Counting to Seven is a new large scale work written by Tom Johnson for the Dedalus Ensemble.
Seven voices count to seven in about 30 different languages from all over the world. Each piece explores a way of counting as well as a language sonority giving birth to a new musical form. From Okinawa (dialect from Japan) whispering words to Malinke (Africa) rhythmic patterns with additional small percussions, each continent is represented.
Created in 1996, DEDALUS Ensemble is a contemporary experimental music ensemble based in Montpellier, France. Their repertoire gives a large place to flexible scores from across the United States and European New Music from the 1960′s to today. DEDALUS is a collective where every musician collaborate to orchestration and interpretation. DEDALUS is a leading ensemble in France and performs extensively in festivals and concert series across France and Europe. A noted champion of contemporary American experimental music, the Ensemble has premiered works by Tom Johnson, Christian Wolff, Alvin Lucier, Phill Niblock, Frederic Rzewski, James Tenney before French audiences.
Billy Martin – Percussion
Chris Cochrane – Guitar
Kato Hideki – Bass
Kevin Bud Jones – Synths and Sampler
Jessica Lurie – Saxophones
Brian Chase – Percussion and Electronics
Chris Cochrane, a guitarist, singer, songwriter, improviser and producer, has been active in the New York music scene since 1983. He has worked with a vast array of great artists, including John Zorn, Zeena Parkins, Andrea Centazzo, T Bone Burnett, Marc Ribot, Fred Frith, Thurston Moore, Richard Buckner, Kramer, Eszter Balint, Derek Bailey, Annie Gosfield, Ikue Mori, Tom Cora, and Bob Ostertag. He has composed music for dance and theater productions by Ishmael Houston-Jones and Dennis Cooper, John Jasperse, Nayland Blake, Circus Amok, and others.
Billy Martin of Medeski Martin and Wood. Martin has relentlessly pursued new musical contexts, from purely free improvisation to chamber compositions to film music – including his recent score to director Szabolcs Hajdu’s Mirage. Much of his output is available via his own Amulet Records label, which has also released albums by Derek Bailey, Dave Burrell, John Lurie, and, most recently, the vinyl edition of The Road to Jajouka – a series of collaborations (produced by Martin) between the Master Musicians of Jajouka and such artists as Ornette Coleman, Flea, Marc Ribot, John Zorn, Lee Ranaldo, Bill Laswell, Mickey Hart, Medeski Martin and Wood, and more. Martin is also an accomplished filmmaker and visual artist, whose work has been exhibited in solo and group installations around the world – including 2014’s Cartegena de Indias Bienal in Colombia.
Kato Hideki (Kato: family name; Hideki: given) is a musician, composer & producer. His music is often based on narrative elements and topical issues, with a wide range of forms and sounds. His own projects are: Death Ambient with Ikue Mori & Fred Frith; Green Zone with Otomo Yoshihide & Uemura Masahiro; Tremolo of Joy with Charles Burnham, Briggan Krauss, Ed Tomney & Calvin Weston; OMNI with Nakamura Toshimaru & Akiyama Tetsuji; Plastic Spoon with Karen Mantler, Douglas Wieselman & Shahzad Ismaily; and the solo works Hope & Despair and Turbulent Zone. As a bassist, he has worked with Eyvind Kang, Karen Mantler, Zeena Parkins, Jim Pugliese, Marc Ribot and John Zorn among many others. Collaborators include Nicolas Collins, James Fei, John King, Christian Marclay, Ursula Scherrer and Michael Schumacher. He co-produced music for THEM with Chris Cochrane and Karen Mantler’s Business is Bad for XtraWATT/ECM Records. He teaches at NYU POLY Integrated Digital Media.
Kevin Bud Jones played his first NYC gigs in 1981 as guitarist in the DIY dance band Dog Eat Dog. Sharing bills with Sonic Youth, Swans, Three Teens Kill Four and other notables of the time, DED was requested by DNA to open their farewell show at CBGB’s in 1982.
