FIRST PUBLIC CONCERT @ 110 LIVINGSTON – Morton Feldman’s Second String Quartet by Ne(x)tworks
ISSUE PROJECT ROOM ANNOUNCES ITS FIRST PUBLIC CONCERT @ 110 LIVINGSTON
11AM Welcome Reception
11:30AM-5:30PM Concert
FREE
Pre-Renovation Candlelit Performance
of Morton Feldman’s Second String Quartet by Ne(x)tworks
On Sunday, April 11 the public will have a chance to attend a rare performance of Morton Feldman’s String Quartet No. 2 in its entirety when ISSUE Project Room opens its doors at 110 Livingston St. for a pre-renovation, inaugural Open House event. Performed by Ne(x)tworks, the six hour-long contemporary masterpiece will be free to the public, commemorating ISSUE’s first concert in their future Downtown Brooklyn home.
String Quartet No. 2 has been performed in its entirety only a few times, the first being in 1999 by the FLUX Quartet at Greenwich Village’s Cooper Union. The Ne(x)tworks quartet (which includes Cornelius Dufallo and Kenji Bunch, formerly of FLUX) will play the entire piece by candlelight in the cloistered hall while audience members are invited to stay for as long as little as they like. The beauty of candlelight is also a necessity as the space is still raw, in need of renovation and lighting.
“Ne(x)tworks is thrilled to present Feldman’s masterful Second String Quartet at ISSUE Project Room as our artistic endorsement of their fabulous new concert venue [at 110 Livingston],” says Ne(x)tworks’ Director, Cornelius Dufallo. “The musical community of New York City has been eagerly awaiting the opening of this performance space.”
Called his “most extreme” composition, Feldman’s String Quartet No. 2 (1983) is a collective paragon encompassing Feldman’s signature free rhythms, muted pitches, quiet and slowly unfolding music, and his experiments with duration.
“The focus at the time [of the premiere in 1999] seemed to be on how we were going to play for six hours without stopping,” Dufallo reflects. “As we immersed ourselves in the music, however, this began to change: we found that duration is by no means the most interesting aspect of this work. The ‘athleticism’ became more of a secondary concern to us. In this work, duration acts as a canvas, on which Feldman paints a stunningly beautiful encomium to the eternal marriage of sound and time. The piece must exist on a large scale in order to portray this relationship.”
In 2008 ISSUE Project Room won the bid for a 20-year, rent-free lease to occupy the landmark theatre at 110 Livingston St., an architecturally significant (McKim, Mead & White, 1926) and stunningly beautiful 4800 square foot performance space located in the former New York City Dept. of Education headquarters in Downtown Brooklyn. Once renovated, this space will offer opportunities to increase ISSUE’s audience, implement new programs and advance Brooklyn’s place as a cultural epicenter.
While this is an extraordinary opportunity, it is also an enormous challenge. ISSUE must still raise well over half a million dollars towards the $2.5 M needed for basic renovations. We hope that the community will join ISSUE on this amazing journey toward building a world-class center for experimental culture.
ISSUE Project Room’s Inaugural Concert @ 110 Livingston
Ne(x)tworks Performs Morton Feldman’s String Quartet No. 2
April 11, 2010
FREE
Reception: 11 am
Performance: 11:30 am – 5:30 pm
110 Livingston St. (Entrance on Boerum Place)
Brooklyn, NY 11201
{R}ake
{A performance series of alternative and collaborative electro-acoustic music and video}
THURSDAY APRIL 22
8pm
THIS MONTH’S A/V
Details TBA
THIS MONTH’S MESSAGE
{R}ake is a performance series of alternative and collaborative electro-acoustic music and video. Performances range from pure improvisation to more structured pieces, with video-artists and musicians working together in exploratory ways.
Laetita Sonami + Analogous Projects presents Torino:Margolis
Laetitia Sonami
Composer, performer, and sound installation artist Laetitia Sonami was born in France and settled in the United States in 1975 to pursue her interest in the emerging field of electronic music. She studied with Eliane Radigue, Joel Chadabe, Robert Ashley and David Behrman.
Sonami’s work combines text, music and “found sound” from the world, in compositions which have been described as “performance novels. Her signature instrument, the Lady’s Glove, is fitted with a vast array of sensors which track the slightest motion of her enigmatic dance: with it Sonami can create performances where her movements can shape the music and in some instances visual environments. The lady’s glove has become a fine instrument which challenges notions of technology and virtuosity.
Sonami’s sound installations combine audio and kinetic elements embedded in ubiquitous objects such as light bulbs, rubber gloves, bags and more recently toilet plungers. She collects electrical wire and embroids them in walls.
Sonami gives extensive workshops and classes. She tries to familiarize and enthuse students to adapting old technologies and new media to the creative process and thus expand their field of imagination and play.
Sonami has been performing in numerous festivals across the United States, Canada, Europe, Japan and China, among which the Ars Electronica Festival in Linz, the Bourges Music Festival in France, the Sonambiente Festival in Berlin, the Interlink festival in Japan, Bang-on-a Can, The Kitchen and Other Minds, S.F.
Awards include the Alpert Award in the Arts (2002), Foundation for Contemporary Performance Arts Award (2000), the Civitella Ranieri Fellowship (2000), Studio Pass-Harvestworks residency (2001) and a Creative Work Fund award (2000) for a collaboration with Nick Bertoni and the Tinkers Workshop.
Sonami lives in Oakland, California and is guest lecturer at the San Francisco Art Institute and the Milton Avery MFA program at Bard College.
“.. Sonami sometimes looked like a human antenna searching the air for sounds, or like a deity summoning earth-shaking rumbles with a brusque gesture.” – New York Times
“…sultry and magical” -Village Voice
ANALOGOUS PROJECTS:
Complexity theory is not new to art or to our culture. It migrated from computer science and biology to economics and art and, with the advent of the world wide web, it invaded our collective subconscious. Analogous seeks to support complexity-driven art and artists playing under this conceptual umbrella of “Interaction Art”. Progress occurs by metaphor and analogy: Their hope is (by bringing together people and projects irrespective of media and genre) to enable philosophical crosstalk.
Complexity theory centers around the concept of emergence, which refers to the observation that individuals acting within a shared context will create something greater than the sum of its parts. Since this principle explains the richness of biology — from molecule to ecology — it is able to lend an organic nature to highly-technical projects and to guide the logistics of elaborate social experiments.
