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Unique in the realm of approaches to improvisational conducting, Go: Organic Orchestra utilizes a composed non-linear score consisting of sound and motion elements. These include tone rows, synthetic scales, melodies, linguistic shapes, intervallic patterns, textural gestures, modes, ragas, maqams, and plainchant. The score serves to provide material for both the improvisations and the orchestrations. Motion and forms and are generated through the application of the composer's rhythm concept "Cyclic Verticalism" whereby polymeters are combined with additive rhythm cycles.



In concert, the composer conducts the musicians in a spontaneous way by using a variety of hand signals to cue and orchestrate the score and direct the improvisations. He seeks to generate unusual relationships of sound against sound, form against form, and rhythm against rhythm in a non-linear, ever shifting kaleidoscope of music images: weaving an "audio syncretic music fabric".



The music is "organic" in the sense that the compositions and conducting serve as inspiration and context for the musicians to express themselves in the moment by using their instruments as an amplifier for their inner voice. Through listening and imagination the conductor and performers inspire one another to create emotional colorations of sound.



Rather than the score being a set of instructions of what, how and when to play, the non-linear semiotic (symbols) of the written music are an invitation to discover the potentialities of what can happen when transformed into syntax as expressed through the hands and breath of a group of virtuosic, imaginative, and soulful improvisers.



Performing artists:



Sylvain Leroux -Tambin Fulani Flute, C Flute Ze Luis - C flute, Bamboo Flute Michel Gentile - C and Alto Flute, Bamboo Flute Kaoru Watanabe - Noh Kan, Fue, C Flute Steve Gorn - Bansuri Flute, Hichiriki Pyotr Gazarov- C flute, Bamboo Flute Batya Sobel - Oboe Sara Schoenbeck - Bassoon, Sona Ned Rothenberg - Bass Clarinet, Shakuhachi Charles Waters - B flat Clarinet David Rothenberg - B flat Clarinet, Seljefløytes Avram Fefer - B flat Clarinet JD Parran - Contra Alto Clarinet, Kalimbas Graham Haynes - Cornet, Bamboo Horn Amir Elsaffar - Trumpet, Santoor, Bamboo Horn Stephen Haynes - Trumpet, Conch, Didjiridoo Steve Swell - Trombone, Bamboo Horn Peter Zummo - Trombone, Didjiridoo Charles Burnham - Violin Sarah Bernstein - Violin Trina Basu - Violin Jason Hwang - Violin Mark Chung- Violin Tom Swafford - Violin Curtis Stewart - Violin Melanie Dyer - Viola Stephanie Griffin - Viola Kirsten Jerme - Cello Kenny Wessel - Electric Guitar, Banjo Leni Stern - Electric Guitar, Ngoni Marco Cappelli - Acoustic Guitar Brahim Fribgane - Oud and Percussion Harris Eisenstadt - Drum Set, Kutero Jonathan Singer - Tabla, Mridngam, Percussion Matt Kilmer - Frame Drums, Percussion James Hurt - Batajon, Percussion Chris Dingman - Vibraphone Stuart Popejoy - Acoustic Bass Guitar Alex Marcelo - Acoustic Piano



" I caught a performance Go: Organic Orchestra down in SoHo last spring and was swept away by what they were doing. It was fascinating and ahead of its time, in the best possible way. I loved every minute of it. " - Marc Meyers, jazzwax.com



" I was fortunate to have attended two nights with Adam Rudolph's Go: Organic Orchestra at Roulette a few months back and was blown away by Adam's distinctive blend of jazz and world music as well as his conducting." - Bruce Lee Gallanter - Downtown Music Gallery



"The music, performed by a large ensemble of wind and percussion players, rose like vines from hand drummer Adam Rudolph's written instructions and hand signals. And it truly is organic -- a blend of gentle sustained dissonance, heaven-crashing rhythm jams, and individual improvisations. No joke: a startling and involving development in roots music, with more to follow." - Greg Burk, LA Weekly



More info: http://www.metarecords.com/go.html

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SKELETONS usual quartet is expanded here for three nights of new compositions, ideas, and improvisations. A rare opportunity to hear the band explore the outer limits of their work! Featuring excerpts and new arrangements from their record in progress "PEOPLE" , a long form piece based around conversations in Greyhound busses and stations, and beyond...
SKELETONS are an American entertainment unit who live in New York City consisting of Matt Mehlan, Jason McMahon, Jonathan Leland, and Anthony Lowe. They have released recordings on the Tomlab, Ghostly, and Shinkoyo labels. Their most recent album, "MONEY" was released in the Fall of 2008.
http://skeletons.tv

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Tumbleweed

A collaborative performance installation for prepared electric guitars, theremin and projections

David Means with Cyrus Pireh and Anthony Ptak

Tumbleweed combines archival images from the American dust bowl with interactions and improvisations of musicians and live electronics.

