ISSUE @110 Livingston: Artist-in-Residence Nate Wooley’s “Eight Syllables”
Trumpeter Nate Wooley performs his new piece “Eight Syllables,” the first composition using a notational system based on the International Phonetic Alphabet. Phonetic sounds, which are the building blocks of syllables, are mapped onto a set of parameters limiting how the lips, tongue, teeth, and throat are manipulated to influence the sound of the trumpet.
8 Syllables is the first composition using a notational system based on the International Phonetic Alphabet. The symbols for different phonetic sounds, which are the building blocks of syllables, are mapped onto a set of parameters limiting how the lips, tongue, teeth, and throat are manipulated, to create a trumpet sound. A collaboration with artist and percussionist Ben Hall (New Monuments/Graveyards) to create visual representations of the scores will be featured in a book/cd of the piece, co-produced by Issue Project Room and Peira Records.
Nate Wooley (b. 1974) was raised in Clatskanie, Oregon, a small fishing and lumber town on the Columbia River. He began playing trumpet professionally with his father at age 12. After college in Eugene, Oregon and Denver, Colorado he moved to Jersey City, New Jersey, where he currently resides. Since 2001 he has become a much sought after performer, composer, and improviser, working with Anthony Braxton, Evan Parker, John Zorn, Christian Marclay, C. Spencer Yeh, and David Grubbs , among others. His trumpet playing has been called “exquisitely hostile” by Italy’s Touching Extremes Magazine, and his solo performances and recordings have been numbered amongst a privileged handful that have helped to shape a new approach to the instrument.
ISSUE’s Artist-in-Residence program is made possible, in part, through generous support from the Jerome Foundation; the Suzanne Fiol Memorial Fund; Meet the Composer; the Foundation for Contemporary Arts; and with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York’s 62 counties.
Chicago Underground Duo
The Chicago Underground Duo formed in 1997 as an organic offshoot of the larger Chicago Underground Collective. The Duo consists of Rob Mazurek (cornet, electronics, piano) and Chad Taylor (percussion, electronics, vibes, mbira, guitar). Both stalwarts of the Chicago Jazz scene, their performances are dually based on notated compositions composed by both artists and on pure improvisation.
Mazurek and Taylor have released five CDs together, their most recent release being Boca Negra (Thrill Jockey, 2010). They have toured extensively in the U.S, Canada, Europe, Japan, and Brazil and are considered to be the most musically adventurous performers of the Chicago Underground incarnations.
Joe McPhee Trio X + Trio Caveat
Trio X consists of three like-minded improvisers Joe McPhee (Saxophone/trumpet), Dominic Duval (Bass), and Jay Rosen (Drums). The band was founded after its premier at the 1988 Vision Jazz Festival. Sharing an affinity for popular jazz standards, the trio’s musical repertoire is on one hand influenced by the likes of Thelonius Monk, Ornette Coleman, and Freddie Hubbard, and the other refined by the avant-garde sensibilities of their contemporary musical practice.
The three members have performed with a variety of musicians, McPhee with Evan Parker and William Parker, Duval with Cecil Taylor, Mark Whitecage, and Steve Swell, and Rosen with Sonny Simmons, Anthony Braxton, and Charles Gayle. They have released a number of recordings on the CIMP and Cadence Jazz Records labels and continue to receive critical acclaim for their live concerts and festival appearances.
Trio Caveat consists of bassist James Ilgenfritz, saxophonist Jonathan Moritz, and guitarist Chris Welcome. A parlour jazz trio, they have perfomred throughout the U.S. in art galleries, cafes, concert halls, parlors, and basements. Initially formed as a trio with Moritz, Ilgenfritz, and drummer John McLellan, the group’s discreet dynamics and attention to unlikely sonorities facilitate the deepest possible listening experience.