We believe an emergence-based perspective can serve as both (1) a catalyst for new and progressive works, and as (2) a way to view existing works and practices from a new light.
Our objectives:
(1) to support artist-led, complexity-driven projects technically, financially, and administratively.
(2) to develop a cross-genre community of artists and philosophers in order to facilitate new works and novel collaborations.
Artist In Residence: Matthew Mottel
Matthew Mottel (synthesizer) has been a voice in contemporary music for the past ten years. He was an invited member of Bard College’s Electronic Music Ensemble, which was led by the eminent Richard Teitelbaum. At the same time, he was apprenticing in New York with seminal free jazz musicians Tom Bruno (TEST!), Cooper-Moore, Butch Morris and many others. He formed his own band EYE-DOOR that toured nationally in 2000, and started to collaborate with other musicians such as Chris Corsano, Sean Meehan, Daniel Carter, Chris Taylor (Grizzly Bear) and Kenny Wolleson. Since 2003, he has led his own band Shadowmaps (a synth/bass/drum power trio), been the versatile keyboardist for many acclaimed New York’s rock n’ roll groups such as Awesome Color, Akron Family and Jeffrey Lewis, and now is part of a 12 piece minimalist funk collective with Colin from USAISAMONSTER.
Tim Hodgkinson, Chris Cochrane and Jim Pugliese trio
An evening of guitar, saxophone, drums everywhere, mbira, lap steel, clarinet, trumpet, voice and electronics. Three people, endless variation. Clutter, partial tunes, recognizable and unrecognizable stuff. This is semi reunion and premiere all at once. Tim and Chris have not plaid together since 1985 and they will be joined by Jim who has been collaborating with Chris for many years, but who has not plaid with Tim before. Not for the faint at heart !!!!
Tim Hodgkinson: Started on alto saxophone with free-jazz and happenings group at school. Then from 68 to 78 full-time member of /Henry Cow/ on alto, clarinet, electric organ. This band played both fully scored compositions and free collective improvisations in concert. First solo improv gig 79 at /London Musicians’ Collective/, playing a set-up with varied sound sources and processors such as ring modulators, tape delay etc. Released /Splutter/, album of solo improvisations in 85, and first tour of USA in duo with Fred Frith in same year; also played with Zorn, Sharp, Staley and toured with a trio with Chris Cochrane and Pippin Barnett. Gave up improvising on keyboards in early 90’s, when I began to focus exclusively on reeds and lap steel guitar. Around the same time began a series of study trips to Siberia, playing with Siberian musicians,working with percussionist Ken Hyder. Toured and recorded with /Ossatura/ electro-acoustic improvising group in late 90’s. Current ongoing projects include: /K-Space/ with Hyder and Tuvan musician Gendos Chamzyryn. /Konk Pack /with Roger Turner and Thomas Lehn, many tours and festivals, fourth CD soon on Grob. /ZINC/ trio with Roger and Hannah Marshall. /Le Pecore di Dante/, duo with Elio Martusciello. /DACH/ quartet with Anna Maria Avram, Iancu Dumitrescu, Chris Cutler. /Black/ /Paintings/ with vocalist Nick Hobbs. /RAZ-3/ with Lu Edmunds (currently with PIL) and Ken Hyder. I’m also a member of the /Hyperion Ensemble/ in which I play bass clarinet. And of course all kinds of occasional duos and larger groups, clarinet solo gigs, improvising workshops, site-specific performances etc. In addition there is my work as a composer, and also as a part-time anthropologist, all of which feeds into my improvisation.Latest recordings:/Teshuvah/ – Milo Fine + Tim Hodgkinson (2009, Rossbin) RS028 – Italy/Klarnt/ – Tim Hodgkinson clarinet solos – (2009, ZR Records) ZRTH3, ReR – UK/Hums/ – AMP2 (Domenico Sciajno et al) + Tim Hodgkinson – (2009, Bowindo) bw13 – Italy
Chris Cochrane: has performed regularly in bands and improvised with hundreds of players. In addition to his rare solo recordings and work with a number of bands, including the legendary, groundbreaking unit No Safety, which he co-founded with harpist Zeena Parkins and Curlew he has played live and/or recorded with an array of musicians (John Zorn, Fred Frith, Mike Patton, Marc Ribot, Eszter Balint, Kato Hideki, Ikue Mori, Roy Campbell, JD Foster…) visual artists, and choreographers. He is currently working with writer, Dennis Cooper and Choreographer Ishmael Houston-Jones to re-work a theater/dance piece entitled “Them” from the mid 80’s
Jim Pugliese: a recognized unrepentant shaker of the conventional. His artistic approach hovers between rhythmic cataclysm and spiritual inoculation. His latest, exceedingly riotous CD PHASE III Live @ Issue Project Room won Best New Release of 2008 in All About Jazz New York.
Andrea Parkins
ANDREA PARKINS is a sound artist, composer and electro multi-instrumentalist who also makes/arranges objects, images and (sometimes) words. Known for her dynamic timberal explorations on the electric accordion and inventive use of generative sound processing, Andrea has appeared on more than 40 recordings on labels including Hatology, Atavistic, Knitting Factory, and Creative Sources. She has performed worldwide as a soloist, and with artists such as Nels Cline, Thomas Lehn, Fred Frith, ROVA Saxophone Quartet, and Otomo Yoshihide. She has also presented her work at the Whitney Museum of American Art, The Kitchen and Experimental Intermedia, among other NYC venues. Currently, Andrea continues to develop and perform a series of Max/MSP-based audio/visual works inspired by Rube Goldberg’s circuitous contraptions, a project realized during artist’s residencies sponsored by the Hamburg Cultural Board in Germany; at Harvestworks in New York City and CESTA in the Czech Republic. For more information:
Christina Wheeler + Daniel Perlin
CHRISTINA WHEELER
Vocalist, electronic musician, composer and songwriter Christina Wheeler’s musical explorations have included forays in techno, house, 2-step, drum and bass, breakbeat, soul, dance hall, dub, world music, ambient, free jazz and improvisational forms. A native of Los Angeles, California, Ms. Wheeler graduated from Harvard and Radcliffe Colleges and Manhattan School of Music. She has performed and recorded internationally in collaboration with a variety of artists including Ryuichi Sakamoto, Vernon Reid, John Cale, Chaka Khan, PM Dawn, Ravi Coltrane Talvin Singh, Mocky, Jamie Lidell, Swayzak, Jan Jelinek, Modeselektor, Priest (Anti-Pop Consortium, Airborn Audio), DJ Olive, Marc Ribot, Chris Whitley, Zeena Parkins, John Carter, Fred Hopkins, Andrea Parkins, Yappac, Dolibox and Ripperton. Her work with David Byrne included international tours and television appearances on The Late Show with David Letterman, and PBS’s Sessions at West 54th Street series, and her own music was featured on MTV’s electronic music program AMP. At Lincoln Center, Ms. Wheeler premiered Randall Woolf’s The Trick is to Keep Breathing, a composition for voice, string quartet, tape and turntables with custom acetates, and the New York Underground Film Festival commissioned a new score from her and DJ Olive for the 1927 Japanese silent classic, A Page of Madness. She was featured on the New York episode of Tvframes, produced by Citytv, Toronto, Canada, and currently resides in Berlin, Germany.
