Paul Flaherty Quartet + Indignant Senility + Family Underground w/ DJ Sets by Expressway Yo-Yo Dieting
Saxophonist Paul Flaherty is a pure free-improv player, using no written tunes or pre-arranged outlines. He performs here with his quartet, which includes trombonist Steve Swell, violinist/vocalist and noise artist C. Spencer Yeh, and seminal punk-jazz drummer Weasel Walter.
Pat Maherr performs as both Indigent Senility and his DJ moniker Expressway Yo-Yo Dieting, the second being with Danish free-drone duo Family Underground. Maherr, based in Hubbard, Oregon, has previously split his time between a plethora of monikers, from the chopped and screwed hiphop of DJ Yo Yo Dieting to Sisprum Vish’s lo-fi noise, developing the gritty collage sensibility which he’s mastered to a disturbing degree.
Artist-in-Residence: James Ilgenfritz
Photo by Reuben Radding
Bassist and composer James Ilgenfritz kicks off his first Artist-in-Residence performance with the music of Anthony Braxton for solo bass. Ilgenfritz will also bring a chamber ensemble to premiere a new work for septet, featuring Leah Paul (flute), Kirk Knuffke (trumpet), Julianne Carney (violin), Chris Dingman (vibraphone), Taylor Levine (guitar), and Sara Schoenbeck (bassoon), with Ilgenfritz on contrabass. The evening will conclude with Billy Fox’s Blackbirds and Bullets celebration of their CD release Dulces, which includes Ilgenfritz on bass.
Artist-In-Residence: Matana Roberts
“Ms. Roberts isn’t just mildly curious to expand her medium: She seems driven to do it.” – NY Times
“Matana is definitely nondescriptive. She’s not a lady, she’s not a man; she’s just a being…” – Jazz Times
“Roberts is a deep traditionalist who looks beyond the rigid distinctions and definitions of musical style” – Chicago Defender
“…alto saxophonist and clarinetist Matana Roberts –add this name to the frustratingly short list of excellent, female reed players…” – All About Jazz
“…Roberts is a fluid, elegant player who rejects the star soloist approach of many a saxophonist….” – BBC Jazz
On November 18, Matana will present COIN COIN Happening II: Fields of Memphis, featuring violinist Mazz Swift
Matana ( mah-tah-nah)Roberts, is a dynamic saxophonist, composer and improviser, who tries to expose in her music the mystical roots and spiritual traditions of American creative expression.
As a Chicago native she was fortunate enough to be surrounded by musicians who showed her by distinct example the importance of listening to one’s personal creative voice while at the same time using the profound and many layered traditions of jazz and improvised musics to act only as her creative guide, not as her creative definer. By using their mentorship, she has been able to craft a voice and creative focus that truly speaks to her own true artistic individuality. She feels strongly that her music should not only reflect the many colors and moods of universal human emotions, but that it should also testify, critique, document, and respond to the many socio-economic, historical, and cultural inequalities that exist not only in this country, but all over the world.
Matana, a 2006 Van Lier fellow, Brecht Forum fellow, and 2008 and 2009 Alpert Award in the Arts nominee, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada with her own ensembles as well as with the collaborative jazz trio Sticks and Stones, Black Rock Coalition founder Greg Tate’s Burnt Sugar, Reg E Gaines and Savion Glover’s homage project to the late John Coltrane, the Oliver Lake Big Band, and the Julius Hemphill Sextet and Merce Cunningham dance. She recently released a homage project to her hometown entitled The Chicago Project, on Barry Adamson’s Central Control International, produced by pianist extraordinaire Vijay Iyer, featuring friends and supporters of her Chicago development. She has also recorded as a side person on recordings with such iconic bands as Godspeed You Black Emperor, TV on the Radio, Guillermo Scott Herren’s Savath and Savalas, Silver Mt Zion, and sound artist Daniel Given’s Day Clear/Day dark. Matana is a member of the AACM– Association for the Advancement of Creative Musicians and the BRC– Black Rock Coalition.
