Duane Pitre + Tristan Perich
ISSUE Project Room’s Artist In Residence: Duane Pitre *
Admission: $10
Duane Pitre (originally from New Orleans) is a Brooklyn-based, avant-garde composer and performer. His current works explore both chaos and discipline—and the relationship that exists between the two. Pitre primarily works with long-tones and utilizes alternate tuning schemes that focus on microtonally, enabling him to explore unaccustomed harmonic intervallic relationships.
Composing primarily for acoustic and electro-acoustic instrumentation, Pitre has scored works for large String/Wind Ensembles, String Quintet, his own Bowed Harmonic-Guitar Ensemble, solo performers, among other instrument configurations. In 2008 Pitre started exploring simple electronic sounds and their role in a dualistic relationship with acoustic instruments, as well as utilizing them in his recent “tape” pieces.
Pitre has releases on Important Records, Trome Records, NNA, and Quiet Design, among others. He has appeared on compilations with artists such as Keith Rowe (AMM), Sir Richard Bishop, Tetuzi Akiyama, Jandek, Sebastien Roux, and Thierry Muller/Ilitch. He recently curated and contributed a track to an upcoming Just Intonation compilation (Important Records), alongside Pauline Oliveros, Ellen Fullman, Michael Harrison, Greg Davis, Charles Curtis, and others.
Pitre has presented his works in NYC at such spaces as Roulette, The Stone, Phillips de Pury & Co., St. Marks Church, The Knitting Factory, and ISSUE Project Room (where he will be Artist in Resident for spring 2009). He has also performed in other cities across the U.S., as well as in Europe at Les Voûtes (Paris), St. Giles-in-the-Fields Church (London), and in Bristol, U.K.
In 2009, Pitre is planning more performances (national and abroad), a variety of releases, recording sessions, new works, and further exploration of electronic sound material.
Tristan Perich
In all of his creative activities, Perich is inspired by the aesthetics of math and physics, and works with simple forms and complex systems. The challenge of elegance provokes his compositions for solo instruments, small ensemble and orchestra. As a visual artist, he works primarily with machines to create pen-on-paper drawings that explore the limits of traditional drawing through randomness and order.
In 2004 he began work on 1-Bit Music, combining his music with primitive, hand-programmed electronics that investigate the foundations of digital sound. The Village Voice, BOMB Magazine, BPM Magazine, Res Magazine, Wired News, Cool Hunting and Spin Magazine covered the release, which has also been featured on television. Surface Magazine called the boxes “profound throwbacks to the traditional album, a response to the intangibility of iTunes and mp3s in the form hand-held artwork.”
Perich’s compositions have been performed by ensembles including Bang on a Can (2008 People’s Commissioning Fund),counter)induction, Calder Quartet, New York Miniaturist Ensemble, Due East, Y Trio and Ensemble Pamplemousse at venues including the Whitney Museum, P.S.1 and Mass MoCA. His recent activities include electroacoustic pieces for 1-Bit Musicwith instrumental accompaniment. His experimental electronic music group, the Loud Objects, has performed in Germany, Japan, Italy (Screen Music 2), Norway (Piksel), England (Evolution) and the USA (including at the NIME festival). He has spoken twice at Dorkbot. Perich studied math, music and computer science at Columbia University after attending Philips Academy, Andover. More recently, he studied art, music and electronics at the Interactive Telecommunications Program at Tisch School of the Arts, NYU.
Duane Pitre with special guest Tony Conrad
ISSUE Project Room’s Artist In Residence: Duane Pitre *
Admission: $10
Duane Pitre (originally from New Orleans) is a Brooklyn-based, avant-garde composer and performer. His current works explore both chaos and discipline—and the relationship that exists between the two. Pitre primarily works with long-tones and utilizes alternate tuning schemes that focus on microtonally, enabling him to explore unaccustomed harmonic intervallic relationships.
Composing primarily for acoustic and electro-acoustic instrumentation, Pitre has scored works for large String/Wind Ensembles, String Quintet, his own Bowed Harmonic-Guitar Ensemble, solo performers, among other instrument configurations. In 2008 Pitre started exploring simple electronic sounds and their role in a dualistic relationship with acoustic instruments, as well as utilizing them in his recent “tape” pieces.
Pitre has releases on Important Records, Trome Records, NNA, and Quiet Design, among others. He has appeared on compilations with artists such as Keith Rowe (AMM), Sir Richard Bishop, Tetuzi Akiyama, Jandek, Sebastien Roux, and Thierry Muller/Ilitch. He recently curated and contributed a track to an upcoming Just Intonation compilation (Important Records), alongside Pauline Oliveros, Ellen Fullman, Michael Harrison, Greg Davis, Charles Curtis, and others.
