On May 4th, ghostly avant-garde trumpeter jaimie branch presents her 2019 commissioned work: May the 4th Be With You.
Tell us about yourself and what you’re planning for Roulette.
My name is jaime branch; I am a trumpetist, composer, and improvisor from Chicago, based in Brooklyn. I wrote a multimedia piece for this Roulette performance for my electronic duo Anteloper with Jason Nazary and Chicago-based video artist Kim Alpert. In this work, we will be exploring the visuality of sonic spectrums, turning the audible into the visual. The second set is a rare NYC set with Fly or Die—my quartet featuring Lester St. Louis on cello, Jason Ajemian on bass, and Chad Taylor on drums and Mbira.
What is your first musical memory?
My first musical memory is probably watching my older brother Russell practice piano — he was ten years older than me and played the shit out of some Billy Joel. I was pretty much hooked from the jump wanting to play music from the time I can remember. There’s also a picture of me in a bunny suit playing some keys circa 1986, but that one’s less of a memory and more of a feeling.
What is influencing your work right now?
So many things are constantly influencing my work, but it’s mostly my surroundings, the people I play with, the cities I find myself in… I’m interested in art that is fully saturated — this is not to be confused with density or volume, although it could be both of those things. Potent music. I’ve come to find that music is an ether—sometimes it swirls just out of reach, but it’s always in the air. Sometimes we choose to tune in and sometimes we don’t. But music doesn’t go anywhere one note played one time echoes throughout eternity. I’m trying to tune in to the hidden music of the universe, ya know?
What is the most vivid dream you’ve ever had?
I had a REALLY vivid dream on the plane just the other day — I thought I had leaned over and hit a bowl ON THE PLANE. Just a one hitter (I’m not that fancy, even in my dreams) and even though I was holding in the smoke like a champ, some got out and another passenger noticed and started fussing. I then jerked awake only to find that I was in a plastic box, then I fought through the confusion and actually woke up. I straight up thought we had landed. I’m all, “Why isn’t anyone getting off the plane?” Twenty minutes later, they announced we were beginning our descent into Knoxville. Pretty cool blue dream.
For her Roulette commission, interdisciplinary artist, composer, and pianist Mary Prescott presents Songs Between Life and Death—a performative song cycle integrating music, word, movement, physical theater, and installation—on Tuesday, April 30th.
Tell us about yourself and what you do.
I’m a Thai-American interdisciplinary artist, composer, and pianist from Minneapolis. I trained exclusively as a classical pianist for most of my life, but “converted” to experimental generative work within the past couple of years for the same reason my sister converted to Catholicism in her early 20s. (Who converts to Catholicism??) She said she had been searching for something for a long time, and then when she encountered Catholicism, she felt fulfilled. Well, that’s exactly how I feel about my practice, and even though technically art is not a religion, maybe IT IS. It’s the place where I get closest to understanding myself and the world, and the place where I feel like I can begin to untangle some of life’s bigger questions.
My experiments started with piano music, probably because I felt “safe” with a medium that was already attached to my identity. But now I allow myself to create with whatever seems best, whether I know that medium well or not—although just about everything is performance-based. So I might project a film I made, or do a choreographed movement, or install a set piece that bears some significance to the rest of the work. And those things will interact within a performance and play off each other to more deeply express an overarching concept. One of the big hangups of classical training is that everything is expected to be perfectly executed according to a holy manuscript, and there’s a lot of prior experience and skill that one must develop to attempt it. But I think that’s a very limiting way to approach art-making, and actually, pretty exclusive, too. As hard as it was at first (and still is), I’ve tried to let go of that mindset, and I feel like it’s allowed my practice to grow in ways I never could have anticipated.
Describe the project you are developing for Roulette.
I’m creating a performative song-cycle called Songs Between Life and Death for chamber ensemble. It’s about the conscious spiritual experience unattached from the physical body. Although I don’t intend for it to be morbid at all, I do acknowledge that it could go there for some people. For me, it’s more objective, maybe. About the first-person experience of what happens emotionally and psychologically when our spirit has disconnected from the physical world as we know it, but can look back in on it. I think the fear of this unknown has had a pretty heavy impact on cultural and social development, and I’m really interested to examine that dynamic a little more closely. And it’s also something I just want to spend more time with in focused contemplation…hash it out for myself, so to speak.
What is influencing your work right now?
