Notes on my Soundtrack to Laird Hunt’s The Impossibly

September 19, 2012 § Leave a comment

Music for Laird Hunt’s The Impossibly, now available at online music stores.Imageil 



I began thinking of composing music for The Impossibly with the following question: how does a melody contradict itself?  I was originally after the speaker’s syntax which twists the reader, complicating memory through contradiction, erasure and uncertainty.  I still have not answered that question.  Laird asked me to put together some music for a reading tour, and the more I thought about it, direct melody would be a distraction from someone reading the text over the piece.  I began trying to provide a spatial account of uncertainty and memory.  In a way, the book itself exists as a deposition of an un-subject captured in text and narrative.  I began to think of something more impersonal than melody.  I think that’s where I came up with the idea to use a sequence of some sort.


In the middle of an oppressively humid night in an undergraduate dorm on the Cornell campus, drifting in and out of sleep, I had been reading Harry Mathews’ Cigarettes and thinking about an Oulipo tutorial I had taken from Laird as a graduate student.  Something about constraint-based writing triggered the thought about using a sequence of notes.  Sequences are formal constraints.  They freed Schoenberg from traditional harmony.  I wondered: what if I make a sequence that is a code for “impossibly.”  I only had an acoustic guitar with me, so I got out of bed and simply named the notes on the neck according to letters of the alphabet, beginning with low E (A) and, giving each letter a half-step, ended two octaves above with F (Z).  I-M-P-O-S-S-I-B-L-Y = (conveniently beginning on middle C) C-E-G-F#-A#-A#-C-F-D#-E (up one octave).


So, now I had an unconventional scale made up of ten notes with a perfect fourth, raised fourth and a dominant seventh, but also a perfect fifth and a major third.  The chromatic density of E-F-F#-G was quite useful and the sequence liberated me from traditional harmony.  I then began playing with chord scales built on my “found” scale. You hear this in the arpeggio guitars in track two and the chromatically whirling synthesizer melody and bass line.  This section was my first large experiment.  I recorded it at home.


Happy with the progress of musical trickery, I began focusing on the feel of the book.  The music was feeling dense, overly dense and dark, and I had to remind myself I wasn’t composing music for a Dostoyevsky book, even though he likes idiots too.  I wanted to get at the detective / noir elements and the buffoonery of the book.  Some of this came out in my choice of synthesizer sounds, obviously inspired a bit by the Angelo Badalamenti / David Lynch / Julie Cruise soundtrack for Twin Peaks.  I was also thinking of the cartoon sounds used in John Zorn’s Cobra game piece.  I have an old Casio keyboard and began clicking around on it trying to find cheesy sounds and beats to become kind of a character motif.  The descending chromatic scale and the “classical wisdom” sequence were built-in functions on the keyboard.  I also used a bunch of transistor radio sounds to convey that disturbing Conet Project spy-tech feel.


I took this large section into the studio for mixing help from Colin Bricker, who is my alter ego with these things and way faster than me.  I didn’t want it to sound too much like me so I brought in my friend Janet Feder to play prepared guitar and James Han to play piano.  I had them play on top of my original recording and then move into a free section.  I gave them constraints of the “impossibly sequence” and recorded a number of versions of them where I said, “you can play notes as long or short, soft or loud as you want so long as you play them in this order.  In other places I asked them to just improvise from the scale.  At one point there was a sequence that spelled “Laird Hunt” too, but I’m unsure if I used much of that in the end.  To convey the noir detective feel I brought in the wonderful sax player, Mark Harris, the following day to play on top of Janet, James and myself.  I gave him similar instructions but allowed a more liberal approach to the rules.  I later removed Janet and James from an improvisation but left Mark and the MIDI sounds from the piano.  You hear that in the penultimate track.


I then took all the tracks home and began reshaping them into one larger piece.  I had read the novel again while teaching it in a writing class and felt like I wanted more literal references. I was particularly attentive to sound and honed in on buzzing bees, sizzling flesh and pan searing.  I had sent Laird roughs that had studio banter and he asked if I could insert a woman’s voice with barely audible words into the background, so I convinced the poet Jennifer Denrow and songwriter Joe Sampson to let me record a conversation of theirs.  I cut it up, mostly centering on Jennifer’s voice.  I mixed the sections I cut haphazardly onto to separate tracks, spacing one more to the right and one more to the left to obscure content.  We did some EQ stuff as well to distort the voices. I think of the beginning section as a prelude to the content of the novel rather than as a narrative, although of course it begins with a stapler.


