Ben Miller, Frantz Loriot & Jeremiah Cymerman
Jeremiah Cymerman is a composer and clarinetist based in Brooklyn, New York. Since 2002 he has been active in a wide variety of musical contexts and has been honored to present his work in some of New York City’s most highly regarded venues for avant-garde and experimental music including Roulette, The Stone, Issue Project Room, Anthology Film Archives, and Washington Square Church. Described by Time Out New York as “one of downtown’s most inventive and resourceful composer-performers” Cymerman has worked with a broad range of contemporary artists including Otomo Yoshihide, John Zorn, Jandek, Ned Rothenberg, Ikue Mori, Peter Evans, Jessica Pavone, Toby Driver, Lawrence D. “Butch” Morris, Trevor Dunn, Walter Thompson, Nate Wooley, Mary Halvorson, and Matthew Welch, among many others.
Ben Miller’s solo performance explores the “prepared guitar” as a form of auditory degeneration. This mulitphonic instrument (a deconstructed Gibson Kalamazoo) has two humbucker pickups (bridge/nut), two contact pickups (body/headstock) and a third pickup (mobile) with a variable pan to further complicate matters. The guitar is placed on its back with its six strings strung approx. one fifth below standard tuning. Intonation is arbitrary. The strings are primarily excited by the use/abuse of various objects; metal slides, violin bow, eBow, combs, springs, etc. The strings are occasionally “prepared” with binder clips, Ace bandage fasteners, and other found objects. On top of this, retaining a stereo output, Miller adds a score of analog and digital electronics, Casio SK1, cassette tape, radio, and the liberal use of a bixby tailpiece. Besides sounds generated by the strings, the instrument also makes use of string-sounds below the bridge, above the nut, and sounds from the guitar body itself. The neck and frets are rarely implemented in the traditional means of a “neck with frets”. A guitar pick is never used. Approaches to the instrument extend from subtle to violent. The end result is a textured, layered, multiphonic soundscape.
French violist/violinist Frantz Loriot performs solo as well as in various ensembles, ranging from rock to contemporary music by way of improvisation and electronics. He contributed to multidisciplinary projects connected to poetry, cinema, theatre and dance.
Talea Ensemble
Vinko Globokar: Toucher (1979)
Steven Takasugi: Strange Autumn (2004) *NY Premiere
Mauricio Kagel: Con Voce (1972)
Iannis Xenakis: Kassandra (1987)
Jeff Gavett, baritone
Alex Lipowski, percussion
Victor Adan, electronics
The Talea Ensemble is committed to programming new, groundbreaking music through innovative programming thereby communicating the distinctive voices of composers that deserve to be heard. Now in its fourth season, the Talea Ensemble has given premieres of over 80 works, including composers such as Stefano Gervasoni, Marco Stroppa, Pierluigi Billone, Jean-Luc Hervé, and Alexandre Lunsqui. The Talea Ensemble has been invited as guest ensemble to the Nevada Encounters of New Music (NEON), La Ciudad de las Ideas (Mexico) and the International Contemporary Music Festival of Lima, Peru. The Talea Ensemble has served as ensemble in residence at Columbia University as well as at New York University. 2009-10 season projects include a European tour in collaboration with the Hyperion Ensemble (Romania) and Ensemble Cairn (Paris), a residency at Harvard University, the Suggestioni Festival: A Festival of Italian Contemporary Music, and the US Premiere of Fausto Romitelli’s cycle, Professor Bad Trip. Visit www.taleaensemble.org for more information
Christian Wolff & the ICE Ensemble
Valentine’s Day with Christian Wolff, February 14th, 2010, ISSUE Project Room, 6pm
ICE launches “On and Off the Page,” a series illuminating music that breaks down the barriers between written and improvised music. This inaugural concert spotlights Christian Wolff, a pioneering composer whose music explores the subtle interactions between performers and the music they play. Featured on the program will be Mr. Wolff’s classic Exercises and Microexercises, as well as NYC premieres of more recent works. Mr. Wolff will be joined by ICE members Nathan Davis, Cory Smythe, Gareth Flowers, Joshua Rubin, Dan Peck, and Erik Carlson.
