Author: Intern

Wednesday, March 6, 2019
Performance 7:30pm / Doors 6:30pm

What: In celebration of the diverse ways we express our lives through music, Contemporaneous IMAGINATION presents a genre-defying concert featuring Boio, Warp Trio, and Forward Music Project.
When: Wednesday, March 6, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/contemporaneous-imagination-presents/

Brooklyn, NY – In a snapshot of the endlessly varied forms of musical expression throughout our community, the 22 musicians of Contemporaneous will host a non-genre musical gathering with performances by some of the most powerful artists working amongst us – daring avant-rock band Boio, the genre-obliterating Warp Trio, and Forward Music Project, Amanda Gookin’s multimedia project of solo cello works developed to empower women and girls.

Contemporaneous will end the night with a set of pioneering new works developed by Contemporaneous IMAGINATION, an initiative that seeks to foster a culture of radical creative openness. The ensemble interprets the finale from storied saxophonist/bandleader and Pulitzer Prize-winning composer Henry Threadgill’s sweeping and beautiful homage to Butch Morris in a new version for large ensemble. Contemporaneous also presents the world premiere of a new work by Violet Barnum, a talented recent alumna of the Luna Composition Lab for young composers and the first-ever Contemporaneous Composer-in-Residence. Sarah Goldfeather sings with the ensemble in her highly-anticipated song-cycle Treading Water, which draws on her experiences from indie-folk-rock to contemporary classical music in an electrifying musical synthesis.

Contemporaneous:
Fanny Wyrick-Flax, flutes
Stuart Breczinski, oboe
Vicente Alexim, clarinets
David Nagy, bassoon
Cameron West, horn
Evan Honse, trumpet
Daniel Linden, trombone
Amy Garapic & Matt Evans, percussion
Robert Fleitz, piano
Colin Davin, guitar
Sarah Goldfeather, voice
Sabrina Tabby, Finnegan Shanahan, Lauren Cauley, & Curtis Stewart, violin
Scot Moore and Leah Asher, viola
Amanda Gookin & Meaghan Burke, cello
Pat Swoboda, contrabass
David Bloom, conductor

Boio:
Finnegan Shanahan, voice, guitar, violin, and viola
Robby Bowen, drums

Forward Music Project:
Amanda Gookin, cello
Katy Tucker, projections

Warp Trio:
Josh Henderson, violin
Ju-Young Lee, cello
Mikael Darmanie, piano
Rick Martinez, drums

Contemporaneous is an ensemble of 22 musicians whose mission is to bring to life the music of now. Recognized for a “ferocious, focused performance” (The New York Times) and for its “captivating and whole-hearted commitment” (I Care If You Listen), Contemporaneous performs and promotes the most exciting work of living composers in innovative programs throughout the United States. The ensemble has been presented by such institutions as Lincoln Center, Park Avenue Armory, PROTOTYPE Festival, MATA Festival, and Bang on a Can, and has worked with such artists as David Byrne, Donnacha Dennehy, Dawn Upshaw, and Julia Wolfe. Contemporaneous has premiered more than 150 works, and with its newly-launched program Contemporaneous IMAGINATION, the ensemble champions large-scale works, curated from an open call for artists to submit ideas for projects that take risks and defy constraints. Read more at contemporaneous.org

Tuesday, March 5, 2019
Performance 8pm / Doors 7pm

What:  Jazz-based quartet Shipp/Lowe/Cleaver/Ray bring their unique and exciting chemistry to Roulette.
When: Tuesday, March 5, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/shipp-lowe-cleaver-ray-2/

Brooklyn, NY – Roulette is pleased to present the unique and exciting chemistry of the jazz-based quartet Shipp/Lowe/Cleaver/Ray. A cooperative group of established musicians, the quartet incorporates the uniquely recognizable pianist Matthew Shipp, masterful alto saxophonist Allen Lowe, legendary percussionist Gerald Cleaver, and acclaimed bassist Kevin Ray. Specializing in free improv, a recent concert was called “a remarkable outing,” and “a testament to their understanding of subtleties and their overall musical experience” in All About Jazz.

Pianist Matthew Shipp has worked and recorded vigorously from the late 1980s onward, creating music in which free jazz and modern classical intertwined. He first became well known in the early 1990s as the pianist in the David S. Ware Quartet, and soon began leading his own dates—most often including Ware bandmate and leading bassist William Parker—and recording a number of duets with a variety of musicians, from the legendary Roscoe Mitchell to violinist Mat Maneri. Through his range of live and recorded performances and unswerving individual development, Shipp has come to be regarded as a prolific and respected voice in creative music into the new millennium.