The one narrative part is the song “O Robin,” which was written by my friend Natalie Winslow and recorded when she was maybe 19, twelve years ago or so.  She had put it on a mix CD for me years ago, and I love it.  It came to mind when trying to convey the singing woman during the chase scene before the interrogation.  I foreshadow the interrogation and burning flesh affair with sizzling sounds at the end of the song over the footsteps that go throughout, but even the music is meant to comment on this rather ridiculously cartoonish chase.  This then moves into the more ambiguous improvisations that remain.  I wanted to leave a lot of space for Laird to read over, and here is where I really feel like the reader develops more of an ache for the loveable main character.  I wanted to convey the not-sure-it-happened and not-sure-I’m-here quality of the latter half of the book.  


The final section is a reworked series of melodies from the scale sequence written out similar to Terry Riley’s In C, where musicians move their way through little rhythmic cells at their own pace.  You actually hear another version of the piece in the MIDI sounds behind Mark’s solo if you listen closely to the electronic ringing. I used James and Janet’s first read through what I had written out and kept the mistakes because it seemed to fit this character who is not quite all there.                     


An Installment of and Upcoming Album

February 25, 2014 § Leave a comment

An Installment of and Upcoming Album

This is a poem by Eleni Sikelianos that I put music too.  I also recorded an album of music for The Impossibly, a novel by Eleni’s husband, Laird Hunt.  (The notes are in a different post below.) I am grateful to collaborate with such wonderful writers.

For Moriarty’s “Field”: Or, Doctors versus Detectives

January 15, 2013 § Leave a comment

The aesthetics of failure is masculinist beauty of wilting stamen.  More than womb-envy, more than limits punctured by lightning, the hope of glamour in transference’s making across. In vision – not as sight, which is merely confused with the “is-ness” of sight’s adequation, the relegation to measurement – there is completeness.  The mistake of confusing vision with sight creates metaphor, a flawed creature.  Let us think of Doctors, not all the way back to the Greeks for the moment, but to the medieval creation of the specialist who embodies the attempt at secularization.  Perhaps the Plague Doctor is a good figure with which to begin. Image
This familiar and  chilling image  reappears strangely reminiscent in the  Mad Magazine’s comic  Spy vs. Spy, which satirized the Cold War. Compare:

The mask becomes the face itself.

While it is jumping the gun a bit to move from detective to spy, the increasing ambiguity between forces of good and forces of evil become intensified during the Cold War.  We see this in conspiracy literature — Thomas Pynchon, The X-Files, and of course, Twin Peaks. Perhaps The X-Files is the ultimate example of Doctor’s versus Detectives, but what’s apparent at the end of the show’s narrative is that although the two can be lovers, they can only do so at the expense of their son, and thus the family. Romantic love transcends the conspiracy-authored nation-state and the nuclear family.

In Twin Peaks, the story is much darker, as Agent Dale Cooper’s purity is corrupted and he turns on Annie Blackburn. The intertextuality between X-Files and Twin Peaks is amazing sometimes, especially David Duchovny’s appearance as the cross-dressing Denise Bryson.  More relevant, however, is Major Garland Briggs (Don S. Davis), who worked for Project Blue Book in Twin Peaks and played Agent Dana Scully’s father in The X-Files.  Scully’s father’s death opens up the possibility for life after death and communication with the beyond which shifts Scully’s rigid scientific character.  This benevolent father plays foil to Agent Mulder’s father, the “Cigarette Man” who was responsible for not only alien conspiracies, but also the death of President Kennedy.

The Cold War and the alien conspiracy operate on two levels of “otherness:” one geographic and nation-state oriented, the other metaphysical and more radically other.  Yet as The X-Files progresses, we see that hybridity becomes a possibility.  It is the true conspiracy though: in The X-Files, hybridity is bad.  This concept gets carried over into Cylons in the recent version of Battlestar Galactica.  Increasingly, the inability to distinguish between humans and hybrids unveils a larger, mystical and godlike force as the source of life unifying Cylon and Human. Otherness finds a way of losing its radical nature.  Liberal democracy maintains its ability to expand and transform by appeal to a higher power.  We will see if people start fucking zombies on The Walking Dead, but surely in 2013 it’s okay to fuck a vampire. This is all recent TV though.  What about doctors? Symbols? Visions?

I think of Marlowe’s Dr. Faustus:

Cut is the Branch that might have grown full straight
And burned is Apollo’s laurel bough  
That sometime grew within this learned man.
Faustus is gone: regard his hellish fall,  
Whose fiendful fortune may exhort the wise 
Only to wonder at unlawful things,
Whose deepness doth entice such forward wits
To practice more than heavenly power permits.