ABOUT COIN COIN : a blood narrative in blacks, browns, reds , and blues….
Since 2005 Saxophonist/composer Matana Roberts has been experimenting on a sound narrative about the intricacies, contradictions and questions that surround the human bloodline experience. How when broken down into the most minute details new meanings arise beyond the surface levels of one dimensional human acceptance; generally attached to shades of difference, and fear of the unknown. Transcending sometimes the unbearable in order to create new possibilities of understanding the human condition.
Using herself and research she has done on her own bloodline history and various ensembles she leads as the “guinea pig” in this sound endeavor, she has been able to cull a myriad of rich and awe inspiring stories that speaks many interesting truths about the flexibility and wonder of individual understanding. Transversing the American South of days past– traveling reflections of African, French, Irish, English, Scottish, Canadian, and Choctaw, Cherokee, Chickasaw Native America history, Matana is weaving together stories and lore that speak to a very distinct, historically experimental, yet common, American experience. For her, a very personal search in sound practice that opens a dialogue for possibilities going beyond the specific; regenerating a focus that she hopes in the end celebrates the inherent potential that resides in the overflowing capability of human love, sadness, kindredness, perseverance, and joy
To learn more about Matana’s vision for her residency, read her interview “In conversation with Matana Roberts, ISSUE’s Current Artist-In-Residence” with David Martinson.
ISSUE’s AIR program made possible, in part, through the generous support of the Jerome Foundation.
John Butcher
John Butcher’s work ranges through improvisation, his own compositions, multitracked saxophone pieces and explorations with feedback and extreme acoustics. Originally a physicist, he left academia in 1982, and has since collaborated with hundreds of musicians principally involved with improvisation – including Derek Bailey, John Stevens, Gerry Hemingway, Polwechsel, Gino Robair, Rhodri Davies, John Edwards, Toshimaru Nakamura, Eddie Prevost, John Russell, Phil Minton and Steve Beresford. His compositions include pieces for Polwechsel, Elision, Rova Saxophone Quartet, and “somethingtobesaid” for the John Butcher Group. Recent projects include “Thermal” with EX guitarist Andy Moor & Thomas Lehn and “The Contest of Pleasures” with Axel Dörner and Xavier Charles. He values playing in occasional encounters – ranging from large groups such as Butch Morris’ London Skyscraper and the EX Orkestra, to duo concerts with Fred Frith and Akio Suzuki.
1st set: John Butcher solo (acoustic saxophones, and amplified/feedback saxophones)
2nd set: with Okkyung Lee (Cello)
Artist In Residence: Matana Roberts
“Ms. Roberts isn’t just mildly curious to expand her medium: She seems driven to do it.” - NY Times
“Matana is definitely nondescriptive. She’s not a lady, she’s not a man; she’s just a being…” – Jazz Times
“Roberts is a deep traditionalist who looks beyond the rigid distinctions and definitions of musical style” – Chicago Defender
“…alto saxophonist and clarinetist Matana Roberts –add this name to the frustratingly short list of excellent, female reed players…” – All About Jazz
“…Roberts is a fluid, elegant player who rejects the star soloist approach of many a saxophonist….” – BBC Jazz
“The sound of Matana Roberts’ alto sax spans jazz her-story, from its roots in New Orleans, through the swinging ‘30s-40s, to the New Thing.” – All About Jazz
Matana Roberts COIN COIN : a blood narrative in blacks, browns, reds , and blues….
Since 2005 Saxophonist/composer Matana Roberts has been experimenting on a sound narrative about the intricacies, contradictions and questions that surround the human bloodline experience. How when broken down into the most minute details new meanings arise beyond the surface levels of one dimensional human acceptance; generally attached to shades of difference, and fear of the unknown. Transcending sometimes the unbearable in order to create new possibilities of understanding the human condition.