Allen Lowe is a saxophonist, guitarist, mastering engineer and music historian. He has performed and recorded as a leader with David Murray, Doc Cheatham, Marc Ribot, Matthew Shipp, Don Byron, Julius Hemphill, Nels Cline, Ken Peplowski, Nels Cline, JD Allen, Kalaparusha, Ursula Oppens, Roswell Rudd, James Brandon Lewis, Frank Lacy, and Jimmy Knepper. He has released at least 15 albums under his own name and has five new works coming out in 2018. There are entries about him in the New Grove Dictionary of Jazz and The Penguin Guide to Jazz. There is a chapter on him in the book Bebop and Nothingness by Francis Davis (Schirmer Books: 1996).

Raised in Detroit, Gerald Cleaver is a product of the city’s rich music tradition. Inspired by his father, drummer John Cleaver, he began playing the drums at an early age, in addition to violin and trumpet. A graduate of the University of Michigan, Cleaver has been an assistant professor in the Jazz Studies at the University of Michigan, and in 1998 also joined the jazz faculty at Michigan State University. He moved to New York in 2002. He has performed or recorded with Franck Amsallem, Henry Threadgill, Roscoe Mitchell, Lotte Anker, Reggie Workman, Marilyn Crispell, Matt Shipp, William Parker, Craig Taborn, Kevin Mahogany, Charles Gayle, Mario Pavone, Ralph Alessi, Jacky Terrasson, Jimmy Scott, Muhal Richard Abrams, Dave Douglas, Tim Berne, Jeremy Pelt, Ellery Eskelin, David Torn and Miroslav Vitous, among others.

As a young man casting about for direction, critically acclaimed bassist Kevin Ray drifted into the New School jazz program, where he became a protege of Reggie Workman. Under Workmans’s tutelage, he developed an affinity for adventurous artists such as The Art Ensemble of Chicago, Henry Threadgill, The World Saxophone Quartet, Andrew Cyrille, and others. Supporting himself in the early 1990s managing a division at Forbes Publishing, Ray continued to study and play. Toward the end of the decade, he came into contact with one of his spiritual mentors, Andrew Hill and became a full-time musician. For ten years he played regularly with Hill and continued to expand his horizons by performing and recording with artists such as John Hicks, Bobby Zankel, Oliver Lake, Greg Osby, John Stubblefield, Ray Anderson, Kelvyn Bell, Elliott Sharp, Hamiet Bluiett, Nels Cline, Ursula Oppens, Ken Peplowski, J.D. Allen, and Kalaparusha Maurice McIntyre.

Sunday, March 3, 2019
Performance 8pm / Doors 7pm

What: Vocalist-composers Gelsey Bell, Amirtha Kidambi, Anaïs Maviel, and Megan Schubert come together to perform new pieces written for each other in QUARTET.
When: Sunday, March 3, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets:https://roulette.org/event/gelsey-bell-amirtha-kidambi-anais-maviel-megan-schubert-quartet/

Brooklyn, NY – Drawing from a wide array of inspirations, techniques, and genres, four acclaimed vocalist-composers—Gelsey Bell, Amirtha Kidambi, Anaïs Maviel, and Megan Schubert—come together to write new pieces for each other. Each world premiere reflects the individual style of the composer while capitalizing on the collaborators’ flexible voices and improvisational intelligence.

Drawing on her characteristic blend of extended vocal techniques and vocal harmony, Gelsey Bell‘s Within attempts to untangle the ineffable from the corporeal by exploring the interplay between inside and outside. Amirtha Kidambi combines notated materials, graphic score, conduction, and free improvisation to explore vocal textures from polyphony and harmony to microtonality and harsh noise, encapsulating a microcosm of vocal practice from ancient to modern. Anaïs Maviel approaches the liminal spaces between so-called artificial and natural environments. Megan Schubert’s Late Duck, examines her personal experience with performing gender through a theatrical blend of live and pre-recorded sound, samples, stop-motion animation, and video. With a sense of ubiquity, four unique vocal instruments will invoke divine feminine metamorphosis in the face of apocalyptic times.

