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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
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DTSTART;TZID=America/New_York:20090405T200000
DTEND;TZID=America/New_York:20090405T220000
DTSTAMP:20260426T023836
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
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DTSTART;TZID=America/New_York:20090322T200000
DTEND;TZID=America/New_York:20090322T220000
DTSTAMP:20260426T023836
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:20260426T023836
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:20260426T023836
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:20260426T023836
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:20260426T023836
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:20260426T023836
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081211T200000
DTEND;TZID=America/New_York:20081211T220000
DTSTAMP:20260426T023836
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081205T200000
DTEND;TZID=America/New_York:20081205T220000
DTSTAMP:20260426T023836
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081121T200000
DTEND;TZID=America/New_York:20081121T230000
DTSTAMP:20260426T023836
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081120T200000
DTEND;TZID=America/New_York:20081120T220000
DTSTAMP:20260426T023836
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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081116T200000
DTEND;TZID=America/New_York:20081116T230000
DTSTAMP:20260426T023836
CREATED:20190613T161255Z
LAST-MODIFIED:20190613T161255Z
UID:10001060-1226865600-1226876400@www.bowerbird.org
SUMMARY:Nmperign
DESCRIPTION:THE PROGRAM \nNmperign \nDan Cappechi + Tim Albro \nDave Smolen \nBurak \n  \nABOUT THE ARTISTS \n  \nNMPERIGN \nBhob Rainey – soprano sax \nGreg Kelley – trumpet \nNmperign has been hailed the world over as the leading purveyors of whatever that strange thing they do is. Their palette of sounds makes laptops seem as flexible as doorbells\, and their precise but wildly unpredictable improvisations would have you at the edge of your seat if you weren’t so afraid of the noise you would make getting there. Fierce and fragile\, lush and fractured\, nmperign is tough to pin down and all the better for it. Nmperign’s music seems to unwind as two parallel soundtracks being put in line by a kind of Leibnizian god. The duo has a disturbing (turmoil) serenity; they seem to have been set up in this new monadology for an eternity. For me\, there is nothing to be called ‘minimal’ in their music\, in their choice of low and dangerously weak sounds. It would be nonsense to call this music ‘minimal’; on the contrary\, their way of making music refines our senses and gives precision to a double movement of internalization and openmindedness. So space is opened and landmarks disappear. \n  \nDAN CAPPECHI – percussion \nTIM ALBRO – guitar \nBorn in Worcester\, MA in 1980\, currently based in Philadelphia\, Tim Albro received a BA in English at Wesleyan University. Since arriving in Philadelphia from Wesleyan\, he has done ethnographic work on gospel music in West Philly\, 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 solo work with home built radio transmitter kits. Current research interests include: Sun Ra\, Paolo Frere\, and Elizabeth Cotten. \nBorn and raised in the Twin Cities of Minnesota (St. Paul and Mineapolis)\, Dan Capecchi moved to Philadelphia in the fall of 2002\, where he became increasingly interested and active in the world of in improvised music. Dan has been fortunate to be involved in long term projects of Shot x Shot\, Peter Robbins\, Jeff Baumeister\, and Toshi Makahara as well as short term engagements with Susie Ibarra and others. A percussionist\, composer\, and teacher\, he currently lives in Philadelphia with his wife and sons. \n  \nDAVE SMOLEN – electronics \nDave Smolen has gone from processed percussion to harsh noise electronics to non-drum machine rhythmic electronics\, which is where he’s presently at. He runs the Philadelphia electronic/noise/etc.. label\, Malleable Records; which has released groundbreaking music by CSection\, Mincemeat or Tenspeed\, SNOWSTORM and EMBARKER. His 2nd album is due for release this Winter. \n 
URL:https://www.bowerbird.org/event/nmperign/
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/Nmperign.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081113T200000
DTEND;TZID=America/New_York:20081113T230000
DTSTAMP:20260426T023836
CREATED:20190613T155053Z
LAST-MODIFIED:20190613T155053Z
UID:10001059-1226606400-1226617200@www.bowerbird.org
SUMMARY:DOUBLE DUTY DUOS
DESCRIPTION:Join us for tour of improvised music’s intangible character as Bowerbird bring together some of jazz and free music’s most celebrated voices to the histortic Physick House Museum for an evening of duos. New York City based trumpeter Nate Wooley will show two drastically different sides of his playing when he performs with Swiss bassist Christian Weber and then in a highly anticipated duo with fellow trumpeter Peter Evans. Peter will also be put on double duty as he spars in brass Olympics with trombonist Dan Blacksberg and Christian will also perform with Philadelphian Jesse Kudler. \n  \nTHE DUOS \n  \nPETER EVANS + NATE WOOLEY \nCHRISTIAN WEBER + NATE WOOLEY \nDAN BLACKSBERG + PETER EVANS \nJESSE KUDLER+ CHRISTIAN WEBER \n  \nABOUT THE ARTISTS \nPeter Evans has been a member of the New York musical community since 2003\, when he moved to the city after graduating Oberlin Conservatory with a degree in classical trumpet. Peter currently works in a wide variety of areas\, including solo performance\, chamber orchestras\, performance art\, free improvised settings\, electro-acoustic music and composition. As a performer\, Evans has been working to broaden the expressive range of his chosen instrument and enjoys playing with steady configurations of players and composers. Current bands include the Peter Evans Quartet\, Moppa Elliott’s terrorist bebop band Mostly Other People Do the Killing\, the hyperactive improvisation duo Sparks (with Tom Blancarte)\, duo with trumpeter Nate Wooley\, as well