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 – 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
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
9pm, 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
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
Peg Simone + Wrekmeister Harmonies + MV Carbon and Zach Layton duo
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(listen): the Sun is Leaking – Peg Simone
Peg Simone, out of NYC, employs the slide to bone-chilling effect, fracturing raucous rock choruses and sepia-toned ballads into ghost images with its off-tuned eeriness & pure blues tones stuttering across hectic post-punk rhythms. Her upcoming release “Secrets From The Storm” is due in February/March 2010 & will be released on Table of the Elements. Peg is also a guitarist in Jonathan Kane’s February and collaborated with Kane on the upcoming album for their own 22 minute version of When The Levee Breaks titled “1927/Levee” with intro narrative written by Holly Anderson.
Chicago-based sound artist J.R. Robinson has been creating live, ambient tonefields in museums around the US and Europe over the past two years-including the Andy Warhol Museum in Pittsburgh, the Guggenheim Museum in New York, the Getty Museum in Los Angeles, the Pompidou Center in Paris, and The Art Center Berlin.
Robinson has injected these recordings into collaborations with some like-minded heavy hitters from the noise, post-rock and jazz worlds such as David Yow (Jesus Lizard/Scratch Acid), Mark Shippy & Pat Samson (US Maple), Azita Youssefi, John Herndon & Jeff Parker (Tortoise), Keefe Jackson, Fred Lonberg-Holm and Ken Vandermark. The result (dubbed Wrekmeister Harmonies), is a distinctive hybrid of sound art and avant-garde musics, evoking the essences & influences of masterworks like Joe McPhee’s Nation Time, Lou Reed’s Metal Machine Music and the sound collages of Stockhausen.
Marco Cappelli, Noah Kaplan, Giacomo Merega with special guest Hampton Fancher and Mauro Pagani
Marco Cappelli guitar solo
music by Ponce, Ginastera, Henze, Kim
Cappelli/Kaplan/Merega
special guests: Hampton Fancher (writer/filmmaker, Blade Runner) and Mauro Pagani (violin, PFM – F. De Andre`)
Idiosyncratic guitarist Marco Cappelli is joined on this date saxophonist Noah Kaplan and bassist Giacomo Merega. Inspired by painter Paul Klee, the trio improvises soundscapes that depict the coexistence of musical figures and textures. With an emphasis on altered and prepared sounds, as well as micro-intervallic structures, the trio strives for a constant projection of both idiom and abstraction with a rock touch.
They will present an Improvised music set, ending with “Boy Music,” a spoken cantata by Hampton Fancher
“Nobody I hear has even shot at what these guys hit. They cut the chain of the brain from the dog of the ear; simultaneously sought, caught, and freed. This is what Fancher says about the musicians. What do they say about him? If you want to find out come to the Issue Project Room…”
Hampton Fancher
MARCO CAPPELLI
After completing many years of demanding music studies (first at Conservatorio di S. Cecilia in Rome and then in the Konzert-Klasse at the Musik Akademie in Basel with Oscar Ghiglia), guitarist MARCO CAPPELLI has lead an extraordinary artistic path, becoming familiar both with rigorous written music as well with free improvisation languages.
The diversity of Marco’s performances is due to a fascinating array of collaborations (Anthony Coleman, Michel Godard, Butch Morris, Franco Piersanti, Jim Pugliese, Enrico Rava, Marc Ribot, Elliott Sharp, Giovanni Sollima, Markus Stockhausen, Cristina Zavalloni and more) and regularly as guest in important classical and contemporary music series (Teatro Massimo di Palermo, Associazione A. Scarlatti di Napoli, Ravenna Festival, Festival Traiettorie di Parma, Cinque passi nel ‘900 al Teatro Lirico di Cagliari, Guggenheim Museum in New York, Italian Academy at Columbia University New York, Salzburg Festival, Ruhr Triennale…) as well in jazz and avantgarde music festivals (Saalfelden Jazz Festival – Austria, Pomigliano Jazz – Italy, Grim in Marseille – France, Barnsdall Theatre in Los Angeles, Tonic in New York, OutPut Festival in Amsterdam…) both as a soloist and in ensemble settings.
Among the founders of the acclaimed Italian contemporary music group “Ensemble Dissonanzen” , Marco Cappelli currently lives in New York, where he is involved with the contemporary and avantgarde music scene.
Marco has recorded two solos CDs for the for the Italian label TDS: Fantasia per Ensemble and Yun Mu. More recently he collaborated with the prestigiuos American label Mode Records, which released his third solo cd with EGP (Extreme Guitar Project: Music from Downtown New York). Mode Records also published a CD by Ensemble Dissonanzen, where Cappelli is involved in Goffredo Petrassi’s chamber Music; another cd, about Hans werner Henze’s chamber music will be released in 2007. In 2006 Marco Cappelli also published “Back to the Future” (with Andrea Centazzo e Anthony Coleman) for Ictus Records’ 30th anniversary, and signed his debut on John Zorn’s Tzadik, taking part in duo with Jim Pugliese on the CD “Pushy Blueness” by Anthony Coleman.
NOAH KAPLAN
NOAH KAPLAN grew up in Topanga Canyon, CA. He graduated from the New England Conservatory of Music where he studied improvisation, counterpoint, harmony, composition and microtonal theory with Joe Maneri. He was the 2005 recipient of the Jonathan Keith Foundation award for his work with microtones. He has recorded with the Peter Erskine Trio and recently released the light and other things (Creative Nation Music, 2008), a collaboration with bassist Giacomo Merega and guitarist David Tronzo. His playing has been described as “Formidable” (Phil DiPietro – All About Jazz) and “Meditative”, “Elegiac”, “Communicat[ing] a wild tenderness”, (Karla Cornejo – All About Jazz New York). The Noah Kaplan Quartet’s debut recording, Descendants, featuring guitarist Joe Morris will be released on HatHUT records in early 2010. Noah currently lives in New York where he maintains an active performance schedule.
