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DTSTART;TZID=America/New_York:20081022T080000
DTEND;TZID=America/New_York:20081022T170000
DTSTAMP:20260426T035956
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:20260426T035956
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’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:20260426T035956
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 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:20260426T035956
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081003T200000
DTEND;TZID=America/New_York:20081003T230000
DTSTAMP:20260426T035956
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:20260426T035956
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:20260426T035956
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:20260426T035956
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.  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 «Untitled Sound Objects» 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:20260426T035956
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.  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:20260426T035956
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080730T200000
DTEND;TZID=America/New_York:20080730T230000
DTSTAMP:20260426T035956
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080726T200000
DTEND;TZID=America/New_York:20080726T230000
DTSTAMP:20260426T035956
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080621T080000
DTEND;TZID=America/New_York:20080621T170000
DTSTAMP:20260426T035956
CREATED:20190610T163142Z
LAST-MODIFIED:20190610T163142Z
UID:10001018-1214035200-1214067600@www.bowerbird.org
SUMMARY:JACK QUARTET
DESCRIPTION:The Jack Quartet performs IANNIS XENAKIS : ST/4 and JOHN ZORN : Cat O’Nine Tails \nJACK QUARTET\nJohn Pickford Richards\, viola\nAri Streisfeld\, violin\nChristopher Otto\, violin\nKevin McFarland\, cello \nPraised for its powerhouse playing by the Chicago Sun-Times\, the JACK Quartetmaintains a steady appetite for today’s most demanding string quartet repertoire. Comprising violinists Christopher Otto and Ari Streisfeld\, violist John Pickford Richards\, and cellist Kevin McFarland\, the quartet has given high-energy performances in Europe and North America including appearances at Carnegie Hall\, La Biennale di Venezia\, the Lucerne Festival\, and the Festival Internacional de Musica Contempornea de Michoacacute. \nThe members of the quartet met while attending the Eastman School of Music\, where in addition to learning standard and contemporary repertoire they pursued period\, non-western\, and popular performance styles. The quartet has studied with the Arditti Quartet at the Pro-Bio Foundation Summer School for Contemporary Quartet Music\, the Kronos Quartet at the Weill Music Institute at Carnegie Hall\, and members of the Ensemble Intercontemporain at the Lucerne Festival Academy. \nThe Comissioning and performance of new works for string quartet is integral to the JACK Quartet’s mission\, leading them to work closely with composers Helmut Lachenmann\, Wolfgang Rihm\, Matthias Pintscher\, Aaron Cassidy\, Aaron Travers\, Roberto Rusconi\, Cristian Amigo\, Robert Wannamaker\, Randall Woolf\, Kirsten Broberg\, Alexandra du Bois\, and Samuel Adler. \nThe quartet has worked with composition students at Northwestern University\, the University of Illinois at Urbana-Champaign\, and in Italy for the Intrasonus Project. In addition to working with composers and performers\, the JACK quartet seeks to broaden and diversify the potential audience for new music through educational presentations designed for a variety of ages\, backgrounds\, and levels of musical experience.
URL:https://www.bowerbird.org/event/jack-quartet/
LOCATION:Kimmel Center\, Broad and Spruce Streets\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/jack_top-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080615T080000
DTEND;TZID=America/New_York:20080615T170000
DTSTAMP:20260426T035956
CREATED:20190610T162049Z
LAST-MODIFIED:20190610T162139Z
UID:10001016-1213516800-1213549200@www.bowerbird.org
SUMMARY:JEFFREY ALLPORT / GREG REYNOLDS / BONNIE JONES / TANDEM ELECTRICS / TIM ALBRO / BLACKBIRD
DESCRIPTION:JEFFERY ALLPORT percussion\nGREG REYNOLDS saxophone\nBONNIE JONES circuit bending\nVancover – NYC – Baltimore \nGregory Reynolds is a musician whose drive to investigate and explore the dynamics of modern sound making has shaped his unique identity as a performer\, composer\, listener\, and thinker. At the root of his practice is an attempt to present a personal vocabulary of sound events and spaces that challenge and re-orient the listener by emphasizing a relationship to acoustic phenomena outside the usual context of ‘historical’ listening particular to well worn tropes and styles. He endeavors to facilitate an experience of heightened sensitivity and awareness of physical\, architectural\, and spiritual qualities by leaving room to engage each listener in a unique dialogue. His unlikely main vehicle in these pursuits has been the alto saxophone\, on which for many years he has been developing a variety of acoustic extended techniques drawing from such influences as water\, white noise\, cd skips\, and the complex drones of industrial and domestic machinery. Currently he is working on a variety of different projects\, many which find him working with new musicians\, dancers\, environments\, and sound making devices. \nBonnie Jones works with sound\, text and performance. Born in 1977 in South Korea she was raised by dairy farmers in New Jersey\, and currently resides in Baltimore\, MD. In sound performances Bonnie plays the circuit boards of digital delay pedals. Her primary sound collaborators are Joe Foster in Korea (as the duet “English”) and Andy Hayleck. She is also a member of the Performance Thanatology Research Society\, a inter-discipinary performance group dedicated to the advancement of a higher histrionics brought on by imminent finalities. Bonnie has performed at the Kim Dae Hwan Museum\, the Ontological-Hysteric Theater\, the ErstQuake Festival\, and the 14 Karat Cabaret. \nVancouver-based percussionist Jeffrey Allport approaches the physical nature of his chosen instrument through a variety of preparations and implements to liberate a unique palette of sounds. Respecting each\ncarefully extracted tone\, thump and scrape in addition to the silence from which they are borne\, his exploratory improvisations inhabit minute sound worlds\, eschewing the grand gesture. In addition to solo work\, Allport has enjoyed a lengthy collaboration with Tim Olive\, releasing three CDís since 1998. They have also toured in Canada\, the US\, Western Europe and Japan. Summer 2007 saw the LP release of his duo with Tetuzi Akiyama\, recorded during a small tour of the Northwest in the summer of 2006. Frequently participating in once-only groupings has led him to performing and recording with a wide variety of improvisers from around the world including Annette Krebs\, Nate Wooley\, Gust Burns\, Andrea Neumann\, and Keith Rowe. \nTANDEM ELECTRICS\nRichard Kamerman amplified laptop circuits\nReed Evan Rosenber programming\nNew York City \nRichard Kamerman is a composer\, sound designer\, and improvisational musician from NYC. Although\,\nessentially a percussionist\, he rarely performs behind a drum kit\, preferring to explore