David Means was born on the day the sound barrier was broken. He studied architecture at the University of Illinois, attending the design workshops of R. Buckminster Fuller and participating in John Cage's original "Musicircus" event. After military service in Vietnam he returned to Illinois to study composition with Ben Johnston, Herbert Brun and Salvatore Martirano. He is best known for his two-and three-dimensional graphic music and sculptural scores, and collaborative intermedia performance installations using live electronics in site-specific gallery and environmental settings. His scores and installations have been presented in a variety of including the Walker Art Center, Minneapolis; New Music America Festivals in Minneapolis, Hartford, and Houston; the Institut de le Recherche et Coordination Acoustique Musique (I.R.C.A.M.), Paris; Het Stroomhuis, The Netherlands; LOGOS Center for New Music Production, Ghent; and Documenta 9, in Kassel, Germany. He is an associate professor of experimental music and intermedia arts at Metropolitan State University in St. Paul, where he produces the Strange Attractors Festivals of Experimental Intermedia Art.

"What he has created is an extraordinary 2 pieces of junk-noise amp blow w/ constructed lines of gradation - giving this music a certain sense of personal consideration which, at times, and this is well one of those times, is a right-on move." - Thurston Moore, Sonic Youth

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ROULETTE BENEFIT $20
Curated by Shoko Nagai

Okkyung Lee - cello
Kato Hideki - bass/analog synth
Maria Chavez - turntable
Satoshi Takeishi - percussion, electronics
Shoko Nagai - piano, moog, auto harp
Elliott Sharp - guitar

A native of Korea, Okkyung Lee has been developing her own voice in contemporary cello performance, improvisation and composition. Using her solid classical training as a springboard, she incorporates jazz, sounds, korean traditional music, and noise with extended techniques
to create her unique blend of music. Okkyung has released her debut album, Nihm on Tzadik; a duo recording with Christian Marclay on My Cat is an Alien label's split LP series; and a solo cello album I saw the Ghost of an Unknown Soul and it Said.
www.myspace.com/okkunglee

Kato Hideki (Kato:family name; Hideki: given) is a Japanese-born composer/bassist/multi-instrumentalist, who lives in NYC. He is the co-founder of Death Ambient with Ikue Mori & Fred Frith. His other groups as a leader are: Green Zone with Otomo Yoshihide & Uemura Masahiro; OMNI wtih Nakamura Toshimaru & Akiyama Tetsuzi. His compositions include: solo piece "Turbulent Zone" for electric bass with prime number tuning; "Tremolo of Joy" for his band with Charles Burnham, Briggan Krauss, Ed Tomney & Calvin Weston. Besides his own projects, Kato collaborates with Nicolas Collins, James Fei and Ursula Scherrer. As a bassist and composer, he has worked with Andy Gonzalez, Eyvind Kang, John King, Karen Manter, Zeena Parkins, Jim Pugliese, Michael Schumacher, Steve Swallow, John Zorn and among many others. He is also a member of analog synthesizer collective, Analogos at Diapason Gallery. (http://www.katohideki.com/)

Born in Peru, avant-turntablist Maria Chavez currently resides in
Brooklyn, New York. With a collection of new and broken needles that
she calls "pencils of sound" and a selection of records, she harnesses
the electro-acoustic sounds of vinyl and needle.
Chavez made her New York City debut in a duet with Thurston Moore of
Sonic Youth, collaborated with fellow turntablist Otomo Yoshihide as
part of the 2007 Wien Modern Festival, and recently shared a stage
with Pauline Oliveros and Lydia Lunch during Vienna's Phonofemme festival 2009.

Satoshi Takeishi, sound artist, drummer, percussionist, and arranger is a native of Mito Japan. He studied music at Berklee
College of Music in Boston, Massachusetts. While at Berklee he developed an interest in the music of South America and went
to live in Colombia. He spent four years there and forged many musical and personal relationships. One of the projects he
worked on while in Colombia was 'Macumbia' with composer/arranger Francisco Zumaque in which traditional, jazz and
classical music were combined. With this group he performed with the Bogota symphony orchestra to do a series of concerts
honoring the music of the most popular composer in Colombia, Lucho Bermudes. In 1986 he returned to the U.S. and his
interest expanded to the rhythms and melodies of the middle east where he studied and performed with Armenian-American
oud master Joe Zeytoonian. Since moving to New York in 1991 he has performed and recorded with many musicians such as
Ray Barretto, Carlos 'Patato' Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony
Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Erik friedlander, Paul Giger, Toshiko Akiyoshi Big
Band and Pablo Ziegler to name a few. He continues to explore multi-cultural, electronics and improvisational music with local
musicians, composers and touring all over the world. http://home.earthlink.net/%7Etakeishi

Shoko Nagai- Born in Nagoya, Japan, composer and pianist. After graduating from Berklee College of Music in 1999, she
moved to New York City and quickly established herself in the downtown jazz scene performing with such renowned artists as
John Zorn, Rasheid Ali, Miho Hatori (cibomatto), Cuong Vu, Ikue Mori, Butch Morris, Guillermo E Brown, Matana Roberts, Tom
Rainy to name a few. The Shoko Nagai Quintet which features some of New York's best musicians has performed extensively at
the BlueNote, The Stone, The Kitchen, Location One, Vision Festival as well as at other top New York clubs and concert. Nagai
released 3 differnt recordings. Nagai has performed in Finland (Tampere Jazz festival 2008), Italy (Sicily Jazz Festival 2007)
Brasil (res Festival 2007)Norway (Natt Jazz Festival 1998) in Germany (Electro music festival in Berlin 2009, Moers Jazz Festival 2006), touring in Japan, US, Switzerland, and Israel. She is also workng on a new project "Vortex" which is a free improvisation duo with piano (Shoko Nagai) and electronics (Satoshi Takeishi). They scored Japanese full featured movie called " Starfish Hotel" directed by John Williams. Also Shoko Nagai scored French featured movie called " L' Amour Cache' " conducted by Butch Morris. 2004 Grant for JazzJaunts winner. A project in which seven jazz artists will compose and premiere compositions that incorporate musical traditions from their cultural roots, spanning South Africa, Cuba, Brazil, South India, Iraq, Japan, and the Jewish Diaspora. She is curating @ The Stone in 2010. www.myspace.com/shokonagai

