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DTSTART;TZID=America/New_York:20110226T193000
DTEND;TZID=America/New_York:20110226T230000
DTSTAMP:20260426T013230
CREATED:20190530T145824Z
LAST-MODIFIED:20190530T145824Z
UID:10001015-1298748600-1298761200@www.bowerbird.org
SUMMARY:DANCE: Moving Parts/PIMA Group
DESCRIPTION:Specific. Abstract. Specifically abstract. Meg is an all around movement geek. She makes astonishingly specific movement with dancers who love discussion. Match vs. Match pulls apart a dance while putting it back together\, in a relentless search for identity and connection. A layered examination of architecture and space and the dancing body within (How many parts are you composed of? How about now?)\, all is revealed over time. Sometimes slowly. Sometimes all at once. \nPIMA Group so clearly defies categorization it’s not dance\, its not theater\, its not music\, and yet its all of these things. Featuring live music and video projections\, Ohhorror is a theatrical re-imagining of the evocative moods and mysterious feelings found in horror films and reveals how the cliches can get at the psychological essence of personal nightmares\, inner fears\, demons.
URL:https://www.bowerbird.org/event/dance-moving-parts-pima-group/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/PIMA-Group.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110225T210000
DTEND;TZID=America/New_York:20110225T230000
DTSTAMP:20260426T013230
CREATED:20190530T150013Z
LAST-MODIFIED:20190530T150013Z
UID:10001017-1298667600-1298674800@www.bowerbird.org
SUMMARY:ORGAN: Troy Herion
DESCRIPTION:Troy Herion is a composer\, sound designer\, music director and improviser. His music brings together interests in fields relating to biology\, traditional cultures\, visual art\, drama\, and improvisation. Dramatic collaborations have included music for International Opera Theater\, Pig Iron Theatre\, The Wilma Theater\, The Arden Theatre\, and Azuka Theater. He has been nominated for three Barrymore Awards\, including the prestigious F. Otto Haas Emerging Artist Award\, and his work was pronounced Best Sound Design 2006 in Philadelphia Weekly. In 2008 Troy was awarded an Independence Foundation Fellowship to study and perform gamelan music in Bali\, Indonesia with the world-renowned Cudamani ensemble. In 2009 he completed an artist residency at Swarthmore College. Troy is the recipient of the Perkins Prize and Roger Sessions Fellowship of Princeton University\, where he is currently pursuing a PhD in music composition.
URL:https://www.bowerbird.org/event/organ-troy-herion/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/TroyHerion_Organ.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110225T193000
DTEND;TZID=America/New_York:20110225T230000
DTSTAMP:20260426T013230
CREATED:20190530T150226Z
LAST-MODIFIED:20190530T150235Z
UID:10001019-1298662200-1298674800@www.bowerbird.org
SUMMARY:COMBO: Troy Herion + Moving Parts / PIMA Group
DESCRIPTION:Troy Herion is a composer\, sound designer\, music director and improviser. His music brings together interests in fields relating to biology\, traditional cultures\, visual art\, drama\, and improvisation. Dramatic collaborations have included music for International Opera Theater\, Pig Iron Theatre\, The Wilma Theater\, The Arden Theatre\, and Azuka Theater. He has been nominated for three Barrymore Awards\, including the prestigious F. Otto Haas Emerging Artist Award\, and his work was pronounced Best Sound Design 2006 in Philadelphia Weekly. In 2008 Troy was awarded an Independence Foundation Fellowship to study and perform gamelan music in Bali\, Indonesia with the world-renowned Cudamani ensemble. In 2009 he completed an artist residency at Swarthmore College. Troy is the recipient of the Perkins Prize and Roger Sessions Fellowship of Princeton University\, where he is currently pursuing a PhD in music composition. \n  \nSpecific. Abstract. Specifically abstract. Meg is an all around movement geek. She makes astonishingly specific movement with dancers who love discussion. Match vs. Match pulls apart a dance while putting it back together\, in a relentless search for identity and connection. A layered examination of architecture and space and the dancing body within (How many parts are you composed of? How about now?)\, all is revealed over time. Sometimes slowly. Sometimes all at once. \n  \nPIMA Group so clearly defies categorization it’s not dance\, its not theater\, its not music\, and yet its all of these things. Featuring live music and video projections\, Ohhorror is a theatrical re-imagining of the evocative moods and mysterious feelings found in horror films and reveals how the cliches can get at the psychological essence of personal nightmares\, inner fears\, demons.
URL:https://www.bowerbird.org/event/combo-troy-herion-moving-parts-pima-group/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/pima_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110224T210000
DTEND;TZID=America/New_York:20110224T230000
DTSTAMP:20260426T013230
CREATED:20190530T150522Z
LAST-MODIFIED:20190530T150522Z
UID:10001021-1298581200-1298588400@www.bowerbird.org
SUMMARY:ORGAN: John Zorn
DESCRIPTION:A extraordinarily gifted and diverse musical mind and recent MacArthur Fellow\, John Zorn is probably the closest thing avant-garde music has had a house hold name in since John Cage. And despite his prolific output as a composer\, arranger\, record producer\, saxophonist and multi-instrumentalist\, opportunities to hear Zorn live in performance\, especially in Philadelphia\, are very rare. The chance to hear John Zorn perform a solo organ concerts – truly once in a lifetime.
URL:https://www.bowerbird.org/event/organ-john-zorn/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/john_zorn.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110224T193000
DTEND;TZID=America/New_York:20110224T230000
DTSTAMP:20260426T013230
CREATED:20190530T150955Z
LAST-MODIFIED:20190530T150955Z
UID:10001025-1298575800-1298588400@www.bowerbird.org
SUMMARY:COMBO: John Zorn + Moving Parts / PIMA Group
DESCRIPTION:A extraordinarily gifted and diverse musical mind and recent MacArthur Fellow\, John Zorn is probably the closest thing avant-garde music has had a house hold name in since John Cage. And despite his prolific output as a composer\, arranger\, record producer\, saxophonist and multi-instrumentalist\, opportunities to hear Zorn live in performance\, especially in Philadelphia\, are very rare. The chance to hear John Zorn perform a solo organ concerts – truly once in a lifetime. \n  \nSpecific. Abstract. Specifically abstract. Meg is an all around movement geek. She makes astonishingly specific movement with dancers who love discussion. Match vs. Match pulls apart a dance while putting it back together\, in a relentless search for identity and connection. A layered examination of architecture and space and the dancing body within (How many parts are you composed of? How about now?)\, all is revealed over time. Sometimes slowly. Sometimes all at once. \n  \nPIMA Group so clearly defies categorization it’s not dance\, its not theater\, its not music\, and yet its all of these things. Featuring live music and video projections\, Ohhorror is a theatrical re-imagining of the evocative moods and mysterious feelings found in horror films and reveals how the cliches can get at the psychological essence of personal nightmares\, inner fears\, demons.
URL:https://www.bowerbird.org/event/combo-john-zorn-moving-parts-pima-group/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/megfoley.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20110224T193000
DTEND;TZID=America/New_York:20110224T230000
DTSTAMP:20260426T013230
CREATED:20190530T150800Z
LAST-MODIFIED:20190530T150800Z
UID:10001023-1298575800-1298588400@www.bowerbird.org
SUMMARY:DANCE: Moving Parts/PIMA Group
DESCRIPTION:Specific. Abstract. Specifically abstract. Meg is an all around movement geek. She makes astonishingly specific movement with dancers who love discussion. Match vs. Match pulls apart a dance while putting it back together\, in a relentless search for identity and connection. A layered examination of architecture and space and the dancing body within (How many parts are you composed of? How about now?)\, all is revealed over time. Sometimes slowly. Sometimes all at once. \n  \nPIMA Group so clearly defies categorization it’s not dance\, its not theater\, its not music\, and yet its all of these things. Featuring live music and video projections\, Ohhorror is a theatrical re-imagining of the evocative moods and mysterious feelings found in horror films and reveals how the cliches can get at the psychological essence of personal nightmares\, inner fears\, demons.
URL:https://www.bowerbird.org/event/dance-moving-parts-pima-group-2/
LOCATION:Christ Church\, 2nd Above Market\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/moving_parts.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091218T200000
DTEND;TZID=America/New_York:20091218T220000
DTSTAMP:20260426T013230
CREATED:20190620T171855Z
LAST-MODIFIED:20190620T172022Z
UID:10001084-1261166400-1261173600@www.bowerbird.org
SUMMARY:ICE PLANET
DESCRIPTION:Bowerbird pays homage to the eclectic past of the GATE series\, and offers a synth laden night of psychedelic slow jams and industrial thrashes. Headling the evening will be New York City’s post-punk electronic band OUTPOST featuring Mark C of the 80s no wave band Live Skull on guitar\, synths\, and vocals\, with Stuart Argabright (Ike Yard\, Dominatrix\, Death Comet Crew) on synths\, laptop\, vocals\, and bassist Kent Heine (Holy Ghost\, Steve Shiffman & the Land of No). Opening the evening will be Charles Cohen and Tyler Weaver’s duo project COLOR IS LUXURY\, and a solo by DAVE SMOLEN.
URL:https://www.bowerbird.org/event/ice-planet/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/iCE-PLANET.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091213T200000
DTEND;TZID=America/New_York:20091213T220000
DTSTAMP:20260426T013230
CREATED:20190620T170754Z
LAST-MODIFIED:20190620T170952Z
UID:10001083-1260734400-1260741600@www.bowerbird.org
SUMMARY:OVER-NITE SENSATION: Winter Edition
DESCRIPTION:With its most eclectic offering to date\, the winter edition of OVER-NITE SENSATION will offer a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations. This evening offers a bizarre mix of composers improvising\, improvisers composing\, realtime laptop processing of a counter tenor voice\, music from the Japanese avant-garde composer Toshio Hosokawa\, new works\, and old reunions\, all in one night. \n  \nTHE EPICUREANS (Dave Gross\, Ricardo Donoso\, Ryan Mcguire) – Boston’s lovable lowercase wedding band \nVAN STEIFEL and MARK RIMPLE – anachronistic laptop / counter tenor duo \nJASON CALLOWAY  – plays Toshio Hosokawa’s Sen II for solo cello \nTIM ALBRO  – low fi 12-string electric guitar noise-blue \nMARTHA SAVERY / EUGENE LEW – instigating the most controversial viola / percussion jams since 2009 \nSPECIAL WHAT? (Amnon Freidlin\, Bryan Rodgers\, Pete Angevine)  – one show reunion tour for Philly’s favorite one-show-reunion-tour-only band \nPaula Diehl’s SOUNDS2 performed by Paul Billbrough and Gabe Globus-Hoenich \n  \nImportant notes: Set durations will be generally between 10 – 15 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Seasonal revelry will abound. \n  \nABOUT THE ARTISTS \n  \nTHE EPICUREANS (Boston) \nDave Gross – sax \nRicardo Donoso – drums \nRyan Mcguire – bass \nFormed in 2008\, The Epicureans have the hottest new sound out there. they range from sparse ‘lowercase’ type music to “full on” (as the kids say these days) noise with a hardcore metal edge. at once playful and brutal\, the epicureans are your best friends and your enemies worst enemy. when they say ‘we love you’ at the end of every show they mean it. music is all about love and the epicureans\, with their thirst for seeking pleasure\, are here to provide. \n(Sea of Tranquility) “Avant-garde music has always been something for a relatively small group of listeners\, a musical art form that can be rather dissonant\, noisy\, and unmelodic\, rarely taking the shape or form of common song based structures. Then again\, there are acts that perform an even more extreme form of avant-garde\, of which The Epicureans certainly fall into. This trio\, whose new album A Riddle Within a Conundrum Within a Game is out now on Public Eyesore Records\, simply fails to meet any sort of criteria that would qualify it as music. Even after giving it 5 spins (and I’ve sat through a lot of releases from Public Eyesore over the years\, none of them being easy listening by any means)\, there’s nothing here that’s remotely pleasing to the ears. Dave Gross (sax)\, Ricardo Donoso (drums)\, and Ryan McGuire (bass)\, have put together six tracks of noise\, the first half of the CD barely registers a blip on the audio counter\, slight tinkering of cymbals & drums while bass strings are scraped against\, while the last two pieces\, “Blade of Fury” and “H.S.” brings to mind images of what a herd of dinosaurs farting might sound like\, Gross’ bleating\, squonking sax and McGuire’s bass practically unrecognizable\, instead rumbling like bad gas being squeezed out between many butt cheeks. Sounds harsh? Well\, I’m all for saying that there’s a market out there for just about anything\, and you have to give these guys credit for REALLY going out there with this\, but in the end I’d have a hard time recommending this flatulent nightmare to even the most loyal avant-garde lover out there. From what they’ve presented\, the listener has no clue that they know how to play their instruments\, let alone write a tune. Next time guys\, give us a little something extra…please?”- Pete Pardo \n  \nVAN STIEFEL – laptop processing \nMARK RIMPLE – counter tenor \nIn music by Van Stiefel lyrical voices are teased out of usual instrumental combinations: electric guitar quartets\, laptop ensembles\, turntables\, as well as more conventional ensembles. Trained as a classical guitarist at an early age\, Stiefel attended the Centro Flamenco Paco Pena in 1983\, studying with guitarist John Williams. He has collaborated with a variety of artists and ensembles including: visual artist Caroline Lathan-Stiefel\, improvisation trio maison vague\, Ursula’s End\, guitarist Eliot Fisk\, violinist Nurit Pacht\, guitarist Dan Lippel\, the Vega String Quartet\, choreographer David Dorfman\, the Nash Ensemble\, Thamyris Contemporary Music Ensemble\, the Minneapolis Guitar Quartet\, the Talujon Percussion Ensemble\, and the Macon Symphony. Stiefel is Assistant Professor of Music Theory and Composition at West Chester University School of Music in Pennsylvania and is completing a CD of chamber music with electric guitar\, laptop\, and other instruments. \nMark Rimple is a countertenor\, lutenist\, and composer who enjoys mixing his dual passions of early and new music. The Washington Post has praised his “splendid” countertenor singing\, and in 2004 a Chicago Tribune reviewer wrote of a performance with the Newberry Consort that “Rimple’s technique as a lutenist is fluid and confident\, adding a kinetic lift to the ensemble. His considerable assets as a countertenor include a centered\, clear tone\,” and “effortless upper notes capable of pinpoint agility.” He is a founding member of Trefoil\, an ensemble devoted to the performance of late medieval music from mensural notation\, and he can be heard on two recordings with the ensemble: Cristo e Nato: Lauding the Nativity in Medieval Italy\, and Masters\, Mazes and Monsters: Treading the Medieval Labyrinth (both recordings available at www.msrcd.com). He is a frequent guest of the Newberry Consort\, and appears on their most recent medieval recording\, Puzzles and Perfect Beauty. He also appears regularly with Piffaro\, the Renaissance Band\, and The Folger Consort. He is a specialist in the theory and notation of early music and often teaches this material at workshops throughout the country. Mark is an accomplished composer\, and holds a DMA in Composition from Temple University. His compositions have been performed by the ISCM Chamber Players\, Parnassus\, and The Network for New Music. He has also championed new music for guitar\, lute\, mandolin\, and countertenor with such ensembles as the Cygnus ensemble and the Network for New Music. Mark is an Associate Professor of Music Theory and Composition at West Chester University of Pennsylvania. \n  \nJASON CALLOWAY – cello performing Toshio Hosokawa’s (b. 1955) Sen II for solo cello \nCellist Jason Calloway has performed to acclaim throughout North America\, the Caribbean\, Europe\, and the Middle East as soloist and chamber musician. He has appeared at festivals including Lucerne\, Spoleto USA\, Darmstadt\, Klangspuren (Austria)\, Acanthes (France)\, Perpignan\, Valencia\, Citta’ della Pieve (Italy)\, Jerash (Jordan)\, Casals (Puerto Rico)\, Sarasota\, Blossom\, Music Academy of the West\, the New York String Seminar\, and Encore. Mr. Calloway has appeared around the world as cellist of the Naumburg award-winning Biava Quartet\, formerly in residence at the Juilliard School\, in addition to collaborations in chamber music with members of the Curtis\, Juilliard\, Miami\, Tokyo\, and Vermeer quartets and with principal players of most of the world’s leading orchestras. He has also travelled widely as a member of ‘In Freundschaft\,’ a duo with trombonist\, Steve Parker\, and with Animato!