GIACOMO MEREGA
GIACOMO MEREGA is an Italian bass player and composer who survived six years of Boston while studying at Berklee and the New England Conservatory (where he had in Joe Maneri, Anthony Coleman and Ran Blake his main mentors), before moving to Brooklyn in September 2007. Besides playing bass in Bryan Baker’s (guitarist with Steps Ahead) rock band, Giacomo is and has been involved in a number of creative projects with prominent musicians like David Tronzo, Dave ‘Fuze’ Fiuczynski, Joe Morris, Daniel Levin, Ran Blake, Okkyiung Lee, Sunny Kim, Michael Winograd, John MacLellan and The Bloody Heads among others, performing extensively in the US as well as in Europe.
“the light and other things” is Merega’s first cd as a leader (”In a discreet way, Merega plucks the strings of his bass with extra care. As if every note, every caress was his last” – Tom Sekowski, Gaz-Eta, Poland).
Elliott Sharp
Elliott Sharp performs Octal:Book Two for solo 8-string guitarbass
In addition to his composing and performance, Sharp has also been an instrument builder, inventor and conceptualist. In 2002, he began a collaboration with luthier Saul Koll to create an electroacoustic 8-string guitarbass which was completed in 2005. Since then, E# has been performing on the instrument, exploring its sounds and potentials. He has composed a suite of pieces, OCTAL (which was released on CD by the Clean Feed label based in Lisbon), that fully melds his huge personal vocabulary of extended techniques and unique compositional and improvisational strategies to the possibilities of this beautifully sculptured guitar.
“Octal is, in large part, a more percussive affair, excepting the second track, which is another exercise in multivalent Ebow-driven drone. For the manic percussion that Sharp executes so well, just check out the astonishing “Antitop and Charm”; it roils and bubbles with precision and muscular grace. The pieces are fairly brief and it is as if Sharp’s imagination is in overdrive in each oneŠ so many and disparate are the ideas that pack each moment.”
“Octal is, in large part, a more percussive affair, excepting the second track, which is another exercise in multivalent Ebow-driven drone. For the manic percussion that Sharp executes so well, just check out the astonishing “Antitop and Charm”; it roils and bubbles with precision and muscular grace. The pieces are fairly brief and it is as if Sharp’s imagination is in overdrive in each oneŠ so many and disparate are the ideas that pack each moment.”
- All About Jazz
9pm
Orchestra Carbon performs Elliott Sharp’s SyndaKit
The (OA) Can Factory
232 3rd Street, 3rd Floor
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
see http://www.issueprojectroom.org for more info and directions
Composed in 1998 for E#’s ensemble Orchestra Carbon, SyndaKit utilizes a collection of biological metaphors to create an ever-shifting rhythmic and timbral matrix. Improvisatory and algorithmic but not improvisation, SyndaKit’s essence is a transformative organism consisting of 144 composed Cores on 12 sheets divided among the 12 players with a set of simple rules for their use through processes of imitation, addition, recombination, transposition, and mutation. These actions are based on the activities of flocking birds, African drum choirs, cellular automata, hunting packs, and recombinant amino acids.
The musicians include Reut Regev-trombone, Catherine Sikora-saxophone, Rachel Golub-violin, Judith Insell-viola, Ha-Yang Kim-cello, Kevin Ray-bass, Reuben Radding-bass, Marc Sloan-bass, Jenny Lin-piano, Danny Tunick-percussion, Sim Cain-drums
The CD of SyndaKit performed by E#’s Orchestra Carbon, long out-of-print, has now been reissued by the German label Neos and is available at Downtown Music Gallery.
Concert begins at 8:00pm, $15
Share – featured guest El Lazo Invisible
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 feature guest:
EL LAZO INVISIBLE
José Ignacio López Ramírez-Gastón (a.k.a El Lazo Invisible) has been a sound artist and producer working in the border region San Diego/Tijuana since 1998. He was born in Barcelona, Spain, in 1968, and since then has lived in different countries, spending most of his youth in Lima, Peru. He is the founder of the record label Discos Invisibles, a project that works on the generation of public spaces for alternative sound arts; and Dinet, a netlabel dedicated primarily to promote the work of experimental musicians in Latin-America. He is a graduate student of Computer Music at the University of California San Diego (UCSD) and a researcher at the Center for Research in Computing and the Arts (CRCA). His research work involves the study of those cultural strategies unique to the Latin-American environment and the application of technology in a way that represents its users.
http://blog.discosinvisibles.org
http://www.d-i-net.org
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
Chris Brokaw Performs “CANARIS”
Chris Brokaw is a New York-based singer/songwriter/composer/guitarist/drummer. He has released six solo albums of instrumental and vocal music. He is widely known as a founding member of the bands CODEINE and COME; currently he plays with THE NEW YEAR, DIRTMUSIC, and FFLASHLIGHTS. He has also performed and recorded recently as an accompanist to THURSTON MOORE, CHRISTINA ROSENVINGE, EVAN DANDO, STEVE WYNN, and JENNIFER O’CONNOR. He has composed music for the Dagdha Dance Company (Ireland) and Kino Dance Co (Boston), and scored the films “Road” (Leslie McCleave) and “I Was Born, But…” (Roddy Bogawa). Chris played drums with THE BOREDOMS in their performance 77 BOADRUM, for 77 drummers; and will perform this summer at Lincoln Center in RHYS CHATHAM’s performance for 200 guitarists.
In September 2008 Chris released CANARIS, an album entirely for solo acoustic guitar. The first half is unplugged acoustic guitar; the title track is an extended piece for electrified acoustic guitar. This will be his first performance of the album in its entirety.
