Full Description:

Stephanie Griffin, viola, Alex Waterman, cello, Dan Weiss, drums, Carl Maguire, piano

Moving to New York in 1995, Carl engaged in a curriculum of liberal arts at Hunter College, Schenkerian analysis at Mannes, and post-tonal theory at CUNY Graduate Center. He studied piano with Fred Hersch, Marilyn Crispell, and Ursula Oppens, and of particular importance, composition with Mark Dresser. Acclaimed by Downtown Music Gallery as "one of the best pianists and composers to emerge from the downtown network over the past few years," Carl Maguire is active as a performer and collaborator with a variety of New York creative artists. Since 2001, Carl has led Floriculture. The band plays exclusively Maguire's compositions, which call on the musicians to integrate extended sections of exact notation with improvisational passages to create a vivid and compelling aural landscape. Donald Elfman says "These are exceptional players, but each man's every note is at the service of making brilliant, involving music." In 2006, Floriculture released its first album on Between The Lines, to critical acclaim. In 2009, Floriculture released its second album, Sided Silver Solid, on Firehouse 12 Records. www.carlmaguire.com

Commissioned by Roulette, That Truly Happens is an extended work composed by Carl for his new strings and percussion band with Stephanie, Alex, and Dan. Funding for That Truly Happens has been generously provided by the Jerome Foundation.

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GENETRIX is an ever-evolving cultivation of synaesthesiae, a long-form composition for large vocal ensemble, crystal bowl drones, and percussion by Brooke Hamre Gillespie. This will be its premier performance and is the result of a Jerome Foundation Commission that Brooke received in the Fall of 2009. The ensemble will be comprised of 18 vocalists, 7 crystal bowls, percussion and 2-3 visual projectionists. The light/analog video projections are in collaboration with Ivy Meadows.

Brooke Hamre Gillespie is a visionary-present-moment-composer who vibrates through the liminal territories of ecstatic ceremony, composition, performance, sound healing, and echologic, and whose solo performance is The Holy Experiment. Team home is currently Brooklyn, NY. "My work is intended to reach not only those in the immediate area who listen, but consciousness is given to the sounds and vibrations produced with the knowledge that all is vibration, is interactive, is intra-related, is influencing and being influenced by everything in and out of the space, and that every sound created eventually makes its way through the universe"¦"

GENETRIX was created as an audeological response to the Earth changes and their ancient prophecies, - an echo logic call land response to the beings of the Earth and all of the current emergent situations.

"We are Water Babies. Do not to forget to say thank you every day for the water you drink, the water you bathe in. Without our Mother water we would not survive." - Grandmother Agnes Baker Pilgrim of the 13 Grandmothers

"When the Condor of the south flies with the Eagle of the north, a new day for Earth will awaken!" Inca prophecy

"They believe that "munay,"

love and compassion,

will be the guiding force of this great

gathering of the peoples," - Q'ero teachings

Through our sound circle, we call and respond to each other, allowing each other to know one another. Allowing each other to hear one another, we begin to develop new ways of communicating and harmonizing through our breath, our bodies, and our voices. In this way we form the void space that allows intention to be transformed into vibration that acts as a conduit for healing energy. Through this Genetrix/Creatrix, we journey through the void, moving in resonance through breath, the body, and the voice, generating peace, love, awareness, gratitude, and compassion. We sing upon the cosmic hearth, where the heart meets the earth.

***During the performance audience members are invited to get comfortable. You may bring a yoga mat to lie on or a cushion to sit on. There will be chairs for those who need them, but you are strongly encouraged to come prepared to sit on the floor.

The Holy Experiment is the solo performance of Brooke Hamre Gillespie, who was born in Ely, Minnesota in 1979. She plays bells, Tibetan singing bowls, suling flutes, recorders, electric violin, electric guitar, and uses her voice to navigate the new worlds created through the sounds. Gillespie writes. "My work is intended to reach not only those in the immediate area who listen, but consciousness is given to the sounds and vibrations produced with insight into the idea that all vibration is interactive and that every sound created eventually makes its way through the cosmos"¦"

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An Evening of Offerings

Speaking with the Dead and Tiny Offerings




Using ultrasonic microphones and voicemail, Speaking with the Dead will search the ether for the unhearable present while invoking voices from the past.




Tiny Offerings is a collaborative performance event where each person who attends is invited to make an offering to everyone else. Artists are encouraged to bring or do something other than what they usually do- i.e. some other medium or type of performance. The offerings are often, but not exclusively in the form of a performance. An offering can be anything people like to do (tell jokes, stories, sing, draw, things we often think of a "talents", etc.) or something they know how to do (a weird trick or genetic tic for instance) or want to "show and tell" (a drawing, photo, sculpture, found object of interesting or sentimental value, etc.) There's a time limit of 3 minutes (less is more).