\, a duo with pianist Christopher Weldon. He gave his Carnegie Hall recital debut under the auspices of Artists International and has also been heard in New York at Alice Tully Hall\, Steinway Hall\, the Museum of Modern Art\, the Kosciuszko Foundation\, the 92nd Street Y\, and the Polish Consulate; in Los Angeles at Disney Hall\, the Bing Theatre\, the Skirball Center and Pepperdine University; in Washington\, D.C. at the Kennedy Center; in San Francisco at Hoover Auditorium; in Philadelphia at the Academy of Music and the Ethical Society; and live on NPR\, WQXR (NYC)\, KMZT (Los Angeles)\, WFLN (Philadelphia)\, and on RAI television (Italy). \nA devoted advocate of new music\, Mr. Calloway has performed with leading ensembles around the world and with the New Juilliard Ensemble both in New York and abroad\, in addition to frequent appearances in Philadelphia with Bowerbird\, Soundfield\, and Network for New Music. Mr. Calloway also inaugurates this season the (h)ear project\, a Philadelphia concert series devoted to new and experimental music\, in addition to appearances with Instrumenta Contemporanea in Oaxaca. Among the hundreds of premieres he has presented are solo and ensemble works of Berio\, Knussen\, Lachenmann\, and Pintscher\, and he has collaborated intensively with some of today’s most important composers including Birtwistle\, Carter\, Davidovsky\, Dusapin\, Henze\, Hosokawa\, Husa\, Franke\, Rihm\, and Yannay. As a dedicated supporter of young composers\, he has for several seasons presented a series of concerts of solo cello works newly composed for him\, most recently at Harvard and Temple universities\, and at Spoleto USA gave the public premiere of Yanov-Yanovsky’s Hearing Solutions for cello and ensemble. \nMr. Calloway prizes his work with Pierre Boulez and the Ensemble InterContemporain\, both at the Lucerne Festival and at the Zug (Switzerland) Kunsthaus in Schoenberg’s Pierrot Lunaire and Serenade as part of a major Kandinsky/Gerstl exhibit\, in addition to his collaborations with the violinist Gilles Apap and with tap dancer Savion Glover. He is also artistic director of Shir Ami\, an ensemble dedicated to promoting the music of Holocaust composers\, and In Flux\, a recently formed new music ensemble. A native of Philadelphia\, Jason Calloway is a recent graduate of the Juilliard School and the University of Southern California. His teachers have included Ronald Leonard\, Orlando Cole\, Rohan de Saram\, Lynn Harrell\, Fred Sherry\, Robert Cafaro\, Joel Sachs\, Felix Galimir\, Luis Biava\, and Seymour Lipkin. Mr. Calloway is grateful for the assistance of the Maestro Foundation. \n  \nTIM ALBRO – guitar\, electronics \nBorn in Worcester\, MA in 1980\, currently based in Philadelphia\, Tim Albro received a BA in English at Wesleyan University. Since Wesleyan\, he has done ethnographic work on gospel music in West Philadelphia\, composed music for a dance ensemble\, as well as participate in the vibrant improvised/creative music community growing in Philadelphia. This work as an improvising/creative musician includes performing on the 12-string electric guitar /w electronics\, on the prepared guitar/electronics/radio in the duo HZL\, and recent solo work with home built radio transmitters. Current research interests include: the life of milarepa\, green anarchism\, and good advice. \n  \nPAULA DIEHL – composer \nDiehl’s SOUNDS 2 will be peroformed by guitarist Paul Billbrough and percussionist Gabe Globus-Hoenich. \nDiehl became interested in improvisation in 1982\, one result of a music system\, SEPARATION\, which came to her. She formed the ensemble SOUNDS to find out if the system could be used for improvs. It could. In 2009 SOUNDS became SOUNDS 2\, a duo which brought into being a new performance style. Separation improvs call for gradual decrease of INTERLOCK among\, usually\, three Fourths\, its working intervals\, until all are discrete entities. It also calls for varied ORDERINGS: that is\, designation of an open or closed status for the first and the last pitch of every Fourth\, a setup which\, in conjunction with interlock\, drives the music to an ending. Changed orderings are chosen for each new phase of interlock. A few orderings not chosen – and thus ‘wrong’- can be used; they add interest to the improvisation\, but must be made ‘right\,’ that is\, closed when closure of that phase takes place. All these pitches interact with adjacent exposed or closed pitches. At present a basic ensemble is one guitar\, acoustic or electric\, and non pitched percussion. The percussion is ‘composed. It mirrors in rhythm the ‘orderings’ which have become a part of each Fourth. In the new improv style all exposed notes from intervals in use are given to the guitar. \n  \nSPECIAL WHAT? (formerly BRKFST?) \nBryan Rodgers – sax \nPete Angevine – drums \nAmnon Freidlin – guitar \nSpecial What is a trio consisting of tenor saxophone\, electric guitar and drumset based in Philadelphia and Brooklyn. Their music is a blend of semi-composed\, semi-improvised newness; they exemplify a distinct and singular group aesthetic and musical vocabulary. Employing and enjoying the use of pulse (both abstracted and real)\, references to tonality and form\, Special What creates comprehensible yet exciting and unusual music. With a focused and direct approach\, their music yields high impact and compact abstractions of stuff that normal people would listen to. Members include Bryan Rogers (Shot x Shot\, The Scriptors\, Bobby Zankel)\, Amnon Freidlin (Zs\, Normal Love\, Pepi Ginsberg\, Model Barbers) and Pete Angevine (SATANIZED\, Model Barbers). \n  \nMARTHA SAVERY– viola \nEUGENE LEW – drumset \nMartha Savery was born in Swarthmore\, Pennsylvania in 1980. She had a happy childhood and began studying classical music at the age of 8. She studied a variety of instruments including the viola\, saxophone\, bassoon and bass. After winning a series of honors and competitions for classical music she felt unsatisfied creatively and decided to be an artist. She has been blowing glass for seven years\, and has studied at the Tyler School of Art and Salem Community College. In 2003 she received a scholarship from the Studio at the Corning Museum of Glass and in 2004 completed a 5-month assistantship residency at the Creative Glass Center of America in Millville\, New Jersey. She was awarded a scholarship to attend the famous Pilchuck Glass School in Washington State in August\, 2007. She currently lives in her studio in North Philadelphia\, which is also a martial arts dojo.
URL:https://www.bowerbird.org/event/over-nite-sensation-winter-edition/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Copy-of-Over-nite-2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091120T200000
DTEND;TZID=America/New_York:20091120T220000
DTSTAMP:20260426T013230
CREATED:20190620T164645Z
LAST-MODIFIED:20190620T164645Z
UID:10001082-1258747200-1258754400@www.bowerbird.org
SUMMARY:YOU SAY HELLO\, I SAY GOODBYE
DESCRIPTION:There is something wonderfully fleeting about improvised music. The music itself lives for only the briefest of moments\, and collaborations\, even extended ones\, can come and go quite often. Maybe this has to do with the relative ease with which partners can interchange with one another\, or the transient nature of its practitioners\, but in any case this openness for possibility creates great potential for artistic exploration. \nOn this evening Bowerbird offers a geographical survey of projects new and old from across the region\, nation\, and world. The night will an international quartet of Margarida Garcia (born in Lisbon\, now based in New York City\, playing upright electric bass)\, Manuel Mota (from Lisbon\, playing guitar)\, Barry Weisblat (from New York City\, homemade electronic inventions)\, and Marcia Bassett (aka Zaimph\, predominately using guitar and vocals); Andrew T. Royal\, a solo violinist from Chicago; and a fantastic trio of Philadelphia-based musicians\, Ian Fraser\, Jesse Kudler\, and Tim Albro (playing a combination of laptop\, guitar\, craked electronics\, cheap consumer devices: a no-name table top electric guitar\, hand-held cassette recorders\, radios and transmitters). Also this evening\, as a special farewell\, the once-upon-a-time based in Philadelphia duo Hisswig\, featuring double bassist Evan Lipson (now in Chattanooga) and microtonal violinist Katt Hernandez (heading to Boston)\, will say so long\, see ya later to Philadelphia. \n  \nTHE PROGRAM \n  \n(1) MANUEL MOTA\, MARGARIDA GARCIA\, \nBARRY WEISBLAT\, MARCIA BASSETT \n(2) JESSE KUDLER\, IAN FRASER\, TIM ALBRO TRIO \n(3) HISSWIG (EVAN LIPSON / KATT HERNANDEZ) \n(4) ANDREW T. ROYAL \n  \nABOUT THE ARTISTS \n  \n Barry Weisblat was born in Brooklyn in 1975 and remains one of the unsung heroes of deep and investigative Sound Thought. Beyond a long-running commitment to participating in the underground’s underground of improvisation and a dynamic sense of musical conversation\, Weisblat has extended his reach and pool of knowledge beyond rubbing the surface of the black box of sound to designing and implementing his own systems. Translating light into sound\, sound into action\, action into thought\, and thought into light\, Weisblat’s ceaseless curiosity and simultaneous obsessive desire to participate and join in dialogue has pushed his output farther out than most people can see or conceive of. \n  \nManuel Mota guitarist born in Lisbon\, with public activity since 1989. From that to 1997 he studies and experiments with prepared guitar\, mainly acoustic. Since then his interests shifted to the development of a personal language for fingerstyle electric guitar and started working in a regular basis with bassist Margarida Garcia. A lot of acoustic guitar has been played at home in the last years\, and it has also been possible to find him playing with bands Osso Exótico\, Curia\, Dru\, and collaborating with David Maranha and Afonso Simões. Worked with Sei Miguel from 1997 to 2005. Founds the record label Headlights in 1998. Draws and shoots. \n  \nMargarida Garcia and Marcia Bassett first collaborated in a group working with sound\, text and light projections. Other members of the group included Mattin\, Emma Hedditch and Jeffery Perkins. Through these early meetings\, Bassett and Garcia recognized a similar sonic aesthetic. Further meetings of the two have lead to handful of local improvised shows and a forth-coming LP to be released on the label Headlights. \nMarcia Bassett\, born in USA Bassett aka Zaimph\, predominately uses guitar and vocals to create sounds that shimmer in a dark metallic buzz of sonic noise and drone\, before a swift shift into blissed out ragas or crippling\, brutal\, white-hot noise. The organic improvised elements of Bassett’s work leave traces of eerie ghost voices and deep-space echoes that recall the electrified ritual of nomadic Japanese avant-gardists Taj Mahal Travellers — but more immediately sound like a magnification of her contributions to Double Leopards and Hototogisu\, generating towers of electricity that move from malevolent arcs of anti-gravity and spumes of throttled single notes into deep wormholes that do violence to feeble notions of time and space. \nMargarida Garcia\, born in Lisbon. Using double bass as her main instrument\, she developed a close collaboration with guitarist Manuel Mota in 1997. The two have worked as a duo as well as in the group\, Curia\, which includes Afonso Simões and David Maranha (organeye\, osso exótico). Garcia has also worked with Sei Miguel from 1999 to 2002. Other close collabs include Marcia Bassett\, Barry Weisblat and Mattin. She has played in live/recording settings with Nöel Akchoté\, Otomo Yoshihide\, Ferran Fages\, Alfredo C. Monteiro\, Ruth Barberán\, John Tilbury\, Eddie Prevost\, Rhodri Davies\, Matt Valentine\, Erica Elder\, David Keenan and Alex Neilson (tight meat duo). \n  \nEvan Lipson (b. 1981\, Toronto) is a bassist and composer who currently resides in Chattanooga\, Tennessee. Lipson has worked in a variety of contexts and styles since adolescence; with roots predominantly based in modernist classical\, punk\, jazz\, outsider pop\, noise\, and free improvisation. However\, Lipson has been invariably focused on transcending the politics of genre. Following his own forms of occult research and pragmatic synthesis\, Lipson’s efforts strive towards cultivating the rarefied\, esoteric\, and iconoclastic world(s) of unconventional music. With a central emphasis on working directly with his own bands (including regular tours and regional performances)\, Lipson’s music and his modus operandi have always been based on the intuitive search for the liminal zones where intellect and instinct\, history and myth\, and creative and destructive forces intersect. \n  \nFocused primarily on freely improvised music\, Katt Hernandez draws a firey array of electronic-like sounds and keening melodies from her completely accoustic violin. She also works extensively with microtonality\, drawn from a study of a mixture of sources\, including traditional folk and sacred musics of the Middle East\, Turkey\, and Eastern Europe\, various odd-ball whisps of old Americana\, and the Maneri/Sims 72 note system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits. She has also played music of the late Ottman empire and Whirling Dervish ceremonies with the Eurasia Ensemble. She spent some time playing old-time\, vaudeville\, and early jazz tunes with Matt Somalis(a.k.a. Shoe) whilst channelling the spirit of Amelia Earhart in the duo Lindy’s Radio. And she also plays the mysterious incarnation of a disturbing cartoon character in the frightening music and performance art duo Dr. Selenium and Madame Margo. In fact\, she plays somewhere for somebody at least weekly\, come hell or high water. Katt has collaborated with a magnificently variated sea of musicians\, dancers\, and others including- but certainly not limited to- Joe Maneri\, Zack Fuller\, David Maxwell\, Beat Circus\, Nicole Bindler\, Matt Somalis\, Vashti Bunyan\, John Voigt\, Allisa Cardone\, Gordon Beeferman\, Jonathan Vincent\, Walter Wright\, Joe Burgio\, Eric Rosenthal\, Jeff Arnal\, Jaimie McGlaughlin\, Andrew Neumann\, Dave Gross\, and Hans Rickheit. She has twice been invited to perform on the Autumn Uprising\, High Zero\, Mobius ArtRages\, and Improvised and Otherwise festivals\, and has also appeared at the Montreaux-Detroit\, Brandeis New Music\, Boston CyberArts\, Michiania\, IAJE\, IASJ\, and Ear Whacks festivals. She has been a guest artist at MIT\, Harvard\, University of Indiana and the New England Conservatory\, performed in a vast slew of localized venues and life-making places throughout the east coast metropolii. \n  \nJesse Kudler\, born 1979\, improvises on cheap consumer devices: a no-name electric guitar\, hand-held cassette recorders\, radios and transmitters\, various small junk\, and pedals/electronics. He uses a computer to assemble his recorded music. Kudler’s work often operates on the extremes of volume\, demonstrating an interest in the subtleties that can arise from intense softness or loudness\, and it is marked by special attention to the stereo field. Recent interest has focused on both internal (electronic/radio) and external (microphone/speaker) feedback. Beyond simply exploring non-pitched sounds\, Kudler investigates their use in creating improvised structure. Kudler attended public school until Wesleyan University\, where he studied music with Ron Kuivila\, Alvin Lucier\, and a little bit with Anthony Braxton\, among others. In his various travels\, Kudler has performed with Matt Bauder\, Kyle Bruckmann\, Chris Cogburn\, James Coleman\, Tim Feeney\, Marcos Fernandes\, Margarida Garcia\, Brent Gutzeit\, Horse Sinister\, Bonnie Jones\, Newton\, Pauline Oliveros\, Bhob Rainey\, Vic Rawlings\, Christine Sehnaoui\, Mike Shiflet\, Jason Soliday\, Howard Stelzer\, Christian Weber\, Barry Weisblat\, Ellen Weller\, Matt Weston\, Jack Wright\, Jason Zeh\, and many others. He has toured the United States several times.