So, this may seem sort of silly, but I recently moved into a place that overlooks the construction site of a new residential development, and watching these huge glass buildings go up gradually but actually really quickly has been kind of amazing. I’m seeing the foundational pieces go into the ground itself: enormous cranes hoisting gigantic slabs of material, locked into the sides of the building for support, the gnarly innards of the floors and walls, and then all the fine details of the interiors. The scale of each of those things is so extreme, the power and intricacies of movement. It’s mundane, but fascinating to watch workers systematically bust up the entire block of sidewalk with heavy machinery one day; and the next day, they are very carefully painting the corner edge of a living room or squeegeeing the fingerprints off the floor-to-ceiling windows with perfection and care. Seeing a project like that in all it’s enormity and detail, with all the steps it takes on so many planes, and with such a spectacular result…a year ago that was just an overgrown vacant lot. It is strangely really inspiring in a very beautiful, dirty, dusty way.
How did your interest in your work begin?
As I mentioned before, I was trained as a classical pianist for most of my life, and even though I always had an interest in improvising, it seemed elusive for me to take on. Or maybe because I didn’t have training in it, I felt like I couldn’t or shouldn’t do it. It occured to me that I was only going to be able to improvise if I just did it. That seems really obvious, but I think it’s actually one of the more difficult concepts to wrap one’s head around.
Anyway, a handful of years ago, my friend Jesse Stacken, a really great fellow Minnesotan pianist and one with a mainly jazz background, had just finished up a project where he recorded an improvisation every day for a year and put the results online. I thought, “that seems like a good way to hold myself accountable.” So without a moment to think twice about what I was getting into, I started Where We Go When, which became my daily blog to do the same thing as Jesse, but from the keyboard of a non-improviser. Without getting into too many details, I’ll just say, that project was hands down one of the most important learning experiences of my life. It’s still up on my website, and I still think about it and mull over some of the same questions I had when I was in the thick of it.
Where We Go When was really the very beginning of my generative work. Even though my practice has expanded a lot since then, it gave me a bit of courage and a really solid foundation for experimentation and trust for the process.
What artists are you interested in right now?
I am really into Pina Bausch right now. I saw her work for the first time at BAM just a year and a half ago, and it changed my life. This was right on the cusp of when I started interdisciplinary work, and is probably one of the main reasons I went in that direction at all. Her work really cut to my heart, and gave me that rapturous sense of cathartic understanding that I am always searching for. I really love the way she pulled seemingly ordinary and unrelated concepts and gestures together to express something so vulnerable and raw. And she could address really difficult social disparities head on without drama or propaganda. She just put the work out there. She wasn’t telling you how to feel or react. Through an utterly marvelous and totally genius set of physical expressions, she made available some truth of humanity. All the good and bad and ugly and beautiful. All the unfairness and injustice, longing and loneliness. You feel it all at once with her. Really powerful, potent stuff.
Mary Prescott: Songs Between Life and Death takes place on Tuesday, April 30th 2019 at 8pm with performers: pianist Mary Prescott, violinist Ilmar Gavilán, trumpeter Jonathan Finlayson, bassist Nick Dunston, and vocalists: Nina Dante, Ariadne Greif, and Sara Serpa.
On Tuesday, June 18th, composer Alex Weiser presents the first act of his opera State of the Jews as part of his Roulette 2019 residency. Born and raised in New York City, Weiser creates acutely cosmopolitan music combining a deeply felt historical perspective with a vibrant forward-looking creativity.
Tell us about yourself and what you do.
I’m a composer, concert curator, and event producer. I was born and raised in New York City. I write music drawing inspiration from literary sources, ideas or inter-textual relationships from the history of classical music, and often from my fascination with and personal connection to Jewish culture. I helped run the MATA Festival for about 5 years and founded and continue to direct the new music series, Kettle Corn New Music.
Describe the project you are developing for Roulette.
I’m working on a historical-drama opera about Theodor Herzl (1860-1904), an Austro-Hungarian Jewish writer who, in response to rising antisemitism around the turn of the 20th century, ignited a movement supporting the idea of a Jewish homeland. The opera, which I’m writing with librettist Ben Kaplan, explores some of the little known details of the politics of that time and also interweaves the story of Theodor’s relationship with his wife, Julie, and the toll that his political work took on their marriage. Julie provides a stark, contrasting response to the same set of historical circumstances, exposing the complex and in many ways still un-resolved challenges of that moment. One of the things that really fascinates me about this story is that even with the benefit of hindsight, its meaning in history still remains fraught and contested.
What is your favorite album?
Steve Reich’s 1980 “Octet • Music For A Large Ensemble • Violin Phase” is a long time favorite of mine that I return to often. I love how its surface bubbles with ecstatic energy, while underneath there is a broader sense of meditative stillness, and on yet another level, all of this is flowing in an always unfolding developmental arc. Besides, it’s just totally beautiful music.
What is influencing your work right now?