Brenda Hutchinson is a composer and sound artist whose work is based on the cultivation and encouragement of openness in her own life and in those she works with. Hutchinson encourages participants to experiment with sound, share stories, and make music. Brenda also improvises on a 9 1/2 foot tube with a gestural interface she designed.




She has been an artist in residence at San Quentin Prison, Headlands Center for the Arts, Harvestworks, Exploratorium, Ucross and Djerassi. She is the recipient of the Gracie Allen Award from American Women in Radio and Television and has received support from the NEA, Lila Wallace, McKnight Foundation, and NYSCA and Meet the Composer among others. Recordings of her work are available through TELLUS, Deep Listening, O.O. DISCS, Frog Peak Music and Leonardo Music Magazine. Brenda will drive cross-country for any reason.




Funded in part through Meet The Composer's MetLife Creative Connections program.

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Noa Guy - composer, piano, voice, movement
Thomas Buckner - voice
Antonio Pio Fini - movement
Saul Macwillians - sound environment design

Drops of Consciousness is a series of concerts that are documenting my recovery from a severe brain injury, which happened 17 years ago when I had a brutal scuffle with a tree. The car I was in did not survive.

In part I and II I explored the long journey back from a world of darkness and pain, and the birth into a new reality.

Part III is not a linear continuation of the last two chapters. This performance is a celebration of acceptance, love of life and the realization that I am not my injury. With the support of my friends I explore the hidden possibilities that are embedded in the impossibilities imposed on me by my injury. I can not walk without crutches, but I can move without them. The piano revealed to me a whole new and mysterious sound world.

I composed the music, the poems, and the concept of the whole piece. But the piece grew and became a world of beauty through a close collaboration between all of us that perform tonight.

I thank Tom, Daniel and Saul for their bright ideas, insights, respect and love.

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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Missy Mazzoli was recently deemed "one of the most consistently inventive and surprising composers now working in New York" (New York Times), and "Brooklyn's post-millennial Mozart" (Time Out NY). In the past year alone she has had significant premieres with the American Composers Orchestra at Carnegie Hall, New York City Opera, Kronos Quartet and eighth blackbird. On May 28th Roulette will present an evening of her own work, including performances by her "all star, all-female quintet" (Time Out NY) Victoire, virtuosic violist Nadia Sirota and downtown pianist Kathleen Supové, accompanied by Alice Lovejoy and Jen Stock's beautiful and haunting films. Also featuring the world premiere of A Song for Mick Kelly, for Victoire, commissioned by Roulette through the Jerome Foundation.

with special guests:
Victoire (Missy's ensemble)
Nadia Sirota (viola)
Kathleen Supové (piano)
MaNi Chamber Music
James Moore (guitar)
filmmakers Alice Lovejoy and Jen Stock (presenting films created for Missy's music)

PROGRAM:
A Song for Mick Kelly WORLD PREMIERE
performed by Victoire, commissioned by Roulette through the Jerome Foundation
A Thousand Tongues WORLD PREMIERE OF NEW ARRANGEMENT for viola, voice and electronics
performed by Nadia Sirota
Isabelle Eberhardt Dreams of Pianos for piano and electronics
performed by Kathleen Supové
Lies You Can Believe In for string trio
performed by MaNi
Orizzonte for piano and electronics
performed by Missy Mazzoli, with a film by Alice Lovejoy
AND
a set of works for Victoire, with films by Jen Stock

Missy Mazzoli was recently deemed "one of the more consistently inventive, surprising composers now working in New York" by the New York Times. Her music has been performed all over the world by the Kronos Quartet, eighth blackbird, the Minnesota Orchestra, the Spokane Symphony, the South Carolina Philharmonic, NOW Ensemble and many others. Upcoming projects include a performance by the American Composers Orchestra at Carnegie Hall, and performances of her chamber opera, Song from the Uproar, at Bard College and on the New York City Opera's VOX series. Missy performs often in New York with Victoire, an ensemble dedicated to her own compositions. This group, a stirring blend of winds, strings, keyboards and lo-fi electronics, was recently dubbed "an all-star, all-female quintet" by Time Out New York, and was described by Pitchfork as "so good"¦ a pleasingly accessible entrée into the world of pseudo-classical music." They have performed at venues throughout the city including the Bang-on-a-Can Marathon, Galapagos, and the Whitney Museum. They released their debut EP, A Door into the Dark, through eMusic.com, and will release Cathedral City, their first full-length album, though New Amsterdam Records in September 2010.