the percussive\nbehaviors of repurposed electronics (often a system of found mechanical parts – fans\, motors\, etc – in this\ncontext\, a computer). His music has been released internationally and his compositions performed by\nmembers of the SEM Ensemble and New York Soundpainting Orchestra. \nTANDEM ELECTRICS\nRichard Kamerman amplified laptop circuits\nReed Evan Rosenber programming\nNew York City \nReed Evan Rosenberg is a Brooklyn based musician and programmer. In both improvised and not improvised performances he often utilizes programs that he creates in the Max/MSP environment in combination with contact microphones and electronics. He creates grinding Mego-inspired digital noise under the alias Wet Fur. Reed curates shows at the Baghdad space in Brooklyn and co-runs the rar label. \nAs severe and jarring as it is tense and brooding\, Tandem Electrics is an improvised experiment in bridging the gap between Noise and the nebulous area of music called EAI. Rough electronic splatter\, complex drones\, and the ugly sound of modern technology that we aren’t supposed to hear. \nTIM ALBRO guitar / electronics\nPhiladelphia\, PA \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. \nDAN BLACKSBERG trombone\nDUSTIN HURT trumpet\nPhiladelphia\, PA \nBrass\, and the sounds of. Imagine it. Regal and triumphant.  A trumpet and a trombone.  Now forget it. You won’t hear any of that from this duo. \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. \n 
URL:https://www.bowerbird.org/event/jeffrey-allport-greg-reynolds-bonnie-jones-tandem-electrics-tim-albro-blackbird/
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/albro_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080610T080000
DTEND;TZID=America/New_York:20080610T170000
DTSTAMP:20260426T035956
CREATED:20190610T170228Z
LAST-MODIFIED:20190610T183333Z
UID:10001026-1213084800-1213117200@www.bowerbird.org
SUMMARY:JOHN WIESE | NEW MONUMENTS | MORALLY GRAY |  KUDLER | FRASER DUO
DESCRIPTION:NOISE TOURISM \nPerhaps it ís serendipity\, but maybe the level of excitement over the last several years has gotten out\, and our city is finally a must stop on any east coast tour itinerary. Either way\, we are thrilled that two separate tours\, John Wiese (solo) and The New Monuments\, have converged on Philly for a single night. And even though this is a star-studded affair\, this should by no means overshadow the fantastic Philadelphia based artists featured this evening: Morally Gray and the Kudler / Fraser duo. \nWHAT TO EXPECT \nJohn Wiese the prolific Los Angles based artist and composer who has worked with everyone from Wolf Eyes and Sunn O))) to Nico Vascellari at last years Venice Biennale\, will be performing a solo set with electronics and laptop. Expect frenetic noise assaults pulsating brutally in stereo. Expect strange things to happen in your inner ear as Wiese strikes on some acoustic phenomenon. But mostly\, expect it to be amazing. \nNew Monuments\, on its inaugural tour\, is a new collaboration between Don Dietrich founding member of the legendary Borbetomagus; percussionist Ben Hall\, who may be best known for Graveyards\, his collaboration with John Olsen (Wolf Eyes) and Hans Buetow (both Hall and Beutow appeared on bowerbird in 2006 in trio with NYC based Trumpeter Nate Wooley as Melee); and voice and string manipulator C Spencer Yeh\, who often performs under the project name Burning Star Core\, and redefines the word prolific. Here\, expect the unexpected. Fans of Dietrichís Borbetomagus may be surprised by a new facet of his playing\, while Yeh and Hall will likely bring a dimension that will appeal to both listeners of noise and free impov music. \nTHE PHILADELPHIA STORY \nMorally Gray is a tape and minimal electronics project of Mat Rademan (Newton / Breathmint Records) and Marc Zajack (Antler Piss / Deep Fried Tapes). At times the music can be restrained and even quiet\, but thatís just a prelude to the no nonsense noise assault you are about to be subjected to. But this is no amateurish freak out ñ even at heightened levels of intensity this duo is able to react in subtle and measured cooperation. \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 silence nor harsh “un-musical” sounds\, the two embrace unexpected contrasts and turns in sound-making.
URL:https://www.bowerbird.org/event/john-wiese-new-monuments-morally-gray-kudler-fraser-duo/
LOCATION:Circle of Hope\, 1125 S Broad St. 2nd Fl\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/benhall_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080605T200000
DTEND;TZID=America/New_York:20080605T230000
DTSTAMP:20260426T035956
CREATED:20190610T160919Z
LAST-MODIFIED:20190610T160919Z
UID:10001014-1212696000-1212706800@www.bowerbird.org
SUMMARY:BREAKFAST? / ARCHITEUTHIS WALKS ON LAND / TOSHI MAKIHARA / TATSUYA NAKATANI / LATRALMAGOG
DESCRIPTION:Breakfast? is a trio consisting of tenor saxophone\, electric guitar and drumset based in Philadelphia and Brooklyn. Their music is a blend of semi-composed\, semi-improvised newness; they exemplify a distinct\nand singular group aesthetic and musical vocabulary. They employ and enjoy the use of pulse (both abstracted and real)\, references to tonality and form to create comprehensible yet exciting and unusual\nmusic. Their focused and direct approach yields high impact and compact abstractions of stuff that normal people would listen to. \nMembers include Bryan Rogers (Shot x Shot\, Aerial Photograph\, Bobby Zankel)\, Amnon Freidlin (Normal Love\, Pepi Ginsberg\, West Philadelphia Orchestra) and Pete Angevine (SATANIZED\, illuminea\, A Storm of Light\, Pepi Ginsberg). \nARCHITEUTHIS WALKS ON LAND\nAmy Cimini – viola\nKatherine Young- bassoon\nNew York\, NY \nArchiteuthis Walks on Land is Amy Cimini and Katherine Young’s improvised project. Cimini (viola) and Young (bassoon) explore the full expressive parameters of the duo form\, working with the material and textural ranges of their instruments. Architeuthis’s music spans from a slowly unfolding intimacy to a jagged\, kinetic style. Both soloistic and often drone-oriented\, the duo draw on their interests in contemporary classical music (which is how they first performed together more than seven years ago)\, free music\, and rock. Cimini and Young played together in the piratical folk-pop band The William Young and are part of the trio Civil War (with Adam Sonderberg) and the new music collective Till by Turning. They’ve worked with Fred Lonberg-Holm\, Jessica Pavone\, Jason Ajemian\, Aram Shelton\, Carol Genetti\, and Anthony Braxton\, among others. \nTOSHI MAKIHARA percussion\nTATSUYA NAKATANI percussion\nPhiladelphia / Easton\, PA \nToshi Makihara studied drums\, percussion and improvisation with Sabu Toyozumi\, a prominent percussionist in Tokyo. Since arriving in the United States in the late 1970’s 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 and Leah Stein Dance Company among others\,\nand 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. \nTatsuya Nakatani is originally from Osaka\, Japan. In 2006 he performed in 80 cities in 7 countries and collaborated with 163 artists worldwide. In the past 10 years he has released nearly 50 recordings on CD. \nHe has created his own instrumentation\, effectively inventing many instruments and extended techniques. He utilizes drumset\, bowed gongs\, cymbals\, singing bowls\, metal