Share – all night free open 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 —
No featured guest scheduled tonight
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215direction/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 – all night free open 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 —
No featured guest scheduled tonight
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215direction/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 – all night free open 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 —
No featured guest scheduled tonight
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215direction/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 – all night free open 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 —
No featured guest scheduled tonight
Share @ Issue Project Room
The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215direction/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
CANCELLED – Lucy Sexton: Sickness, A Night of Sick Stories
CANCELLED
apologies.
Sickness: A Night of Sick Stories Hosted by Lucy Sexton
Readings by:
- Joe Westmoreland writing about his adventures with HIV
- CD Clifford writing about babies, sex, and old people
- Nora Burns writing with an incredibly sick sense of humor
- Lori E. Seid writing about sick lesbians
- Brigid Murphy writing and singing about terminal lymphoma
LUCY SEXTON has worked in theatre and film in different capacities for more than 20 years. She developed and directed the Obie-Award winning off-Broadway show, Spalding Gray, Stories Left to Tell, working closely with Gray’s widow Kathleen Russo. Sexton produced Charles Atlas’ documentary The Legend of Leigh Bowery for the BBC and Arte. With Anne Iobst, she co-created the Bessie Award-winning dance-performance group DANCENOISE, which has performed extensively in New York and around the world since 1983. She regularly teaches workshops in performance and compostion, most recently at the Daghdha Dance Center in Limerick, Ireland. As a performer she has appeared in the work of Alien Comic, Charles Atlas, David Gordon, Jo Andres, Mimi Goese, Heidi Dorow, Steve Buscemi and Mark Boone Jr, Ishmael Houston-Jones, Richard Move, Sarah Shulman, and Alain Buffard among others. Performing as The Factress, Sexton hosts a randomly occurring live talk show, The Lucy Show, with co-host Mike Iveson, aka Nurse Baby Asparagus. She is currently directing Tom Murrin’s one-man theater piece The Talking Show, and producing a new film by Charles Atlas on the musical group Antony and the Johnsons.
Joe Westmoreland is the author of the novel Tramps Like Us, of which Kevin Killian wrote: “Joe Westmoreland writes better than we deserve, and his simple sentences are each one a little marvel of sophisticatio n and purity.” Westmoreland wrote a regular column for Pos Magazine and has contributed to many periodicals and to the anthologies including Discontents (New Queer Writers), Best American Gay Fiction of 1996, Queer 13: Lesbian and Gay Writers Recall Seventh Grade, and Latin Lovers: True Stories of Latin Men In Love. He lives in New York City.
Nora Burns is a founding member of the comedy groups Unitard and the Nellie Olesons and has performed across the country in venues from PS122, LaMama, and Joe’s Pub in NYC to Highways, Cavern Club and HBO workspace in LA. She has also performed at the Aspen Comedy Festival, Just for Laughs in Montreal and We’re Funny That Way in Toronto. She has appeared in the films Nick and Norah’s Infinite Playlist, Broken Hearts Club and Boys Life 3 among others. Her television appearances include Logo’s Wisecrack comedy show and the Sandra Bernhart Experience.
Pamelia Kurstin and Dewanatron (Brian and Leon Dewan)
doors at 8pm, showtime at 8:30pm
The world renown thereminist Pamelia Kurstin returns to ISSUE Project Room, Pamelia has been a rock star, rollerskater, party girl, classical virtuoso, jazz bassist and much more. She explores the unique sound of this exotic cult instrument through digital delay and other electronic effects. Her work is haunting and quirky—a perfect compliment to a moonlight drive, rainy afternoon or a soft summer evening.
Brian Dewan
Brian Dewan used to build furniture for a living and as of late is making and projecting I-CAN-SEE filmstrips. Two CDs, Brian Dewan Tells The Story and The Operating Theater feature songs with autoharp and electric zither accompaniment. He has exhibited drawings and filmstrips at The Brooklyn Museum, The New Museum, Pierogi gallery, The Armory Show and Modern Art Oxford. His recent recording of Lewis Carroll’s The Hunting Of The Snark has aired in London and New York.
While studying art, organ and composition at Oberlin College he recorded electronic music with Putney, Buchla, Arp and Moog synthesizers. He plays zither and other instruments with The Raymond Scott Orchestrette and arranged Scott’s electronic music for live acoustic septet in collaboration with accordionist Will Holshouser. In addition to performances of instrumental music he has also provided live accompaniment to the silent films of Ladislaw Starewicz, Harry Smith, Ester Shub, Oscar Fischinger, and rare films from the Mark Newgarden collection. These were screened at Lincoln Center, Galapogas, Tonic, The Robert Beck Theater and The Iris and B. Gerald Cantor Auditorium.
Leon Dewan
Leon Dewan apprenticed to his inventor father since early childhood, helping him to construct homemade test equipment and numerous electromechanical, solid state and vacuum tube based radio frequency prototypes. He recorded his first electronic music in 1980 with a calculator and an electronic quiz game which broadcast signals to a clock radio tuned between stations. In 1989 he received a degree in physics at Yale University. He has played guitar and sung in New York based band The Happiest Guys In The World as well as The Philistines Jr, Shaumgummi, and Dangerspoon, and has made guest guitar and production appearances on several Guster recordings. He collaborated with sculptress Kathleen Griffin and for the Sculpture Center’s inaugural In Practice series created an installation involving large hollow spherical bodies made of hard candy with circuitry inside that caused the candy spheres to self-resonate at various points along their resonant spectrums. Governed by slow chaos, they harmonized in unpredictable ways, “singing” to each other in the vaulted cellar of The Sculpture Center in Queens.
Leon has performed at Rich Forum, the Knitting Factory, and Pierogi2000 Gallery, among other venues.