I think of Goethe’s Faust:

Once more you near me, wavering apparitions
That early showed before the turbid gaze.
Will now I seek to grant you definition,
My heart essay again the former daze?  
You press me! Well, I yield to your petition,
As all around, you rise from mist and haze;  
What wafts about your train with magic glamor
Is quickening my breath to youthful tremor. (3)

With hubris Faust and Dr. Frankenstein and Dr. Moreau tamper with divine nature.  They try to acquire or adopt some secret divine power while their counterpart adopt a more subjective witnessing to the power.  They seek to unveil the truth but not to master or appropriate.  Sherlock Holmes and Fox Mulder need the mystery in order to survive…their work gives reverence to the mystery. I have had a longstanding fascination with the Doctor Bernard Rieux in Albert Camus’s The Plague.  He is one of those seemingly flawless characters, but then again he is the one telling the story.   Still, the prescription to gather one’s angst in defiance seems like a piece of medical advice, like exercising to ward off depression. Melancholia, we know, is the modern disease.

In On the Origins of German Tragic Drama, Walter Benjamin sees Hamlet as the predecessor to the Trauerspiel par excellence because Hamlet is prince, martyr and intriguer in one.  Hamlet introduces the character of the self-absorbed Melancholic who has lost a signifier to stabilize meaning.  Benjamin argues that the Truerspiel (Mourning-play) is a secularized version of medieval mystery plays.  In its secularization according to Benjamin, the Trauerspiel loses all drama of salvation, ends with a stark finitude removing all sense of hope, including eschatology and parousia (second-coming).  Nevertheless, the plays remain historical while lacking a sense of progress and causal sequencing as well as a sense of motivation.

Benjamin arrives at this by distinguishing between symbol and allegory.  For him, symbols are organic totalities with a stable relationship between the sign and the signified.  For example, the King is the earthly symbol for the divine God.  In allegory, according to Benjamin the symbol is demystified, fragmentary, and the relationship between sign and signified is unstable.  If in earlier plays, the prince was a sovereign head of state occupying God’s authority on earth in a court setting characterized by rationality and order, in the Trauerspiel he becomes a tyrant and the position of protagonist is reoccupied by the Machiavel-martyr who is an intriguer or plotter the likes of Iago, Polonius and even Hamlet himself.

According to Benjamin, the setting and time loses classical unities of time and place and the court takes place in mythological time, which is “found” rather than invented or causally progressive.  The plot becomes strangely spatialized according to the “plotting” of the intriguer who is not a sovereign but a puppet-master whose arbitrary or contingent schemes manipulate the crown through artiface, playing on passions, vices, creaturely corruption and fallen-ness.  The Trauerspiel is characterized further by an emphasis on ludic play and absurd violence.  One gets a sense that Benjamin also had something like Alfred Jarry’s Ubu Roi in mind.

Jarry being a paragon of avant-garde aesthetics laughs at the seriousness of Tragedy by invoking pataphysics, the science of imaginary solution to all problems. Pere Ubu is the masculine absurd failure of modern aesthetics.  This pulpy character is absorbed into the “assault on culture” of William Burroughs in characters like Clem Snide, from “Freeland,” in Naked Lunch and The Soft Machine.  Burrough’s corrupted agent gets absorbed into stateless globalization and crass commerce of the metaphorical “junk,” as opposed to the more optimistic state of “soma.”  Burroughs’ detective is bleakly consumed by consumption…there is nothing left to be witnessed; the detective is subject to the persecution of immanence…there is no law to be before, just traffic.

Junk works like Plague.  Antonin Artaud, in The Theater and Its Double, writes of the Plague that has attacked Europe at different points: “…the only two organs really affected and injured by the plague, the brain and the lungs, are both directly dependent on the consciouseness and the will […] the plague seems to manifest its presence in and have preference for the very organs of the body, the particular sites, where human will, consciousness, and thought are imminent and apt to occur” (21).  For Artaud, the avant-gardism attacks the plague that manifests as “civilization”; for Burroughs and the writers who follow in his wake, this amounts to “a total assault on culture.”

For some, this assault itself is just swallowed by the one-dimensionality of commerce; for others the assault can maintain a mystical martyrdom.  I think that if it is to be something similar to the latter (and I’m imagining Burroughs as the grim reaper right behind me about to put his hand on my shoulder), it cannot be in that worn-out appeal to transcendent life that makes humans and Cylons all products of the same deity; rather, it must be in seeing the glow of immanence through vision and not metaphor. It seems their must be something different than masculine failure in avant-garde aesthetics.

To fail is to trip, to fall.

Is to fall in love a failure?

There is a beautiful moment at the end of the first season of the new Doctor Who, where Rose Tyler saves the Timelord Doctor by merging with the innards of the TARDIS time machine.  In saving Rose’s human form from the immensity of Time, the Doctor is transfigured.  I have yet to finish out the new series and I remember little of the old one from when I was younger, but there seems to be something nice there there concerning transcendence.