URL:https://www.bowerbird.org/event/you-say-hello-i-say-goodbye/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Hello-Goodbye.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091113T200000
DTEND;TZID=America/New_York:20091113T220000
DTSTAMP:20260426T013230
CREATED:20190620T162751Z
LAST-MODIFIED:20190620T162751Z
UID:10001081-1258142400-1258149600@www.bowerbird.org
SUMMARY:AN OUTSIDER'S GUIDE TO SAXOPHONE
DESCRIPTION:Bowerbird returns to the stately ballroom of the Powel House for an intimate evening of new and unusual acts of musical creativity.  In this installment of the popular Bowerbird@Landmarks series\, three trail blazing saxophonists\, John Butcher (Great Britain)\, Hans Koch (Switzerland)\, and Jack Wright (United States)\, showcase the amazing sonic palate available on their instrument and inventive sonic language they have explored over the course of each of their prolific careers. \n  \nJohn Butcher (born 1954 in Brighton\, England) is an English tenor and soprano saxophone player who has lived in London since the late 1970s. He began playing at the University of Surrey where he was studying physics. He received his PhD in theoretical physics with his thesis published as Spin effects in the production and weak decay of heavy Quarks. After that he left academia to focus on music. He began by playing conventional jazz (he has spoken of his initial skepticism concerning free improvisation)\, but quickly converted to a freer approach. He has taken the concern with the manipulation of multiphonics (split tones and false notes) bequeathed by earlier improvisers such as Evan Parker in new directions: though his earlier albums could be busy at times\, he has come increasingly to focus on creating rich\, slowly-changing strata of sounds (layers of hums\, buzzes and brittle metallic noises). He has also experimented with the use of amplified saxophone and overdubbing (most notably on the solo album Invisible Ear). That said\, he is also capable of playing quite lyrically: on soprano\, especially\, he will sometimes leaven a passage of abstraction with bursts of pennywhistle-like melody. \nButcher worked with Elton Dean\, Chris Burn\, and Jon Corbett at first. Later he formed a trio with guitarist John Russell and violinist Phil Durrant\, which recorded three albums and also served as the nucleus of News from the Shed\, a shorter-lived quintet with Paul Lovens and Radu Malfatti. Another key relationship has been with singer Phil Minton\, which included Butcher’s participation in mouthfull of ecstacy\, Minton’s setting of texts from James Joyce’s Finnegans Wake. More recently he has become centrally involved in the form of rarefied\, minimalist improvisation that has been dubbed “electroacoustic improvisation” or “lowercase”\, most notably as a member of the pioneering Austrian group Polwechsel. Other playing partners have included John Edwards\, Simon Fell\, Gino Robair\, Georg Gräwe\, Gerry Hemingway\, and Dylan van der Schyff. A recent\, self-released album\, Cavern with Nightlife\, included a duet with no-input-mixing-board specialist Toshimaru Nakamura. Butcher’s octet “john butcher 8” debutet at the 2008 edition of the Huddersfield Contemporary Music Festival. \n  \nHans Koch was born in 1948 and lives in Biel Switzerland. He has quit his carreer as a recognised classical clarinetist to become one of the most innovative improvising reed-players in Europe. He has been working with everyone from Cecil Taylor to Fred Frith since the eighties. As a composer he has shaped the sound of Koch-Schütz-Studer since the beginning as well as working for radio-plays and film. Since the nineties he has been working with electronics as an extension of the saxes/clarinets as well as with sampling/sequencing/Laptop. As a reed-player he is always working on his very own vocabulary and sound\, which makes him a very unique voice on the actual scene. \nAfter teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing\, by the late 1970s \n  \nJack Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring\, often performing for audiences in cities and towns where improvised music had never before been heard\, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment\, his art has always grown\, expanded\, and synthesized new information. He is unquestionably an original and virtuosic saxophonist\, a master improviser who is deeply lyrical\, with humor never far away. \nToday Wright tours frequently in Europe and North America (and in Japan in 2006)\, making new musical and human connections\, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker\, Axel Dorner\, Michel Doneda\, Andrea Neumann\, Denman Maroney\, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label)\, performed in over 20 countries\, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US)\, as well as his own website.
URL:https://www.bowerbird.org/event/an-outsiders-guide-to-saxophone-2/
LOCATION:Powel House\, 244 South Third Street\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/AN-OUTSIDERS-GUIDE-TO-SAXOPHONE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091023T210000
DTEND;TZID=America/New_York:20091023T230000
DTSTAMP:20260426T013230
CREATED:20190620T162322Z
LAST-MODIFIED:20190620T162322Z
UID:10001080-1256331600-1256338800@www.bowerbird.org
SUMMARY:OVER-NITE SENSATION: Fall Edition
DESCRIPTION:For over three years Bowerbird has stood under the banner of “experimental” and championed the multitude of perspectives that umbrella encompasses. OVER-NITE SENSATION offers a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations\, all in one night.  Artists from Philadelphia and far beyond will beguile the audience with free jazz\, electro-acoustic improvisation\, free improv\, inter-media video and sound works\, dance\, euphoric drones\, and psychedelic compositions. \n  \n1. Damon Smith – solo bass; not jazz\, not not jazz; west coast style\, maybe a bit upside down. \n2. Phill Sheldon – unresolved investigations at the edge of Fluxus\, not a little bit Yoko Ono. \n3. Ian Fraser – electronic array I: analog electronic circuits\, laptop\, tapes\, radio\, etc. \n4. Mike Szekely (drums)\, Matt Engle (bass)\, Matt Mitchell (keyboards/electronics); Jack Wright (saxophones) – also not jazz\, not not jazz. \n5. Travis Woodson – solo guitar; \n6. Scott Allison – electronic array II: analog electronic circuits\, laptop\, tapes\, radio\, etc. \n7. Mikronesia \n  \n(order subject to change and further obfuscation) \nImportant notes: Note 9pm start time. Set durations will be generally between 10 – 15 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Revelry will abound. \n  \n 
URL:https://www.bowerbird.org/event/over-nite-sensation-fall-edition/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Over-nite2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091021T200000
DTEND;TZID=America/New_York:20091021T220000
DTSTAMP:20260426T013230
CREATED:20190620T160932Z
LAST-MODIFIED:20190620T160932Z
UID:10001079-1256155200-1256162400@www.bowerbird.org
SUMMARY:BROTHERS PEEESEEYE
DESCRIPTION:PHANTOM LIMB + WOOLEY \nSHARKS WITH WINGS \nSANGUINE VESSEL \n  \nBowerbird presents BROTHERS PEEESEEYE \nWhen the three members of Peeesseye get together\, they speak a strange vocabulary all their own\, something akin to the secret language of twins or a deliberately aggressive Esperanto. So when one member of the trio is missing\, the remaining members could be forgiven for feeling an itch where their other should be. As Phantom Limb\, Jaime Fennelly (on harmonium and electronics) and guitarist Chris Forsyth\, who recently moved himself and his Evolving Ear label to Philly\, will scratch that itch with the addition of Nate Wooley\, who should fit right in given the way he seems to speak in tongues through his trumpet anyway. \n  \nSharks with Wings returns after a long hiatus with a new line up featuring Brian Osborne\, Marc Zajack\, Thomas Clark\, and Michael Barker\, and local band Sanguine Vessel\, the long running project of Jared Burak and Matt Raedman\, rounds out the the night. \n  \nABOUT THE ARTISTS \n  \nCHRIS FORSYTH – guitar \nChris Forsyth’s music eludes easy categorization. He is a founding member (with Jaime Fennelly and Fritz Welch) of Peeesseye\, an iconoclastic transcontinental amalgam of minimalist rock\, noise\, folk\, drone\, psych\, improv\, sound poetry\, and absurdity that has produced seven CDs\, one 7-inch\, over 145 concerts in Europe and the US\, and untold blown minds since forming in 2002. He also performs solo on both electric and acoustic 6- and 12-string guitars\, leads the free rock trio Ideal Heads\, and is a member of the elusive and rarely spotted experimental group Phantom Limb & Bison. Other notable collaborators have included reductionist/blues guitarist Tetuzi Akiyama\, Bay Area composer/performer Ernesto Diaz-Infante\, trumpeter Nate Wooley\, and choreographers Miguel Gutierrez and RoseAnne Spradlin\, plus an international cast of improvisors\, experimenters\, and rockers too numerous too mention. His first solo CD Live Journal at the Mice Machine VIP Dance Floor was released in 2008 on the Incunabulum label. The follow up Two Versions (Dreams) is due this year on LP. Other upcoming releases include the Dirty Pool LP\, with Farfisa organist Shawn Edward Hansen\, on Ultramarine\, and Peeesseye’s next opus\, Pestilence & Joy\, on LP from Evolving Ear . He is the caretaker of Evolving Ear and lives in the City of Philadelphia. \n  \nNATE WOOLEY – trumpet \nNate Wooley (b. 1974) grew up in a Finnish-American fishing village in Oregon. He has spent the rest of his life trying musically to find a way back to the peace and quiet of that time by whole-heartedly embracing the space between complete absorption in sound and relative absence of the same. He began playing trumpet professionally at age 13 with his father\, and after studying he moved to Colorado where he studied more with Ron Miles\, Art Lande\, Fred Hess\, and improvisation master Jack Wright.  His tenure with Jack began to break Nate out of self-imposed molds and into the sound world that he has embraced as his own. Nate currently resides in Jersey City\, NJ and performs solo trumpet improvisations as well as collaborating with such diverse artists as Anthony Braxton\, Evan Parker\, Paul Lytton\, John Zorn\, Fred Frith\, Marilyn Crispell\, Joe Morris\, Steve Beresford\, Akron/Family\, David Grubbs\, C. Spencer Yeh\, Daniel Levin\, Stephen Gauci\, Harris Eisenstadt\, Taylor Ho Bynum and Peter Evans. \n“Nate Wooley is one of those rare players who seemingly pop up from nowhere\, fully formed and confidently indicating the future of his instrument in contemporary music.” – Bill Shoemaker\, Moment’s Notice
URL:https://www.bowerbird.org/event/brothers-peeeseeye/
LOCATION:Vox Populi\, 319 N 11th St\, 3rd Floor\, Philadelphia\, PA\, 19107\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/forsyth.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091016T200000
DTEND;TZID=America/New_York:20091016T220000
DTSTAMP:20260426T013230
CREATED:20190620T155847Z
LAST-MODIFIED:20190620T163708Z
UID:10001078-1255723200-1255730400@www.bowerbird.org
SUMMARY:GATE
DESCRIPTION:SHOT X SHOT \nwith special guest MATT MITCHELL \n  \nShot x Shot is a Philadelphia quartet that has forged a distinctive sound through five years of steady collaboration. Their work is based in collective improvisational compositions that run the gamut from delicate to ruthless. The band was formed in 2004 while the members were students at The University of the Arts in Philadelphia. They began performing at local venues and gradually extended their range to include New York\, Boston\, Chicago\, Montreal and other major cities. Shot × Shot has performed alongside Peter Br0tzmann\, Jeb Bishop\, Chicago Luzern Exchange\, Peter Evans\, Jack Wright and Pete Robbins among others. In 2007\, the band showcased at South by Southwest. Shot × Shot’s self-titled live debut (High Two\, 2006) was heralded in the pages of Downbeat\, The Wire\, Signal to Noise\, All About Jazz-NY\, and other publications. The Village Voice and All About Jazz-NY listed the album among the top debuts of 2006. \n“…a true collaborative quartet\, with each continuously listening\, adjusting\, leading and following. What is startling to realize is that even in the densest sections\, when all four players are letting fly\, each line can be heard as being in an almost contrapuntal relationship with the others.Let Nature Square is a remarkable achievement.” -Budd Kopman\, All About Jazz \n  \nSince moving to Philadelphia in 1999\, Matt Mitchell has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. In addition to his solo activities he is currently a member of Tim Berne’s ensembles Los Totopos and Adobe Probe. He also performs and records with a number of different ensembles\, including Brown Grant [an electroacoustic duo with Aaron Meicht]\, a trio with Doug Hirlinger and Tarus Mateen\, a trio with Matt Engle and Mike Szekely\, and Anwar Marshall’s quartet. He has been a member of the long standing Philadelphia-area groups Kaktus and Feigner\, both of which groups have explored new areas of non-idiomatic group improvisation and released several acclaimed albums on Scrapple Records. Matt’s most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. Additionally he peforms with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Tom Rainey\, Shane Endsley\, Andrew D’Angelo\, Ben Perowsky\, Drew Gress\, Tony Malaby\, Mark Helias\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. Matt is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM].
URL:https://www.bowerbird.org/event/gate/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Shot-x-Shot-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090904T200000
DTEND;TZID=America/New_York:20090904T220000
DTSTAMP:20260426T013230
CREATED:20190620T145242Z
LAST-MODIFIED:20190620T145322Z
UID:10001076-1252094400-1252101600@www.bowerbird.org
SUMMARY:AN OUTSIDER'S GUIDE TO SAXOPHONE
DESCRIPTION:Bowerbird returns to the stately ballroom of the Powel House for an intimate evening of new and unusual acts of musical creativity. In this installment of the popular Bowerbird@Landmarks series\, three trail blazing saxophonists\, John Butcher (Great Britain)\, Hans Koch (Switzerland)\, and Jack Wright (United States)\, showcase the amazing sonic palate available on their instrument and inventive sonic language they have explored over the course of each of their prolific careers. \n  \nABOUT THE ARTISTS \n  \nJohn Butcher (born 1954 in Brighton\, England) is an English tenor and soprano saxophone player who has lived in London since the late 1970s. He began playing at the University of Surrey where he was studying physics. He received his PhD in theoretical physics with his thesis published as Spin effects in the production and weak decay of heavy Quarks. After that he left academia to focus on music. He began by playing conventional jazz (he has spoken of his initial skepticism concerning free improvisation)\, but quickly converted to a freer approach. He has taken the concern with the manipulation of multi-phonics (split tones and false notes) bequeathed by earlier improvisers such as Evan Parker in new directions: though his earlier albums could be busy at times\, he has come increasingly to focus on creating rich\, slowly-changing strata of sounds (layers of hums\, buzzes and brittle metallic noises). He has also experimented with the use of amplified saxophone and overdubbing (most notably on the solo album Invisible Ear). That said\, he is also capable of playing quite lyrically: on soprano\, especially\, he will sometimes leaven a passage of abstraction with bursts of pennywhistle-like melody. \nButcher worked with Elton Dean\, Chris Burn\, and Jon Corbett at first. Later he formed a trio with guitarist John Russell and violinist Phil Durrant\, which recorded three albums and also served as the nucleus of News from the Shed\, a shorter-lived quintet with Paul Lovens and Radu Malfatti. Another key relationship has been with singer Phil Minton\, which included Butcher’s participation in mouthful of ecstasy\, Minton’s setting of texts from James Joyce’s Finnegans Wake. More recently he has become centrally involved in the form of rarefied\, minimalist improvisation that has been dubbed “electroacoustic improvisation” or “lowercase”\, most notably as a member of the pioneering Austrian group Polwechsel. Other playing partners have included John Edwards\, Simon Fell\, Gino Robair\, Georg Gräwe\, Gerry Hemingway\, and Dylan van der Schyff. A recent\, self-released album\, Cavern with Nightlife\, included a duet with no-input-mixing-board specialist Toshimaru Nakamura. Butcher’s octet “john butcher 8” debuted at the 2008 edition of the Huddersfield Contemporary Music Festival. \n  \nHans Koch was born in 1948 and lives in Biel Switzerland. He has quit his career as a recognized classical clarinetist to become one of the most innovative improvising reed-players in Europe. He has been working with everyone from Cecil Taylor to Fred Frith since the eighties. As a composer he has shaped the sound of Koch-Schütz-Studer since the beginning as well as working for radio-plays and film. Since the nineties he has been working with electronics as an extension of the saxes/clarinets as well as with sampling/sequencing/Laptop. As a reed-player he is always working on his very own vocabulary and sound\, which makes him a very unique voice on the actual scene. \n  \nAfter teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing\, by the late 1970s Jack Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring\, often performing for audiences in cities and towns where improvised music had never before been heard\, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment\, his art has always grown\, expanded\, and synthesized new information. He is unquestionably an original and virtuosic saxophonist\, a master improviser who is deeply lyrical\, with humor never far away. \nToday Wright tours frequently in Europe and North America (and in Japan in 2006)\, making new musical and human connections\, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker\, Axel Dorner\, Michel Doneda\, Andrea Neumann\, Denman Maroney\, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label)\, performed in over 20 countries\, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US)\, as well as his own website.