Elliott Sharp leads Orchestra Carbon, Tectonics, and Terraplane and has pioneered use of fractals, chaos theory, and genetics in musical composition. His collaborators have included Ensemble Modern; Qawwali singer Nusrat Fateh Ali Khan; Debbie Harry; computer artist Perry Hoberman; blues legend Hubert Sumlin; jazz greats Jack deJohnette and Sonny Sharrock; and turntablist Christian Marclay. Sharp's work was featured at New Music Stockholm 2008 and at the Frankfurt Klangbiennale 2007 with "On Corlear's Hook" for the Radio-Sinfonie Frankfurt. His music-theater work "Binibon" premiered in May 2009 at The Kitchen and he has also recently composed the score to Toni Dove's science-fiction film "Spectropia." "Doing The Don't", a feature documentary by Bert Shapiro on Sharp's work has just been released on DVD.

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Matana Roberts' ILLUMINATION



Matana Roberts-- saxophone, JD Allen -- tenor saxophone, Vijay Iyer-- piano, Liberty Ellman-- guitar
Thomas Morgan-- bass, Damion Reid-- drums



Last year the Chicago born, Brooklyn based, AACM saxophonist Matana Roberts released to much acclaim THE CHICAGO PROJECT, a recording of dynamic compositions that paid homage to her southside windy city roots. This year she is working on a a set of soundscapes to be recorded that pays homage to her big apple wanderings. Interpreted by a band of one of a kind nyc sound warriors, ILLUMINATION, is a collection of soundpaintings that testify to why any artist would chose to live in New York in the first place. A city unlike any other, with an artistic spirit unlike any other. An Illumination in sound, space,real time. A testament to the tenacity of the creative human spirit.



Matana Roberts: Saxophonist/ Improviser/Composer/21st Century Sound Conceptualist Griot



Brooklyn based sound artist 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 nominee and recipient of national commissions, residencies and awards, has appeared as a collaborator on recordings and performances in the U.S., Europe, and Canada.She is an avid freelancer on a wide array of artistic projects, and has played alongside some of the most intriguing creative sound visionaries spanning across genres of this time period. www.matanaroberts.com

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DROPS OF CONSCIOUSNESS : PART III

"This is a musical exploration of the unknown world of my recovery of a severe brain injury. Part I was breathing and darkness that became sound and light. Part two was the process of transformation of sounds into words, and words into language.

Part three is a journey into the mysterious world of rhythm. The motion of time, the space of sound and the expanse of silence are the essence of this piece.

The changes that occurred in my biological rhythm and the perception of time, made it possible for me to create a sound world from inner sources that were inaccessible for me before."

Born in Israel in 1949, Noa Guy studied in the theory department of the Jerusalem Academy of Music and continued to evolve privately and compose original pieces along with composer Abel Ehrlich. In the early 70's Noa studied composition and electronic music with Boris Blacher in the Hochscule fur Musik in West Berlin. She moved to Norway where she made two fantastic kids and continued her explorations. After returning to Israel in 1975 Noa worked with Karlheinz Stockhousen for three years, and took master classes with Luciano Berio and Milton Babbitt. After collaborating with Heinz Holiger, Noa received a scholarship from the Scola Cantorum in Basel to compose the electronic score that was later played with live performance by renowned English tenor John Potter in the Nettlefols Festival of Contemporary Music. She later became sound artist for Ward Swingle on his visit to Israel. From 1985 until 1993 Noa was the musical director at the Jerusalem Music Centre (JMC), where she headed the master class program, and acted as sound engineer and assistant director to all the television productions of JMC. Throughout all these years Noa continued to compose and perform with international accolades. In the early nineties Noa was invited to NY to work under the tutelage of Isaac Stern. In October of 1993, while driving her and a colleague to New York, Mr. Stern crashed their vehicle inflicting on Noa a severe head injury that changed her life. The resulting brain injury prevented Noa from traveling back to Israel and seeing her family. Worse yet for her, she was unable to play, listen to, or compose any new music. In the 13 years since the accident, Noa was consumed in her own rehabilitation process finding innovative ways to overcome her many physical and mental obstacles. The November 30th, 2006 show at Roulette has marked the first time this unusual musician broke her long imposed silence.

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Music composed for ensemble including piano, strings, brass, voice, drums and electronics. Expect minimalist webs, complex rhythms, cinematic layering, a dash of prog-rock as well as a live score/short film collaboration with animator Lori Samsel. This collection of pieces marks for the composer a birthing into heavier avant-garde sensibilities. Different movements will convey the dramatically constructed and the impulsively deconstructed, ceremonial exaggeration and aqueous
dream-states.



