The composer and master reedman (sax, bass clarinet, shakuhachi) in duos with two unique and highly individual pianists, Denman Maroney and Jon Backer. Known for both his solo and ensemble work, Rothenberg ranges from expansive and aggressive to meditative and ethereal. Sometimes in the same breath. The two pianists share a passion for diving (literally) into the insides of the piano, a sound source that continues to fascinate and surprise.
Varyingly described as a "nutball, genuine freaky original, intense weirdo, and virtuoso of awkwardology" Greenpot Bluepot's Natalie LeBrecht creates surreal, mostly electronic sonic environments in which her assortment of psychologically complex characters are able to dynamically (and often bluntly) express themselves. The music evokes images of epic historical landscapes that weave in and out of battlefields, carnivals, balls and burlesques while simultaneously utilizing seemingly futuristic electronic tones, abstract gargles, distorted squiggles and whimsical bends.
Origami, an exploration into unsuspected emotional and expressive possibilities of the voice by using an exquisitely detailed collection of songs that range across centuries, continents and musical styles. The lush, layered and mercurial work is performed by the composer on voice, electronics and piano; Ben Monder, guitar; Matt Moran, vibraphone; Satoshi Takeishi, electric bass; and John Hollenbeck on percussion and melodica. The ancient Japanese art of paper folding provides a metaphor for how the music takes shape and enfolds the listener.
The premiere of balloon virtuoso and composer Dunaway's For Balloon and String Quartet, featuring the Flux Quartet. Using balloons as reeds, strings and resonators, Dunaway blends the timbres of the balloon and string quartet into a singular unit as only she can. The Flux will also perform a work by Alvin Lucier and Dunaway will conduct an audience participation piece that uses balloons as "eardrums." For Balloon and String Quartet was underwritten by the American Composers Forum with funds provided by the Jerome Foundation.
Do you remember sheep? What does the "sorrow string" sound like? Poet W.S. Merwin's words about nature with titles like As Is, Sheep Passing and To the Sorrow String suggested strong musical imagery to the composer. Vocalist Timothy Hill, founding member of the Harmonic Choir and master practitioner of the astounding "harmonic" technique of singing, will interpret Merwin's poetry within Kinney's composed and improvised musical settings featuring pianist Michael Bellar, violinist Julianne Kloptic, guitarist Brandon Ross and other surprise guests.
The Improvising Chamber Ensemble is Dave Taylor, bass trombone; Vincent Chancey, French horn; Howard Johnson, bass clarinet; Jay Rosen, drums; Charlie Burnham, violin; and the composer on violin and vocals. The idea for the group was born out of Hertlein's wish to hear more melody in improvised music than is common. The musicians are familiar with the world of classical music, straight-ahead jazz and free improvisation and have developed a unique orchestral sound leading to surprising ad hoc compositions which go far beyond the initial idea.
The composer's Trio Pianissimo: Balance, with Steve Hunt, piano; John Lockwood, bass; and Bendian on drums and percussion. Bendian has performed with Ornette Coleman, Cecil Taylor, Derek Bailey and Pat Metheny. Hunt is known for his work with Allan Holdsworth, Billy Cobham and Stanley Clarke. Lockwood is bassist for George Garzone and The Fringe as well as saxophonist James Carter. Together they perform a kind of fractured and asymmetrical bebop blending contemporary classical and jazz, lyrical ballads and even the odd standard. The trio's CD is Balance (TrueMedia JazzWorks).
Fantastic Light uses the composer's mixture of the Willing Lung Choir, live and electronic percussion, strings, synths and found "noize". Caprice is the unstoppable female drummer of 90's phenomenon Crash Worship. Since moving to New York, she has been developing her vocal skills based upon her unique rhythmic sense. The results range from subtle, minimalist melodies stretched over awkward rhythms, to blown out crescendos of voices and percussion. Commissioned by Roulette.
Twisted Tributes and Transformations, a series of new solo contrabass pieces exploring ideas of transformation and presented in the context of tributes to influential musicians, many of whom are bass players, including Milt Hinton, Israel "Cachao" Lopez, Bert Turetzky, and Charles Mingus. Dressed has performed in dozens of ensembles and recordings including his own groups such as Force Green, the Modular Ensemble and the Mark Dresser Trio which has recorded a soon-to-be-released CD for Cryptogramophone.
The Ted Williams of the New York improv scene presents several pieces from his spectacular multi-instrumental, ultra-timbral CD, Full Stop (Ecstatic Peace) for amplified drumset-plus a trio with David Watson on amplified bagpipes and the guitarist Lee Ranaldo. Known for his work with Henry Kaiser, Bill Laswell, Fred Frith, Bob Ostertag, Elliott Sharp, Booby Previte, John Zorn... Noyes continues his "ongoing struggle against time" describing his work as "best approached as still from a film as opposed to strict compositions".