Pitre has presented his works in NYC at such spaces as Roulette, The Stone, Phillips de Pury & Co., St. Marks Church, The Knitting Factory, and ISSUE Project Room (where he will be Artist in Resident for spring 2009). He has also performed in other cities across the U.S., as well as in Europe at Les Voûtes (Paris), St. Giles-in-the-Fields Church (London), and in Bristol, U.K.
In 2009, Pitre is planning more performances (national and abroad), a variety of releases, recording sessions, new works, and further exploration of electronic sound material.
Tony Conrad (b. 1940) teaches on the media study faculty of SUNY at Buffalo. Over the last twenty years he has been especially active in video. His work with music composition and performance started while he was a mathematics student, after which he was associated with the founding of “minimal” music and “underground” film. His movie The Flicker is one of the key early works of the “structural” film movement. His art videotapes are widely seen, and he has produced more than 250 programs for public access cable in Buffalo. Conrad performs his recent music regularly at festivals, clubs and new music venues in the US and Europe.
“Tony Conrad is a pioneer, as seminal in his way to American music as Johnny Cash or Captain Beefheart or Ornette Coleman, one of those really savvy Old Guys whom all the kids want to emulate because their ideas, their style are electric and new and somehow indivisible.” - Steve Dollar
*ISSUE Project Room’s Artist In Residence is made possible through the generous support of the Jerome Foundation
Stephan Moore
CD Release Party:
Stephan Moore’s “To Build A Field”
Sunday, April 12, 2009
With performances by Evidence, video artist RoseRose, and a special guest set!
Stephan Moore’s new CD, “To Bulid A Field” has beed released on Pauline Oliveros’s Deep Listening Catalog. The CD collects six works Moore composed for choreographers, documenting his contributions to music for modern dance from 2002 to 2008. Copies of the CD will be available at the event for a reduced price.
To celebrate its release, Moore will be joined by two longtime collaborators: Scott Smallwood (the other half of the duo Evidence) and video artist RoseRose. They will perform a set of improvised pieces, including work from their newest project, “Losperus”, that will make use of ISSUE’s 15-channel Hemisphere speaker system. A set by special guest performers will close the evening.
Stephan Moore is a composer, audio artist, and sound designer in New York City. He has graduated from from Rensselaer Polytechnic Institute, Western Michigan University, and Interlochen Arts Academy. In 2006 and 2007, he co-curated the month-long Points in a Circle festival at Issue Project Room in Brooklyn. 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. Recent performances and installation artworks make use of a large multi-channel array 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 courses in sound art and electronic music at Maryland Institute College of Art, Peabody Conservatory, Massachusetts College of Art, Rensselaer Polytechnic Institute, and Simon’s Rock College of Bard. He is currently the Sound Engineer and Music Coordinator of the Merce Cunningham Dance Company.
John Jesurun
Hal Willner with Sean Lennon, Steve Buscemi, Richard Hell, Yuka Honda, Chloe Webb and Special Guests
BEGATS -
Readings of the work of William S. Burroughs, Marquis DeSade & Edgar Allan Poe
with Steve Buscemi, Richard Hell, Chloe Webb, Tom Davis, & special guests
and music by Trevor Dunn, Yuka Honda, Sean Lennon, Doug Weiselman & Hal Willner
curated by Hal Willner
Hal Willner is among the most eclectic and original producers in contemporary music, helming a series of wildly ambitious concept albums and live shows which tapped the talents of artists running the gamut from pop to jazz to the avant-garde. Growing up in the sixties and seventies, he turned childhood obsessions of TV variety shows, sixties FM, comedy albums, and any music that his classmates hated into an inimitable career. He first earned notice in 1981 with Amarcord Nino Rota, a tribute to the legendary composer best known for his collaborations with filmmaker Federico Fellini. In addition to contributions from pop icon Debbie Harry and jazz piano great Jaki Byard, the collection also featured appearances by then-unknowns Wynton Marsalis and Bill Frisell. That same year, Willner signed on as the music supervisor for the long-running NBC sketch-comedy series Saturday Night Live, a position he still holds.
That’s the Way I Feel Now: A Tribute to Thelonious Monk, which included interpretations by Dr. John, Joe Jackson, and John Zorn among others, came out in 1984, and a year later Willner produced Lost in the Stars: The Music of Kurt Weill, featuring Sting, Tom Waits, and Lou Reed. After turning to film with work on a pair of 1987 projects, Heaven and Candy Mountain, a year later Willner earned considerable notice for Stay Awake, a tribute to the classic music of Walt Disney’s animated films which featured Ringo Starr, Sun Ra, Waits again, Sin´ead O’Connor, and other diverse luminaries. Animated music remained one of Willner’s preoccupations in the years to follow, and in 1990 he assembled The Carl Stalling Project, a collection of vintage cartoon scores from the legendary Warner Bros. studio composer. (A sequel appeared in 1995.)
