Image by Sara Driver

Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker & guitarist Jim Jarmusch. Jarmusch’s previous collaborations with Van Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another’s space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth expemplifying an austere understanding and compatibility. Jarmusch’s guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, He Is Hanging By His Shiny Arms, His Heart An Open Wound With Love, finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg’s work, this record is extraordinary, new and arcane at the same time, modern but timeless.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

What is share?

Share is an open jam, not just for digirati, but for all new culture lovers. Participants bring their portable equipment, plug into our system, improvise on each others’ signal and perform live audio and video. We furnish the amplification and projection. Share happens every Sunday.

open jams and walk-in sets — Bring your equipment/instruments/gear etc. to join the jam!

audio jam: Prepared and spontaneous music from eight plus simultaneous performers. This is the time and place to perform a piece of music you’ve written and hear it on a large sound system, improvise spontaneously with other participants, get feedback on your latest project or try out that new max patch/software setup. Bring your noise maker of choice and an XLR, quarter-inch or RCA cable to join.

video jam: multi-user live video synthesis. Generating an immersive visual environment, in the SHARE tradition, in which multiple participants are able to jointly compose the video output. Try out and learn about new VJ wetware. As with the audio, walk-in sets are encouraged. Bring your clips or camera or laptop/amiga and VGA, S-Video, or RCA cables to join

8pm, free —

Tonight’s featured guest are:

Leslie Ross + Katherine Liberovskaya
http://www.share.dj/share/event_info.php?eventID=822

Leslie Ross (quadrophonic sound performance) + Katherine Liberovskaya (visuals) will perform a rare duet set at Share!

Leslie Ross, performer, sound-installation artist, bassoonist and instrument-maker, has been exploring and experimenting with sound for over 25 years. In both gallery and street performance settings as well as in collaboration with choreographers, she has created works for numerous constructed instruments and installations. Her compositions for performance are mostly structured scores that play with memory and recall, where the ‘recalled’ may be developed in predetermined various ways. Improvisation remains the central and essential element of these scores.
In the past few years she has returned her focus to a detailed exploration and understanding of bassoon multiphonics. This process of investigation has led to the creation of solo works that use an extensive system of micro-amplification: 15 microphones are placed at tone holes on the instrument and the signal from these microphones are directed to many speakers around a room. She continues to build replicas of historical bassoons in her workshop on the Lower East Side of NYC.
Web site:http://www.leslieross.net/otherT.html

Katherine Liberovskaya is a video/media artist based in Montreal, Canada and New York City. Involved in experimental video since the 80s, she has produced numerous videos, video installations and performances shown around the world. Since 2001 her work mainly focuses on collaborations with composers/sound artists mainly in live video+sound performance. Among these: Phill Niblock, Al Margolis/ If,Bwana, Keiko Uenishi (o.blaat), Zanana, Hitoshi Kojo, Tom Hamilton, David Watson, Anne Wellmer, David First, and many others. In addition to her art practice she has concurrently always been involved in the programming and organization of diverse media art events, notably with Studio XX and Espace Vidéographe in Montreal, as well as Experimental Intermedia, NY (Screen Compositions 2005, 2006, 2007, 2008, 2009, 2010, 2011) and the OptoSonic Tea series at Diapason in NYC.
http://www.liberovskaya.net

—
& also.. (a little later…)
—–

Compactor

http://www.share.dj/share/event_info.php?eventID=823

http://compactor.bandcamp.com/
http://www.facebook.com/compactornoise

Compactor is the solo industrial/noise/electroglitch project of Derek Rush, who has been a participant at Share NYC off and on for a couple of years.
Derek is better known for his band Dream Into Dust and other projects with Bryin Dall including A Murder Of Angels.
——-

Share @ Issue Project Room @ The (OA) Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215

direction/map:
http://issueprojectroom.org/contact
http://is.gd/ljow

SHARE is always 100% FREE!! (no admission!)