as a sustained interest in solo performance. Other collaborators include: Mary Halvorson\, Dave Taylor\, Steve Beresford\, Okkyung Lee\, Taylor Ho Bynum\, Kevin Shea\, Jim Black\, Evan Parker\, Tyshawn Sorey\, Peter Brotzmann\, Mark Gould\, Weasel Walter\, Matt Bauder\, Joel Ryan\, and Luka Ivanovic. In New York\, Peter also performs contemporary notated music with groups such as the International Contemporary Ensemble\, Alarm Will Sound\, Contiuum\, and Ensemble 21. He has continued to perform on piccolo trumpet in Baroque settings\, performing Brandenburg Concerto No. 2 at the Bargemusic series\, and in Bach’s Mass in B Minor at St Peter’s Church. Peter is also an experienced teacher\, having given workshops on music\, trumpet\, and improvisation at institutions including the University of California in San Diego\, Buffalo University\, University of Oregon\, and the Walden School. In June 2008 Peter traveled to the Philippines with the Cultures in Harmony project\, teaching\, collaborating and performing with tribal musicians in Mindanao. Recent travels have brought Peter to venues and festivals in the U.S.\, Canada\, Europe\, the UK\, and Southeast Asia. These include appearances at the Moers Festival\, the Ulrichsberg Kaleidophon Festival\, Bordeaux Jazz Festival\, Jazz a Mulhouse\, and the Free Music Festival in Antwerp. Recordings include “More is More”\, a solo trumpet album on psi\, the self-titled first album of the Peter Evans Quartet (on firehouse12)\, the self-titled “Sparks” on Creative Sources and Shamokin!\, the second album by MOPDTK\, on HotCup Records. \n  \nOne of the most in demand in creative music\, Nate Wooley (b. 1974) was born in Clatskanie\, Oregon. He began his professional career on trumpet with his father at the age of 13. After a brief stay in Denver\, Nate moved to Jersey City in 2001. He has developed a highly personal style\, mixing his knowledge of jazz and classical trumpet tradition and context with a very healthy bit of experimentation. His solo album\, “Wrong Shape to be a Storyteller” on Creative Sources Recordings from last year was a culmination of this kind of thinking and was critically acclaimed as a benchmark for solo documents in the lowercase/reductionist tradition. His main thrust is still the trio\, Blue Collar\, whose sophomore cd “Lovely Hazel” on Public Eyesore was voted one of the top 10 jazz and improv cds by the Philadelphia CityPaper in 2005. Besides these projects\, Nate does a great deal of work as a sideman with figures as diverse as John Butcher\, Anthony Braxton\, Paul Lytton\, John Olsen of Wolf Eyes\, David Grubbs\, Daniel Levin\, Stephen Gauci\, and the Sound/Vision Orchestra. \n  \n“Double bassist Christian Weber is fast becoming one of the most interesting players on the European elektroacoustic Improv scene. Although he’s a good free improvisor\, he seems to prefer to work with predetermined structures\, albeit ones that are either hidden or very discreet.” Brian Marley – The Wire (UK) Jan 2007 \nWorks/worked with ao. Bruno Amstad\, Tim Barnes\, Johannes Bauer\, Ludwig Bekic\, Andres Bosshard\, John Butcher\, Antoine Chessex\, Gene Coleman\, Collegium Novum\, Lol Coxhill\, Chris Dahlgren\, Jacques Demierre\, Bertrand Denzler\, Robert Dick\, Michel DonedaPaul Dunmall\, Markus Eichenberger\, Kai Fagaschinski\, Pierre Favre\, Peter K Frey\, Charles Gayle\, Gegenklang\, Michael Griener\, Andy Guhl\, Uli Gumpert\, Boris Hauf\, Franz Hautzinger\, Stefan Heckel\, Gerhard Herrmann\, Charlotte Hug\, Ben Jeger\, Jason Kahn\, Mazen Kerbaj\, Hans Koch\, Ritsche Koch\, Tomas Korber\, Peter Kowald\, Joachim Kühn\, Oliver Lake\, Joke Lanz\, Urs Leimgruber\, Tony Levin\, Werner Lüdi\, Phil Minton\, Norbert Möslang\, Michael Moser\, Günter Müller\, Simon Nabatov\, Lucas Niggli\, Evan Parker\, Dave Phillips\, Simon Picard\, Wolfgang Puschnig\, Christian Reiner\, Wolfgang Reisinger\, Paul Rogers\, Roger Rotor\, Olaf Rupp\, Jorge Sanchez-Chiong\, Philip Schaufelberger\, Willem Schulz\, Irène Schweizer\, Christine Sehnaoui\, Sharif Sehnaoui\, Elliott Sharp\, Martin Siewert\, Steamboat Switzerland\, Michael Jefry Stevens\, Co Streiff\, Michael Thieke\, Dieter Ulrich\, Tom Varner\, Chris Wiesendanger\, Bo Wiget\, Michel Wintsch\, Stephan Wittwer\, Nils Wogram\, Christian Wolfarth\, Katsura Yamauchi\, Raed Yassin\, Otomo Yoshihide\, Michael Zerang\, Alfred Zimmerlin. \n  \nJon Barrios approaches stringed instruments with a violence rarely seen in any brow\, be it high or low. A break with his background in latin american music and jazz led to a desperate originality in technique. His latest work is a magnum video graphic score for string quartet with electronics\, titled Fantasy Number One. \n  \nDan Blacksberg is a trombonist who is working to expand the range of the trombone in jazz and improvised music. A native and resident of Philadelphia\, he has been seen all around town with such local musicians as Jack Wright\, Toshi Makihara\, Sonic Liberation Front and with Bobby Zankel’s Warriors of the Wonderful Sound as well as his own quartets and trio. He has appeared in concerts produced by Bowerbird and the Ars Nova Workshop. In addition\, Dan has performed with Anthony Braxton (the premiere of Composition 19 for 100 tubas)\, Taylor Ho Bynum\, Joe Morris\, Mike Pride\, Nate Wooley\, Katt Hernandez\, Daniel Levin and Joe Maneri in many venues in the Northeast US and elsewhere. Dan holds a bachelor’s degree from the New England Conservatory of Music\, where he studied with musical luminaries Bob Brookmeyer and Ran Blake. At NEC\, Dan had the opportunity to work with Irene Aebi on the U.S. Premiere of her late husband Steve Lacy’s song cycle Futurities (2004)\, and with Gunther Schuller in the world premiere of his monumental work Encounters (2003). Dan is also one of the premiere trombonists in the world of Klezmer. Dan has performed with Frank London\, Michael Alpert\, Adrienne Cooper\, Alan Bern\, Aaron Alexander\, and the Shirim Klezmer Orchestra. He has performed at the Krakow Jewish Music Festival\, Klezmore\, Yiddish Summer Weimar and the Ashkenaz Festival as well as the Montreal Jazz Festival and is a well known presence at KlezKamp and KlezKanada.