In 1989, Willner began a stint as producer on the innovative but short-lived syndicated television series Michelob Presents, Night Music. In 1992 his albumWeird Nightmare: Meditations on Mingus, another all-star tribute, featured Elvis Costello, Keith Richards, and Henry Rollins. A year later, he collaborated with filmmaker Robert Altman on the acclaimed Short Cuts, a working relationship which extended into 1996′s Kansas City and its accompanying Robert Altman’s Jazz ’34. He has worked as music supervisor on numerous other films, includingFinding Forrester and the Will Farrell hit Talladega Nights.
After wrapping up 1998′s Closed on Account of Rabies: Poems and Tales of Edgar Allan Poe (spotlighting performances by Iggy Pop, Ken Nordine, and Jeff Buckley), Willner signed to Howie B.’s Pussyfoot label to release his proper solo debut, Whoops, I’m an Indian! More recently Willner collaborated with Robert Wilson on the theater piece White Town in Copenhagen, produced the sound track to Stormy Weather, a biopic about Harold Arlen, featuring among others Jimmy Scot, Shannon McNalley, Debbie Harry, Rufus Wainwright, Eric Mingus and Sandra Bernhardt, and has dreamed up and/or presided over a host of unique multi-artist live events. These include The Harry Smith Project (at Royal Albert Hall, London and Royce Hall, Los Angeles); Closed on Account of Rabiesand Never Bet the Devil Your Head, two Halloween evenings of Edgar Allan Poe (Royce Hall); The Doc Pomus Project (St. Mark’s Church, New York); Shock & Awe: The Songs of Randy Newman (Royce Hall); Let’s Eat! Feasting on the Firesign Theater (Royce Hall); the Rainforest Benefit (Carnegie Hall); Dream Comfort Memory Despair: An Evening of Songs by Neil Young (Celebrate Brooklyn Festival); Perfect Partners: Frederico Fellini and Nino Rota (the Barbican, London); and Came So Far for Beauty: An Evening of Leonard Cohen Songs (Celebrate Brooklyn festival 2003, the Brighton Dome for the Brighton Festival 2004, the Sydney Opera House for the Sydney Festival 2005; the Point for the Dublin International Theatre Festival 2006). Recent albums produced by Willner include Bill Frisell’s Unspeakable, which won a Best Jazz Album Grammy in 2005, Leonard Cohen: I’m Your Man the Motion Picture Soundtrack, which captures performances for the Brighton and Sydney productions of Came So Far for Beauty, and Rogue’s Gallery: Pirate Ballads, Sea Songs & Chanteys, which includes contributions from Bono, Sting, Nick Cave, Bryan Ferry, Lou Reed, Lucinda Williams, Loudon Wainwright III, Richard Thompson, Gavin Friday, Van Dyke Parks, Andrea Corr and Rufus Wainwright among others.
An Afternoon with Aki Onda
An Afternoon with Aki Onda - solo performance and talk
Aki Onda performs cassette music, followed by a discussion about his sound diary and relationship between music and memory moderated by Alan Licht.
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.
Aki Onda is a 2008 Artists’ Fellowship recipient of the New York Foundation for the Arts (NYFA). This presentation is co-sponsored by Artists & Audiences Exchange, a public program of NYFA.
This presentation is co-organized with Paris London West Nile.
Admission: free (donations welcome)
bell denmark (Jolie Holland) & Shahzad Ismaily with Ryan Sawyer, Sam Amidon & Fred Lyenn Jacques (Evan Lurie Cancelled)
Jolie Holland with Shahzad Ismaily and Ryan Sawyer (Tall Firs, Stars like Fleas)
JOLIE HOLLAND Conveys motion and arrival with her fourth album, the Living and the Dead
‘the Living & the Dead’ is a work between worlds, of moving on and finding something new, of missed chances, and promises on distant horizons. From the past (the haunting simplicity of “Love Henry,”which Bob Dylan tells us pre-dates the Bible) to the future (the stunning emotional complexity of her song,”The Future”), theTexas-bred singer-songwriter navigates a new rock approach that is built upon the folk, blues and jazz spectors that populated her three acclaimed previous albums.
Holland composed these songs in her old home town of San Francisco, as well as on the road across North America and Europe. A few were born during a writing retreat in New Zealand. Arising out of her life stories, and from the rich estuaries of the mysterious tales of other adventurers, her songs are grounded by true experience.
‘the Living and the Dead’ is an exhilarating ride with a higher voltage than the previous albums, music that had already left fans and critics at a loss to describe her singular vision as performer and writer. Holland worked with co-producer Shahzad Ismaily (Bonnie ‘Prince’ Billy, Two Foot Yard, Marc Ribot’s Ceramic Dog) in sessions both in Brooklyn, New York and Portland, Oregon. With contributions from guitar maestros Marc Ribot (who played with Tom Waits and Elvis Costello) and M. Ward (who also produced one song and helped shape the sound of others) and drummer Rachel Blumberg (M. Ward, Bright Eyes, the Decemberists), Holland has created an album that serves as a career statement. Holland’s voice is the same beautiful instrument, which has never before sounded so confident, relaxed or emotive.