Here is what the critics had to say:
–”Half of his forthcoming solo guitar record, Canaris (Capitan), is acoustic, even the cover of “Drink the Poetry of Celtic Disciple” by French black metallers Vlad Tepes; throughout its gorgeous 13 minutes, he slaloms from simple fingerpicking to monolithic strumming, creating a near-cinematic narrative more nuanced and expressive than anything I’ve ever heard a metal band do. ” – Chicago Reader
–”Deep in the heart of Canaris is the title track, a heroic slab of treated drone rock that sounds like Brokaw has been inhaled by a colossal black hole and is performing as all the atoms in his body slowly separate. At other times it sounds like he’s cleaving through a colossal piece of metal with an industrial power saw.” – Prefix
–”Brokaw always excelled as part of bands like Codeine and Come in the past, but here, with no bass or drums to work with his guitar, with his sound left to stand alone, he still sounds like one of the most compelling guitarists in music today.” – Dusted
David First’s Gestural Improv Group + Kurt Wolf’s Lapis Lazuli
David First’s Gestural Improv Group – an evening of searching for perfect frozen moments through hyper-sensual tuning systems and black holed rhythms. Featuring Jane Rigler/flute, Chris McIntyre/trombone, Reuben Radding/bass, Michael Evans/drums & percussion and D.F. on guitar & laptop.
David First’s musical life is filled with opposites and extremes. At the age of twenty he played guitar with Cecil Taylor in a legendary Carnegie Hall concert. Two years after that he was creating electronic music in the studios of Princeton University and leading a Mummer’s String Band in Philadelphia parades. He has played in raucous drunken bar bands and in pin-drop quiet concert halls with classical ensembles. As a composer First has created everything from finely crafted pop songs to long, severely minimalist drone-works. His performances often find him sitting trance-like without seeming to move a muscle, unless he is playing with his recently re-formed psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactive energy. First has been called “a fascinating artist with a singular technique” in The New York Times, and “a bizarre cross between Hendrix and La Monte Young” in The Village Voice. A single released in 1980, The Zipper, by Notekillers, was cited by Sonic Youth’s Thurston Moore as one of the songs he played for the rest of the band when they were starting out. Moore called it a “mind-blowing instrumental single” in the British rock magazine Mojo and “a big influence” in the Philadelphia Inquirer. The Notekillers have released an archival CD on Ecstatic Peace and recently participated in the All Tomorrow’s Parties’ Nightmare Before Christmas Festival in Great Britain. First received Honorable Mention from Leonardo/ISAST for his article “The Music of the Sphere: An Investigation into Asymptotic Harmonics, Brainwave Entrainment, and the Earth as a Giant Bell”. He has received grants from the Foundation of Contemporary Performance Arts, the National Endowment for the Arts, the Copland Foundation, the Mary Flagler Cary Charitable Trust and the Meet the Composer Commissioning USA program. Upcoming releases include a 3-CD compilation of First’s drone-works, Privacy Issues (1996-2009) on Phill Niblock’s XI label and a new lp by the Notekillers.
http://www.myspace.com/davidfirst
http://www.myspace.com/notekillers
http://www.facebook.com/dvd.1st
Flutist, composer and educator Jane Rigler is known for her innovations in flute performance, techniques and musical vocabulary. She performs widely as a soloist in contemporary music festivals, as well as with ensembles. Rigler’s compositions explore language, social games, painting, poetry and dance and has received numerous awards supporting her work. Together with artist-programmer Zachary Seldess, Jane is developing the Music Cre8tor (patent pending), an interactive, sensor-driven music composition program for young people with disabilities. She is a Japan-US Friendship Commission Fellowship winner for 2009, where she will be working with electronic musicians, dancers and traveling to Buddhist temples during her 6-month residency in Japan. http://www.janerigler.com
Christopher McIntyre leads a multi-faceted career as performer, composer, and curator/producer. The diversity of his activities led Time Out New York to note that “…with every passing week, trombonist-composer Chris McIntyre becomes more central to the new-music experience in New York.” (2/08) He interprets and improvises on trombone and synthesizer in projects including TILT Brass Band and SIXtet, Ne(x)tworks, and 7X7 Trombone Band. He has contributed compositions to Lotet, TILT, Ne(x)tworks, 7X7 (for choreographer Yoshiko Chuma), Flexible Orchestra, and B3+ brass trio. McIntyre is also active as a curator and concert producer. He is currently Artistic Director of the MATA Festival, with independent projects at venues including The Kitchen, Issue Project Room, and The Stone (June 2007). Visit cmcintyre.com for more info.
Reuben Radding is a bassist/improviser/engineer and writer who has performed all over the world for 20 years. His latest CD is Crackleknob w/ Mary Halvorson and Nate Wooley on the Hat Art label. His website is at www.reubenradding.com
Michael Evans is an improvising drummer / percussionist / multi-instrumentalist / composer whose work investigates and embraces the collision of sound and theatrics, combining ordered systems with intuitive choices of sound making using found objects, homemade instruments, and various digital and homemade analog electronics. He has worked with a wide variety of artists nationally and internationally.http://www.michaelevanssounds.com
Lapis Lazuli is a solo instrumental project written, produced, and performed by Kurt Wolf on laptop, guitar, and analog synth. Kurt Wolf is known for his contributions to downtown noise rock acts, Pussy Galore, Boss Hog, Loudspeaker, Emma Peel, Foetus Inc. Kurt Wolf was given the name by his good friends Antony and the Johnsons, hence the brand.
Lapis Lazuli music exists in kind of a parallel universe were soundtrack composers dominate the later part of the 20th century musical landscape. A warped vision of what music from the era may have sounded like minus the utopian hippy hegemony of the late sixties and early seventies.
http://web.mac.com/kwolf13/iWeb/wolfmusic/Welcome.html
http://www.lapislazulimusic.com
http://www.myspace.com/kurtwolflapislazuli
Marc Ribot
Marc Ribot (pronounced REE-bow) was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984 – 1989, of John Lurie’s Lounge Lizards. Between 1979 and 1985, Ribot also worked as a sidemusician with Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others.