If the Doctor has figured as a stable source of rationality for the enlightenment –showing the dangers of too eccentric rationality when straying with hubris — the detective has been a witness and devotee of Truth in a universe where the truth becomes less and less accessible.  Nevertheless, the detective remains a kind of initiate into the Mysteries. Both become disembodied or transfigured in late twentieth-century / early twenty-first century work.  I’m thinking of Jack, the Doctor and central character of Lost — a narrative of the post-death experience, Doctor Who, the Timelord with a special love for humanity, and imbecile detectives / agents in Harry Mathews’ My Life in CIA and Laird Hunt’s The Impossibly.

Roger’s Performance History

April 3, 2011 § Leave a comment

 Roger Green’s Live Performances (not including all sub / back-up work)



04/08/2017, Greenwood Village, CO, The Curtis Center, Richard Peterson Opening

03/26/2017, Denver, CO, Ophelia’s Electric Soapbox

02/10/2017, Denver, CO, Intimate House Concert with Ron Miles



12/18/2016, Denver, CO, Hi-Dive with Nathaniel Rateliff and Joe Sampson

11/08/2016, Boulder CO, CU Boulder Master class with Ron Miles

09/30/2016, Boulder, CO, Grace Lutheran Church Jazz Series with Ron Miles

08/11/2016, Denver, CO, Lion’s Lair with Ralph White

07/22/2016, Denver, CO, The Deer Pile with Jux County and Kal Cahoone

07/06/2017, Denver, CO, Globe Hall with Pythian Whispers and Orbit Service

05/28/2016 Denver, CO, The Deer Pile

04/07/2016 Denver,CO, Dazzle (reading Richard Hugo Poems for Wayne Horvitz)

02/20/2016 Denver, CO, Syntax Physic Opera, featured Songwriter

01/15/2016 Denver, CO, The Walnut Room, with Janet Feder & Lost Dog Ensemble



12/03/2015 Denver, CO, Dazzle Restaurant & Lounge

08/18/2015 Denver, CO, Syntax Physic Opera accompanying Anne Waldman and Eleni Sikelianos

05/21/2015 Denver, CO, The Deer Pile

04/25/2015 Denver, CO, MCA Denver, covering David Bowie for Mothersbaugh closing

04/25/2015 Denver, CO, MCA Denver, curating & playing with Mark Mothersbaugh / Devo’s adding machine

04/24/2015 Denver, CO, Syntax Physic Opera with Elin Palmer

03/16/2015 Denver, CO, The Walnut Room with Hot Panda

03/06/2015 Denver, CO, Dada Art Bar

02/19/2015 Denver, CO, The Toad Tavern

01/30/2015 Denver, CO, Leon Art Gallery

01/22/2015 Denver, CO,  The Deer Pile



12/20/2014 Denver, CO, Dazzle with Ron Miles and Matt Wilson

12/12/2014 Denver, CO, Syntax Physic Opera, Best of the Czars release

12/06/2014 Denver, CO, The Walnut Room with Lost Dog Ensemble

11/09/2014 Denver, CO, Leon Art Gallery

10/30/2014 Denver, CO, Museum of Contemporary Art, Mark Mothersbaugh Myopia opening

08/01/2014 Denver, CO, Carmen Wiedenhoft Gallery

06/06/2014 Denver, CO,  MCA Denver rooftop show

05/24/2014 Denver, CO, Hinterland Gallery

05/08/2014 Denver, CO Walnut Room, with Patrick Park

03/22/2014 Denver, CO, Counterpath Books with Alejandro Acierto

02/12/2014 Denver, CO, Lost Lake, with Bell Hours



11/ 23/13 Denver, CO, Walnut Room, “Advancing Guitar” Showcase with Janet Feder, Dave Devine, David Thomas Bailey and Ryan Fiegl.

11/16/2013 Denver, CO, Deer Pile, with Jux County and Jeff Linsenmeier

09/25/2013 Denver, CO, Hi-Dive, with Adam Goldstein

09/03/2013 London, UK, 12 Bar

07/23/2013 Denver, CO, Dazzle, guitar for Glenn Taylor Orchestra

07/19/2013 Denver, CO, Civic Center Park, Nick Cave;s “Heard”

07/18/2013 Boulder, CO, Naropa University, Eleni Sikelianos reading

01/28/2013 Denver, CO, MCA Denver, Jake Adam York Memorial

01/10/2013 Denver, CO, Lost Late, with Porlolo



12/28/2012 Denver, CO, Oriental Theatre, with Laura Goldhamer, Shenandoah Davis, and Chimney Choir

11/30/2012 Denver, CO, Dazzle, guitar for Ron Miles

07/16/2013 Morrison, CO, Red Rocks, opening for Joe Sampson

04/24/12 Denver, CO, Twist and Shout Records with Joe Sampson and Nathaniel Rateliff