Show up early!!! and stay late!!

http://share.dj/share
http://facebook.com/sharenyc
http://issueprojectroom.org

Flowers & Cream is a small press / independent POETRY publishing imprint founded by Sonic Youth songwriter Thurston Moore. The press aims to feature work of young, emerging poets steeped in contemporary poetic practice and investigation/illumination.

Living betwixt Northampton, Massachusetts and New York City, Thurston Moore has been involved with editing the Ecstatic Peace Poetry Journal since early 2000. His own verse has been published in various anthologies and by a number of imprints since Water Row Press first presented Alabama Wildman, a collection of scattered writings from the 1970s and 80s. He has been on faculty at the Summer Writing Program at Naropa University.

Moore will be joined by Elaine Kahn as the assistant poetry editor and business facilitator of Flowers & Cream Press. Elaine is a poet and songwriter with work published by Glass Eye Books, Big Baby Books, Ecstatic Peace Library, as well as being featured widely in various journals. She has worked as an intern for Small Press Distribution in Berkeley, CA and as the Poetry Buyer for City Lights Bookstore in San Francisco. She received her MFA from the Iowa Writers’ Workshop and currently resides in Northampton, MA.

Flowers & Cream recognizes the diversity of resonance in the contemporary poetry scene, a community charmed with reference to earlier schools, waves, gestures, pronouncements, and inks all with eyes both forward and askance.

Anselm Berrigan

Anselm Berrigan (born 1972 in Chicago, Illinois) is a poet and teacher. He grew up inNew York City, where he currently resides with his wife, poet Karen Weiser. From 2003 to 2007, he served as artistic director at the St. Mark’s Poetry Project. He is a co-chair of the writing program at the Bard College summer MFA program and a professor at Wesleyan University. His newest work, which is a book-length poem called Notes From Irrelevance, will be released on September 1st, 2011, through Wave Books.

John Coletti

John Coletti is the author of Physical Kind (Yo-Yo-Labs, 2005), Same Enemy Rainbow (fewer & further, 2008), and Mum Halo (Rust Buckle Books, 2010) which is available now in pre-release at http://rustbucklebooks.blogspot.com/. He recently finished serving as editor of The Poetry Project Newsletter.

Ben Estes & Elaine Kahn

Ben Estes is the author of the chapbooks Lamp like l’map (Factory Hollow Press) and Cymbals (The Song Cave). He has been educated by the Kansas City Art Institute, the University of Iowa, and is currently enrolled in the Program for Poets and Writers at the University of Massachusetts, Amherst. With Alan Felsenthal he is the editor and publisher of The Song Cave (a series of singular things) and the journal Sea Ranch. He currently lives in Northampton, MA.

Elaine Kahn is the author of the chapbook Customer (Ecstatic Peace Library, 2010). She is the assistant editor of Flowers & Cream Press and co-curates the LOOT performance series at Flying Object. Work has

appeared or is forthcoming in the Agriculture Reader, Elimae, NOÖ Journal, La Petite Zine, Supermachine & Jubilat. Elaine also performs music under the name Horsebladder.

Thurston Moore / Samara Lubelski duo

Thurston Moore is a founding member of NYC weird rock groop Sonic Youth. He also releases records and publishes books under the Ecstatic Peace rubric. His writing has been published through various small presses.

Samara Lubelski is a musician, native New Yorker, solo recording artist. She has played with MV/EE, White Out, Metal Mountains a.o. She has recorded with Thurston Moore for his ‘Trees Outside The Academy’ and ‘Demolished Thoughts’.

The Littoral Series is made possible by support from The Casement Fund, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

Food and eating are central to community. When we eat we are in companionship with our neighbors and all those who show up, both the invited guests and the unexpected company. Seated with us at the table are our fellow humans, plants, mushrooms, bacteria and other animals. While some of these visitors eat and some are eaten, all participate in a variety of exchanges.