Wingdale Community Singers
The uncanny fervency of Old Time music was the starting point for the Wingdale Community Singers. A copy of Black Hole Heaven, Hannah Marcus’s album on Bar/None Records, bestowed on novelist Rick Moody by Bar/None’s proprietor, Glenn Morrow, led Moody to Marcus and a long friendship followed. The two shared interest in old folk, blues, and bluegrass, and after a time the two attempted writing some songs in that idiom. The form was old, but the lyrics were contemporary and urban, reflecting that other New York City, the borough of Brooklyn, where both lived. With a brace of songs, Marcus and Moody solicited the aid and counsel of David Grubbs, a veteran of twenty years of punk and experimental music, and a former member of Squirrel Bait, Gastr del Sol, Bastro, The Red Krayola, and many other projects. Grubbs brought a modernist sensibility and a rich facility with country music (from his roots in Louisville) to the lineup. The three recorded their eponymously titled first album in 2004 and it was released the following year on Plain Recordings.
Because of Grubbs’s demanding schedule as a solo performer and as a full-time instructor in music at Brooklyn College, The Wingdales often solicited and found other partners for live performances, including Abe Streep, on violin and mandolin, and in the course of playing gigs in 2006, they enlisted Nina Katchadourian, who in the long Wingdale tradition of doing many other things, is well known as a visual and conceptual artist. She also curates at the Drawing Center in New York City. To the Wingdales, Katchadourian brought a lifetime of songwriting, and a rich alto voice, low enough to swap the tenor line with Moody on occasion, making The Wingdale Community Singers a genuine vehicle for three-part and even, on occasion, four-part harmonies.
In 2007, The Wingdale Community Singers, when schedules permitted, began recording their follow-up album at Seaside Recording Lounge in South Park Slope, home to a number of New Pornographer sessions recently, with Patrick McCarthy engineering. By fall of 2008, they’d mixed and mastered Spirit Duplicator, fifteen new songs (including one old gem by the Carter Family), four by Marcus, three by Moody, two by Katchadourian, and five by Marcus and Moody, exhibiting, as the title of the album would suggest, a continuity with the old folk and bluegrass forms that colored the first Wingdales release, but also moving in new directions, as in the dark rock and roll inflected opening track, “(I’m in the Mood) to Drive,” the gospel of “AWOL,” the baroque chamber pop of “Montreal,” “Let My Ship Pass By,” and “Aviary,” and traditional feel of the Carter Family’s “Death Is Only A Dream” and Moody’s “On the Carousel,” an a cappella update of the Sacred Harp songwriting style. The album augments the four core members of the band, who all play guitar, keyboards, and sing, with longtime Wingdale alumnus Abe Street (violin, mandolin), and other players from Booklyn, like Tianna Kennedy (cello), Gerald Menke (pedal steel, slide), Taylor Bergren-Chrisman (bass), Charles Burst (drums), and Nadje Noordhuis (trumpet).
The Wingdale Community Singers have tried, in their brief history, to make music that has the old community feel of folk music, and the reliability of these old styles, as well as the complexity and lyrical dynamism of contemporary modern music. On Spirit Duplicator, they both reveal a continuity with the music they love, as they also try to move the idiom a little further. It’s an album of deep feeling, great harmonies, and great songwriting, that could have been made almost anytime in the last fifty years by people sitting in a room playing together. And, in fact, much of it was made this way, a group of people well past the youth that drives much popular music, all of them with busy complicated lives, sitting in a room, playing and singing for the love of doing it.
Sim Cain and Melvin Gibbs
doors at 8:00pm, showtime at 8:30pm
Sim Cain is probably best known as the drummer for the Rollins Band. Despite an exhaustive touring and recording schedule during the late eighties and nineties he managed to establish long term musical and personal relationships with the likes of (composer / guitarists) Marc Ribot, Elliot Sharp, and David Poe. He has appeared on recordings and/or in concert with Tbone Burnette, Zakir Hussain,Ween, John Zorn, Zeena Parkins, Annie Gosfield, David Shea and many other “downtown” artists. In the mid eighties he was a member of the L.A. noise/rock band Gone (with guitarist Gregg Ginn of Black Flag) before forming the Rollins Band with vocalist Henry Rollins in 1987. That band went on to have a gold record and a Grammy nomination in a string of unlikely mainstream success. In the nineties he had a project of his own called Hand Job which included a revolving door of who’s who New York new music musicians of the time. Over the past few years he has toured with blues guitarist Hubert Sumlin ( Howlin Wolf, Muddy Waters) in a group that sometimes included David Johansen (New York Dolls) and “Roots Rock super group” Golden Smog . He has performed and recorded around the world including projects in Haiti and this past winter Bali, Indonesia where he studied the baliphone-like rindik.
Termite Club Presents: Collaborations w/ Michael Flower, Chris Corsano, Count Hejnowski, Phil Todd, Mel Crowley and Marcia Bassett
Michael Flower
Michael Flower has been involved in a number of Solo Projects and is best know for his work with Vibracathedral Orchestra. The original group came together when Mick Flower began recording with Neil Campbell and Julian Bradley, who had released a number of homemade cassettes and an LP of their duo work. They self-released 2 CD-R albums before Campbell suggested merging the nascent group with the trio Flower was working with alongside Bridget Hayden and Adam Davenport, forming the best-known five-piece Vibracathedral Orchestra line-up.
Chris Corsano
Chris Corsano is a drummer from New England, USA. He often performs in an improvisation duo with saxophonist Paul Flaherty. He has also recorded material with artists such as Dredd Foole, Jandek, Sunburned Hand of the Man, Six Organs of Admittance, Kim Gordon, Thurston Moore, Matt Valentine, Nels Cline, Vibracathedral Orchestra, Cold Bleak Heat, Jim O’Rourke, Mick Flower, and C. Spencer Yeh as well releasing several solo recordings.