Using herself and research she has done on her own bloodline history and various ensembles she leads as the “guinea pig” in this sound endeavor, she has been able to cull a myriad of rich and awe inspiring stories that speaks many interesting truths about the flexibility and wonder of individual understanding. Transversing the American South of days past– traveling reflections of African, French, Irish, English, Scottish, Canadian, and Choctaw, Cherokee, Chickasaw Native America history, Matana is weaving together stories and lore that speak to a very distinct, historically experimental, yet common, American experience. For her, a very personal search in sound practice that opens a dialogue for possibilities going beyond the specific; regenerating a focus that she hopes in the end celebrates the inherent potential that resides in the overflowing capability of human love, sadness, kindredness, perseverance, and joy.
COIN COIN, in essence, a musical monument to the human experience.
For her residency at the Issue Project Room Matana has decided to use her time there to create what she is calling “COIN COIN Happenings” based on ideas and concepts she has used to put together some of the larger ensemble chapters. Purposely pairing down each piece to duo live instrumental pairings, combined with pre arranged field recordings, she will experiment in ways that she has been unable to yet in some of the large ensemble pieces, aiming to create sonic environments that would pull even the most particular witness in. These Happenings will be based around three upcoming chapters of the work, whose current working titles are:
Wed September 30th– Chapter 6: exodus: bell, book, and candle
Thursday October 29th–Chapter 7: papa joe
Wednesday November 18th– Chapter 8: the field(s) of memphis
Her last performance in the Issue residency ( Wed, December 9th) will be the premiere of a current new reworking of a large ensemble chapter — Chapter 1—Gens de Couleur Libre/Free People of Color
Each performance will be followed by reading from Matana’s self published ‘zine about the project Fat Ragged and will evolve from there into a question and answer session for anyone in attendance about the project as well as a discussion of resources that can be used searching for ones genealogical traces.
Matana (mah-tah-nah) Roberts, is a dynamic saxophonist, composer and improviser, who tries to expose in her music the mystical roots and spiritual traditions of American creative expression.
As a Chicago native she was fortunate enough to be surrounded by musicians who showed her by distinct example the importance of listening to one’s personal creative voice while at the same time using the profound and many layered traditions of jazz and improvised musics to act only as her creative guide, not as her creative definer. By using their mentorship, she has been able to craft a voice and creative focus that truly speaks to her own true artistic individuality. She feels strongly that her music should not only reflect the many colors and moods of universal human emotions, but that it should also testify, critique, document, and respond to the many socio-economic, historical, and cultural inequalities that exist not only in this country, but all over the world.
Matana, a 2006 Van Lier fellow, Brecht Forum fellow, and 2008 and 2009 Alpert Award in the Arts nominee, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada with her own ensembles as well as with the collaborative jazz trio Sticks and Stones, Black Rock Coalition founder Greg Tate’s Burnt Sugar, Reg E Gaines and Savion Glover’s homage project to the late John Coltrane, the Oliver Lake Big Band, and the Julius Hemphill Sextet and Merce Cunningham dance. She recently released a homage project to her hometown entitled The Chicago Project, on Barry Adamson’s Central Control International, produced by pianist extraordinaire Vijay Iyer, featuring friends and supporters of her Chicago development. She has also recorded as a side person on recordings with such iconic bands as Godspeed You Black Emperor, TV on the Radio, Guillermo Scott Herren’s Savath and Savalas, Silver Mt Zion, and sound artist Daniel Given’s Day Clear/Day dark. Matana is a member of the AACM– Association for the Advancement of Creative Musicians and the BRC– Black Rock Coalition.
She has played alongside some of the most intriguing creative sound visionaries spanning across genres of this time period and currently resides in New York City
Sensorium Saxophone Orchestra + William Hooker w/David Soldier Sabir Mateen Braithwaite
Brooklyn, NY, July 6th, 2009 —-When composer and musician Ben Miller takes the stage at the Issue Project Room in Brooklyn on Friday August 7th, he will trade his guitar for a conductor’s baton, and lead his 15-piece saxophone ensemble, the Sensorium Saxophone Orchestra (SSO), through a rousing evening of musical offerings that will no doubt turn the audience on its collective ear. Best known for his work in the genres of punk/avant rock, avant-jazz/free improv., and electronic/noise, Miller’s latest musical venture marries his love of orchestral and 20th century art music with his own unique “all-intervallic” compositional technique. The result: intricately crafted works of art, written for and played by the SSO, believed to be NYC’s first and only recording saxophone orchestra.