Please join spurse (plus collaborators and special guests) in a mid-winter feast to explore and experiment with community. This multi-course meal will feature foraged and gleaned local plants and animals in unique preparations and one-of-a kind settings. The meal will be free and we ask in return a lively willingness to be in cahoots with the questions of eating, foraging, community and our multi-species commons. Collaborators include Jen Woodin, Chad Curtis, Cameron Andersen, En Sang Cho, Gale DellaRocco, Priscilla Dobler, Melissa Graff, Shoji Miyazawa, and Amy Williams.

Space is limited. RSVP required.

As ISSUE transitions from our current location in the Gowanus to our new home in Downtown Brooklyn, the nature of our programming, community and relationship to Brooklyn will change greatly. In an attempt to keep our decision-making transparent and create an open forum for community input, we have established an informal series called Species of Spaces. Meant to serve as a non-strategic plan for our move, a discussion running alongside and supplementing our normal work, Species of Spaces is an attempt to reinvigorate and extend our experimental origins. Species of Spaces will be the home for a plethora of shared concerns and interests with no defined structure or agenda. For each event, we will invite a number of guests and collaborators to help formulate the evening and lead the discussion. Each iteration will inform the next, the conversation gaining practicality and robustness throughout the year.

“To start with, then, there isn’t very much: nothingness, the impalpable, the virtually immaterial; extension, the external, what is external to us, what we move about in the midst of, out ambient milieu, the space around us.” – Georges Perec

This project received generous support from the State University of New York at New Paltz and the Tyler School of Art at Temple University.

Species of Spaces is made possible by support from The Casement Fund, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Image by Sara Driver

Concerning The Entrance Into Eternity is an extraordinary new collaboration between Dutch lutenist Jozef Van Wissem and American filmmaker & guitarist Jim Jarmusch. Jarmusch’s previous collaborations with Van Wissem have not prepared the eager listener for the expressivity and emotional depth of his playing on these duets. Respectful of one another’s space the pair weave layers of melody and waves of feedback while acoustic guitar and lute wrap together with a subtle depth expemplifying an austere understanding and compatibility. Jarmusch’s guitar work is metaphysical, at times sounding like a hurdy gurdy and at other time sounding as if it is responding to the calls of the lute. The final piece, He Is Hanging By His Shiny Arms, His Heart An Open Wound With Love, finds Jarmusch accompanying a solo lute composition with a reading from St. John Of The Cross. With three titles named after Christian mystic Emanuel Swedenborg’s work, this record is extraordinary, new and arcane at the same time, modern but timeless.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Title TK

Sawing, sputtering, gurgling and wailing, Architeuthis Walks on Land is every bit the displaced and terrifying cephalopod that the name suggests. The viola and bassoon are two instruments rarely associated with free improvisation and noise; yet on Natura Naturans Amy Cimini and Katherine Young rip it up with particular aplomb, weaving disjunct lines, constructing chaotic sound masses and raising towering monoliths. Crafting their improvised materials into tight structures, the eight tracks on Natura capture the compositional, timbral and expressive breadth of this uncommon coupling: from divergently soloistic to profoundly intertwined playing, from a slowly unfolding intimacy to a jagged and kinetic style. Cimini and Young lunge and flutter through their materials with the intuition and energy of constant discovery.

Violist Amy Cimini and bassoonist Katherine Young have been performing together as Architeuthis Walks on Land since 2003, drawing on their mutual interests in free music, rock, and contemporary classical music. The duo developed their early style within Chicago’s experimental music community, relocating to New York in 2008. They have collaborated with artists such as Anthony Braxton, Peter Evans, Fred Lonberg-Holm, Adam Sonderberg, Jessica Pavone, Jason Ajemian and Hans Joachim Irmler from Faust. Known for a charismatic stage presence and aggressive playing styles, Cimini and Young are equally at home in rock clubs and concert halls, and they maintain busy performing schedules in New York, Chicagoand beyond.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Anthony Coleman (Peter Gannushkin, DOWNTOWNMUSIC.NET)

Anthony Coleman is a composer-keyboardist who has performed and recorded throughout the world. His projects include the piano trio Sephardic Tinge, which has released three discs: Sephardic Tinge, Morenica, and Our Beautiful Garden Is Open (Tzadik) and has performed at the Sarajevo Jazz Festival, North Sea Jazz Festival, Saalfelden Festival, and the Krakow and Vienna Jewish Culture Festivals. His Selfhaters Orchestra has issued two CDs: Selfhaters and The Abysmal Richness of the Infinite Proximity of the Same (Tzadik).