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Contemporary music from two generations of Japan's experimental music community. Yasunao Tone became active in the Fluxus movement in the 1960s and moved to the United States in 1972. Tone will premiere his MP3 Corruption Piece, a new system for live performance, based on the real-time corruption of mp3 files to generate data that controls the playback of various audio materials. Japanese performer/composer, sound poet, and installation artist Tomomi Adachi will present musical interpretations of sound poetry, including works by renowned Dadaist Hugo Ball and Japanese 60's concrete poetry proponent Niikuni Seiichi, using voice, laptop, original interfaces, and homemade instruments.

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In its second concert since the group's return from a three-year absence, the Dan Joseph Ensemble will perform a full program of the composer's chamber works featuring the second hearing of his newest large-scale work Tonalization (for the afterlife). Completed in 2009, this new work for instrumental sextet continues to explore Joseph's hybrid style. By far his largest work for the ensemble, Tonalization (for the afterlife) emphasizes the composer's conception of "tone," a notion he expresses through a continually varying timbral and rhythmic soundscape. Described by early listeners as "compelling," "stunningly beautiful," and "a grand form," the work is dedicated to the memory of the late Suzanne Fiol, founder of Brooklyn's Issue Project Room where the work premiered in March of this year. The program will also include two earlier ensemble works, Percussion and Strings (2004) and the Archaea Quartet (2001) both from the groups first recording Archaea (Mutable Music, 2006), and the flute and hammer dulcimer duo Wind Patterns (2002).

The Dan Joseph Ensemble was founded by New York-based composer Dan Joseph as a vehicle for his growing body of post-minimal compositions. With a unique instrumentation anchored by hammer dulcimer and harpsichord, a mix of winds, strings and percussion, the ensemble sound is harmonically rich and deeply resonant, evoking a musical world both ancient and modern. Described as "one part classical minimalism, one part rustic European mountain music. . . and maybe one part sunshine" (Time Out New York), and "hypnotic webs of sound reminiscent of early minimalism and psychedelia" (Newmusicbox.org), the ensemble had it's first performance in San Francisco in 2001. This led to a series of concerts in various New York City lofts, galleries and concert stages from 2002 to 2006 culminating in the release of the full-length CD Archaea on the Mutable Music label. The ensemble currently consists of Tom Chiu (violin), Loren Dempster (cello), Maria Ilic (harpsichord), Leah Paul (flute), Danny Tunick (percussion) and the composer on hammer dulcimer.

Dan Joseph is a free-lance composer based in New York City. He began his career as a drummer in the vibrant punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental cassette music underground, producing ambient-industrial works for independent labels in the U.S. and abroad. He spent the '90s in California where he completed his academic work at CalArts and Mills College. His principal teachers included Pauline Oliveros, Alvin Curran, Mel Powell and Terry Riley. Embracing the musical multiplicity of our time, Dan works simultaneously in a variety of media and contexts, including instrumental chamber music, free improvisation, and various forms of electronica and sound art. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music, and he is active as a performer with his own chamber ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations and as an occasional soloist.

More on the web:

Dan Joseph Ensemble: danjoseph.org/ensemble
Dan Joseph: danjoseph.org
Tonalization (for the afterlife): danjoseph.org/texts/index.php?/project/program-notes/

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"It's hard to find a more fruitful meditation on American music than in the compositions of guitarist Bill Frisell. Mixing rock and country with jazz and blues, he's found what connects them: improvisation and a sense of play. Unlike other pastichists, who tend to duck passion, Mr. Frisell plays up the pleasure in the music and also takes on another often-avoided subject, tenderness." - The New York Times

In a career spanning more than 25 years and over 150 recordings-including 25 albums of his own-guitarist, composer, and bandleader Bill Frisell has established himself as a visionary presence in American music. He has collaborated with a wide range of artists, filmmakers and legendary musicians. But it is his work as a leader that has garnered increasing attention and accolades. His catalog has been cited by DownBeat as "the best recorded output of the decade." Frisell's collaborators have included such diverse artists as Gavin Bryars, Don Byron, Ron Carter, Loudon Wainwright III, Elvis Costello, Suzanne Vega, Jerry Douglas, Marianne Faithful, Robin Holcomb, Wayne Horvitz, Paul Motian, Rinde Eckert, Caetano Veloso, Rickie Lee Jones, David Sylvian, Bono, Ron Sexsmith, Vic Chesnutt, Van Dyke Parks, Dave Holland, Elvin Jones, Laurie Anderson, Paul Simon, Vinicius Cantuaria, John Scofield, Jack DeJohnette, Lee Konitz, Hal Willner, Ginger Baker, Charlie Haden, Marc Ribot, T Bone Burnett, Kenny Wheeler, Joe Lovano, John Zorn, Jan Garbarek, Gary Burton, Joey Baron, Marc Johnson, Vic Chesnutt, film directors Wim Wenders, Gus Van Sant and Rory Kennedy, cartoonist Gary Larson and visual artist Jim Woodring, and many others. He is also the music director of A Century of Song for the Ruhr Triennale Arts Festival in Germany. Collaborators in this series have included Suzanne Vega, Elvis Costello, Rickie Lee Jones, Loudon Wainwright III, and Ron Sexsmith, among others.