Joel Kennedy is a young composer who lives in Harlem, NYC. He is 1/2 of Rocket Surgery, a space-rock duo which has played numerous shows and self-released an album. In addition to work with Rocket Surgery, he has composed avant-folk music for solo guitar (imagine Shostakovich meets Harry Nilsson) as well as pieces for synthesizer and 8-bit electronics. His influences and moods are varied, drawing from sources like Milford Graves, Moondog, early Pink Floyd, Goblin and Bartok. He is also passionate about playing pungmul (Korean drumming) and travels to Korea periodically to study it. He is a fan of polyrhythmic music and events. Samples of Mr. Kennedy's recorded work can be found at www.myspace.com/jdkennedy.

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Paula Matthusen is a composer, currently based in Miami and Brooklyn. She writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as run-on sentence of the pavement for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being "entrancing". Her work often considers discrepancies in musical space-real, imagined, and remembered. Tonight she presents a collection of older works as well as premieres with performances by James Moore, Jody Redhage, Todd Reynolds, Kathryn Woodard, and Dither.

Her music has been performed by Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, noranewdanceco, Kathryn Woodard, Diesel Lounge Boys, James Moore, and Jody Redhage. Her work has been performed at numerous venues and festivals in America and Europe, including Merkin Concert Hall, Diapason Gallery, Sonic Arts Research Center, the Construction Company, Das TAT, the Aspen Music Festival, Bang on a Can Summer Institute of Music at MassMoCA, Sonorities, Third Practice, ArtBots, the Gaudeamus New Music Week, SEAMUS, NWEAMO, and the Florida Electroacoustic Music Festival. She performs frequently with the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and recently winter company. Awards include a Fulbright Grant, two ASCAP Morton Gould Young Composers' Award, First Prize in the Young Composers' Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship, and a Van Lier Fellowship. Matthusen has also held residencies at create@iEar at Rensselaer Polytechnic Institute, STEIM, and the Atlantic Center for the Arts. Matthusen recently completed her Ph.D. at New York University - Graduate School of Arts and Science, and is now Director of Music Technology at Florida International University.

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Gogolorez+, a collaboration between Choreographer Yvonne Meier with musicians Christian Jaeger and Dave Gisler and the dancers Gabi Glinz, Arturo Vidich, Aki Sasamoto and Christopher Williams.

Yvonne Meier originally from Zurich, Switzerland, has been living, making dances and teaching in NYC, since 1979. Her 25 years dedication to improvisation has been strongly informed by Releasing Technique and Authentic movement culminating in the creation of her own "Score Technique". In 1995 she has received a "Bessie Award" for her audience interactive piece: "The Shining". She has been teaching and performing through out the US and Europe.

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"Urs Leimgruber's mastery of the saxophone is so protean you could easily be fooled into thinking you are listening to a whole range of other instruments. He produces drum beats, the sound of guitars or the echoing resonnance of gongs at will. His playing seems almost de-instrumentalized, free of any implicit meaning and, despite its complexity, almost unexpectedly stark. Sound in its purest state. The ten pieces here sound like a manifesto set to music, an audible thumprint, a soundcard with a unique code that only responds to the personal breath of the artist." Bert Noglik, CD Blue Log Leipzig.

For Tonight's Roulette concert, saxophonist Urs Leimgruber teams up with local trumpeter Peter Evans and cellist Okkung Lee for an evening of free improvised music.

Urs Leimgruber (saxophones), born in Lucerne, Switzerland, is a key member of the European scene of contemporary improvised music. He specializes in solo concerts and performs regularly with the Urs Leimgruber/Jacques Demierre/Barre Phillips Trio and with Quartet Noir (with Marilyn Crispell, Joelle Léandre, Fritz Hauser) in Europe, Canada, USA, Japan, and Cuba. His countless collaborations have resulted in successful concerts and recordings with Fred Frith, Steve Lacy, Lauren Newton, Evan Parker, Keith Rowe, Günter Christmann, Sunny Murray, Thomas Lehn, Günter Müller and many others. He has also been engaged for New Music projects with Ensemble SIX, the Berlin Philharmonic Wind Quintet and the ARTE Saxophone Quartet. During the 1970s, he was the co-founder of the Electric jazz and free-music group, OM.

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On Wednesday, June 10, Roulette will present an evening of music by composer and pianist Joe Hannan. With assisting artists, Hannan will perform four compositions.

The evening takes its title from Hannan's Dog's Life: Varieties of Canine Experience, a set of seven songs based on poems by or about dogs. Hannan writes, "I was amazed to learn how many poets, both classical and contemporary, had written poems in the voices of their dogs-Pope, Elizabeth Browning, Kipling, and many others. My songs focus on first-person (first-canine?) poems by contemporary poets, along with a few third-person poems about dogs. The poets include Mark Doty, Mac Hammond, Karen Shepard, and Richard Wilbur." The songs, which range from the comic to the dramatic, will be performed by the bass Eric Barsness, with Hannan at the piano.

The evening will also feature the premiere of a vocal work on a canine-centered text by the poet Mary Griffin. The work, in five parts, will also be performed by Barsness and Hannan.

The 2002 piano solo Cymru is a portrait of Wales-both the shifting episodes of its people's history and the unchanging aspects of the land.