To TILT: Orig. Music for TILT Brass [Part 2]
To TILT: Orig. Music for TILT Brass [Part 2]
On Wednesday, March 3rd, the 10-piece Brooklyn-based group TILT Creative Brass Band presents the second installment of its on-going series To TILT: Original Music for TILT Brass which focuses solely on repertoire written for the organization’s distinctive ensembles (CBB and 6-piece SIXtet) at ISSUE Project Room. The program features works by a stellar group of composer/performers including Downtown legend Anthony Coleman, trumpet virtuoso Dave Ballou, avant-cornetist Taylor Ho Bynum, Gold Sparkle’s Charles Waters (featuring composer and world-class improviser Mick Rossi on piano), and TILT Director Chris McIntyre. TILT CBB features an extraordinary line-up of creative musicians including trumpeters Nate Wooley and Gareth Flowers, trombonists Curtis Hasselbing and Jacob Garchik, and and percussionist Kevin Norton.
More infomation (incl. mp3′s and composer bios) at http://www.tiltbrass.org/09-10_gigs/ipr_100303.html
PROGRAM
Anthony Coleman - Set Into Motion (2005)
Charles Waters - 3 Mysteries [Concertimento #12] (2007)
>>featuring Mick Rossi on piano
Taylor Ho Bynum - preharmonic, postchordal, revamped (2007)
Chris McIntyre - Foliation (for Suzanne) (2009)
Dave Ballou - Concerto for TILT (2003)
PERSONNEL
Creative Brass Band:
Trumpet – Nate Wooley, Gareth Flowers, Andy Kozar
French Horn – John Clark, Rachel Drehmann
Trombone – Curtis Hasselbring, Chris McIntyre
Bass Trombone – Jacob Garchik
Tuba – Ron Caswell
Percussion – Kevin Norton
Conductor – Greg Evans
Special Guest:
Mick Rossi – piano soloist on Waters
TILT Creative Brass Band
Brooklyn based TILT Creative Brass Band (TCBB) is a beautifully strange combination of military brass band and Downtown repertoire ensemble. The group has presented concerts since January 2003 at venues ranging from Whitney Museum to Barbes in Brooklyn. Since its inception, TCBB has fearlessly taken on works from the fringes of experimental concert music, tongue-in-cheek agitprop, and hybrid scores combining notation and improvisation. The group frequently presents entire programs of original works by its composer/performer members (Kevin Norton, Curtis Hasselbring, Nate Wooley, among others) and colleagues from the field, including legendary pianist Anthony Coleman (released on Tzadik), Doctor Nerve’s Nick Didkovsky, multi-instrumentist Charles Waters, and cornetist Taylor Ho Bynum.
In addition, the Creative Brass Band is committed to presenting works from the experimental tradition, ranging from a Varése graphic score from the late 50′s and selections from James Tenney’s Postal Pieces to works by Fredric Rzewski (Les Mounton de Panurge) and early John Adams (Light Over Water). In June ’09, TCBB kicked off a new on-going series of programs called New York Noise which presents historical and current works by important composers from the Downtown community and its ancestors such as Elliott Sharp, Lois V. Vierk, and Rhys Chatham. In 2010, the group will present several programs at ISSUE Project Room and will record and release its current To TILT repertoire.
Mick Rossi
Pianist, percussionist, and composer Mick Rossi’s diverse accomplishments include: being among “the most courageous, gifted, and charismatic musicians” of the New York Downtown scene (AllAboutJazz); a long-time Philip Glass collaborator and member of the ensemble as pianist, percussionist, and conductor; and working with artists from Dave Douglas to Kelly Clarkson to Leonard Cohen. He recently conducted Book of Longing at the Sydney Opera House, and performed Einstein at the Beach at Carnegie Hall and Koyaanisqatsi at the Hollywood Bowl. Recent recordings include One Block From Planet Earth (OmniTone), and They Have A Word For Everything (Knitting Factory). His recent concert at Le Poisson Rouge presenting his latest and ninth recording Songs From The Broken Land (Orange Mountain Music) was featured in the NY Times.