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On a quiet sunday night in New York, Seth Cluett presents Three Forms of Forgetting with the assistance of the audience and cellist Okkyung Lee. Starting with a new work for paper and stones, then a solo piece for cello and sine wave oscillators, and ending with a long form immersive solo performance, each of these works slowly explores the rich material at the intersection of physical actions, listening, and memory.

Seth Cluett (b. 1976, Troy, NY) is an artist, performer, and composer whose work ranges from photography, and drawing to video, sound installation, concert music, and critical writing. Engaging the boundary between the auditory and other senses, his work is marked by a detailed attention to perception and to sound's role in the creation of a sense of place and the experience of time. The apparent tranquility of Cluett's work - at once gentle and un-nerving - is concerned with the rapidly shifting sensory landscape of technological development and urbanization.

Cluett uses minimal materials derived from close listening and observation of the environment to point up the way in which we personalize our objects and actions. Through creative mis-use of post-consumer goods, adaptive re-use of raw architectural elements, and a nostalgic obsession with dead technologies, these materials become instrumentalized. In this way, many of his pieces investigate the movement, patterns, and social organization of both work and play, while others explore the acoustic signature of specific locations, where sound is exposed as the result or goal of a social activity, a characteristic of architectural space, or a by-product of a geological process.

Cluett's work has been shown and/or performed internationally at institutions and festivals such as Kill Your Timid Notion at Dundee Contemporary Arts in Scotland; the 10th Rencontres Internationales, Palais de Tokyo Museum, and GRM in Paris; Hebbel am Ufer Theater in Berlin; the Osage Art Foundation in Hong Kong; The Kitchen, WPS1/MoMA, Issue Project Room, and Diapason Gallery in New York; the Institute for Contemporary Art, Studio Soto, and Mobius Artist Space in Boston; the Betty Rymer, Heaven, Artemisia, and Deadtech Galleries in Chicago; and the Deep Listening Space in Kingston, NY. He has created dance and theater works with DD Dorvillier/Human Future Dance Corp, Hélène Lesterin/Atlas Dance, and Jen Mesch. His work is documented on Errant Bodies Press, Sedimental, Crank Satori, BoxMedia, Stasisfield and Wavelet Records. He has published articles for The Open Space Magazine, Leonardo Music Journal, 306090, Earshot, and the Journal of the Acoustical Society of America.

more info: http://www.onelonelypixel.org

Funded in part through Meet The Composer's MetLife Creative Connections program.

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String quartet Crucible (Cornelius Dufallo and Chris Otto, violins; John King, viola; and Alex Waterman, cello) will perform music from composer John King's new CD "10 Mysteries" Saturday, May 15, 2010 at 8:30 pm.

Earlier this year, John King released his second CD, "10 Mysteries" on John Zorn's Tzadik label. King has 2 previous CD releases of music for string quartet; AllSteel (Tzadik) and Ethel (Cantaloupe). Featuring passionate and inspiring performances by the remarkable quartet Crucible with King himself on viola, the music on 10 Mysteries jumps from moment to moment with lightening speed and an organic sense of form. In his second CD on Tzadik he again embraces rock, jazz, blues and other popular styles in an energetic and colorful program for string quartet.

Crucible will also be joined by the TILT Brass project's quartet (Rachel Drehmann, horn; Joe Exley, tuba; Russ Johnson, trumpet; Chris McIntyre, trombone) and Charlotte Dobbs, soprano, for the world premiere of SAPPHO presto chango. These 12 short arias are based on the poem fragments of Sappho which are to be performed as an independent layer to the instrumental ensemble. To end the evening, pianist Jenny Lin will perform King's petite ouverture en forme de mErCE CunninGHAm, a piece written for Merce in honor of his 90th birthday.

Crucible features New York string luminaries Cornelius Dufallo, Chris Otto and Alex Waterman, who perform with such groups as Ethel, the JACK Quartet and the Either/Or Ensemble.