objects\, bells\, and various sticks and bows to create an intense\, organic music that defies category or genre. His music is based in improvised/ experimental music\, jazz\, free jazz\, rock\, and noise\, yet retains the sense of space and beauty found in traditional Japanese folk music. \nIn addition to live solo and ensemble performances he works as a sound designer for film and television. He also teaches Masterclasses and Workshops at the University level. He also heads H&H Production\, an independent record label and recording studio based in Easton\, Pennsylvania. He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster as well as a Bronx Arts Council Individual Artist grant. \nLATRALMAGOG\nAL BERKHEIMER acoustic and electronic instruments\, percussion\nETHAN TRIPP acoustic and electronic instruments\, percussion\nPhiladelphia\, PA \nAl Berkheimer and Ethan Tripp have both been making experimental music in various forms since the late 90’s. Ethan focusing primarily on homebrew electronics\, improvised instruments and tape loops\, and Al\, on soundscapes and audio experiments. The two began playing music together in early 2007 at the behest of a mutual friend. After some initial discussion they decided the best way to get to the place they desired musically\, was to get together and improvise. The first experience of making improvised music together\, kick-started a weekly meet-up and recording session\, that has already produced to a large body of work. LATRALMAGOG is a continual exploration of sonic environments and the moods\, images and feelings they evoke. \n 
URL:https://www.bowerbird.org/event/breakfast-architeuthis-walks-on-land-toshi-makihara-tatsuya-nakatani-latralmagog/
LOCATION:Circle of Hope\, 1125 S Broad St. 2nd Fl\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/la_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080603T080000
DTEND;TZID=America/New_York:20080603T170000
DTSTAMP:20260426T035956
CREATED:20190603T170739Z
LAST-MODIFIED:20190610T183447Z
UID:10001038-1212480000-1212512400@www.bowerbird.org
SUMMARY:NDREA NEUMANN / STEPHANE RIVES / JACK WRIGHT TRIO / BENITO CERENO
DESCRIPTION:Born 1968 in Freiburg\, grew up in Hamburg. Since 1996 primarily active as improviser and composer in the areas of experimental and new music. In the process of exploring the piano for new sound possibilities\, she has reduced the instrument to strings\, resonance board and metal frame. With the help of electronics to manipulate and amplify the sounds (sometimes to make parts of the sound audible which are inaudible without amplification)\, she has developed numerous new playing techniques\, sounds\, and ways of preparing the dismantled instrument. Because the original inside piano is very heavy\, a piano builder (Bernd Bittmann\, Berlin) constructed a new and lighter one for her. She has worked intensively in the crossover area between composition and improvisation\, and in the field between electronic and handmade sounds\, with Berlin musicians such as Annette Krebs\, Ignaz Schick\, Axel D\, Robin Hayward and Burkhard Beins \nStephane Rives \n‘The mechanism of the saxophone permits a concrete-acoustic approach to the instrument. The possiblilities of acting directly on the pads and the flexibility of the reed offer subtle means of altering the sonic wave generated by breath. Once one adopts a way of thinking based on the sort of filtering any electronic musician does\, one&rsquo;s attention is drawn to the tiny micro-events that are barely audible in a traditional approach. The sonic planes twist and acoustic distortion emerges\, revealing the subtle grains and textures lying &ldquo;inside&rdquo; the acoustic sound. New materials arise as though they had always been right there\, hidden behind the immediately perceptible. In order to gain control of them\, one reduces any idea of willful intervention to an absolute minimum\, leaving only the flow of air through the metal cone\, an action that is discrete in certain parameters. \nMy playing is not about arriving at something; instead\, it is an instant that answers to that logic. My musical reflection focuses on questions of praxis. I am not driven by musical intention in the strict sense of the term\, but the experience of sound I propose represents a means of; the listener\, a way of questioning\, of shaking up his feeling of psycological security and transforming his relationship to listening. \nJack Wright has over sixty partners around the US and in Europe with whom he plays on his travels and records. His most recent tours have been with Fabrizio Spera and Alberto Braida in Italy; with Agnes Palier and Olivier Toutlemond in France\, Switzerland and Germany\, with Michael Johnsen and Sebastien Cirotteau in Europe; with French soprano sax player Michel Doneda and percussionist Tatsuya Nakatani in Japan\, France and the US; Carol Genetti\, sound vocalist of Chicago\, and Jon Mueller\, percussionist of Milwaukee; cellist Bob Marsh of the Bay area; Nate Wooley\, trumpet\, of NYC in Europe; Michael Griener percussion and Sabine Vogel flute of Berlin; Reuben Radding\, NYC bassist; and Phil Durrant\, English laptop musician. \nBENITO CERENO\nTim Albro(guitar\, radios\, electronics)\nIan Fraser (laptop\, tapes\, radios and electronics)\nDustin Hurt (trumpet)\nJesse Kudler (guitar\, electronics\, synthesizer\, radio\, and tapes)\nChandan Narayan (autoharp)\nPHILADEPHIA \nBenito Cereno is Tim Albro (guitar\, radios\, electronics)\, Ian Fraser (laptop\, tapes\, radios and electronics)\, Dustin Hurt (trumpet)\, Jesse Kudler (guitar\, electronics\, synthesizer\, radio\, and tapes)\, and Chandan Narayan (autoharp). Benito Cereno began as an attempt to move beyond typical duo and trio improvising logics and &quot;dialogical&quot; improvising conventions into a space where a relatively large number of acoustic\, electro-acoustic\, and electronic instruments could function together towards a massed group sound. The quintet is now looking towards personalized compositions as a means to further explore sound arrangement. In fitting with its instrumentation\, spread along the spectrum of fully acoustic to fully electronic\, Benito Cereno’s sound includes warm acoustic tones\, austere sine waves\, and rough-and-tumble blasts of noise. \nTheir debut recording\, another\, is a rich\, gnarly work\, drone-oriented in terms of its consistent thickness and drive but undermined periodically over its 16 minute length by natural-sounding fissures and junctures that force the music to slant down unexpected passages. The density of the first half gives way to a well-considered sparse section where one is impressed to hear the quintet reining itself in so capably. When a drone is re-established\, it’s occupying a very different though no less complicated zone\, an area with acidic overtones. A tight\, excellent first offering from this ensemble\, hopefully the first of many.&quot;</em> – Brian Olewnick
URL:https://www.bowerbird.org/event/ndrea-neuman-stephane-rives-jack-wright-trio-benito-cereno/
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/images.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080603T080000
DTEND;TZID=America/New_York:20080603T170000
DTSTAMP:20260426T035956
CREATED:20190603T164344Z
LAST-MODIFIED:20190610T183511Z
UID:10001031-1212480000-1212512400@www.bowerbird.org
SUMMARY:PIMA Group: Look!