03/30/2012 Denver, CO , Walnut Room, with the Loom

02/11/2012 Denver, CO, Counterpath, Laird Hunt Impossibly release

02/03/2012 Denver, CO, Ironwood, Audra Knutson art show



10/15/2011 Denver, CO, MCA Denver, with Chris Kallmyer

10/09/2011 Denver, CO, MCA Denver, guitar for David Thomas Bailey

09/03/2011 Denver, CO, Walnut Room with Sera Cahoone

06/12/2011 Boulder, CO, Laughing Goat, guitar for Small Dream Ada, Anne Waldman with Art Lande

06/11/2011 Denver, CO, Plus + Gallery, guitar for Small Dream Ada

06/10/2011 Longmont, CO, Muse Gallery, guitar for Small Dream Ada

05/25/2011 Denver, CO, Walnut Room, with Paul Riola and Ron Miles

05/19/2001 Denver, CO, Meadowlark, Harder to Tell release, with Janet Feder

04/10/11 Denver, CO, Dazzle, guitar for Lelah Simon

03/10/11 Denver, CO, Meadowlark, w/ Erzsebet and the Love Royale

02/26/11 Denver, CO, Yellow Feather, w Ross Etherton and Lil’ Thunder

02/24/11 Denver, CO, Mercury Café, w / Bad Weather California and Houses

02/04/11 Denver, CO, Dikeou Collection

01/13/11 Denver, CO, Dazzle w/ Lelah Simon



12/16/10 Denver, CO, Lost Lake w/ Porlolo

12/09/10 Denver, CO, Lost Lake w/ Porlolo

12/02/10 Denver, CO, Lost Lake w/ Porlolo

11/09/10 Denver, CO, MCA, “Art Meets Beast”

09/09/10 Denver, CO, Walnut Room w/ the Lavellas

08/19/10 Denver, Walnut Room, w/ Grayson Capps

07/25/10 Denver, CO, So Broadway Church, Denver Post UMS

06/26/10 Denver, CO, Meadowlark, w/ Porlolo

03/27/10 Denver, CO, Notably Fine Audio w/ Bottesini Project

03/11/10 Boulder, CO, Radio 1190



12/27/09 Denver, CO, Ubisububi Room, w/ Porlolo and Dust on the Breakers

11/18/09 Denver, CO, Denver Pavilions Commissioned Work

10/16/09 Denver, CO, NFA Studio, Bottesini Project (subbing for Nels Cline)

10/14/09 Denver, CO, Museum of Contemporary Art, Matthew Buckingham Opening

09/18/09 Denver, CO, Object and Thought Gallery

08/23/09 Denver, CO, Michealangelo’s Coffeshop w/ Rachael Pollard

08/20/09 Denver, CO, Meadowlark

08/02/09 Boulder, CO, B-Side Lounge w / Ash Reiter

07/27/09 Denver, CO, Indy Ink, Denver Post Underground Music Festival

07/10/09 Denver, CO, Bug Theatre, Bottesini Project

06/10/09 New York, NY, Living Room (w/ Porlolo)

06/08/09 Bloomington, IN, Coffeeshop (Porlolo tour)

06/07/09 Chicago, IL, Dollop (Porlolo tour)

06/06/09 Omaha, NB, J’s Bar (Porlolo tour)

06/05/09 Fort Collins, CO, Everyday Joes (Porlolo tour)

06/04/09 Denver, CO, Hi-Dive (Porlolo tour)

05/15/09 Denver, CO, Vertigo Gallery, Richard Peterson Closing

04/17/09 Denver, CO, Vertigo Gallery, Richard Peterson Opening

01/23/09 Denver, CO, Marquis Theatre, 1190 Bands you need to know series



12/27/08 Denver, CO, Meadowlark

12/12/08 Arvada, CO, D-Note (Glenn Taylor Orchestra)

12/06/08 Denver, CO, Oriental Theater (Glenn Taylor Orchestra)

12/05/08 Denver, CO, Meadowlark

11/30/08 Denver, CO, Brooks Center Arts

10/25/08 Denver, CO, D-Note (Glenn Taylor Orchestra)

09/23/08 Denver, CO, Bender’s Tavern

08/30/08 Denver, CO, Meadowlark

08/07/07 Los Angeles, CA, UCLA Hammer Museum (Ron Miles Blossom)

08/05/08 Denver, CO, Dazzle (Ron Miles Blossom)

08/02/08 Denver, CO, The Hornet (Denver Post Festival)

08/02/08 Denver, CO, Skylark (Porlolo)

08/01/08 Denver, CO, Church (Denver Post Festival)