Honed by months of rehearsal, SSO now brings the fruits of its hard work to public performance. The August 7th show will feature their interpretation of IN C by Terry Riley, the “Grandfather of Minimalist Music”. Riley’s wife Ann notes enthusiastically, “Although IN C has been performed hundreds (maybe thousands) of times, I’m sure this will be a first for saxophone orchestra.” The play-list will also include three of Miller’s own compositions, Glow White (recorded for composer Glen Branca’s In-Search-of-The-Lost-Chord-Contest), Switch (a sound-painting improvisation) and sections of Symphony of Suspicious Activity, slated for a vinyl release later this year.
SSO is the latest evolution in Miller’s three-decade career, which began in 1969 with the formation of the psych-rock band, Sproton Layer, with brothers Roger (Mission of Burma, Alloy Orchestra) and Laurence (Destroy all Monsters), with whom he played sax in the mid-1970’s. The 1980’s saw Miller exploring abstract minimalism in GKW with language artist Robert Currie. By 1997 Miller was composing and performing with Chicago’s The Eleven Mirrors Ensemble; more recently he has engaged in collaborations with author Carol Novack, filmmaker Matt Kohn, playwright Lori Borts, and multimedia artist Orin Buck. In addition to SSO, Miller is currently active in several other creative entities; Ben Miller/degeneration, Third Border and M3, an ongoing recording project with brothers Roger and Laurence.
For some, the road from punk progenitor to post classical modernist composer may seem an unlikely one. Miller cites growing up in a musical household as a formative influence on his eclectic career. “My father’s love of classical and 20th century music played a big part in my appreciation of orchestral music. In college, I listened to a lot of Eric Satie, Edgar Varese, and Olivier Messiaen.” An opportunity to record with Glen Branca’s 100 Guitar Orchestra in 2004 and 2006 opened Miller’s eyes to the untapped potential of a saxophone orchestra. “I discovered that by using an entire orchestra with only a single instrument type, the end result was incredibly cohesive and in no way limiting. With the uniformity of timber, range and technique, the over-all sound is as if one gigantic instrument is playing”.
On August 7th, the Issue Project Room audience will hear the gigantic instrument that is SSO.
Future SSO performances are set for later this year at the Brooklyn Lyceum (SSO’s NYC premiere of Symphony of Suspicious Activity Sept. 17th), the Brecht Forum (October), and the Brooklyn Academy of Music (December).
William Hooker is an artistic whole, a vast circle of vision and execution. A body of uninterrupted work beginning in the mid-seventies defines him as one of the most important composers and players in jazz. As bandleader, Hooker has fielded ensembles in an incredibly diverse array of configurations. Each collaboration has brought a serious investigation of his compositional agenda and the science of the modern drum kit. As a player, Hooker has long been known for the persuasive power of his relationship with his instrument. His work is frequently grounded in a narrative context. Whether set against a silent film or anchored by a poetic theme, Hooker brings dramatic tension and human warmth to avant-garde jazz. His ability to find fertile ground for moving music in a variety of settings that obliterate genre distinctions offers a much-needed statement of social optimism in the arts. A disciplined, adaptive, and energetic approach to his medium insures that the oeuvre of William Hooker will continue to grow thicker and richer.
William Hooker has released over 20 critically acclaimed CDs. As a composer, he has received commissions from Meet the Composer, the NY State Council on the Arts, Real Art Ways and others, and has led many creative ensembles with musicians from diverse backgrounds, including Lee Ranaldo, David Murray, David S. Ware, William Parker, DJ Spooky and Thurston Moore. Hooker often reads his poetry during performances as part of the musical compositions.
