Turntablist Philip Jeck performs live accompanied by Ted Riederer on electric guitar and vinyl lathe. Riederer records and cuts the performance straight to vinyl as it happens, handing these records instantly to Jeck. The process repeats continuously as the music evolves. Ken Montgomery will perform “8-Track Magic”.
Philip Jeck works with old records and record players salvaged from junk shops turning them to his own purposes. Playing them as musical instruments, he creates an intensely personal language that evolves with each added part of a record. Philip Jeck makes geniunely moving and transfixing music, where we hear the art not the gimmick. Philip Jeck studied visual art at Dartington College of Arts. He started working with record players and electronics in the early ’80′s and has made soundtracks and toured with many dance and theatre companies as well as his solo concert work. Perhaps his best kown work is “Vinyl Requiem” (with Lol Sargent): a performance for 180 ’50′s/’60′s record players won Time Out Performance Award for 1993. He has also over the last few years returned to visual art making installations using from 6 to 80 record players including “Off The Record” for Sonic Boom at The Hayward Gallery, London [2000]. In 2010 Philip won The Paul Hamlyn Foundation Composers Award.
One-time refugee from punk and sometime band member, Ted Riederer has armed himself with photography equipment, painting supplies, electric guitars, amplifiers, old LPs, record players, drum kits, hard disk recorders, a vinyl record lathe, and long stemmed roses as he’s ambled artistically from the Americas to the Antipodes. His work has been shown nationally and internationally including exhibitions at PS1, Prospect 1.5, Goff and Rosenthal Berlin, Nicole Klagsbrun Gallery, Jack Hanley Gallery (San Francisco), Marianne Boesky Gallery, Context Gallery (Derry, Ireland), David Winton Bell Gallery (Brown University), The University of South Florida Contemporary Art Museum, the Liverpool Biennial, and the Dhaka Arts Center, Bangladesh. His Never Records project has traveled from New York, to Liverpool, the Derry, and London which was sponsored by the Tate Modern. Never Records will travel to New Orleans this October.
For 30 years Ken Montgomery has used sound as the primary source material in his artwork and performances. Montgomery finds novel ways to work with sound and the experience of listening. He has created an audio-only CD-ROM (Inner Eye / Outer Ear), a record label for experimental music (Generations Unlimited), the first sound art gallery in NYC (Generator), and a Ministry devoted to conducting one-on-one listening rituals (The Ministry of Lamination). Since 1985 he has performed multi- channel sound concerts in intimate settings, often in total darkness. Montgomery used analog synthesizers to create soundtracks for non- existent films beginning in 1979. In the early 80s Montgomery produced and traded sound art cassettes through what became known as the International Cassette Network. He has presented his sound work in Europe, Canada and the U.S. In New York his sound work has been heard at MOMA,The Whitney Museum, The Stone, P.S. 1, The Kitchen, Harvestworks, White Columns, Rotunda Gallery, Issue Project Room, Pierogi 2000, Experimental Intermedia, P.S. 122, Roulette, Lotus Music & Dance, Gargoyle Mechanique, and The Pyramid Club. Montgomery received a Sound ArtFellowship from Media Alliance and The Jerome Foundation in 2000, and in 2003 he was awarded NYFA Fellowship in Computer Arts. He was awarded Artist Residences at Harvestworks in 1991 and at Spritzenhaus (Hamburg, Germany)in 1999. In 2008 Montgomery was invited to each Sound Art and New Media at the University of Cincinnati – College of DAAP.