07/30/08 Boulder, CO, Laughing Goat

07/01/08 Denver, CO, Hi-Dive

05/04/08 Denver, CO, Dazzle

04/26/08 Denver, CO, Mercury Café

03/26/08 Denver, CO, Oriental Theatre

03/19/08 Denver, CO, Old Curtis St. Bar

03/01/08 Denver, CO, Mercury Cafe

02/09/08 Denver, CO, Mercury Café w/ Janet Feder, Joe Pope, and The Wheel

01/04/08 Denver, CO, Hi-Dive CD release with Bad Weather California

01/02/08 Denver, CO, Hi-Dive with The Way Things Go



11/16/07 Denver, CO, Regis University with Ron Miles and Blossom

11/15/07 Lakewood, CO, Belmar Lab with Ron Miles and Blossom

11/14/07 Denver, CO, Manuel High School for One Book One Denver

11/13/07 Denver, CO, Hi-Dive

11/12/07 Denver, CO, Larimer Lounge with Alasdair Roberts

10/26/07 Denver, CO, Denver Art Museum

10/06/07 Denver, CO, Walnut Room with Ron Miles /Blossom

09/23/07 Denver, CO, Dazzle with Glenn Taylor Orchestra

09/22/07 Denver, CO, Walnut Room – A Moveable Feast

06/01/07 Denver, CO, Meadowlark with Patrick Park

05/03/07 Denver, CO, Meadowlark with Rachael Pollard, Ian Cook, Josh Novak

04/19/07 Denver, CO, Old Curtis St. Bar

04/05/07 Denver, CO, Walnut Room

03/27/07 Denver, CO, Double Daughters, Self-Made Artist Talk

03/04/07 Denver, CO, Dazzle w/ Bottacini Project

03/01/03 Denver, CO, Skylark Lounge

02/07/07 Denver, CO, Bender’s Tavern

01/20/07 Denver, CO, Dazzle, in the Ron Miles Band

01/05/07 Denver, CO, Denver Open Media Televised Performance

01/01/07 Denver, CO, Larimer Lounge



12/22/06 Denver, CO, Dazzle Jazz, in the Ron Miles / Blossom band

12/13/06 Denver, CO, Walnut Room

12/08/06 Denver, CO, Ubisububi Room

12/02/06 Denver, CO, Hi-Dive, Rabbit is a Sphere CD release

11/22/06 Boulder, CO, live performance on KGNU radio

10/29/06 Denver, CO, Meadowlark with Janet Feder

10/20/06 Denver, CO, Ubisububi Room

10/05/06 Lakewood, CO, Belmar Lab – Reprise of my Composition for Typewriters

09/16/06 Lakewood, CO, Belmar Lab – Debut of my Composition for Typewriters

08/29/06 New York, NY, Stone, in the Ron Miles / Blossom band

08/04/06 Denver, CO, Dazzle Jazz, in the Ron Miles / Blossom band

07/28/06 Denver, CO, Hi-Dive with Carla Bozulich

05/28/06 Denver, CO, Hi-Dive with Porlolo and Triplight

05/03/06 Minneapolis, MN, Loring Pasta Bar

04/21/06 Brooklyn, NY, Zebulon Café, in the Ron Miles / Blossom band

03/30/06 Minneapolis, MN, 7th Street Entry – Opening for Slim Cessna’s Autoclub

03/17/06 Minneapolis, MN, Varsity Theater

02/17/06 Minneapolis, MN, Varsity Lounge

02/06/06 Minneapolis, MN, Acadia Cafe

01/26/06 Minneapolis, MN, Acadia Cafe



12/27/05 Denver, CO, Hi-Dive with The Clap, Tyler Potts and More Paloma Songs

11/29/05 Denver, CO, Ubisibubi Room, Denver (Roger Green CDR Release) with

Porlolo, More Paloma Songs, and The Love Letter Band

11/17/05 Denver, CO, Hi-Dive with Matt Boyer and The Wheel

11/11/05 Denver, CO, Regis University, in the Ron Miles Blossom band

10/20/05 Lakewood, CO, Belmar Lab performed Terry Riley’s “In C” with Elizabeth

Wiegle conducting

09/29/05 Lakewood, CO, Belmar Lab, in the Ron Miles band

09/25/05 Denver, CO, Dazzle Jazz, in the Ron Miles Blossom band

09/11/05 Denver, CO, Hi-Dive w/ Alasdair Roberts, David Edwards, Wooden Wand

08/20/05 Denver, CO, Ron Miles Band, with Nate Birkey

08/19/05 Denver, CO, Ron Miles Band, with Nate Birkey

07/28/05 Santa Fe, NM, Ron Miles Band, Santa Fe Jazz Festival

07/25/05 Denver, CO, Dazzle w/ Ron Miles Duo

07/23/05 Denver, CO, Hi-Dive w/ The Clap, The Spares, Strangers Die Everyday

07/09/05 Denver, CO, Pod Gallery- Andy Monley, Placerville

07/08/05 Denver, CO, Hi-Dive – The Way Things Go

06/25/05 Denver, CO, Scooter Joe’s –Westword Music Awards

06/04/05 Austin, TX Ron Miles Band- Not sure of the name, it’s a collective space