Flexible Music + Imaginary Band
Haruka Fujii- percussion Eric Huebner- piano Tim Ruedeman- saxophones Dan Lippel- guitars
With an instrumentation that blurs the line between jazz, rock and classical music, Flexible Music was inspired by Dutch composer Louis Andriessen’s Hout for saxophone, guitar, piano and percussion. Since 2003, the group has commissioned over 30 pieces including new works by Nico Muhly, Orianna Webb, Vineet Shende, John Link, Ryan Streber, Mikel Kuehn, Andrew Waggoner, Steve Ricks, Nizan Leibovich, Ethan Wickman, Ross Bauer, Carl Schimmel, Seung-Ah Oh, and Adam B. Silverman.
Flexible Music looks forward to engagements in fall of 2010 on the Macau International Music Festival in China and at the University of Montreal. This season’s concerts have included performances at Syracuse University, Bowling Green State University’s Mid-American Festival of New Music, Evolution Music Series (Baltimore), and Chamber Music Now (Philadelphia), and masterclasses at the Peabody Institute of Music and American University. Some of the ensemble’s past concerts and residencies include Brigham Young University, University of Utah, Manhattan School of Music, Cleveland Institute of Music, William Paterson University, and The Stone (NYC). Flexible Music’s debut cd, FM, was released by New Focus Recordings in March 2009. “This was my first encounter with Flexible Music, but it certainly won’t be my last. Each player was estimable in his or her own right; together, they provided a broad canvas upon which tonight’s composers could unfurl their imaginations.” Steve Smith, Night after Night Blog (Music Reviewer for NY Times and Time Out NY)
http://www.myspace.com/flexiblemusic
Imaginary Band
Gordon Beeferman – piano/compositions
Kirk Knuffke- tpt
Ken Thomson – alto sax
Matt Bauder – tenor sax
Josh Sinton – bari/bass clarinet
Brad Kemp – bass
Michael Evans – drums
“Complex and daringly modern…Mr. Beeferman’s music, with its skittish melodic lines and pungent atonal harmony, is gritty, fidgety and intriguing.”
—New York Times
GORDON BEEFERMAN is a composer, pianist and improviser based in New York City. His works — orchestral, solo, chamber, and opera — have been been performed by the Minnesota Orchestra, Albany Symphony, California EAR Unit, Quartet New Generation recorder collective, American Brass Quintet, eighth blackbird, pianist Winston Choi, soprano Lisa Bielawa, and others. His chamber opera “The Rat Land,” performed by the New York City Opera on its VOX: Showcasing American Composers series, was praised by the New York Times as “complex and daringly modern.” The Albany Times-Union described his orchestral work as “Chilling… unpredictable… brutal.”
Beeferman has received commissions from the Fromm Foundation, the BMI Foundation, and Concert Artists Guild, among others, and prizes including three BMI Student Composer Awards, an ASCAP Young Composer Award, and the BMG/Williams College National Awards to Young Composers Grand Prize. He has been a fellow at Tanglewood and a resident composer at the Copland House.
A “fully liberated pianist” (Cadence Magazine), Beeferman has performed in a wide range of settings, from concerto soloist to free-improviser. In New York he has performed at Roulette, the Vision Festival, the Knitting Factory, MATA, Columbia University’s Italian Academy and the Improvised and Otherwise Festival, as well as at other venues across the US and Canada. He has collaborated extensively with dancers, writers, and visual artists, in particular, with choreographer Anita Cheng; his work has been performed locally at spaces including the Joyce SoHo, Danspace, and the Merce Cunningham Studio.
A native of Cambridge, Mass., Beeferman was born in 1976. He played piano from an early age; he studied jazz and Third Stream privately with Ran Blake. He received his B.M. in composition from the University of Michigan and was awarded the Stanley Medal, the School’s highest undergraduate honor. His teachers have included William Albright, William Bolcom, Bright Sheng and Leslie Bassett for composition, and Steven Drury and Anton Nel for piano.