With 2003′s Catalpa (essentially home-made demos released due to popular interest and then nominated for the prestigious Short List Music Prize by Tom Waits), 2004′s Escondida and 2006′s Springtime Can Kill You (which Rolling Stone said “feels better than a good cry”), she evolved a sound that existed in its own time, as if it could have been recorded anywhere between God knows when and yesterday. the Living & the Dead shares that same quality, but its timelessness is rooted in the present. Take Holland’s description of the song “Your Big Hands”:
“It’s just terribly naïve-it’s the kind of song Daniel Johnston made me feel brave enough to write,” she says. “It starts out with these beautiful dirty guitar chords from M Ward, almost like a Rolling Stones song… the overall feel of this song owes a debt to Waits’ version of rock ala ‘Downtown Train’… then, in the middle of the song, all that has disappeared… you feel as though you’re wandering around in the woods-there are owls and shooting stars…but then the song burns out with a mess of distorted guitars.”
In many ways, this album is a chronicle of her own journey. The driven “Corrido Por Buddy” (about a friend who sunk so far into addiction that Holland didn’t recognize him on the street) is both character study and self-examination/recrimination – a sense magnified for the singer by not just one, but two instances of eerily identical poltergeist phenomena in the studios while the band was recording “… Buddy.” The phenomena were witnessed by three band members, and occurred both in Portland and New York, during the song’s production.
“The Future” is a presentation of beautiful poetry which arose out of personal misery- “When I wrote that I was really kind of crying and holding on to the piano-it’s about the hell of breaking up and moving out at the same time.”
“Palmyra” is a prayer for the broken-hearted and traumatized, both individuals and communities. The first half paints a picture a love-lorn traveler pulling herself back together after a disastrous affair. The second half is lovingly and respectfully dedicated to the hard-pressed people of New Orleans’ Ninth Ward, hallowed estuary of some of the finest music the world has ever witnessed.
Upon hearing the completed album, Holland says, “I hear a lot of interesting connections between the songs that I didn’t premeditate. ‘Sweet Loving Man,’ (a very modern love song, based on South Louisiana dance music) is sitting right next to ‘Love Henry’ (which is ancient as hell.) The first song is about a lover who sets out to attempt a life free from heart-break, by any means necessary. And the second is a twisted tale of a scheming rich woman who kills her lover in a fit of jealousy. It’s like putting two opposite colors next to each other on a painting.”
The perceived space between ancient and modern seems to fade away. If something speaks to you and is meaningful, dates can become irrelevant. In that way, Holland’s work has always been characterized as timeless. This album lives and breathes through memories of the past via reflection and resurrection, and grows into the present tense. the Living and the Dead reflects those timeless elements that make Holland’s songwriting so powerful. It’s multi-faceted, emotionally rich, and a continuation of one songwriter’s existence within her own worlds and outside others. Enjoy Yourself.
Shahzad Ismaily was born to Pakistani immigrant parents and grew up in a wholly bicultural household. While he holds a masters degree in biochemistry from Arizona State University, he is a largely self-taught composer and musician, having mastered the electric and double bass, guitar, banjo, accordion, flute, drums, various percussion instruments and various analog synthesizers and drum machines. Ismaily has recorded or performed with an incredibly diverse assemblage of musicians, including Laurie Anderson and Lou Reed, Tom Waits, Jolie Holland, Laura Veirs, Bonnie Prince Billy, Faun Fables, Secret Chiefs 3, John Zorn, Elysian Fields, Shelley Hirsch, Niobe, Will Oldham, Nels Cline, Mike Doughty (of Soul Coughing), Graham Haynes, David Krakauer, Billy Martin (of Medeski Martin and Wood), Carla Kihlstedt’s Two Foot Yard, the Tin Hat Trio, Raz Mesinai and Burnt Sugar. He has also composed regularly for dance and theater, including for Min Tanaka, the Frankfurt Ballet and the East River Commedia. Recently he composed the score for the critically acclaimed movie Frozen River, which won the Grand Jury Prize at the 2008 Sundance Film Festival. He was also an Artist in Residence at the Headlands Center for the Arts in San Francisco, CA in 2008. Currently based in New York , Ismaily has studied music extensively in Pakistan, India, Turkey, Mexico, Santiago, Japan, Indonesia, Morocco and Iceland.
Sam Amidon
“…equal parts Nick Drake, Robert Johnson, and Deliverance, with a dash of ‘80s synth-pop for flavor…This is the great American folk album.