Daniel Perlin was born in 1974 in North Adams, Mass.. From the age of 17, he has been traveling between the US and Rio de Janeiro Brazil, where he has worked as a media artist and sound designer. After Graduating from Brown University with degrees in Modern Culture and Media and Electronic Music Composition in 1997, he continued at Brown for his Masters in Portuguese and Brazilian Studies writing on the Brazilian cultural movement Tropicália. After completing his Masters, Daniel worked and lived in Brazil as a sound and media designer at Walter Salles’s Production Company Video Filmes. There, he continued his path begun at Brown as a sound designer, working on numerous feature films as a designer and mixer.
While in Brazil, Daniel was invited to design an installation for the book Mutations by Rem Koolhaas, Sanford Quinter et. al. for the TN Probe gallery in Tokyo Japan. This marked the first of many collaborations to come with other artists and architects. In 2003, Daniel joined the Interactive Telecommunications Program at NYU’s Tisch school of the Arts, where he continued his work as a digital media designer. In parallel, Perlin Studios was born in New York, as a multi-media design and consulting firm. Daniel worked designing sound and media for various film clients including Errol Morris (Fog of War), Todd Solondz (Palindromes), Phil Morrison (Junebug) and others. The Studio also produced sound design for television (Showtime, HBO, PBS, Discovery etc.), as well as turning its attention towards spatial and media design.
Upon completing his Masters of Fine Arts at NYU in 2005, Daniel was invited for a one-year residency through the Whitney Museum of Arts Independent Study Program in New York. During and after his residency at the Whitney, he collaborated with architects such as Vito Acconci and Steven Holl, as well as showed sound and video work in galleries and museums such as Centre Pompediou, Paris, Guggenheim New York, MOMA , ReijksMuseum Amsterdam, the Whitney Biennial, P.S.1 New York, The New Museum, New York and others. As a digital media design company, Perlin Studios has worked as spatial and sound consultants for The Storefront for Art and Architecture, New York, the media company Local Projects, New York, and as a social software and media design consultant for L.A.R. studios, Mexico City and Wieden + Kennedy, New York.
The New Roaratoria: Carlos Giffoni
Carlos Giffoni
Carlos Giffoni is a Venezuelan electronic musician who resides in the New York City area since the year 2000. Currently using modular synthesizers, hand made custom instruments, and various types of analog and digital synthesis in the composition of electronic music pieces, as well as improvising live with local and international musicians. His recent solo work has focused in live analog synthesizer pieces that put his style in a line with early techno and cosmic electronic music while maintaining the harsher edge of his previous noise works. Along his solo work he is also working on a new ‘acid music’ project called No Fun Acid.
Carlos remains a major figure in the US and international experimental music scene, performing live in New York and in a number of tours and festivals in the US, South America, Europe and Japan. He is the curator of the No Fun Fest, a yearly event in Brooklyn bringing together a wide variety of international experimental musicians as well as running the No Fun Productions label. His work has been featured in many publications including The New York Times, The Wire, Pitchfork, Art Forum, Tokion, Signal to Noise and many others.
He also holds an MFA in design and technology from Parsons School of Design.
Recent live and recording collaborations include work with:
Jim O’Rourke, Thurston Moore, Lee Ranaldo, Nels Cline, Chris Corsano, Peter Rehberg, Chuck Bettis, Nautical Almanac, Smegma, Yasunao Tone, Emeralds, Gert-Jan Prins, John Duncan, Rudolf E.ber, Lasse Marhaug, Z. Karkowski, Merzbow, Astro, Zeena Parkins, Ikue Mori and more.
The New Roaratoria is generously supported by the Greenwall Foundation
Turbulence.org Presents: Stephan Moore + Luke Dubois
New Works commissioned by Turbulence.org
including the premiere of “The Occupants”, a new piece by Stephan Moore, an exploration of multi-user generative composition.
Stephan Moore is a composer, performer, audio artist, and sound designer in New York City. His creative work centers around the collection and use of real-world sound, the creation and perception of sonic environments, and technological manifestations of improvisation and interactivity. Many of his performances and installation artworks make use of large, multi-channel arrays of his Hemisphere speakers. He performs regularly with Scott Smallwood in the electronic duo Evidence, and with a variety of musicians, live-video artists, and dancers. He has created custom music software for a number of composers and artists, and has taught college-level courses in composition, sound art and electronic music at several schools. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company, and one of its core musicians.
R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season.
Stemming from his investigations of “time-lapse phonography,” his recent work is a sonic and encyclopedic relative to time-lapse photography. Just as a long camera exposure fuses motion into a single image, his work reveals the average sonority, visual language, and vocabulary in music, film, text, or cultural information. Exhibitions of his work include: the Insitut Valencià d’Art Modern, Spain; 2008 Democratic National Convention, Denver; Weisman Art Museum, Minneapolis; San Jose Museum of Art; National Constitution Center, Philadelphia; Cleveland Museum of Contemporary Art, Daelim Contemporary Art Museum, Seoul; 2007 Sundance Film Festival; and the Sydney Film Festival.
An active visual and musical collaborator, DuBois is the co-author of Jitter, a software suite for the real-time manipulation of matrix data. He appears on nearly twenty-five albums both individually and as part of the avant-garde electronic group The Freight Elevator Quartet. He currently performs as part of Bioluminescence, a duo with vocalist Lesley Flanigan that explores the modality of the human voice, and in Fair Use, a trio with Zach Layton and Matthew Ostrowski, that looks at our accelerating culture through elecronic performance and remixing of cinema.