Post Dog Eat Dog Kevin performed at the White Columns Speed Trials in the short lived band Big Day while working in his home studio with various artists producing music for film and performance. The last four years Kevin Bud Jones has been working with the trio Airport Seven while continuing to release home recordings of his own compositions The past year finds Kevin working with Chris Cochrane in duet as well as with the band Collapsible Shoulder. As the result of an injury in February Kevin had to put down his guitar and has taken up analog synthesis, samples and electronics as his current instrument.
Jessica Lurie Known for “melding lyrical pop, stinging rock, rhythmic Eastern European folk music and improvisation-heavy jazz with a dose of free-wheeling avant-groove-meets-grind” (Dan Oulette), Jessica Lurie is an award-winning composer and multi-instrumentalist, performing on saxophones, flute, voice, accordion and electronics. Current and long-established projects include her Megaphone Heart Band, the Tiptons Saxophone Quartet & Drums, Living Daylights Trio, Sephardic music group Sophie Salonika, Jon Madof’s Zion80 afrobeat big band, and improvising collective Slingshot Songs, performing in clubs, concert halls, squats, universities and festivals all over Europe and North America. As an in-demand side person and collaborator, Jessica has performed and/or recorded with Fred Frith, Zion80, David Krakauer, Bill Frisell, Skerik, Todd Sickafoose, Allison Miller, the Indigo Girls, Mark Ribot, Karl Denson, Frank London, Todd Sickafoose, Allison Miller, Jenny Schienman, Vinicio Caposella, Nels Cline, Thollem McDonas, Sleater Kinney, The Slip, Jacob Fred Jazz Odessy, Kenny Wolleson, Bill Horist, Bernie Worrell and Ivan Neville among others. Jessica is featured on over 60 recordings, and is currently working on new material for a 2015 release with the Megaphone Heart Band.
Brian Chase is a drummer and composer living in Brooklyn. His diverse range of work/play includes that with rock band Yeah Yeah Yeahs, the community of the New York improvised music scene, and Drums & Drones, an electro-acoustic project focusing on the application of just intonation to drums and percussion; the debut Drums & Drones album was released in February of 2013 on the Pogus label and features videos by artists Ursula Scherrer and Erik Zajaceskowski. Album releases of 2014 include Dub Narcotic Session with pianist Thollem McDonas and we thought we could do anything with guitarist Alan Licht. In addition to the drums, Brian is a regular practitioner of Ashtanga yoga.
New works from two long-standing proponents of New York’s Avant-Garde tradition. Composer Michael Byron presents Celebration, a one-hour song cycle for piano quintet and baritone, with Joe Kubera (piano) and the FLUX Quartet (Tom Chiu, Conrad Harris, Violin; Max Mandel, Viola; Felix Fan, Cello), featuring texts by Anne Tardos.
Composer John King presents selections from ‘Free Palestine’, for string quartet, with violinist Cornelius Dufallo’s Secret Quartet (Cornelius Dufallo, Jennifer Choi, violin; Lev Zhrobin, viola; Yves Dharamraj, cello). Using materials derived from the arabic systems of pitch and rhythm, maqam’at and iqa’at, each particular composition uses a combination of determined/composed, improvised/spontaneous, and chance-determined/randomized methods of organizing sound and time.
Contemporaneous, the 21 piece new music ensemble, performs a show of frantic magic through a series of pieces that provide a surround-sound explosion of energy. This is music that moves like data across the internet or electrons around the nucleus. The show opens with Thomas Ades’ Living Toys, an adventurous projection of a child’s magnificent and superhuman vision of his future life. Ades translates these heroic dreams and toys into music, motion and life. Yotam Haber’s We were all follows, a delicate work of extreme vigor. Haber himself describes the piece as “a short burst of physical, muscular energy, sometimes menacing, sometimes exuberant.” Tracing through music this line of fascination, that child-like sense of magic and possibility, the show winds its way to John Adams’ remarkable Son of Chamber Symphony, an apotheosis of the manic joy of discovery. A sky-high detonation of exuberance, this finale reaches escape velocity, launching us all into orbit, and restoring to us the magic of our craziest dreams.