URL:https://www.bowerbird.org/event/double-duty-duos/
LOCATION:Physick House Museum\, 321 South 4th Street\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=application/pdf:https://www.bowerbird.org/wp-content/uploads/2019/06/double-duty-duos.pdf
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081108T200000
DTEND;TZID=America/New_York:20081108T230000
DTSTAMP:20260426T023836
CREATED:20190613T153448Z
LAST-MODIFIED:20190613T153448Z
UID:10001058-1226174400-1226185200@www.bowerbird.org
SUMMARY:Ian Nagoski: Orphan Music / Black Mirror
DESCRIPTION:Nagoski presents new work and excerpts from his lecture CD\, Black Mirror: Reflections in Global Musics\, 1918-1954 including Ottoman Songs in New York Cafes\, 1910s-30s. \n  \nABOUT BLACK MIRROR \n  \nDrawn from the best of Nagoski’s vernacular 78 collecting\, Black Mirror is a compilation of 24 recordings from the first half of the 20th century of music from Syria\, Bali\, Scotland\, Thailand\, Ukraine\, China\, Camaroon\, India\, Turkey\, Germany\, Spain\, Vietnam\, Yugoslavia\, Korea\, Poland\, Greece\, Java\, Portugal\, Laos\, Sweden and Burma\, all newly transferred and mastered from 78 rpm discs\, at least 18 of which never issued before on CD (all but one never having been previously reissued in the U.S.) Each performance is a gorgeous manifestation of outrageous virtuosity\, religious devotion\, heart-stopping ebullience and/or worshipful ache\, just as they reflect a moment in the personal trajectories of the individual performers and their now generations-past historical contexts\, elucidated to a great degree by record collector and compiler Ian Nagoski’s notes. \n  \n“…enigmatic\, transfixing\, haunting\, pretty\, and just plain odd. And while\, yes\, it’s the product of a record geek for record geeks\, it’s such an idiosyncratic dose of the weird and the beautiful that it’s hard to imagine any music fan not being intrigued by the mysteries it contains.”- Bret McCabe\, Baltimore City Paper \n  \n“Track after track on Black Mirror startles and delights\, and the accumulation of all of it makes one wonder what other lost treasures\, what other black mirrors of times and places and distant lives are stacked in the back of that old junk shop on the corner\, for these pieces\, in addition to being pleasures to listen to\, are objects that have traveled and touched people along the way. That concept\, that one can actually hand another a piece of music\, a living\, breathing piece of music created and captured in another time and place\, and that that music can move from hand to hand and place to place until it is all but lost and half forgotten until someone like Nagoski rediscovers it\, is fast slipping from our lives. Oh yeah\, you can get on the web and do a virtual search\, but this collection is for those who understand that virtual isn’t exactly real. It is\, by definition\, only almost real. The selections on Black Mirror are real. They’ve traveled. They’ve been lost. They’ve been found. They live again and still as very real objects in this very real world.” – Steve Leggett\, All Music \n  \n“No slouch in the programming department\, Nagoski has frontloaded Black Mirror with love-at-first-note stuff that flows across continents\, decades\, and traditions with skewed but unassailable logic.” – Bill Myer\, Dusted \n  \n“wonderfully diverse… a testament to the continuing spirit of the excavation of lost music. There are so many musical revelations brought to focus on this single disc that it can be used as a valid primer of non-American ethnomusicology. That Nagoski had the wherewithal to curate such a heft of magic with such limited resources should be a call of arms to all of us that mine the crates. Here’s hoping that this becomes a series as I bet there’s plenty more treasures under this umbrella.” – Steve Lowenthall
URL:https://www.bowerbird.org/event/ian-nagoski-orphan-music-black-mirror/
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/ian-nagoski.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081028T200000
DTEND;TZID=America/New_York:20081028T230000
DTSTAMP:20260426T023836
CREATED:20190610T184936Z
LAST-MODIFIED:20190610T184936Z
UID:10001056-1225224000-1225234800@www.bowerbird.org
SUMMARY:Extra Life | Whales and Cops | Altamira
DESCRIPTION:CONSERVATORY OF NOW \nSome of the greatest things in music have been happening at the edges of the Rock genres. The depth of complexity\, instrumental coloring\, and overall creative ingenuity rivals\, if not surpasses\, the level of compositional prowess happening in concert halls today.&nbsp; And with the popularity of bands like the Dirty Projectors or Animal Collective\, it’s not surprising that younger generations of composers are turning to the amplified settings of warehouses\, parties and rock clubs to work out their musical ideas. \nAmong the best examples of this new wave is the New York City based Extra Life. Extra Life combines elements of medieval vocal music\, aggressive math rock\, dark romantic pop and modern classical composition. For years Looker was a core member of noise/chamber group Zs\, and has also worked with diverse bands and artists such as Dirty Projectors\, John Zorn\, Glenn Branca\, Period\, William Parker\, Christian Wolff and the S.E.M. Ensemble. Extra Life also includes various combinations of the following musicians: violinist Caley Monahon-Ward (Snowblink)\, bassist Tony Gedrich (Stats)\, drummer Nicholas Podgurski (Yukon)\, and saxophonist/keyboardist Travis Laplante (Little Women). Extra Life’s debut full-length CD Secular Workswas released in 2008 on Planaria Recordings to wide critical acclaim\, topping many Best and/or Strangest of 08 lists. \nTwo veterans of West Philadelphia’s late\, lamented scene (Squi!\, Son Bees\, King of Prussia\, Oskama Bin Skaden)\, half-brothers Mr. Nathaniel Cops (keys) and Finger Julius Mountain (drums) were first united by a desire to get the fuck out of Man Man after simultaneously discovering (to their great horror) that they’d been playing with them for years.<strong> Whales and Cops began rehearsals at once\, cleaving to a vigorous\, manly regimen of certain foods and exercises and\, significantly\, a staunch refusal to hide the light of their Modern music under a bushel of implausible pseudonyms and fake\,stupid band names. With the addition of fancy\, German-looking multi-instrumentalist and usually one other human\, Whales and Cops stand poised at the very brink of the Culture itself\, beckoning to you. \nAltamira was formed in October 2007\, only three months before their first tour of the Midwest. The three members of the band\, Nick Millevoi\, Ricardo Lagomasino and John DeBlase are all busy in their own right\, but when they play together the sum is greater than that of its parts. Combining progressive song structures\, brutally intense improvisation\, and an amalgam of musical influences\, they pull off quite an exciting live.
URL:https://www.bowerbird.org/event/extra-life-whales-and-cops-altamira/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/altamira2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081025T193000
DTEND;TZID=America/New_York:20081025T220000
DTSTAMP:20260426T023836
CREATED:20190610T184231Z
LAST-MODIFIED:20190610T184231Z
UID:10001055-1224963000-1224972000@www.bowerbird.org
SUMMARY:WERNER MOEBIUS
DESCRIPTION:Compositions by Werner Moebius played by Ensemble Noamnesia \nlought Foundation and Soundfield NFP are pleased to announce an evening with sound artist and composer Werner Moebius and Philadelphia’s Ensemble Noamnesia. Werner Moebius is based in Vienna and London but has been building an international reputation via a series of residencies in Chicago\, Liverpool and Mexico City over the last 3 years. His work encompasses sound installations\, as well as solo performance\, ensemble compositions and video works. For his first project in Philadelphia\, Moebius will present a program with prerecorded sounds\, live musicians and visual projections. Soundfield and Slought are very excited to present Mr. Moebius\, as his work is at the leading edge of those artists who combine sound\, technology and other media in ways that are only possible now. \nThis program is made possible in part through the generous sponsorship or support of the Austrian Cultural Ministry\, Sound Field NFP and grants from the Argosy Fund for Contemporary Music and the Philadelphia Music Project\, a program of The Philadelphia Center for Arts and Heritage\, funded by The Pew Charitable Trusts and administered by The University of the Arts\, with additional media support from Bowerbird.