Ribot’s recording credits include Tom Waits, Soloman Burke, John Lurie, Elvis Costello, Marianne Faithful, Arto Lindsay, Caetano Veloso, Laurie Anderson, David Sylvian, Susana Baca, McCoy Tyner, T-Bone Burnett, The Jazz Passengers, The Lounge Lizards, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, Cibo Mato, Medeski Martin & Wood, James Carter, Vinicio Caposella (Italy), Auktyon (Russia), Vinicius Cantuaria, Sierra Maestra (Cuba), Alain Bashung (France), Joe Henry, Alan Toussaint, Marisa Monte, Allen Ginsburg, Trey Anastasio, Madeline Peyroux, Patti Scialfa, Sam Phillips, Akiko Yano, The Black Keys, and many others. Ribot frequently collaborates with producer T Bone Burnett, most recently on Alison Krauss and Robert Plant’s grammy award winning “Raising Sand” and regularly works with composer John Zorn.
Ribot’s own recording projects have included the bands Rootless Cosmopolitans (Island Antilles), Shrek (Tzadik), and Los Cubanos Postizos (Atlantic). Marc’s solo recordings include “Marc Ribot Plays The Complete Works of Frantz Casseus” (Les Disques Du Crepuscule), “The Book of Heads” (Tzadik), “Don’t Blame Me” (DIW), described as “a record filled with savory and unlikely amusements” by Village Voice, “Saints” (Atlantic), and most recently “Exercises in Futility” (Tzadik).
Marc has performed on scores such as “Walk The Line (Mangold),” “Everything is Illuminated,” and “The Departed” (Scorcese).” Marc has also recently composed original scores for the PBS documentary “Revolucion: Cinco Miradas,” and the film “Drunkboat,” starring John Malkovich and John Goodman. Past scoring project include Yoshiko Chuma’s “Altogether Different” dance piece, a documentary film by Greg Feldman titled “Joe Schmoe,” a feature film by director Joe Brewster titled “The Killing Zone”, and “In as Much as Life is Borrowed”, a dance piece by famed Belgian choreographer, Wim Vanderkeybus.
Marc’s talents have also been showcased with a full symphony orchestra. Composer Stewart Wallace wrote a guitar concerto with orchestra specifically for Marc. The piece was premiered by the National Symphony Orchestra in Washington DC in July of 2004 and also appeared at The Cabrillo Festival in Santa Cruz, CA in August of 2005.
Marc is currently touring with two bands, the Albert Ayler tribute project “Spiritual Unity” (Pi Recordings), featuring original Ayler bassist Henry Grimes, and Ceramic Dog featuring bassist Shahzad Ismaily an drummer Ches Smith. Ceramic Dog will release their debut album “Party Intellectuals” this May on Pi Recordings in the North America, and Enja in Europe and Japan.
Michael Gira + Wooden Wand
Special Event with Rooftop Films (Stars Like Fleas @ 8:30 & Stay the Same Never Change @ 9:00)
Buy Tickets for both events $20
See information below
Show starts @ 6:00 Doors @ 5:30
Michael Gira (Angels Of Light / Swans)
Michael Gira founded the seminal NYC band Swans in 1982. Quickly infamous for their punishing, brutal and repetitive onslaughts of sound, extreme volume levels, and the self-abusing, abject shouts and growls of Gira’s sloganeering vocals, Swans gradually transformed over 15 years, ultimately venturing into harsh mechanical proto-industrial rock, to sprawling shifts of texture and perspective (see the bucolic atmospheric folk idles and martial stomps of their much heralded Children of God double LP from 1987), to gentle acoustic-based songs, and finally on to their ultimate statement, Soundtracks For The Blind (1997) which somehow incorporated all of these elements at once, across well over 2 hours of music in one album. At this point, Gira called it quits after 15 years of relentless touring and productivity, and disbanded Swans. Since 1999 Gira has released his music under the name Angels Of Light. He writes the songs for Angels Of Light on acoustic guitar and orchestrates them using a shifting cadre of musicians, employing a wide variety of instrumentation such as strings, wind, brass, electric guitars, electronics and choral vocals. The songs are often eccentric and extreme, in keeping with Gira’s love of soundtrack music. Though nominally more traditional than Swans, Angels Of Light is often just as hard hitting through different means. The most recent album by Angels Of Light is We Are Him. Though Angels Of Light recordings are often elaborately orchestrated, Gira has recently chosen to tour exclusively solo, using acoustic guitar and voice. The performances are raw, to the point, and emotionally powerful. When not recording, writing music, or touring, Gira spends his time producing and releasing music through his label Young God Records. He’s been responsible of late for such notable talents as Devendra Banhart, Lisa Germano, Akron/Family, Fire On Fire, and most recently, Larkin Grimm. In early 2009 Young God will release the YGR debut by the acclaimed composer/guitarist James Blackshaw.
TIME OUT NY/ CONCERT PREVIEW (excerpt) 2008, by Jordan Mamone:
” Armed with only an acoustic guitar and a commanding baritone, Michael Gira
could make mincemeat out of the most “extreme” metal and punk bands. His
heavy-handed strumming and clear, virile voice—not to mention his impeccable, neatly pressed appearance—lend ample gravitas to even his prettiest folk ballads. (Lyrics like “When you open your mouth you’re too stupid to scream” will seduce misanthropes who dig Thomas Bernhard novels rather than pixies who worship Joanna Newsom CDs.)…’ It’s heartening to see that Gira, the erstwhile East Village confrontationist, now in his early fifties and living upstate, has reached one more peak in his long, unpredictable career. ”
TIME OUT LONDON / CONCERT PREVIEW 2007, by Sophie Harris
“No-one – but no-one – does menace like Michael Gira. Not Liars, not Black Dice, not Selfish Cunt or indeed any of today’s confrontational young bucks. None of the bands that Gira has influenced, in his thirty-odd (and they are odd) years making music comes close to the
darkness that bubbles so deliciously through his music. But then, Gira’s life story so far is nothing short of extraordinary.