For the past three years I have been the Director of Public Programs at the YIVO Institute for Jewish Research where I have curated and produced programs exploring and celebrating the rich history and culture of the Jewish people (with a particular focus on Yiddish speaking Jewry and their diaspora). YIVO has been a thought-provoking and inspiring home base for my work, and some of the stories, music, and literature that I have encountered there have made their way into my work as a composer.
What is your favorite Roulette memory?
I was at a concert at Roulette in December 2012 which featured John King’s Astral Epitaphsperformed by TILT Brass and the Brooklyn Youth Chorus. The piece had this incredible urgency and visceral power. John had the chorus surrounding the audience on the balconies, and there was this moment where they suddenly entered, with their sound enveloping everyone from all sides. I was really blown away by the experience and I loved the way the physical space and directionality of the sound became a part of the composition.
Alex Weiser: State of the Jews takes place on Tuesday, June 18th 2019 at 8pm with vocalists: baritone Mario Diaz-Moresco, mezzo-soprano Augusta Caso, tenor Chad Kranak, bass-baritone Adrian Rosas, and the Os Ensemble choir directed by Raquel Acevedo Klein and musicians: pianist Marika Bournaik, cellist Julian Schwarz, violinist Avi Nagin, and clarinetist Bixby Kennedy.
Wednesday, March 27, 2019 Performance 8pm / Doors 7pm
What: Video artist Katherine Liberoskaya is joined by vocalist Shelley Hirsch, pianist Anthony Coleman and dancer Yoshiko Chuma in 4-way ad-lib – an improvisational performance incorporating moving images, words, sounds, rhythms, and movements, merging into audiovisual stories. When: Wednesday, March 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://roulette.org/event/katherine-liberovskaya-4-way-ad-lib/
Brooklyn, NY – Katherine Liberovskaya‘s figurative live-video improvisations draw from a vast database of diverse imagery beginning with footage from her first video camera in the 1990s—capturing details and fleeting moments of life around her—processed through feedback and dreamy effects, and activated by spontaneous abstract word/voice and sound events by Shelley Hirsch and Anthony Coleman, and extended into space by Yoshiko Chuma‘s dancing. Moving images, text, rhythms, melodies, movements, and steps emerge, merge, and collide, reshaping each other and the flow of the performance, into a 4-dimensional spur-of-the-moment audiovisual story.
Katherine Liberovskaya is an intermedia artist based in New York City and Montreal, Canada. Involved in experimental video since the 80s, she has produced numerous videos, video installations, and performances, as well as works in other media, that have shown around the world. Over the years she has received over 30 grants and arts awards in Canada, the U.S.A., and France in video art and intermedia notably from the Canada Council for the Arts, the Quebec Council for Arts and Letters, the Trust for Mutual Understanding, the New York State Council on the Arts, etc. Since 2001 her work predominantly focuses on the intersection of moving image with sound/music in a variety of solo video-audio pieces and in many collaborations with composers and sound artists in both ephemeral and fixed forms (single-channel works, installations, projections, performances), notably in improvised live video+sound concert situations where her live visuals seek to create improvisatory “music” for the eyes. Frequent collaborators include Phill Niblock, Al Margolis/If, Bwana, Keiko Uenishi, Mia Zabelka, David Watson, Shelley Hirsch, among many others
For her Commission at Roulette, Anjna Swaminathan presents WOVEN: Entangled Memorabilia—a multidisciplinary work that brings together original music, poetry, and improvisation to meditate on personal, cultural, and artistic rituals of nostalgia, loss, and mourning. The project was initially inspired by the works of Indian Malayali painter and artist Raja Ravi Varma (1848–1906) and Tamil poet Subramania Bharati (1882–1921), both late 19th to early 20th century artists who were integral to shaping images of women as vessels for Indian national identity during the movement against the British Raj.
Tell us about yourself and what you do.
My name is Anjna Swaminathan and I am a violinist, composer, vocalist, theatre artist and educator. I was primarily trained in the Carnatic (South Indian) art music tradition, but my creative work has branched out to include Hindustani music, creative music, western classical music, new music, spoken word, and theatre. I’m committed to creating artistic and activist work that considers the multitude of histories, privileges, and marginalizations that each of us carries.
Describe the project you are developing for Roulette.