Fred Lyenn Jacques
—Lyenn is an as yet unknown but incredible songwriter from Belgium whose new record i just produced and featured Marc Ribot, Ches Smith and Indigo Street on the recordings. (you will love this guy, he’s really amazing. a Jeff Buckley/Nick Drake type, very melancholy, dramatic, moody, dark songs. he accompanies his voice with Irish bouzouki, baritone guitar and bass pedals. i’ll be playing drums and guitar with him as well. and i believe sam amidon will be sitting in on fiddle as well. – Shahzad
LAWRENCE D. “BUTCH” MORRIS
LAWRENCE D. “BUTCH“ MORRIS
CONDUCTS
A CHORUS OF POETS AND STRING ENSEMBLE
AT ISSUE PROJECT ROOM
SHOWS AT 8PM & 9PM.
CHORUS OF POETS:
Yasha Bilan, Mark Gerring, Chavisa Woods
Nora McCarthy, Justin Carter
Alex Bilu, Helga Davis
David Devoe
STRING ENSEMBLE:
Nicole Federici, Jason kao Hwang – viola
Shawn McGloin, Jane Wang – bass
Skye Steele, Charlie Burnham – violin
Greg Heffernan, Alisa Horn – cello
WITH TEXT BY ALLAN GRAUBARD
henry grimes and brandon ross present leo lindberg
“Stockholm, Sweden
21.7.03
Hallo Henry!
My name is Leo Lindberg and I am 9 years old. I listen to jazz music all the time and plays double bass drums and trumpet. First time I heard you was on a record of my father ‘Complete Communion’ with Don Cherry. I thought you were fantastic specially the bow solos and your sound. Then I listened to McCoy Tyner’s ‘Reaching Fourth’ and Roy Haynes quartet with Roland Kirk. When I saw your picture in my father’s jazz magasin and read that you should start playin’ again I was very happy. I took the picture and had one T-shirt made as you see on this photo. Hope you feel good and starts playin again. You are my bass hero. Greetings from Leo.”
And he included a photo of himself in the aforementioned T-shirt:
This letter really meant the world to Henry: to be so appreciated by a little fellow far away who hadn’t even been born when the records he named were made! The following year we booked a concert for Henry in Stockholm, and we had Leo brought to the club, and the two played together between the sets and brought the house down and appeared on the front page of Sweden’s biggest newspaper the next morning. And since then, whenever we’ve been in Scandinavian countries, we’ve taken Leo around on tour with us, and he’s sat in with several of Henry’s groups. He’s now 15 and playing drums, Hammond B3, piano, keyboards, flute, alto saxophone, guitar, bass (still and always), etc.
This is Leo Lindberg’s first trip to New York City, so please let’s welcome him, just as he welcomed Henry Grimes! For a little child shall lead us…
BRANDON ROSS
BRANDON ROSS is a guitarist / composer / singer / songwriter who has worked and/ or recorded with Muhal Richard Abrams, Arrested Development, Michelle Branch, Don Byron, Mino Cinelu, Bill Frisell, Craig Harris, Timothy Hill, Fred Hopkins, Leroy Jenkins, Jewel, Oliver Lake, Bill Laswell, Arto Lindsay, the Lounge Lizards, Myra Melford, Ron Miles, Butch Morris, Diedre Murray, Me’Shell N’degeocello, Joan Osborne, Zeena Parkins, Bobby Previte, Archie Shepp, Wadada Leo Smith, Sekou Sundiata, Henry Threadgill, Moreno Veloso, Tony Williams, Cassandra Wilson, and many others, crafting a personal approach to guitar and improvisation that has taken him all over the world. “Future-folk music” is his term for his family of sounds, at once pastoral, dissonant, intimate and subtly avant-garde. He co-leads the avant power trio called Harriet Tubman, with bassist Melvin Gibbs and drummer JT Lewis; the trio is dedicated to musical revelation/ investigation in a pan-African vernacular of Now, exploring electronics and pan-tonality to sculpt a multidimensional, interactive, sonic language in a “classic” R&B/ Rock configuration of guitar, bass, and drums. In Blazing Beauty, his acoustic-based quartet, Brandon Ross plays banjo, electric, acoustic and soprano guitars, cornet, acoustic bass guitar, and drum set, extending his expressive field into “folk”-oriented musics and compositional approaches while communicating his dedication to fresh musical experience. Brandon Ross also composes music for his acoustic string duo For Living Lovers, with acoustic bass guitarist Stomu Takeishi. And Brandon has scored music for the surviving reel of a 1922 Chinese silent film called “Lotus Blossom,” commissioned by the New York Guitar Festival, 2006, and has arranged and performed interpretations of the music of Rev. Gary Davis and Mississippi John Hurt for the New York Guitar Festival in 2004 and 2006. Brandon Ross can be heard on the American Clave, Avant, Axiom, Black Saint, Blue Note, Cryptogramophone, Elektra, Intoxicate, Knit Works, New World, Sterling Circle, and W&W / JMT labels, among others. http://www.myspace.com/brmuse, bkr1@optonline.net.
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.