URL:https://www.bowerbird.org/event/werner-moebius/
LOCATION:The Slought Foundation\, 4017 Walnut Street\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/wm2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081023T200000
DTEND;TZID=America/New_York:20081023T230000
DTSTAMP:20260426T023836
CREATED:20190610T183952Z
LAST-MODIFIED:20190610T183952Z
UID:10001053-1224792000-1224802800@www.bowerbird.org
SUMMARY:bowerbird a|v night
DESCRIPTION:Film\, video\, sculptures\, and live performances by Vivian Caccuri\, Gabriel Stuart\, Brian McComber\, Michael Barron\, John Heron\, J Makary\, and Alex Tyson. \nUsing custom amplified make-up tools and hand-coded processing software\, the artist renders live make-overs on 2 participants that linearly build a sound composition. \nSCULPTURAL AUDIO PERFORMANCE \nThis would be the first live performance of the series Modern Drummers\, which pairs two skilled drummers who have never met each other (or played together) to each other through a sound dialogue. \nNEW VIDEO TAPES \nAnalog video pieces using an on-camera editing technique with live score \nI WANNA KISS MYSELF \nJ Makary (Philadelphia) \nA ‘dance on film’ piece by local choreographer and film editor \nSUBMERSED SONGS \nAlex Tyson with Vivian Caccuri \nAn exhibition video document that explores Vivian’s installation piece (Canoes Submersas)\, which used the movements of four carp fish to modify user-inputed audio (iPods\, mp3 players).
URL:https://www.bowerbird.org/event/bowerbird-av-night/
LOCATION:Avant Gentleman’s Lodge\, 4028 Filbert Street\, Philadelphia\, PA\, 19104\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081022T080000
DTEND;TZID=America/New_York:20081022T170000
DTSTAMP:20260426T023836
CREATED:20190610T183328Z
LAST-MODIFIED:20190610T183328Z
UID:10001051-1224662400-1224694800@www.bowerbird.org
SUMMARY:Sound Artist Werner Moebius and Choreographer Mariella Greil
DESCRIPTION:Performing artists from Austria and Philadelphia collaborate and perform during weeklong residency. \nSoundfield and paraphrase/NEXUS are pleased to announce “Philadelphia Bridge\, Part 1\,” an evening of improvised and choreographed works by movement artists Mariella Greil and Emily Sweeney with sound artists Werner Moebius and Bilwa and composer Michael McDermott performing works inspired by the exhibition “Toyland” at NEXUS. \nMariella Greil hails from Austria and currently teaches in the United Kingdom. She will join her frequent collaborator Werner Moebius\, also from Austria\, in a series of movement and sound pieces created collaboratively with Emily Sweeney and her performance partner Bilwa. \nEmily and Bilwa are hosting the Europeans over the course of a week spent working in their studio space in Kensington. The pan-Atlantic collaboration began when composer and Soundfield Director Gene Coleman encountered the Austrian duo while performing in the UK and arranged for them to travel to Philadelphia to work with Emily and Bilwa because he felt their aesthetic approaches and interests would mingle well. The paraphrase/NEXUS performance on October 22 provides an opportunity for the two sets of collaborators to share the work they’ve developed as a quartet during their co-residency. \nOn the same evening\, composer Michael McDermott will premiere tomas\, a flute quartet performed by Danielle Brosious\, Jacqueline Howell\, Heather Fortune\, and Bob Carpency. \n“Toyland” showcases the photography of six artists working with simple\, whimsical toy cameras\, featuring work by Mark Sink\, Rita Bernstein\, Chris Macan\, Diana Bloomfield\, Mira Gohel and Andy Benson. Curated by NEXUS member Chris Macan. \nParaphrase/NEXUS is a monthly performance series in which artists of various disciplines and media outside the visual arts realm create single evening performances that respond and relate to current NEXUS exhibitions. This programming offers a new context for the public to engage meaningfully with emerging and experimental artists and promotes further understanding to the meanings and methods behind exhibitions at NEXUS. Paraphrase/NEXUS is produced by Perpetual Movement and Sound. \nArtist bios: \nMariella Greil lives and works in Vienna/ A and Chester/ UK: performances\, tableau vivantes\, installations and collaborations with artists of differing media. Currently lecturing at the Department of\nPerforming Arts\, Faculty of Arts and Media at the University of Chester/ UK. She is in the board of directors for the festival moves: movement on screen in Manchester and an active member of the steering\ngroup for the SoundNetwork (UK) and the Center for Practice as Research. Physical precision and clarity\, consequence and proximity to conceptual art are significant for her performances. “For my work was\nor is it important to use differing expression languages\, picture languages\, meaning languages to sensitize new interrelations\, to consider the fractures of images as transformations\, but mainly to open up the borderlands of actual and potential\, artistic and artless reality. The idea of the polyphonic\, intermedia expanding process is essential for my artistic notion.” \nWerner Moebius is based in Vienna and London but has been building an international reputation over the last three years via a series of residencies in Chicago\, Liverpool and Mexico City. His work encompasses sound installations\, solo performance\, ensemble compositions and video. \nEmily Sweeney is a movement artist living in Philadelphia\, where she co-directs Perpetual Movement and Sound. She has presented her own improvised and choreographed works around Philadelphia as part of\nparaphrase/NEXUS\, bowerbird performance series\, Soundfield Festival\, CEC New Edge Mix\, and Philly Fringe. She dances with the Emergent Improvisation Ensemble and independent choreographer Brigitta\nHerrmann. Emily studied dance\, literature\, and anthropology at Smith and Bennington Colleges under the auspices of Dana Reitz\, Susan Sgorbati\, Nia Love\, Eva Karzcag\, Edward Hoagland\, and Terry Creach.\nShe is a native of Vermont\, where she has taught dance technique and improvisation at the Southeastern Vermont Career Education Center\, Marlboro College\, and the Brattleboro School of Dance\, where she has\ntwice been commissioned to create group pieces for student and community dancers. She has performed at such venues as the Jacob’s Pillow Dance Festival\, Bates Dance Festival\, and the White Wave Dance\nFestival\, and has participated in Nancy Stark Smith’s January intensive. In her own work she explores systems found in nature\, as well as how humans’ sensory experience and memory shape our\nperceptions. She is driven to investigate how humans adjust our physical and sensory interactions to accommodate new technology and the pace of urban environments. \nBilwa is a Philadelphia-based musician\, curator\, producer\, and visual artist. He co-directs the performance collective Perpetual Movement and Sound. Bilwa is also a member and assistant director of\nNEXUS/foundation for today’s art\, where he curates the performance series paraphrase/NEXUS. Past projects include Hoopty Heaven\, an ambient dub duo\, and VERSIONsound\, a roots/reggae/dub sound system. In 2007\, Bilwa and Mikronesia released perfect seconds\, a compilation of their music created inspired by the dancers of Perpetual Movement and Sound\, on earSnake records. \nMichael McDermott (a.k.a. Mikronesia) is a producer\, composer\, musician and sound artist. His main project\, Gemini Wolf\, is an electronic rock band for which he plays keyboards and laptop and arranges. Mike is an original member of Perpetual Movement and Sound. Mikronesia has released two albums with ambient label Gears of Sand. Tissue Paper Ghosts (2006) is an ethereal glitch album about the psychic remains of a car crash\, and Iris Or Comfortable Too (2007) is a work that features minimalist piano and warm electronics. In early 2008\, he released vxvii on Kikapu. In April 2008\, he premiered his\nfirst work for string trio\, Daemon En Gauze\, as part of the paraphrase/NEXUS performance series. Visit www.mikronesia.com to listen to his work. \nThis program is made possible in part through the generous support of the Austrian Federal Ministry for Education\, the Arts and Culture\, Sound Field NFP\, NEXUS Foundation for Today’s Art and grants from the Argosy Fund for Contemporary Music\, with additional media support from Bowerbird.