For my commission at Roulette, I’m very excited to be presenting the latest exploration of WOVEN, a philosophical, political and artistic project that has lived and matured with me for over eight years. This iteration is entitled WOVEN: Entangled Memorabilia features seven string instrumentalists including Stephan Crump (bass), Naseem Alatrash (cello), a string quartet/Greek chorus featuring Leerone Hakami (violin), Manami Mizumoto (violin), Lauren Siess (viola), and Thapelo Masita (cello). I’m excited to work with these wonderful musicians (and people!) to explore ideas of ritual, memory, loss, attachment, abandonment, and many other ideas of nostalgia and memorabilia that we carry within ourselves, our instruments and our interconnectivity as human beings. Something I am particularly excited about for this performance is that I have tapped into my diverse community of artists, thinkers, immigrants, and people who have graciously offered their personal vocal reflections on these subjects to help build the sonic landscape of the work.
What is influencing your work right now?
Personal and communal mental health. I’ve been increasingly recognizing that the issues that come up for me are not only connected to internal questions, traumas, and experiences but also to communal ones—and even ancestral ones. In January of 2018*, I was diagnosed with Borderline Personality Disorder after a long battle with anxiety, depression, and other chronic manifestations of an unmanaged mental health issue. In naming and facing the patterns of fear, attachment, and misunderstanding that directed many of my decisions and impulses until then, I have gained a deeper empathy for the cultural nostalgia, collective feelings of abandonment, and communal anxieties that cripple much of society today—regardless of political and cultural allegiances. My diagnosis, as well as the conversations, realizations, and resolutions that I have experienced since then, have contributed to a greater sense of vulnerability in my music, and an attraction to inviting a larger community to be vulnerable with me in our shared art-making. I’m very grateful that the artists involved in the performance and production of WOVEN: Entangled Memorabilia are equally enthralled and nurtured by the leap into honesty, vulnerability, and sharing that this project invites them to take.
How did your interest in your work begin?
This project was initially a response to frustrations with the funeral rituals surrounding my mother’s death in 2010. As a rebellious 18-year old, I thought that researching the intentions behind the rituals might give me some direction in coping with her death—or at least give me some intellectual rationale for resisting the process of coping. Since then, it has transformed to consider rituals of memorializing in which we partake outside of a funeral space and more recently, it has been about memory and how it exists in the body, cultural, and mythical nostalgia and its personal and political implications, as well as the chronic resonances of ancestral trauma.
How long have you lived in New York City, and what brought you here?
I have lived in New York City for almost five years! I came here for music—mostly following my sister Rajna Swaminathan, a musician who had built a small community for herself here. I’d initially planned to move here to get away from the relative lack of musical community that I felt in Maryland, but after I attended the Banff International Workshop in Jazz and Creative Music in the summer of 2014 and got the opportunity to work with amazing musical elders—particularly women of color like Imani Uzuri and Jen Shyu—I began to see a potential for New York to be a space to free my artistic voice and lean into a community of people like me who not only survived, but thrived in sharing their full selves.
Anjna Swaminathan’s WOVEN: Entangled Memorabilia takes place on Sunday, April 28th 2019 at 8pm with performers: bassist Stephan Crump, cellists Naseem Alatrash and Aaron Stokes, violinists Leerone Hakami and Manami Mizumoto, and violist Lauren Siess.
*Correction: In the printed version of this article, Swaminathan’s diagnosis with BPD was reported as occurring in January of 2017; this version has been corrected to reflect the true year: 2018.
On Monday April 1st 2019, the Wet Ink Ensemble celebrates 20 years of adventurous music making in NYC and around the world with a concert celebrating the work of the ensemble’s four acclaimed composer members—Alex Mincek, Sam Pluta, Kate Soper, and Eric Wubbels. The concert will feature a retrospective look at “classics” of Wet Ink‘s repertoire, including Alex Mincek’s From Nowhere to Nowhere and Kate Soper’s Door, and new sounds including Sam Pluta’s binary/momentary iii for solo cello featuring Mariel Roberts and the world premiere of a new work for Wet Ink‘s core septet of composer-performers by Eric Wubbels.
The composer/performer collective has been the norm in most musical currents ever since the Beatles set the standard of a self-contained unit. Since then, rock, R’n’B, and jazz bands more often than not write the music they play. Somehow, though, contemporary composition (in its various iterations) has been slow to catch up. There are plenty of performing composers, but what we’ve come to think of as a “band” (as opposed to an ensemble) is still a rarity in the concert hall.
A certain level of rock band fanaticism can be excused, then, when it comes to the Wet Ink Ensemble. Collective noun aside, they are—under any common understanding—a band, no secret to those who’ve been paying attention for at least some of the last twenty years. With a lineup that includes voice, drums, saxophone, and electronics (along with the more expected flute, piano, and violin) and with most of the members contributing compositions to their book, the Wet Ink Ensemble has become one of the most exciting names in New York’s crowded concert calendar.