QUARTET is organized by New York City-based singer, songwriter, and scholar Gelsey Bell. She has been described by The New York Times as an “imaginative” “winning soprano” whose performance of her own music is “virtuosic” and “glorious noise.” She has released multiple albums, including most recently This is Not a Land of Kings, and Ciphony with John King. She received a 2017 Music/Sound Award from the Foundation for Contemporary Arts, has had work included in MoMA PS1’s Greater New York exhibition, and has had both a residency and a commission from Roulette. Her works include Bathroom Songs, Scaling, Our Defensive Measurements, This Takes Place Close By (with thingNY), Prisoner’s Song (with Erik Ruin), Wealth from the Salt Seas (with Anna Sperber), and the acclaimed adaptation of Robert Ashley’s Perfect Lives (with Varispeed). She is a core member of thingNY, Varispeed, and the Chutneys. Other performance highlights include Dave Malloy’s Natasha, Pierre, & the Great Comet of 1812 on Broadway and Ghost Quartet, Robert Ashley’s Crash, Matthew Barney and Jonathan Bepler’s River of Fundament, John King’s Micro-Operas, Yasuko Yokoshi’s BELL, Kate Soper’s Here Be Sirens, and Gregory Whitehead’s On the Shore Dimly Seen. www.gelseybell.com

Thursday, February 28, 2019
Performance 8pm / Doors 7pm

What: Cellist Inbal Segev performs works by modern female composers: Missy Mazzoli, Reena Esmail, Anna Clyne, Gity Razaz, and Kaija Saariaho.
When: Thursday, February 28, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/inbal-segev-21st-century-women/

Brooklyn, NY – Cellist Inbal Segev, known for her “glowing, burnished tone” (The Washington Post) presents a program of music for solo cello by five of today’s prominent women composers—Anna Clyne, Missy Mazzoli, Reena Esmail, Kaija Saariaho, and Gity Razaz—at Roulette. San Francisco Classical Voice described Segev’s performance of this program as “dynamic and musically diverse.” The evening’s focal point, Legend of Sigh (2015) by Gity Razaz, is a multimedia, immersive piece for cello and electronics written for Segev with video and projection design by filmmaker Carmen Kordas. Legend of Sigh explores the themes of birth, transformation, and death through the retelling of an Azerbaijani folktale about a mysterious being, Sigh, who appears every time someone lets out a heartfelt sigh, unknowingly calling out to him.

Segev will also perform a solo cello arrangement of Anna Clyne’s Rest These Hands (2009), which shares the title with a
poem written by Clyne’s mother in the last year of her life; Missy Mazzoli’s A Thousand Tongues (2009), a short but
intense response to a text by Stephen Crane; Reena Esmail’s Perhaps (2005), composed in collaboration with video and
projection designer, dancer, and filmmaker Heather McCalden; and Kaija Saariaho’s Spins and Spells (1997), of which
Saariaho writes, “The title evokes the two gestures which are at the origin of the work: on the one hand the pattern which I
call ‘spinning tops’ turning around on the one spot or undergoing changes, and on the other, timeless moments, centered on
the sound colour and texture.”

Inbal Segev’s playing has been described as “characterized by a strong and warm tone … delivered with impressive fluency and style” and with “luscious phrasing” by The Strad. She has performed around the world as a soloist with leading orchestras such as the Berlin Philharmonic, Israel Philharmonic, and Pittsburgh Symphony, and has collaborated with legendary conductors such as Zubin Mehta, Lorin Maazel, and Marin Alsop. She has commissioned new works by Avner Dorman, Timo Andres, Gity Razaz, and Dan Visconti, and in 2018 was the first cellist to perform Christopher Rouse’s violoncello concerto since Yo-Yo Ma premiered it in the 1990s. Segev co-founded the Amerigo Trio with former New York Philharmonic concertmaster Glenn Dicterow and violist Karen Dreyfus, and has co-curated the Baltimore Symphony Orchestra New Music Festival with Marin Alsop since its inception in 2017. Segev’s recent discography includes acclaimed recordings of romantic cello works with pianist Juho Pohjonen (Avie) and Bach’s Cello Suites (Vox). Her YouTube channel features music videos and her popular master class series Musings with Inbal Segev, which has thousands of subscribers across continents and close to one million views. Her many honors include prizes at the Pablo Casals and Paulo International Competitions. Segev began playing the cello in Israel and at age 16 was invited by Isaac Stern to come to the U.S. to continue her studies. She holds degrees from The Juilliard School and Yale University. Her cello was made by Francesco Ruggieri in 1673.

