What Clients, Critics, and Collaborators are Saying…

What Clients, Critics, and Collaborators are Saying…

[Guqin Yoga/Meditation] “Everything is exactly as it should be. Breathe. Listen. Actively and peacefully exist. Swirls of yellows and limes invite you to reflect. Gratitude for this moment is deeper than can be expressed. Observing and participating in the peace that … Continue reading

Jessica Strauss, Playwright/Director

[Guqin Yoga/Meditation]  “I had the immense privilege of experiencing Brian’s musically guided meditation. The centering powers of the qin while masterfully and thoughtfully played by Brian invited me into a state of calm that had seemed unachievable previously. I am grateful … Continue reading

Jessica Strauss, Playwright/Director

[Dance/Theater Score]  “The Collaborative Process – Brian, has worked very closely with our directors to produce not only the kind of sound that a production needs, but the kind of score that transcends the page.   Commitment – Like an … Continue reading

Erin S. Baal, Board of Directors, Strollers Theatre Ltd., Madison

[Dance/Theater Score]  “I strongly recommend Brian Grimm and his work as a composer and collaborator. I worked with Brian on a unique project over an intensive six-month period in 2010 in which he created, composed, and played live onstage an … Continue reading

James Still, Writer and Director, Los Angeles

[Dance/Theater Score]  “Brian Grimm is a true collaborator. I highly recommend him as his expertise, generosity, and improvisational skills made him an integral element of Indiana Repertory Theater’s success with the production of ‘Mary’s Wedding’. Brian’s passion for music, narrative, … Continue reading

Gwendolyn Whiteside, Producing Artistic Director, American Blues Theater, Chicago

[Dance/Theater Score]  “There are very few artists that I trust implicitly, and Brian is one of them.  It’s amazing how much he can capture emotion and the human condition in those inanimate strings.”

Tommy Lewey, Choreographer & Director, NoExit Performance, Indianapolis

[Album Review]  “Madison, WI-based avant-jazz explorer BC Grimm is well known locally not just for his phenomenal cello work in live collaborations with artists like Julian Lynch, Spires That In The Sunset Rise, and the mighty Db Pedersen (to name … Continue reading

Signal Dreams, 2014

[Album Review]  “Madison-based multi-instrumentalist Brian Grimm specializes in playing the guqin and guzheng, Chinese zithers that sometimes run as large as a small canoe. He’s also a classically trained cellist and, under the name Brain Grimmer, produces adept and twisted … Continue reading

Arts Extract Podcast, 2014

[Album Review]  “Madison composer and cellist Brian Grimm’s meditative, experimental soundscapes blend modern improvisational styles with ancient Chinese string instrument technique. …Prepare to be transported into a beautiful dream.“

Isthmus Daily Page, 2016

[Album Review] “[Orbis Obscura] … builds, peaks, and resolves through a series of aural whirlwinds and jolting, churning dialogue between the ancient sonic traditions of a 2,000-year old instrument and a just-encountered effects pedal.”

Emili Earhart, Tone Madison’s “Top 20 Best Madison Records of 2016”

[Album Review] “Brian Grimm is something of an experimental-music powerhouse in Madison.”; ” …one of the most sonically untethered things Grimm has put out there so far—which is saying something, and also not a complaint. He uses this eccentric but … Continue reading

Scott Gordon, Tone Madison, 2016

[Album Review]  “- a totally immersive, blissed-out trip that transports the listener away to distant climes…simply beautiful!”, “…glimmers of ‘sci-fi’ noises bleed through the drones. Over the course of the 35 minutes it totally immerses the listener in wave upon … Continue reading

 Dayz Of Purple And Orange (UK), 2016

[Album Review]  “(Brothers Grimm) … able to create extremely striking contemporary classical with only string instruments.  Compositions like “Stochastic Contexture: Heads” possess the unique ability to calm and agitate almost simultaneously.”

AV Club, Madison, 2012

[Album Review]  “(Brothers Grimm) … compositions are both classical and experimental, both disciplined and exploratory.”

Isthmus Daily Page, 2012

[Services: Events/Fundraiser]  “We hired Brian to provide music for a fundraiser for a community organization with approximately 75 guests. He was wonderful to work with and his music added an element to our event that was unique and elegant. Brian … Continue reading

Lynn K. Lodahl, Attorney, Hawks Quindel s.c.

[Guqin Yoga/Meditation]  “Brian’s accompaniment and flexibility as an artist added elements of grounding, exquisite expression, and serenity to our recent Y-Massage retreat. We are thrilled to be able to work with him again.”

Shannel and LaCouir Yancey, Y-Massage

[Services: Wedding]  “I am so grateful for what Brian brought to our ceremony.  Being able to provide such a broad request for a certain type of mood, having him dial in immediately and help it grow was priceless.  His presence … Continue reading

Neil Jarman

Recent Posts

9/20 | Musique Concrète élégie “They’re Still Here” by BC Grimm now available for download, honoring loved ones who’ve passed


They’re Still Here” Liner Notes

Composed, Recorded and Premiered in August of 2018 by BC Grimm (b 1986) for the 2018 Madison New Music Festival. All instruments performed by BC Grimm. Available for Download on September 20th, 2019 to mark one year since Grandma Joyce’s passing. This release is also in remembrance my Grandma Nerren who passed away this summer, her 97th birthday would have been on September 17th. Much love to both my Grimm and Nerren families.

