Archive Jeremiah Cymerman » Roulette
Wednesday, July 25, 2012
BloodMist is the new collaborative trio of composer/performer/multi-instrumentalists Jeremiah Cymerman, Toby Driver and Mario Diaz de Leon. Since the early 2000s each of these three composers have been making bold and important contributions to the fields of contemporary concert music, dark compositional rock, electroacoustic improvisation and beyond. With shared aesthetics rooted in intensity and a tendency for the extreme the trio plans to use their time at Roulette to workshop, rehearse and record their first album, all in preparation for their world debut on the stage of Roulette on July 25th, 2012.
Support for this program provided by the Jerome Foundation.
ABOUT THE MUSICIANS
The music of Jeremiah Cymerman, as described by Chris Weingarten of Spin/Village Voice “cuts a maddening line between free improv and musique concrète”. Based in New York City since 2002 and as an active participant in several different scenes, Cymerman’s work reflects an interest in improvisation, electronic manipulation & production, traditional, studio & graphic composition and solo performance. Cymerman has worked or performed with a broad range of contemporary artists and frequent collaborators include Toby Driver, Nate Wooley, Brian Chase, Mario Diaz de Leon, Christopher Hoffman, Jessica Pavone and Matthew Welch. Cymerman has toured internationally, received numerous commissions and published several articles on music and music production. He has released several recordings of his own music and his recorded output has been documented on the Tzadik and Porter record labels.
Toby Driver is a composer, bandleader, multi-instrumentalist, and visual artist based in Brooklyn, NY, who spends most of his time as the frontman of the unique avant-rock band, Kayo Dot, and the dark electroacoustic chamber group, Tartar Lamb. He studied composition with the venerable and legendary musician, Yusef Lateef, in Western Massachusetts, and later lived in Boston, finally moving to New York in 2007. He has released many full-length albums and various singles of his own compositions on cult and prestigious indie labels alike, has appeared as a guest or collaborator on several other recordings, and regularly tours internationally with his various ensembles, including as bassist of composer Trey Spruance’s Secret Chiefs 3.
Mario Diaz de Leon (b. 1979 in St. Paul, MN) is a composer and multi-instrumentalist. Praised by the New York Times for their “hallucinatory intensity”, his works for classical instruments and electronics have been performed internationally by ensembles such as ICE, Talea, iO Quartet, JACK Quartet, San Francisco Contemporary Music Players, and Romania’s Hyperion Ensemble. He has performed, toured and recorded in many bands as a guitarist, and currently plays guitar in Mirrorgate. His discography includes 4 releases on the Shinkoyo label, and a critically acclaimed CD of his chamber music on John Zorn’s Tzadik label (“Best of 2009″ – Time Out New York, Chicago Reader).
Friday, February 24, 2012
AUDREY CHEN is a Chinese-American musician who was born into a family of material scientists, doctors and engineers, outside of Chicago in 1976. Parting ways with the family convention, she turned to the cello at age 8 and voice at 11. After years of classical and conservatory training in both instruments, with a resulting specialization in early and new music, she parted ways again in 2003 to begin new negotiations with sound in order to discover a more individually honest aesthetic. Now, using the cello, voice and analog electronics, Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised and her approach to this is extremely personal and visceral. Her playing explores the combination and layering of a homemade analog synthesizer, preparations and traditional and extended techniques in both the voice and cello. She works to join these elements into a singular ecstatic personal language. Recently, her primary focus has been her SOLO project but she is also involved in many various collaborations. Among musicians, she has worked with Phil Minton, Tetuzi Akiyama, Toshimaru Nakamura, Ko Ishikawa, Tomomi Adachi, Matana Roberts, Elliott Sharp, Aki Onda, Phill Niblock, Frederic Blondy, Jerome Noetinger, C. Spencer Yeh, Nate Wooley, Mats Gustafsson, Mazen Kerbaj, Michael Zerang, Tatsuya Nakatani, Le Quan Ninh, Joe Mcphee, Susan Alcorn, Michele Doneda, Paolo Angeli, Gianni Gebbia, Dylan Nyoukis plus many more. Some more current projects have included: duos with Phil Minton, Luca Marini (kamama), Frederic Blondy, Robert van Heumen (abattoir), Katt Hernandez (Isabel), Nate Wooley (heave and shudder), Wouter Jaspers, and Id M Theft Able.
Jeremiah Cymerman/Nate Wooley/Brian Chase
Jeremiah Cymerman (clarinet, electronics) Nate Wooley (trumpet, amplifer) Brian Chase (drums, amplifer)
Jeremiah Cymerman is a composer & clarinetist based in New York City. Since 2002 he has been active in a wide variety of musical contexts, premiering new works in downtown institutions like Roulette, Issue Project Room & The Stone, touring internationally, improvising with numerous musicians in various situations, curating concerts, producing & engineering albums and publishing numerous articles on music and music production. Largely influenced & insired by downtown New York’s tradition of music & art making Cymerman’s work reflects an interest in improvisation, electronic manipulation & production, traditional, studio & graphic composition as well as solo performance. Cymerman has worked or performed with a broad range of contemporary artists including Nate Wooley, John Zorn, Toby Driver, Jandek, MC Paul Barman, Mario Diaz de Leon, Evan Parker, Matthew Welch, Otomo Yoshihide, Jessica Pavone, Butch Morris, Peter Evans, Anthony Coleman and Brian Chase among many others. His recorded output has been documented on the Tzadik and Porter record labels.