A ‘difficult’ child (born to difficult parents), he ran away from home at 14, ended up at a kibbutz in Israel, selling drugs and his own blood on the streets, in jail, and then working in a copper mine. His father eventually tracked him down through Interpol, and Gira was shipped back to California to go to high school. He dropped out, and by the time he arrived in New York in ‘81, Gira describes himself as ‘boiling over with non-specific rage’.
Enter then, Swans, legendarily the Loudest Band Ever. To this day, rock nerds’ faces light up as they remember the inter-crowd injury/vomiting/deafness that characterised the art rockers’ live shows; Gira would be physically pummelled by the drone, hurling himself at the ground repeatedly, knocking out teeth in the process (it rather puts Richie Manic’s ‘4 Real’ to shame).
But musically, there’s so much more to Gira than these shock-horror stories. Perhaps what is most surprising is that in his years as Angels Of Light, Gira has produced a series of mesmerically beautiful records, often boasting a shimmering delicacy. As a child, before all
the craziness happened, Gira used to listen to Disney and Burle Ives records, and this world of fantasy and fairytale saturates his latest album ‘We Are Him’ (it’s notable too, that Gira and his wife Siobhan Duffy ‘discovered’ Devendra Banhart and produced his first, gnarly
folk records on Gira’s Young God label, now also home to Akron/Family).
A huge, handsome man, Gira now sports immaculate suits, braces, and a Stetson onstage, booming out songs with the assuredness of an old-fashioned preacher. The darkness Gira deals in today is far subtler than those early days – just don’t doubt for a second that you’ll be left breathless.”
WOODEN WAND
In addition to running the Polyamory label with Tovah O’Rourke, James Toth was the leader of New York-based avant-garde/freak folk ensemble Wooden Wand & the Vanishing Voice. Taking the first part of that name as his own — and occasionally billing himself as “Wooden Wand Jehovah” — Toth gathered at one point or another O’Rourke (who also comprised Dead Machines with her husband, Wolf Eyes’ John Olson), Satya Sai, Glucas Crane, Steven the Harvester, and Heidi Diehl. There were others, too — the Vanishing Voice lineup shifted as much as its members’ various aliases. The sounds the group made were fluid, too, incorporating everything from the ’60s mysticism of Donovan and Van Morrison to free jazz, /p>
oise rock, folk raditionals, and the entire Silt Breeze catalog. Wooden Wand & the Vanishing Voice released numerous CD-R and vinyl recordings into the indie folk/experimental underground during the early 2000s; they were also responsible for relatively more conventional releases like 2003’s Xiao (Destijl, later reissued by Troubleman Unlimited), 2004’s Sunset Sleeves (Weird Forest), and Buck Dharma, issued in September 2005 through 5 Rue Christine. That same year Toth released Harem of the Sundrum & the Witness Figg simply as Wooden Wand. The recording’s skeletal folk structures and evocative lyrics garnered quite a bit of positive press, especially in the wake of Devendra Banhart’s success. The band released two albums in 2006, Gipsy Freedom and Second Attention. 2007 saw the release of James and the Quiet, followed in 2009 by Hard Knox, a collection of demo and home recordings under the moniker Wand.
~ Johnny Loftus, All Music Guide
Buy Tickers For Both Events: $20
STAY THE SAME NEVER CHANGE
FREE SANGRIA RECEPTION AFTER FILMS
WATCH THE TRAILER
STAY THE SAME NEVER CHANGE (Laurel Nakadate | New York | 93 min.)
Artist/filmmaker Laurel Nakadate’s weird and delightful first feature film, Stay the Same Never Change, is a raw, audacious effort that burns with originality and honesty. Starring amateur actors in Kansas City, and filmed in their real homes, Stay the Same Never Change is a film that is as much visual fact as narrative fiction about American heartland folk and the lives they live while wanting more. A nonlinear yarn that skips among various vignettes depicting the solitary existence of distantly connected young women, Nakadate’s film exudes a warm sense of humor as it peers into the loneliness of the girls and their desperate attempts to find affection. From a pining tween who turns to her sewing machine for creature comforts to a young woman obsessed with polar bears and Oprah, Nakadate’s characters reveal quiet lives brimming with anguish and desire, but also a fascinating ingenuity. Awkward moments of absurdity and small ruptures in their lives offer opportunities for these girls to create a new world or stretch for what is just beyond their reach. You do not have to hail from the heartland to connect with the infectious appeal of Stay the Same Never Change. If you’ve ever been a tween and pined for life and love, you will cringe with powerful personal recognition as you witness the seemingly psychotic lives of these girls.
Venue: On the roof of the Old American Can Factory
Address: 232 3RD St. @ 3rd Ave. (Gowanus/ Park Slope, Brooklyn)
Directions: F/G to Carroll St. or M/R to Union Ave.
Rain: In the event of rain the show will be held indoors at the same location
8:00PM: Doors open
8:30PM: Sound Fix presents music by Stars Like Fleas
9:00PM: Film
11:00PM–12:30AM: Reception in courtyard including free sangria courtesy of Carlo Rossi
Share – all night A/V openjam [@ the Munch Room]
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 – Tonight’s Share is happening in the Munch Room located in the entrance level of The (OA) Can Factory
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
http://www.share.dj/share/event_info.php?eventID=579
direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow
SHARE is always 100% FREE!! (no admission!)