Wednesday, February 27, 2019
Performance 8pm / Doors 7pm

What: The Screen Above, a new multi-media performance featuring original choreography, music, and live video created and led by writer, director, and composer Josiah Cuneo, with original musical scores interpreted by Jessica Pavone, Meagan Burke, Nick Dunston.
When: Wednesday, February 27, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: http://bit.ly/WI190227

Brooklyn, NY – Positioned in the lineage of Expanded Cinema, The Screen Above is a new multi-media performance featuring original choreography, music and live video created and led by Josiah Cuneo. Employing narration as a theatrical device and trope, The Screen Above subverts conventions of spectatorship and performance as a means of exploring ideas of authority, conformity, rebellion, and improvisation. Here, each scene proposes centuries of obedience in relationship to an ancient screen that hovers above the stage and transmits views of the performance that would otherwise remain obscured or out of reach, transposing its omnipotence to the audience.

Woven between simultaneous spatial, temporal and perspectival shifts of performances on stage and on screen, a narrator and four dancers reveal underlying themes through a complex system of verbal and non-verbal cues in tandem with original musical scores interpreted by Jessica Pavone on viola, Meagan Burke on cello, Nick Dunston on double bass.

Engaging the audience in a spatiotemporal dynamic that exposes the fissures between image and reality, The Screen Above pushes the boundaries of representation through the interaction of filmed sequences, flat projected images, and performers. Citing inspiration from multidisciplinary artists Laurie Anderson, Charles Atlas, Miranda July and William Kentridge, Cuneo’s use of image sequencing through an amalgamation of theatre, video, dance and live music performance is equally informed by the work of composers such as Anthony Braxton, John Zorn, Meredith Monk, and Giacinto Scelsi.

Josiah Cuneo is a Brooklyn-based writer, director, and composer. In recognition for his work writing, directing and composing films In Through the Night (2015) and LILT (2017) Cuneo has earned awards for Best Director from the NYC Indie Film Awards (2017) and Best Original Score from the Maverick Movie Awards (2017); Feel The Reel International Film Festival (2017); and Mindfield Film Festival Los Angeles (2017). He was awarded Best Experimental Film from The London Film Awards (2018); Festigious International Film Festival (2017); Top Shorts Film Festival (2017); Top Indie Film Awards (2017); Oniros Film Awards (2017); NYC Indie Film Festival (2017); Largo Film Festival (2017); Los Angeles Shorts Awards (2017); Hollywood International Moving Pictures Film Festival (2017); and The European Independent Film Awards (2017). Cuneo was the recipient of the Dance Film Association Production Grant (2015) as well as the Jerome Foundation Grant and Artist Residency at Roulette, New York (2017). This is his third multimedia performance at Roulette Intermedium following Scenes (2014) and The Paper Dance (2017). Cuneo graduated from the University of Massachusetts Amherst and his work has been exhibited or performed at venues including ISSUE Project Room, Brooklyn, New York (2008); Gallery Satori, New York (2008); Hampden Gallery Incubator Project Space, University of Massachusetts Amherst (2008); Exit Art, New York (2015); DCTV, New York, (2015); Otion Front Studio, New York (2015); The Picture Show, New York (2015); Anthology Film Archives, New York (2015, 2017); and Roulette Intermedium, Brooklyn, New York (2014, 2017).

Sunday, February 24, 2019
Performance 8pm / Doors 7pm

What: In conversation with Terry Riley’s 1964 landmark composition In C, Ned Rothenberg’s Beyond C is a concerto for improvisational woodwind soloist and an ensemble of varied instruments performed by the 22 musicians of Contemporaneous.
When: Sunday, February 24, 2019. 8pm.
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/ned-rothenberg-beyond-c/

Brooklyn, NY – Composed by Ned Rothenberg, Beyond C is a concerto for improvisational woodwind soloist Ned Rothenberg and Contemporaneous, a 22-member ensemble of varied instruments. Inspired by seminal minimalist composer Terry Riley’s landmark composition In C (1964) which first introduced the musical style now known as Minimalism to a mainstream audience, Rothenberg’s Beyond C expands the harmonic, timbral, and rhythmic world of that work. It retains the modular structure of Riley’s original piece, but the progression through the work is formed by the conductor who, in partnership with the soloist, shapes each performance in a unique way.