URL:https://www.bowerbird.org/event/sound-artist-werner-moebius-and-choreographer-mariella-greil/
LOCATION:Crane Arts\, 1400 N American St\, Philadelphia\, PA\, 19122
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/wm3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081019T200000
DTEND;TZID=America/New_York:20081019T220000
DTSTAMP:20260426T023836
CREATED:20190610T182343Z
LAST-MODIFIED:20190610T182343Z
UID:10001049-1224446400-1224453600@www.bowerbird.org
SUMMARY:Pianist Paulo Alvares with Ensemble Noamnesia
DESCRIPTION:Brazilian pianist Paulo Alvares joins forces once again with Philadelphia composer Gene Coleman and his new music group Ensemble Noamnesia for a program of sounds from Brazil\, Argentina\, Europe and the US. Music by Argentine Maurico Kagel (John Zorn’s favorite composer) is featured in the form of Kagel&rsquo;s piano and the seminal Sound Art composition Acoustica\, along with works by Alvares\, Germany’s Michael Maierhof and Gene Coleman. Hear this outstanding pianist and the members of Ensemble Noamnesia play new music that is comic\, bizarre and unforgettable. \n 
URL:https://www.bowerbird.org/event/pianist-paulo-alvares-with-ensemble-noamnesia/
LOCATION:International House\, 3701 Chestnut St\, Philadelphia\, PA\, 19104
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/pa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081018T200000
DTEND;TZID=America/New_York:20081018T230000
DTSTAMP:20260426T023836
CREATED:20190610T182107Z
LAST-MODIFIED:20190610T182107Z
UID:10001047-1224360000-1224370800@www.bowerbird.org
SUMMARY:DAN LEVIN | DAN BLACKSBERG |  TIM ALBRO | MATT MITCHELL | PAUL NEIDHARDT | ALBAN BAILLY | DUSTIN HURT
DESCRIPTION:Daniel Levin has performed and/or recorded with Billy Bang\, Borah Bergman\, Tim Berne\, Anthony Braxton\, Rob Brown\, Whit Dickey\, Mark Dresser\, Joe Morris\, Joe McPhee\, William Parker\, Warren Smith and others. He has recorded as a sideman Clean Feed Records\, EMANEM\, Not Two and Rogue Art\, and as a leader on HatHut and Riti records. Levin is major new voice on his instrument and in improvised music. \nDan Blacksberg is a trombonist who is working to expand the range of the trombone in jazz and improvised music. A native and resident of Philadelphia\, he has been seen all around town with such local musicians as Jack Wright\, Toshi Makihara\, Sonic Liberation Front and with Bobby Zankel’s Warriors of the Wonderful Sound. He has appeared in concerts produced by Bowerbird and the Ars Nova Workshop. In addition\, Dan has performed with Anthony Braxton (the premiere of Composition 19 for 100 tubas)\, Taylor Ho Bynum\, Joe Morris\, Mike Pride\, Nate Wooley\, Katt Hernandez\, Daniel Levin and Joe Maneri in many venues in New York and Boston. \nDan holds a bachelor’s degree from the New England Conservatory of Music\, where he studied with musical luminaries Bob Brookmeyer and Ran Blake. At NEC\, Dan had the opportunity to work with Irene Aebi on the U.S. Premiere of her late husband Steve Lacy’s song cycle Futurities (2004)\, and with Gunther Schuller in the world premiere of his monumental work Encounters (2003). \nDan is also one of the premiere trombonists in the world of Klezmer. Dan has performed with Frank London\, Michael Alpert\, Adrienne Cooper\, Alan Bern\, Aaron Alexander\, and the Shirim Klezmer Orchestra. He has performed twice at the Krakow Jewish Music Festival as well as the Montreal Jazz Festival and is a well known presence at KlezKamp and KlezKanada. \nTim Albro guitar Philadelphia\, USA \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. \nMatt Mitchell piano Philadelphia\, PA \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&nbsp;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\, large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a former member of the avant-rock band Thinking Plague\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Brad Shepik\, Josh Roseman\, and John Swana. \nPaul Neidhardt percussion\, friction Baltimore \, USA \nBaltimore ‘s Paul Neidhardt is one of the countries most astonishing new music percussionists. A trained\, highly disciplined player with a flair for complex textural sound produced by friction\, Neidhardt’s approach to improvising covers the majority of the terrain explored by the explosive side of European free music and subtle textural players like Sean Meehan and Jason Kahn\, while retaining a freshness and flexibility of purpose all his own. His background playing rock and African music adds a potential for propulsive intensity to his playing not usually found in players so skilled in the arts of minimalist reductionism. Despite recovering from injuries that limited his time playing in recent years\, he is a highly in-demand player\, working with groups like Trokeneis\, Death in the Maze\, and Multiphonic Choir\, as well as frequent collaborations with Jack Wright. He is currently a member of the Red Room collective and High Zero Foundation. \nAlban Bailly acoustic guitar\, accordion France/Philadelphia\, USA \nAlban Bailly\, a native of France\, began his music path by playing rock his youth. He moved onto studying Jazz\, which opened him to free improvisation in the late nineties. In 2001 he studied Arabic music and oud in Marrakech\, Morocco. Back to Nancy\, France\, Alban became an active performer\, playing solo and together with performers in Europe. It is at this period the gypsy and Balkan music intrigued him and took him to Serbia to meet traditonal Eastern European music in 2004. Since making Philadelphia his home in 2005\, Alban has experienced abundance of opportunity as a composer and a performer\, collaborating with musicians from Eastcoast and beyond. Using his guitar and accordion\, he plays various genres of music and often collaborates with dancers. www.albanbailly.com \nDustin Hurt trumpet\, accordion Philadelphia \, USA \nComposer\, free improvisor\, and organizer\, Dustin Hurt is emerging as a key element to Philadelphia ‘s experimental and new music scene. Dustin’s frequent collaboratations include a duo with Alban Bailly (as Ko Koed)\, a trio with Tim Albro and Jesse Kudler (as HZL BRD)\, and a trio with Sean Mattio and Troy Herion. He is a performer in Nicole Bindler’s Philadelphia New Dance and Music Ensemble and was a performer in John Berndt’s Baltimore based large group ensemble\, Second Nature\, in March of 2006. He has also performed with Toshi Makihara\, Jack Wright\, Gene Coleman\, Christine Sehnaoui\, Dave Smolen\, Carlos Santiago\, Leandro Barzabal\, Jon Barrios\, and Paul Neidhardt\, among others. His composed works have been performed by members of the Philadelphia Orchestra\, the Pennsylvania Ballet Orchestra\, and regularly by the Philadelphia based avant-supergroup\, Normal Love. Dustin is also the founding director of bowerbird\, a Philadelphia based experimental music presenting organization.