The band, in fact, sprung into being (a number of permutations ago) alongside the decidedly rockier band Zs. Saxophonists Alex Mincek and Sam Hillmer met at the Manhattan School of Music and in 1998 began playing and organizing concerts together—with Mincek’s Wet Ink Ensemble and Hillmer’s Zs often sharing both bills and members. But it took twelve years for the Wet Ink core membership to coalesce. (The collective also operates a large ensemble for bigger commissions.) Soprano Kate Soper and pianist Eric Wubbels joined the Wet Ink fold in 2005. Soper remembers one of her early performances with the ensemble, where Wubbels played Morton Feldman’s Palais de Mari and she sang Beat Furrer’s Aria.
“I was so nervous my lips were shaking. The concert was at the old Roulette on Greene Street, where we used to play a lot. This was one of those venues that feels packed with twenty people, with folding chairs and big pillars crowding the audience and a small table for merch and beer. We ended with the Feldman, and I remember leaning on the wall behind the piano (there weren’t enough seats for the performers), listening to Eric play and being suspended in a kind of sentimental awe—doubtless amplified by post-performance endorphins—a feeling that what we were doing, as a group, was special, and that I was happy and vaguely amazed to be a part of it.”
Listening from the stage gives the members of the ensemble a unique vantage to hear what they’re part of, and Soper isn’t the only one to appreciate that privileged position.
“I turned pages for the premiere of the children of fire come looking for fire, a violin and piano duo Eric wrote for himself and Josh,” said former Zs drummer Ian Antonio, who joined Wet Ink in 1999. “I sat in the typical page-turner’s place to the left of the pianist and had a pretty good view of the full score. Eric and Josh’s performance was mind-bogglingly precise, raw yet polished, powerfully emotive, and I was perfectly stationed to watch them do it while wrapped inside the piano’s resonance. It’s not an uncommon experience, working with all of the members of the Wet Ink band, but I especially remember thinking after their performance how lucky I was to work with a collection of such humble and hardworking virtuosos.”
Individual awe at the group of which they’re part seems to run strong among the members of the ensemble. Violinist Josh Modney played his first concert with the group in 2008.
“I don’t remember much about the experience of performing on that first concert, except for the feelings of awe, terror, and elation that came with playing chamber music alongside such extraordinary musicians,” he said.
“But I do distinctly remember one of the pieces I didn’t play on as a turning point in my relationship to music: Eric Wubbels and Erin Lesser’s performance of Wubbels’s Shiverer. There were so many things about that performance that defied expectations. The playing was impeccably tight. The sounds coming from the flute and piano, and the blend between both, were unlike anything I’d ever heard before. Listening to Eric and Erin’s performance was an ecstatic experience. I had listened to and performed plenty of contemporary music at that point, but hadn’t encountered composers and performers who could wield their technical virtuosity and expressive beings to push into this other zone, a high-country of the spirit. The performance provided a moment of clarity for me, revealing not only that making contemporary music on this level was possible, but that this was the kind of music I wanted to make, and these were the people I wanted to make it with.”
At the time of Modney’s first Wet Ink concert, Lesser—who attended the Manhattan School with Mincek and Hillmer—had already been playing with the group for seven years.
“My first performances with the band took me out of my comfort zone,” she said. “I was not expected to be in concert dress for shows. We were not playing in concert halls, but in venues like the Bowery Poetry Club and the Friend’s Seminary Meeting House. The music could be anything from graphic or open notation scores to new complexity. A few times, I remember showing up and being handed music, hot off the presses, to perform with instructions like ‘play as loud as possible’ or ‘I want it so soft you don’t even know if you’re making sound.’ Sometimes there was little or no rehearsal, but there was always a respect for the ability to go for it and make it happen.
“These are all skills and ideas I take for granted now, and that have become ubiquitous, but at the time it seemed risky and new to me,” she added. “I was inspired to learn new techniques and was ready to engage with whatever was put in front of me—all the while receiving nothing but encouragement from my colleagues.”
Perhaps the most unusual thing about the dynamic Wet Ink has forged is the dedicated electronics and live processing. That’s the often-just-offstage role of Sam Pluta, who met Mincek and Wubbels at the Darmstadt Festival in 2006 and immediately “knew then that I wanted to make music with these people.
“I distinctly remember a concert where Alex, Eric, and Eliot Gattegno performed Alex’s piece Perpetuum Mobile,” Pluta recalled of that Darmstadt meeting. “The piece was aggressive, blocky, and sonically pyrotechnic. I could see the disdain on the faces of the Europeans in the crowd. Once in New York, I met Kate Soper, Erin Lesser, and Ian Antonio. Eventually, I joined Wet Ink. Josh joined a couple of years later, and the current septet formation has been in existence ever since.”
