993-present)

Lloyd Rodgers, keyboard; John Glenn, bass guitar; Bruno Cilloniz, vibes and percussion; Gary Hung, violin; Mellisa Rodgers, trumpet; and Luigi Cilloniz, marimba and percussion. other members have included Sean Ferguson, electric guitar; and Paul Greenhaw, vibes

Music Action Corps (2001-2003)
composer collective featuring the music of Sean Ferguson, electric guitar; Matt Menaged, bass guitar; Bruno Cilloniz, vibes and percussion; Jeremy Reinbolt, vibes and percussion; and Eric Hendrickson, keyboard

paulbaileyensemble (2002-present)
featuring works by Paul Bailey and other composers, living and dead, performed by Scott Mcintosh, clarinet; Carl Stronach, bass guitar/vibes; Bruce Gallegos, electric guitar; Ryan Nunes, vibes; Eric Hendrickson, keyboard. other members include Sean Ferguson, electric guitar; Matt Menaged, bass guitar; Nelson Ojeda, keyboard; Bruno Cilloniz, vibes; Sam Formicola, violin; Sam Fisher, violin; Shalini Vijayan, violin; Feranado Vela, viola; and Christopher Searight, bari sax. vocalists include Nicole Baker, Nike St. Clair, Susan Taylor Mills, Karen Hogle, Sean Mcdermott, and Paul Cummings.

Counterpoint Culture/Jon Brenner (2005-present)
Yemila Alvarez, flute; Xico Castaño, clarinet; Mike Lasserre, saxophone; Dave Kurutz, guitar; Carl Stronach, percussion; and Jon Brenner, electric bass.

Paul Greenhaw Duo (2006-present, nyc)
Paul Greenhaw and Sean Ferguson, keyboards

Diverse Instrument Ensemble (D.I.E, 1992-present)

A California State University Fullerton chamber ensemble (the barbarians are at the gates) founded by Lloyd Rodgers to serve as an alternative outlet for all of the university's musicians to receive chamber ensemble training through exposure to a wide variety of great music by (mostly) dead composers. over the years the d.i.e has become a de facto training ground for many of these composers and ensembles. d.i.e alumni include:

Yemila Alvarez, Paul Bailey, Jon Brenner, Bruno Cilloniz, Luigi Cilloniz, Sean Ferguson, Paul Greenhaw, Eric Hendrickson, Gary Hung, Mike Lasserre, Scott McInstosh, Ryan Nunes, Veronica Paez, Melissa Rodgers, Carl Stronach, and Nicole Baker (faculty guest soloist)

my apologies to any who have been omitted. please feel free to send your corrections and comments along