About Christian Wolff
Christian Wolff was born in 1934 in Nice, France. He’s lived mostly in the U.S. since 1941. He studied piano with Grete Sultan and composition, briefly, with John Cage. Though mostly self-taught as a composer, the work of John Cage, Morton Feldman, David Tudor and Earle Brown have been important to him, as well as long associations with Cornelius Cardew and Frederic Rzewski. A particular feature of his music is the various freedoms it allows performers at the time of performance as well as the variable results possible for any one particular piece, for which various new notations have been invented. Underlying notions in the work are shared freedom, self-determination and democratically-spirited collaboration. The music is published by C.F. Peters, New York and much of it is recorded, on many labels. A number of pieces, starting in 1953, have been used and commissioned by Merce Cunningham and his dance company. Wolff has been active as a performer and as improvisor – with Takehisa Kosugi, Steve Lacey, Christian Marclay, Keith Rowe, William Winant, the group AMM, Kui Dong and Larry Polansky. His writings on music (up to 1998) are collected in “Cues: Writings and Conversations”, published by MusikTexte, Cologne. He has received awards and grants from the American Academy and National Institute of Arts and Letters, the Ford Foundation, DAAD Berlin, the Asian Cultural Council, the Fromm Foundation, the Foundation for Contemporary Performance Arts (the John Cage Award for music) and the Mellon Foundation. He is a member of the Akademie der Kuenste in Berlin and the American Academy of Arts and Sciences. In 2004 he received an honorary Doctor of Arts degree from the California Institute of the Arts. Academically trained as a classicist, Wolff was professor of classics and music at Dartmouth College from 1971 to 1999.
About ICE
International Contemporary Ensemble (ICE) is a uniquely structured chamber music ensemble comprised of thirty dynamic and versatile young performers who are dedicated to advancing the music of our time. Through innovative programming, inter-disciplinary collaborations, commissions by young composers, and performances in nontraditional venues, ICE brings together new music and new audiences.
ICE was founded in 2001, and has rapidly established itself as one of the leading new-music ensembles of its generation. Awarded the American Music Center’s Trailblazer Award for 2010 and CMA/ASCAP’s 2010 Award for Adventurous Programming, the ensemble performs over fifty concerts a year in the US and abroad. Recent engagements include headline performances at the Musica Nova Festival (Helsinki, Finland), the Mostly Mozart Festival of Lincoln Center, the opening ceremonies of the Experimental Media and Performing Arts Center, and multiple engagements at Miller Theatre, including the US Premiere of Xenakis’ Oresteia. In addition to ICE’s performances at major venues throughout the world, the ensemble has self-produced eight large-scale contemporary music festivals in venues as wide-ranging as nightclubs, galleries and public spaces, many of which are free and open to the public. ICE has released critically acclaimed recordings on the Bridge, Naxos and New Focus labels.
A champion of music by emerging composers, ICE has given over 400 world premieres to date. In 2004, ICE launched the 21st Century Young Composers Project, a worldwide call-for-entries by composers under the age of 35, which has culminated in the world premieres of works by rising young composers in 27 different countries. Read more at www.iceorg.org.
**POSTPONED to March 3** TILT (Original Music for TILT Brass [Part 2])
The Brooklyn-based 10-piece group TILT Creative Brass Band (tiltbrass.org), directed by trombonist Chris McIntyre, presents a full evening of adventurous and unconventional brass music. This concert is the second installment of TILT’s on-going series “To TILT: Original Music for TILT Brass” which focuses solely on repertoire written for its distinctive ensembles (CBB and 6-piece SIXtet). Though wildly eclectic, its repertoire is interconnected via the playerly,
composed/improvised hybrid aesthetic developed in New York’s Downtown scene over the past 40 years. TILT CBB features a number of top creative musicians including Russ Johnson, Shane Endsley, Joe Feidler, and Kevin Norton. The program includes:
Anthony Coleman – Set Into Motion
Taylor Ho Bynum – preharmonic, postchordal, revamped
Charles Waters – 3 Mysteries [Concertimento #12]
Dave Ballou – Concerto for TILT
Chris McIntyre – Foliation (for Suzanne)
Zun Zun Egui + Human Teenager
Zun Zun Egui
Zun Zun Egui conjure up bona fide rebel music that is full of body, raw in spirit and totally free of precedent. A heavy, heavy dance band, they fire up mighty, eternal grooves worthy of some dust-caked Lagos street jam, but don’t just settle for that: tropical melodies, thrilling stop-start time switches, scorching psychedelics and robust underground rock flourishes are gathered up as the momentum swells towards frenzied, ecstatic finales. East African guitar practice is inflamed by multi-lingual incantations (in French, English, Creole, Japanese…), sinuous prog gets a big bass undertow. It’s roll and roll, a rainbow blaze of rhythm and sound that pulls both the rockers and the writhers into its heart.