Show up early!!! and stay late!!
The Conference of the Guitars (works by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons)
“THE CONFERENCE OF THE GUITARS”
Works for multiple electric guitars by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons.
Performed by Dan Joseph, Marco Cappelli, and Elliott Sharp with DITHER:
Josh Lopes; James Moore; David Linaburg; and Taylor Levine.
An evening of contemporary music for multiple electric guitars. Conceived and curated by composer Dan Joseph, the program explores the growing repertoire of multiple electric guitar compositions with works by a diverse group of composers spanning three generations. Highlighted by a rare performance of the late James Tenney’s brilliant Septet for Six Electric Guitars and Bass, the program will also include a new interpretation of Elliott Sharp’s modular open-form work SyndaKit, the second New York performance of Joseph’s post-punk inspired quintet Particle Accelerator, Marco Cappelli’s conduction-based work Behind the Mirror, and recent quartets by composers Paula Matthusenand Lisa Coons. Composer/performers Joseph, Cappelli and Sharp will be joined in performance by the DITHER electric guitar quartet comprised of Josh Lopes, James Moore, David Linaburg and Taylor Levine.
More information about the artists:
DITHER: http://www.ditherquartet.com
Dan Joseph: http://www.danjoseph.org
Marco Cappelli: http://www.marcocappelli.com
Elliott Sharp: http://www.panix.com/~esharp
Paula Matthusen: http://www.paulamatthusen.com
Lisa Coons: http://www.myspace.com/lisarcoons
The Conference of the Guitars (works by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons)
“The Conference of the Guitars”
Works for multiple electric guitars by James Tenney, Dan Joseph, Elliott Sharp, Marco Cappelli, Paula Matthusen and Lisa Coons.
Performed by Dan Joseph, Marco Cappelli, and Elliott Sharp with Dither: Josh Lopes; James Moore; David Linaburg; and Taylor Levine.
Septet for Six Electric Guitars and Bass – James Tenney
Particle Accelerator – Dan Joseph
SyndaKit – Elliott Sharp
tba – Marco Cappelli
but because without this – Paula Matthusen
X-Sections (excerpt)– Lisa Coons
James Blackshaw + Koen Holtkamp
Biography:
Initially inspired by the guitarists of the 60’s Takoma label to teach himself fingerpicking, James Blackshaw writes long-form pieces primarily for solo 12-string guitar that are heavily influenced by minimalist composers and European classical music and which use drones, overtones and repeating patterns alongside a strong inclination for melody to create instrumental music that is both intelligent, hypnotic and emotionally charged.
Born in 1981, Blackshaw has so far released six solo studio albums, one live recording and has also appeared on numerous compilations in the last five years. “O True Believers” (2006, Important Records/Bo’weavil Recordings), “The Cloud of Unknowing” (2007, Tompkins Square) and “Litany of Echoes” (2008, Tompkins Square) have received huge critical acclaim from printed and online publications including Pitchfork, Billboard, The Wire, The Observer, The Times, Uncut, The New York Times, Rolling Stone Magazine, Magnet and Acoustic Guitar Magazine. “The Cloud of Unknowing” was also listed as one of the 50 best albums of 2007 by The Wire (no. 24) and Pitchfork (no. 34).
He has toured extensively in Europe, US and Japan and currently resides in Hastings, England.
Selected Press:
“… A veritable solo symphony that’s as schooled in uncommon beauty as it is in complex 20th century composition… Blackshaw writes high drama into instrumental music with subtlety and charm, speaking on sentiments and stories without requiring a single lyric… Blackshaw seems fully settled, engaging his pieces and ideas with the unflinching belief of Tony Conrad in 1964 or Steve Reich in 1965… The Cloud of Unknowing carves out a new, peerless space altogether– one that puts Blackshaw at the top of his class.” – Grayson Currin, Pitchforkmedia.com
“In the tradition of “American Primitive” guitarists within which he’s often grouped, James Blackshaw cuts rather an odd figure. Neither American, nor primitive, nor as Litany of Echoes begins, even playing the guitar, the English musician is all about upending the expectations we might have from his instrument. Whereas kindred spirits like John Fahey and Robbie Basho looked East for their Raga-inspired guitar diversions, Blackshaw instead sounds more East-Coast: his long-distance guitar tunes recalling NY minimalism, or Sonic Youth, as arranged for chamber orchestra. Mesmerising stuff, and proof that less is often more.” – John Robinson, Uncut Magazine
“There’s an indecent ease to James Blackshaw’s guitar playing. His fingerpicking mantras are as melodic as a music box, gliding through dizzying tempos like clockwork… Such is the silky control he exherts over his instrument, Blackshaw often sounds more like a court harpist than a backwoods strummer.” – Derek Walmsey, The Wire
“The hypnotic arpeggios at the heart of James Blackshaw’s acoustic guitar playing reflect strong influences from outside the precincts of folk music: minimalist composers like Steve Reich and Terry Riley, and some of their precursors, like Erik Satie. Mr. Blackshaw, a British autodidact still in his mid-20s, fingerpicks his 12-string Guild with an immersive focus befitting such heady allusions. At its best, his sumptuous new album, Litany of Echoes, conveys a stark and ancient feeling, like something handed down through the ages….” – Nate Chinen, The New York Times
“Twenty-seven-year-old Brit James Blackshaw has lately emerged as a major force in the world of instrumental guitar, his epic, austere compositions and unpretentious 12-string technique perching him somewhere between John Fahey and Robbie Basho… Downright beautiful stuff.” – Jonathon Cohen, Billboard Magazine
“The most gem-like overlooked album this year is neither hairy nor scary; rubber-necking into the great unknown isn’t high in its priorities. But it is preternaturally beautiful. O True Believers by 24-year-old guitarist James Blackshaw features 10 fingers and 12 strings and, frankly, urinates all over whatever will be the Mercury Prize’s token folk nominee next year. Blackshaw is British, but virtually no one has heard of him outside the US folk underground; he deserves ticker-tape parades. His style derives from the Takoma school founded by John Fahey, but that is all detail. Blackshaw’s got it all: skills to hyperventilate for, and instinctual loveliness in spades.” – Kitty Empire, The Observer
“One of the best and most original instrumentalists in the new, acoustic renaissance” – David Fricke, Rolling Stone Magazine
Jonathan Kane’s February
February
Jonathan Kane is a Downtown NYC legend — as co-founder of the no-wave behemoth Swans, and the rhythmic thunder behind the massed-guitar armies of Rhys Chatham and the rock excursions of La Monte Young and one of the hardest-hitting drummers on the planet.