Ben Stapp, an in-demand tubist in New York City and a composer and performer that continues to turn heads, has built up a versatile and extensive resume over the years. Most recently he performed with TILT in John Luther Adam’s premier “Sila” (2014) at Lincoln Center. His group the Zozimos won 1st place in the Bob Stewart Tuba Competition at the 38th Duke Ellington Jazz Festival. He has performed with Red Baraat, the International Contemporary Ensemble (ICE) and Anti-Social Music among many others. His recent recordings have been with Joel Harrison’s 19 (Sunnyside), Stephen Haynes’ Quintet (New Atlantis) featuring, Warren Smith, William Parker and Joe Morris, Mino Cinelu’s newest project with Tony Grey and Jamshied Sharifi, Jeff Newell’s Quartet featuring Alan Ferber and Brian Woodruff. With his own group, Zozimos, he has played at the Stone, Cornelia Street Cafe, the Tea Lounge and at Roulette where he received a large ensemble commission for his premier of Eight Houses (2011) featuring Satoshi Takeishi, Shoko Nagai and Nate Wooley among many others.
Ben Stapp and the Zozimos’ current project is his opera Myrhha’s Red Book based on an original narrative derived from Carl Jung’s Red Book. The premier of this work was seen in August 2013 but since its inception further development of the work has brought forth several chamber formations and reconstructions as the piece continued to reach for its potential manifestations.
The opera in 2 Acts with an intermission, is a musical setting to a play by Peter Bulmer called “Myrrha’s Red Book.” The narrative explores the real as well as the imagined realms of the characters as the sequence of events unravels in a Sandman-esque, pyschological thriller. The original play is inspired by Carl Jung’s Red Book, which is more or less a journal of his writings when he dissected his own unconscious to allow himself to walk the precipice of delirium. “Myrrha’s Red Book,” takes place in a hyper-realistic world where memories can be implanted and dream states and wakeful ones are often confused. A woman awakes unsure of her reality later to find out a psychologist had been carrying out Jung’s unanswered questions concerning the mind, on her. As the woman starts to understand her reality, strange things start to occur to herself and those around her. As the story unfolds and the fantastic and real world begins to meld the audience becomes aware of what kind of Pandora’s box was unleashed by the psychologist’s experiments, giving way to something out of a Lovecraftian tragedy.
A guiding principle in the composition is coordinating improvised sections as well as asynchronistic layers in the style of Ives, Lutoslowski and Corigliano. This facet serves to to allow spontaneous moments to occur more easily and gives the improvisers more ownership of the material so that improvisation is a more indelible component of the composition.
As a composer writing for such an amazing group of musicians and most importantly, incredible improvisers, this piece has become a study for me in writing parts that allow the necessary room for such an ensemble to thrive, while at the same time, adhering to a narrative form.
Peter Bulmer: Writer
Ben Stapp – Tuba
Kristin Slipp – Myrrha, Orpheus
Christopher Johnson – the Doctor, Fortune Teller, Detective
Kenny Warren – Trumpet
Stephen Haynes – Cornet, Flugel, Alto Horn
David Smith – Trumpet, Flugel
Rebekah Heller – Bassoon
Dustin Carlson – Guitar, Pedals
Justin wood – Flute, Clarinet, Alto
Oran Etkin – Bass Clarinets, Clarinet, Alto Sax
Vasko Dukovski – Clarinet, Bass Clarinet, Hulusi
Satoshi Takeishi – Percussion
Shoko Nagai – Piano, Moog, Pedals, Electronics
Tomas Cruz – Orpheus and the Detective
One of the most often performed compositions in new music, the Cobra phenomenon lives on into the 21st Century with continuous monthly performances in Japan, Europe, Australia and the United States. Under the direction of the composer himself this newest recording gives Zorn’s infamous game piece a startling new reading by some of downtown New York’s leading improvisers. Cobra is never really Cobra without Zorn himself at the helm—and here the music takes some surprising turns that even he never expected. A 21st Century update of a 20th Century classic.