Count Hejnowski
Count Hejnowski is Matt Heyner who plays in Malkuth, NNCK, and other underground entities
Phil Todd
Ashtray Navigations was formed in 1994 in Stoke On Trent, England, by Phil Todd, inspired by the UK’s underground tape music scene. Using the barest minimum of outdated equipment, Todd recorded and self-released dozens of limited edition cassettes (now much sought after by collectors), which presented his vision of homemade psychedelic rock and avant-garde noise electronics. This led to vinyl and CD releases on labels such as Siltbreeze (USA), American Tapes (USA), Veglia/Kraak (Belgium) and Todd’s own Betley Welcomes Careful Drivers imprint, culminating in a tour of the USA in 1999 which was the first real incarnation of Ashtray Navigations as a live music project. The new millennium saw a move to Leeds in England, many more releases in multiple formats and more live performances, this time featuring Ashtray Navigations as a group project featuring Todd and various collaborators including Chloe Jarvis, Matt Robson (Random Number), Ben Reynolds and drummer extraordinaire Alex Neilson.
Mel Crowley
Mel Crowley plays under the alias Ocelocelot and often collaborates with Phil Todd of Ashtray Navigations. “As Ocelocelot splays her space nuptials across a skyline smeared with mushy peas, and junked Vespas limp across the tarmac at Dragonfly refueling stations, orphans gaze away from the mysterious metal chambers it is their duty to scrub with steel wool. Gawk, urchins”
Marcia Bassett
Zaimph is the solo project of Marcia Bassett, a New York City artist and musician. In Flaubert’s novel Salammbô, the Zaimph is a holy magical veil that guards the statue of the moon goddess Tanit. Bassett appropriated the name in 2003, releasing a handful of CD-Rs on Heavy Blossom. Later CD and LP releases have appeared on numerous independent labels such as Hospital Productions, W.M.O.r, Utech Records, Gypsy Sphinx, and Volcanic Tongue.
Under the Zaimph veil, Bassett predominately uses guitar and vocals to create sounds that shimmer in a dark metallic buzz of sonic noise and drone, before a swift shift into blissed out ragas or crippling, brutal, white-hot noise. The organic improvised elements of Bassett’s work leave traces of eerie ghost voices and deep-space echoes that recall the electrified ritual of nomadic Japanese avant-gardists Taj Mahal Travellers — but more immediately sound like a magnification of her contributions to Double Leopards and Hototogisu, generating towers of electricity that move from malevolent arcs of anti-gravity and spumes of throttled single notes into deep wormholes that do violence to feeble notions of time and space.
This tour of The Termite Club is made possible by a grant from Mid Atlantic Arts Foundation in partnership with the National Endowment for the Arts Regional Touring Program.
Termite Club Presents: Ashtray Navigations + Michael Flower Chris Corsano Duo
doors at 8:00, showtime at 8:30
Ashtray Navigations
Ashtray Navigations was formed in 1994 in Stoke On Trent, England, by Phil Todd, inspired by the UK’s underground tape music scene. Using the barest minimum of outdated equipment, Todd recorded and self-released dozens of limited edition cassettes (now much sought after by collectors), which presented his vision of homemade psychedelic rock and avant-garde noise electronics. This led to vinyl and CD releases on labels such as Siltbreeze (USA), American Tapes (USA), Veglia/Kraak (Belgium) and Todd’s own Betley Welcomes Careful Drivers imprint, culminating in a tour of the USA in 1999 which was the first real incarnation of Ashtray Navigations as a live music project. The new millennium saw a move to Leeds in England, many more releases in multiple formats and more live performances, this time featuring Ashtray Navigations as a group project featuring Todd and various collaborators including Chloe Jarvis, Matt Robson (Random Number), Ben Reynolds and drummer extraordinaire Alex Neilson. Following the departure of half the band to Glasgow, Todd has recently been playing with Melanie Crowley (Ocelocelot, Sculkptress) and Phil Legard (Xenis Emputae Travelling Band), though the majority of the recordings released are performed by Todd alone. This trio line-up was one of the few UK acts to play at the Thurston Moore curated All Tomorrow’s Parties festival in 2006. Todd has also collaborated either in recordings or live performances with a whole variety of other artists, including Merzbow, Jandek, The New Blockaders, Paul Hession, MV & EE, Sunroof!, Nackt Insecten,The Vibracathedral Orchestra and Courtis.
“Sub-aquatic synth bubble, busted-up cassette-tape hiss and distorted electric guitar hover that sounds like a mythical god banished from the realm of light and trying desperately to clamber his/her way out of a dark bottomless void where time itself stands still.” James Blackshaw
“AN remain a puzzlingly underrated but integral part of the UK underground scene. ‘Exploding Blue Floor Martin Denny is the best British solo electric guitar record since, what, Ray Russell’s Secret Asylum?” David Keenan, The Wire March 2009
Flower Corsano Duo
Michael Flower has been involved in a number of Solo Projects and is best know for his work with Vibracathedral Orchestra. The original group came together when Mick Flower began recording with Neil Campbell and Julian Bradley, who had released a number of homemade cassettes and an LP of their duo work. They self-released 2 CD-R albums before Campbell suggested merging the nascent group with the trio Flower was working with alongside Bridget Hayden and Adam Davenport, forming the best-known five-piece Vibracathedral Orchestra line-u
Chris Corsano plays (with Paul Flaherty, Jim O’Rourke, Björk, Evan Parker, Jandek, Thurston Moore, Vampire Belt, Six Organs of Admittance, etc.) drums.