“Wedding the brutal severity of Delta country boogie and Seventies German pulse rock – all dead-ahead motion and mounting detail…Epic.”
Rolling Stone
“Somewhere between Sonic Youth and Steve Reich is the drummer Jonathan Kane. Interested in the crossroads of new-music iconoclasm and experimental rock, he has a drummers sense of steady dynamic development and an unapologetic love of noise. Virtuosic”
New York Times
“Intensely propulsive motorik blues, its muscularity and greased relentlessness is never less than exhilarating”
Uncut
Crackleknob (Mary Halvorson/Reuben Radding/Nate Wooley)
Crackleknob:
Mary Halvorson-guitar
Reuben Radding-bass
Nate Wooley-trumpet
The mad, scrambling lifestyle of the improvising musician tends to produce fleeting musical relationships, ad hoc combinations which merely meet expectations, and then are seldom repeated. For four years, Reuben Radding, Nate Wooley, and Mary Halvorson, have cultivated a musical and personal friendship that goes way beyond this business-as-usual approach to free music-making. Their sound is a collision of angular melodies, noise, minimalist textures, and jazz-based interplay which mysteriously becomes much more than a sum of these parts due to the group’s willingness to dig deep below the surface. This performance at Issue Project Room celebrates their new, self-titled release on HatHut Records.
Eugene Chadbourne
Born: January 4, 1954Eugene Chadbourne (January 4, 1951 in Mount Vernon, New York) is a USA composer, improvisor, guitarist and banjoist. He has also been a reviewer for the All Music Guide (AMG), and a contributor to Maximum RocknRoll.
Chadbourne started out playing rock and roll guitar, but quickly grew bored with the form’s conventions. He started studying other genres, including blues, country, bluegrass, free jazz, and noise – eventually synthesizing all those heterogeneous influences into a unique style of his own. He was also influenced early on by the experimental stylings of Captain Beefheart and the Mothers of Invention.
He is also known as the inventor of the electric rake. This instrument (some would hesitate to call it “musical”) is made by attaching a microphone or an electric guitar pickup to an ordinary lawn rake.
Chadbourne has worked with numerous artists including John Zorn, Fred Frith, Derek Bailey, Han Bennink, Carla Bley Band, Paul Lovens, Camper Van Beethoven, Jello Biafra, Aki Takase, Zu,and Jimmy Carl Black.
While in Canada in the 1970s, he produced and hosted a radio program on Radio Radio 104.5 Cable FM in Calgary, Alberta. His show was notorious for obscure and remarkable music. Radio Radio is now the last quasi-pirate station in Canada.
Chadbourne also fronted Shockabilly (1982-1985) with Mark Kramer (bass/organ) and David Licht (drums), releasing four eclectic albums.
Chadbourne currently resides in Greensboro, North Carolina.
Mark Stewart
Mark Stewart’s Sublime & Ridiculous Noises for Traditional & non-Traditional Soundmakers (& you
I have a Johnny Appleseed thing about music. The word “Musician” is too often used to discourage people from participating in their birthright as Soundmakers. I want to reconnect folks to that birthright. So my instruments are made from humble materials, are easy to make & play, make engaging sounds that invite, encourage & reward honest effort & do not inherit a “system of order”. Consequently, people tend to get-right-to-it in a guileless fashion that is comparable to fingerpainting in both it’s lack of selfconciousness &, often, it’s satisfactory result. These results suggest the following:
See what an instrument does– See what you do upon it—
Do both & “music” tends to emerge.
This recipe calls for inquiry & observation in equal portions. That which is delightful to the Soundmaker is at the heart of it all.
Tonight you will hear some of what these instruments do. And some of what we
(you & I) do upon them.
Chris McIntyre + Arthur Kampela
CJM Sounds
Chris McIntyre – composer
Program:
morphi studies for solo trombone and sound
McIntyre – trombone & laptop
quartet music: parts 1,2 and 3 for brass trio and Nord synth
Josh Frank – trumpet, Mike Atkinson – French horn, Louis Bremer – bass trombone, McIntyre – Nord Lead 2
Info:
CJM Sounds features a set of compositions created by composer/performer Chris McIntyre. morphi studies is an on-going project that situates the trombone’s sound and idioms within various types of electronically produced contexts. It is a collection of short works created as both a solo vehicle for the composer and as a way to explore the capabilities of MAX/MSP and conventional “tape piece” techniques. quartet music for trumpet, horn, bass trombone, and Nord Lead 2 was first inspired by a commission from the organization Composer’s Concordance and the brass trio B3+. Part 1, since revised, was premiered in March 2008. Tonight’s performance is the premiere of the complete three-movement work. Its aesthetic lies somewhere between historical Vareseian “organized sound” and 21st century stylistic inclusivity. quartet music strives to be playerly ensemble music while proffering a distinctive vision of 21st century chamber music.