URL:https://www.bowerbird.org/event/dan-levin-dan-blacksberg-tim-albro-matt-mitchell-paul-neidhardt-alban-bailly-dustin-hurt/
LOCATION:University City Arts League\, 4226 Spruce St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/danlevin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081012T200000
DTEND;TZID=America/New_York:20081012T230000
DTSTAMP:20260426T023837
CREATED:20190610T175958Z
LAST-MODIFIED:20190610T175958Z
UID:10001041-1223841600-1223852400@www.bowerbird.org
SUMMARY:An Evening with Phill Niblock : Music and Images by an American Maverick
DESCRIPTION:Phill Niblock (b. 1933) is a New York-based minimalist composer\, filmmaker\, multi-media musician and director of Experimental Intermedia\, a foundation for avant-garde music. Niblock’s work is an exploration of sound textures created by multiple tones in very dense\, often atonal tunings (generally microtonal in conception) performed in long durations. This highly original music that\, while having things in common with early drone-based Minimalism\, is utterly distinct in sound and technique. Niblock continues to influence a generation of musicians\, especially younger players from a variety of genres including Sonic Youth’s Thurston Moore and Lee Renaldo. \nHurdy Hurry – Jim O’Rourke\, hurdy gurdy\, recorded samples (1999)\nHarm\, for cello – Arne Deforce\, cello\, recorded samples (2003)\nZrost – Martin Zrost\, soprano saxophone\, recorded samples (2004)\nSethwork – Seth Josel\, acoustic guitars played with E-bow\, recorded samples (2003)
URL:https://www.bowerbird.org/event/an-evening-with-phill-niblock-music-and-images-by-an-american-maverick/
LOCATION:International House\, 3701 Chestnut St\, Philadelphia\, PA\, 19104
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/niblock2.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081003T200000
DTEND;TZID=America/New_York:20081003T230000
DTSTAMP:20260426T023837
CREATED:20190610T175020Z
LAST-MODIFIED:20190610T175020Z
UID:10001037-1223064000-1223074800@www.bowerbird.org
SUMMARY:POLWECHSEL 'Archives of the North'
DESCRIPTION:Slought Foundation and Soundfield NFP are pleased to announce an evening of new and experimental music featuring Vienna/London-based ensemble Polwechsel on Friday\, October 3rd\, 2008 from 8:00-9:30pm. Polwechsel features Werner Dafeldecker (double bass)\, Martin Brandlmayr (percussion)\, Michael Moser (cello\, electronics)\, and Burkhard Beins (percussion). They will be performing new compositions as well as selections from their recent HatArt CD release Archives of the North. This concert is part of the 2008-2009 Soundfield @ Slought series. \nOver the past two decades Polwechsel’s output has thrived on a democratic process of specifically composing for the abilities and techniques of its cast with each member possessing a unique and developed voice in instrumental performance. During this period Polwechsel has produced divisive compositions\, structured improvisation and electro-acoustic works which have all spoken intricately and explicitly on the organization of noise\, the locus of technique\, and the dynamism of the ensemble. — Dean M. Roberts (December 2005). \nThis program is made possible in part through the generous sponsorship or support of Sound Field NFP and grants from the Argosy Fund for Contemporary Music and the Philadelphia Music Project\, a program of The Philadelphia Center for Arts and Heritage\, funded by The Pew Charitable Trusts and administered by The University of the Arts\, with support from Bowerbird.
URL:https://www.bowerbird.org/event/polwechsel-archives-of-the-north-2/
LOCATION:The Slought Foundation\, 4017 Walnut Street\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/polwechsel3_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081002T200000
DTEND;TZID=America/New_York:20081002T230000
DTSTAMP:20260426T023837
CREATED:20190610T174703Z
LAST-MODIFIED:20190610T174703Z
UID:10001036-1222977600-1222988400@www.bowerbird.org
SUMMARY:Paul Flaherty | Randall Colbourne | Evan Lipson | Carlos Santiago | Bring It Inside with Goodman
DESCRIPTION:We are extremely excited to present the amazing free jazz duo of Paul Flaherty and Randall Colbourne. They have been playing together for over 20 years and have over 15 releases together\, but this is only their first tour. \nAlto and tenor saxophonist Paul Flaherty is New England’s purveyor of the ecstatic jazz pulse. Even before his 1978 debut Flaherty remained unshakable in the pursuit of soul healing and demon dashing through freedom music. Since 2001 Flaherty’s notoriety has risen in tandem with his hyper-acclaimed duo with drummer Chris Corsano and regular group work with Dream/Aktion Unit\, Cold Bleak Heat\, Spencer Yeh\, Dredd Foole\, Joe McPhee\, Steve Baczkowski\, Marc Edwards\, and many others. \nRandall Colbourne is best known for his intense trapset work on the dozen+ albums he released with Paul Flaherty on the Zaabway\, Tulpa\, and Cadence music labels during the 1980s; 90.More recently\, Colbourne expanded his prowess by releasing; Clarinet Works\, a solo album on which he played all of the instruments including Bb\, Eb\, and alto clarinets; drums\, bass\, and live electronics. \nAs a duo\, Carlos Santiago and Evan Lipson’s violin and upright bass improvisations sound uncannily composed. Rapid\, virtuosic firings of sliding glissandi\, harsh bowed noises\, light\, angular melodies\, and spontaneous lilting syncopation at the edge of jazz\, but somehow not even close. \nBring It Inside\, a percussion duo plus one\, is an ongoing\, always morphing project of Philadelphian’s Eli Litwin and Pete Angevine. Each performance is anchored by semi-composed conceptual idea depending on the third member. Previous incarnations of this project have included a version with Mike Pride (Bring It Inside w/ Pride)\, with Ricardo Lagomasino (of Capillary Action and Pads Steel)\, and with Jive Nation\, a large ensemble harsh noise supergroup. This version will feature guitarist Marc Goodman of Illuminea.