Hannan wrote Mihrab in 2001 for the Delaware Valley Chamber Orchestra, which performed it in concerts in upstate New York that year. The June 10 concert will feature the premiere of a reworked version of the piece for cello, percussion, and piano. In a mosque, the mihrab is the niche that indicates the direction of Mecca, the direction in which prayers are offered. Hannan says that in the piece, "A slow, ornamented cantillation is followed by a dance that gradually accelerates in tempo. Aside from a few harmonic gestures in the introductory song, the piece is essentially monophonic. . . . Like the mihrab, this piece points to the Middle East." In this performance, Hannan is joined by cellist Wes Tudor and percussionist Newman Baker.

The New York-based composer and pianist Joe Hannan has presented solo and ensemble concerts of his music throughout the U.S. and in Europe. In New York, his work has been presented at Roulette, The Kitchen, Dance Theater Workshop, the Brooklyn Museum, and City Center. He has composed extensively for dance and theater, including collaborative works with Eric Barsness, Eric Bogosian, Carol Clements, Bill T. Jones, Jill Kroesen, and Robert Longo. He has also written voice, solo keyboard, and chamber ensembles. His short operas on the lives of saints, with librettos by Mary Griffin, have been presented in New York City at the Whitney Museum, the Performing Garage, and Roulette, and in upstate New York by the Delaware Valley Chamber Orchestra. He has been the recipient of numerous grants and residencies, including a 1988 commission from the Rotterdam Philharmonic to mark the inauguration of the city's new municipal theater. His composition teachers were William Brooks, Gordon Mumma, and James Tenney.

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Live video artist, Angie Eng revives cinepoetry with a new work in progress, Rite Ways-Every Intentional Act is a Magical Act with Thierry Madiot, master of breath and wind, inventor of instruments, trombonist who fuses improvised and contemporary music, and inovative drummer, percussionist - Satoshi Takeishi.

Angie Eng (New York/Paris) is a video artist who has presented her live video projects in numerous venues:New Museum of Contemporary Art, The Whitney, Lincoln Center video Festival, Anthology Film Archives as well as international experimental media festivals. She is reknowned for her work with The Poool, a multimedia group who combined maquettes, puppetry and analogue video tools to marry image and sound. She has collaborated with: Ron Anderson, Vincent Epplay, Yuko Fujiyama, Jon Giles, Andy Grayton, Jason Kao Hwang, Simon Hostettler, Jessica Higgins, Hoppy Kamiyama, Gabriel Latessa, Zach Layton, Jarryd Lowder, Matthew Ostrowski, Jean Jacques Palix, Zeena Parkins, Ludovic Poulet, Liminal Projects, Kyoko Kitamura, David Linton, Geoff Matters, Ikue Mori, Karine Saporta, Jane Scarpantoni, Peter Scherer, Jim Staley, Yumiko Tanaka,Keiko Uenishi, Nancy Meli Walker , David Weinstein and more.

Thierry Madiot (Paris) is a French sound artist trained as a trombonist who extends the boundaries of wind instruments, including: 30 feet telescopic tubes, digeridoo, balloons, plastic tubing, attached to an air compressor. He makes sound installations as well as 'sound massages' collaborating with dancers and improvisation musicians.

He has Improvised and composed Music with or without texts, images, dance, in solo or with for ea those musicians and artists: Frédéric Acquaviva, Sophie Agnel, Noel Akchoté, SteveArguelles, Didier Aschour, Derek Bailey, Richard Barrett, Pascal Battus, Claude Barthelemy, ChristophBaumann, Olivier Benoit, Frédéric Blondy, Jaap Blonk, Pierre Boesflug, Raymond Boni, Hélène Breschand,Hans Burgener, Don Byron, Jean-François Canape, Mathieu Chamagne, Fabrice, Laurent et Xavier Charles,Denis Charolles, Bruno Chevillon, Denis Colin, François Corneloup, Pablo Cueco, Roland Dahinden, LaurentDehors, Benoit Delbecq, Caroline Delume, Axel Dörner, Quentin Dubost, Marc Ducret, Daniel Erdmann, Jean-Christophe Feldhandler, Esther Ferrer, Alexander Frangenheim, Stéphane Garin, Anne Garrigues, OlivierGelpe, Christian Germain, François Guell, Jean-Luc Guionnet, Olivia Grandville, Kamal Hamadache, GünterHeinz, Jean-Pierre Jullian, Kristoff Kroll, Franck Lambert, Daunik Lazro, Le Quan Ninh, Urs Leimgruber, DidierLevallet, George E Lewis, Joelle Léandre, Ramon Lopez, Kamel Maad, Alain Mahé, Jean-Michel Marchetti,Lionel Marchetti, Jim Meneses, Phil Minton, Yanik Miossec, Jean-Marc Montera, Ikue Mori, Seijiro Murayama,Theo Nabicht, Michael Nick, Jérôme Noetinger, Annick Nozati, Stéphane Oliva, Guillaume Orti, Evan Parker,Didier Petit, Emmanuel Petit, Ulrich Philipp, Dominique Répécaud, Margritt Rieben, Stéphane Rives, Jean-Pierre Robert, Yves Robert, Carol Robinson, Felix Rückert, Joel Ryan, Camel Zekri, Alexander vonSchlippenbach, Jacques Siron, Alfred Spirli, Claude Tchamitchian, Patricio Villaroel, Bert Wrede, CarlosZingaro