**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)
TILT Brass presents New York Noise
TILT plays music by four legendary Downtown composers
Nick Didkovsky – Stink Up! (2003) [World Premiere]
full ensemble
Lois V. Vierk – Jagged Mesa (1990)
2 trp, 2 tnr trb, 2 bs trb
Rhys Chatham – Waterloo No.2 (1986)
3 trp, 2 trb, solo perc
Elliot Sharp – Coriolis Effect (1998/2003)
full ensemble
PERSONNEL
Trumpet – Shane Endsley, Russ Johnson
Josh Frank
French Horn – Mike Atkinson, Ann Ellsworth, Mark Taylor
Trombone – Joe Fiedler, Chris McIntyre
Bass Trombone – Jacob Garchik, Dave Nelson
Tuba – Ron Caswell
Percussion - Garrett Brown
Conductor - Greg Evans
TILT Brass’ New York Noise series presents compositions and improvising strategies developed within the singular musical culture of Downtown NYC during the past 30 years. By the late 70′s, “Downtown Music” referred to several strains of activity in New York such as minimalist tendencies in the classic SoHo Scene, the post-punk severity of No Wave bands, and the improvisational abandon of the Loft Jazz scene. As the 80′s progressed, a natural blending of these performance practices gave rise to a sort of Post-Modern hybridity still highly influential on the “new music” community today.
The musicians of TILT are direct descendants of these historical “local” traditions, continuing to evolve and mutate inherited aesthetic DNA, often along side important legacy artists. When possible, the group works directly with composers to adapt older works and/or create new ones for its innovative instrumentation(s), striving to expose and reinvigorate this important musical legacy.
New York-based TILT Brass is a collective of creative brass and percussion artists that has presented concerts throughout the city since 2003. Many of the musicians who participate in TILT projects are leaders in their field, such as trumpeters Russ Johnson and Nate Wooley, trombonists Joe Fiedler and Curtis Hasselbring, horn player John Clark, and percussionist Kevin Norton. The group’s repertoire features over a dozen works custom designed for its two projects, the 10-piece Creative Brass Band and 6-piece SIXtet. The latter, with duos of trumpet, trombone, and tuba, features Johnson, Wooley, Hasselbring and TILT Director Chris McIntyre on trombone, and Joe Exely and John Altieri on tuba.
>This ever-evolving list of idiosyncratic pieces being created for both ensembles includes works by important voices in the avant jazz and experimental concert music fields, including Anthony Coleman, John King, Chris Jonas, Taylor Ho Bynum, and group members Norton and McIntyre, among others. Coleman’s work Set Into Motion, premiered by the Brass Band in 2005, was released on the composer’s acclaimed Tzadik CD Pushy Blueness in August ’06. In addition to original works, TILT presents many pieces from the experimental tradition. Programs have featured historical compositions such as a Varése graphic score from the late 50′s and selections from James Tenney’s Postal Pieces, epochal works from the 70′s by Fredric Rzewski (Les Mounton de Panurge) and early John Adams (Light Over Water), and contemporary works by Elliott Sharp and Lois V. Vierk (June ’09).
Over its 6 year history, a number of vital New York venues have presented TILT Brass projects such as the Whitney Museum, BAM Café, Joe’s Pub, Issue Project Room, and Tonic. In December ’06, TILT SIXtet joined forces with Chris McIntyre’s group Lotet (collectively known as LoTILT) at Roulette Intermedium to premiere his folio score Metaxis.The Creative Brass Band presented two nights of original repertoire at The Stone in June ’07. Entitled ALL TILT, these important events included the premiere of new works by Curtis Hasselbring and Nate Wooley,composer/performer members of TILT, and by multi-instrumentist Charles Waters and cornetist Taylor Ho Bynum. Recent SIXtet performances include a Febuary ’08 set during Issue Project Room’s Horn Week (featuring Santa Fe-based saxophonist and composer Chris Jonas) and an October ’08 presentation on Composer Collaborative’s Serial Underground at Cornelia Street Café.
Crackleknob (Mary Halvorson/Reuben Radding/Nate Wooley)
Zeena Parkins & Ikue Mori’s “Phantom Orchard” + Phantom Limb & Wooley
An Evening of Phantoms
Ikue Mori
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.
2003 commissioned by RELACHE Ensemble to write a piece for film In the Street and premired in Philadelphia. Started working with visual played by the music since 2004. In 2005 Awarded Alphert/Ucross Residency.
Recived the grant from Foundation for Contemporary Arts in 2006. Tate Modern commissioned the live sound track for Maya Deren’s silent films and premired in 2007.
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.
www.ikuemori.com
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,...