George Lewis trombone
Mark Feldman violin
Erik Friedlander cello
Eyal Maoz guitar
Marc Ribot guitar
Sylvie Courvoisier piano
John Medeski organ
Ikue Mori electronics
Trevor Dunn bass
Kenny Wolleson drums
William Winant percussion
Drawing on his experience in a variety of genres including jazz, rock, hardcore punk, classical, klezmer, film, cartoon, popular and improvised music, John Zorn has created an influential body of work that defies academic categories. A native of New York City, he has been a central figure in the downtown scene since 1975, incorporating a wide range of musicians in various compositional formats. He learned alchemical synthesis from Harry Smith, structural ontology with Richard Foreman, how to make art out of garbage with Jack Smith, cathartic expression at Sluggs and hermetic intuition from Joseph Cornell. Early inspirations include American innovators Ives, Varese, Cage, Carter and Partch, the European tradition of Berg, Stravinsky, Boulez and Kagel, soundtrack composers Herrmann, Morricone and Stalling as well as avant-garde theater, film, art and literature.
Bosnian-New Yorker Svjetlana Bukvich (minimoog, piano, voice) brings her signature sound to Roulette in a boundary-defying set featuring compositions from EVOLUTION, her recent release on PARMA’s Big Round Records. Electric guitars, synthesizers, strings, voices, and tuning of her design tell stories through one-of-a-kind exploits in intonation, timbre, and rhythm, along with new media works that feature opera mixed with “all manners of noise” (The Star-Ledger).
Svjetlana Bukvich grew up during the wildly active music scene in Sarajevo’s eighties, with Arabian horses and four major religions at her doorstep. Her works weave polymicrotonal sympho-rock tone poems with world jazz fusions, deconstructivist dance suites with musique concrète spirituals, and art-song with electronica, and regularly involve top avant-garde, classical, jazz, and prog rock instrumentalists, in performances described as “ecstatic musical experiences” (New Music Connoisseur).
Bukvich has appeared in venues as varied as the The Kennedy Center, the Tribeca Film Festival, The Kitchen, Music with a View festival, Serial Underground at the Cornelia Street Café, Composers Concordance Festival, Lincoln Center, (le) Poisson Rouge, ASCAP’s Thru The Walls Series, the [New York] Times Center, the Bohemian Hall, and internationally including Beijing, London, South Africa, and Copenhagen. Along with twenty-four groundbreaking contemporary women composers, Bukvich is featured in the recently released book In Her Own Words – Conversations with Composers in the United States.
She was artist-in-residence at Lafayette College (2011- 2012), and has collaborated with Pomegranate Arts in New York in support of Goran Bregovic and his Wedding and Funeral Orchestra’s North American tour. Her score Interior Designs, commissioned by the Carolyn Dorfman Dance Company, was listed as one of the top ten dance events of 2013 (The Star-Ledger) and has received the New Music USA, 2013 Live Music for Dance award. Her album EVOLUTION, “astounding”, “mind expanding” (babysue), mixed by the Grammy-award winning team David Frost and Tom Lazarus, was released in April 2014 on PARMA’s Big Round Records.
Bukvich is on faculty at NYU, and is a 2013 New York Foundation for the Arts Fellow in Music/Sound. www.svjetlanamusic.com
An evening of music that explores the frontiers between composition and improvisation. The international trio of Chris Brown, Frank Gratowsky, and William Winant uses improvisation, extended techniques, and interactive electronic signal processing to create an original sound-world. New York composer Fast Forward presents 10, comprised of ten pieces for a ten-piece ensemble featuring ten different instruments.