Led by trombonist and composer Chris McIntyre, Brooklyn-based TILT Brass is a versatile collective of brass and percussion artists that present works ranging from the historical avant garde to commissioned works by composers such as James Tenney, Anthony Coleman, and Lois V. Vierk.

Soprano Charlotte Dobbs maintains an active opera performance and concert career. In 2008, she appeared in recital with Mitsuko Uchida at the Marlboro Music Festival, performing Schoenberg's Book of the Hanging Gardens. Miss Dobbs made her Kimmel Center and Carnegie Hall debuts in Nielsen's Third Symphony with the Curtis Symphony Orchestra and Alan Gilbert in 2008.

Jenny Lin is one of the most respected young pianists today, admired for her adventurous programming and charismatic stage presence. Her ability to combine classical and contemporary literature has brought her to the attention of international critics and audiences alike.

Composer, guitarist and violist John King (www.JohnKingMusic.com) has received commissions from the Kronos Quartet, Red {an orchestra}, Ethel, the Albany Symphony, Bang On A Can All-Stars, Mannheim Ballet, New York City Ballet, Stuttgart Ballet, the Ballets de Monte Carlo and the Merce Cunningham Dance Company, with whom he worked closely for more than 20 years. He has written three operas (his most recent opera Dice Thrown was recently performed at CalArts in Los Angeles) and has composed for orchestra, chamber ensembles, rock bands, dance, film and theater. He was Music Curator at The Kitchen from 1999-2003. King won the Alpert Award in the Arts for Music in 2009.

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( (( PHONATION )) ) is a multimedia solo performance by Bora Yoon with live video manipulations by Luke DuBois- exploring where sound connects to the subliminal using found sounds, new and antiquated instruments, electronic devices, and voice. Using a sound designer's approach to performance composition that is steered by a penchant for a song, ( (( PHONATION )) ) engages with music as music, and not as part of a genre, taking the means to one end, and using it for another to form new utterances of sound and the beginnings of a new sonic language, within its spatial and architectural context. In every case, a particular sonic geography is evoked that might be inspired by a simple, found-sound in the world, or an expression of a sonic paradox bouncing around only in the mind.

Bora Yoon is an experimental sound artist, composer and performer, who creates architectural soundscapes from found objects, chamber instruments, digital devices, and voice. Featured in WIRE magazine and on the front page of The Wall Street Journal for her musical innovations-Yoon has presented her original soundwork ( (( PHONATION )) ) internationally, at Lincoln Center, the Nam June Paik Museum in Seoul, Patravadi Theatre in Bangkok, the Bang on a Can Marathon, BAM, and John Zorn's Stone. Her music has been presented by Samsung and the Electronic Music Foundation; commissioned by the Young People's Chorus Chorus of NYC and SAYAKA Ladies Chorale of Tokyo; awarded by Billboard, BMI, the Arion Foundation and the Asian American Arts Alliance; and published by Swirl Records, MIT Press, and the Journal of Popular Noise. Upcoming plans include scoring and performing in the staged production of Haruki Murakami's acclaimed "Wind Up Bird Chronicle"; custom instrument design and performance with LEMUR; recording and remix projects with DJ Spooky, Meredith Monk, and early music group New York Polyphony; and a wax cylinder record for UK phonograph artist Aleks Kolkowski's museum collection- while ( (( PHONATION )) ) continues to resonate and rarefact in concert.

www.borayoon.com

R. Luke DuBois is a composer, artist, and performer who explores the temporal, verbal, and visual structures of cultural and personal ephemera. He holds a doctorate in music composition from Columbia University, and has lectured and taught worldwide on interactive sound and video performance. He has collaborated on interactive performance, installation, and music production work with many artists and organizations including Toni Dove, Matthew Ritchie, Todd Reynolds, Michael Joaquin Grey, Elliott Sharp, Michael Gordon, Bang on a Can, Engine27, Harvestworks, and LEMUR, and was the director of the Princeton Laptop Orchestra for its 2007 season.

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The Eclipse Quartet is a new music ensemble dedicated to the music of late twentieth century and present day composers in addition to the creation of works of their own. Tonight's program highlight's Morton Subotnick's seminal work Fluttering of Wings for quartet and Ghost Machine as well as west coast composer Roger Reynold's Ariadne's Thread, Zeena Parkins' Quartet no. 1 Persuasion, and John Cage's Quartet in Four Parts. The Eclipse quartet is made up of four women with strong backgrounds in international and national chamber music performance, new music and recording. Their combined experience represents a wide range of musical styles and collaborations.