Ned Rothenberg, composer and improvising soloist
David Bloom, improvising conductor

Olivia de Prato and Lavinia Pavlish, violins
Anna Heflin and Victor Lowrie, violas
T.J. Borden and Aaron Wolfe, cellos
Dara Bloom, bass
Evan Honse, trumpet 1
Miki Sasaki, trumpet 2
Jen Baker, trombone 1
Ric Baker, trombone 2
Amy Garapic, percussion 1
Matt Evans, percussion 2

Composer/performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 33 years on five continents. He performs primarily on alto saxophone, clarinet, bass clarinet, and the shakuhachi—an endblown Japanese bamboo flute. His solo work utilizes an expanded palette of sonic language, creating a kind of personal idiom all its own. In an ensemble setting, he leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla; he works with the Mivos Quartet playing his Quintet for Clarinet and Strings and collaborates around the world with fellow improvisors. Recent recordings include this Quintet, The World of Odd Harmonics, Ryu Nashi (new music for shakuhachi), and Inner Diaspora, all on John Zorn’s Tzadik label, as well as Live at Roulette with Evan Parker, and The Fell Clutch, on Rothenberg’s Animul label.

Contemporaneous is an ensemble of 22 musicians whose mission is to bring to life the music of now. Recognized for a “ferocious, focused performance” (The New York Times) and for its “captivating and whole-hearted commitment” (I Care If You Listen), Contemporaneous performs and promotes the most exciting work of living composers through innovative concerts, commissions, recordings, and educational programs. Based in New York City and active throughout the United States, Contemporaneous has been presented by such institutions as Lincoln Center, Park Avenue Armory, PROTOTYPE Festival, Merkin Concert Hall, MATA Festival, St. Ann’s Warehouse, and Bang on a Can and has worked with such artists as David Byrne, Donnacha Dennehy, Iarla Ó Lionáird, Dawn Upshaw, and Julia Wolfe. Contemporaneous has premiered more than 150 works, and with its newly-launched program Contemporaneous IMAGINATION, the ensemble champions large-scale works, curated from an open call for artists to submit ideas for projects that take risks and defy constraints. The ensemble has recently released the first season of its new podcast Imagination Radio, which explores the significance of creativity and music in our lives through dialogues with composers, scientists, a cartographer, and a BASE jumper. Contemporaneous has recorded for the New Amsterdam, Cantaloupe, Innova, Roven, and Navona label

Friday, February 22, 2019
Performance 8pm / Doors 7pm

What: Michele Mercure, champion of kosmiche minimalist synth sampling and trance, returns to the stage after 30 years as part of Roulette’s annual Mixology Festival.
When: Friday, February 22, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/mixology-festival-2019-michele-mercure/

Brooklyn, NY – Roulette, with RVNG Intl. and Freedom To Spend, is proud to present minimal synthesist and experimental composer Michele Mercure‘s long-overdue New York City debut. Following the 2017 reissue of her 1986 album, Eye Chant, Mercure celebrates the release of Beside Herself, a collection of her self-produced and distributed cassettes from 1983 and 1990 now reissued on Freedom to Spend. The album charts Mercure’s early experiments with sampling and synthesis, drawing influences from kosmiche and experimental German musician Conrad Schnitzler, and restores the canon of the composer’s arresting dream-music by revisiting her breakthrough material. For the first time in 30 years, Mercure will perform live.

Mercure will share the evening with Shadowlust co-founder Lili Schulder, celebrating the release of her debut album under the alias 51717.

Mixology Festival 2019: Signaling – highlighting artists whose work in sound and media contains embedded truths, both heartening and startling. Active for over 25 years, Roulette’s Mixology Festival celebrates new and unusual uses of technology in music and the media arts. Primarily a snapshot of current activity, the festival strives to reflect both the history and trends of innovation that impact the Zeitgeist. Curated by David Weinstein.

Michele Mercure’s artistic path never ran through creative meccas New York, San Francisco or Los Angeles. Raised in Springfield, Massachusetts, and then moving to Harrisburg, Pennsylvania, in her twenties, Mercure was already an adept musician when she encountered a local and lively theater scene and was asked to score an unorthodox performance of Waiting for Godot. The experience was pivotal in marrying music and image for Mercure, and so she began making music for film, television, dance, and theater. It wasn’t until a long sojourn in Eindhoven, however, that she became transfixed by electronic music (ala Conrad Schnitzler, whom she would correspond with for years) that would inform her music to come. Through her self-released cassettes, Mercure established her music among like-minded artists abroad. Circulated through tape-trading networks assisted by insightful reviews in Eurock, a seminal music magazine covering progressive rock and electronic music scenes, these album-length releases included Rogue and Mint (1983), A Cast of Shadows (1984), Dreams Without Dreamers (1985), and Dreamplay (1990). Though unvarnished in fidelity (and now scarcely seen), these tapes showcased Mercure’s transportive aptitude within and beyond the limited sound recording medium.