The Four Aims LP/CD (VHF, 2009)
*Brainwashed – “There are few sounds so unique in improvised music today, and the duo’s perfection of this kind of head-on freedom is rarely matched in any circle….Building into a frenetic and undulating weight, the unit moves with a singular vision all too rare. Instant response is one thing, but Flower and Corsano can shift mood along with tempo, atmosphere with melody and approach with feel. This sort of elasticity and balance results in some of the most distinctly surprising and exciting sounds happening today.” – http://brainwashed.com/index.php?option=com_content&task=view&id=7454&Itemid=64
*Pitchfork – “Along the way they evoke Rudolph Grey’s far-out travels with Rashied Ali, Keiji Haino’s bursting solos in Fushitsusha, maybe even what Jimi Hendrix and Mitch Mitchell are playing in the after-life.” – http://pitchfork.com/reviews/tracks/11165-i-brute-force/
*Dusted – “The Radiant Mirror, the pair’s 2007 debut, is a blistering document, matching Corsano’s kitchen-sink percussion work with Flower’s electrifying Shahi Baaja (also known, in a bit of a misnomer, as an Indian banjo) in one of that year’s best records. The Four Aims finds the scope of the duo’s instrumentation widened, with more diverse results, but, at its core, this disc remains true to the pair’s original M.O., and with two musicians this gifted, it’s hard to imagine their collaborative work being anything less than outstanding.” – http://www.dustedmagazine.com/reviews/4887
*Tiny Mix Tapes – “In compositional breadth, in technical twinkle, in (a)tonal assault, this is a deeply humbling record, the inscrutable blueprint for progress.” – http://www.tinymixtapes.com/Flower-Corsano-Duo
*Foxy Digitalis – 9 out of 10 – http://www.digitalisindustries.com/foxyd/reviews.php?which=4195
The Radiant Mirror LP/CD (Textile, 2007)
*#26 on The Wire’s Top 50 of 2007 list
*Mojo’s Underground Album of the Week – http://cor-sano.com/flower/images/mojo.jpg
/”
*Tiny Mix Tapes’ year-end list of 24 “Eureka Albums of 2007″ – “Chris Corsano and Mick Flower make fire. That no-need-for-an-introduction drummer and the founding member of UK’s Vibracathedral Orchestra inaugurated this year with an explosive three-song album.” – http://www.tinymixtapes.com/2007-Eureka-Albums-of-2007
*Alan Bishop’s (Sun City Girls/Sublime Frequencies) Best of 2007 list in Arthur Magazine
*Bookmat – “Wailing psychedelic tangled droning and plucking is set against pounding unpredicatable percussion – it’s as if Hendrix picked up and left for India, bag of narcotics in tow and then bumped into Elvin Jones before recording a night-long improv session.” – http://www.boomkat.com/item.cfm?id=89435
Aaron Siegel Ensemble
SCIENCE IS ONLY A SOMETIMES FRIEND was originally conceived as outdoor performance piece for eight glockenspiels and public performers. This version of the piece is inspired by the challenge of creating a specific sonic environment with live performers and, at the same time, inviting casual observers to contribute sounds of their own. The glockenspiels pulse together in steady time throughout the hour-long performance as individual pitches enter and exit the thick texture, like characters walking on and off a stark geometric stage.
The constant chiming of the glockenspiels creates a halo of harmonic activity around the performers that shifts depending upon the location of the listener. This mysterious whistle is anticipated, yet oddly vague, sometimes more present and other times hidden. The piece tests the science of attention and the counterpoint of daydreams.
The concert version of Science… is scored for eight glockenspiels and organ, which replaces the secondary contributions of the public perfomers.
THE AARON SIEGEL ENSEMBLE is the group of close collaborators that brings the compositions of Aaron Siegel to life. The ensemble includes members of the top new music ensembles in the city, some of the most sought after improvisers in the world, and a host of innovative songwriters and indie rock musicians.
The Ensemble has performed together at venues around New York City including Roulette Intermedium, Issue Project Room, The Chocolate Factory Theater, Renee Weiller Recital Hall, and as part of the You Are Here Arts festival at Chashama art space in Times Square.
The debut CD of the Aaron Siegel Ensemble, Every Morning a HIstory, was released by Brooklyn-based Peacock Recordings and was praised by Signal to Noise as being “representative of the flowering DIY chamber music scene in Brooklyn.”
* * *
AARON SIEGEL is a composer and percussionist who makes acoustic experimental work that raises questions about the relationship between performers, audience members and the space they occupy together. His music has been performed by Mantra Percussion Ensemble, Flux Quartet, pianist Emily Manzo, Kyklos Ensemble and his own ensemble. In 2009, percussionist Joe Bergen recorded his Our Reluctance is Overstated (for six timpanists) on the online label shskh.com. He is working on commission for the Ictus percussion ensemble to be premiered in Fall of 2009. The Aaron Siegel Ensemble will premiere the full version of Preparing the Past (for four hand piano, two vibraphones and two glockenspiels) in the spring of 2010.
Aaron is a member of Memorize the Sky, The Anthony Braxton 12+1 tet, White, Blue, Yellow and Clouds, Assembly and his own group, Where from Here.. As part of these and other ensembles, Aaron has toured extensively in the United States and Europe. Memorize the Sky has released two recordings: Memorize the Sky (2007, 482 Music) and In Former Times (2008, Clean Feed Records) both of which document an ongoing improvisational collaboration with bassist Zach Wallace and reedist Matt Bauder. The Cabinet, a solo percussion CD (2006, Longbox Recordings) was praised by The Wire in as “an exquisite set that has a meditative ease and grace.” He has released limited edition CDs of his electronic music including Rooms and Spaces and Sounding Place. His playing is featured on several recordings with Anthony Braxton including the mammoth 9-CD Box Set, 9 Compositions (Iridium) 2006. In 2009 Siegel released Fiddle and Drum a collaborative project with the fiddler, Sam Amidon. For more information, visit aaronsiegel.net.