URL:https://www.bowerbird.org/event/an-outsiders-guide-to-saxophone/
LOCATION:Powel House\, 244 South Third Street\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/AN-OUTSIDERS-GUIDE-TO-SAXOPHONE.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090805T200000
DTEND;TZID=America/New_York:20090805T220000
DTSTAMP:20260426T013230
CREATED:20190617T172916Z
LAST-MODIFIED:20190617T172916Z
UID:10001054-1249502400-1249509600@www.bowerbird.org
SUMMARY:SUMMER SUBLIME
DESCRIPTION:A triple bill of haunting beauty and sublime intensity closes out the Bowerbird summer season. \nDetroit’s Graveyards (members of Wolf Eyes\, Melee)\, will be joined by Melisa Putz and Thomas Clark’s dance and music collaboration PIMA Group\, and special performance by Chris Madak’s Bee Mask. The event will take place on the air-conditioned 3rd Floor of the Plays and Players Theater\, and the adjacent Quig’s Pub will be offering adult beverages and other libations throughout the night. \n  \n  \nABOUT THE ARTISTS \nWolf Eyes has long been the dominant sonic export from Detroit\, Michigan\, but it’s members are just the tip of an exciting community of musicians. In Graveyards\, Wolf Eyes’ John Olson (here playing saxophones) is joined by percussionist Ben Hall and guitarist Chris Riggs (stepping in for cellist Hans Beutow) for what Hall describes as “New American Improvisation.” Decidedly outside both the jazz idiom and the sounds that have become associated with the term free improvisation (and even further from the harsh noise of Wolf Eyes ) Graveyards seeks to find a new\, spontaneously composed vocabulary to allow for a sound that is both large and succinct at once. \n  \n  \nFounded as an outlet for dancer and choreographer Melisa Putz and musicians Michael Barker and Thomas Clark to develop new methods for the integration of dance\, music\, and visual art\, PIMA Group has been consistently among the most affecting and provocative collaborations Philadelphia has to offer. Best characterized as ‘beauty in distress’\, PIMA Group’s work has a haunting and disembodied quality that prospers richly in the unique character of the Plays and Players Theater. \nPIMA Group is interested in developing new processes and approaches to the integration of dance\, music and visual art. The works range from improvisational performance art work to more formal choreographed and composed pieces. PIMA Group has performed at venues in Baltimore\, Boston\, New York City and Philadelphia including the Painted Bride Art Center\, The Community Education Center\, Mobius\, The Construction Company\, Joyce SOHO\, 92nd St. Y\, Williamsburg Art Nexus and The Red Room. \nPIMA Group has also performed at dance festivals including the Improvised and Otherwise Festival in Brooklyn\, NY\, the 2003 Philadelphia Fringe Festival at the Table Space Gallery\, the Dance On Earth Festival at University Settlement’s Beacon\, NY campus and the Goose Route Dance Festival in Shepherdstown\, WV. As well as for the Bread and Roses Community Fund at Vox Populi Gallery in Philadelphia. PIMA Group has received Temple University Space Grants to assist in the development of new work. PIMA Group gratefully acknowledges support from the Philadelphia Cultural Fund and Fractured Atlas. PIMA Group is a 501(c)3 non-profit organization. \nMelisa Putz is a dancer and choreographer based in Philadelphia\, PA. She is co-founder and artistic director of PIMA Group\, a music and dance performance group founded in 2001. She received her dance training through the Professional Training Program at the Merce Cunningham Dance Studio in New York City and received a full dance scholarship to attend the Strictly Seattle Dance Intensive in Seattle\, WA. Melisa has also studied with Lisa Kraus (Trisha Brown Dance Company) and is currently performing in her newest work\, The Partita Project. Melisa co-directs Ballet Concerto\, a pre-professional ballet company at the Pennsylvania Performing Arts Academy and is a certified yoga instructor through the Yoga Alliance\, teaching weekly classes throughout the Philadelphia area. During the Summer of 2007\, Melisa will teach a week-long dance workshop and perform a site-specific piece in Romania as part of the Sibiu Dance 2007 Festival. This residency is made possible through support from the Dance Theater Workshop Suitcase Fund. Melisa has been awarded a Leeway Foundation Grant Award (2002)\, a Rocky Dance Award (2002)\, and selection for the Susan Hess Choreographer’s Project (2004-2005). She has been Dance Artist-In-Residence at the Community Education Center in Philadelphia during the 2006-2007 season. \n  \nBee Mask is an ongoing project of Philadelphia-based artist and curator Chris Benedetto Madak\, focused on the use of handmade electronics\, tape\, synthesizers\, and prepared instruments in inherently indeterminate situations that underscore the distinction between the improviser as an embodied subject and improvisation as a grammatical activity. Live and on record\, this work evokes complex and often absurd genealogies of tactics and signifiers as a means toward a contemporary implementation of the utopian ethics of experimental music and historical anti-arts. \nIn addition to his work as Bee Mask\, Chris has been active as an artist and curator in Philadelphia\, New York\, Cleveland\, and Northampton\, Massachusetts\, where he was a founding director of GalleryTK. Since 2005\, he has published editions of contemporary experimental music on his Deception Island imprint. \n  \n 
URL:https://www.bowerbird.org/event/summer-sublime/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090625T200000
DTEND;TZID=America/New_York:20090625T220000
DTSTAMP:20260426T013230
CREATED:20190617T171548Z
LAST-MODIFIED:20190617T171548Z
UID:10001075-1245960000-1245967200@www.bowerbird.org
SUMMARY:Over-Nite Sensation
DESCRIPTION:For over three years Bowerbird has stood under the banner of "experimental" and championed the multitude of perspectives that umbrella encompasses. OVER-NITE SENSATION offers a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations\, all in one night. Artists from Philadelphia and far beyond will beguile the audience with free jazz\, electro-acoustic improvisation\, free improv\, inter-media video and sound works\, dance\, euphoric drones\, and psychedelic compositions. \n  \n1. Jon Mueller / Jim Schoenecker / David Bailey – hailing from Milwaukee\, WI\, our northern neighbors provide pummeling frequencies to unveil complex rhythms \n2. Nicole Bindler – moves through sounds of silence expressing the inexpressible \n3. Bonnie Lander / Kate Porter – lovely sounds of strings and voice imported from Baltimore \n4. Jesse Kudler – resonant small sounds and an awareness of the spaces containing them \n5. John Phillips – an orchestra of sound and video at the intersection of technology and art \n6. Troy Herion / Sean Mattio – quivering crescendos and ecstatic climaxes \n7. David Fishkin – full frontal sax jams with an added kick from the low end \n(order subject to change and further obfuscation) \n  \nImportant notes: Set durations will be generally between 10 – 20 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Revelry will abound. \n  \nABOUT THE ARTISTS \n  \nPHYSICAL CHANGES \nEnter Jon Mueller’s mammoth new solo percussion work\, Physical Changes. If his previous solo effort Metals was about pummeling rhythms and frequencies\, Physical Changes drives the whole idea into oblivion\, as the sounds here are something to be felt as much as heard. Joined by the intense propulsion of James Plotkin (Khanate\, Khlyst\, Phantomsmasher)\, the textural chaos of Fred Lonberg-Holm (Wilco\, Peter Brotzmann Tentet\, Ken Vandermark’s Territory Band)\, the computer meltdown of Marcus Schmickler (Pluramon)\, the surreal precision of Dan Burke (Illusion of Safety)\, the glorious flight of Jim Schoenecker (Collections of Colonies of Bees) and the stunning landscape film work of David Dinnell\, Physical Changes takes the idea of “heavy rhythm” and spreads it out over an elaborate\, all-inclusive three format (LP/CD/DVD) release that reveals how complex and diverse heavy rhythm can actually be. From the pounding\, raw country minimalism of “Nothing Changes\,” to the brutally intense onslaught of “Things Will Not Stay the Way They Are\,” Mueller takes the fundamental concepts of rhythm and percussion\, those primal devices\, and turns them into an entirely new experience that’s heard\, seen\, and felt. Come experience it for yourself. \nJon Mueller has been an active drummer and percussionist since the mid-80s. Whether utilizing bombastic minimalism\, dense interplay\, or electroacoustic practices\, his approach focuses on a physical dialog between situation and material. He has performed throughout the U.S.\, Japan\, and Europe\, works regularly with the group Collections of Colonies of Bees\, and has performed or recorded with members of the groups Swans\, Wilco\, Bon Iver\, Rhys Chatham’s Guitar Trio\, and many others. \n  \nNICOLE BINDLER \nNicole Bindler\, (b.1977)\, choreographer\, improviser\, educator and bodyworker\, is an experimental dance artist whose work ranges from personal and political commentaries to abstract explorations of form. Her dances are always site-specific\, seeking to activate and enliven all performance spaces\, whether they are theaters\, studios\, homes\, places of business or the outdoors. Her movement vocabulary is inspired by her studies of new dance\, dance-theater\, butoh\, contact improvisation\, yoga\, body-mind centering\, feldenkrais and martial arts. She has choreographed over fifteen original dance works and has performed over 100 improvised dances in cities throughout the U.S.\, Canada\, Argentina and in Berlin\, Tokyo and Beirut. Some notable venues include\, Links Hall\, Williamsburg Art neXus\, The Joyce Soho\, The Somerville Theater\, The Creative Alliance\, The Theater Project\, The Kennedy Center. In August 2004\, her solo “Places I’ve Never/Been” was performed in Quito\, Ecuador by dancer\, Stephanie Sherman. Bindler has performed in The High Zero Festival\, The Transmodern Age Festival\, The Shawinigan Street Theater Festival\, The Imagine Festival of Arts\, Issues and Ideas\, The Philadelphia Live Arts Festival\, the D.C. Improvisation Festival\, Fireside Festival (Seattle)\, the Performance Mix Festival and the nEW Festival. Her work has been supported by Philadelphia Dance Projects\, Foundation for Contemporary Arts and Dance Advance. \nBindler has performed in the work of Linda Diamond\, Heather Azano-Brown\, Brenda Divelbliss\, Jennifer Hicks\, Debra Bluth\, Ju-Yeon Ryu\, Leah Stein\, PIMA Group\, Liza Clark\, Willi Dorner\, Zaitoun Dance Troupe\, Katsura Kan and has collaborated with dancers Hana van der Kolk\, Lailye Weidman\, Alli Ross\, Joe Burgio\, Teresa Czepiel\, Jessica Newman\, Melisa Putz\, John Luna\, Emily Sweeney\, Alissa Cardone\, Ayako Kato and Asimina Chremos. She has worked with many experimental musicians including Bhob Rainey\, Greg Kelley\, Jonathan Vincent\, Vic Rawlings\, Mike Bullock\, John Berndt\, Katt Hernandez\, Chris Cooper\, Kyle Bruckmann\, Ernst Karel\, Axel Dorner\, Andrea Neumann\, Annette Krebs\, Dan Breen\, Andy Hayleck\, Kristen Toedtman\, Audrey Chen\, Le Quan Ninh\, Carol Genetti\, Susan Alcorn\, Sean Meehan\, Kate Porter\, Helena Espvall\, Leonel Kaplan\, Leandro Barzabal\, Tim Feeney\, Dustin Hurt\, Jack Wright\, James Ilgenfritz\, Tim Albro\, Gene Coleman\, Raed Yassin\, Christine Sehnaoui\, Mazen Kerbaj\, Sharif Sehnaoui\, The Signal Quintet\, Ko Ishikawa\, Kazuhisa Uchihashi\, Ryuko Mizutani\, Bill Horist\, Gregory Reynolds and Reuben Radding among others\, and with visual artists\, Janene Higgins\, Walter Wright\, Paul Santoleri and Bilwa. \n  \nJESSE KUDLER \nJesse Kudler\, born 1979\, improvises on cheap consumer devices: a no-name electric guitar\, hand-held cassette recorders\, radios and transmitters\, various small junk\, and pedals/electronics. He uses a computer to assemble his recorded music. Kudler attended public school until Wesleyan University\, where he studied music with Ron Kuivila\, Alvin Lucier\, and a little bit with Anthony Braxton\, among others. In his various travels\, Kudler has performed with Matt Bauder\, Kyle Bruckmann\, Gene Coleman\, James Coleman\, Tim Feeney\, Marcos Fernandes\, Margarida Garcia\, Brent Gutzeit\, Horse Sinister\, Bonnie Jones\, Newton\, Pauline Oliveros\, Bhob Rainey\, Vic Rawlings\, Christine Sehnaoui\, Mike Shiflet\, Jason Soliday\, Howard Stelzer\, Barry Weisblat\, Ellen Weller\, Matt Weston\, Jack Wright\, Jason Zeh\, and many others. He has toured the United States several times. Jesse Kudler lives in Philadelphia. Current projects include: Benito Cereno (with Dustin Hurt\, Chandan Narayan\, Tim Albro\, and Ian Fraser); HZL\, an electronics duo with Tim Albro; Tweeter\, a treble-intensive noise trio with Alex Nagle and Eli Litwin; solo performance and recording; and various ad hoc groupings.
URL:https://www.bowerbird.org/event/over-nite-sensation/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Over-nite.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090518T200000
DTEND;TZID=America/New_York:20090518T220000
DTSTAMP:20260426T013230
CREATED:20190617T165726Z
LAST-MODIFIED:20190617T165726Z
UID:10001074-1242676800-1242684000@www.bowerbird.org
SUMMARY:Rafael Toral
DESCRIPTION:THE PROGRAM \nRafael Toral – Tatsuya Nakatani \nVuitton (Alex Nagle – Joe Lentini) \nDave Smolen \n  \nABOUT THE ARTIST \nRafael Toral is researching performance possibilities in electronic music. Using custom-built or modified electronic instruments\, he’s developing the long-term Space Program to structure musical phrasing in “post-free jazz electronic music”. Approaching jazz as a system of individual decision-making from the viewpoint of electronics\, his conception deals with gestural performance\, “phrasing and swing”\, instruments with a clear sonic identity\, and articulation of silence and sound. \nFormerly known for his drone/ ambient work with guitar and electronics and records such as Wave Field (1994) or Violence of Discovery and Calm of Acceptance (2000)\, in 2003 he decided to completely renew his approach to music\, launching the Space Program in 2004. In 2006 he released Space\, followed by Space Solo 1 in 2007 and Space Elements Vol. I in 2008. Also in 2008 premiered the Space Collective\, a slowly developing orchestral group. \nIn the course of his work\, collaborating with other musicians has been a decisive factor in learning and development. Among these\, the most important is a long time connection with Sei Miguel (since 1993)\, Portuguese master of avant-Jazz\, a key figure in the development of the Space program. In 1998 Rafael became a member of MIMEO electronic orchestra\, a forum where surprising and uncontrollable events take place. Often described as a ‘supergroup’\, its other members are Keith Rowe\, Thomas Lehn\, Kaffe Matthews\, Marcus Schmickler\, Jérome Noetinger\, Christian Fennesz\, Peter Rehberg\, Gert-Jan Prins\, Cor Fuhler and Phil Durrant. Throughout his path\, Rafael Toral has kept collaborating with other people\, among which are Jim O’Rourke\, João Paulo Feliciano\, Phill Niblock\, Sonic Youth\, Lee Ranaldo\, Evan Parker\, Dean Roberts\, Manuel Mota\, Roger Turner\, David Toop\, Alvin Lucier\, John Zorn\, Christian Marclay\, Rhys Chatham\, C Spencer Yeh\, Trevor Tremaine\, and many others. \nAn artist as well\, he had activity in visual and spatial arts\, having produced video and several installations from 1994 to 2003. The demanding Space Program called for suspending this output for fully focusing on music. \n  \n 
URL:https://www.bowerbird.org/event/rafael-toral/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090514T200000
DTEND;TZID=America/New_York:20090514T220000
DTSTAMP:20260426T013230
CREATED:20190617T165132Z
LAST-MODIFIED:20190617T165132Z
UID:10001073-1242331200-1242338400@www.bowerbird.org
SUMMARY:Streifenjunko
DESCRIPTION:Some of the most exciting music to cross the Atlantic in recent memory\, saxophonist Espen Reinertsen and trumpeter Eivind Lonning are part of the bright young generation of Norwegian improvisors. The two play high energy “acoustic noise” music maybe more evocative of a summer’s evening in the country\, then their traditional trumpet/sax duo might suggest possible. This is the result of a totally fresh approach to their instrumental technique – Listeners will find great new territories of sonic landscape opened before them. \nAlso on this evening are performances by Shot x Shot’s percussionist Dan Cappechi\, joined by marimbist Ashley Deekus\, and West Philadelphia Orchestra trumpeter Dawn Webster; plus a jazz-leaning trio of Dan Blacksberg (trombone)\, Matt Mitchell (piano)\, and Dan Pell (percussion). \n  \nTHE PROGRAM \nStreifenjunko \nCappechi – Deekus – Webster \nIlpsanuul (Blacksberg – Pell – Mitchell) \n  \nABOUT THE ARTISTS \nSTREIFENJUNKO (Norway) \nStreifenjunko makes vigorous music with the rare instrumentation of tenor saxophone and trumpet. Espen Reinertsen and Eivind Lnning apply uncommon instrumental techniques to project a spacious sound with nothing else around. Streifenjunko has collaborated with a lot of exciting musicians\, like Tetuzi Akiyama\, Toshi Nakamura\, Christian Wallumrd\, Sidsel Endresen and video artist Kjell Bjrgeengen. The quartet Akiyama/Taxt/Lnning/Reinertsen recently released the album “Varianter av dde trr” on Sofa\, and Streifenjunko now presents their debut album “No Longer Burning” on the same label. Streifenjunko has over the last couple of years toured Asia\, Africa and Europe\, and festival performances includes Fri Resonans and Phonofestivalen in Norway\, On the Edge of Wrong Festival in South Africa and Moers Festival in Germany. \n  \nILPSANUUL \nDan Blacksberg – trombone \nDan Pell – percussion \nMatt Mitchell – piano \nIlpsanuul is an improvising ensemble of three Philadelphia area musicians who are extending the range of their instruments. These musicians combine their knowledge in the fields of jazz\, imporvised as well as many other musical styles to play from a place of deep intuitive connection\, eschewing the well traveled sonic paths that have become what we know as improvised music. Rather than a music of no style\, no idiom\, this is a music that allows the musicians to explore diversity of their backgrounds in a sonic environment where the boundries are created or destroyed in the moment. \nDan Pell lives in Philadelphia. He is is influenced by many musical styles and musicians including Max Roach\, Cecil Taylor\, John Coltrane\, Elvin Jones\, Captain Beefheart\, and Soft Machine. \nMatt Mitchell Since moving to Philadelphia in 1999\, Matt Mitchell has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. His most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a current member of Tim Berne’s Adobe Probe\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Shane Endsley\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. He is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM].