DuBois has lived for the last fifteen years in New York City. He teaches at the Brooklyn Experimental Media Center at NYU’s Polytechnic Institute. His records are available on Caipirinha/Sire, Liquid Sky, C74, and Cantaloupe Music. His artwork is represented by bitforms gallery in New York City.
Marina Rosenfeld + Kusum + LoVid
Programmed by Caleb Kelly
Marina Rosenfeld
Marina Rosenfeld is a composer and artist based in New York City. Her work has deployed both musical and visual media, including a noted series of performance works; sound installation; video; photography and hybrid forms drawing on these. While still a student, in 1994 she created the Sheer Frost Orchestra, a musical performance realized by 17 women on floor-bound electric guitars, deploying nail-polish bottles as sensitive and magical sound-producing implements. Other large-scale works include the performances Emotional Orchestra (Deitch Projects, New York, Tate Modern, London), WHITE LINES (Wien Modern, British School at Rome, Taktlos Bern, Weld/Stockholm and others), and 2008’s Teenage Lontano, a work for 34-voice teenaged choir and suspended speaker installation. Teenage Lontano, Rosenfeld’s “cover version” of Gyorgy Ligeti’s orchestral work Lontano of 1967, was premiered in the vast Drill Hall space of the Park Avenue Armory in New York as part of the Whitney Biennial 2008. “Watching this piece, I felt the opening of a portal between a failed utopian past and the possibility that the more real present is already something to love. I was transported.” (New York Magazine, 2008). The work had its European premiere in Amsterdam in June 2009 as a co-production of the Holland Festival and Stedelijk Museum.
Rosenfeld also performs frequently in the US and Europe as an improviser, playing a distinctive combination of turntables and her own dub plates, for which she composes original music; these records are later remixed, manipulated, and otherwise transformed in live performance, sometimes by other turntablists as well as herself. Rosenfeld’s collaborators have included Ikue Mori, Christian Marclay, George Lewis, Kaffe Matthews, Nels Cline, Zeena Parkins, Lee Ranaldo, Martin Tétreault, Philip Jeck, Kim Gordon, Christof Kurzmann, Alan Licht, Dieb 13, Raz Mesinai, Anthony Coleman, and many others.
Rosenfeld’s work has appeared in a wide variety of contexts including two Whitney Biennials (2002 and 2008); Creative Time’s project for the World Financial Center site after September 11; survey exhibitions such as “Bitstreams” (Whitney Museum), “Her Noise” (Electra), “Music / Video” (Bronx Museum & Strassbourg Musee d’Art Moderne et Contemporain), “Electronic Music Archive” (Kunsthalle St. Gallen), and “New Sounds New York” (The Kitchen); and major festivals in North America and Europe including Wein Modern, Donaueschingen, the Holland Festival, Ars Electronica, Musikprotokoll, Pro Musica Nova, Maerz Musik, Mutek, Electronic Music Foundation/Ear to the Earth, and Los Angeles’ CEIAT festival, among others. Rosenfeld has also performed with the Merce Cunningham Dance Company; with the art-band “Text of Light”; with Sonic Youth during their “Good-bye Twentieth Century” tour; and was part of the London Musicians Collective’s “Turntable Hell” project.
Kusum
Focusing on the voice in performance and installation, Kusum Normoyle performs with noise, intervention and the rearrangement of performance structures, utilising site specific locations and high energy physical and vocal output. Her vocal style has formed an alignment with extreme extended vocal techniques, using the microphone and amplification system as an instrument on which the performance is dependant. Pushing the threshold of violence, short in duration and coming up from behind you, Kusums performances are highly specific events that effect through volume and her clipping, broken vocal style. Residing in Sydney, her work has taken her interstate and internationally as a solo and collaborative performer and musician.
LoVid
LoVid is an interdisciplinary artist duo composed of Tali Hinkis and Kyle Lapidus. Our work includes live video installations, sculptures, digital prints, patchworks, media projects, performances, and video recordings. We combine many opposing elements in our work, contrasting hard electronics with soft patchworks, analog and digital, or handmade and machine produced objects. This multidirectional approach is also reflected in the content of our work: romantic and aggressive, wireless and wire-full. We are interested in the ways in which the human body and mind observe, process, and respond to both natural and technological environments, and in the preservation of data, signals, and memory.
Paul Flaherty & Chris Corsano & Okkyung Lee + James Ferraro + C. Spencer Clark
Paul Flaherty
(tenor & alto sax )
Paul Flaherty has been playing free improv music for the past 40 years. His music is an attempt each time to release to whatever sounds or improvised themes that need to emerge. There are no written tunes , pre-arranged outlines , or group leaders once the music begins. The influences include jazz , noize, classical , rock , blues , eastern , etc. Based in Connecticut for his entire life , there were long periods where ” gigs ‘ were few and far between. A thousand late night solo street playing scenes and and a thousand private / public free-form jam sessions helped bring the music into focus. In the late 80s Flaherty began a collaboration with drummer Randall Colbourne that continues to this day . It’s produced over 15 free jazz albums with musicans that have included Mike Murary , Daniel Carter, Sabir Mateen , Raphe Malik , Richard Downs , Steve Scholz , Froc , and James “Chumley” Hunt among others. In the late 90s Flaherty began touring and recording with elastic drummer Chris Corsano. This connection also continues to this day and has produced over 15 free jazz/noize releases as well. Musicans recording with Paul & Chris include Wally Shoup, C. Spencer Yeh ,Thurston Moore, Bill Nace ,Steve Baczkowski, Greg Kelley , Matt Heyner and Heather Leigh. Other Flaherty recording projects have included 3 solo albums , and records with : Jeff Hartford , Marc Edwards , Lawrence Cook , Weasel Walter , Bill Walach , Joe Mcphee , Steve Swell , Barry Greika , Bob Laramie and Glen “Hobbit ” Peterson. After a years sabbatical , Flaherty begins yet another comeback.
Chris Corsano
Chris Corsano is a multi-faceted drummer; a list of his collaborations attests to that fact. He’s recorded and gigged with, among others, Paul Flaherty, Michael Flower, Björk, Jim O’Rourke, Thurston Moore, Evan Parker, Nels Cline, Jessica Rylan, Jandek, Six Organs of Admittance, Sunburned Hand Of Man, Okkyung Lee, MV&EE, Keiji Haino, Vampire Belt, Joe McPhee, Christina Carter and Heather Leigh Murray.
