French-US collaborative quartet performing improvised and composed music.
Andrea Parkins – electric accordion, laptop electronics, amplified objects
Hans Tammen – endangered guitar, analog modular synth
Edward Perraud – percussion, electronics
Didier Petit – cello, voice
The project is IRIS – a French-US collaborative quartet. IRIS is a new ensemble that recently received a grant for touring from the French American Cultural Exchange. The group performs pieces composed and improvised by Andrea Parkins (on el. accordion & laptop electronics), Hans on guitar and electronics, as well as French musicians Didier Petit on cello and Edward Perraud on drums, percussion and analog electronics. IRIS will be touring in the US immediately following a recording date and concert tour in France, which will include a performance at Radio France.
Hans Tammen uses Earle Brown’s open form composition idea as a starting point to create a large multi-movement piece, thoroughly composed and purely improvised at the same time. He gets his thrill out of exploring the world of sounds, and by superimposing or phasing of multiple rhythms. His new work ANAGENESIS draws from a single repertoire of around 100 pre-conceived musical units. The conductor uses the orchestra as an instrument, while each performer shapes the music through virtuosic improvisation and the individual stylization of musical performance. “Everything about Third Eye Orchestra… indicates mastery and control” (Howard Mandel / CD Liner Notes).
With: Mari Kimura (vio), Jason Hwang (vio), Stephanie Griffin (vla), Tomas Ullrich (cel), Marty Ehrlich (bcl, as, fl), Briggan Krauss (as, bari), Herb Robertson (trpt), Robert Dick (fl, cbfl), Dafna Naphtali (voice, live sound processing), Denman Maroney (p/kb), Ursel Schlicht (p/kb), Stomu Takeishi (b), Satoshi Takeishi (perc), David Simons (theremin/gongs), Hans Tammen (composer, live arrangement, concept).
“I have felt that the conditions of spontaneity and mobility of elements which I have been working with create a more urgent and intense “communication” throughout the entire process, from composing to the final realization of a work, I prefer that each “final form,” which each performance necessarily produces, be a collaborative adventure, and that the work and its conditions of human involvement remain a ‘living’ potential of engagement.” (Earle Brown)
Hans Tammen creates music that has been described as an alien world of bizarre textures and a journey through the land of unending sonic operations. He is mostly known for his “Endangered Guitar” work, for which he received a Fellowship from the New York Foundation of the Arts (NYFA) in the category Digital/Electronic Arts this year. His Third Eye Orchestra concept was first presented in 2004 on Canada’s Sound Symposium Festival, with a take on Miles Davis’ Bitches Brew period. The 2005 “Jazz on the Volga” Festival in Yaroslavl, Russia saw the premiere of his first original work, and further works for various ensembles were presented in Bulgaria, Mexico and Germany; and in New York at Roulette, Brecht Forum and as art of Manhattan New Music’s New Composers series. The 2006 Roulette performance was released as “Antecedent/Consequent” on Innova, the label of the American Composers Forum. All About Jazz called the music “nothing short of breathtaking”, and “a masterpiece of musical evocation”.
Further information, reviews and audio examples at http://www.tammen.org/ens_teo.html
A live interactive performance for kids.
Featuring; Steve Horowitz ; Bass/Conductor, Dafna Naphtali; VOX/Conductor/Sampler
Michael Evans; Percussion & Theremin, Hans Tammen; Guitar
Designed for kids 5-99, Gloorf is an interactive kids show introducing the kids to all kinds of wacky and historical concepts in new music, sound art and digital performance. Gloorf!, invites children of all ages to participate as we make music out of kitchen appliances, electronic instruments, Theremin, samplers and voice processing, animal sound, electronic toys and various body parts and other surprises.
Gloorf! Also seeks to express universal musical ideas in a fun & interactive way. Style, form, the role of the conductor and the performer are all examined in a fun & engaging way.