URL:https://www.bowerbird.org/event/streifenjunko/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/Streifenjunko.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090505T200000
DTEND;TZID=America/New_York:20090505T220000
DTSTAMP:20260426T013230
CREATED:20190617T164044Z
LAST-MODIFIED:20190617T164230Z
UID:10001072-1241553600-1241560800@www.bowerbird.org
SUMMARY:Three Trios
DESCRIPTION:Fabrizio Spera – Alberto Braida – Jack Wright \nMike Szekely – Matt Mitchell – Matt Engle \nLarry Toft – Dawn Webster – David Fishkin \n  \nMuch of the jazz tradition is built on well defined instrumental roles – bass and drum in the rhythm section\, horns playing melodic solos and harmonic supporting material. But just as quickly as these norms were established\, musicians have been breaking these boundaries to redefine the own sonic territory. This evening\, three trios of jazz-capable musicians suspend these questions for another day. \nItalians musicians Fabrizio Spera (percussion) and Alberto Braida (piano) will be joined by American saxophonist Jack Wright. Forged through a globe trotting story becoming more common in improvised music\, the trio came together after Spera\, who had met Wright at the Irtijal Festival in Beirut Lebanon\, suggested that a regular partner of his\, pianist Braida\, would be a superb choice for a trio. The group first came together in the village of Montepulciano\, Italy in November 2006 and was followed by an Italian tour. Fabrizio and Alberto have toured several times in the US\, supported by the Italian Institute in 2006 in San Francisco\, and in 2008 in New York. Fabrizio has come several times with his trio Ossatura\, most recently in 2007\, and also performed in May 2008 at the Vision Festival in NY. He also toured with Jack Wright in San Francisco and in trio with Gust Burns in Seattle and Portland Or in spring 2008. \nOpening the evening are two trios made up Philadelphia musicians. Though drawn from a pull of frequent collaborators\, these groupings constitute new experiments in personnel. Shot x Shot bassists Matt Engle is joined by percussionist Michael Szekely and pianist Matt Mitchell. Rounding out the night\, West Philadelphia Orchestra trombonist Larry Toft and trumpeter Dawn Webster will be joined by baritone saxiphonist David Fishkin. \n  \nABOUT THE ARTISTS \n  \nFABRIZIO SPERA – percussion\, electronics \nSince the end of the eighties Fabrizio Spera has been active as musician and organizer in the field of experimental music with a special interest in free improvisation. He has played and collaborated with\, among others: Mike Cooper\, Peter Kowald\, Wolfgang Fuchs\, Otomo Yoshihide\, Jon Rose\, Tim Hodgkinson\, Thomas Lehn\, Jean Marc Montera\, Tom Cora\, Elio Martusciello\, Conrad Bauer\, Tristan Honsinger\, Werner Ludi\, John Butcher\, John Edwards\, Ab Baars\, Rhodri Davies\, Marc Wastell\, Lol Coxhill\, Chris Cutler\, Mario Schiano\, Giancarlo Schiaffini\, Guido Mazzon\, Sebi Tramontana\, Martin Tétreault\, Michel Doneda\, Jérome Noetinger\, Burkhard Beins Saadet Turkoz\, Hans Koch\, Martin Schuetz\, Larry Ochs\, Lisle Ellis\, Wadada Leo Smith. \nSome of his current groups are Ossatura with Elio Martusciello and Luca Venitucci; Blast with Dirk Bruinsma\, Frank Crjins\, Paed Conca; Viktoria Frey (H. Eisler songs) with Sabina Meyer\, Lauro Rossi\, Fabrizio Puglisi; Lingua Wolfgang Fuchs with Thomas Lehn\, Trio with John Butcher and John Edwards\, RARA ensemble; Di Terra\, trio with Alberto Braida and Lisle Ellis\, and of course the trio with Jack Wright and Alberto Braida. \nHe has played in festivals like: the Vision Festival (NYC); Controindicazioni (Rome\, Italy)\, London Musician’s Collective (London\, UK)\, Europa Jazz Festival (Noci\, Italy)\, Musique Actuelle (Victoriaville\, Quebec)\, Angelica (Bologna\, Italiy)\, Musique Action (Vandœuvre-lès-Nancy\, France)\, Jazzhaus Festival (Cologne\, Germany)\, Synthese (Bourges\, France)\, Musique Innovatrices (Saint-Étienne\, France)\, Humannoise Congress (Wiesbaden\, Germany)\, Tampere Jazz Happenings (Tampere\, Finland)\, Alternativa (Prague\, Hungary)\, Fruits de Mhere (Mhere\, France)\, Total Music Meeting (Berlin\, Germany)\, Yokohama Jazz promenade (Yokohama\, Japan)\, Nits de Musica (Barcelona\, Spain)\, Ring Ring (Belgrade\, Serbia)\, Mix 02 (Århus\, Denmark)\, Densité (Fresnes en Woevre\, France)\, November Music (Ghent\, Belgium) \n  \nALBERTO BRAIDA – piano \nBegan his piano studies when he was seven years old. He obtained a diploma at the Conservatory “G. Nicolini” in Piacenza and attended jazz music seminars in Siena from 1989 to 1991. He has been focused since the beginning on improvisation and its relationship with composition. Braida has collaborated and played with musicians and composers such as Wadada Leo Smith\, Lisle Ellis\, Peter Kowald\, Paul Lovens\, Wolfgang Fuchs\, John Edwards\, Jack Wright\, Wilbert De Joode\, John Butcher\, Gino Robair\, Hans Koch\, Giancarlo Locatelli\, Ab Baars\, Fabrizio Spera\, George Cremaschi\, Ig Henneman\, John Hughes\, Liz Albee\, Fabio Martini\, Edoardo Marraffa\, Antonio Borghini\, Gianfranco Tedeschi\, Serge Baghdassarians\, Sabina Mayer\, Michael Thieke\, Alessandro Bosetti\, Jeff Arnal\, Michael Griener\, Alexander Frangheneim\, Filippo Monico\, Boris Baltschun\, Astrid Weins\, Massimo Falascone\, Lars Scherzberg\, Luca Venitucci and many other. \nHe played in Berlin (Total Music Meeting 2001 and Total Music Meeting 2004)\, Hamburg\, Hannover\, Cologne\, Oberhausen\, Locarno\, Milano (“Festival milanese della musica d’improvvisazione” 2004 and 2005)\, Lodi (“ContemporaneaMente” festival)\, Rome (Controindicazioni)\, London (Free Radicals at the Red Rose)\, Music Unlimited Festival XIX (Wells Austria)\, San Francisco\, Olimpia College\, Portland\, New York (Improvised and otherwise Festival 2003)\, Boston\, Baltimore\, Bennington College and many other places. Braida is one of the curators of the contemporary and improvised music festival “Contemporaneamente” in Lodi and he serves as teacher (piano\, harmony and improvisation) at the musical institute”F. Gaffurio” in Lodi. \n  \nJACK WRIGHT – saxes \nOver the past twenty-five years Jack Wright has been a bold saxophonist\, as well as an influential musical personality. Either on tour or organizing the next one\, he has played in virtually every venue available to experimental improvised music in the US. He toured in Europe extensively in the 1980’s and began again on a regular basis in 2000; in Europe\, he is mostly based in Paris. \nIn 1982 Wright began Spring Garden Music as a vehicle for organizing an improvisational music community\, and as a label on which he and his partners record. As a musical explorer\, his music passes through radical shifts of style and approach from one year to the next\, yet always somehow identifiable as his own. These days he is playing mostly alto and soprano saxophones\, in every possible direction\, sometimes barely recognizable as those instruments. He lives in Easton Pennsylvania\, which enables him to commute easily to NYC and Phila. \nThe Washington Post says\, “In the rarefied\, underground world of experimental free improvisation\, saxophonist Jack Wright is king.” And a German publication\, Bad Alchemy\, had this to say of his solo: “Wright does not make music\, he embodies it\, he transforms it with a naïveté; of another order. It grows into a sound river\, he is part of the diaphragm through which the heterogeneous whispers.” \nJack has over sixty partners around the US and in Europe with whom he plays on his travels and records. Some of his recent partners in Europe have been: Michel Doneda\, soprano sax; Agnes Palier\, vocalist; Olivier Toutlemond\, percussion; Fabrizio Spera\, drums; Alberto Braida\, piano; Sebastien Cirotteau\, trumpet; Marlene Jobstl\, butoh dancer; Pascal Battus\, table guitar; Jean-Philippe Gross\, electronics; Sharif Sehnaoui\, guitar; Christine Sehnaoui\, alto sax; Stephane Rives\, soprano sax; Jean-luc Guionnet\, alto sax; David Chiesa\, double bass; Jean Borde\, double bass; Michael Griener percussion and Sabine Vogel flute of Berlin; Le Quan Ninh\, percussion; Barre Philipps\, double bass; and Phil Durrant\, English laptop musician. \nHis most recent tours have been with Fabrizio Spera and Alberto Braida in Italy; with Agnes Palier and Olivier Toutlemond in France-Switzerland-Germany; a solo tour in Scandinavia; with Michael Johnsen\, electronicist\, in France\, Holland\, Belgium\, etc.\, joined by Sebastien Cirotteau; with Michel Doneda and NYC percussionist Tatsuya Nakatani (From Between Trio) in Japan\, France\, and the US; with Wade Matthews\, bass cl\, flute\, electronics\, in the US; with Carol Genetti\, and Jon Mueller (NomTom trio)\, in the US; Nate Wooley\, trumpet\, of NYC in Europe; cellist Bob Marsh of the Bay area; Michael Griener and Sabine Vogel of Berlin; Reuben Radding\, NYC bassist; Phil Durrant\, in the US; and with trumpet player Tom Djll from Oakland and soprano sax player Bhob Rainey on the West Coast. \n  \nMATT MITCHELL – piano \nSince moving to Philadelphia in 1999\, Matt Mitchell has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. In addition to his solo activities he has been a member of the long standing Philadelphia-area groups Kaktus and Feigner\, both of which groups have explored new areas of non-idiomatic group improvisation and released several acclaimed albums on Scrapple Records. Matt’s most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a current member of Tim Berne’s Adobe Probe\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Shane Endsley\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. Matt is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM]. \n  \nMIKE SZEKELY – drums \nMike Szekely studied jazz as an undergraduate at the Hartt School of Music (Hartford) led by the late saxophonist Jackie McLean. In 1996\, he studied percussion with drum master Milford Graves at Bennington College. Mike has for the past few years been involved with many wonderful musicians and various groups contributing to the burgeoning improvisational and experimental music scenes in Philadelphia\, including Equis Equis Equis\, The Scriptors (with Engle and Bryan Rogers)\, and the Dan Blacksberg Trio. He also plays drums with singer-songwriter Courtney Parker\, whose music spans a range of jazz\, pop\, and folk styles. Since 1993\, Michael has co-led various intermittent projects with New York-based saxophonist Allen Livermore\, resulting in two recordings: Feet Music’s “Assertions & sketches” (Chroma Independent Media\, 1995) and the ALMS Trio’s “Advocates” (Eighth Nerve Records\, 2005). Mike has also collaborated on projects and concerts with Anthony Braxton\, Ed Mann\, Stephen Haynes\, Taylor Ho Bynum\, Toshi Makihara\, and Jack Wright. He received his doctorate from Temple University and continues to teach and write on philosophy\, especially in aesthetics and the philosophy of music. \n  \nMATT ENGLE – bass \nMatt Engle grew up ten minutes outside of Philadelphia in South Jersey. He has since resided in Philadelphia where he has continued to be a consistently active and sought-after bassist in the local music scene. Matt studied with Kevin McConnell and Tony Marino while attending The University of the Arts. He has had an integral role in the longstanding Philadelphia-based improvisational outfit Shot x Shot\, as both a performer and composer. In addition to his work with Shot x Shot\, Matt is a regular member of the nationally and internationally acclaimed group\, Sonic Liberation Front\, which combines Afro-Cuban and free jazz influences. He has also collaborated in recent years with saxophonist Seth Meicht (trio and quartet) and as a member of The Scriptors (with Szekely and Bryan Rogers). \n  \nLARRY TOFT – trombone \nTrombonist Larry Toft performs frequently around the Delaware Valley. Being located in Philadelphia gives him the opportunity to perform a wide range of musical styles such as jazz\, classical\, salsa\, reggae\, Balkan\, and funk. The avant-garde has always inspired Toft’s music and he works it into his performances whenever possible. He is a regular member of Bobby Zankel’s Warriors of the Wonderful Sound as well as numerous other local big bands including the Phil Giordano Orchestra\, and the Lars Halle Jazz Orchestra. He has performed with salsa legends Johnny Pacheco of the Fania All-Stars\, Lalo Rodriguez\, Michael Stewart\, and Johnny Rivera. A Graduate of Temple University\, he studied with former Philadelphia Orchestra’s trombonist Tyrone Breuninger and jazz with Don Collins and Luis Bonilla of the Village Vanguard Orchestra. \n  \nDAVID FISHKIN – saxophone \nDavid Fishkin was born in Philadelphia. At the age of seven\, he heard a street-corner saxophonist playing the theme to the “Pink Panther.” At that moment\, David knew that he wanted to play the saxophone. He studied music at Oberlin College\, and during a semester spent in Philadelphia\, David studied with Odean Pope. Since then\, David has experimented with amplifying his instrument; his setup has been described as an “amplified saxophone earthquake.” David plays in Gun Muffs\, a power duo with the drummer Eli Litwin. David is also a saxophone teacher\, and he has arranged music for an ensemble made up of his students. Currently\, David is writing a puppet musical\, which will premiere this fall in the Philadelphia Fringe Festival. \n  \nDAWN WEBSTER – trumpet \nDawn Webster is one of Philadelphia’s rising young talents. A multi-instrumentalist\, Dawn has performed in a wide range of genres from the ancient to post-modern. Ms. Webster can currently be heard performing on horn\, euphonium\, flute\, recorders\, cornetto\, and trumpet\, her main instrument. Ms. Webster worked with David Bilger and Peter Bond during her formal studies in classical trumpet. A summer workshop with avant-garde soloist Markus Stockhausen sparked her interests in new music and free improvisation\, while her time as an employee in the university music library and world music classes sparked her later interests in the music of the East. \nCurrent projects include Eastern European groups Galata Ensemble and the West Philadelphia Orchestra\, classical/pop brass ensemble Rodney Mack Philadelphia Big Brass\, as well as solo appearances as a recitalist and on Philadelphia’s Soundprints\, Cybersounds\, and SciFi Philly new music series. She has appeared with many local orchestras including the Haddonfield\, Lancaster\, and Reading Symphony Orchestras\, and with Piffaro\, the Renaissance Band. She is currently adjunct faculty at Temple University in addition to teaching throughout the greater Philadelphia area.