“An evocative composer”
– Allan Kozinn, New York Times
Bobby Previte “AMNIOTIC” with Knox Chandler (Psychedelic Furs)
doors at 8:00, showtime at 8:30
Bobby Previte presents the premiere of AMNIOTIC, a new post-psychedelia trio with Previte, drums, Jamie Saft, bass and keyboards, and Jen Shyu, voice.
AMNIOTIC takes over where Saft and Previte’s DOOM JAZZ left off.
Visuals by Benton-C Bainbridge.
Bobby Previte’s first stage appearance came in 1956 at the Niagara Falls Community Talent Show where, dressed in an over-sized suit, and slinging a guitar, he belted out a solo rendition of Elvis’ hit, “Hound Dog.” Figuring music was a great way to get girls, at thirteen he fashioned his first set out of a rusted iron garbage can turned on its side (the bass drum), two pieces of linoleum crimped together, stuck through with a wire coat-hanger, wound into a spring and crowned with a rubber ball (the kick pedal), four upside-down rubber trash bins (the toms), a box with loose junk rattling around inside (the snare), and three plungers with aluminum pie plates nailed on top (the cymbals), set them up in his basement, and practiced for months on end with a lone spotlight shining on him. When the band he was in finally got a job, he was fired for not having ‘real’ drums. Vowing to go it alone, he got a paper route, bought his first set, a 1965 Rogers Holiday model in blue sparkle, fell in love with the sound, and never looked back. Traveling the world, he has sat behind the drums in a prodigious array of places, from the Palace Burlesque in Buffalo, NY to Gloria’s Corral Club in the Kentucky backwoods to Carnegie Hall, South America, Europe, Russia, Japan, Australia, and back. In 1968, while walking in the west village, Previte spotted Jimi Hendrix in a limo, unfurled the poster of Jimi he happened to have just bought, and then looked on in astonishment as Jimi smiled and flashed him the peace sign. All the rest is noise.
Jamie Saft is a producer, composer, and multi-instrumentalist from New York. Saft’s stylistic versatility, multi-instrumentalist capabilities, and production skills have been featured with The Beastie Boys, Bad Brains, The B-52′s, Laurie Anderson, John Zorn, John Adams, Antony and the Johnsons, and scores of other artists. Saft is a mainstay of the downtown scene and a member of bands such as The Beta Popes, Whoopie Pie, Swami LatePlate, The Shakers and Bakers, The Dreamers, and Electric Masada. Saft has recently composed a number of original film scores and music for television. Recent films scored include the Oscar nominated film “Murderball”, Sundance Grand Jury Prize winner “God Grew Tired Of Us”, and currently airing HBO documentary “Dear Talula”. Saft has also contributed score music for Nickelodeon, MTV, and A&E. Saft has released a number of records, including “Breadcrumb Sins” (Tzadik), “Trouble- The Jamie Saft Trio Plays Bob Dylan” (Tzadik), “Sovlanut” (Tzadik), and Swami LatePlate’s “Doom Jazz” (Veal). for a complete discography, please see www.jamiesaft.com
Born in Illinois from Taiwanese and East Timorese parents, Jen Shyu is a vocalist, composer, improviser, multi-instrumentalist, and dancer based in NYC. As a soloist and bandleader and a core member of saxophonist Steve Coleman’s Five Elements, Shyu has worked with the late great poet Sekou Sundiata, Mat Maneri, Ben Monder, her band members David Binney, Dan Weiss, Thomas Morgan, Shane Endsley, and has duo projects with pianist Dave Burrell, bassist Mark Dresser, guitarist Miles Okazaki, guqin player Wu Na, dancer Satoshi Haga, and actress Soomi Kim among others. She has produced two albums under her own name (For Now, Jade Tongue), and has been awarded fellowships/commissions from the MacDowell Colony, the Asian Cultural Council, Jerome Foundation, Roulette Space, Jazz Gallery, and the Bronx Council on the Arts. More: www.jenshyu.com, www.myspace.com/jenshyu.
Ikue Mori with alex waterman and ned rothenberg
Ikue will present an excerpt from her newest work in progress featuring live collage animation.
Adapting the illustration from the popular story book “Yellow Book” from the Edo period in 19th century in Japan called “Taihi no Senbonsakura” (tragedy of thousand hands goddess)
Thoe characters are now torn out from the original background and merge into a new environment interacting with live music.
Ikue Mori moved from her native city of Tokyo to New York in 1977. She started playing drums and soon formed the seminal NO WAVE band DNA, with fellow noise pioneers Arto Lindsay and Tim Wright. DNA enjoyed legendary cult status, while creating a new brand of radical rhythms and dissonant sounds; forever altering the face of rock music.
In the mid 80’s Ikue started in employ drum machines in the unlikely context of improvised music. While limited to the standard technology provided by the drum machine, she has never the less forged her own highly sensitive signature style.
Through out in 90’s She has subsequently collaborated with numerous improvisors throughout the US, Europe, and Asia, while continuing to produce and record her own music. 1998, She was invited to perform with Ensemble Modern as the soloist along with Zeena Parkins, and composer Fred Frith, also “One hundred Aspects of the Moon” commissioned by Roulette/Mary Flagler Cary Charitable Trust. Ikue won the Distinctive Award for Prix Ars Electronics Digital Music category in 99.