Nate Wooley (b. 1974) was raised in Clatskanie, Oregon, a small fishing and lumber town on the Columbia River. He began playing trumpet professionally with his father at age 12. After college in Eugene, Oregon and Denver, Colorado he moved to Jersey City, New Jersey, where he currently resides. Since 2001 he has become a much sought after performer, composer, and improviser, working with Anthony Braxton, Evan Parker, John Zorn, Christian Marclay, C. Spencer Yeh, and David Grubbs , among others. His trumpet playing has been called “exquisitely hostile” by Italy’s Touching Extremes Magazine, and his solo performances and recordings have been numbered amongst a privileged handful that have helped to shape a new approach to the instrument.
Brian Chase is a drummer and composer living in Brooklyn, NY. Growing up on Long Island, he started taking private drum lessons when he was five which lead to earning a Bachelors of Music from the Oberlin Conservatory in Ohio. Though he works in a variety of contexts, Brian is probably best known as a member of the rock group Yeah Yeah Yeahs, a band that has toured extensively throughout the world and has been nominated for two Grammys. Other recorded projects include the Seconds, a minimalist punk rock band that has two albums on the 5rc label, a duo ensemble with saxophonist Seth Misterka that has a record on the Heathen Skulls label, and Jeremiah Lockwood’s Sway Machinery with a record on JDub. Performance collaborations have included Matt Welch, Jessica Pavone, Mary Halvorson, Stefan Tcherepnin, Alan Licht and Okkyung Lee. Brian is also interested in the Just Intonation tuning theory and, heavily influenced by the work of La Monte Young introduced to him by guitarist Jon Catler, has begun an ongoing recording project in which the principles of Just Intonation are applied to drums and percussion. This project, called “Drums and Drones,” has seen live performances at the Stone and the Abrons Arts Center. His most influential drum and percussion teachers are and have been Susie Ibarra, Greg Bandy, and Michael Rosen. Away from the drums, Brian is a regular practitioner of Ashtanga yoga.
Wednesday, October 20, 2010
Toby Driver – composer – pure evil electric bass and vocals
Jeremiah Cymerman – extended clarinet and electronics
Terran Olson and Dan Means – the sighing alto sax duet
Tim Byrnes – pure good trumpet, dubious synths, and flugelwhore
TARTAR LAMB will be performing their 2010 four-movement suite, “Polyimage of Known Exits,” a terrifying take on euthanasia and regret. “Polyimage…” features heavy electric bass, piles of delay pedals, brutal noise, processed woodwinds, demented melodies, and haunted vocals in glacial freefall around the galactic moebius of Kronos. Following this, Driver and the members of Tartar Lamb will premiere new material in a similar vein.
TARTAR LAMB is an avant-electroacoustic band hailing from New York City, led by composer Toby Driver, who has performed and recorded with contemporary geniuses such as Trey Spruance (Secret Chiefs 3, Mr. Bungle), G. Stuart Dahlquist (Burning Witch, ASVA), and Randall Dunn (Sunn0)), Master Musicians of Bukkake). Their hallucinatory music has its roots in doom-goth, progressive rock, and new age, and has combined these influences with their experiences in the modern classical and avant-jazz worlds of downtown New York to create a completely unique, complex, heartbreaking, and meticulously composed genreless sound all their own. Tartar Lamb’s music is characterized by its specific use of modular repetitive forms – small musical phrases that are repeated and stretched and shrunk in time, with non-repetitive melodies swirling about. Clarinet deconstructionist Jeremiah Cymerman provides the percussion by way of his extended clarinet techniques and electronic processing. Tartar Lamb’s music is hyper-elaborate, horrifying ambient music, every moment filled with information while washing over and enveloping the listener in constant atmosphere, like a whale swallowing a comet, slicing up your face with the shards of ice it belches from its bloody blow-hole.
Audio samples can be found at http://www.myspace.com/tartarlamb
Friday, April 10, 2009
Full Description:Jeremiah Cymerman (pronounced SIMMER-MAN) is a composer and clarinetist based in Brooklyn, New York since 2002. Described by Time Out New York as "one of downtown's most inventive and resourceful composer-performers" Cymerman has worked with a broad range of contemporary artists including Otomo Yoshihide, John Zorn, Jandek, Ned Rothenberg, Peter Evans, Jessica Pavone, Toby Driver, Lawrence D. "Butch" Morris, Walter Thompson, Nate Wooley, Mary Halvorson, and Matthew Welch, among many others. After several self-released cds and cdrs, in 2008 the Tzadik label released his album "In Memory of the Labyrinth System", a highly personal work featuring a series of compositions for solo clarinet and computer processing which Andy Hamilton of the Wire called "a wholly original and intriguing listen".
On Friday, April 10th composer/clarinetist Jeremiah Cymerman will premiere a dramatic new composition for string quartet and electronics entitled "Under a Blue, Grey Sky". Through-composed and presented as a five-act audio play, the piece works to strike a balance between the creative control that a conductor exercises over an ensemble with the sonic wizardry of dub-inspired live electronic processing.
Based loosely on a series of terrifying nightmares that the composer had from the age of 21-23, "Under a Blue, Grey Sky" is a lyrical, dark, and brooding piece that marks a new direction for a musician that Time Out New York describes as "one of downtown's most inventive and resourceful composer/performers".
After a brief intermission the evening will conclude with two graphic scores from 2007.
This concert made possible with funds provided by the Jerome Foundation
"Under a Blue, Grey Sky" (2009)
Olivia De Prato (violin) Jessica Pavone (viola) Christopher Hoffman (cello) Tom Blancarte (bass) Jeremiah Cymerman (electronics)
"555" & "6 Blocks" (2007)
Jeremiah Cymerman (clarinet) Nate Wooley (trumpet) Mary Halvorson (guitar) Christopher Hoffman (cello) Tom Blancarte (bass) Harris Eisenstadt (percussion)