First captivated by free improvised music in the mid ’90s after witnessing performances by TEST, William Parker, Cecil Taylor and others, Corsano began a long-standing high-energy partnership with Paul Flaherty in 1998. Moving from western Massachusetts to Manchester, England in 2005 and then Edinburgh, Scotland a year later, Corsano focused on developing an expanded solo percussion music of his own, incorporating sax reeds, violin strings and bows, pot lids, adhesive tape and other household devices into his drumkit. In February 2006 he released his first solo recording, The Young Cricketer. In 2007 and ‘08 he was the drummer on Björk’s Volta world tour. With a move back to Massachusetts, 2009 heralds a return to his own projects, most notably his duo with Michael Flower and solo work, now revamped to include synthesizers and contact mics in addition to his drum kit and home-made acoustic instruments.
Okkyung Lee
A native of Korea, Okkyung Lee has been developing her own voice in a contemporary cello performance, improvisation and composition. using her solid classical training as a springboard, she incorporates jazz, sounds, korean traditional and pop music, noise with extended techniques and create her unique blend of music. She has performed and recorded with numerous artists such as laurie anderson, derek bailey, john butcher, carla bozulich, nels cline, chris corsano, fred frith, carlos giffoni, vijay iyer, andrew lampert, min xiao-fen, thurston moore, ikue mori, lawrence D. “butch” morris, jim o’rourke, evan parker, marina rosenfeld, keith rowe, wadada leo smith, c spencer yeh and john zorn to name a few. Okkyung has released the following albums: Nihm on Tzadik; a duo recording with christian marclay Rubbings on My Cat is an Alien/a Silent Place; a solo cello album I saw the Ghost of an Unknown Soul and it Said… on Ecstatic Peace!; a trio album with steve beresford and peter evans, Check for Monsters on Emanem. currently she is working on her follow up album for Tzadik, limited LP of duo with phil minton for Dancing Wayang, another duo with adam linson for Psi, trio album with evan parker and peter evans and a duo with paul lytton. She has received a composer commission from New York State Council on the Arts in 2007 and Foundation for Contemporary Arts grant in 2010.
Share – free audio & video jam – featured guest Seijiro Murayama
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Tonight’s featured guests: Seijiro Murayama
Seijiro collaborated, in particular, with Fred Frith, Tom Cora, Keiji Haino, KK Null between 1980 and 1998. Since 99, he works in France.
His actual collaboraters:
Jean-Luc Guionnet, Eric La Casa, Tim Blechmann, Klaus Filip, Axel Dörner, Eric Cordier, Toshimaru Nakamura, Tsunoda Toshiya, Off-cells with Taku Unami, Uta Kawasaki, Takahiro Kawaguchi …
For his second visit of usa since 82, he will play solo with a snare drum and a cymbal (amplified with air and contact microphones). Some meetings with american improvisers are also programmed:Jason Roebke, Greg Kelly, Eli Keszler, Jason Brogan…
Url:
http://seijiro.murayama.name
Selective discography:
ANP “Absolut Null Punkt” <CD> [Important] USA 2004
“They Stood Around and Watched” with Michael Northam
<mini CD> [Universalinternational] France 2004
“Suture” with Eric Cordier <CDR> (no label) France 2004
ANP “Metacompound” <CD> [Important] USA 2006
“Hatari Atsalei” with Lionel Marchetti<CD> [Intransitive Recordings] USA 2008
“Le Bruit du Toit” with Jean-Luc Guionnet <CD> [Xing Wu Records] Malaysia 2008
“Moriendo Renascor” with Michael Northam <CD> [Xing Wu Records] Malaysia 2008
“Noite” with Jean-Luc Guionnet,Ernesto Rodriques,Guilherme Rodrigues <CD> [Creative Source Recordings] Portugal 2009
“Ready’n” with Masafumi Ezaki, Kazushige Kinoshita <CD> [Tenseless music] Japan 2009
“Space and place” with soundworm <CD> [Improvised Music From Japan] Japan 2009
“Supercedure” with Eric La Casa <CD> [Hibari Music] Japan 2009
“4 pieces with a snare drum” (solo) <CD> [Petit Label] France 2009
“Solos” (solo) <CD> [Zerojardin] France 2009
http://www.share.dj/share/event_info.php?eventID=659
———
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam
What is share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
Share – free audio & video jam – In the Munch Room @ The (OA) Can Factory
What is Share?
SHARE is first and foremost a platform to explore expression, in a variety of artforms. Through its weekly open jam sessions, SHARE.nyc engages its participants and spectators in a continually changing dialog on art and culture. As such, SHARE represents an ongoing exploration of collaborative performance as cultural exchange. It mines the relationship of artistic practice to cultural identity, remapping a multiplicity of cultural discourses. The act of creating artistic content in a multicultural collaborative context is a fascinating and natural extension of the SHARE concept.
Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.
open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!
audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.
video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join
8pm, free —
Share will take place in the Munch Room tonight. The Munch Room is located on the first floor of The (OA) Can Factory.
Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org
To TILT: Orig. Music for TILT Brass [Part 2]
To TILT: Orig. Music for TILT Brass [Part 2]
On Wednesday, March 3rd, the 10-piece Brooklyn-based group TILT Creative Brass Band presents the second installment of its on-going series To TILT: Original Music for TILT Brass which focuses solely on repertoire written for the organization’s distinctive ensembles (CBB and 6-piece SIXtet) at ISSUE Project Room. The program features works by a stellar group of composer/performers including Downtown legend Anthony Coleman, trumpet virtuoso Dave Ballou, avant-cornetist Taylor Ho Bynum, Gold Sparkle’s Charles Waters (featuring composer and world-class improviser Mick Rossi on piano), and TILT Director Chris McIntyre. TILT CBB features an extraordinary line-up of creative musicians including trumpeters Nate Wooley and Gareth Flowers, trombonists Curtis Hasselbing and Jacob Garchik, and and percussionist Kevin Norton.