URL:https://www.bowerbird.org/event/three-trios/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/ThreeTrios-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090405T200000
DTEND;TZID=America/New_York:20090405T220000
DTSTAMP:20260426T013230
CREATED:20190617T161307Z
LAST-MODIFIED:20190617T161307Z
UID:10001071-1238961600-1238968800@www.bowerbird.org
SUMMARY:THE BREADWINNER
DESCRIPTION:Graham Lambkin and Jason Lescalleet are both highly respected artists\, with small but intensely hardcore followings. Since 2001\, they’ve been gradually moving closer towards realizing a collaborative project\, and The Breadwinner is the results of two years of recording\, reworking and polishing. \nLambkin first entered the public consciousness at 19 when he formed his band The Shadow Ring\, in Folkestone\, a small town in Kent\, England. The band was memorable and built an rabidly passionate fan base because of its sui generis approach\, blending elements of folk\, noise\, cracked electronics\, and surrealist poetry\, while radically changing the overall formula with each release. A decade of increasingly skewed and inspired work culminated in 2003’s I’m Some Songs\, constructed long distance as Lambkin had relocated to the US in 1998. Over the last few years\, Lambkin has primarily worked under his own name\, most notably with 2007’s brilliant Salmon Run\, a precursor to The Breadwinner. \nLescalleet has gradually and painstakingly built a compelling discography over the past decade. He uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. He is one of a growing list of master producer/musicians\, whose skill lies as much in reworking\, assembling and mastering the material available as in creating it (or helping create it) in the first place. He has worked with such wide-ranging artists as Ron Lessard\, Joe Colley and Phill Niblock\, and has released a string of superb solo discs in Mattresslessness (Cut)\, Electronic Music (RRR) and The Pilgrim (Glistening Examples). This is his second release for Erstwhile\, after 2001’s Forlorn Green (w/Greg Kelley)\, and his third is already in preparation\, a duo with Bhob Rainey\, planned for release in early 2009. \nThe material for The Breadwinner was recorded at Lambkin’s house in upstate NY\, over two recording sessions. The duo treated the entire building and its surrounding grounds as a studio\, welcoming in outside sounds\, which were later kept or eliminated as they felt appropriate. The subtitle on the front cover is “musical settings for common environments and domestic situations\,”  layering numerous submerged fragments to find beauty in everyday life. \nJason Lescalleet’s influence was palpably present long before the average Joe knew how many L’s were in his last name (or could successfully google it). He spun tape loops with nmperign from the get-go\, frequently signified the endings of his characteristically foundation-shaking performances by hurling a nearly indestructible\, hundred-pound Peavy amp across the stage\, and provided the bulk of the “disaster” in legendary drummer Laurence Cook’s “Disaster Unit 2000”. But as the smoke cleared and the Peavy met its demise in a white-walled room\, it became apparent to an awful lot of people that Lescalleet was making some amazing music; beautifully constructed symphonies of decay born of an intimacy with items and ideas lesser minds might discard: tape machines\, lo-bit samplers\, the tedium of everyday life. His ability to evoke powerfully complex emotional experiences from such muck made a collaboration with Graham Lambkin practically inevitable. \nComposer Walter Marchetti once made a statement to the effect that he was seeking to reach the “bottom” of music. Some more diligent attention to this task might lead him to the music of Graham Lambkin. Already marking out a glorious bottom with his former band\, The Shadow Ring\, Lambkin has pursued a music so removed from prescribed aesthetics that one is flooded by the beauty it seems to ruthlessly avoid. He puts the mundane to tape and carves out its horror\, its sweetness\, and its unsettling ambivalence. Shrouded in a disarming naïveté\, the music leaves the listener ill-prepared for its very adult take on being-in-the-world. We are fortunate that humor can be so black\, that we may surrender happily and willingly to an experience not many artists are willing or capable of delivering. \n  \nThis event is made possible with support from the Philadelphia Cultural Fund and the Rotunda\, with additional support from Washington College. \n 
URL:https://www.bowerbird.org/event/the-breadwinner/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/the-Breadwinner.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090322T200000
DTEND;TZID=America/New_York:20090322T220000
DTSTAMP:20260426T013230
CREATED:20190617T160326Z
LAST-MODIFIED:20190617T160351Z
UID:10001070-1237752000-1237759200@www.bowerbird.org
SUMMARY:A Matter of Guitar
DESCRIPTION:DAVID DANIELL\, JACK ROSE\, GLENN JONES\, and ANDY GILES \npresented with Plays and Players \n  \nThe guitar is arguably today’s most important vehicle for musical creativity. Despite the enormous amount of material that already exists\, or perhaps because of it\, there are a number of artists that continue to redefine and recast the boundaries and capabilities of the instrument. On this evening\, four artists\, Chicago’s David\, Boston’s Glenn Jones\, and Philadelphia’s Jack Rose and Andy Giles\, will share the musical realms that they have staked out. A noticeable departure from more dissonant offerings\, the listeners here will be drawn into an immersive world of resonate sonorities and hypnotic melodies. As sensuous and beautiful as this music is\, the complexity and genius in which it is created should not be diminished. \n  \nABOUT THE ARTISTS \nDavid Daniell – guitar\, electronics \nDavid Daniell is a composer and performer working in the intersections of acoustic and electronic instrumentation and of composition and improvisation. His music focuses on two primary areas of concern: perception and listening at the margins of audibility\, through repetition\, drone\, and a gradual and lateral development of timbre; and the social narrative of musical forms\, both in terms of improvisation and intuitive composition\, as well as through the recontextualization and incorporation of sounds from and inspired by his rural heritage. \nAs a performer\, Daniell utilizes acoustic\, electric\, and pedal steel guitar along with a variety of electronics. He has worked for over a decade as a member of the improvising blues-drone trio San Agustin\, along with many other collaborators through the years\, including Tim Barnes\, Ateleia\, Jeph Jerman\, Thurston Moore\, Sean Meehan\, Loren Connors\, Tomas Korber\, Greg Davis\, and most recently as lead guitarist in Jonathan Kane’s live band\, as head of both of Rhys Chatham’s current ensembles\, and in an ongoing duo with Douglas McCombs (of Brokeback\, Tortoise\, Eleventh Dream Day). Daniell’s compositional work utilizes displaced and abstracted field recordings juxtaposed with manipulated acoustic instruments and sounds of purely electronic origin\, with great attention to sonic detail and aural depth-of-field\, as captured in two solo albums\, 2002’s sem (Antiopic) and 2006’s Coastal (Xeric/Table of the Elements). Recent compositions have incorporated a variety of instruments in larger ensemble settings. One such work\, Sunfish (for twelve to fifteen musicians)\, was performed at the Fugue State Festival in Chicago (June 2007) and the X Avant Festival in Toronto (September 2007). \nRecent releases include two live solo recordings (Los Jacintos\, a recording of a live electric guitar performance in Madrid in February 2008\, and The Hideout\, of an acoustic guitar and electronics performance in Chicago) released as part of Antiopic’s Live Series\, as well as a solo LP in Table of the Elements’ Guitar Series Volume 4. Early 2009 will see the debut album of his duo with Douglas McCombs\, to be released on the Chicago label Thrill Jockey. \nDaniell has worked extensively with the record label Table of the Elements (including engineering John Fahey’s 1998 Table of the Elements release Georgia Stomps\, Atlanta Struts and Other Contemporary Dance Favorites)\, and as producer and artistic director of his own record label Antiopic since 2002. Antiopic’s catalog includes Alvin Lucier\, Joyce Hinterding\, Tetuzi Akiyama\, Oren Ambarchi\, Ultra-Red\, Lee Ranaldo\, Jim O’Rourke\, Eddie Prévost and Alan Licht among others\, as well as 2003’s critically-acclaimed Allegorical Power series of politically-charged web-only releases. Daniell has recently started working with video\, including a collaboration with artist Robert Longo as producer of the DVD of Longo’s 1979 Pictures For Music. \n  \nJack Rose – guitar \nJack Rose has been going places lately\, and the evidence is all over this splendid record. The names of six of its eight tunes refer to places\, some easy to find on a map “Calais To Dover”\, some harder to pin down “Cross the North Fork”. Another brings up the journey we all must eventually take “Flirtin with the Undertaker”. The guitarist has toured like a demon in the year that preceded this recording\, and it shows in the best possible ways. Every track is a first take\, and each radiates the confidence of a man who knows he can just sit down and nail it\, no problem. Rose has never sounded better; some credit must go to engineer Mike Chaffin for an exceptionally bright and present recording job\, but more must go to the artist for the clarity\, strength and purposefulness of his finger picking. He also forges ahead in his material\, sometimes by turning back the clock. Working backwards is part of his MO .. remember that he recorded crumbling rock\, acoustic trance\, and full-on noise with Pelt for half a dozen years before he laid down his first finger-style performances. Kensington Blues includes a couple delightful ragtime tunes\, his first compositions in that ancient but honorable style. It also features several winding\, quasi-narrative fantasias\, pieces that will lose you in the sheer gorgeousness of their sound without ever really getting lost; go ahead\, try and stay rooted in this time and place whilst listening to “North Fork” or “Cathedral et Chartres” (forgive his French .. you’d do the same for Chic). If you do\, you..ve got some serious karmic baggage weighing down your soul. “Now that I’m a Man Full Grown II”\, his latest Indian-style slide piece\, picks up where Rose’s side of the By The Fruits You Shall Know The Roots compilation left off. It accelerates slowly\, affording plenty of time to appreciate his voluptuous tone on the lap steel before he builds to a thrilling breakneck climax and elegant denouement. Rose also travels to the mountain. He..s dedicated music to John Fahey\, but here he finally records one of the man..s compositions. His version of “Sunflower River Blues” sounds regal\, unflappable and complete in the way that\, say\, Rose’s pleasant but somewhat hurried cover of Blind Willie Johnson’s “Dark was the Night\, Cold was the Ground” on his first album was not. Truly he is a man full grown\, and this is one of the best albums in any genre to come out in 2005. Bill Meyer \n  \nGlenn Jones – guitar \n“The best guitarist you never heard of.” –The Boston Globe \nA 30+-year devotee of the so-called “Takoma school\,” Jones has written extensively about two of the label’s leading lights\, steel-string acoustic guitar architects John Fahey (with whom he was friends for nearly 25 years)\, and Robbie Basho (Jones was friends with the guitarist until his untimely death in 1986\, and hosted Basho’s final tour of the East Coast). \nBesides performing with both artists\, Jones’ band\, Cul de Sac\, collaborated on an album with John Fahey in 1996 (the Fahey-titled Epiphany of Glenn Jones). Jones also produced Fahey’s posthumously issued 1968 live album\, The Great Santa Barbara Oil Slick (Water) and a 1980 live recording by Robbie Basho\, Bonn Ist Supreme (Bo’ Weavil). \nIn 2004\, Jones offered up the first of his own “new possibilities.” This Is the Wind That Blows It Out\, an album of acoustic 6- & 12-string guitar instrumentals\, was released to rave reviews\, and was followed by a month-long tour of Europe with guitarist extraordinaire\, Jack Rose. \nAgainst Which the Sea Continually Beats was issued in early 2007. Recorded on Martha’s Vineyard\, the island setting coaxed impeccable performances from the guitarist. The album’s 11 tunes run the gamut from Delta to Appalachia\, from bastard classical to cinematic soundscapes. Graceful\, subtle\, resonating with confidence and power\, Against Which the Sea Continually Beats is a significant addition to the “guitar soli” cannon. \nGlenn Jones and Jack Rose completed their first U.S. tour in September and October 2007\, and Jones appears on Jack’s recent Dr. Ragtime & Pals. \nA Jack Rose / Glenn Jones DVD\, featuring solo sets from each artist\, and a pair of duets\, is in the works\, to be issued in 2009 for the Strange Attractors label. \nIn May / June Strange attractors will issue Jones’ third album\, Barbecue Bob in Fishtown. \nAlong with Jack Rose\, Jones has performed with Peter Lang\, Steffen Basho-Junghans\, Cian Nugent\, James Blackshaw\, Paul Metzger\, Peter Walker\, Meg Baird\, Harris Newman\, Sean Smith\, MV + EE\, Dredd Foole\, Tom Carter\, and many others. \n  \nAndy Giles – guitar \nA resident of Philadelphia for a few years now\, Andy Giles remains elusive and difficult to categorize. His emotional lacerations are conveyed through electroacoustic caverns of reverb and prepared guitar. The compositions exhibit a uniquely darkened doom squall that draws influence from the likes of Gyorgy Ligeti and Giacinto Scelsi\, while comparisons have made to the work of Loren Connors and recent Scott Walker.
URL:https://www.bowerbird.org/event/a-matter-of-guitar/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/A-Matter-of-Guitar.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090317T200000
DTEND;TZID=America/New_York:20090317T220000
DTSTAMP:20260426T013230
CREATED:20190617T154811Z
LAST-MODIFIED:20190617T154811Z
UID:10001069-1237320000-1237327200@www.bowerbird.org
SUMMARY:SIZE MATTERS
DESCRIPTION:Bowerbird presents SIZE MATTERS featuring ENSEMBLE PAMPLEMOUSSE and ENSEMBLE NOMOS presented with Plays and Players. \nOften pursued\, rarely achieved\, the attempt to conquer the dynamic possibilities in a large ensemble is the holy grail of experimental music. Somewhere after the fourth or fifth person is added\, the same individuality that makes a duo or trio so intriguing starts to become a liability. One way to address this calamity is through the use of “re-arrangeable constructions” as New York City’s Ensemble Pamplemousse does. But what other possibilities exist? Philadelphia’s Ensemble Nomos offers an alternative hidden in deep history of collaboration. \n  \nENSEMBLE PAMPLEMOUSSE (New York City) \nNatacha Diels – flute\, compositions \nKiku Enomoto – violin\, compositions \nJessie Marino – cello\, compositions \nDave Broome – piano\, compositions \nAndrew Greenwald – percussion\, compositions \nRama Gottfried – electronics\, compositions \n  \nLike Buckmaster Fuller\, reversible sweaters\, or Mr. Potato Head\, Ensemble Pamplemousse’s Blocks Tour is a rearrangeable construction of elements. Prefab modules by the six composers are reconfigured each night of the tour into new structures of sonic architecture. As each block maintains its own internal logic\, the listener is pulled forward through the linear unfolding of time. Intertwining patterns of material emerge and dissolve\, connect\, obstruct\, and confer with each other\, unveiling new angles of hearing each sonic unit. \nFounded in 2002 as a vehicle for musical exploration\, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical\, electronic\, and improvisational realms\, the group consistently delivers fresh\, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes\, where boundaries are non-existent\, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other\, and with the composers who are an intrinsic part of the ensemble. The product\, uncompromising and resolutely beautiful\, is created by incredibly innovative\, yet-to-be-named approaches to performance and composition. \n  \nENSEMBLE NOMOS \nHelena Espvall – cello \nKatt Hernandez – violin \nJon Barrios – bass \nDan Blacksberg – trombone \nDustin Hurt – trumpet \nAlban Bailly – guitar \nMatt Mitchell – piano \nToshi Makihara – percussion \n  \nConceived in the shadowed memory of hundreds of concerts\, Ensemble Nomos is an evolving collaboration between eight of Philadelphia’s most curious and experienced free improvisers. The ensemble’s instrumentation – violin\, cello\, bass\, trumpet\, trombone\, guitar\, piano\, percussion – is entirely acoustic\, and leans strangely on the tails of European classical traditions. Though it’s membership is capable of a broad range of musical styles\, Nomos is about creating a single\, new sound concept\, rather than an assemblage of musical references\, in an effort to better understand the sonic world in which we live.