DESCRIPTION:PIMA Group is a non-profit dance and music company based in Philadelphia that performs and presents innovative live music and dance\, developing new approaches to the integration of dance\, music and visual art. PIMA Group is currently undertaking a residency with Landmarks Contemporary Projects that will result in an original\, site-specific performance piece at the Powel House Museum in February 2008. \nCome share in the experience as PIMA performers take an intimate-sized group through the historic home in which Benjamin Franklin’s daughter\, Sarah\, shared in a dance with George Washington. As the audience moves throughout the rooms of the house\, the gentle movement of the dancers creates an immersive experience. The setting of the Powel House Museum offers a multitude of inspiring intrigues\, inviting the audience to interact with and examine this historic home through contemporary dance. The challenge of commenting upon the historical while maintaining a refreshing and new artistic aesthetic is of utmost interest to PIMA choreographer Melisa Putz. Look! is inspired by the colors\, furniture and the beauty of a historical time period…a time when the Powel House hosted some of the most elegant dancing of the age. \nPIMA Group explores the edges of works ranging from improvisational performance art work to more formal choreographed and composed pieces. PIMA Group regularly collaborates with outside artists and organizations. As part of its mission\, PIMA Group also offers dance classes and workshops throughout the year. PIMA Group was founded in 2001 by choreographer Melisa Putz and musicians Michael Barker and Thomas Clark. PIMA Group has performed at numerous venues nationally and internationally. Most recently\, PIMA Group was a part of the 2007 Sibiu Dans Festival in Sibiu\, Romania offering a seven-day dance technique and composition workshop along with a performance. PIMA Group has received two Temple University Space Grants\, selection for Susan Hess Choreographer’s Project\, a New Edge Dance Residency at the Community Education Center and most recently Artist-in-Residence as part of the Bowerbird@Landmarks Series. PIMA Group has received support from the Philadelphia Cultural Fund\, Fractured Atlas and Dance Theater Workshop’s Suitcase Fund. \n  \nTHE POWEL HOUSE MUSEUM \nBuilt in 1765 by merchant and businessman Charles Stedman\, this elegant Georgian brick mansion was purchased by Samuel Powel in 1769 at the time of his marriage to Elizabeth Willing. Samuel Powel\, a wealthy\, educated man who had toured the Continent for seven years before settling down\, served as the last mayor of Philadelphia under the Crown and was the first mayor of the city after the creation of the United States. Mayor Powel was later dubbed the Patriot Mayor.&rdquo; Mayor Powel and his wife were well known for their hospitality and frequently entertained such notable guests as George Washington\, John Adams\, Benjamin Rush\, Benjamin Franklin\, and the Marquis de Lafayette. \nDuring the early 20th century\, the house served as a warehouse and office for a business that imported and exported Russian and Siberian horse hair and bristles. The owners had sold much of the interior architectural detail to the Philadelphia Museum of Art and the Metropolitan Museum. Little more than a shell\, the building was slated for demolition and the site to be used for a parking lot. After learning of the imminent demolition\, Miss Frances Wister formed The Philadelphia Society for the Preservation of Landmarks (Landmarks) and raised sufficient funds to purchase the property in 1931. Over the next decade\, Miss Wister and Landmarks restored the house to its appearance during Samuel Powel residency\, interpreting the daily lives of wealthy Philadelphians at the time of the American Revolution. \nToday\, the rich history of the Powel House may be seen in its decorative arts collection\, its portraits of Powels and Willings\, and its formal\, walled garden so typical of Colonial Philadelphia. Its beautiful entryway\, ballroom with bas-relief plasterwork\, and mahogany wainscoting give the house its reputation as perhaps America&rsquo;s finest existing Georgian Colonial townhouse. \nLANDMARKS is an ongoing curatorial partnership that expands cultural offerings in Philadelphia by bringing experimental and improvisational music\, film\, dance and other creative\, genre-defying performing arts to historic sites in the region. Showcasing the newest performing arts is nothing new for Landmarks’ four historic\, 18th century houses—Grumblethorpe\, Physick House\, Powel House and Waynesborough. These houses would often have been the locations for recitals of the most  music of their time. Even Thomas Jefferson was known to have played the fiddle in the Powel House\, which was the one of the most significant cultural and social centers of colonial and revolutionary Philadelphia. Events in the bowerbird@LANDMARKS series revive this long-lost tradition of intimate concerts\, and provide an intelligent alternative for contemporary audiences.