Hollis ’69 / Good Morning / Feb. 11, 1999/ Hollis ’69 II / A Day

Anthony Coleman – piano, Sean Conly – bass, Satoshi Takeishi – drums

Jaki (John) Byard (June 15, 1922 in Worcester, Massachusetts – February 11, 1999 in New York City) was an American jazz pianist and composer who also played trumpet and saxophone, among several other instruments. He was noteworthy for his eclectic style, incorporating everything from ragtime and stride to free jazz. In describing his contribution to the Phil Woods album Musique du Bois, National Public Radio described him as “one of the most compelling and versatile pianists in jazz”.

Byard began playing professionally at the age of 15. After serving in World War II he toured with Earl Bostic in the late 1940s, and, by now based in Boston, made his recording debut with Charlie Mariano in 1951. Later, he was a member of the bands of Herb Pomeroy (1952-55, recording in 1957) and Maynard Ferguson (1959-62).

Moving to New York, Byard recorded extensively with Charles Mingus in the periods 1962 to 1964 and 1970, touring Europe with him in 1964. He also made important recordings as a sideman with Eric Dolphy, Booker Ervin and Sam Rivers. As a leader, he recorded a string of albums for the Prestige label during the 1960s. He fronted an occasional big band, the Apollo Stompers. He taught at the New England Conservatory, Manhattan School of Music, Hartt School of Music and the New School for Jazz and Contemporary Music.[2]

Byard was shot dead in 1999. The circumstances surrounding his death have not been determined.

Jaki Byard was my most important mentor. I met him when I was 12 years old.He was my principal piano teacher. And it was due to his influence that I came to study at NEC.

I went to him because I was already interested in Ragtime Piano, and was beginning to become interested in Early Jazz piano (East Coast Stride, as well as the music of Jelly Roll Morton). I was also aware enough, however, to realize that I wouldn’t always want to express myself solely through archaic genres. When I heard Jaki play, I was amazed by his ability to leap from the oldest to the newest styles of Jazz in a brilliantly kaleidoscopic way. But I was also struck by how he made all of these genre references his own. His playing is instantly recognizable.

Once at NEC, I had gradually less and less contact with Jaki. We would meet occasionally, and I also wrote for his school Big Band. He was always friendly, and never expressed anything negative about my “defection” to the Composition Department (a whole epic story in itselfŠ). But I wonder if something about this secretly hurt him. He had been incredibly generous with me, taking me to sessions and introducing me to Earl Hines and Charles Mingus. In many ways, he treated me like a peer.

His violent death came as a terrible shock.

Hollis, Queens was where Jaki lived and worked and taught. 1969 was my first year of High School, when I really was able to start taking this Musical Life seriously. Feb. 11, 1999 was the day Jaki was killed.

Flaubert/Sofa/Sentence

Anthony Coleman – piano, electric organ, Ashley Paul – alto saxophone, objects, voice, Eli Keszler – percussion

Quelquefois, quand je me trouve vide, quand l’expression se refuse, quand, après avoir griffonné de longues pages, je découvre n’avoir pas fait une phrase, je tombe sur mon divan et j’y reste hébété dans un marais intérieur d’ennui. Je me hais et je m’accuse de cette démence d’orgueil qui me fait haleter après la chimère.