Satoshi Takeishi, drummer, percussionist and arranger is a native of Mito, Japan. He developed an interest in the music of South America and went to live in Colombia following the invitation of a friend. He spent four years there and forged many musical and personal relationships. One of the projects he worked on while in Colombia was 'Macumbia' with composer/arranger Francisco Zumaque in which traditional, jazz and classical music were combined. With this group he performed with the Bogota symphony orchestra to do a series of concerts honoring the music of the most popular composer in Colombia, Lucho Bermudes. In 1986 he returned to Miami, U.S. where he began working as an arranger/producer as well as a performer. In 1987 he produced 'Morning Ride' for jazz flutist Nestor Torres on Polygram Records. His interest expanded to the rhythms and melodies of the middle east where he studied and performed with Armenian-American oud master Joe Zeytoonian. Since moving to New York in 1991 he has performed and recorded with many musicians such as Ray Barretto, Carlos 'Patato' Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Erik Friedlander, Ned Rothenberg, Shoko Nagai, Paul Giger, Toshiko Akiyoshi Big Band, Ying String Quartet, Metamorphosen Chamber Orchestra, Dhafer Youssef, Lalo Schifrin and Pablo Ziegler to name a few. He continues to explore multi-cultural, electronics and improvisational music with local musicians and composers in New York.

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Sound and Light I is an integration of sound and light: live music and recorded video, with the video image manipulated in real time, particularly in relation to color and saturation, and in turn acting as a score element for the musicians. The core ensemble consists of: David Rosenbloom, guitar; David Hofstra, bass; and Stephen Moses, drums.

David Rosenbloom has been active as a musician, composer, and painter in New York since the late 70's no wave period. His projects have included the Electric Chorus & Orchestra, Chinese Puzzle, The Experimental Chorus, and the Outlanders; he performed, toured and recorded with Glenn Branca, and was a member of Rhys Chatham's early band Meltdown. His work tends to focus on sonic and structural experimentation with an emphasis on dense, melodic textures. This work has recently expanded into video, with his short Eye I an official Experimental Showcase entry at the 2006 Big Muddy Film Fest.

He has worked with bassist David Hofstra for over two decades, and has in recent years worked with Stephen Moses in multiple scenarios.

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The Aaron Siegel Ensemble will be premiering two movements of a work for percussion and pianos entitled, "Preparing the Past." Drawing on tangled narratives of memory and anticipation, "Preparing the Past," juxtaposes the moment of observation with the trail of its reflections. Also on the program will be selections from Siegel's "Book of Notions," for piano and vibraphone.



Tonight Aaron will be joined by Emily Manzo, Anna Dagmar, Joe Bergen, Mike McCurdy, Chris Graham, and Al Cerulo.



Aaron Siegel writes experimental music that lies at the intersection of abstraction and intuition. His work ranges from solo compositions and chamber music to improvised ensembles and collaborative theater pieces. He has been hailed as an "evocative composer," with "meditative ease and grace" working at the "frontiers of sound research." His work has been presented throughout the United States and Europe and performed by ensembles including the Flux Quartet, Till by Turning and Kyklos. The premiere recording by the Aaron Siegel Ensemble, "Every Morning, A History (2007, Peacock Recordings)" was praised by Signal to Noise as being representative of the flowering DIY chamber music scene in Brooklyn. In the spring of 2009, the online label Shsk'h will release "Our Reluctance is Overstated," for six timpanists as performed by percussionist Joe Bergen. Siegel is a member of the Anthony Braxton Septet and the improvisational trio, Memorize the Sky.

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"A Large Gap at the Level of My Head" - composing an auditory event with 'specifics'
by o.blaat (Keiko Uenishi), 2009

"In contrast to the sound event existing in reality, the auditory event takes place only in the "imagination" of the listener, and it cannot be "proven" by applying measurement techniques. It is rather perceived or felt, either consciously or unconsciously." - Philip Mackensen, 'Auditive Localization' (2004)

"A Large Gap at the Level of My Head" is an experiment to compose with series of specific cues to attendants. The original sound event won't yield, nor aim at a single common experience, but rather impose an unique auditory event to each listener. The piece is also a study of listening. It is not about the source of the sound, but about phenomena of perceived. It is one of my continuous attempts to experiment on the aural space from another angle (in comparison with my feedback performance work "Car décalé (légèrement)" in which I was using the physical external structure to create 'sound event.')

"A Large Gap at the Level of My Head" can be presented with any number of speakers of any sorts. At Roulette/Mixology Festival, it will be presented with a multi-channel speaker system with multiple screens

o.blaat (Keiko Uenishi)

Based in Brooklyn, New York, sound artivist, social composer, and a core member of SHARE (http://share.dj), o.blaat (Keiko Uenishi) is known for her works formed through experiments in restructuring and analyzing one's relationship with sounds in sociological, cultural, and/or psychological environments.

Her installations include: "Aboard: Fillip2" for "six sites for sound" exhibitions in London, UK (2005), "J'ai un secret merveilleux: Midas" for City Sonic Festival 2006, Mons, Belgium. To explore in the field of aural perceptions, o.blaat created "Car décalé (légèrement)", a series of feedback performance work.