In 2000 Ikue started using the laptop computer to expand on her already signature sound, thus broadening her scope of musical expression. 2000 commissioned by the KITCHEN ensemble, wrote and premired the piece “Aphorism” also awarded Civitella Ranieri Foundation Fellowship.
Recived the grant from Foundation for Contemporary Arts in 2006. In 2008 Celebrated 30th music year, presented 5 on-going projects at Japan Society in NYC.
Current working groups include MEPHISTA with Sylvie Courvoisier and Susie Ibarra, projects with Kim Gordon, duo project PHANTOM ORCHARD with Zeena Parkins, various projects with John Zorn. and John Zorn’s Electric Masada.
POETRY TO THE INFINITIVE POWER(S)
Join us for an evening in celebration of ISSUE Project Room featuring dozens of literature’s finest poets followed by a bacchanalian celebration and performance by These Are Powers.
Proceeds will benefit ISSUE Project Room’s move to 110 Livingston.
At 7pm — The Way of the Word
Poetry Extravaganza curated by Bob Holman, Suzanne Fiol, and Kenneth Goldsmith
featuring the amazing poets:
Bob Holman
Ken Goldmith
Jonas Mekas
Anne Waldman
Judith Malina
Abiodoun Oyewole (of the Last Poets)
Hettie Jones
Jeff Wright
Esther K. Smith
Georgia Luna Faust
Michael Carter
Kathy Engel
Kimiko Hahn
Beau Sia
Holly Anderson
Max Blagg
Frank Lima
Betsey Andrews
Mike Topp
Steve Dalachinsky
Yuko Otumo
and the FLARF POETS:
Gary Sullivan
Sharon Mesmer
Drew Gardner
Katie Degentesh
Jordan Davis
Brandon Downing
Nada Gordon
At 9:00pm — These Are Powers Dance Party
Live performance by These Are Powers with debut screening of their new music video for “Candyman”, featuring the new single off of their forthcoming release with RVNG Intl. Filmed at ISSUE’s future home, the Beaux-Arts 110 Livingston, “Candyman” is a surrealist dinner party where every course served consists entirely of sugar and the guests overindulge in an alternately comedic and nightmarish story. Conceptualized by These Are Powers and director Joseph Krings, the video was produced by a team assembled by Knowmore resulting in a bizarre, fun and colorful video that makes a perfect companion piece to an already infectious song.
TAP’s live performance will feature live AV projections by SECRET PROJECT ROBOT and will be followed by DJ sets by Ryan Sawyer, and Matthew Radune and Jeremy Campbell. Opening the event, immediately after the way of the word, is the duo Lone Wolf and Cub (drummer Ryan Sawyer and trapeze artist Suzanne Rogalsky).
About the TAP Dance Party artists:
These Are Powers
These Are Powers take the familiar and channel it back from the future primitive. We are a language all our own. It is club beats played live, found sounds, pulses, blips, collage, oscillations, electronic watercolor, decay, regeneration and every vibration in between. Whatever it sounds like is not what you think. Look twice. These Are Powers hail from the dual ports of Brooklyn, NY and Chicago, IL.
We are Anna Barie (sings, electronics), Pat Noecker (prepared bass, sings), and Bill Salas (electroacoustic drums, sings). We create movement in freedom, infinity in possibility.
Secret Project Robot
http://www.secretprojectrobot.org/
Secret Project Robot: Art Experiment is a not for profit dedicated to the documentation and proliferation of contemporary art and current cultural trends in music, performance, dance, the party and social theory.
Lone Wolf and Cub
http://www.myspace.com/ryanlonewolfsawyer
Listen to Bob Holman perform his Spoken Word Poem “Walking Brooklyn Bridge” for the Urbana 10th Anniversary party at the Bowery Poetry Club, NYC Oct 2007
Francis Dhomont
Francis Dhomont studied under Ginette Waldmeier, Charles Koechlin and Nadia Boulanger. In the late 40’s, in Paris (France), he intuitively discovered with magnetic wire what Schaeffer would later call “musique concrète” and consequently conducted solitary experiments with the musical possibilities of sound recording. Later, leaving behind instrumental writing, he dedicated himself exclusively to electroacoustic composition.
An ardent proponent of acousmatics, his work (since 1963) is comprised exclusively of works for tape bearing witness to his continued interest in morphological interplay and ambiguities between sound and the images it may create.
The Conseil des arts et des lettres du Québec has awarded him a prestigious carreer grant. In 1999, he was awarded five first prizes for four of his recent works at international competition (Brazil, Spain, Italy, Hungary and Czech Republic). In 1997, as the winner of the Canada Council for the Arts’ Victor Martyn Lynch-Staunton Award, he was also supported by the DAAD for a residence in Berlin (Germany). Five-time winner at the Bourges International Electroacoustic Music Competition (France) — the Magisterium Prize in 1988 — and 2nd Prize at Prix Ars Electronica 1992 (Linz, Austria), he has received numerous other awards.
He is the editor of special issues published by Musiques & Recherches (Belgium) and of “Électroacoustique Québec: l’essor” (Québec Electroacoustics: The Expansion) — for Circuit (Montréal). Musical coeditor of the Dictionnaire des arts médiatiques (published byUQAM), he is also lecturer and has produced many radio programs for Radio-Canada and Radio-France.
In 1978-2005, he has divided his time between France and Québec, where he has taught at the Université de Montréal from 1980 to 1996. Since the end of 2004 he lives in Avignon (France) and regularly presents his works in France and abroad. Great traveller, he participates in several juries.
He is an Associate Composer of the Canadian Music Centre (CMC, 1989) and a Founding Member (1986) and Honorary Member (1989) of the Canadian Electroacoustic Community (CEC). In October 2007, Université de Montréal awarded him a honoris causa doctorate. He is the president of the collective Les Acousmonautes in Marseille (France) and “Ehrenpatron” (honour patron) of the organization Klang Projekte Weimar (Germany).