More infomation (incl. mp3’s and composer bios) at http://www.tiltbrass.org/09-10_gigs/ipr_100303.html
PROGRAM
Anthony Coleman - Set Into Motion (2005)
Charles Waters - 3 Mysteries [Concertimento #12] (2007)
>>featuring Mick Rossi on piano
Taylor Ho Bynum - preharmonic, postchordal, revamped (2007)
Chris McIntyre - Foliation (for Suzanne) (2009)
Dave Ballou - Concerto for TILT (2003)
PERSONNEL
Creative Brass Band:
Trumpet – Nate Wooley, Gareth Flowers, Andy Kozar
French Horn – John Clark, Rachel Drehmann
Trombone – Curtis Hasselbring, Chris McIntyre
Bass Trombone – Jacob Garchik
Tuba – Ron Caswell
Percussion – Kevin Norton
Conductor – Greg Evans
Special Guest:
Mick Rossi – piano soloist on Waters
TILT Creative Brass Band
Brooklyn based TILT Creative Brass Band (TCBB) is a beautifully strange combination of military brass band and Downtown repertoire ensemble. The group has presented concerts since January 2003 at venues ranging from Whitney Museum to Barbes in Brooklyn. Since its inception, TCBB has fearlessly taken on works from the fringes of experimental concert music, tongue-in-cheek agitprop, and hybrid scores combining notation and improvisation. The group frequently presents entire programs of original works by its composer/performer members (Kevin Norton, Curtis Hasselbring, Nate Wooley, among others) and colleagues from the field, including legendary pianist Anthony Coleman (released on Tzadik), Doctor Nerve’s Nick Didkovsky, multi-instrumentist Charles Waters, and cornetist Taylor Ho Bynum.
In addition, the Creative Brass Band is committed to presenting works from the experimental tradition, ranging from a Varése graphic score from the late 50’s and selections from James Tenney’s Postal Pieces to works by Fredric Rzewski (Les Mounton de Panurge) and early John Adams (Light Over Water). In June ‘09, TCBB kicked off a new on-going series of programs called New York Noise which presents historical and current works by important composers from the Downtown community and its ancestors such as Elliott Sharp, Lois V. Vierk, and Rhys Chatham. In 2010, the group will present several programs at ISSUE Project Room and will record and release its current To TILT repertoire.
Mick Rossi
Pianist, percussionist, and composer Mick Rossi’s diverse accomplishments include: being among “the most courageous, gifted, and charismatic musicians” of the New York Downtown scene (AllAboutJazz); a long-time Philip Glass collaborator and member of the ensemble as pianist, percussionist, and conductor; and working with artists from Dave Douglas to Kelly Clarkson to Leonard Cohen. He recently conducted Book of Longing at the Sydney Opera House, and performed Einstein at the Beach at Carnegie Hall and Koyaanisqatsi at the Hollywood Bowl. Recent recordings include One Block From Planet Earth (OmniTone), and They Have A Word For Everything (Knitting Factory). His recent concert at Le Poisson Rouge presenting his latest and ninth recording Songs From The Broken Land (Orange Mountain Music) was featured in the NY Times.
Elliott Sharp & Andrea Centazzo – guitar and percussion duo
Two masters of improvisation meet for a set of wide-ranging sonics and rhythmic extremes.
Andrea Centazzo:
An Italian-born American percussionist and composer, in more than 30 years’ career, Centazzo has crossed music genres and artistic expression forms, starting as jazz percussionist and improviser to become later a contemporary composer, a visual artist, a film and theater director and a multimedia artist. His discography includes over 150 LPs, CDs, and DVDs, almost all recorded for ICTUS RECORDS, his own label, founded in 1976 and still active after its 2006 rebirth in California. He has performed and recorded with Don Cherry, Derek Bailey, Steve Lacy, Evan Parker, John Zorn, Henry Kaiser, Enrico Rava, Tom Cora, Theo Jörgensmann, Alvin Curran, Lol Coxhill, and others. Most of those musicians were involved in his Mitteleuropa Orchestra, a seminal 16-piece big band active between 1980 and 1983 in Europe. His most famous opera, TINA (1996), was inspired by the life and art of Tina Modotti. Two more operas followed, Memento in 2000 and Simultas in 2001.
Elliott Sharp:
Sharp is a composer, multi-instrumentalist, and producer and central figure in the avant-garde music scene in New York City for over thirty years. He leads the projects Carbon and Orchestra Carbon, Tectonics, and Terraplane and has pioneered ways of applying fractal geometry, chaos theory, and genetic metaphors to musical composition and interaction. His collaborators have included Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Radio-Symphony of Frankfurt; pop singer Debbie Harry, computer artist Perry Hoberman; blues legends Hubert Sumlin and Pops Staples; jazz greats Jack deJohnette, Sonny Sharrock, Oliver Lake, and Billy Hart; turntable innovator Christian Marclay; and Bachir Attar, leader of the Master Musicians Of Jahjouka from Morocco. Sharp’s work was featured in the 2008 New Music Stockholm festival with the premiere of “Sidebands” and at the Hessischer Rundfunk Klangbiennale in May 2007 with the premiere of his orchestral work “On Corlear’s Hook”. He is now woorking on a commissioned opera for the Bavarian Opera in Munich. The documentary film about Sharp’s work by Bert Shapiro, “Doing The Don’t”, has just been released on DVD and screened at international film festivals
Izzi Ramkissoon
Izzi Ramkissoon is an award-winning electronic multimedia composer, performer, and sound artist. His laptop and bass are the control center of his sound. As a composer his multimedia composition Sub-ter-ain Frequencies 5.1 won the prestigious 2007 Look & Listen Festival 1st place Composition Prize (NYC), and will be on tour throughout the U.S apart of the 29th Annual Black Maria Film + Video Festival 2010 visiting 65 museums, universities, and other institutions, his recent composition Domesticated Animalia was accepted as part of the The Society for Electro-Acoustic Music in the United States (SEAMUS) National Conference 2010 and the New York City Electroacoustic Music Festival (NYCEMF) 2010. A New York City native, Izzi plays the electric, acoustic double bass, synthesizer and laptop in multiple ensembles in the Tri-State area. He leads his own multimedia ensembles CrackCodez (2007) and The Electric Eel Multimedia Ensemble (2009) in NYC and collaborates as a composer/performer with the new music experimental group Kingdom of Jones and DJ Udachi in live sets.
He has performed as a bassist and experimental music artist in numerous venues including The Public Theater, The Stone, The Flea Theatre, The TANK, The Robert Miller Gallery, Monkey Town, Cornelia Street Café, Yippe Café Museum, Judson Church, Crash Mansion, Studio 54, CBGB’s, and Webster Hall as well as Penn State University, NYU, Bates College, Bard College, Ionian University (Greece), and more. Izzi has performed on the same bill with artist such as John Zorn, Flux Quartet, Ethel, QQQ, ICE (International Composers Ensemble), Daedalus Quartet, Paul Lansky, Robert Rowe, Cort Lippe, John Scofield, Vernon Reid, Craig “muMs” Grant, Annie Gosfield, Rattlestick Playwrights Theater, LAByrinth Theater Company and So Percussion.