Edwin Torres + Sean Meehan + Anne Tardos + Barry Weisblat + Margarida Garcia
I > < FEEL > < THE > < NEED > < FOR > < FEEDBACK
a n e v e n i n g o f s y n c o p a t e d s t a t i c
as sonic reference
as human interaction
as social exchange
featuring
Edwin Torres + Sean Meehan
&
Anne Tardos + Barry Weisblat + Margarida Garcia
&
together
Shahzad Ismaily
Shahzad Ismaily was born to Pakistani immigrant parents and grew up in a wholly bicultural household. While he holds a masters degree in biochemistry from Arizona State University, he is a largely self-taught composer and musician, having mastered the electric and double bass, guitar, banjo, accordion, flute, drums, various percussion instruments and various analog synthesizers and drum machines. Ismaily has recorded or performed with an incredibly diverse assemblage of musicians, including Laurie Anderson and Lou Reed, Tom Waits, Jolie Holland, Laura Veirs, Bonnie Prince Billy, Faun Fables, Secret Chiefs 3, John Zorn, Elysian Fields, Shelley Hirsch, Niobe, Will Oldham, Nels Cline, Mike Doughty (of Soul Coughing), Graham Haynes, David Krakauer, Billy Martin (of Medeski Martin and Wood), Carla Kihlstedt’s Two Foot Yard, the Tin Hat Trio, Raz Mesinai and Burnt Sugar. He has also composed regularly for dance and theater, including for Min Tanaka, the Frankfurt Ballet and the East River Commedia. Recently he composed the score for the critically acclaimed movie Frozen River, which won the Grand Jury Prize at the 2008 Sundance Film Festival. He was also an Artist in Residence at the Headlands Center for the Arts in San Francisco, CA in 2008. Currently based in New York , Ismaily has studied music extensively in Pakistan, India, Turkey, Mexico, Santiago, Japan, Indonesia, Morocco and Iceland.
Kate Valk & Andrew Schneider
Kate Valk began working with The Wooster Group in 1979 and since then has co-composed and performed in all of the Group’s productions. Valk has also worked on and been featured in all of The Wooster Group’s radio, film, and video projects. Valk founded and directs The Wooster Group’s in-school partnership with Dr. Sun Yat Sen Middle School and the Summer Institute, a performance intensive for public high school students conducted at The Performing Garage every summer. Valk received an OBIE Award for Sustained Excellence, a BESSIE Award for her performance in TO YOU, THE BIRDIE! (PHÈDRE) and a Foundation for Contemporary Performance Arts Individual Artist Award. This year Ms. Valk has been chosen as a mentor for The Rolex Mentor and Protégé Arts Initiative.
Kate Valk has co-composed and performed in the following Wooster Group projects:
HAMLET – 2006
WHO’S YOUR DADA?! – 2006
HOUSE/LIGHTS (reprise) – 2005
POOR THEATER – 2004/5
Brace Up! – 2003
To You, The Birdie! (Phèdre) – 2002
North Atlantic (reprise) -2000
House/Lights – 1999
The Hairy Ape – 1995
Fish Story – 1994
The Emperor Jones – 1993
Brace Up! – 1991
North Atlantic – 1984
The Road to Immortality
Frank Dell’s The Temptation of St. Antony-1987
LSD (Just the High Points)-1984
Route 1 & 9-1981
Hula & For the Good Times (two dance pieces)-1981 & 1983
Miss Universal Happiness & Symphony of Rats-1985 & 1988
–written and directed for the company by Richard Foreman
Radio
The Peggy Carstairs Report-2002
Racine’s Phèdre-2000
The Wooster Group’s The Emperor Jones by Eugene O’Neill-1998
–each radio piece was a BBC Radio 3 Broadcast of a Festival Radio Production
Film & Video
House/Lights DVD and DocumentarY-2003
The Emperor Jones by Eugene O’Neill-2000
Wrong Guys-in progress
Rhyme ’Em to Death-1994
White Homeland Commando-1992
Flaubert Dreams of Travel But the Illness of His Mother Prevents It-1986
Andrew Schneider is a multimedia designer and performer. He is the co-founder and Associate Artistic Director of the Chicago-based theatre company, bigpicturegroup. His performance work has been seen at P.S. 122, The Prelude Festival, The Conflux Festival, The Tank, and O’Reilly Media’s ETech. His multimedia work has been featured in Art Review, The Wall Street Journal, Wired, TimeOut NY, Make, SIGGRAPH, DorkbotNYC, Sony Tech Wonder Labs, the Telfair Art Museum, and at the Center Pompidou in Paris. His Solar Bikini has been featured in galleries internationally. His latest projects include Experimental Devices for Performance (.com) and Acting Stranger (.com). Andrew Holds a Masters Degree in Interactive Telecommunications from NYU. He is currently working with The Wooster Group and Fischerspooner. More at andrewjs.com.