La Cuidad, a composition using sampled sounds, digital rhythms and analog effects with visual projections by Gill Arno; celebrating the wonder of New York City. The piece delves into the happiness inherent in the legacy of a diverse society, while addressing the representation of New York City as a pool of unlimited excess and ambition. Criterion is co-founder of Broklyn Beats, a loose collective of producers, DJs, visual and graphics people working to inject a sense of reality into the sometimes formulaic world of electronic music. Criterion records and performs both solo and with the groups with Doily, DJ Churchshoes and visualists Arno and Theres Wegmann. Commissioned by Roulette.
Automates Ki Live Studio. Warning: This music is performed by automatons-mechanized acoustic sculptures animated by inaudible frequencies. Their oddly organic polyrhythms are orchestrated to produce a ritualistic trance-like music. Attention: Cette musique est jouee par des automates-sculptures musicales ainmees par des frequenes inaudibles. Leurs polyrhthmies organiques particuliers sont orchestress de facon a obtenir une musique de type ritual et de transe.
The legendary vocalist begins with mundane texts from everyday life such as newspapers, user's manuals and science books or his own artificial language. He then generates electric solo improvisations using samples, processors and algorithms driven by a Powerbook to extend the range and density of the vocal source. The computer injects elements of unpredictability to complicate these efforts but the final result remains true to the simplicity and clarity of the solo voice. Blonk is an absolute original from the idiosyncratic Dutch improvisor scene and is as amazing to watch as to hear.
A new trio with the composer on sax and synthesizer, Mari Kimuri on violin and Gerry Hemingway on percussion performing all new music in which the violin and percussion are transformed live through a digital effects processor. Plus solos for sax and synth. Howard merges his musician's instincts with those of the surgeon, architect and yogi; exploring the deep tissue of his instruments, finding the right connections and heading directly for the center.
The cellist presents a suite of compositions inspired by an dedicated to her Korean heritage/identity. She is joined by Jim Pugliese on percussion, Doug Wieselman on clarinets and Anthony Coleman on piano. Her unconventional and adventurous approach leads to music not about the answers but toward unearthing the endless questions. Lee burst onto the New York scene and has quickly become favored for projects with John Zorn, Butch Morris, Eyvand Kang and many others.
The wonderfully imaginative Swiss born pianist and composer Sylvie Courvoisier joins the astounding and irrepressible New York composer, percussionist and Powerbook explorer Ikue Mori in an evening of solo and duo compositions and improvisations. Courvoisier's CDs include Music for Violin and Piano with Mark Feldman (Avant, and see the whole discography at www.sylviecourvoisier.com). Mori is unarguably one of the treasures of the New York music scene; an artist whose work continues to expand and surprise.
Music in the Foreground is Siwula's unique gathering of improvisors Ge-Suk Yeo, vocals (S. Korea via Hamburg, worked with Heinz-Erich Godecke and Peter Wilson ); Vattel Cherry, acoustic bass (Baltimore, worked with Charles Gayle, David Murray , Cecil Taylor ); Todd Capp, drums (New York, worked with William Parker, Daniel Carter, Roy Campbell) and Siwula on reeds and samples. Siwula has been an improvising musician for the past 30 years and has performed with musicians and composers such as Cecil Taylor and Tan Dun. His Citizens Ontological Musical Agenda (COMA) project champions musical and social freedoms worldwide.
Improvisor/composer Kenta Nagai presents shimmering ( ), as part of an on-going aural contemplation of risk, tension and human nature. Known for expressive performances on fretless guitar, Nagai will explore the sounds of microphone feedback-controlling pitch with his hands and orchestrating distinct timbres with footpedals and digital controls. Gesture unfolds to expose beauty or violence or something not yet known. Multiple voices of electronic feedback render emotional terrain with a sensitive, uncontrollable grace.
The Implicate Order: Ursel Schlicht, piano and Steve Swell, trombone, compositions and improvisations. Unified Theory of Sound: Jemeel Moondoc, alto: Nathan Breedlove, trumpet; Cooper-Moore, piano; Wilber Morris, bass; Kevin Norton, drums, percussion; Steve Swell, trombone. About Swell's CD, Moons of Jupiter, John Murph wrote in JazzTimes, "Steve Swell extends the lineage of adventurous trombonists Roswell Rudd, Grachan Moncur III and George Lewis... (he) keenly balances the hemispheres of the free and structured..."