"A ferociously good quartet" - San Francisco Classical Voice

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Drew Krause has been composing with computer algorithms for over 20 years, often to transform traditional musical materials into unexpected and provocative contexts. This evening features first performances of some recent compositions featuring performances by Flux Quartet, Danny Tunick (percussion), and Drew Krause (piano)

Funded in part through Meet The Composer's MetLife Creative Connections program.

Drew Krause has written over 80 works for instrumental and electronic media. His music is published by Frog Peak and MLKeepe Publications, and has been recorded by Innova, Capstone, New Ariel, Frog Peak, Pogus, AUR, and Bonk Records. He has received grants from Harvestworks, The MacDowell Colony, The Wurlitzer Foundation, and Meet the Composer, and residencies at Stanford University and Brooklyn College. A graduate of Hamilton College (BA), Juilliard (MM) and the University of Illinois (DMA), his principal teachers were Herbert Brun, Salvatore Martirano, Vincent Persichetti, Bernard Rands, and Stuart Smith. Recent performances include Roulette, Diapason Gallery, North River Music, International Computer Music Conference, SCI National Conference, FOCUS!, Bonk, and Ought-One festivals. Author of the extensive Common Lisp Composer's Library for algorithmic music composition, he is on the faculty of New York University.

Percussionist/conductor/bassist Danny Tunick has played, conducted and recorded music ranging from classical (Pierre Boulez, Terry Riley, Annie Gosfield) to punk rock (Jowe Head, The Clean, Elliott Sharp). Along the way, he has attempted to navigate around and through innumerable other musical obstacles. Mr. Tunick can be heard on over 30 record labels, including CRI, Opus One, EMI Portugal, New Albion, Capstone, Tzadik, Merge, Wiiija, Important, Mutable Music, Bridge, Happy Squid, Cantaloupe, Red Toucan, Spaced, Black Box, Rare Book Room, and Rock Against Rock. Recent CDs include the premiere recording of Drew Krause's Apocalypso for bass clarinet and drumset.

"One of the most fearless and important new-music ensembles around," (Joshua Kosman, San Francisco Chronicle) "who has a brought a new renaissance to quartet music," (Kyle Gann, The Village Voice) the FLUX Quartet has performed to rave reviews at many music centers around the world. It has appeared at Da Camera of Houston, Miller Theater, the Walker Art Center, the Library of Congress, and Carnegie Hall's When Morty Met John Festival. It has also recently made two acclaimed international debuts: in Ireland at the Samuel Beckett Centenary Festival, and in Mexico at the Chihuahua International Arts Festival. FLUX's numerous radio credits include NPR's All Things Considered, WNYC's New Sounds and Soundcheck, and WFMU's Stochastic Hit Parade. Its growing discography includes recordings by composers Morton Feldman, Annie Gosfield, and bagpipe virtuoso Matthew Welch. Highlights of recent seasons include the debut appearances at The Kennedy Center and Walt Disney Hall in Los Angeles, residencies at Dartmouth, Wesleyan, and Williams, and New York's Interpretations Series, a leading series for innovative music of living performers and composers. FLUX captivates its audiences worldwide with a vivid repertoire balanced between notable pioneers as well as visionaries of tomorrow. From "classics" by Conlon Nancarrow, Giacinto Scelsi, and Iannis Xenakis, to new works by Roscoe Mitchell, Elliott Sharp, Welch, and John Zorn, FLUX brings to all of its performances a "boundless, uninhibited energy." (New York Times) The quartet avidly seeks out collaborative relationships with genre-transcending artists such as Ornette Coleman, Joan La Barbara, Oliver Lake, balloon artist Judy Dunaway, and digital art collective, The OpenEnded Group. Members from the quartet have also done significant work in dance, including frequent collaborations with Morphoses/Wheeldon Company and Shen Wei Dance Arts. Strongly dedicated to uncovering new works both by it own members as well as emerging composers, FLUX actively pursues commissions, with recent grants from the American Composers Forum, USArtists International, Aaron Copland Fund, and the Meet-The-Composer Foundation.

The spirit to explore and expand stylistic boundaries is a trademark of the FLUX Quartet. Inspired by the all-embracing philosophy of the Fluxus movement, violinist Tom Chiu founded the FLUX Quartet in the 90's with a quest similar to that of the original Fluxus artists: a search for a living art for all people with an "anything-goes, do-it-yourself" spirit. To that end, FLUX has always been committed to projects of unique vision that defy aesthetic categorization. One such project is Feldman's String Quartet No. 2. Lasting more than six continuous hours, it is "a disorienting, transfixing experience that repeatedly approached and touched the sublime." (Alex Ross, The New Yorker)

For more information, please visit www.fluxquartet.com.