URL:https://www.bowerbird.org/event/size-matters/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/pamplemousse.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090308T200000
DTEND;TZID=America/New_York:20090308T220000
DTSTAMP:20260426T013230
CREATED:20190617T153446Z
LAST-MODIFIED:20190617T153446Z
UID:10001068-1236542400-1236549600@www.bowerbird.org
SUMMARY:METALS AND ELECTRONICS
DESCRIPTION:Bowerbird presents METALS AND ELECTRONICS with TATSUYA NAKATANI\, MORALLY GRAY\,  JESSE KUDLER + RICHARD KAMERMAN \n  \nABOUT THE ARTISTS \nOne of two exceptional improvisers based in Easton\, PA\, master percussionist Tatsuya Nakatani (the other is saxophonist Jack Wright)\, will make his first solo appearance on Bowerbird. Highly physical and inventive in his approach\, Nakatani’s music twists between the explosive and the serene. For this performance\, the final performance of a three-month long national tour\, Nakatani will be augmenting his already large array of percussion with three enormous gongs. \n  \nFocused on dynamic textures and improvised structures\, and armed with an arsenal of selected percussion\, mechanical parts\, cheap consumer devices\, a no-name electric guitar\, hand-held cassette recorders\, radios and transmitters\, various small junk\, and electronics\, the first-time duo of New Yorker Richard Kamerman and Philadelphian Jesse Kudler\, is a prime example of the innovative re-purposing of objects and instruments currently ongoing in today’s experimental music. \n  \nMorally gray is the duo of Marc Zajack (Antler Piss / Deep Fried Tapes) and Mat Rademan (Newton / Breathmint Records). The two have a strict cassette only policy where no additional effects are used. Through various methods of tape manipulation such as home made tape loops\, modified players\, various recording techniques and so on\, the two are on a mission to mangle. At times subject matter plays an important role in what they decide to utilize as a initial source of which to extract from. These ideals and techniques lead to never ending possibilities within their sound. For this performance they are choosing to focus on bird sounds\, specifically those indigenous of Florida. \n  \n 
URL:https://www.bowerbird.org/event/metals-and-electronics/
LOCATION:Vox Populi\, 319 N 11th St\, 3rd Floor\, Philadelphia\, PA\, 19107\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/nakatani.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090304T200000
DTEND;TZID=America/New_York:20090304T220000
DTSTAMP:20260426T013230
CREATED:20190617T152354Z
LAST-MODIFIED:20190617T152354Z
UID:10001067-1236196800-1236204000@www.bowerbird.org
SUMMARY:SONIC MIRRORS
DESCRIPTION:Bowerbird presents SONIC MIRRORS featuring music by The International Nothing\, Lopass Mates\, and Ko Koed. \nFor as much as the duo format highlights the creative boundaries of its individual artists\, duos featuring two of the same instrument push these frontiers even further. Hidden beneath a veneer of sameness\, the minute and nuanced details of sound and structure rise to the foreground. \nPerhaps the most sensuous example of this can be found in Kai Fagaschinski and Michael Thieke’s Berlin-based clarinet duo International Nothing. As Brian Olewnick notes in his Bagatellen review of their recently release CD\, “Fagaschinski seems very preoccupied with the reinvestigation of more “traditional” clarinet sonorities and he and Thieke do so with a vengeance here. The first sounds you hear\, on “Einfache Freuden”\, are the paired reeds\, one full and burred\, one breathier\, tracing long lines in closely spaced pitches\, splintering out into adjacent areas\, recombining a bit later. It’s a lovely effect\, slightly reminiscent of Alvin Lucier’s experiments with sine waves and pitched percussion though there’s no tinge of the laboratory here.” \nA similar exploration of interweaving sonorities is the Philadelphia based accordion duo of Alban Bailly and Dustin Hurt called Ko Koed. Named for a small town in Bailly’s native France\, Ko Koed is almost completely devoid of the instrument’s idiomatic heritage\, and instead explores the rich and enigmatic characteristics of dense and complex harmonies\, and the dancing acoustic phenomenon that occur in its overtones. \nTranslating this idea of a matched duo to the name of an instrument designer rather than an exact instrument will significantly broaden the sonic palette. However\, when that designer is Don Buchla\, creator of Charles Cohen’s Buchla Music Easel\, as well as the Buchla 200 Modular Analog Synthesizer\, the Easel’s “mothership”\, here piloted by Christian Mirande\, the musical explorations become no less interesting. \n  \nABOUT THE ARTISTS \nTHE INTERNATIONAL NOTHING (Berlin) \nKai Fagaschinski – clarinet\, composition \nMichael Thieke – clarinet\, composition \nKai Fagaschinski (Los Glissandinos\, The Magic I.D.\, etc.) and Michael Thieke (Unununium\, The Magic I.D.\, etc.) are members of Berlin’s vibrant echtzeitmusik scene. The International Nothing (*2000) is their hardest working project of the last years. They are working exclusively on compositions (no improv)\, where both instruments melt into one sound\, which sometimes sounds like more than two instruments through the extended use of multiphonics and difference tones. Their pieces have a delicate and slowed down quality and celebrate a unique and timeless beauty. They will present a collection of pieces developted between 2003 and 2009. \n  \nLOPASS MATES \nCharles Cohen – buchla music easel \nChristian Mirande – buchla 200 \nLopass Mates is a collaborative improvisation featuring Charles Cohen playing the Buchla Music Easel\, an integrated performance analog synthesizer made in 1976\, and Christian Mirande playing the Buchla 200 Modular Analog Synthesizer\, a studio instrument from the same era. The Buchla 200 is the Mother Ship of the Music Easel. It only appears in public once a decade. For this improvisational performance it will be piloted by Mr Mirande\, an aficionado of Sharks\, Coral\, Century Series Fighter Planes\, and Electro-Acoustic Music. Charles Cohen has been doing electronic music performance since 1971\, specializing in collaborative\, cross disciplinary projects with theater\, dance\, music\, and media artists\, and is singularly interested in live performance and improvisation \n  \nKO KOED \nAlban Bailly – accordion \nDustin Hurt – accordion \nKo Koed is an accordion duo of Alban Bailly and Dustin Hurt. Exploring the possibilities of this instrument\, these two improvisers coax surprising and unheard sound from their amazing squeeze boxes. By using a very large pitch and textures register\, they create music that ranges from intimately quiet to violently striking. They are going to create some irresistible tension that would\, almost\, make you wish you were one of the reeds of their accordions. KO KOED’s experimentation is a celebration of the bittersweet taste. \n  \nThe International Nothing is kindly supported by Goethe-Institut San Fransisco and Kulturverwaltung des Landes Berlin. This event is made possible with the support of the Rotunda.
URL:https://www.bowerbird.org/event/sonic-mirrors/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/sonic_mirrors.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090208T200000
DTEND;TZID=America/New_York:20090208T220000
DTSTAMP:20260426T013230
CREATED:20190613T172536Z
LAST-MODIFIED:20190613T172536Z
UID:10001066-1234123200-1234130400@www.bowerbird.org
SUMMARY:THE MAGNETS
DESCRIPTION:THE MAGNETS \nfeaturing Annette Krebs\, Anthea Caddy\, and Magda Mayas \nNATE WOOLEY \nWRIGHT MITCHELL ALBRO TRIO \n  \nABOUT THE ARTISTS \n  \nTHE MAGNETS \nAnnette Krebs – prepared guitar\, objects\, electronics \nAnthea Caddy – cello \nMagda Mayas – piano \n“Spanning the genres of chamber music\, noise\, music concrete and improv abstracted by precise temporal shifts\, accelerations and disruptions the magnets adhere to a highly articulate sound world. often finding themselves traversing through a myriad of sonic and musical dialects the exploration of texture\, space and instrument is something the trio is continually pursuing. having developed their own specific idiosyncratic languages on their respective instruments\, the entwining of these languages is both succinct and elusive generating a peculiar and surreal mapping of the electronic and acoustic relationship. having toured internationally in various groupings and projects they have been published on well known experimental labels such as fringes\, cajid\, cdr\, absinth\, creative sources\, natnat\, grob records\, charizma\, slub music and others. \nAnnette Krebs is teaching us to listen again and again to this what we were assuming to know since a long time ago. Even the most common sound we are motivated to listen to in new ways. Her music is floating lithely in the mystical space between live and art\, where Robert Rauschenberg was once speaking about. Annette Krebs has a very charismatic personality\, every time again good for a surprise in music. Anthea Caddy exploits unconventional surroundings to bring out the most hidden colours of her instrument\, which she’s able to transform into creatures that growl\, howl and moan while looking for a far corner of their short lifespan to affirm their unpredictably menacing attitude. Massimo Ricci\, Touching Extremes. Magda Mayas has an ingenious way of using both the inside and keyboard of the piano to create sparse\, tiny fragments of motion that are compatible with multiple layers of the musical context… she is definitely a leading light of the next generation of improvisors…” – Michael Anton Parker\, Downtown Music Gallery. \n  \nNate Wooley grew up in a fishing and lumber town in Oregon. He began playing trumpet professionally at age 13 with his father’s big band\, but quickly began adding “outside” influences to his knowledge of jazz. After a brief and painful stint in Denver\, Nate moved to Jersey City where he is in demand as a collaborator with such diverse improvisors/composers as Tony Malaby\, Steve Beresford\, Paul Lytton\, Anthony Braxton\, Wolf Eyes\, Akron/Family\, and David Grubbs. His own solo trumpet work has been described as “exquisitely hostile” by Massimo Ricci of Touching Extremes Magazine (Italy). \n  \nJack Wright. After teaching at Temple University in the 1960s and leaving academia in the early 1970s to engage in radical politics and community organizing\, by the late 1970s Wright directed his energies into music. He is one of a very small group of musicians in North America that has played improvised music exclusively since the 1970s. Through years of near constant touring\, often performing for audiences in cities and towns where improvised music had never before been heard\, he came to be regarded as something of an underground legend. He has deliberately eschewed the conventions and socio-aesthetic limitations of musical careerism to pursue his own vision. Although his de-professionalized approach sets him apart from most musicians at his level of accomplishment\, his art has always grown\, expanded\, and synthesized new information. He is unquestionably an original and virtuosic saxophonist\, a master improviser who is deeply lyrical\, with humor never far away. \nToday Wright tours frequently in Europe and North America (and in Japan in 2006)\, making new musical and human connections\, bringing European musicians to the U.S. and bringing musicians everywhere together. His inspiration has provided crucial impetus to hundreds of musicians and has even motivated several people to establish music venues in order to present him and other improvisers (e.g. Baltimore’s High Zero festival). His vast list of collaborators includes some “name” luminaries (William Parker\, Axel Dorner\, Michel Doneda\, Andrea Neumann\, Denman Maroney\, Bhob Rainey to name a few) but more significant are the many obscure greats he has played with. He has made over 40 recordings (many published on his own Spring Garden label)\, performed in over 20 countries\, and written extensively and insightfully about music and society for journals such as Improjazz (France) and Signal to Noise (US)\, as well as his own website. \n  \nPianist\, composer\, and electronic musician Matt Mitchell was born in the Philadelphia area in 1975. After studying music at Indiana University and the Eastman School of Music\, he settled back in Philadelphia in 1999. Since then he has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. In addition to his solo activities he has been a member of the long standing Philadelphia-area groups Kaktus and Feigner\, both of which groups have explored new areas of non-idiomatic group improvisation and released several acclaimed albums on Scrapple Records. His most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a current member of Tim Berne’s Adobe Probe\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Shane Endsley\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. He is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM].
URL:https://www.bowerbird.org/event/the-magnets/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/the-magnets.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090202T200000
DTEND;TZID=America/New_York:20090202T220000
DTSTAMP:20260426T013230
CREATED:20190613T170822Z
LAST-MODIFIED:20190613T170822Z
UID:10001065-1233604800-1233612000@www.bowerbird.org
SUMMARY:Nate Wooley / Ivar Grydeland
DESCRIPTION:Nate Wooley / Ivar Grydeland \nBen Hall / Chris Riggs \nBring It Inside with McOmber \nToshi Makihara \n  \nABOUT THE ARTISTS \n  \nGuitarist Ivar Grydeland (b.Trondheim 1976) started his music education degree in the mid-nineties. Having a base as a free jazz artist\, Grydeland has continually expanded his experimental style to include new sounds. This unique style set it’s roots while Grydeland studied improvised chamber music at Norway’s College of Music (2001-2003)\, together with percussionist Ingar Zach. Since\, the musical style of Grydeland has burst the improvisational traditions\, whether it is called free jazz\, or intuitive music As a improvisational artist\, Grydeland has had the change to play with countless groups\, as well as being part of numerous recordings. This fluid approach to musical collaboration might be a condition for the boundary breaking genre this style of music represents. \nAs such\, it is not surprising that Ivar Grydeland is a very adaptive musician. He takes pieces of his own surroundings and weaves them into his own unique style. This proves true\, whether it be an adaptation to the sounds of Japanese artist Yumiko Tanaka with her traditional shamisen\, or pianist Christian Wallumr’s sober\, repetitive sounds. Like many musicians\, improvisers\, and composers\, Grydeland has developed an artistic practice which results in hybrid musical forms\, working styles\, and genre stretching cooperation. There doesn’t appear to be a deliberate ideological drive behind this development\, rather a continual search of music’s communicative possibilities. \nOne of Grydelands distinguishing features is his work with prepared string instruments. With the use of various metal\, plastic\, rubber and wooden objects\, Grydeland manipulates the strings\, sound board\, and skin of his instrument (one of his instruments is also a guitar-banjo: a guitar neck with a banjo body). He experiments with various tuning of the instrument with the use of various sympathetic strings to give his instrument new sounds. Here one sees influence from John Cages work with the prepared piano during the 1940s. However\, where Cages has a prosaic desire to create a percussion instrument using a piano\, Grydeland transforms his instrument into something unknown. In this way\, Grydeland is able to develop a hybrid style which also includes the string instrument he works with. Using an instrument whose sound is well known\, he has mutated and transformed his guitars sound to something unknown. \n  \nTraum is a guitar/percussion duo that often becomes a trio with the addition of ‘cello. The guitar chair is now held by Chris Riggs. Traum has lp releases on Arbor-Built for Nothing\, brokenresearch-Slab Pt. 2\, and Music Fellowship which is a collaboration with Bark Haze [Thurston Moore + Andrew McGregor [Gown]]. Traum also has a variety of cd-r releases as well as a tape on Tapeworm entitled Cloudburst. \n  \nBen Hall (Detroit/Percussion) has performed and/or recorded with Wolf Eyes\, Corsano\, Greg Kelley\, Joe Morris\, Thurston Moore\, John Dierker\, Kowald\, Lambsbread\, Zac Davis\, Katt Hernandez\, Kurt Heyl\, Luca Tilli\, Alberto Braida\, Nino Locatelli\, Hair Police\, Bark Haze\, John Voigt\, Jeff Arnal\, Sick Llama\, Elliott Stevens\, Joe Lijoi and Megan Schubert. \n  \nDetroit-based guitarist Christopher Riggs studied composition and performance at the Oberlin Conservatory of Music in Oberlin\, OH under Derek Keller and Ross Feller.  His music is primarily interested in the vast wasteland between “free improvisation” and academic composition. While exploring this territory\, Christopher sticks objects between the strings\, bows springs placed on the neck\, and drags magnets across the pickups of his instrument. Christopher has CDs out on Detroit’s Broken Research\, Mexico’s Ruido Horrible\, and a forthcoming cassette on Aaron Dilloway’s(of Wolf Eyes fame) Hanson Records.  Since relocating to Detroit\, he runs his own Holy Cheever Church Records mail order label and performs with the improvising ensembles Traum and Trauma around southeastern Michigan. \n  \nToshi Makihara studied drums\, percussion and improvisation with Sabu Toyozumi\, a prominent percussionist in Tokyo. Since arriving in the United States\, he has worked with various new music ensembles as well as with numerous dance and theater companies internationally. Makihara has provided original music to Arden Theater Company\, Diversions Dance Company (Wales)\, Pennsylvania Ballet\, ZeroMoving Dance Company\, Merian Soto / Performance Practice and Leah Stein Dance Company\, and has worked with musicians including Steve Beresford\, Peter Brotzmann\, John Butcher\, Nels Cline\, Eugene Chadbourne\, Tom Cora\, Amy Denio\, Thurston Moore\, William Parker and John Zorn. He has also collaborated with poets\, visual artists\, filmmakers and performance artists widely. \nSince the fall of 2000\, Makihara has been focusing on three separate performing styles: 1. New Jazz performances on a conventional drum-set\, 2. music for theater and dance using a variety of percussion and discovered sound media\, and 3. the experimental free improvisation using a simple setting consisting of one snare drum and one small cymbal. \nMakihara’s recordings include Grammy nominated “Another Shining Path” (1998 Drimala Records) in trio with Gary Hassay (alto saxophone) and William Parker (bass)\, and “Hurricane Floyd” (Spring 2000\, Sublingual Records) in trio with Thurston Moore (guitar) and Wally Shoup (alto sax).