moby
6:30 PM Benefit Tickets Still Available (includes admission to 8 PM concert)
8 PM CONCERT SOLD OUT!
ISSUE Project Room & Moby invite you to attend
A PRIVATE LISTENING PARTY, VIDEO SCREENING, AND RARE CONCERT PERFORMANCE
Special Fundraising Event for ISSUE Project Room
Friday, April 24, 2009
6:30 pm VIP Private Listening Party with Artistic Advisory Board member Moby + David Lynch Video Screening + Admission to Moby’s Ambient/Electronic Set at 8:00 pm
21+ over w/ ID
Help support ISSUE Project Room’s continued growth as New York’s foremost venue for avant-garde performance and art. Come celebrate ISSUE’s recent selection as occupant for the glorious McKim Mead and White theater space at 110 Livingston Street. Join us at 6:30 pm for an intimate pre-performance cocktail party with award-winning recording artist, Moby. Hear advance tracks from his forthcoming album, meet and talk with the artist, and enjoy a sneak-preview of his new music video directed by David Lynch. Enjoy Moby’s first ever ambient/electronic set at 8:00 pm.
Benefit tickets for VIP listening party + concert are $100.00 ($80.00 tax-deductible) and include:
Admission to 6:30 pm VIP listening party and 8:00 pm live concert Sneak preview of Moby’s new music video directed by David Lynch Advance preview of Moby’s forthcoming album Open Svedka cocktail bar Delicious hors d’hoeuvres from S’Nice vegetarian eatery ISSUE gift bag
Buy benefit tickets (6:30 pm VIP listening party/video screening reception + 8:00 pm admission).
Questions? Contact ISSUE’s Development Director Michelle Amador at michelle@issueprojectroom.org or (347) 267-4322.
Andrea Belfi / David Grubbs / Stefano Pilia trio + Scott Haggart
ANDREA BELFI
He was born in Verona in 1979. He is a drummer and an electro-acoustic musician. He started studying drums at the age of 14, and has featured in various punk/hardcore bands ever since. studied contemporary art at the Academy of Fine Arts in Milan. He’s co-founder of Rosolina Mar, an instrumental rock trio with which he played over 200 gigs, as well as the backing band of the singer Larkin Grimm for her 2008 Italian tour. He’s one half of the duo Christa Pfangen, with which he released the album “Watch me getting back the end” (Die Schachtel 2008). He collaborates also with the super 8 film archives association Homemovies, in many audio/visual projects (Stillivingrooms, Circo Togni, Catherine). Since 2003 Belfi has been developing a solo liveset, where he uses his drummer’s skills along with the results of his long-time researches with electroacustic devices and synthezisers.
His solo album “Between Neck & Stomach” was released in September 2006 by the Swedish label Hapna. He has toured Europe presenting it in Stockholm, Paris, Gent, London, Geneva, Berlin and many other cities. His last solo record, “Knots”, has been released by Die Schachtel records in January2008. He played it as a live set in Turin (Artissima 2007), Chicago (Lampo), Aalst (Netwerk), Bruxelles (Klara festival 2008), Stockholm, Oslo. Andrea’s constant concern and interest, as one can clearly see from the whole of his work, is the live and performative moment, constantly treated and re-shaped in different and challenging ways. He has played and collaborated with Giuseppe Ielasi, ¾hadbeeneliminated, Damo Suzuki, Tony Conrad, Rhys Chatham, Nicola Ratti, Dean Roberts, Atelier MTK(Metamkine), Zimmerfrei, Stefano Pilia, Ignaz Schick, Å, Werner Dafeldecker, Claudio Rocchetti, Xavier Garcia Bardon (aka Saoule), Valerio Tricoli, Alessandro Bosetti, Xabier Iriondo, Mattia Coletti, Renato Rinaldi, Larkin Grimm.
http://myspace.com/andreabelfi
DAVID GRUBBS has released ten full-length solo albums and appeared on more than 100 commercially-released recordings. In 2000, his album The Spectrum Between was named “Album of the Year” in the London Sunday Times. He was a founding member of the groups Gastr del Sol, Bastro, Squirrel Bait, and the Wingdale Community Singers, and has participated in the Red Krayola since 1993. He directs the Blue Chopsticks record label.
Grubbs contributed music with Matmos for Thierry Jousse’s 2005 feature film Les Invisibles. He composed the soundtracks for Angela Bulloch’s film installations Z Point and Horizontal Technicolour. His music appears in two installations by Doug Aitken, and his own sound installation Between a Raven and a Writing Desk was included in the 1999 group exhibition “Elysian Fields” at the Centre Pompidou. He is a 2005-6 grant recipient in Music-Sound from the Foundation for Contemporary Arts.
Grubbs is Assistant Professor of Radio and Sound Art in the Conservatory of Music, Brooklyn College, CUNY. He has been called one of two “Best Teachers for an Indie-Rocker to Admire” in the Village Voice and “le plus Français des Américains” in Libération.