While watching each other at work has aided in establishing the Wet Ink aesthetic, audience members can play a part as well—especially when they’re jazz legends. Mincek remembers a concert in the early 2000s that “had a huge impact on my view of what Wet Ink was.
“Sam [Hillmer] and I performed a really tough duo for two saxophones which I had recently written,” he said. “We played well and were really excited—even though the audience was quite small, as it usually was—so we headed over to the bar in the venue to have a beer and debrief. I spotted an older gentleman a few seats away. He looked very familiar to me, but I couldn’t place his face.
“I asked Sam, ‘Who is that? Do we know him somehow?’
“Sam says to me, ‘Ummm…I think that’s Ornette Coleman!’
“We sheepishly approached the fellow and politely asked, ‘Good evening, sir. Pardon us, but are you Ornette Coleman?’
“We spent the next few minutes expressing how much we respected his music and his playing, and how much of an inspiration he had been for us, how much happiness we had both drawn from his music. He thanked us for the kind words and then started talking to us in detail about our own performance! He was so enthusiastic and encouraging. He asked us questions. He offered advice and solicited advice. He talked to us both as a mentor and like a peer. It was one of the greatest experiences of my life!
“There is a special intimacy that is made possible between the performers, audience, and one’s own developing aesthetic when playing obscure music in out-of-the-way environments,” Mincek added. “We were nobodies, playing odd music we believed in, for just handfuls of folks, but Ornette was in the house, and he was really listening and digging it!”
What Wet Ink has built over the last twenty years might be seen as a perpetual motion machine, where the composers are the players, the performers are their own audience, feeding and sustaining each other. The musicians develop the work and the work develops the musicians.
“When I think back over the seventeen years I’ve been going to Wet Ink shows, even before I was in the group, what sticks out to me are specific pieces and performances,” said Wubbels, “several amazing early pieces of Alex’s; Zs playing Charlie Looker’s Nobody Wants to be Had at the Bowery Poetry Club; Sam’s Machine Language followed by Feldman’s Bass Clarinet and Percussion and an insane percussion sextet by Victor Adán; Mathias Spahlinger’s Aussageverweigerung / Gegendarstellung; Braxton’s Composition 227 (with a big rowdy group including Steve Lehman, Peter Evans, and Sarah Schoenbeck); opening for Evan Parker Electroacoustic Ensemble at Roulette; Kate and Erin doing an early version of Kate’s Only the Words Themselves Mean What They Say at a weird little on-campus club venue at UCSD.
“I think an ensemble’s role in shaping a scene can be about a lot of different kinds of things,” Wubbels concluded. “In the case of Wet Ink, I’m proud that the significance of the group really does seem to be a function of the actual music that we’ve made together, in specific pieces and specific performances. There’s a reality and a concreteness to that that’s quite satisfying.” •
Wet Ink: 20th Anniversary Bash takes place at Roulette on Monday, April 1st at 8pm, opening our Spring 2019 season.
About the Contributor:
Kurt Gottschalk writes about contemporary composition and improvisation for DownBeat, The New York City Jazz Record, The Wire, Time Out New York, and other publications and has produced and hosted the Minitature Minotaurs radio program on WFMU for the last ten years.
Monday, March 25, 2019 Performance 8pm / Doors 7pm
What: In a rare US appearance, legendary free-jazz ensemble The Schlippenbach Trio perform at Roulette for one night only. When: Monday, March 25, 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://roulette.org/event/the-schlippenbach-trio/
Brooklyn, NY – Over the last forty-five years, Evan Parker, Alexander von Schlippenbach, and Paul Lytton, known as The Schlippenbach Trio have become known as the greatest group playing free jazz in Europe. Their group chemistry is founded on intuitive listening, interaction, the ability to respond in an instant and on the synergy between their characters, all capable of complementing as well as challenging one another. The spectrum of their performance ranges from furor to elegy. It extends from energetic, forward-thrusting pieces to cool, calm, ambling passages, from ballad moods to submersion in sound, or in silence.
Although happy to fit occasional individual concerts into their work schedules, for the last fifteen years or so the trio has concentrated its touring into one sequence at the end of each year. This limited touring schedule, coupled with the challenges of international logistics make this performance a rare opportunity to see the Schlippenbach Trio in the US. In homage to the tragic Schubert/Muller song cycle their concert sequence has become known as the Winterreise.