He now focuses on composition and theory.
http://www.myspace.com/francisdhomont
Larkin Grimm + MV & EE Barn Nova Release
Larkin Grimm
I have been using magick in the form of music to guide me in my daily
life ever since my logical, academic world came toppling down while I was studying
Architecture at Yale University in 2002. I had been exploring the ins
and outs of rural communal life hoping to find “green” alternatives to
modern housing and had received grants for travel. I started out in
Alaska, living in a tent city with a group of renegade forest
defenders. There had recently been a few deaths at a tree sit because
loggers had cut down a tree adjacent to one that some kids were living
in, and both trees had been knocked down, smooshing these basically
innocent, idealistic kids. I appeared on the scene during a very
volatile moment, and there was much talk of revenge against the
“establishment.” There was also a huge amount of psilocybin and MDMA
to be found in this community, and as you can imagine my life became a
psychedelic swirl of mountains and trees and rainbows and my
high-functioning logical brain was overrun by pixies and tricksters
who rerouted all of my thinking mechanisms and turned me into not an
architect, but a singer. It has been said that architecture is frozen
music. Perhaps I was simply unfrozen.
\
MV & EE Return to Ecstatic Peace For Barn Nova
Still harvesting and sustaining in the deep woods of Vermont , MV & EE (Matt “MV” Valentine, once the brawn of the Tower Recordings, and Erika “EE” Elder, CEO of Heroine Celestial Agriculture and The MV & EE Medicine Show) are following their 2008 release Drone Trailer with their feature-film-for-the-blind Barn Nova, which marks their return to the Ecstatic Peace! label.
MV & EE aspire to the sort of beautifully rewarding standard in their documented output that Sun Ra or The Grateful Dead achieved. It is with Ecstatic Peace! that their most consistent works have been born and continue reach fans with The Golden Road, their most constant band. Together with Doc Dunn (pedal steel, rhythm guitar, vocals, drums) and Mike Smith (Rickenbacker 4001, vocals) who appeared on Drone Trailer as well as J Mascis (drums, guitar, plate reverb) and Woods’ Jeremy Earl (vocal, drums) they take you on the ride now known as Barn Nova and here they jam. Justin Pizzoferrato also appears contributing percussion, space echo and aiding once again at the controls. This album was recorded at MV & EE’s own home studio “Maximum Arousal Farm” as well as their current local New England rooms of choice, “Bank Row” (an old mid 1900′s bank) and J’s home studio “Bisquiteen.”
These kindred spirits share a wealth of ideas including a serious reverence and desire to upgrade/expand the classic-rock idiom. Barn Nova marks the return of “Spectrasound,” MV’s production technique that places tones dancing all around the stereo sound field: it has to be heard to be believed. This effect is all the more impressive that the majority of it was created recording live, rather than conjured through studio post-production during mixing. Especially potent on the A side-ending stomp “Summer Magic” where Erika’s economical leads go head-to-head with J’s on a particularly mind-blowing live-in-studio effort; It brings to mind the vibe of “Green Blues”, “Mother Of Thousands” and even an electric “Moon Jook” with matured songwriting.
Inspired by the likes of Jerry Garcia, John Cipollina and Tom Verlaine, Matt Valentine displays an insatiable appetite to play in various idioms with constant exploration and development. Meanwhile, Elder’s harmony leads recall the glorious twinned guitar lines of Canned Heat’s Al Wilson & Henry Vestine at their most potent.
Matt ‘mv’ Valentine hails from the green collar/blues dirt as a guitarist, singer, songwriter and producer, also known for his explorations on the dov_bantar (a banjo/sitar hybrid invented by barry weisblat). His debut as a leader was released as Glorious Group Therapy (with assistance from Erika Elder, Tim Barnes, Dean Roberts) on the cassette format in 1998 by the Polyamory label under the sobriquet ‘Matthew Dell’. The oxide was reissued soon after on LP under his proper name by Byron Coley and Thurston Moore’s Ecstatic Yod.
Prior to that release as a ‘solo’ stringman, he began cutting his big teeth on guitar excursions in the mid 90′s when he co-founded ‘The Tower Recordings’ fusing experimental acoustic songform with noise and other disparate avant garde techniques. That ensemble released 8 proper albums alongside various singles, 10-inches, cassettes and compilation appearances. During this time his bands played shows with John Fahey, Sandy Bull, Loren Mazzacane, Bert Jansch, Pearls Before Swine, Rudolph Grey, Borbetomagus, Arthur Doyle, Pavement, The Scissor Girls…as well as a tour with Cat Power. These experiences inspired MV & EE to establish their ‘Child Of Microtones’ label in 1999 which has been devoted ever since to issuing exploratory music in small editions of the highest quality form. To date they have 34 releases, and the COM subsidary ‘Heroine Celestial Agriculture’ numbering equal, if not unknown, catalog depth. the ‘Heroine’ label is run by Erika, along with her “MV & EE Medicine Show”.
Erika ‘ee’ Elder hails from the Forest and is a singer, lap steel guitarist, designer and a zen wrangler on a ‘mini’ firebird (a four stringed single humbucking pickup ‘mandolin’, but more “stoned age man” than Ernest Stoneman). She has been making music alongside MV since his solo debut, and has a composition as a group leader of “the Lady E Quartet” on the critically acclaimed U-Sound compilation. She is currently working on a duo LP with Nels Cline in tribute to John Fahey.