Izzi has studied electronic multimedia composition and sound design with Morton Subotnick, Robert Rowe, R. Luke Dubois and electronics with Saul Walker. His research interest includes interactive multimedia music performance and composition, sensor networks, wireless interface design, multi modal haptic feedback, and music cognition. His recent interactive projects include, the Beatnik, which is an interactive glove controller used for editing, pitch shifting, warping, glitching drum loops in a real-time performance setting and the Sensor S.O.C.K, which is a gesture based controller interface for multimedia dance performance. Izzi has earned degrees from the College of Staten Island majoring in both Electrical Engineering and Music. He is currently pursuing a Master’s in Music Technology at NYU and is planning to further his studies in Interactive Music.
Community Percussion Ensemble
For this event I would like to invite all of the audience members to bring a small piece of portable homemade percussion. This can be anything from a bottle to a small piece of PVC pipe. Your hands will also suffice. Nothing too big. There will be a short piece that you will get to use this object to create sound and be apart of the EEME community percussion ensemble.
Izzi Ramkissoon and his Electric Eel Multimedia Ensemble (1+)
Turntable – Marcel Blum
Flute – Sarah Carrier
Clarinet – Dan Padmos
Clarinet – Zara Acosta
Cello – Eric Cooper
Viola- Pedro Vizzarro Vallejos
Guitar – Amar Lal
Percussion – Jerrold Kavanagh
Percussion – Corey Bracken
Upright Bass – Sean Ormiston
Video – Alain Alfaro
Electric Bass and laptop – Izzi Ramkissoon
Nat Baldwin + peace, loving
Nat Baldwin
New Hampshire-native Nat Baldwin is an experimental upright bassist and singer-songwriter who cut his teeth studying with free jazz legend Anthony Braxton. In addition to his three critically-acclaimed solo releases, Nat has collaborated on works with Extra Life, Vampire Weekend and is a long-time member of The Dirty Projectors.
“Nat Baldwin’s upright bass is Joanna Newsom’s harp, Andrew Bird’s violin – a partner so indispensable, it’s a personal trait. Over a gorgeous bull-fiddle hum, he belts out these melismatic flourishes… This delivery is terrifically earnest, terrifyingly intimate, and terribly special.” – The Boston Phoenix
“His musical imagination is expansive, while his lack of pretense is admirable” – Pitchfork
“The New Hampshire-native (and Anthony Braxton disciple) rains hyper-melodic chamber fire in melismatic, cinematic glory.” – RCRD LBL
peace, loving
peace, loving has been a force of new music around new england and beyond the past three years, performing compositions for aromatics and tape (w/ 3 professional chefs), dances for handheld tape recorders, working as set designers, video artists, performance poets, instrument builders, and becoming infamous for having a major rotating cast of performers doing all these things at once. peace, loving was formed out of the whitehaus family record, a community based label/venue in the jamaica plain neighborhood of boston.
Loud Objects + Nicolas Collins
Nicolas Collins
New York born and raised, Nicolas Collins studied composition with Alvin Lucier at Wesleyan University, worked for many years with David Tudor, and has collaborated with numerous soloist and ensembles around the world. He lived most of the 1990s in Europe, where he was Visiting Artistic Director of Stichting STEIM (Amsterdam), and a DAAD composer-in-residence in Berlin. Since 1997 he has been editor-in-chief of the Leonardo Music Journal, and since 1999 a Professor in the Department of Sound at the School of the Art Institute of Chicago. The second edition of his book, Handmade Electronic Music – The Art of Hardware Hacking, was published by Routledge in 2009. Collins has the dubious distinction of having played at both CBGBs and the Concertgebouw.
People Like Us presents “Genre Collage” + Aki Onda
Since 1991 British artist Vicki Bennett has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Using collage as her main form of expression, she creates audio recordings, films and radio shows that communicate a humorous, dark and often surreal view on life. These collages mix, manipulate and rework original sources from both the experimental and popular worlds of music, film, television and radio. People Like Us believe in open access to archives for creative use, and have made work using footage from the Prelinger Archives, The Internet Archive, and A/V Geeks. In 2006 she was the first artist to be given unrestricted access to the entire BBC Archive. People Like Us have previously shown work at Tate Modern, Sydney Opera House, Pompidou Centre and Sonar, and performed radio sessions for John Peel and Mixing It. The ongoing sound art radio show ‘Do or DIY’ on WFMU has had over three quarters of a million hits since 2003. The People Like Us back catalogue is available for free download hosted by UbuWeb.
Aki Onda is an electronic musician, composer, and photographer. Onda was born in Japan and currently resides in New York. He is particularly known for his Cassette Memories project – works compiled from a “sound diary” of field-recordings collected by Onda over a span of two decades. Onda’s musical instrument of choice is the cassette Walkman. Not only does he capture field recordings with the Walkman, he also physically manipulates multiple Walkmans with electronics in his performances. In another of his projects, Cinemage, Onda produces slide projections of still photo images set to live guitar improvisation. Onda has collaborated with artists such as Michael Snow, Ken Jacobs, Alan Licht, Loren Connors, Oren Ambarchi, Noël Akchoté, Jac Berrocal, Linda Sharrock, and Shelley Hirsch.
The Long and The Short of It – Alex Waterman, Jon Rose “Fences”, Hotel Axe & Miya Masaoka Trio
A mini festival of strings in all sizes, shapes and uses curated by David Watson and Jon Rose.
Alex Waterman
Miya Masaoka Trio (Miya Masaoka, Alex Waterman, Jon Rose)
Hotel Axe, an electric guitar group composition by David Watson with Roger Kleier, Byron Westbrook, Kenta Nagai, Grey Gersten and others.
Jon Rose, “Fences”
************************************
Miya Masaoka
Miya Masaoka resides in New York City and is a classically trained musician, composer and new media artist. Pioneering the koto in contexts of improvisation, computer processing, new music and sound installations, she has expanded the koto to include lasers (Laser Koto), and has expanded the traditional costume while playing the koto — the kimono –to include responsive and wearable technology with thousands of hand-embroidered LED’s. She creates works that hover the boundary of music, sound, movement and light and that both investigate and reveal these fluid relationships.