Beeferman’s recordings of improvised music are available on Generate Records. Scheduled for release in 2009 are chamber works on the Genuin and Summit labels.
Ned Rothenberg + Paolo Angeli
Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Sync’s Harbinger, Intervals, a double-cd of solo work,Live at Roulette with Evan Parker and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Inner Diaspora and Ghost Stories, on Tzadik and Power Lines on New World, along with The Fell Clutch on Animul. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot and Yuji Takahashi.
paolo angeli
Paolo Angeli plays the Sardinian prepared-guitar: an orchestra-instrument with 18 strings, an hybrid between guitar, baritone, violoncello and drums, gifted with hammers, pedals, some propellers at variable speed. With this singular instrument, constructed by the craftsman Francesco Concas, Paolo elaborates, improvises and composes unclassifiable music, suspended between free jazz, folk noise and minimal pop.
The Dream of the Ants + Matt Bauder and Jason Ajemian + Amy Cimini and Katie Young Duos
The Dream of the Ants
Terrence McManus-classical guitar
Ellery Eskelin-saxophone
Gerry Hemingway-drums
The Dream of the Ants, a new chamber ensemble led by guitarist Terrence McManus, will performing a new multi-sectional, through-composed work entitled, The Machine. The piece is divided into seven overlapping sections, and is highly influenced by the work of Morton Feldman, Gyorgy Ligeti, and Bela Bartok.
Born in Brooklyn, New York, guitarist Terrence McManus grew up in New Jersey and Connecticut. He has performed with Bill Frisell, Tim Berne, Ellery Eskelin, Mark Helias, Gerry Hemingway, Herb Robertson, Anthony Cox, Kermit Driscoll, Gene Bertoncini, Russ Lossing, Marty Eurlick, and Michael Sarin, and has performed at Carnegie Hall, the New York Guitar Festival, Ellis Island, and the inaugural month at John Zorn’s The Stone. In November of 2004, Terrence was invited to perform in the first annual Minnesota Sur Seine jazz festival in Minneapolis and St. Paul, Minnesota. An accomplished solo guitarist, Terrence performs his own compositions and arrangements, and has developed a unique style of improvisation, drawing on extended technique and prepared guitar. Terrence’s solo improvisations were featured in the New York City debut of the Fermin Cabal play Disappeared(Tejas Verdes). The play’s month long residency took place at the Richmond Shepard Theatre in September 2006. In 2006 Terrence formed Flattened Planet, a record label dedicated to the promotion of new, creative, and improvised music. In 2008 Terrence was featured in the book, State of the Axe: Guitar Master’s in Photographs and Words, by legendary photographer Ralph Gibson. The book, published on Yale University Press, was produced in conjunction with The Museum of Fine Arts, in Houston, TX, where the book’s images were on exhibition.
Matt Bauder
Matt Bauder is a saxophonist and composer who has studied with Ed Sarath, Anthony Braxton, Ron Kuivila and Alvin Lucier. In the past ten years he has been an active member of the new music scenes in Ann Arbor, Chicago, Berlin and New York, where he has performed with, among others, Braxton, Bill Dixon, Fred Anderson, Jeff Parker, Taylor Ho Bynum, The SEM Ensemble, Ken Vandermark and Phil Minton. He appears on recordings with Jason Ajemian (Locust Music), Rob Mazurek (Thrill Jockey), Neil Michael Hagerty (Drag City), His Name is Alive (4AD/TimeStereo), Saturday Looks Good to Me (Polyvinyl) and Bill Brovald (Tzadik). His recordings as a leader and co-leader on 482 Music, Clean Feed and Eye & Ear Records have received wide critical acclaim.
Matt Bauder will be performing with This Could be Anywhere (w/ Jason Ajemian) & Architeuthis Walks on Land (w/ Katherine Young, Amy Cimini).