Uenishi also has an on-going open project "Broadway Dreams" (collaborative 'blink media documentation' on local businesses and sidewalks, utilizing web 2.0), featured in Conflux Festival 2008, NYC, and a participatory composition "Border Game" for Fronte[i]ras2 festival at a border of Spain and Portugal in autumn 2010.

o.blaat performed and/or presented works in various locations worldwide including: Whitney Museum of Art, NYC; P.S. 1 Contemporary Art Museum, DIA:Beacon, Cornell University, NY; Institute of Contemporary Art, Philadelphia, PA; MIT, Boston, MA; MUTEK festival, Montreal, Canada; ClubTransmediale, Berlin, Germany; Ultrahang festival, Budapest, Hungary; Netmage festival and Interferenze Festival in Italy; City Sonic festival in Belgium; Medien Kultur Haus in Wels, Vienna Konzerthaus and Alte-Schmiede in Vienna, Austria; Skolska28 Gallery, Institut Intermedii, and National Gallery in Prague, Czech Republic; ICA London, Tate Britain and Fortescue Avenue Gallery in UK.

o.blaat has collaborated with numerous artists including: Toshio Kajiwara, Ikue Mori, Kaffe Matthews, Marina Rosenfeld, Miguel Frasconi, Ricardo Arias, Klaus Filip, Noid, Takehisa Kosugi, Steinbrüchel, DJ Olive, Eyvind Kang, Sachiko M, Tetsuji Akiyama, Aki Onda, Adriana Sã, John Klima, Anthony Coleman, 242.pilots, Nobukazu Takemura, Ryuichi Sakamoto, Merce Cunningham Dance Company, among others.

http://obla.at
http://myspace.com/oblaat

Full Description:

"Stress Positions" is the latest in a series of performances using dance/movement (by Julie Fotheringham) integrated with video and music/sound (by Jarryd Lowder). Julie's performance is amplified by technology, and humanized by her flesh experiencing pain, pleasure, tension, relief, numbness, exhaustion; the raw elements of physical experience. Jarryd combines live camera imagery and live instrumentation using stringed instruments, percussive instruments and found objects, played in conventional and unconventional ways.



Jarryd Lowder is an artist working with electronic audiovisual media (integrating forms such as video, sound and music) primarily for live performance. His performances and other works have been presented in the US and countries such as Spain, France, Japan, Finland, Korea and the Netherlands. At the School of Visual Arts MFA Computer Art department, he works as an instructor of studio classes in Video and Sound/Music. For more information - http://www.jarrydlowder.com/



Julie Fotheringham performed as a dancer/acrobat in Cirque du Soleil before coming to New York to make her own work. Here she has shown her contemporary dance/performance art pieces in various venues including Dance New Amsterdam, Galapagos Art Space, and Monkeytown. She also brings her work to unsuspecting audiences with her uninvited guerrilla improvisations. To view video of these performances, or for more info, go to http://www.juliefotheringham.org/

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Berangere Maximin plays 'Stuck In a Nasty Little Film' @ Roulette: Solo of Tape Music + Electro-soft + Video-musics + Spoken Words. BM: Laptop, voice and various objects. Videos: Anton Yakutovych.

Berangere Maximin was born in 1976 on the Island of Reunion, where she resided until the age of fifteen. Performing first as a singer, she later studied electroacoustic music with the composer Denis Dufour at the Perpignan Conservatoire. Her first professional experiences occurred in Paris, and in 2002 she moved there permanently. As a composer, she is most interested in preserving the spirit of live music in the studio, a passion passed on to her from her friends-guitarists and singers in rock and world music bands. Working out of her own Home Sweet Home Studio, she shoots sounds in a dark silent room, records soundscapes and acoustic sounds, plays with sampling, digital effects, performs on a variety of objects and sings. She has written musical works for concert and radio shows, and has contributed greatly to the French Contemporary Music Movement. Her attraction to light and powerful sounds gives her work a very unique quality.

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Unique in the realm of approaches to improvisational conducting, Go: Organic Orchestra utilizes a composed non-linear score consisting of sound and motion elements. These include tone rows, synthetic scales, melodies, linguistic shapes, intervallic patterns, textural gestures, modes, ragas, maqams, and plainchant. The score serves to provide material for both the improvisations and the orchestrations. Motion and forms and are generated through the application of the composer's rhythm concept "Cyclic Verticalism" whereby polymeters are combined with additive rhythm cycles.



In concert, the composer conducts the musicians in a spontaneous way by using a variety of hand signals to cue and orchestrate the score and direct the improvisations. He seeks to generate unusual relationships of sound against sound, form against form, and rhythm against rhythm in a non-linear, ever shifting kaleidoscope of music images: weaving an "audio syncretic music fabric".



The music is "organic" in the sense that the compositions and conducting serve as inspiration and context for the musicians to express themselves in the moment by using their instruments as an amplifier for their inner voice. Through listening and imagination the conductor and performers inspire one another to create emotional colorations of sound.



Rather than the score being a set of instructions of what, how and when to play, the non-linear semiotic (symbols) of the written music are an invitation to discover the potentialities of what can happen when transformed into syntax as expressed through the hands and breath of a group of virtuosic, imaginative, and soulful improvisers.