06/03/05 Denver, CO, Lion’s Lair, Denver, supporting Munly & The Lee Lewis Harlots

05/13/05 Denver, CO, Ron Miles Band

05/09/05 Denver, CO, Larimer Lounge, supporting Maria Taylor

05/04/05 Denver, CO, Lion’s Lair, supporting The Clap and Red Telegraph

04/29/05 Denver, CO, Ron Miles Band

04/23/05 Denver, CO, Denver Zine Library (with A Dog Paloma and Bad Weather


04/09/05 Denver, CO, Ron Miles Quartet

03/27/05 Denver, CO, Hi-Dive (opening for Gann Matthews, Film Strip Series, and

Midwest Dilemma)

02/19/05 Denver, CO, Hi-Dive (opening for Red Cloud)

02/17/05 Denver, CO, Walnut Foundary (The Copper Nickel release party)

01/08/05 Denver, CO, Hi-Dive (opening for Josh Novak)



12/18/04 Denver, CO, Hi-dive The Way Things Go (Roger and Tyler)

12/04/04 Denver, CO, Bender’s Tavern – Roger / Porlolo cd release

I quit the Czars in November of 2004.  All performance dates prior to November 2004 were with the Czars unless otherwise noted.

November 2004: Toured England and Scotland with The Czars

10/22/04 Denver, CO, Rock Island – Goodbye album release

10/08/04 Denver, CO, Pod and Capsule gallery – Roger Solo

10/02/04 Denver, CO, Breakdown Bookstore – Roger solo

10/01/04 Denver, CO, Radio 1190 – Roger solo on the air

09/04/04 Denver, CO, Dazzle – Roger as guitarist for Ron Miles and Dale Bruning

08/20/04 Denver, CO, The Hi-Dive

07/29/04 Denver, CO, Boulder Theater

07/15/04 Denver, CO, The Climax Lounge
06/19/04 Denver, CO, Bluebird

06/12/04 Denver, CO, Czars’ 10th Anniversary at Lance Rushton’s

06/07/04 Denver, CO, The Thin Man

05/15/04 Denver, CO, Roger Green solo at the Belmar Arts Center

03/17/04 Denver, CO, Roger Green solo at the Climax (supporting  East Mountain


03/12/04 Denver, CO, The Climax Lounge

02/13/04 Denver, CO, Roger Green solo at the Denver Research Group

01/23/04 Denver, CO, The Larimer Lounge  – Supporting Swell

01/09/04 Denver, CO, The Hi-Dive – Roger Green Solo with Cowhause and

Hamster Theater



12/27/03 Denver, CO, The Hi-Dive

11/15/03 Denver, CO, Andenken Gallery

10/18/03 Denver, CO, The Gothic Theater

10/5/03 Denver, CO, The Mercury Café – Roger Green duet with Anne Angyal

10/3/03 Denver, CO, The Climax Lounge – Roger with The Way Things Go

9/12/03 Denver, CO, The Architectural Lab – Roger with The Way Things Go

9/6/03 Denver, CO, 15th Street Tavern – Roger with The Way Things Go

8/22/03 Denver, CO, Bluebird Theater – Roger Green Solo supporting Space Team


8/10/03 Denver, CO, D-Note – Roger Green Solo and duet with Tyler Potts

8/8/03 Denver, CO, Breakdown Books – Roger Green Solo and with The Way

Things Go

5/29/03 Denver, CO, Boulder Theater with Barbez

5/25/03 Denver, CO, El Portal Hotel – Raton, NM

5/24/03 Denver, CO, Atomic Cantina – Albuquerque, NM

5/17/03 Denver, CO, Denver Research Group – Roger Green Solo with Andy

Friedman and Rachel Pollard

4/12/03 Denver, CO, Climax Lounge

3/7/03 Denver, CO, Cervantes  (with Space Team Electra)

2/7/03 Denver, CO, Gothic (with Ron Miles)