Jon Rose
Those involved in new and experimental music often come to the metaphor of fences and borders in describing their work. Violinist Jon Rose has grappled with these ideas conceptually and literally. His project The Great Fences uses the 3,500 Dingo Fence that stretches across Australia and turns it into music. In 2009 The Kronos String Quartet commissioned Rose for their own fence piece, based on the standard #5 wire outback fence.
It has been 10 years since pioneering violinist, improviser, composer and instrument building maverick Rose played in New York. Apart from the subtleties of barbed wire, there will be a celebration of many string types and lengths – from violin, to tenor violin, to cello, to double bass, to electric guitar, to koto – with some of the finest players around New York. www.jonroseweb.com
Alex Waterman
Alex Waterman is a cellist, composer, and writer based in Brooklyn, NY. His work has been shown internationally in museums, galleries and cinemas. He won the Tiger Award for Best Short Film at the Rotterdam Film Festival in 2008 and took part in the Whitney Biennial that year. He continues to perform with his two ensembles: Plus Minus in London, and Either/Or in New York. He’s finishing work on a book on Robert Ashley, designing a garden, and writing a new screenplay about H.L. Mencken and the early 20th century circles of journalists and publishers in America.
David Watson
As a guitarist David Watson has regularly performed John Zorn’s Cobra. He has worked closely with Chris Mann and Ikue Mori, and premiered Robert Ashley’s trio composition “White on White”. He is a member of the long-standing but slow moving trio Glacial, with Lee Ranaldo. Recent guitar releases include Fingering an Idea (on XI) and The Shirley Jangle (with Lee Ranaldo, Christian Marclay and Günter Müller) on Kraak. “Hotel Axe” is part of an occasional series of multi guitar pieces inspired by other large ensemble experiences: pipe bands, drum corps, gamelan orchestras.
Philippe Petit + aMute
Philippe Petit
PHILIPPE PETIT is interested in soundtracks; even if he creates original music he’d rather be introduced as a “musical travel agent” than a composer.
PETIT uses a computer to build up electronic layers, process acoustic and field recordings. To second the machine he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds.
A journalist for various magazines and radio as well as a musical activist, PETIT has celebrated his 25th year of sharing his musical passions as the man behind the cult labels Pandemonium Rdz. and BiP_HOp.
PETIT has assembled what people call a dream-team of collaborators, working with: Lydia Lunch, Foetus, Kumo, Scott McCloud (Girls Against Boys), Cosey Fanni Tutti, My Brightest Diamond, Sybarite, Pantaleimon, Graham Lewis (Wire), Barry Adamson, Scanner, Mira Calix, Kammerflimmer Kollektief, Guapo, Leafcutter John, Simon Fisher Turner, Justin Broadrick and many more…
Aside his solo works, PETIT is active in Strings Of Consciousness, does a duo with Lydia Lunch, and his collabs with Cosey Fanni Tutti (Throbbing Gristle) + James Johnston (Gallon Drunk/Bad Seeds/Faust) have appeared on Dirter Promotions.
His first solo album “Henry: The Iron Man” was released thru Beta Lactam Ring Records, and his second Cd appeared on Rothko’s imprint Trace Recordings + OFF and Helmet Room in digital formats.
In the works are collabs with Murcof, Simon Fisher Turner, Vultures and “Cordophony” gathering music whose sound comes from the vibrations of one or several strings.
aMute
Jérôme Deuson, born 1980, is the name behind aMute. Since 2002 he has been one of the most active Belgian composer and won notoriety in Europe and abroad as someone inventive, over excited by music and always ready to help people out. aMute has played in more than 15 countries including Canada, USA, European tours in Austria, Germany, Italy, UK, France and many others…
Apart from composing, Jérôme has also been involved in the legendary shop Le Bonheur in Brussels and organized festivals and concerts for the shop, he created the Stilll label back in 2005 and designed most of its fifteen releases and is currently involved in concert organisation in Brussels and Belgium.
Hans Grüsel’s Krankenkabinet + Occasional Detroit (O-D) The Best In ABSTRAKT ENT
Hans Grüsel’s Krankenkabinet
Hans Grüsel’s Krankenkabinet is an ever-changing woodgrain diorama of dark forest characters. Started in 1999 in San Francisco, California, by Hans Grüsel, the ensemble uses electronics, concrète recording, and acoustic instruments to explore the lost Teutonic rites of the past while stumbling into the failure of the future.
Hans Grusel’s “sound” might best be described as the sounds of a Bavarian music box designed by an artist who had been bonked on the head with a brass cuckoo clock chime and left in a dark room for three years with only the music of Scriabin, Wagner, and Prokofiev mixed with off-speed 1960s sci-fi soundtracks and folkloric anthems pumping through the slightly clogged vents. HGKK audio combines numerous divergent elements—rigid structures and sweeping washes of plucky improvisation; classic violin sounds twisting in a mobius strip of clashing yet beautiful sounds and tones; flitting marches and delicate traipsing at the bottom of the sea—to create dense and blissful audio rainstorms.
There are very few bands who truly baffle. Who confuse and confound, both musically and conceptually. Sure, plenty of bands are weird, or strange, or hard to describe, some might even be described as fucked up or damaged, but very very few truly baffle. Hans Grusel’s Krankenkabinet is most definitely one of those bafflingly confusional elite. . . Hans Grusel and his Krankenkabinet create a bizarre cacophony of sound, theatrical, dramatic, noisy for sure, but weirdly melodic and playful and more than anything, confounding.
Occasional Detroit
My NAME IS Towondo”Beyababa”Clayborn I am a part of the abstrakt hip-hop duo Occasional Detroit (O-D) THE BEST IN ABSTRAKT ENT..
We are an abstrakt hip-hop duo CONSISTING OF MYSELF Towondo’Beyababa’Clayborn”
AND DEMETRISA L. ANDERSON
we will kill it on may 1st the best in ABSTRAKT ENT.
It is not an understatement. We like too show what it feels like in our own words, on how it feels after recovering from taking a piss under scrutiny. So, that is A SYNOPSIS ON how we roll.
Come see us (O-D) THE BEST IN ABSTRAKT ENT..(LAWRENCE) LET US KNOW IF YOU NEED MORE INFO WE WILL PROUDLY SEND IT.