URL:https://www.bowerbird.org/event/pima-group-look/
LOCATION:Powell House Museum\, 244 South 3rd Street\, Philadelphia\, PA\, 19106\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/080207_front.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080517T190000
DTEND;TZID=America/New_York:20080517T230000
DTSTAMP:20260426T035956
CREATED:20190603T185633Z
LAST-MODIFIED:20260129T034318Z
UID:10001012-1211050800-1211065200@www.bowerbird.org
SUMMARY:CHICAGO LUZERN EXCHANGE / DAN BLACKSBERG TRIO / BRACKETS & ARROWS
DESCRIPTION:CHICAGO LUZERN EXCHANGE\nJosh Berman cornet\nFrank Rosaly drums\nKeefe Jackson saxophone\nMarc Untern tuba\nChicago\, IL \nSo this is the beast that ought not to be — a music that is jazzlike in a number of ways but also is more or less measureless\, improvised from scratch and without pre-determined harmonic or structural frameworks. Oh\, yes\, it&rsquo;s a music that works\, is expressive\, and gives pleasure — which ever you prefer or all those things at once. Also\, it is both new and free &ndash; or perhaps that should be  and — in ways that touch upon the other good things mentioned above \nThe ensemble on Several Lights (cornetist Josh Berman\, tenor saxophonist Keefe Jackson\, tubaist Marc Untern&auml;hrer and drummer Frank Rosaly) calls itself the Chicago-Luzern Exchange because Untern&auml;hrer\, a native of the Swiss city of Luzern\, spent five months in Chicago in 2002 as part of a &quot;sister cities&quot; program. There\, Berman (a native Chicagoan)\, Jackson (originally from Arkansas)\, and Rosaly (from Arizona but a Chicagoan since 2001) were among the musicians with whom he found common cause. The group experienced an immediate chemistry during their first meeting. \nPeter Margasak writes about the CD Several Lights on Delmark Records in the Chicago Reader: So far Several Lights is holding up as one of this years finest jazz records: the players deliver feather-stroke free improvisation thats so deft and intuitive it feels almost composed\, casually combining the muted tones and understated gestures of 50s west-coast jazz with thoroughly contemporary rumbles\, snorts\, and whinnies. \nDAN BLACKSBERG TRIO\nDan Blacksberg trombne\nJon Barrios bass\nMike Szekely drums \nIn jazz\, improvisation is mostly framed by composition: the improviser spontaneously creates new music from within or in reference to a compositional framework. This framework might be a chord progression\, or a set of rhythms\, motifs\, gestures or any combination of the above. In this trio music\, this way of organizing sound is turned on its head since the basic sonic environment of this music is free improvisation. We do play compositions and they do still give us ideas to improvise from but here they are more like anchors or stopping points within the larger open improvisation. The foundation of the music is the musical histories of musicians themselves and their engagement with the demands of the moment\, not any kind of preexisting organization of sound. This way of playing music is not new. Jazz musicians and others from many styles of music that have improvisation have been exploring these kinds of possibilities for a long time. What this trio music does is give the developments made by these innovators a chance to be heard coming from the trombone as the leading force. This is a chance to push the capacities of the instrument into new territories and to look for new sonic ground to explore. \n-Dan Blacksberg. \nBRACKETS &amp; ARROWS\nWilly Cliffton saxophone\nBrandon May  keys\nJosh Machiz bass\nAlex Maio drums\nPhiladelphia\, PA \nBrackets &amp; Arrows is an improvisational quartet with strong leanings to experimental jazz &amp; rock. Hailing from the depths of Ben Schachter’s jazz theory class\, part of the idea of the band is to make improvised music less about the individuals and more about the group dynamic. There is no bandleader\, no magic man on the mic telling people how its gonna be. Its extremely democratic; we try to cut down on and instead have a collective improvised. wherever it goes for better or worse.
URL:https://www.bowerbird.org/event/chicago-luzern-exchange-dan-blacksberg-trio-brackets-arrows/
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/chicago_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080514T190000
DTEND;TZID=America/New_York:20080514T220000
DTSTAMP:20260426T035956
CREATED:20190603T185017Z
LAST-MODIFIED:20190603T185017Z
UID:10001010-1210791600-1210802400@www.bowerbird.org
SUMMARY:SHOT x SHOT
DESCRIPTION:ELI LITWIN / JON BARRIOS / CARLOS SANTIAGO \nDAVE SMOLEN \nLIONSHEAD (JULIUS MASRI / BEN REMSEN) \nplus a special screening of\nCHARLES COHEN AT THE BUCHLA MUSIC EASEL: a new short film by Alex Tyson \n* CD RELEASE SHOW *\nDan Capecchi- Drums\nMatt Engle- Bass\nBryan Rogers- Tenor Saxophone\nDan Scofield- Alto Saxophone\nPhiladelphia\, PA \nShot x Shots second album Let Nature Square\, their first studio recording\, is due to be released by High Two in May 2008. \nShot x Shot is a Philadelphia quartet that has forged a distinctive sound through five years of steady collaboration. Their work is based in collective improvisational compositions that run the gamut from delicate to ruthless. The band was formed in 2004 while the members were students at The University of the Arts in Philadelphia. They began performing at local venues and gradually extended their range to include New York\, Boston\, Chicago\, Montreal and other major cities. Shot &times; Shot has performed alongside Peter Brouml;tzmann\, Jeb Bishop\, Chicago Luzern Exchange\, Peter Evans\, Jack Wright and Pete Robbins among others. In 2007\, the band showcased at South by Southwest. Shot &times; Shot&rsquo;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. \nELI LITWIN percussion\nJON BARRIOS bass\nCARLOS SANTIGO violin\nPhiladelphia\, PA \nEli Litwin was born in 1983 in Morristown\, NJ. He began playing drums at the age of 9 and started his first rock band at age 11. Through high school he continued to play in a variety of rock bands as well as the high school jazz band. Eli chose to attend the Esther Boyer College of Music at Temple University where he studied drum set with Erik Johnson. Since graduating with his Bachelors of Music in Jazz Performance\, Eli has remained in Philadelphia to pursue music on both the performing and teaching ends. Though his area of expertise began largely in metal\, Eli has gained significant experience playing in jazz\, rock & avant-garde idioms as well. He is currently a member of Knife the Glitter\, Normal Love\, Time Is Like A Sword\, Inzinzac\, Bring It Inside\, Tweeter\, and Gun Muffs\, (to name a few). In his own time\, Eli composes a variety of music on the computer\, ranging from ambient and experimental electronic music to “crazy metal MIDIís” \nJon Barrios was born in New York and at the age of six months moved to Japan for 6 years. Later he moved to Venezuela\, South Korea and settled in Miami\, Fl where he began to study the guitar with cuban guitarist George Aguirre. After 12 years in Miami and having found a musical plateu\, Jon decided to move to his mother’s home town of Fayetteville\, AR to develop his music in the quiet of the Ozarks. During his stay in Fayetteville\, Jon switched to the double bass and met saxophonists Keefe Jackson (Chicago Luzern