Fridy night, Second large-scale concert (Listen to a 25-minute MP3 from set 3 of this night featuring Jon Eaton, Chiara Giovando, Dan Breen, and Edgar Um Bucholtz ) Friday night, first set Paolo Angeli, solo guitar [from recording] Builds on a regular rhythm, furious to begin Then a ponderous gait, plodding and bowing, either stops in its tracks or falls over a precipice, where bells sing along with fog horns, and fat skips are joined by the breeze and the big noises of expanding bodies, ballooning over the ocean, a rock star recounts a life, while weather tracking devices argue over a storm.  A dolphin picks up radio signals from a quail.  Both rush.  Outside a Mediterranean disco, Charlie chaplin is dancing a fox trot on a high wire.  Finds a sequence of rhythms: Natural things Mechanical things And a sequence of harmonic structures: Layers the narrow and the wide [second listening] after first sequence of regular rhythm and melody, an elephant lopes along with the gypsies, and Philip glass passes by in a train.  Bowing over a low, mud architecture, like a lazy pre-industrial afternoon.  Then the rock star fingers a series of disremembered scars.  Chaotic crashing. Radio fuzz spinning and building.  Sequencing silence with the fractured roll of a ten-ton ice cream truck, whose tinny song begins to play itself, distorted with age, with damage, and with wind.  A long train rattles past — Philip glass has disembarked, and the radio picks up my phone call to you for a moment before the sea dirge, layered over a distracted snare, overrun with a single, perfect fourth coming to a stand-still. John Berndt stepped up to announce the next set, and a small, electronic drone backed him up.  Paolo rushes out in his rainbow socks to turn off his wave box to general laughter from the audience.  John said, "the scary thing about that was, my mind had come up with at least four different things that could have been producing that sound."  Paolo's mistake, and John's quip, were two in a series of informal gestures witnessed throughout the festival that served a simple, but important function: they focused attention on the easy, discernable experiences going on all around us amid the less defined music at the heart of the festival.  These relaxed moments of comic relief refreshed the audience and helped to refocus their attention after a challenging set. Friday night, second set Vattel Cherry, bass Gianni Gebbia, saxophone Michael Zerang, percussion Heading: Easy antics with recognizable virtues Narrative description, a sampling of musical moments in this free jazz set Zerang on the tom tom, Cherry's bowing, and Gebbia's long tones began the set with simple, warm figures.  Gebbia suggests a melody, and Cherry responds by pulling it up a half-tone and all was quiet; a beautiful silence agreed on by all three.  Cherry crows a high rough pitch and Zerang and Gebbia echo low, breathing and then saluting Cherry's crowing up there in the rare air of his choosing. Zerang a fabulous listener.  He goes right to his fellow players, so when he finally lays down a beat of his own it's got legs, it opens up a whole playground of chatter, a halting chorus of the broad electrified sound of Cherry's bass, fading for the quick silver chatter flutter duet of Zerang and Gebbia, and because it has to go somewhere, it intensifies. Zerang's rubber mallets circling his tom tom play like an extended, speculative monologue. Hugs all around at its conclusion. Friday Night. Third Set Paolo Angeli: guitar, voice Audrey Chen: cello, voice Catherine Pancake: drums Friday Night, Fourth Set Edgar Um Bucholtz (percussion, objects, voice) Chiara Giovando (violin) Dan Breen (strings, electronics) John eaton (saxophone, voice) !Listen to a 25-minute MP3 from this set featuring Jon Eaton, Chiara Giovando, Dan Breen, and Edgar Um Bucholtz! Friday Night, Set Five Neil Feather (inventions) Michael Evans (percussion, electronics) Lafayette Gilchrist (piano) Wes Mattheu (percussion)