URL:https://www.bowerbird.org/event/paul-flaherty-randall-colbourne-evan-lipson-carlos-santiago-bring-it-inside-with-goodman/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/duo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080928T080000
DTEND;TZID=America/New_York:20080928T170000
DTSTAMP:20260426T023837
CREATED:20190610T173923Z
LAST-MODIFIED:20190610T173923Z
UID:10001034-1222588800-1222621200@www.bowerbird.org
SUMMARY:VOCAL TRACTS
DESCRIPTION:Music at the intersection of sound\, language\, and yes\, even bodily functions. Performances and perspectives by Bernhard Gal  (Austria)\, id m theft (Maine\, USA) and Steve Parker (Philadelphia\, USA). \nEven in an age of massive technological advances\, the power of spoken word remains an unparalleled means of communication. In the years of presidential elections\, the rhetoric and speeches become an even more important part of the public conciseness. But how important are the words to their context and how fast can they loose their meaning? And how easily can they be given a new meaning? Or have no meaning at all and become just sounds? And when can sounds have more meaning than words? \nThis evening\, Bowerbird features three very different artists whose work deals with the relationship between human sound production\, speech and spoken word\, and the way in which we as listeners are able to apply meaning to what we hear. This event will include a performance/lecture by Austrian sound artist and composer Bernhard Gal\, a selection of compositions for trombone and prerecorded voice performed by Philadelphia based Steve Parker\, and id m theft able ís (Maine\, USA) raw and visceral experimentations in ëmouth noiseí. \n 
URL:https://www.bowerbird.org/event/vocal-tracts/
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/idm_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080919T080000
DTEND;TZID=America/New_York:20080919T170000
DTSTAMP:20260426T023837
CREATED:20190610T171540Z
LAST-MODIFIED:20190610T171540Z
UID:10001030-1221811200-1221843600@www.bowerbird.org
SUMMARY:LEERRAUM [ ] NIGHT
DESCRIPTION:Films and live performances by Atsushi Yamamoto\, Christian Schneider\, Delgado Fuchs\, Hammes\, Zende\, Helena Gough\, Pe Lang\, Richard Garet\, and Zimoun \nco-presented with GATE \nJoin us for an evening of experimental video and sound performances featuring a survey of work from of European\, Asian\, and American artists of the Leerraum [ ] network. \nIn a world clamoring with sounds\, we are often bombarded by their calamity and attempt to shut them out. But when we are able to focus we can easily hear the sensual qualities found in their detail.&nbsp; When this focus is aided by the experience of an artist\, we are often able to see mundane things with new perspective. \nLeerraum [ ] is an international network\, platform and label of artists engaged in studying space\, form and structure through a reductionist approach and careful yet radical handling of materials. Up to now\, Leerraum [ ] has published some 50 CDs\, DVDs and obscure objects\, and presented more than 30 sound installations by its artists. At this point\, Leerraum [ ] consists of 45 artists of 15 different nationalities\, spread across 4 continents and 25 cities. Leerraum [ ] was founded 2003 by the artist Zimoun and the graphic designer Marc Beekhuis. \nWHAT TO EXPECT \nIn September 2008\, Leerraum [ ] will be presented for the first time in the United States\, featured as Leerraum [ ] Nights in New York\, Boston and Philadelphia. The presentations will feature works of 13 artists as live performances or video screenings. Simultaneously\, the Gosia Koszielak Gallery in Chicago will be presenting a sound installation from the series &laquo;Untitled Sound Objects&raquo; by Pe Lang and Zimoun. \nThe Philadelphia program will include: \nAtsushi Yamamoto (Tokyo\, video)\nChristian Schneider (Bern\, video)\nDelgado Fuchs (Bern/Lausanne/Brussels\, video)\nHammes + Zende (Berlin\, video)\nHelena Gough + Zimoun (Berlin/Bern\, performed by Zimoun)\nPe Lang (Berlin\, live)\nPe Lang\, Richard Garet + Zimoun (Berlin/New York/Bern\, live)\nRichard Garet (New York\, live)
URL:https://www.bowerbird.org/event/leerraum-night/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/leerraum2_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080916T200000
DTEND;TZID=America/New_York:20080916T230000
DTSTAMP:20260426T023837
CREATED:20190610T170922Z
LAST-MODIFIED:20190610T171017Z
UID:10001028-1221595200-1221606000@www.bowerbird.org
SUMMARY:TETUZI AKIYAMA | JACK ROSE | LITTLE OCEAN
DESCRIPTION:WOODEN GUITAR HEROES \nIt is doubtful that any instrument carries with it more images and references than the acoustic guitar: the college crooner on a grassy lawn or the bandana-clad protester.&nbsp; But often behind such stereotypical images is an element of truth. In many ways\, the acoustic guitar is the great democratic instrument: Affordable to obtain and easy to transport; a generous learning curve for beginners; limitless nuance and complexity in the hands of a virtuoso. But in the end\, the enormous multiplicity of musical styling\, allows a creative mind to wander in any direction\, the acoustic guitar serving as a blank page\, ready to receive any creative urge. \nThis evening Bowerbird brings together three unique perspectives in the pantheon of acoustic guitar: multi-instrumentalist Tetuzi Akiyama visiting from Japan\, internationally-renowned Philadelphia based Jack Rose\, and local DIY scene favorites\, Little Ocean; all performing in the intimate and historic surroundings of the 18th century home of Samuel Powel\, Philadelphia. \nWHAT TO EXPECT \nThose acquainted with music happenings in Philadelphia in recent times may remember Tetuzi Akiyama from his blazing Boogie Woogie set at Tequilla Sunrise a couple years ago. Tetuzi is frequently associated with the insurgent improvising community in Tokyo generated around guitarist Taku Sugimoto but to be sure his sound owes as much to a unique strain of country blues engulfed in negative space. His loosely strewn playing skirts the usual cliches of the guitar in both the free improv and traditional folk scenes. Sit back\, let your ears bear witness to a zen blues of the most elemental\, meditative form. \nWhile the new century’s novel folk has already seen significant definition\, Rose is largely alone in talking new century ideas with the old language; (Pitchfork) Often and rightly compared to the late\, great John Fahey\, Jack Rose has established himself as preeminent proponent of the finger plucking American Primitivism (a term Fahey coined himself) movement. With its roots in Appalachian Folk and Country Blues traditions\, the complex and avant-garde nature of this movement (the weighted prevalence of ostinatos and accompaniment patterns over linear melody and song forms\, or the unusual guitar tunings\, for example)\, is often overlooked.  At the hands of Rose\, the level of subtlety and nuance reaches a new level of perfection\, appealing to the intellect with out sacrificing beauty. \nLittle Ocean\, originally conceived as a math rock on acoustic guitars collaboration between Ben Remsen and Jake Anodide\, has reinvented itself in various manifestations\, including the more aggressive (and louder) Big Ocean\, and most recently a trio version with Elliot Klein on keyboards. Here again expect a strong influence of Fahey\, but with an additional touch of Terry Riley minimalism and up-tempo Don Cab. This evening\, for the first time ever\, the trio will perform in an all acoustic guitar configuration. \nTetuzi Akiyama’s performance is made possible by the High Zero Foundation in Baltimore\, MD.