Performing artists:



Sylvain Leroux -Tambin Fulani Flute, C Flute
Ze Luis - C flute, Bamboo Flute
Michel Gentile - C and Alto Flute, Bamboo Flute
Kaoru Watanabe - Noh Kan, Fue, C Flute
Steve Gorn - Bansuri Flute, Hichiriki
Pyotr Gazarov- C flute, Bamboo Flute

Batya Sobel - Oboe
Sara Schoenbeck - Bassoon, Sona
Ned Rothenberg - Bass Clarinet, Shakuhachi
Charles Waters - B flat Clarinet
David Rothenberg - B flat Clarinet, Seljefløytes
Avram Fefer - B flat Clarinet
JD Parran - Contra Alto Clarinet, Kalimbas

Graham Haynes - Cornet, Bamboo Horn
Amir Elsaffar - Trumpet, Santoor, Bamboo Horn
Stephen Haynes - Trumpet, Conch, Didjiridoo
Steve Swell - Trombone, Bamboo Horn
Peter Zummo - Trombone, Didjiridoo

Charles Burnham - Violin
Sarah Bernstein - Violin
Trina Basu - Violin
Jason Hwang - Violin
Mark Chung- Violin
Tom Swafford - Violin
Curtis Stewart - Violin
Melanie Dyer - Viola
Stephanie Griffin - Viola
Kirsten Jerme - Cello

Kenny Wessel - Electric Guitar, Banjo
Leni Stern - Electric Guitar, Ngoni
Marco Cappelli - Acoustic Guitar

Brahim Fribgane - Oud and Percussion
Harris Eisenstadt - Drum Set, Kutero
Jonathan Singer - Tabla, Mridngam, Percussion
Matt Kilmer - Frame Drums, Percussion
James Hurt - Batajon, Percussion
Chris Dingman - Vibraphone

Stuart Popejoy - Acoustic Bass Guitar
Alex Marcelo - Acoustic Piano




" I caught a performance Go: Organic Orchestra down in SoHo last spring and was swept away by what they were doing. It was fascinating and ahead of its time, in the best possible way. I loved every minute of it. "
- Marc Meyers, jazzwax.com



" I was fortunate to have attended two nights with Adam Rudolph's Go: Organic Orchestra at Roulette a few months back and was blown away by Adam's distinctive blend of jazz and world music as well as his conducting."
- Bruce Lee Gallanter - Downtown Music Gallery




"The music, performed by a large ensemble of wind and percussion players, rose like vines from hand drummer Adam Rudolph's written instructions and hand signals. And it truly is organic -- a blend of gentle sustained dissonance, heaven-crashing rhythm jams, and individual improvisations. No joke: a startling and involving development in roots music, with more to follow."
- Greg Burk, LA Weekly



More info: http://www.metarecords.com/go.html

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Losperus is the name of a new performance paradigm for Evidence. In making electronic music, we have observed that our process tends to be one of gradual layering, guiding, fading, carefully mixing together streams of carefully crafted recordings, textures, and processes with computer software. We began to wonder about leaving our laptops aside and moving this process into the acoustical realm - placing commonplace electrical devices and found objects into unstable relationships with each other, and using friction and gravity to build humming, whirring, rattling contraptions on the fly. Benton-C Bainbridge makes live visuals in much the same spirit, taking an 'acoustic' approach to visuals and spatially amplifying the Losperus devices through light and shadow with hacked slide and film projectors.

Sound artists Stephan Moore and Scott Smallwood began performing as the duo Evidence in 2001. Focusing on the universe of real-world sound, Evidence pours field recordings like water into their compositional and improvisational process, resulting in music that balances between tight organization and unregulated flow. Using recording equipment, laptops, and other electronic devices, Evidence creates music that deals with gradual change, improvised over time, sometimes atmospheric, sometimes pulsating, always texturall striking and unique. Resisting classification into a single genre, Evidence is equally at home performing in experimental venues, clubs, galleries, planetariums, and rooftops. More information at ecnedive.com.

Once again, Evidence will work with Benton-C Bainbridge, the Bronx-based video artist known for live visual performance with custom digital, analog and optical systems. Benton-C has shown worldwide, at venues ranging from squats to the Madison Square Garden. Currently, Bainbridge is working with Bobby Previte as the duo 'Dialed In', using a/v samplers to perform music, video and lighting. Please visit benton-c.com and fuevoz.com.

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Drawing from his background in a wide field of genres including rock, classical, film, theater, improvised, and electronic music - composer, producer, multi-instrumentalist Hahn Rowe has developed a uniquely personal sonic language, creating atmospheric, sensual, and polymorphic soundscapes. He has shown a keen ability to bridge and meld acoustic sounds with the infinite textures available through analog and digital processing into a strangely organic and emotional sonic realms. Tonight's performance will feature solo, digitally de/re-constructed violin - fluidly transforming from sensual-textural microsonics to the lush and quasi-symphonic.




Equally at home performing on violin, guitar, laptop, turntables, and digital/electronic studio instruments, Hahn Rowe has retained his unique sensibilities while crossing musical borders. Hahn has performed and/or worked with artists such as Hugo Largo, Glenn Branca, David Byrne, Hassan Hakmoun, Foetus, Mimi, and Antony and the Johnsons among many others.




He is currently active as a composer for film (working with directors such as Michael Apted, Lodge Kerrigan, and Tom Gilroy) and his longstanding musical collaboration with Brussels/Berlin based choreographer Meg Stuart (Damaged Goods) has resulted in the creation of 7 critically acclaimed dance/theater works.