Wednesday, February 20, 2019
Performance 8pm / Doors 7pm

What: In a bombastic double-bill, glitch aficionado Jon Satrom pushes of his limits in Prepared Desktop, while multi-media artist Ali Santana explores rhythm, identity, community, nature, abstraction, and displacement through hard-knocking beats and synchronized projections in Boombayé.
When: Wednesday, February 20, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/mixology-festival-2019-prepared-desktop/

Brooklyn, NY – As part of Mixology Festival 2019: Signaling, Jon Satrom, kludge artist, a glitch aficionado, and creative problem creator presents Prepared Desktop, a work that leverages the digital defaults and mundane functions of the computer in which scripts, presets, and glitches collide. With work that problematizes technological structures, interfaces, and conventions, Satrom performs in  real-time audio/video noise and new-media (often with XTAL FSCK, I ♥ PRESETS, and Magic Missile), develops artware (in partnership with Pox), and brings people together in meatspace by co-programming critical, educational, and experimental situations with dirty new-media and glitch comrades (including D.R.E.A.M., Netizen, GLI.TC/H, and r4wb1t5!).

Ali Santana’s Boombayé delivers the heat with hard-knocking beats and synchronized projections in his debut solo performance. The Brooklyn native rhythmically collages original images and found footage with glitchy loops and abstract hip hop instrumentals to create a gritty and compelling experience that he dubs Boom Bap Cinema.

Ali Santana is a multimedia artist and filmmaker based in Brooklyn. He creates moving images and audio compositions that explore rhythm, identity, community, nature, abstraction, and displacement. Ali works as a director, editor and motion designer and has collaborated with organizations including MTV, HBO and the Museum of Modern Art. He is a member of the media performance collective BKLYN!ZULU.

Mixology Festival 2019: Signaling – highlighting artists whose work in sound and media contains embedded truths, both heartening and startling. Active for over 25 years, Roulette’s Mixology Festival celebrates new and unusual uses of technology in music and the media arts. Primarily a snapshot of current activity, the festival strives to reflect both the history and trends of innovation that impact the Zeitgeist. Curated by David Weinstein.

Tuesday, February 19, 2019
Performance 8pm / Doors 7pm

What: Roulette’s annual Mixology Festival kicks off with an evening featuring Shelley Hirsch reviving Host Rickels’s curiously magical instrument The Mercurius Wagon, and ascending performer Crystal Penalosa‘s new piece Sources of Power for electronics, voice, and movement.
When: Tuesday, February 19, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/mixology-festival-2019-sources-of-power/

Brooklyn, NY – Presented as part of Mixology Festival 2019: Signaling, the singularly exceptional composer/singer/storyteller Shelley Hirsch performs with Horst Rickels’s curiously magical instrument constructed from cannibalized organ pipes, toilet plungers, and bicycle pumps, alongside some new and surprising creations. The Mercurius Wagon, built for Hirsch 30 years ago and restored especially for this event, is one of Rickels’s signature works, alongside a lifetime of sound installations, acoustic architecture, and music for film. Witness two unpredictable and uncompromising artists that always inspire through joy, tears, and wonder.

Sources of Power explores the authenticity in developing a new voice. Utilizing electronics, voice, and movement, Crystal Penalosa‘s new piece examines the vulnerability, power, and potential for safety that voice-work can lend to people who are transgender. The performance blends traditional voice—expanding the conduits of vocal training, breath work, and speech therapy—with non-traditional technological methods such as pitch shifting, frequency shifting, and wavetable synthesis.

Mixology Festival 2019: Signaling – highlighting artists whose work in sound and media contains embedded truths, both heartening and startling. Active for over 25 years, Roulette’s Mixology Festival celebrates new and unusual uses of technology in music and the media arts. Primarily a snapshot of current activity, the festival strives to reflect both the history and trends of innovation that impact the Zeitgeist. Curated by David Weinstein.