Exchange) and John Dikeman. At this time he became deeply involved with free improvisation much to the dismay of the locals. Currently Jon lives in Jack Wright’s house in Philadelphia and collaborates with house mates Alban Bailly\, Evan Lipson and Dave Smollen. \nDAVE SMOLEN solo electronics\nPhiladelphia\, PA \nDave Smolen (processed percussion/analogue electronics) Smolen began playing music at age 10 on the trumpet for 2 years\, then later switched to drums at 12. He went on to play rock music for 8 years. He then became interested in processing his drums with analogue phaser and ring modulator effects. After continued practice with this minimal setup\, he created one that consisted of ring modulators\, reverb units\, equalized distortion\,multi-modulation/oscillation effects\, an open circuit board of a digital chorus pedal and additionally 2 loop pedals. The electronic configuration provides a pitch “mask” over the original acoustic sounds from snare drum and various bells as well as electric sounds including feedback\, removed/broken inputs\, flipped effect switches and circuit bending. Each sound is either left live or sent through 2 loop pedals\, then reset at various tempos and/or enveloped in an overall reprocessed pitch. \nSmolen collaborates mainly with Philly locals such as John Heron in a proc. perc./electronics duo and with Joe Lentini (Max/MSP) in Clown Food. He has toured with Evan Lipson and Alex Nagle performing Nagle’s piece\, Flittermice of Eld. He was invited to perform in the 2006 edition of the internationally renowned High Zero Festival of Experimental Improvised Music in Baltimore\, where he performed with Stewart Mostofsky\, Rose Hammer\, Leonel Kaplan\, Alessandro Bosetti\, George Lewis\, Max Eisenberg\, Jake Freeman\, Jenny Graf Bibulah\, Michael Muniak\, and Jackie Stewart. Smolen’s diverse improvisations and compositions have been documented on two recent solo CDs released by Sprout. \nLIONSHEAD \nJulius Masri percussion\nBen Remsen guitar\nPhiladelphia\, PA \nLionshead is Julius Masri playing drums and Ben Remsen playing amplified acoustic guitar. Julius played in Kuru Kuru Pah (with members of Shot X Shot and Make a Rising) and Goldenball\, and currently plays in Circles and Chakra Khan/Air Pirates. Ben plays in Little Ocean and Big Ocean. \nCHARLES COHEN AT THE BUCHLA MUSIC EASEL\na new short film by Alex Tyson \nThis colorful video features sound artist Charles Cohen improvising on a 1970’s Buchla Music Easel. This extremely rare instrument is one of Don Buchla’s 200 series. Buchla (a pioneer of audio synthesis) only manufactured 14 of these units. The entire film (5’25”) was edited from an hour-long set of free improvisation\, with audio was taken directly from Charles’ mixing board. All of the photography and editing was produced by Alex Tyson\, a sound and video artist from Pennsylvania. The film was shot in 16:9 720p High Definition format\, using the Letus35 Extreme and a 35mm LensBaby 3GPL.
URL:https://www.bowerbird.org/event/shot-x-shot/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/shotxshot_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080510T200000
DTEND;TZID=America/New_York:20080510T200000
DTSTAMP:20260426T035956
CREATED:20190603T172529Z
LAST-MODIFIED:20190603T172529Z
UID:10001044-1210449600-1210449600@www.bowerbird.org
SUMMARY:WILL GUTHRIE /NEWTON ARMSTRONG / HOWARD STELZER
DESCRIPTION:Australian drummer/percussionist Will Guthrie uses home-made instruments\, amplified found and junk\, microphones &amp; electronics alongside more conventional drums and cymbals. Originally a drummer he has worked in many different settings of music: live performance\, improvisation\, studio composition. In Australia and France he organizes concerts and also runs the experimental improvised CD label and mailorder service; ANTBOY MUSIC. Regular collaborators past and present include Matthew Earle\, Adam Sussmann\, Ferran Fages\, Jean-Philippe Gross\, Greg Kingston\, Helmut Schaefer\, Julien Ottavi\, Manu Leduc\, Keith Rowe\, Jerome Noetinger\, Sebastien Coste\, Jean-Luc Guionnet\, Robbie Avenaim\, Erell Latimier\, Jim Denley\, Ren Walters\, Clayton Thomas\, Mark Simmonds\, Snuff Puppetts. Will currently lives in Nantes\, France. \n  \nNewton Armstrong “I’m a composer and performer. I’m also a teacher\, writer\, hacker\, and occasional builder of electronic musical instruments. I’m interested in how we listen\, how we make sense of sound\, and how we negotiate issues such as listening and sense-making when we decide to push sound about in time and space. I’ve found that other people have very different notions and experiences of time and space\, and that these differences are part of what makes other people fascinating. This has led me to work with all sorts of musicians\, writers\, dancers\, choreographers\, scientists\, engineers\, philosophers\, and film\, video\, and installation artists. Sometimes I think that art is only about asking questions. But it’s not just a matter of asking profound or beautiful questions\, it’s a matter of asking the right questions. Or maybe it’s that the right questions are always and inevitably profound and beautiful. I don’t know\, but there are some important questions still waiting to be asked.” \n  \nHoward Stelzer has been active as a composer and performer of electronic music since 1992. His visceral improvised music utilizes the qualities inherent to cassette tape and tape players; namely hiss\, the roll of tape across play heads\, the crackle of dirt caught inside old players\, play speed altered manually by pressure from fingers applied to the tape’s reels. Stelzer’s work tends to employ space and silence as well as gritty low-fidelity noise\, and is almost always centered on the physicality of live performance. Stelzer is a member of the BSC\, a large electro-acoustic orchestra led by sax player Bhob Rainey\, and the group Skeletons Out\, with Jay Sullivan. He also operates the Intransitive Recordings label for electro-acoustic and improvised music. and regularly hosts sound-art\, electronic and improvised music concerts by visiting and regional artists in the Boston area\, where he lives. \n  \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. \n  \nChandan Narayan (b.1975\, Alameda\, CA) plays the autoharp. His initial approach to the instrument was guided by complete naivety. Over the years he has refined his non-idiomatic techniques in the hopes of fooling the listener (and himself) with the autoharp as source of acoustic anomalies. He performs and records regularly with the all-acoustic Canadian power trio\, Glass Plates (with Jeffrey Allport and Robert D. Pedersen) and the Philadelphia quintet\, Benito Cereno. He has shared the stage and living room performing and recording alongside the likes of Kenny Roux\, Tomas Korber\, Gunter Muller\, Jesse Kudler\, Lee Hutzulak\, Christine Sehnaoui\, Angharad Davies\, Chris Cogburn\, Jonathan Sielaff\, and Gust Burns among others. Chandan owns and operates the Simple Geometry (www.simplegeometry.org) label. Current releases include a trio with Angharad Davies (violin) and Jeffrey Allport and another by Benito Cereno. \n 
URL:https://www.bowerbird.org/event/will-guthrie-newton-armstrong-howard-stelzer/
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/will-guthrie-ateliers-claus1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080428T200000