Zun Zun release their first EP ‘Bal La Poussiere’ on Blank Tapes (home of Bass Clef, Scatter, Thee Stranded Horse) as a limited edition 12″. The title is a Mauritian saying loosely translated as ‘the best dancer raises more dust from the floor…’
Borne of Bristol, England (where Zun Zun Egui met and unhatched), this is music that has seen rare corners and a genuinely unique cross-range of cultures. Frontman and guitarist Kushal Gaya grew up off the coast of Madagascar, one foot in Reunion Island, the other on the adjacent isle of Mauritius. Life on Reunion made a particularly telling mark, as the teenage Kushal was awakened to the music of traditional ceremonies performing in honour of local ancestry – proud Creole customs that had been demonised by French colonial influence in the sixties. It took small and enterprising groups of Kushal’s young adult peers to find the courage to reclaim these folk traditions for what they were: in a weird parallel with the “rebellious” subcultures of western youth, Kushal would have to sneak off to such gatherings without his mother and father’s blessing. “The colonialists had fed my parents’ generation the idea that these services were devil-worshipping rituals”, he explains, “when in fact they were a really important part of Creole culture and identity – and the music you’d hear at them reflected the social mix on the island, this unique form of blues played with African rhythms and Indian melodies.”
Migrating to Nottingham in 2000 to live the English student life, Kush found himself reveling in a very different kind of subcullture: devouring a reputed 50 albums a month, he majored on the keystones of leftfield American rock such as Touch & Go Records and The Jesus Lizard, and wound up fronting a chaotic psycho-punk-blues group known for unhinged, exhibitionist live performance inspired by rock/art freaks like GG Allen and Delta blues legend Son House.
It was upon relocating to Bristol in 2005 that Kush started to crave a music which, whilst retaining the loose ‘n’ wild streak of his recent musical history, played down the wilful provocation in favour of a different intensity – something more joyful, groove-led, and in tune with the tropical blues scales and skipping, reverential rhythms Reunion and Mauritius had ingrained within him. He found a perfect foil in Yoshino Shigara, a Japanese animator, visual artist, and inventive keyboardist he met through a local jam band, whose soulful, explosively technicolour art seemed to paint the music of Zun Zun Egui before the band had even come to be (Yoshino is now responsible for all the band’s visual elements). After some early tinkerings, a permanent, all-English rhythm section was found in bassist Luke Mosse and drummer Matt Jones – suitable wide-minded students of beat and metre both, who swiftly became compositional partners in the Zun Zun democracy. It’s then the alchemy really started fizzing…
So far the band have been busy playing with all sorts of acts at all kinds of shows, from underground bunker busters with Whitehouse, Flower-Corsano Duo, and Peeesseye to larger gigs with the likes of David Byrne (at The Royal Festival Hall), Antibalas (at The Barbican), Hypnotic Ensemble and A Hawk and A Hacksaw, as well as ecstatically received appearances at Green Man and End of The Road festivals. They recently toured the UK with Fuck Buttons and were hand-picked by Portishead’s Geoff Barrow to play Invada Invasion at Bristol’s Colston Hall. Meanwhile the band hone their room-wrecking jamboree sound on home turf, as resident band at the club night they run in Bristol called ‘How Come…’
Instrumentation
Kushal Gaya: guitar/vocals
Luke Mosse: bass
Yoshion Shigara: keyboards
Matt Jones: drums/percussion
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photo: Fumie Ishii
Gary War Human Teenager
Human Teenager is Greg Dalton (Gary War) and Taylor Richardson (Infinity Window, Prehistoric Blackout, Purple Haze).