STEFANO PILIA was born in Genoa in 1978. He lives and works in Bologna. Electro-acoustic composer and multi-instrumentalist who has realeased various recordings with both Italian and foreign labels (LastVisibleDog, Hapna, Sedimental, Die-Schachtel, Soleilmoon..), has toured Europe and the USA, collaborating with artists as well as musicians and bands (Phill Niblock, Marina Rosenfeld, Medves, Mudboy, Black Forest Black Sea, Stefano Tedesco, Manuel Mota, David Maranha, Rhys Chatam, Saoule, Dean Roberts, Giuseppe Ielasi, Metamkine…). His work has become progressively concerned with the research of the sculputural dimensions of sound and its relations with space both through instrumental executional practices and investigations into the recording and production process. He is one of the founder members of 3/4HadBeenEliminated, a synthesis between improvisation, electro-acoustic composition and avant-rock sensibilties. He generally plays live as solo and with 3/4HadBeenEliminated, recently with Massimo Volume and frequently collaborates on the sound-tracking (both live and on CD/video) for the productions of theater, movies, dance and contemporary arts companies (Zimmerfrei, Wu Ming 2, Homemovies, Balletto Civile…)
Info: www.myspace.com/stefanopilia
Scott Haggart’s performance will further expand his DISKONO 017 12” record using a customized Califone Turntable and introduce/improvise preempted extracts of both analog-to-digital/digital-to-analog edits of DISKONO 017. The audience will also be provided an open-access broadcast quality turntable setup by default to play the said record backwards.
The original edit is “psychotopologically derived from a 0.7 millisecond recorded extract of a DISKONO performance (2000).” Obsessively and secretly expanded is a 0.7-millisecond sound into a 1:17 second composition that took many years to superimpose and further re-sample the original fragment into a strict bombardment of fractal concrete sound. Within a “tradition of discrete spectrality” and with the satisfactory feeling brought about by orchestrating a 1:17 second work, it become inevitable for Scott to extend the invitation to six others thus creating alternate versions (seven in total) using the original as source material/inspiration. Strict adherence was required by the invited artists Lary Seven, EVOL, Felix Kubin, White Daughter, Charlie McAlister, and Jan Van Den Dobbelsteen to a rule of such versions being 1:17 seconds in duration so as to absurdly explore the potentials of this 0.7-millisecond sound. – DISKONO
“Here the label’s taking a decidedly different direction… this one’s all DISKONO member Scott Haggart doing an art-record consisting of a one-minute [seventeen-seconds] conceptual piece on the a-side (cut mid-record for maximum [sonic] effect), then a series of re-workings of said by Lary Seven, EVOL, Felix Kubin, White Daughter, Charlie McAlister, and Jan Van Den Dobbelsteen on the flip… Where the original is a statically-charged burst of raw electricity, the reworkings take in just about every conceivable sound-alteration method; from Lary Seven’s “magnetic” reworking to EVOL’s woozy sliding pitch-scale, to Felix’s crackling chatter.”
– Keith Fullerton Whitman
Founded in the spring of 1998 and described as a “a Scottish multi media cabal masquerading as a record label,” DISKONO was initially based in Central Scotland but befitting its constitution as a complex carbohydrate, the constituent pieces of its chemical structure are now strewn all over the globe; New York, London, Brussels, etc. The known and affiliated elements of DISKONO were/are Klaus Oldanburg, Ruth Random, Findo Gask, Dr. Barnes Advocaat, Gunter Saxenhammer, Ttocshagg Forfib, Joel Ongthorne, Kosten Koper; although these may be pseudonyms for the same person or persons. Together or alone, they/he/she operate a record label releasing sound art & “avant-garde flicks of the wrist” as well as curated savory and pretentiously artistic projects such as the exhibition Revisionland by Alejandra and Aeron of Lucky Kitchen (which won an Award of Distinction in Digital Music at Prix Ars Electronia 2002) and physical remix series of 7″ records with Aerospace Soundwise, The British Composer of the Year Winner for Sonic Art (2008) Janek Schaefer. DISKONO also released music by figures such as Felix Kubin, Alejandra and Aeron, Pimmon, JaDa, People Like Us, Francisco Lopez, Boards Of Canada, Goodiepal, V/Vm, Hrvatski, Aavikko.”
“Diskono never ceases to amaze us with their activities” – Vital Weekly
“Diskono consciously foster the spirit of vigilance and insurrection, through inspired logical chicanery and stolen rhetoric from texts such as Guy Debord’s Society Of The Spectacle and Raoul Vaneigem’s The Revolution Of Everyday Life (in which the French commentator called, among other things, for revolution to rescue artistic creativity from the morally corrupting influence of commerce).” – The Wire
Mark Stewart
Mark Stewart’s Sublime & Ridiculous Noises for Traditional & non-Traditional Soundmakers (& you
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