Evan Parker, saxophone Alexander von Schlippenbach, piano Paul Lytton, drums
One of Europe’s premier free jazz bandleaders, German pianist Alexander von Schlippenbach’s music mixes free and contemporary classical elements, with his slashing solos often the link between the two in his compositions. In 1966, Schlippenbach formed The Globe Unity Orchestra—a big band that bridged the techniques of free-jazz and the techniques of the classical avant-garde (including the twelve-tone scale)—to perform the piece Globe Unity, which had been commissioned by the Berliner Jazztage. He remained involved with the orchestra into the ’80s. Schlippenbach began taking lessons at eight, and studied at the Staatliche Hochschule for Musik in Cologne with composers Bernd Alois Zimmermann and Rudolf Petzold. He played with Gunther Hampel in 1963, and was in Manfred Schoof’s quintet from 1964 to 1967. After 1967, Schlippenbach began heading various bands—among them, the 1970 trio with Evan Parker and Paul Lovens and a duo with Sven-Ake Johansson, which they co-formed in 1976. In the late ’80s, he formed the Berlin Contemporary Jazz Orchestra, which has featured a number of esteemed European avant-garde jazz musicians including Evan Parker, Paul Lovens, Kenny Wheeler, Misha Mengelberg, and Aki Takase.
Thursday, March 21, 2019 Performance 8pm / Doors 7pm
What: Composer and saxophonist María Grand gives the first concert of her 2019 Roulette residency featuring new compositions exploring a system of music similar to a user’s manual. When: Thursday, March 21, 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://roulette.org/event/maria-grand-music-as-a-users-manual/
Brooklyn, NY – For the first concert of her residency, María Grand performs Music as a User’s Manual, a series of compositions that seek to functionalize the rituals that make up a concert experience. It asks what is there to take home after one goes to a concert – is there any real change that happens, and are there any actual tools offered to listeners that they can implement in their lives? Grand strives to create self-contained music that is not a means to an end, rather is the means are the end – where sound illustrates, concretely and abstractly, something everyone can do. She will be joined by Ganavya Doraiswamy on vocals, Joel Ross on vibraphone, and Rajna Swaminathan on percussion.
FIRST SET: María Grand solo, vocals and saxophone
SECOND SET: Ganavya Doraiswamy, vocals María Grand, tenor saxophone Joel Ross, vibraphone Rajna Swaminathan, mridangam
María Grand is a saxophonist, composer, educator, and vocalist. She moved to New York City in 2011. She has since become an important member of the city’s creative music scene, performing extensively in projects including musicians such as Vijay Iyer, Craig Taborn, Jen Shyu, Steve Lehman, Aaron Parks, Marcus Gilmore, Jonathan Finlayson, Miles Okazaki, among others. Grand writes and performs her original compositions with her ensemble, DiaTribe; her debut EP TetraWind was picked as “one of the 2017’s best debuts” by the NYC Jazz Record. The New York Times calls her “an engrossing young tenor saxophonist with a zesty attack and a solid tonal range”, while Vijay Iyer says she is “a fantastic young saxophonist, virtuosic, conceptually daring, with a lush tone, a powerful vision, and a deepening emotional resonance.” Grand is a recipient of the 2017 Jazz Gallery Residency Commission, 2018 Roulette Jerome Foundation Commission, and 2019 Roulette Jerome Foundation Residency. She is a member of the Doug Hammond quintet, has toured with Antoine Roney, and performs regularly with her own ensemble, as well as with RAJAS, led by Carnatic musician Rajna Swaminathan, and Ouroboros, led by Grammy Award winner alto saxophonist Román Filiú. She has toured Europe, the United States, and South America, playing in venues and festivals such as the Village Vanguard in NYC, La Villette Jazz Festival in Paris, Saafelden Jazz Festival in Austria, Millennium Park in Chicago, the Blue Whale in LA, IloJazz in Guadeloupe (FR), and many others.
Tuesday, March 19, 2019 Performance 8pm / Doors 7pm
What: Pianist Alex Peh collaborates with percussionists Susie Ibarra, Kyaw Kyaw Naing, flutist Claire Chase, and the first ever Burmese-American Hsaing Ensemble to perform new works drawing on the musical traditions of Southeast Asia. When: Tuesday, March 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: http://bit.ly/WI190319
Brooklyn, NY – In an event organized by pianist Alex Peh, he is joined by a series of virtuosic collaborators to present an evening of music drawing from the musical traditions of Southeast Asia. In Talking Gong, Peh teams up with percussionists Susie Ibarra, Kyaw Kyaw Naing, and flutist Claire Chase to perform a new trio inspired by Southeast Asian gong chime music. Talking Gong, written by Ibarra for Peh and Chase, explores traditional Philippine Kulintang cipher scores, reimagined for piano, flute, and mixed percussion. Peh will also perform three new works by Ibarra and Kit Young for solo piano, inspired by their lifetime of work and study in Southeast Asia, as well as two works by composer Phyllis Chen with Chase.