DTEND;TZID=America/New_York:20080428T220000
DTSTAMP:20260426T035956
CREATED:20190603T171815Z
LAST-MODIFIED:20190603T171815Z
UID:10001042-1209412800-1209420000@www.bowerbird.org
SUMMARY:Wooley\, Hübsch\,  Meehan Trio
DESCRIPTION:Born in 1966 in Freiburg\, Carl Ludwig Hübsch began basic training in music at the age of five. He played clarinet in the local traditional band and at the same time started to play drums in Punk and Rockbands. Around 83 he exchanged the clarinet for a tuba. Lessons with W.Erhart from the local orchestra followed. He experimented with all kinds of music including a incredibly bad dance music trio and a New Orleans Sextet. The discovery of Jazz and Improvisation led to studies in Improvisation with M.A.Fataah. Received certification at the Pedagogic College in Freiburg in singing\, theory\, drums and electronic music. In Cologne studies of New Music with Johannes Fritsch and tuba with H. Gelhar. Since 1990 Carl Ludwig Hübsch has lived in Cologne where he finally awarded a livelong stipendium from and for himself. He composes and performs in concert halls\, studios and theatres lending his talents to ensembles and orchestras. He’s well known for his unique solo concerts. He now concentrates on Improvised Music and Composition. He also leads Workshops for tuba and improvisation. \n  \nSean Meehan became musically active in the late ’80s at the Amica Bunker series for improvised music\, which was then housed at ABC No Rio in New York City. Meehan’s interest in improvisation and collaboration has taken him around the world where he has performed solo and with many local artists including players of folk instruments\, computer artists and avant-garde flower arrangers. Current performances generally find Meehan playing only the snare drum in a manner that sheds conventional usage and reconstructs the conception and function of the instrument. Meehan’s published recordings document some of his collaborations including work with Sachiko M; Mamoru Fujieda and Michihiro Sato; Edwin Torres and Muigel Algarin; and Tamio Shiraishi. \n  \nNate 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  \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. \n  \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  \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 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.
URL:https://www.bowerbird.org/event/wooley-hubsch-meehan-trio/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 South Broad St
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/WOOLEY-HUEBSCH-MEEHAN-TRIO.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080427T200000
DTEND;TZID=America/New_York:20080428T010000
DTSTAMP:20260426T035956
CREATED:20190603T170135Z
LAST-MODIFIED:20190603T170135Z
UID:10001035-1209326400-1209344400@www.bowerbird.org
SUMMARY:International Noise Conference on Tour 2008 Philadelphia
DESCRIPTION:International Noise Conference on Tour 2008 Philadelphia\, 20 Bands\, 15 minute sets. No lap tops. No mixers. No droning \nCurators Jared Burak & Mat Rademan. \nPrecious support pledged by Badmaster\, Malleable\, Zradio\, Deep Fried Tapes\, Send Help\, Bowerbird and curated by Lowest Fidelity and Breathmint. Show posters by Mark Price\, recording and live podcasting by Zradio\, DJ&rsquo;s Joe Lentini and Andrew Gaspar before and after the fest\, electronics workshops\, etc.\, our most ambitious show effort to date for the Rat Bastard. Thanks to Philadelphia Institute for Advanced Studies for hosting. \n  \n 
URL:https://www.bowerbird.org/event/international-noise-conference-on-tour-2008-philadelphia/
LOCATION:The Philadelphia Institute for Advanced Study\, 1712 N. 2nd St\, Philadelphia\, PA
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/INTERNATIONAL-NOISE-CONFERENCE.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080427T200000
DTEND;TZID=America/New_York:20080427T223000
DTSTAMP:20260426T035956
CREATED:20080427T184119Z
LAST-MODIFIED:20220906T222140Z
UID:10000785-1209326400-1209335400@www.bowerbird.org
SUMMARY:International Noise Conference on Tour 2008
DESCRIPTION:curators Jared Burak Mat Rademan\nLaundry Room Squelchers\nBig Ocean\nthe Black and Blues\nCars Will Burn! Vs. Holy Ghost\nColor is Luxury\nDave Smolen with tinnitustimulus\nDrums Like Machine Guns\nEmbarker\nHZL BRD\nM Ax Noi Mach\nMincemeat or Tenspeed\nOspreys\nPennsylvania\nPharmakon\nRuined\nSanguine Piss\nSatanized\nSuicide Magnets with Blue Shift\nSerpents of Wisdom\nWeyes Bluhd \nPrecious support pledged by Badmaster\, Malleable\, Zradio\, Deep Fried Tapes\, Send Help\, Bowerbird and curated by Lowest Fidelity and Breathmint. Show posters by Mark Price\, recording and live podcasting by Zradio\, DJ&rsquo;s Joe Lentini and Andrew Gaspar before and after the fest\, electronics workshops\, etc.\, our most ambitious show effort to date for the Rat Bastard. Thanks to Philadelphia Institute for Advanced Studies for hosting.
URL:https://www.bowerbird.org/event/international-noise-conference-on-tour-2008/
LOCATION:The Philadelphia Institute for Advanced Study\, 1712 N. 2nd St\, Philadelphia\, PA
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/noise_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080407T190000
DTEND;TZID=America/New_York:20080407T220000
DTSTAMP:20260426T035956
CREATED:20190603T181134Z
LAST-MODIFIED:20190603T181134Z
UID:10001004-1207594800-1207605600@www.bowerbird.org
SUMMARY:WOLF EYES | MINCEMEAT OR TENSPEED | ANGEL OF DECAY | TWEETER
DESCRIPTION:Wolf Eyes really tend to divide folks right down the middle. Love ’em or can’t stand ’em. And in typical Wolf Eyes fashion\, they’re did their very best to annoy the fuck out of everybody with their ‘big break’ Sub Pop debut. A caustic mouthful of acid\, spit right in your eyes (ears?). A head melting electronic throb\, equal parts damaged malfunctioning synths\, squealing feedback\, ultra distorted howls\, skittering skipping sort-of-rhythms. Wolf Eyes\, more than almost any other band\, definitely sound damaged and fucked and seriously messed up. But what keeps Wolf Eyes from being a boring old straight up noise band? Hard to say. But something definitely does. Some mysterious intangible something. They are definitely harsh\, bit in no way unlistenable. In fact it’s strangely beautiful and subtly (VERY subtly) melodic. Equal parts Factrix\, Merzbow\, Throbbing Gristle\, Whitehouse but all warped and twisted into the uniquely fucked sonic world of Wolf Eyes. \nMincemeat or Tenspeed at first come off as a smart ass take on Steven Reich. However\, as the needle grooves through\, Mincemeat builds on the riff\, shatters some rhythms\, and shifts into new hooks. This is loud minimalism and full of all kinds of great ideas. \nAngel of Decay is Jonathan Canady\, formerly of both Dead World and Deathpile\, who creates dark surrealism using vintage analog keyboards. Covered in Scars blends chilling dark ambient with words and concepts culled directly from a lifetime of personal nightmares. Relapse Records. \nAlex plays shredder guitar in bands like Normal Love\, Satanized\, Flittermice of Eld\, formerly Thoughtstreams\, etc. Jesse plays improvisation and noise with a bunch of people. Yngwie Malmsteen meets Maryanne Amacher. Loud\, high-frequency flutter and crunch. Now with Eli.