Shelley Hirsch is an award-winning, critically acclaimed vocalist, composer, and storyteller whose mostly solo compositions, staged multimedia works, improvisations, radio plays, installations and collaborations have been produced and presented in concert halls, clubs, festivals, theaters, museums, galleries and on radio, film, and television on five continents. She has been called a fountain of sonic mercury and has a virtuosic command of extended vocal techniques and vocal styles, imparting an enormous versatility to her music. She is the 2017 recipient of a prestigious Guggenheim Fellowship and a Foundation for Contemporary Arts fellowship and remains both internationally renowned and an essential figure of New York’s avant-garde downtown scene.

Crystal Penalosa (she/they) is an American artist and interdisciplinary designer based in New York. Their work focuses on queer identity, utilizing modular electronics, and voice. Her solo work makes public their search for authenticity and how it intersects with trans visibility. She uses electronics, voice, and light in a performance exploring how voice is a source of power and safety. The structure is meditative and is centered on voice affirmations written during voice self-therapy. Penalosa has performed collaboratively and solo at Issue Project Room, Roulette, Sediment Gallery, MoMA PS1, Experimental Intermedia, Spektrum in Berlin, and the Golden Pudel Club in Hamburg. They currently work with the veteran underground record label Generations Unlimited.

Sunday, February 17, 2019
Performance 8pm / Doors 7pm

What: Chris Ferris & Dancers premiere Unquantifiable with composer Loren Dempster – a new work for ten performers with live musical accompaniment examining the multifaceted self.
When: Sunday, February 17, 2019
Where: Roulette, 509 Atlantic Ave Brooklyn, 2/3/4/5/A/C/G/D/M/N/R/B/Q trains & the LIRR
Cost: $18 presale, $25 Doors
Info: www.roulette.org / (917) 267-0368
Tickets: https://roulette.org/event/chris-ferris-dancers-unquantifiable/

Brooklyn, NY – Veteran choreographer Chris Ferris and composer Loren Dempster craft a work that celebrates uniqueness coexisting in harmony.  Unquantifiable asks: when is unison confining and when is it fulfilling? When does being alone make one feel safe or conversely vulnerable? When does a complex group eliminate the inclusion of others or even audience? How do the performers invite the audience in with proximity and focus? When trying to survive (or enjoy) a crowd, when does one yield or need to stand for their own space? Ten dancers will hide in plain sight, take an unswerving strong path, crisscross in confusion, and meld in amoeba form. Musicians will move throughout the space using wireless pickups to play an electroacoustic-based score. Performers claiming their own space or yielding to others will reflect the many possibilities of individuality and interconnectivity by using movement and sound. The audience will leave with a heightened awareness of their fellow humans that make up their environment.

Choreography: Chris Ferris
Music Director/Composer: Loren Kiyoshi Dempster (cello, computer)

Musicians: Jon Hanrahan (Piano, Melodica), Gabriel Peterson (saxophone), and
Kyle Stalsberg (Viola, Electric Violin)

Dancers: Meghan Connolly, Anastasia Ellis, Victoria Ellis, Vanessa Ferranti,
Bethany Logan, and Diane Skerbec.

Chris Ferris is the artistic director of Chris Ferris & Dancers. Her work is based on an exploration of movement from a sculptural, dynamic, and emotional point of view. Her work has appeared throughout New York City, including at Roulette’s Greene Street and Brooklyn locations. Recent notable performances include The REAL Suite at Fast Forward, Dixon Place September 2018. Selections from The REAL Suite and the Rampaging Light suite were presented at Roulette in February 2018 and at Second Sundays, Lenox Hill Neighborhood House March 2018. Rampaging Light was presented in 2017 as part of The Waxing Crescent – an evening of dance and music curated by Ferris at NY City Center Studios and at Take Root, Green Space Studio in 2016. Perfect Tension was presented at the Martha Graham Studio Theater in 2014 after premiering at FLICfest in January 2014. Urban Pastoral, an outdoor improvisation with ten sculptural lights, ten dancers, and live music was presented in June 2015 at Socrates Sculpture Park, Battery Park City NYC, and Carl Schurz Park. In its Spring 2014, Ferris & Dancers performed at Central Park NYC and Squibb Park/Bridge and in the fall of 2013 at the Tobacco Warehouse, Brooklyn Bridge Park. Her work has also been presented at the High Line, CPR, the Joyce, WAXworks at Triskelion Arts, Green Space Blooms, Sans Limites Dance Festival, and Movement Research at Judson Church.