Denver, CO, 12/6/02 Bluebird Theatre, Denver

European Tour, 2002

12/21/02 London, UK at the Spitz Club

 Week of 12/16/02 opened 4 shows with Flaming Lips in Spain

12/6/02 Denver, CO, Bluebird Theater, Denver

10/14/02 Madrid, Spain – Moby Dick

10/13/02 Barcelona, Spain – Razzmatazz

10/11/02 Brighton, UK – Hanbury Ballroom

10/10/02 Manchester, UK – Night And Day

10/09/02 London, UK – 12 Bar

10/08/02 London, UK – Borderline

10/06/02 Leeds, UK – St Joseph Well – Scout Niblett opening

10/05/02 Newcastle, UK – Newcastle University Global

10/04/02 Edinburgh, UK – La Bella Angele

10/03/02 Glasgow, UK – King Tuts – Heirloom opening

10/02/02 Aberdeen, UK – Lemon Tree

10/01/02 Birmingham, UK – Birmingham Academy 2

09/30/02 Paris, France – Guingette Pirate

09/29/02 Amsterdam, Netherlands – Small paradiso

09/28/02 Brussells – Botanique – supp. Idlewild

09/25/02 Copenhagen, Denmark – Vega – Yellowish opening

09/24/02 Arhus, Denmark – Vox Hall – Yellowish opening

09/23/02 Hamburg, Germany – Tanzhalle

09/21/02 Berlin – Magnet Club

09/20/02 Dresden – Scheune

09/19/02 Cologne – MTC

09/18/02 Muenster – Gleiss 22

09/17/02 Nurnberg – K4

09/16/02 Munich – Orangehouse

09/15/02 Vienna – Szene

09/14/02 Ebensee, Austria – Kino Ebensee

08/??/02 Los Angeles, CA, Largo, (With Hem)

08/??/02 Los Angeles, CA, Spaceland

08/??/02 Tucson, AZ

08/??/02 Albuquerque, New Mexico

7/2/02 Denver, CO, Gothic (w/Devics/Lift to Experience)

5/5/02 Boulder, Tulagi (opening for Calexico)

3/13/02 Denver, CO, Gothic (w/Eric Shiveley)

3/1/02 Denver, CO, Temple Events Center

1/19/02 Denver, CO, Bluebird (w/PW3)



October/November 2001, headlined, 7 weeks in Europe

John Grant / Roger Green duo as The Czars had dates in Ireland, France, Spain, Denmark, Slovenia and Hungary, plus the following UK dates:

11/23/01 Union Chapel, London, Supporting Low

11/20/01 Arts Cafe, Commercial street, London

11/19/01 Komedia, Brighton

11/18/01 Int’l Arts Centre, Leicester

10/27/01 King Tuts, Glasgow



The Czars supporting David Gray in the UK for the White Ladder tour:

10/20/00 Barrowlands – Glasgow (cancelled)

10/19/00 Nice and Sleazy’s – Glasgow (solo show)

10/18/00 Manchester  Academy

10/17/00 Nottingham Rock city

10/16/00 Sheffield Octagon

10/15/00 Norwich UEA

10/13/00 Portsmouth Guild Hall

10/12/00 Bristol University

10/11/00 Oxford Brookes University

10/09/00 Leicester , De Montford Hall

10/08/00 Cardiff University

10/07/00 Leeds University

10/06/00 Liverpool University

09/15 /00 Cincinatti, OH

09/16/00 Detroit, MI

09/17/00 Grand Rapids, MI, (with Vigilantes of Love)

8/5/00 Denver, CO, Gothic (with Space Team)

July 2000 Albuquerque, NM, Burt’s Tiki Lounge

Los Angeles, CA, Troubadour (with the Autumns)

San Francisco, CA, Café Dunord

06/25/00 Denver, CO, Gothic Theater

06/13/00 London, UK The Spitz Club

The Czars supporting 16 Horsepower in Europe and the UK:

06/12/00 Glasgow, Scotland 13th Note Club

06/10/00 London UK Notting Hill Arts Centre

06/07/00 Strasbourg France La Laiterie

06/06/00 Ferrand France Club Clermont

06/05/00 Toulouse France Le Bikini

06/03/00 Lille France Aeronef

06/02/00 Amsterdam Netherlands Paradiso

06/01/00 Groningen Netherlands Oosterpoort

05/31/00 Tillburg Netherlands 013 Concert Hall

05/30/00 Paris France Elysee Montmarte

05/28/00 Zurich Switzerland Rote Fabrik

05/27/00 Munich Germany Muffathalle

05/26/00 Vienna Austria Szene

05/25/00 Heidelberg Germany Karlstorbahnhof

05/24/00 Bielefeld Germany Forum

05/23/00 Bochum Germany Bahnhof Langendreer

05/21/00 Hamburg Germany Fabrik

5/6/00 Boulder, CO Boulder Theater

5/4/00 Denver, CO, Soiled Dove (Westword Music Awards)

South by Southwest 2000: Austin, TX: 3/17/00 – Maggie Mae’s

2/24/00 Denver, CO, Bug Theater



10/31/99 Albuquerque, NM, Dingo Bar

8/6/99 Denver, CO, Bluebird (w/Munly)

5/19/99 Denver, CO, Café Cero

5/7/99 Denver, CO, Bluebird (with Tarmints, Christines)

South by Southwest 1999: Austin, TX: 3/14/99 – Ritz Lounge

2/26/99 Denver, CO, Bluebird Theater

1/14/99 Denver, CO, Tivoli Turnhall (Wedding)

12/28/98 Denver, CO, David Zimmer private party – Roger’s Debut with the Czars

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