A WEEK OF HORNS IV
February 9, 2008
matana roberts solo +marty ehrlich’s four alto (s)
Matana Roberts
Chicago native Matana Roberts is a reedist, composer,and improviser who tries to expose in her music the mystical roots and spiritual traditions of African-American creative expression. She is a member of the AACM — Association for the Advancement of Creative Musicians and currently resides in New York City where she is an in demand freelancer and leader of many of her own projects. www.matanaroberts.com
marty ehrlich four alto(s)
w/ Michael Attias, Marty Ehrlich, Andy Laster, and Ned Rothenberg
alto saxophones
Call it a conceit. One times Four into One. An orchestra of its own.
A chance to compose for these inimitable dramatic personae.
A song and a dance.
8pm $10
A WEEK OF HORNS II
February 7, 2008
herb robertson + sara schoenbeck + matt bauder
herb robertson
Robertson’s jazz and new music improvisation combines a thorough command of traditional and extended techniques with a prodigious imagination yielding an utterly original voice. Along with Paul Smoker and Kenny Wheeler, Robertson is among the most innovative improvising trumpeters of the last 25 years. Born and raised in New Jersey, he attended the Berklee School of Music before playing in various jazz and rock bands, eventually joining both saxophonist Tim Berne’s band and bassist Mark Helias’ groups in early 1980’s New York.
In 1985, Robertson recorded as a leader for the first time. Transparency featured Berne, guitarist Bill Frisell, bassist Lindsey Horner, and drummer Joey Baron and was followed by four more recordings for the important JMT label. He recently began his own record label, Ruby Flower Records, with Ana Isabel Ordonez.
As a leader and sideman, Robertson has performed with Anthony Braxton, Anthony Davis, Bobby Previte, David Sanborn, Barry Guy, Agusti Fernandez, Evan Parker, Bill Frisell, and Paul Motian among many. He tours Europe several times yearly, is featured regularly on many of their major festivals and media broadcasts, and also composes music for dance and theater. For more information, see http://www.herbrobertson.com/
matt bauder
Matt Bauder is a saxophonist and composer who has studied with Ed Sarath, Anthony Braxton, Ron Kuivila and Alvin Lucier. In the past ten years he has been an active member of the new music scenes in Ann Arbor, Chicago, Berlin and New York, where he has performed with, among others, Braxton, Rob Masurek, Jeff Parker, Taylor Ho Bynum and Ken Vandermark. He appears on recordings with Jason Ajemian (Locust Music), Warn Defever (Perforate My Heart), Neil Michael Hagerty (Drag City), His Name is Alive (4AD/TimeStereo), Saturday Looks Good to Me (Polyvinyl) and Bill Brovald (Tzadik). His recordings as a leader on 482 Music and I & Ear Records have received wide critical acclaim.
sara schoenbeck
sara schoenbeck is a bassoonist who dedicates herself to expanding the sound and role of the bassoon in the worlds of contemporary notated and improvised music. The Wire places her in the “tiny club of bassoon pioneers” at work in contemporary music today and the New York Times has called her “riveting, mixing textural experiments with a big, confident sound.” From being a member of creative music ensembles, like Wayne Horvitz’s Gravitas Quartet, Anthony Braxton’s 12+1tet and Vinny Golia’s Large Ensemble to backing Mos Def in Dakah hip hop orchestra and backing Tony Bennett and Stevie Wonder in the Mancini Orchestra, Sara continues to defy categorization as an artist. She has also also shared the stage in improvised music performances with Yusef Lateef, Fred Frith, John Butcher, Mark Dresser, Pauline Oliveros, Wadada Leo Smith and Nels Cline among many others. A recent transplant from Los Angeles, she spent a portion of her time there recording and also as adjunct faculty at California Institute of the Arts. Feature films she has worked on include the Matrix Trilogy, Spanglish and Dahmer. She performs regularly at jazz festivals and venues throughout North America and Europe, notably the Du Maurier Jazz Festival in Vancouver, B.C., the Improvised Music Fest in Antwerp, Belgium and the Berlin Jazz Festival. Sara has received grants from Meet the Composer and the Durfee foundation for outreach work and composition.
8pm $10
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,...