[About the Work]
Those who have passed away continue to pop up in the everyday moments of our lives. This work explores the modern dichotomy of navigating grief and mourning whilst carrying on with your work day and life obligations. You’ll hear field recordings of my day-to-day experience fused with instrumental composition and sound design. These “scenes” reference and even recreate real life moments I had in 2018 while in the wake of a series of close friend and family deaths. Many scenes are embedded with inside jokes or nods to the loved ones who passed. In addition, some scenes imagine what may be taking place for the dying at the transition between this world and the next. I felt that I didn’t give myself permission to truly process my grief publicly when this was all happening – how many of us are quietly carrying around these feelings at the same time?

A month after the premier of this work, I felt like I’d had a chance to process and contextualize my feelings and was scheduled to perform the piece a second time on 9/20/2018. Ironically, that was the day my Grandma Joyce passed away and the themes of this piece played out in front of me once again, in real time. I received “the call” right before leaving for work in the morning and had 3 jobs to work that day… run to the next run to the next run to the next. But on that day, I told everyone of the news I’d just heard and what I was going through internally. It helped me to get through that day without breaking down. I just couldn’t believe it had happened again, like clockwork. I’d like to thank Taralie Peterson, who performed a set of free improvisation as a duet with me that night. It was the first time that whole day I was able to let out and explore my feelings about my Grandmother’s passing.

[Dedications]
The 2018 composition, recording and performance of “They’re Still Here” is dedicated in loving memory to Patrick Kelly, Ross Sutherin & Brian White-Stout and to the Grimm, Sutherin, Kelly, Morrow, White-stout & Brethauer families. I’d like to dedicate the 2019 public releasing of this music to my Grandma Joyce & Grandma Nerren, and to my Nerren and Grimm families. Both grandmas passed away in the last year since the making of this piece. I miss you both very much and think of you often when I play cello now.

[Album Art]
A special heartfelt thank you to one of my Art heroines growing up, Aunt Jean (daughter of Grandma Joyce) who made the Album Art for this release. I’m so glad we were able to collaborate on this special project.

[On Listening]
“They’re Still Here” is meant to be listened to and contemplated in one continuous sitting. Therefore the movements haven’t been separated, to facilitate the best listening experience (as it was performed live).


PROGRAM NOTES

[00:00] SCENE I “Passing of a Friend, The Work Day Begins”
Tenor Viola da Gamba with field recording

[02:31] SCENE II “News Cycle On Fire: Rbt. Mueller’s Lonely Russia Probe”
Gaohu Cantonese fiddle with foley, field recording, 1940’s radio broadcast, singing bowls, violoncello, dizi flute, bawu flute, xiao flute, sheng mouth organ

[04:25] SCENE III “Do I Tell The Children? No, Teach On.”
Violoncello with field recording, pipa lute, tenor viola da gamba, contracello

[06:27] SCENE IV “Fluorescence Hums The Harmonic Order of Nature”
APC40 (electric hum in Just Intonation)

[10:31] SCENE V “Morning Routine, Scrambled Brains”
Field Recording with foley

[13:00] SCENE VI “A Call With My Brother, Wise Counsel”
*Sarangi-Cello in pipa tuning with claps, cajon, Tyler’s motorcycle

[14:55] SCENE VII “Ask The Corn Spirits”
Bawu flute with gaohu fiddle

[17:28] SCENE VIII “Hermie’s Chimes, They’re Still Here”
Guqin Zither (tuned to Hermie’s chimes) with pipa lute, gaohu fiddle, dizi flute

[21:07] SCENE IX “Funeral Grave”
solo Violoncello

[22:22] SCENE X “Temple of Ancestors”
Sarangi-Cello in pipa tuning with pipa lute, synthesis

[24:29] SCENE XI “Transfigurations”
Guqin zither with pipa lute, Russian folk harp, singing bowls

[27:27] SCENE XII “Schoolyard in Snow; Children Play On”
Tenor Viola da Gamba, APC40 (electric hum in equal temperament), field recordings,
foley

  • “sarangi-cello” (d, g, a, d’) is tenor-violin (normally G, d, a, e’ or G, d, a, d’) tuned in pipa lute tuning with alternating wound and plain gut strings. I use a Nakatani-Kobo bow to help create a ‘sarangi-style’ on cello. The bowed Sarangi of North India and Pakistan is normally tuned to Sa=E (e, b, e’). I have my cello modeled after this tuning but a wholestep lower where Sa=D, where my guruji pt. Sugato Nag tunes his sitar. The sarangi has 3 melodic strings and the cello has 4, so I have tried a number of different tuning schemes and have settled on the Pipa Chinese lute tuning – as it is the most settled and advantageous one I have tried: d wound gut, g plain gut, a wound gut, d’ plain gut or silk. Alternate tunings I have used: (1) d, a, g, d’ (2) d, g, g, d’ (3) d, a, a, d’
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