Bio:
Christopher McIntyre leads a multi-faceted career in the contemporary arts as a solo and ensemble performer, composer, and curator/producer. The diversity of his activities led Time Out New York to note that “…with every passing week, trombonist-composer Chris McIntyre becomes more central to the new-music experience in New York.” (Feb. ‘08) He performs on trombone and synthesizer in a variety of settings that often incorporate improvisation within notation. Current projects include leading TILT Brass (Creative Brass Band and SIXtet) and 7X7 Trombone Band, and collaborative efforts such as Ne(x)tworks. In his composing, McIntyre has experimented with conceptual elements such as spatialization, recontextualized notated material, and improvisative strategy, along with ideas of scale, symmetrical pitch constructions, and self-similarity. He has contributed work to the repertoire of TILT, Ne(x)tworks, 7X7 Trombone Band (for choreographer Yoshiko Chuma), Flexible Orchestra, and B3+ brass trio. Beyond performing and creating music, McIntyre is active as a curator and concert producer. He is currently Artistic Director of the MATA Festival, and frequently presents independent projects at venues including The Kitchen, Issue Project Room, and The Stone (June 2007). Upcoming performances of his works include the premiere the piano quintet work Raster by Ne(x)tworks on April 1st at Le Poisson Rouge. Visit cmcintyre.com for more info.
ARTHUR KAMPELA
“Navigating between Avant-Bossas-Novas, Atonal Sambas, and complex new music pieces…”
Kampela’s “chamber music band”:
Arthur Kampela on guitar, viola, vocal(s) and electronics
Margaret Lancaster on flute(s),
Stephanie Griffing viola,
Joanne Lin, Cello,
Danny Barrett, cello,
Jose Moura electric bass
Pradeep Ratanyake, Sitar
Arthur Kampela is an internationally acclaimed composer and guitar player, who has recently been commissioned by the NEW YORK PHILHARMONIC for a composition, scheduled to be conducted by Magnus Lindberg in December 2009. In 2007, his “Elastics II” (for flutes, guitar, and electro-acoustic sounds) and “Percussion Study V” (for viola and-acoustic sounds) were premiered at Musée d’Art Moderne et Contemporain de Strasbourg, by the Linea Ensemble; and in 2006, his “Antropofagia” (for electric guitar and large chamber ensemble) was premiered at the ISCM World Music Days 2006 Festival, by the Kammerensemble Neue Musik Berlin with Wiek Hijmans on electric guitar.
Today in New York, Kampela is also regarded as a Dionysian performer: in his review of Kampela’s performance at the 92nd Street Y, Tim Brookes stated, “[Kampela] played the most avant-garde music of the show,using tapping effects, using a spoon, playing with the strings bent off the side of the fingerboard: one of the pieces ended with a noise that sounded like a Geiger counter…he never lost a sense of joy, of surprise or that infectious rhythm. It was clearly the work of a madman…a Brazilian madman.”
Pianist Jenny Lin just recorded his piano ‘tour-de-force’ “Nosturnos” opening her CD “The Eleventh Finger” released by by Koch label. Kampela’s compositions have been performed all over the world. Locally, at Weill Hall, Merkin Concert Hall, Miller Theater, Mannes College, 92Y, Americas Society, at Satalla, The Cutting Room, etc. He has toured with his band playing in places as diverse as Mexico City, São Paulo, Strasbourg and most recently the Outreach Festival, in Schwaz, Austria.
In the ’80s, Kampela was celebrated in Rio de Janeiro for compositions that fused popular Brazilian styles (Bossa Nova, Samba, Tropicália) with Free Jazz and contemporary textural techniques. In Brazil, he was likened to Frank Zappa for his virtuosic musicianship and madcap performances, such as playing lead guitar while dressed as a hermaphrodite–his right side in drag, left in a suit–to portray two characters–one singing falsetto–in a short opera about a couple negotiating the perils of lovemaking in a Volkswagen.
Kampela holds a Doctorate degree (D.M.A.) from Columbia University, having been taught by such composers as Mario Davidovsky, at Columbia, and abroad,, by the British Brian Ferneyhough. A recent graduate from CUNY, partly wrote her dissertation (Rhythm in the Music of Brian Ferneyhough, Michael Finissy, and Arthur Kampela: a Guide for Performers) on Kampela’s music and a rhythmic system he developed: “micrometric modulation” based on commutative and associative properties that coordinate the unfolding of complex ratios and sub-ratios, expanding Elliott Carter’s work on rhythm. In some compositions, Kampela employs ergonomic and motoric approaches to subvert traditional playing techniques. For example, in “Exoskeleton” for solo viola, a guitarist plays the viola, using guitar-playing techniques.
Kampela’s links:
http://www.youtube.com/results?search_type=&search_query=arthur+kampela+videos&aq=f (VIDEOS YOUTUBE)
http://www.myspace.com/arthurkampela (MUSIC MYSPACE)
http://www.kampela.com (MY WEB SITE)
Ned Rothenberg + Paolo Angeli
Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Sync’s Harbinger, Intervals, a double-cd of solo work,Live at Roulette with Evan Parker and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Inner Diaspora and Ghost Stories, on Tzadik and Power Lines on New World, along with The Fell Clutch on Animul. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot and Yuji Takahashi.
paolo angeli
Paolo Angeli plays the Sardinian prepared-guitar: an orchestra-instrument with 18 strings, an hybrid between guitar, baritone, violoncello and drums, gifted with hammers, pedals, some propellers at variable speed. With this singular instrument, constructed by the craftsman Francesco Concas, Paolo elaborates, improvises and composes unclassifiable music, suspended between free jazz, folk noise and minimal pop.
He has collaborated with Fred Frith, Otomo Yoshihide, Hamid Drake and Pat Metheny.
“Evan Parker invited Paolo and me to play his Freezone project at the Appleby Festival in England. The result is a beautiful cd, Freezone 2007 on Parker’s PSI label which will be available at the concert. I’m very happy to have the chance to play again with this marvelous musician” – nr