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Nancy Garcia is a Brooklyn-based choreographer/composer/artist whose work and practice utilizes various media, including dance, performance, printmaking, sound, drawing and video. Over the past decade, her work has been shown throughout the US, Japan and the UK, including The Kitchen, Whitney Museum of American Art, Greene Naftali gallery, Museum of Contemporary Art North Miami, D'Amelio Terras gallery, Issue Project Room, LMAK Projects, Tracy Williams gallery, Tonic and New Langton Arts, among others. She has also performed at festivals like All Tomorrow's Parties (UK), No Fun Fest, and SXSW. Having spent years touring and recording with Monotract, alongside Carlos Giffoni and Roger Rimada as well as working with the Laundry Room Squelchers and performing alongside Arthur Doyle back in the Cooler days of NYC, her most recent album "Be the Climb" on the label Ecstatic Peace records shows a culmination of process, noise, melodies, and songs. For more information: www.nancygarcia.org.

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Wet Ink presents a program of new American chamber music, including works by Erin Gee, Eric Wubbels, Amy Williams, Sam Pluta, Rama Gottfried, and Keith Moore. The program contrasts the intricate sound environments of Wubbels, Gee, Gottfried and Williams with the pulsating electro-acoustic sound masses of Pluta and Moore.

The Wet Ink Ensemble is a New York-based new music collective now in its 11th season of programming. With strong ties to several New York arts communities - downtown and uptown new music, pop, jazz, punk rock, electronic music-Wet Ink is able to present engaging programs from the real frontier of new music with a kind of energy and authenticity rarely found elsewhere.

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Trombonist, composer, and founder of Roulette Jim Staley has been shaking up the downtown experimental music scene for over 30 years. Working primarily with improvisation, crossing genres freely between post-modern classical music and avant-garde jazz, Staley has collaborated for many years with other highly experienced improvisers, both dancers and musicians. Tonight Jim will be joined by special guests.




Jim Staley, trombonist/composer moved to New York and has resided in a lower Manhattan since 1978. His work has been primarily working with improvisation, crossing genres freely between post-modern classical music and avant-garde jazz. He has worked for many years with other highly experienced improvisers, both dancers and musicians, including Sally Silvers, Pooh Kaye, Simone Forti, Ikue Mori, Davey Williams, Shelley Hirsch, Phoebe Legere, John Zorn and many others. Staley's recording projects include Blind Pursuits with Phoebe Legere and Borah Bergman; Mumbo Jumbo-different trio combinations with Wayne Horvitz, Elliott Sharp, Shelley Hirsch, Samm Bennett, Ikue Mori, Bill Frisell, Fred Frith and John Zorn; Jim Staley's Don Giovanni, with Mori, Davey Williams, Zeena Parkins and Tenko, plus several more.




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.

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Two very different dramatic excursions into the theatrical side of contemporary music. Joan La Barbara and Ne(x)tworks will be performing excerpts from Angels, Demons and other Muses, her opera in-progress exploring inner secrets of the artistic mind. Inspired in part by the dreams of Joseph Cornell, intricate word turnings of Virginia Woolf, and psychological twists of Poe. With Kenji Bunch, Shelley Burgon, Yves Dharamraj, Cornelius Dufallo, Miguel Frasconi, Stephen Gosling, Ariana Kim, and Chris McIntyre. Yael Acher-Modiano (flute) and Irina Kalina-Goudeva (bass, and voice) present "Two - Walk", a multimedia electro-acoustic performance which incorporates also drama, and movement."

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Daniel Levin (cello), Nate Wooley (trumpet), Matt Moran (vibes), Peter Bitenc (bass)

Daniel Levin began playing the cello at age six. He has performed and/or
recorded with Billy Bang, Borah Bergman, Tim Berne, Anthony Braxton,
Rob Brown, Whit Dickey, Mark Dresser, Joe Morris, Joe McPhee, William Parker, Warren Smith, Ken Vandermark, and many others. Daniel has recorded as a sideman for Clean Feed, EMANEM, Not Two, and RogueART. His records as a leader are on Riti Records, Hat Hut, and Clean Feed. Daniel is the recipient of a 2010 Jerome Foundation award.

"Cellist Daniel Levin is a major new voice on his instrument and in improvised music."
- Ed Hazell, The Boston Phoenix

"Daniel Levin est aujourd'hui une figure majeure du violoncello."
- Franck Bergerot, Jazz Magazine

"Not since David Darling and Hank Roberts has there been a more exciting jazz prospect on the cello.....it leaves Levin very much the man to watch."
- Penguin Guide to Jazz

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Multi-flutist Robert Dick, visual improviser Joshue Ott and electronic musician Billy Gomberg create an immersive, improvised experience, unabashedly journeying from maelstrom to serenity via spontaneous emotional ports of call.