Human Teenager’s Cyclical Plan (Edition)
-Core Prophecy II: _______________________
-Kawaii Quantum Apologizer:
Applied By : _____________
*Phil Pfizer (Rep for dramaumentaria )- Enthusiast Arpeggiator, Thrown-Chair Pedal
*Robert Taylor Richardson (of Nights and Prehistoric Eulogy)- Adding Machine, Various Secretions
A
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D _______________ much more, taped stuff
Various mirages susceptiblity to Private transmissionsy i.e. creation of cardboard chemical- organ hybrids + blue technologies…
W hen
E. sta Fantasie
rriba guey
rr rack mound
xit waygone_______________________ racial(ling) (tings)
D. O. D.
E same________ all out now
A ways no
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————————————————–> \
I’m Sorry. Applied By sorry : __________
**POSTPONED to March 3** Original Music for TILT Brass [Part 2]
The Brooklyn-based 10-piece group TILT Creative Brass Band (tiltbrass.org), directed by trombonist Chris McIntyre, presents a
full evening of adventurous and unconventional brass music. This concert is the second installment of TILT’s on-going series “To TILT: Original Music for TILT Brass” which focuses solely on repertoire written for its distinctive ensembles (CBB and 6-piece SIXtet). Though wildly eclectic, its repertoire is interconnected via the playerly, composed/improvised hybrid aesthetic developed in New York’s Downtown scene over the past 40 years. TILT CBB features a number of top creative musicians including Russ Johnson, Shane Endsley, Joe Feidler, and Kevin Norton. The program includes:
Anthony Coleman – Set Into Motion
Taylor Ho Bynum – preharmonic, postchordal, revamped
Charles Waters – 3 Mysteries [Concertimento #12]
Dave Ballou – Concerto for TILT
Chris McIntyre – Foliation (for Suzanne)
Child Abuse + Alien Whale + Starring
“July” by Starring from Alexander Ness on Vimeo.
“Promising Brooklyn crew Starring, which includes Pterodactyl drummer Matt Marlin, plies a uniquely infectious form of art rock. The band’s jagged, bottom-heavy grooves suggest a mixture of Devo and early-’70s King Crimson.” – TimeOut
Child Abuse
“The local anarcho-noise grinders CHILD ABUSE are known for cheap Casio keyboards, layers of pulverizing sound, indecipherable screeched vocals, and unrelenting drum blasts. they play this dilapidated, bi-level performance space and low-rent residence (the main stage is actually in the kitchen) on Aug 7. Leave the kids at home.” – The NewYorker
Alien Whale
Alien whale may be the best biker rock band nyc has eternally known. Spawned in sumer 09 ‘the whale’ is ruling power trio intensity… the blurr of motorhead via the wrong nite acid trip of steppinwolf and u start to get the idea. … featuring colin langenus whose former band is usaisamonster on guitar.. matt mottel of talibam! On keyboards and nick lesley of necking on drums.. http://www.youtube.com/watch?v=B_dYUrorNM8.
Alien Whale
ALien whale may be the best biker rock band nyc has eternally known. Spawned in sumer 09 ‘the whale’ is ruling power trio intensity… the blurr of motorhead via the wrong nite acid trip of steppinwolf and u start to get the idea. … featuring colin langenus whose former band is usaisamonster on guitar.. matt mottel of talibam! On keyboards and nick lesley of necking on drums.. http://www.youtube.com/watch?v=B_dYUrorNM8.
Zbigniew Karkowski & Michael Haleta
Zbigniew Karkowski:
http://www.discogs.com/artist/Zbigniew+Karkowski
Michael Haleta:
Michael Haleta (born in 1978 in Princeton, NJ) is an intermedia artist living and working in Atlantic Highlands, NJ. He studied the cello from an early age up until the guitar, effects pedals and free form improvisation peaked his interests in the generation of sound. “Everything starts from a dot.”-Kandinsky. Haleta is interested in individual sounds and bits rather than complete things. In terms of visuals, he graduated in 2001 with a BA in information design from the Maryland Institute College of Art (MICA). A list of current visual and audio-based collaborators include: BBNB: Dawn and Michael Haleta, HD: Jeffrey Donaldson/Haleta, Zbigniew Karkowski/Haleta, the Voltage Spooks: Rick Reed/Keith Rowe/Haleta, MATH: Jeremy Sigler/Haleta and 2673 (Kevin Winters)/Haleta. Haleta has worked and/or played together with numerous composers, artists and musicians, including: Paul Neidhardt, Stephan Moore, Shaun Flynn, 2673 (Kevin Winters), Rick Reed, Jeremy Sigler, Keith Rowe, Jason Urick, Kasper Toeplitz, Scott Smallwood, Seth Cluett, Dan Deacon, Zbigniew Karkowski, Jeff Donaldson, Andrya Ambro and more. He has released audio for Alienation, Raw Special Effects (RSE), Carpark, Antiopic and Hoss records. Michael runs the small edition label/autonomous shop, Raw Special Effects (RSE) which is scheduled to release material by EVOL, Peter Rehberg and many others within the year 2010. A small portion of Haleta’s visual research can be viewed here: http://rse.sevcom.com/
Alessandro Bosetti & Asimina Chremos + Bryan Eubanks, Birgit Ulher & Forbes Graham + Jack Wright
Alessandro Bosetti – voice, electronics, compositions.