Peh and Naing, a Burmese percussionist and master of the saing waing or pat waing—a unique drum-circle instrument that has roots in Burmese court culture and Buddhist folk traditions— present new improvisations and compositions for piano and pat waing, a traditional combination that developed when the Italian ambassador gifted King Mindon of Burma a piano in the mid-19th century. Additionally, Peh and Naing will perform the world premiere of new works written for piano and percussion ensemble. The concert will inaugurate the first Burmese-American Hsaing Ensemble in the United States, and features Naing, Peh, and SUNY New Paltz community members and students.
Performers: Alex Peh, piano Kyaw Kyaw Naing, percussionist/composer Susie Ibarra, percussionist/composer Claire Chase, flutist Robert Vetri, toy piano, bowl, music box
Hsaing Ensemble: Elana Kellerhouse Robert Vetri
Pianist Alex Peh is a collaborative teaching artist, assistant professor of music and coordinator of the piano program at SUNY New Paltz in the bucolic Hudson Valley. He engages with a wide range of music, using his classical training to support his work in traditional and contemporary music, experimental works, and improvisation. He commissions composers to write new pieces, explores world music idioms, and experimental processes. From working with LEGO Mindstorm robotic musical instruments to Burmese piano style, Peh has performed in venues such as the DiMenna Center NYC; Carnegie Weill Recital Hall NYC; Kennedy Center, DC; Austrian Embassy, DC, Abrons Art Center, NYC; and Benaroya Hall, Seattle. Recent concerts include performances at BRIC house, Byzantine Museum in Thessaloniki, Greece; Stone Residency at the Glass Box Theater, NYC; Howland Cultural Center, Beacon; and Dartmouth College’s Hopkins Center. Alexpeh.com.
Monday, March 18, 2019 Performance 8pm / Doors 7pm
What: Resident artist Cecilia Lopez presents a collaboration with Aki Onda and the premiere of Dos (Tres) for brass and electronics. When: Monday, March 18, 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/WI190318
Brooklyn, NY – For the first concert of her 2019 Roulette residency, artist/composer Cecilia Lopez will present a two-part program, which explores different scales of sound in Roulette’s theater. The program will begin with Dos (tres) written for brass trio and electronics. By conjuring a very subtle atmosphere and focusing on the directionality of sound, timbre, and specific frequency material, this piece investigates the outcome of a very intimate encounter between instruments/instrument players.
The second part of the evening will feature Bifurcations, the first collaboration between Lopez and composer and artist Aki Onda. Sharing a trajectory based on the use of acoustic feedback and the exploration of space through amplification, this concert is an opportunity for both artists to join forces and present a duo feedback composition. Lopez will be playing her handmade instruments, weaved from speaker-wire; Onda will wield multiple amplifiers and his custom lighting system which responds to the aural environment, expanding the perception of space visually.
Dos (tres) Cecilia Lopez, composition, electronics Forbes Graham, trumpet Joe Moffett, trumpet Christopher McIntyre, trombone
Bifurcations Cecilia Lopez, electronics, feedback Aki Onda, feedback, custom light system
Cecilia Lopez is a composer, musician and multimedia artist from Buenos Aires, Argentina currently based in New York. Her work explores perception and transmission processes focusing on the relationship between sound technologies and listening practices. She works across the media of performance, sound, installation and the creation of sound devices and systems. She studied composition with Carmen Baliero and Gustavo Ribicic. She holds an MFA from the Milton Avery Graduate School of the Arts, Bard College and an MA from Wesleyan University in composition (2016). Her work has been performed and exhibited at Museo de Arte Moderno de Buenos Aires (AR), Center for Contemporary Arts (Vilnius, Lithuania), Festival Internacional Tsonami de Buenos Aires (Argentina), Roulette Intermedium, Issue Project Room, Floating Points Festival , Ostrava Days Festival 2011 (Ostrava, Czech Republic), MATA Festival 2012 (NY), Experimental Intermedia (NY), Fridman Galley (NY), Kunstnernes Hus (Oslo, Norway) and Ende Tymes Festival (NY), Festival Punto de Encuentro organized by the Asociación de Música Electroacústica de España (Spain), and the XIV Cuenca Biennial, among others. She was a Civitella Ranieri fellow in 2015 and has participated in various residency programs such as Atlantic Center for the Arts, Ostrava Days Institute, Harvestworks, and Rupert Residency. She has collaborated in projects with Carmen Baliero, Carrie Schneider and Lars Laumann, among others