URL:https://www.bowerbird.org/event/nate-wooley-ivar-grydeland/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/ivar.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081211T200000
DTEND;TZID=America/New_York:20081211T220000
DTSTAMP:20260426T013230
CREATED:20190613T165401Z
LAST-MODIFIED:20190613T165401Z
UID:10001064-1229025600-1229032800@www.bowerbird.org
SUMMARY:Emerging Voices
DESCRIPTION:Alexander Bruck and Jason Calloway perform new music from Latin America and the former Soviet Republics. \nNever before has the exchange ideas and information proliferated so widely and easily. As the world continues to become more interconnected through shifting economies and the increasing reach of new technologies\, countries that were once over shadowed by the cultural prominence of the United States\, Japan\, and Western Europe\, are now emerging on the global stage. \nPlease join us as internationally renowned cellist Jason Calloway performs new works for solo cello from the former Soviet Republics Estonian\, Latvia\, Azerbaijan\, Georgia\, and Kazakhstan\, and Mexico City based Alexander Bruck presents newly commission works for Viola and Electronics from Latin American countries Columbia\, Argentina\, and Mexico.
URL:https://www.bowerbird.org/event/emerging-voices/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/AlexanderBruck.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081205T200000
DTEND;TZID=America/New_York:20081205T220000
DTSTAMP:20260426T013230
CREATED:20190613T164740Z
LAST-MODIFIED:20190613T164740Z
UID:10001063-1228507200-1228514400@www.bowerbird.org
SUMMARY:SHOT X SHOT
DESCRIPTION:Shot x Shot is a Philadelphia quartet that has forged a distinctive sound through five years of steady collaboration. Their work is based in collective improvisational compositions that run the gamut from delicate to ruthless. The band was formed in 2004 while the members were students at The University of the Arts in Philadelphia. They began performing at local venues and gradually extended their range to include New York\, Boston\, Chicago\, Montreal and other major cities. Shot × Shot has performed alongside Peter Brotzmann\, Jeb Bishop\, Chicago Luzern Exchange\, Peter Evans\, Jack Wright and Pete Robbins among others. In 2007\, the band showcased at South by Southwest. Shot × Shot’s self-titled live debut (High Two\, 2006) was heralded in the pages of Downbeat\, The Wire\, Signal to Noise\, All About Jazz-NY\, and other publications. The Village Voice and All About Jazz-NY listed the album among the top debuts of 2006. \n“…a true collaborative quartet\, with each continuously listening\, adjusting\, leading and following. What is startling to realize is that even in the densest sections\, when all four players are letting fly\, each line can be heard as being in an almost contrapuntal relationship with the others. Let Nature Square is a remarkable achievement” -Budd Kopman\, All About Jazz \n  \nTHE ARTISTS \nTetuzi Akiyama plays the guitar with primitive and practical implications\, by adding a desire of own to the instrument’s characteristic nature in minimal and straight method. He delicately and sometime boldly controls the volume of the sound from micro to macro level\, and tries to quantize his physical system. \nAkiyama started playing electric guitar at the age of thirteen. Later\, he also came to be very interested in free improvisation. He formed the improvised music band Madhar in 1987. He also started playing viola\, and formed the Hikyo String Quintet in 1994. The band included Taku Sugimoto on cello. Later that year\, Akiyama and Sugimoto launched their guitar duo\, Akiyama-Sugimoto. They played a gig in New York in 1995\, and in the Midwest (including Chicago\, Ann Arbor and Detroit) in 1996. His latest band is Satanic Abandoned Rock’n’Roll Society with Utah Kawasaki\, Atsuhiro Ito and Naoaki Miyamoto. \nSince 1998\, together with Sugimoto and Toshimaru Nakamura (no-input mixing board)\, he has been organizing an inspiring monthly concert series\, The Improvisation Meeting at Bar Aoyama (renamed The Experimental Meeting in 1999) and Meeting at Off Site in 2000 until 2003. \nAkiyama released his first solo album Relator (slub music) in 2001. Mixing feelings of country and blues with free improvisation\, Akiyama began to perform solo with greater frequency playing both acoustic and electric guitars\, turntables without records and other effects. Using a prepared resonator guitar with a Samurai sword\, Akiyama recorded his second solo album Résophonie (a bruit secret\, 2002) which can be described as sonic sculpture with guitar. In 2003\, his third solo album Don’t Forget to Boogie! was released. Performed in a minimal one chord Boogie/Rock/Blues style with vintage electric guitar tone\, Akiyama sees this LP as a tribute to the electric guitar. A live album from 2005\, Route 13 to the Gates of Hell: Live in Tokyo (headz) was selected in the 50 albums of the year by The Wire magazine. Pre-Existence\, an album of acoustic guitar solos\, was released on Locust Music in the winter of 2005. Recently Akiyama started releasing an “official bootleg series” with the labels Esquilo (Portugal) and Utech Records (Milwaukee). \nAkiyama is a frequent guest at international music festivals and in recent years has performed at What is Music? (Australia\, 2002)\, Alt Music (New Zealand\, 2002 & 2004)\, Amplify (Tokyo\, 2002 & New York\, 2003)\, Musique Action (France\, 2003 & 2005)\, Musiques Innovatrices (France\, 2003)\, Uchiage (Berlin & Vienna\, 2004)\, Instal (Glasgow\, 2005)\, Suoni Per Il Popolo (Montreal\, 2006)\, Vancouver International Jazz Festival (Vancouver\, 2006)\, Festival Densités (France\, 2006) and Moment (Stockholm\, 2006)\, South By Southwest (Austin\, 2007)\, Sonic Protest (Paris\, 2007)\, Courtisane Festival (Gent\, 2007)\, Musik Triennale 2007/Klangtransfer Festival (Cologne\, 2007)\, Musiques du Rues (Besançon\, 2007)\, Sonorités (Montpellier\, 2007). \n  \nJack Rose has been going places lately\, and the evidence is all over this splendid record. The names of six of its eight tunes refer to places\, some easy to find on a map “Calais To Dover”\, some harder to pin down “Cross the North Fork”. Another brings up the journey we all must eventually take “Flirtin with the Undertaker”. The guitarist has toured like a demon in the year that preceded this recording\, and it shows in the best possible ways. Every track is a first take\, and each radiates the confidence of a man who knows he can just sit down and nail it\, no problem. Rose has never sounded better; some credit must go to engineer Mike Chaffin for an exceptionally bright and present recording job\, but more must go to the artist for the clarity\, strength and purposefulness of his finger picking. He also forges ahead in his material\, sometimes by turning back the clock. Working backwards is part of his MO .. remember that he recorded crumbling rock\, acoustic trance\, and full-on noise with Pelt for half a dozen years before he laid down his first finger-style performances. Kensington Blues includes a couple delightful ragtime tunes\, his first compositions in that ancient but honorable style. It also features several winding\, quasi-narrative fantasias\, pieces that will lose you in the sheer gorgeousness of their sound without ever really getting lost; go ahead\, try and stay rooted in this time and place whilst listening to “North Fork” or “Cathedral et Chartres” (forgive his French .. you’d do the same for Chic). If you do\, you’ve got some serious karmic baggage weighing down your soul. “Now that I’m a Man Full Grown II”\, his latest Indian-style slide piece\, picks up where Rose’s side of the By The Fruits You Shall Know The Roots compilation left off. It accelerates slowly\, affording plenty of time to appreciate his voluptuous tone on the lap steel before he builds to a thrilling breakneck climax and elegant denouement. Rose also travels to the mountain. He’s dedicated music to John Fahey\, but here he finally records one of the man..s compositions. His version of “Sunflower River Blues” sounds regal\, unflappable and complete in the way that\, say\, Rose’s pleasant but somewhat hurried cover of Blind Willie Johnson’s “Dark was the Night\, Cold was the Ground” on his first album was not. Truly he is a man full grown\, and this is one of the best albums in any genre to come out in 2005. \n  \nLITTLE OCEAN \nJake Anodide (acoustic guitar) \nEliot Klein (acoustic guitar) \nBen Remsen (acoustic guitar)
URL:https://www.bowerbird.org/event/shot-x-shot-2/
LOCATION:Powell House Museum\, 244 South 3rd Street\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/ShotxShot2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081121T200000
DTEND;TZID=America/New_York:20081121T230000
DTSTAMP:20260426T013230
CREATED:20190613T163333Z
LAST-MODIFIED:20190613T163333Z
UID:10001062-1227297600-1227308400@www.bowerbird.org
SUMMARY:Maria Chavez + J. Morrison\, Katt Hernandez + Erik Ruin
DESCRIPTION:Maria Chavez is an avant-turntablist from Peru\, living in New York City. She focuses on electro acoustic sound of vinyl and needle and has a collection of needles from immaculate to ruined that she calls her “pencils of sound” and a collection of records that provide the palette. She has toured with Christiina Carter (Charlambides\, Scorses)\, performed with Thurston Moore of Sonic Youth in her New York City debut\, and recorded with London-based laptop artist Kaffe Matthews. \nChavez has curated and performed in galleries and sound spaces around the world\, including STEIM (Amsterdam)\, El Cervatino (Merida\, Yucatan)\, the Kitchen (NYC)\, and Issue Project Room (Brooklyn)\, where she was an artist-in-residence for the fall of 2006. In November of 2007\, she collaborated with fellow turntablists Otomo Yoshihide\, dieb13\, and ErikM as part of the Wien Modern festival of contemporary music in Vienna. In June and July 2008\, she participated in a coveted artist-in-residency program with the Merce Cunningham Dance Company\, Bard College at the Dia Foundation’s museum in Beacon\, New York. She performed within one of Richard Serra’s “Torqued Ellipses” along with David Linton\, Newton Armstrong and Stephan Moore. \nChavez was recently awarded the Jerome Emerging Artist Grant from Roulette in SOHO\, NYC. Currently\, she finished working on a short film score w/ video artist David Gacs and performing artist Matthew Day entitled “I Run But I Pursue” and is working as an apprentice with BROOKLYN:PHONO\, a professional vinyl cutting service under the instruction of Master Lathe cutter Albert Grundy\, founder of the Audio Engineering Society. \nChavez will also be included alongside Ikue Mori\, Mira Calix\, and Marina Rosenfeld in a book entitled “Pink Noises: Women on Electronic Music and Sound\,” written by Tara Rodgers and due to be published by Duke University Press in 2009. \nHer sold-out 2005 solo CD “Those Eyes of Hers” “shows indeed a great love for the way out experimental possibilities of turntablism\,” (Vital Weekly) \n  \nj. morrison is an Brooklyn-based artist/designer. He holds a BFA in printmaking from Kent State University\, Ohio. His work was recently featured in the “Into Me/Out of Me” traveling exhibition at the MACRO Museum of Contemporary Art in Rome\, which has shown at P.S.1 and the KW Institute for Contemporary Art\, Berlin. Other recent exhibitions include: White Box\, ISE Cultural Foundation\, the third New York Art Book Fair\, Printed Matter\, Exit Art\, and the Powerhouse Arena in Brooklyn. \nHis work has been published in the New York Times\, New York Sun\, Time Out\, Swiss Institute\, Jane Magazine\, Paper\, Veer\, and Salon. He has designed work for Proto-type Theater\, Xiu Xiu\, Indian Jewelry\, Phiiliip\, The Creeping Nobodies\, and Acuarela records in Spain\, and new independent films in New York and Chicago. \nmorrison creates a line of handmade screenprinted multiples\, on various cloth and paper goods. They have been featured in venues such as The New Museum store\, Bloomingdale’s\, Printed Matter\, Art Metropole (Toronto)\, and the artist’s. \n  \nKatt Hernandez has recently moved to Philadelphia\, after living in the Boston area for nine years\, playing the violin\, running spaces\, and producing shows. She immediately became involved in performances with Bowerbird\, Soundfield\, Ars Nova\, and Nicole Bindler’s Dance Ensemble upon her arrival. Over the last year\, Katt has also toured the U.S. with Vashti Bunyan\, and most recently also with Vetiver. Before leaving Boston\, she participated in the Voltaic Vaudeville festival\, wherein she played Solo\, with butoh dancer Jennifer Hicks\, and as part of the Beat Circus Vaudeville Orchestra. Focused primarily on freely improvised music\, Katt draws a firey array of electronic-like sounds and keening melodies from her completely accoustic violin. She also works extensively with microtonality\, drawn from a study of a mixture of sources\, including traditional folk and sacred musics of the Middle East\, Turkey\, and Eastern Europe\, various odd-ball whisps of old Americana\, and the Maneri/Sims 72 note system. Playing with as wide and unexpected a variety of other performers as possible is tantamount to her sonic and spiritual pursuits. She has also played music of the late Ottman empire and Whirling Dervish ceremonies with the Eurasia Ensemble. She spent some time playing old-time\, vaudeville\, and early jazz tunes with Matt Somalis (a.k.a. Shoe) whilst channelling the spirit of Amelia Earhart in the duo Lindy’s Radio. And she also plays the mysterious incarnation of a disturbing cartoon character in the frightening music and performance art duo Dr. Selenium and Madame Margo. In fact\, she plays somewhere for somebody at least weekly\, come hell or high water.
URL:https://www.bowerbird.org/event/maria-chavez-j-morrison-katt-hernandez-erik-ruin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=application/pdf:https://www.bowerbird.org/wp-content/uploads/2019/06/Copy-of-double-duty-duos.pdf
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081120T200000
DTEND;TZID=America/New_York:20081120T220000
DTSTAMP:20260426T013230
CREATED:20190613T162030Z
LAST-MODIFIED:20190613T162030Z
UID:10001061-1227211200-1227218400@www.bowerbird.org
SUMMARY:ROMA: Economical and Effective
DESCRIPTION:New sound and video works by Maria Chavez\, New York City based turntablist\, with special guests. \nIn the last couple years\, Maria Chavez has compiled an impressive list of residencies and festival appearances including STEIM (Amsterdam)\, Wien Modern festival of contemporary music in Vienna (performing with fellow turntablists Otomo Yoshihide\, dieb13\, and ErikM)\, and was most recently featured as an artist-in-residence with the Merce Cunningham Dance Company at Dia:Beacon\, in which she performed inside one of Richard Serra’s “Torqued Ellipses”. \nAside from a few appearances on compilations and her highly praised sold out solo CD “Those Eyes of Hers”\, Chavez has largely forgone any commercial releases of her work\, making her live appearances\, particularly those in Philadelphia\, unique opportunities to enjoy her music. \nThis evening\, in additional to live collaborations with guest musicians\, Chavez will present her sound and video piece “ROMA:Economical and Effective”\, which addresses her views on the fleeting and ephemeral nature of the roles and ideas of identity\, as well as her Peruvian roots. After the performance the audience will be invited to discuss the work and provide the artists feedback. \n  \nABOUT THE ARTIST \nMaria Chavez is an avant-turntablist from Peru\, living in New York City. She focuses on electro acoustic sound of vinyl and needle and has a collection of needles from immaculate to ruined that she calls her “pencils of sound” and a collection of records that provide the palette. She has toured with Christiina Carter (Charlambides\, Scorses)\, performed with Thurston Moore of Sonic Youth in her New York City debut\, and recorded with London-based laptop artist Kaffe Matthews. \nChavez has curated and performed in galleries and sound spaces around the world\, including STEIM (Amsterdam)\, El Cervatino (Merida\, Yucatan)\, the Kitchen (NYC)\, and Issue Project Room (Brooklyn)\, where she was an artist-in-residence for the fall of 2006. In November\, she collaborated with fellow turntablists Otomo Yoshihide\, dieb13\, and ErikM as part of the Wien Modern festival of contemporary music in Vienna. In June and July 2008\, she participated in an artist-in-residency program with the Merce Cunningham Dance Company\, Bard College at the Dia Foundation’s museum in Beacon\, New York. She performed within one of Richard Serra’s “Torqued Ellipses” along with David Linton\, Newton Armstrong and Stephan Moore. \nChavez was recently awarded the Jerome Emerging Artist Grant from Roulette in SOHO\, NYC. Currently\, she is working on a short film score w/ video artist David Gacs and performing artist Matthew Day entitled “I Run But I Pursue”. Chavez will also be included alongside Ikue Mori\, Mira Calix\, and Marina Rosenfeld in a book entitled “Pink Noises: Women on Electronic Music and Sound\,” written by Tara Rodgers and due to be published by Duke University Press in 2008.
URL:https://www.bowerbird.org/event/roma-economical-and-effective/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/MariaChavez.jpg
END:VEVENT
END:VCALENDAR