Asimina Chremos – dance
For the first time astonishing chicago dancer Chremos will be meeting Bosetti’s speech loop compositions. Based on speech rhythms and prosodic profiles those pieces develop over longer durations and feature extremely rhythmical although never regular structures. Materials are all derived from speech and prosody and from Bosetti’s unconventional writing. There is evidence that this is highly danceable irregular music. You cant count language on a regular beat, it flows, kicks and shakes in your head when you learn those tunes. Still, in the practice of this music the body has already started moving, restless, thoughtful, precise. An highly awaited meeting.
*
Bryan Eubanks – electronics
Birgit Ulher – trumpet
Forbes Graham – trumpet, electronics
*
Asimina Chremos – dance
Jack Wright – saxes
Artist bios:
Alessandro Bosetti was born in Milan, Italy in 1973. He is a composer and multidisciplinary artist working on the musicality of spoken words and unusual aspects of spoken communication, producing text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves across the line between sound anthropology and composition, often including translation and misunderstanding in the creative process. Field research and interviews build the basis for abstract compositions, along with electro-acoustic and acoustic collages, relational strategies, trained and untrained instrumental practices, vocal explorations and digital manipulations. Recent text sound projects include African Feedback (Errant Bodies press), the interactive speaking machine “MaskMirror” (STEIM, Kunstradio.at a.o. ) and his own ensemble Trophies with guitar player Kenta Nagai, vocalist Christian Kesten, and drummers Morten J.Olsen and Ches Smith. Alessandro Bosetti has been touring extensively in europe, USA and Asia and lives in Berlin (Germany).
Solo dancer Asimina Chremos has been described as “nearly ecstatic in her virtuosic athleticism” (Signal to Noise Magazine) and her improvisations as “relentlessly exciting to the eye” (Windy City Times). Her daily dance vlog, CircadianDancer, may be seen on YouTube. She also maintains duo projects microgig, with cellist Fred Lonberg-Holm and Echo Den, with vocalist Carol Genetti. http://www.asiminachremos.com/
After teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing, by the late 1970s Jack Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring, often performing for audiences in cities and towns where improvised music had never before been heard, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment, his art has always grown, expanded, and synthesized new information. He is unquestionably an original and virtuosic saxophonist, a master improviser who is deeply lyrical, with humor never far away. Today Wright tours frequently in Europe and North America (and in Japan in 2006), making new musical and human connections, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker, Axel Dorner, Michel Doneda, Andrea Neumann, Denman Maroney, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label), performed in over 20 countries, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US), as well as his own website. http://www.springgardenmusic.com/
Born 1961 in Nuremberg, Birgit Ulher studied the visual arts, which still have an important influence on her music. Since moving to Hamburg in 1982 she has been involved in free improvisation and experimental music. Since then she has “established a distinguished grammar of sounds beyond the open trumpet” (jazzdimensions.de). She performs solo, with dancers, working ensembles, and one-time collaborations with musicians from around the world. She has been organising the festival of improvised music Real Time Music Meeting for over ten years. http://www.birgit-ulher.de/
Forbes Graham is a composer, trumpet player, and electronic musician currently based in the Boston area. he has appeared on over 30 recordings, including studio appearances on such labels as Metal Blade, Tzadik, and Troubleman. Forbes has performed and recorded with a very diverse group of artists, including Erase Errata, Steve lantner, Daughters, Raqib Hassan, Jim Hobbs, The One Am Radio, and Luther Gray. His composition “Variations on the Fibonacci Sequence” was commissioned by the Greenwall Foundation and world premiered at the 2007 Festival of New Trumpet. Forbes has also written music for the new music/rock ensemble Normal Love. He has appeared at numerous festivals including High Zero and The Wire’s Adventures in Modern Music. His work incorporates many genres including drum n’bass, jazz, contemporary classical, noise, and hip-hop. http://www.polyrhythmatics.net/