Flaubert, letter to Louise Colet – Croisset, Saturday, April 24, 1852

(Sometimes, when I am empty, when words don’t come, when I find I haven’t written a single sentence after scribbling whole pages, I collapse on my couch and lie there dazed, bogged in a swamp of despair, hating myself and blaming myself for this demented pride which makes me pant after a chimera)

Eli Keszler and Ashley Paul are (I’m very proud to say) my former students. Since leaving school, they have embarked upon the creation of a body of work (together and separately) that has already had wide, even global impact. Even though we do a lot of projects together, I’ve wanted to write something specifically for the three of us for some time.

Aioli

Anthony Coleman – piano

Matter of Operation

Survivors Breakfast: Fausto Sierakowski – alto sax, Zoe Christiansen – clarinet, accordion, Joelle Wagner -bassoon, Nigel Taylor – trumpet, Cale Israel – trombone, Jason Belcher – baritone horn, Leah Hennessy – voice, piano, Andrew Hock, Arian Shafiee – guitars, Eden MacAdam – Somer, Mia Friedman, Diamanda Dramm, Abigale Reisman – violins, Simon Hanes, Simon Willson – basses, Andria Nicodemou – vibraphone, Andy Fordyce – drums, percussion. Anthony Coleman – conductor

Survivors Breakfast! I remember once, long ago (Google isn’t helping) reading an article about the Mark Morris Dance Company where Morris spoke glowingly about how wonderfully, absurdly mismatched his company was. I love that image. I’ve always been fascinated by the idea of an ensemble’s functioning as a kind of paradigmatic society where, as Terry Eagleton says, writing about Shakespeare’s The Tempest, individuals are “not wholly active, shapers of their individual lives, nor wholly passive, parts of a larger design in which they are merely manipulated objects; human life is in some way an interpenetration of the twoŠa fusion of spontaneity and aware responsibility”.

I’ve aimed at this for a long time. All my fascination with Ellington and his band, with the films of John Ford and Preston Sturges and their stock companiesŠtrying to find that balance. Well, now I have my weekly work with Survivors Breakfast, and I feel like some Bizarro World version of Haydn at Eszterhazy!

As a passionate misreader (in every way you can imagine) of John Cage and his work, I have taken his pet phrase (originally from Ananda Coomaraswamy) “art should imitate nature in her manner of operation” and messed it up a bit.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

This program was curated by Juraj Kojs, and will include commissioned compositions by Christopher Cerrone, Natacha Diels, Katarzyna Glowicka, Andrew Greenwald, Adrian Knight, Juraj Kojs, Jessie Marino, Paula Matthusen, Chikashi Miyama, Spencer Topel, Chester Udell, Jorge Variego and Henry Vega.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

The fundraiser is aimed at covering our travel and lodging at Darmstadt this July.  We’ve been selected as one of five ensembles from around the world to participate in Darmstadt Ensemble 2012 Project.  Additionally we will use the funds raised to help support our non profit incorporation.

The Mivos Quartet, praised by Time Out New York as an excellent ensemble, is devoted to performing the works of contemporary composers, presenting new music to diverse audiences. Since the quartet’s inception in 2008 they have performed and closely collaborated with an ever-expanding cadre of international composers who represent multiple aesthetics of contemporary classical composition. Commissioning and premiering new music for string quartet is essential to the quartet’s mission; Mivos has performed works by emerging and established composers including Anna Clyne, Wolfgang Rihm, Alex Mincek, Samson Young, Luke DuBois, Philip Glass, Huang Ruo, Tristan Perich and Kirsten Broberg.  They have appeared at venues including The Stone, Issue Project Room, Monkeytown, Roulette and the Brecht forum, and have appeared on concert series including Concerti Aperitivo (Udine, Italy), HellHOT! New Music Festival (Hong Kong), and Edgefest (Ann Arbor, MI).  Mivos was one of five groups selected for the Young Ensembles Fellowship at the 2012 Darmstadt Internationalen Ferienkurse für Neue Musik.

Chamber Music Month is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.