URL:https://www.bowerbird.org/event/tetuzi-akiyama-jack-rose-little-ocean/
LOCATION:Powell House Museum\, 244 South 3rd Street\, Philadelphia\, PA\, 19106\, United States
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080802T080000
DTEND;TZID=America/New_York:20080802T170000
DTSTAMP:20260426T023837
CREATED:20190610T165406Z
LAST-MODIFIED:20190610T165406Z
UID:10001024-1217664000-1217696400@www.bowerbird.org
SUMMARY:TATSUYA NAKATANI | DAVE DOVE | JAWWAAD TAYLOR | GABE GLOBUS-HOENICH | PATTY FRANCESCHY | DAN CAPPECHI | ASHLEY DEEKUS | DAWN WEBSTER
DESCRIPTION:Although civilization’s oldest instruments were percussion\, the full investigation of its potential as generators of non-rhythmic textures is a more recent phenomenon. The Japanese-born and Pennsylvania-resident Tatsuya Nakatani\, among today’s most exciting performers\, has distinguished himself as a constant leader in innovative approaches to percussion. Often surrounded by a battery of gongs\, cymbals\, bells\, and singing bowls\, Nakatani commands a universe of sounds with both athletic poise and painterly delicacy. For this performance\, Nakatani will be joined by two Houston-based musicians: \nDavid Dove and Jawwaad Taylor\, both making their first ever Bowerbird appearances. David Dove’s trombone improvisations can be described as the sound of lips\, breath\, voice\, and tongue\, amplified through a brass tube. He is the director of Nameless Sound (formerly the Deep Listening Institute Houston)\, a ground-breaking non-profit program that teaches improvised music and listening skills to youth. It was at Nameless Sound where Jawwaad Taylor\, a former student of Dove’s\, first began to formally develop his childhood interest in the spontaneity of free improvisation. Taylor\, also an active hip-hop artist\, uses trumpet\, voice\, and electronics when performing in a free improv setting. \n 
URL:https://www.bowerbird.org/event/tatsuya-nakatani-dave-dove-jawwaad-taylor-gabe-globus-hoenich-patty-franceschy-dan-cappechi-ashley-deekus-dawn-webster/
LOCATION:University City Arts League\, 4226 Spruce St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/download-4-3.jpg
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DTSTART;TZID=America/New_York:20080730T200000
DTEND;TZID=America/New_York:20080730T230000
DTSTAMP:20260426T023837
CREATED:20190610T164529Z
LAST-MODIFIED:20190610T164529Z
UID:10001022-1217448000-1217458800@www.bowerbird.org
SUMMARY:ARAM SHELTON | DAN BLACKSBERG | MATT DAVIS
DESCRIPTION:ARAM SHELTON’S   ARRIVE  (Chicago\, IL)\nDAN BLACKSBERG’S   SYNTHESIS MUSIC\nMATT DAVIS   SOLO \nThe quartet of Aram Shelton\, Jason Adasiewicz\, Jason Roebke and Tim Daisy. Arrive features Shelton on alto saxophone\, Adasiewicz on vibraphone\, Roebke on bass and Daisy on drums. All four are active players in the modern international creative music world\, with Tim Daisy being a frequent collaborator of Ken Vandermark\, Jason Roebke being tightly involved with Fred Lonberg-Holm\, and Jason Adasiewicz being an integral member of Rob Mazurek’s Exploding Star Orchestra. \nThe music for the debut self-titled album was written by Shelton in the Winter of 2001 and is strongly influenced by the music of John Tchichai\, Steve Lacy and Ornette Coleman. It was recorded by Devin Davis at Acme Recording in Chicago in 2001 and released in 2005 by 482 Music as part of their Document Chicago series.
URL:https://www.bowerbird.org/event/aram-shelton-dan-blacksberg-matt-davis/
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/download-6.jpg
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DTSTART;TZID=America/New_York:20080726T200000
DTEND;TZID=America/New_York:20080726T230000
DTSTAMP:20260426T023837
CREATED:20190610T163828Z
LAST-MODIFIED:20190610T163828Z
UID:10001020-1217102400-1217113200@www.bowerbird.org
SUMMARY:TIM FEENEY | NEWTON ARMSTRONG | NATE WOOLEY | JESSE KUDLER | IAN FRASER
DESCRIPTION:Join Bowerbird for an evening of improvised experimental music featuring a Philadelphia premiere and only the second-ever duo performance from two linchpins of the Philadelphia scene. The three-state-spanning trio of Bowerbird favorites Newton Armstrong (from Dartmouth\, NH\, originally Australia)\, Tim Feeney (Ithaca\, NY)\, and Nate Wooley (Jersey City) appears for the first time as a trio\, presenting precarious improvised constructions using a home-made computer instrument\, amplified springs and boxes\, and a minimally adorned trumpet. Even more impressively – if past performances from the individuals are anything to go on – they will surely manage to find a compelling group logic through transformations of same. \nIan Fraser and Jesse Kudler should be familiar to any close-watchers of Philadelphia’s small experimental music community. They play together frequently\, in the large group Benito Cereno and in smaller trios\, but this will be only their second-ever duo performance. Both share a fascination with re-purposed consumer tools: laptops\, tape players\, radios\, hacked guitar pedals\, guitars\, etc. Fearing neither\nsilence nor harsh “un-musical” sounds\, the two embrace unexpected contrasts and turns in sound-making. \nThe current exhibition at Pageant Soloveev features the work of Hunter Stabler and may be viewed during the event.
URL:https://www.bowerbird.org/event/tim-feeney-newton-armstrong-nate-wooley-jesse-kudler-ian-fraser/
LOCATION:Pageant : Soloveev\, 607 Bainbridge Street\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/natewooley_top.jpg
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