Barn Nova is their 4th major release after a decade’s worth of recordings issued by their own “Child Of Microtones” label, (an imprint striving to follow in the footsteps of Takoma, Gate 5, Semina and Saturn) as well as additional releases through some of the most respected boutique labels in the world: Time-Lag, Three Lobed, Spirit Of Orr, The Great Pop Supplement, Golden Lab, Qbico, Audible Hiss, Siltbreeze, Blackest Rainbow, Communion, Dicristina, Ecstatic Yod and Honest Jons).
www.myspace.com/mveebummerroad
http://www.ecstaticpeace.com/kits/barnnova_kit.html
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).
(MEJA) Michael Evans and Jeff Arnal + ESP (East Side Percussion: Evans, Christine Bard & Jim Pugliese) + Ryan Sawyer and Zach Layton
MALOMAR NITE with ARIANA REINES, DAN HOY, HOLY SHIT and JON LEON
UNFORTUNATELY, Due to Circumstances beyond our control, Genesis P-Orridge, Morrison Edley and Bryin Dall will not be able to participate in tonight’s performance.
MAL-O-MAR NITE
HOLY SHIT
DAN HOY
JON LEON
ARIANA REINES
celebrating the RELEASE OF
GLORY HOLE / THE HOT TUB BY DAN HOY / JON LEON (MAL-O-MAR: 2009)
AND
MY HEART LAID BARE BY CHARLES BAUDELAIRE, TRANS. ARIANA REINES (MAL-O-MAR: 2009)
Holy Shit (www.veryholyshit.com) is artist and designer Matt Fishbeck in collaboration with a lot of different people (Ariel Pink, Christopher Owens of Girls, many many more). Their record, Stranded at Two Harbors, is out on UUAR.
Alvin Lucier, Marina Rosenfeld, Jarrod Fowler, Seth Kim-Cohen and the New York Miniaturist Ensemble
A concert organized in honor of the publication of Seth Kim-Cohen’s new book, In The Blink Of An Ear: Toward A Non-Cochlear Sonic Practice (Continuum)
“Polemical, revisionist, prescriptive: In The Blink of an Ear argues for a reassessment of the short history of sound art, rejecting the tendency toward sound-in-itself in favour of a reading of sound s expanded situation and its uncontainable textuality.
It has been nearly a century since Marcel Duchamp famously proposed a non-retinal visual art, rejecting judgments of taste and beauty. In The Blink of an Ear asks why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp s conceptualism. Rather than treat sound art as an artistic practice unto itself, or as the unwanted child of music, In The Blink of an Ear relates the post-War sonic arts to contemporaneous movements in the gallery arts.
Key ideas from art history, poststructuralism and deconstruction are leveraged to suggest that the sonic arts have been subject to the same cultural pressures that have shaped the most important post-war movements in the gallery arts: Minimalism, conceptualism, appropriation and relational aesthetics. Sonic practice and theory have downplayed or, in many cases, completely rejected the de-formalization of the artwork and its simultaneous animation in the conceptual realm. John Cage and Pierre Schaeffer s predilection for sound-in-itself fuses Greenbergian media-specificity with a phenomenological emphasis on perception, and this tendency has established itself as the dominant paradigm for the production and reception of sound art. In The Blink of an Ear dismantles this history, excavating the conceptual implications of important instances of the sonic arts of the past six decades, and establishing the principles for contemporary non-cochlear sonic practice.” – Amazon.com
Embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political and the technological, In The Blink of an Ear announces a turning point in the theorization of the sonic arts.
Elliott Sharp
“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.”
232 3rd Street, 3rd Floor
SOLD OUT! Glenn Branca Ensemble – THE ASCENSION: THE SEQUEL
SOLD OUT
From left to right, guitars: Evelyne Buhler, Eric Hubel, Reg Bloor and Greg McMullen, conductor: Glenn Branca, drummer: Libby Fab, bass: Ryan Walsh (photo by Tony Cenicola)
The new Glenn Branca Ensemble will be performing the entirety of the soon to be recorded album ”The Ascension: The Sequel” at Issue Project Room on Oct. 17th.
The set will be about an hour and will include three world premieres***:
1. “The Tone Row That Ruled The World”***
2. “Carbon Monoxide”***
3. “Quadratonic”***
4. “The Blood”
5. “Lesson No. 3 (tribute to Steve Reich, 2006)”
The show will open with excerpts from the Ericka Beckman film
“135 Grand Street 1979″
including the only known footage of No Wave bands: Theoretical Girls, The Static, Ut and Youth In Asia.
For more info or photos contact: glenn@glennbranca.com
Patrick McGinley Sound Workshop
revenant:sound
In this one-day workshop we will explore sound as a transmitter of nonverbal information. We will focus on sound’s ability to define/describe space, and on our ability to resonate, alter, or create space by using sound.
‘revenant:sound’ is a project that focuses on improvised sonic activities in site specific locations. Voices are given to these spaces by producing sound using only objects found in-situ and the space itself. Participants will focus on a development of attentive listening and the ability to successfully participate in group explorations, while learning to find sonic potentials in everyday materials. Revenant derives its name from a concept of spatial memory, or, more specifically, from the long-term gestural memory of space; the ability of a location to retain an imprint or trace of activity or energy that has been present therein.
Participants are asked to bring one (non-musical) object from their living space, whose sonic potentials we will explore as a group.
On January 25, ISSUE Project Room will inaugurate its new space at 110 Livingston with Gaudeamus Muziekweek, a four-day festival celebrating groundbreaking and challenging new music by emerging composers from around the world. Working in partnership ...
ISSUE is starting off the New Year with a change of scenery. That's right, Issue Project Room is moving out of our space at the Old American Can Factory and into 110 Livingston in Downtown Brooklyn. We've had a great run at the Can Factory,...