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"A flutist whose technical resources and imagination seem limitless." Allan Kozinn, New York Times
Robert Dick's contributions to the development of the flute and its music are profound. With equally deep roots in classical music old and new, free improvisation and new jazz, he is known as the flute's visionary. Dick plays the flute like it's a human powered synthesizer. Listening to him play solo has been likened to the experience of hearing a full orchestra.

http://www.robertdick.net

New York-based multidisciplinary artist Joshue Ott creates cinematic visual improvisations, often performed live and projected in large scale. Working from hand-drawn forms which he then manipulates with superDraw, a software instrument of his own design, Ott composes evolving images that reside somewhere between minimalism, psychedelia, and Cagean chance. He performs frequently with musicians, sympathetically translating sound to vision to yield immersive multi sensory experiences that are at once immediate and synergistic.

http://superdraw.intervalstudios.com

Billy Gomberg (b 1979, Chicago) is a musician and video artist living in Brooklyn NY. His studio practice incorporates analog synthesis, digital treatments, acoustic recordings and custom programming that gives rise to electronic sound caught gazing at its own physicality, acoustics in love with their own abstraction.

http://www.fraufraulein.com/billy/

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KONK PACK brings together three major figures in contemporary music. For over ten years this group has amazed audiences at festivals and concerts all over the world with the sheer energy of its rapid-fire interplay, earning numerous critical accolades. Tonight KONK PACK will be joined by special guest Shelley Hirsch.

"I can't think of an improvising group more explosive than this European trio - percussionist Roger Turner, guitarist Tim Hodgkinson, and synth maestro Thomas Lehn bite down hard on whatever they play, confronting even delicate passages with taut intensity. "¦"¦I've seen so much free improv that some of it feels as predictable as 'Chopsticks', but these guys keep me pinned to the wall, happily anticipating the next shock."
Peter Margasak, Chicago Reader Oct 18th, 2007

TIM HODGKINSON
Increasingly lauded as a contemporary composer, with works featured at international contemporary music festivals, and a set of pieces for ensemble out on the Mode label, Hodgkinson has also a powerful commitment to intense and highly energised performance practice. In over thirty years' work he has placed himself in a series of definitive projects, whether as cofounder of the seminal Henry Cow group, as saxophonist with influential avant metal band God, or as bass clarinet soloist in the spectral compositions of Iancu Dumitrescu. His lap steel guitar playing remains completely uncategorisable bringing subdued and not so subdued echoes of rock musics and other ethnicities.

THOMAS LEHN
Schooled both as a concert pianist playing contemporary repertoire and as a recording technician, Thomas Lehn deploys a huge musicality through his unique chosen outlet the analogue synthesiser. This instrument allows him extremely close and immediate contact with all aspects of sound modification - a vast gamut of living electronic sound produced with unmatched speed and fluency. Thomas Lehn simply represents a coming-of-age of electronic sound production in the domain of concert performance that sets a standard for the entire medium. He is therefore unsurprisingly an essential member of many of the most active and significant projects in this highly international and dynamic scene.

ROGER TURNER
Over decades Roger Turner has brought the renowned volcanic power and finely honed precision of his drum work to ensembles that have often forged real connections with musicians both sides of the Atlantic. In addition he has worked extensively in the microscopic laboratory of the acoustic duo situation where he acquired a highly developed sense of detail and of dynamic control. One of that select group of world-class players who have collectively redefined the language of contemporary percussion. In Turner's hands minute inflections of tension can shape the group's musical direction and galvanise a new level of audience experience.

SHELLEY HIRSCH
Shelley Hirsch is "an unorthodox, extraordinary fusion of vocalist, composer, and performance artist " (Anne LeBaron) whose work encompasses story telling pieces, staged performances, compositions, improvisations, collaborations, installations, and radioplays, which have been presented on 5 continents... Hirsch has performed hundreds of concerts of improvised music with great musicians including Anthony Coleman, Christian Marclay, Ikue Mori, Toshio Kajiwara, Hans Reichel, Min Xiao Fen, Tony Buck, David Simons, Johannes, Connie and Matthias Bauer, Paul Lovens, David Watson, Marina Rosenfeld, Jim Staley, DJ Olive, Denman Maroney, Joey Baron, Mark Dresser, Ned Rothenberg, Marc Ribot, Cyro Baptista, Butch Morris, Elliot Sharp, Uchihashi Kasuhisa, Joe Williamson, etc, etc.