Dafna Naphtali is a singer/guitarist/electronic-musician from an eclectic background of music-making. As sound-artist/performer/composer she creates custom Max/MSP/Jitter programs for audio processing of voice and other instruments in her performances. She co-leads the digital chamber punk ensemble, What is it Like to be a Bat? with Kitty Brazelton (www.whatbat.org). and has collaborated / performed with Lukas Ligeti, David First, Joshua Fried, Ras Moshe, Kathleen SupovÃª, Hans Tammen LEMURbots and others. She’s received commissions and awards from NYFA, NYSCA, Meet the Composer, Experimental TV Center, American Composers Forum, and residencies at STEIM (Holland), LEMUR and Create@ iEAR. She teaches at NYU (Music Technology), and gives workshops at universities in the US and Europe. She teaches, programs and consults about Max/MSP for Harvestworks and freelance — and done sound design or programming work for the projects of Jin Hi Kim, Shelley Hirsch, Pamela Z, Phoebe Legere, Fred Frith, Jim Staley, Henry Threadgill, Steve Coleman, Chico Freeman and others. Dafna can be heard on Mechanique(s) on a new release on Acheulian Handaxe, Hans Tammen’s Third Eye Orchestra (Innova) and JosÃª Halac’s CD ‘Dance of 1000 Heads’ (Tellus), and What is it Like to be a Bat? on Tzadik/Oracles (4 Stars, All Music Guide).
Steve Horowitz is a creator of odd but highly accessible sounds and a diverse and prolific musician, with an output spanning the worlds of film, television, games, concerts, and recordings. In addition to his ground breaking work with Nickelodeon Digital and his film and television scores (Super Size Me, Casino Cinema, I Bet You Will, Nickelodeon), he also records and tours with his band The Code International. Steve won a Grammy award for engineering the multi-artist True Life Blues: The Songs of Bill Monroe [Sugar Hill], 1996′s winner for best bluegrass album. Steve studied composition at the California Institute and has received performance underwriting and commissions from numerous organizations. For more information on Steve Horowitz, visit www.thecodeinternational.com
Hans Tammen's latest project, the Third Eye Orchestra, is inspired by Earle Brown's Available Forms. In tonight's performance, various sections of musicians are given scores with modules from 2-36 bars in length, but the conductor is free to choose which modules are played next. Combining improvisational aspects with open form composition, the conductor uses the orchestra as an instrument, while each performer shapes the music through virtuosic improvisation and the individual stylization of musical performance.
The music focuses on polyrhythmic/polymetric structures, by playing several meters at once, or adding lines of rhythms on top of each other. Soloists experiment with all kinds of sounds, or microployphonic structures, wherein a layer of sound is created through carefully crafted small events. The music reminds us of Miles Davis's Bitches Brew period or of Steve Coleman, juxtaposed with GyÃ¶rgyi Ligeti's micropolyphonic works or Steve Reich's phase pieces.
With Mari Kimura (violin,) Mark Feldman (violin,) Stephanie Griffin (viola,) Tomas Ullrich (cello,) Briggan Kraus (alto sax, baritone sax,) Marty Ehrlich (bass clarinet, alto sax,) Robert Dick (flute, contrabass flute,) Detlef Landeck (tuba,) Dafna Naphtali (voice, live sound processing,) Ursel Schlicht (piano,) Deman Maroney (piano,) Stomu Takeishi (bass,) Satoshi Takeishi (percussion) and Hans Tammen (conduction/concept.)
"An evening of duos and trios featuring Hans Tammen, endangered guitar; Denman Maroney, hyperpiano and Dafna Naphtali, live sound processing In their duo, Maroney (whose technique has come to focus almost entirely on the interior of the piano) and Tammen (whose guitar has been seized, carried away from its familiar territories and reconstructed elsewhere) create music which is ï¿½chaotic on the surface with its forest of apparently separate details, interlinked underneath, woven together, again without structure or rationale, a maze of infinite complexity." (From Richard Cochraneï¿½s notes to their Potlatch CD, Billabong) Naphtali's joins them with her interactive processed sound/noise system based on Max/MSP."