Bryan Eubanks (b. 1977, Pasco, WA.) is focused on collaborative improvisation, solo musical projects, and sound installations. He has performed his work in live settings across the US, Europe, Japan, and Korea. Originally a saxophonist, his work has expanded to include computer music and instruments of his own design that incorporate open-circuits, samplers, and other electronics. For the past few years he has been working closely with Andrew Lafkas in a variety of settings: realizing ensemble music, performance/installations, a trio with drummer Todd Capp, and an ongoing electro-acoustic duo. He became musically active in the late 90′s in Portland, Oregon as a performer and organizer and worked extensively with Joe Foster, Jean-Paul Jenkins, Leif Sundstrom, Doug Theriault, GOD, Super Unity, and many others. Since 2005 he has lived and worked in Brooklyn, NY.www.rasbliutto.net/bryaneubanks
Theoretical: “Re-Imagining the City as Revolutionary Utopia” With Tom McDonough and Alexander Galloway
Theoretical: Re-Imagining the City as a Revolutionary Utopia
Theoretical is a new critical discourse series at ISSUE Project Room curated in collaboration with Brandon W. Joseph (Columbia University), David Grubbs (Brooklyn College), and Seth Kim-Cohen (Yale University). Through monthly talks, panels, and classes, this series seeks to actively engage artists, writers, and audiences in examining and discussing key issues in contemporary aesthetic theory, media, urban space and politics.
On February 1st, we invite you to join ISSUE Project Room for Theoretical: Re-Imagining the City as Revolutionary Utopia, a discussion between Tom McDonough and Alexander Galloway about Situationist Urbanism.
The Situationist International (SI), led by Guy Debord and central to the Paris uprising in May 1968, published many incendiary texts on politics and art in the journal Internationale Situationniste. One central theme to their work was rethinking the city: from a site for routine consumption and work to a utopia that breaks down barriers between function and play.
Book Launch event for The Situationists and the City: A Reader, edited and translated by Tom McDonough (Verso Books)
Free and open to the public
Tom McDonough is an associate professor in Art History at Binghamton University, specializing in post-War European art, cinema, and theory, as well as an editor of the journal Grey Room. He is author of The Beautiful Language of My Century: Reinventing the Language of Contestation in Postwar France, 1945-1968 (MIT, 2007), and editor of both Guy Debord and the Situationist International: Texts and Documents (MIT, 2002) and The Situationists and the City: A Reader (Verso, 2009).
Alexander R. Galloway, associate professor at New York University, is an author and programmer. He is a founding member of the software collective RSG and creator of the Carnivore and Kriegspiel projects. The New York Times recently described his work as “conceptually sharp, visually compelling and completely attuned to the political moment.” Galloway is the author of Protocol: How Control Exists after Decentralization (MIT, 2004), Gaming: Essays on Algorithmic Culture (Minnesota, 2006), and The Exploit: A Theory of Networks (with Eugene Thacker; Minnesota, 2007).
The Kropotkins
Lorette Velvette, vocals
Charlie Burnham, violin & mandolin
Dave Soldier, banjo
Dog, guitar
Jonathan Kane, snare drum
Alex Greene, bass drum
North Mississippi rhythm & blues and fife & drum meet techno and punk rock in The Kropotkins’ world, producing startling song and dance styles, exploring a parallel American popular music featuring a major powerhouse musical supergroup.
The group features Memphis singer and guitarist Lorette Velvette, drummer Jonathan Kane (February, the Swans and La Monte Young) on bass drum and snare respectively, guitar and bass by Dog (a.k.a. Mark Deffenbaugh, Souixie and the Banshees and John Cale), banjo and violinist Dave Soldier, and violinist Charlie Burnham (James Blood Ulmer trio).
This Saturday, March 17, St. Ann's Church will host the second installation of String Theories, the joint partnership between ISSUE Project Room and the String Orchestra of Brooklyn that provides artists with an opportunity to premiere new expe...