URL:https://www.bowerbird.org/event/wolf-eyes-mincemeat-or-tenspeed-angel-of-decay-tweeter/
LOCATION:Johnny Brendas\, 1201 N Frankford Ave\, Philadelphia\, PA\, 19121\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/mince_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080327T200000
DTEND;TZID=America/New_York:20080327T230000
DTSTAMP:20260426T035956
CREATED:20190613T151828Z
LAST-MODIFIED:20190613T151828Z
UID:10001057-1206648000-1206658800@www.bowerbird.org
SUMMARY:NEW TROMBONE
DESCRIPTION:MATTHIAS MULLER with CHRISTIAN MARIEN (trombone; drums) \nfree improv \nDAN BLACKSBERG (solo alto trombone) \nfree jazz \nSTEVE PARKER (trombone) \nnew and avant garde compositions for trombone \nLARRY TOFT (trombone) \n  \nABOUT THE ARTISTS \nThe collaboration of Matthias Müller and Christian Marien started\, when Matthias joined the band “Olaf Ton” in 2003. Playing together in various projects in the following period\, they worked on a common musical language\, which resulted in their duo-playing in 2006. Not only due to the unusual combination of trombone and drums\, they are very consciously trying to overcome conventions and to avoid obvious musical solutions. Free improvised music which uses and at the same time questions the full range of musical parameters such as dynamics\, density\, rhythm\, sound\, form and tonality\, requires extreme alertness and concentration on the musical process of both musicians. the outcome is a raw music\, at the same time brutal and peaceful\, ugly and nice. its aim to achieve the “highest form of beauty” at any time is overriding all musical decisions. \nMatthias Müller\, (1971)\, played together with some of the outstanding German improvisors such as Frank Gratkowski\, Matthias Schubert\, Gebhard Ullmann and Rudi Mahall as well as Albert Mangelsdorff. His CD “Bhavan”\, released on “Jazzhausmusik” in 2003\, was produced by musician\, festival maker\, producer and journalist John Corbett from Chicago. He played concerts in India\, Russia\, USA and many European countries. \nChristian Marien\, (1975)\, plays in various ensembles such as “Olaf Ton”\, “Momentum” and “Computerband”. He released CDs on “Leo-records”\, “2nd FLOOR Edition” and others. His recent artistic work concentrates on the development of his solo-playing (CD “sieben mal solo” released on Schraum in 2007) and on the collaboration with the performing artists “Ritsche&Zast”. \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. 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. 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 twice at the Krakow Jewish Music Festival as well as the Montreal Jazz Festival and is a well known presence at KlezKamp and KlezKanada. \n  \nTrombonist Steve Parker is active as a soloist\, chamber musician\, and arts educator. In the field of contemporary music\, he has been named a Fulbright Scholar by the US State Department to perform and commission works throughout Germany. Parker was awarded an ENCORE grant from the American Composers Forum to perform in the American premiere of David Lang’s MEN for solo trombone\, ensemble and video at the Gene Siskel Center in Chicago. He has commissioned and premiered over a hundred works in America and Europe. As a soloist\, Parker was a prizewinner in the International Trombone Association Lewis Van Haney competition in Helsinki\, Finland. He has soloed at the Spoleto Festival in Charleston\, SC\, BACKFABRICK in Berlin\, the Museum of Contemporary Art in Chicago\, Roulette in New York\, and the Bowerbird series in Philadelphia. He has been invited to present solo recitals at Oberlin Conservatory\, the College Music Society at Northwestern University\, University of Wisconsin-Milwaukee\, and College of Charleston in South Carolina. As a chamber musician\, he is cofounder of In Freundschaft\, a duo with cellist Jason Calloway that specializes in the modern works of German and American composers. They are frequent performers on the Bowerbird series in Philadelphia and perform throughout the US and abroad. Parker is also a member of the New York-based 2nd Instrumental Unit Contemporary Ensemble and has soloed with the MAVerick Ensemble in Chicago. As an orchestral musician\, Parker has received fellowships with the Lucerne Festival in Switzerland to work with Pierre Boulez and Ensemble InterContemporain\, the Spoleto Festival\, the Music Academy of the West in Santa Barbara\, CA\, and the National Repertory Orchestra in Breckenridge\, CO. He has performed with the Jacksonville Symphony\, Charleston Symphony\, Albany Symphony\, Harrisburg Symphony\, Monterrey Symphony\, and Sarasota Opera. Parker is active as an arts educator in Philadelphia where he is a Lead Teaching Artist for the Philadelphia Orchestra. As a Teaching Artist\, he helps to provide inner-city schools with musical instruction\, instruments and tickets to Philadelphia Orchestra concerts. He is currently working with filmmaker Danny Anker to implement a new music curriculum inspired by the documentary\, Music from the Inside Out\, throughout the Philadelphia Public School system. Parker has a BM Oberlin Conservatory where he received the Dean’s Talent Award to study with Jim DeSano and Robin Eubanks and holds a BA from Oberlin College in Applied Mathematics. He has a MM from Rice University where he studied with David Waters and David Kirk. At the Musickhochschule Trossingen in Germany\, he studied with Abbie Conant and Mike Svoboda. \n  \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.
URL:https://www.bowerbird.org/event/new-trombone-2/
LOCATION:Circle of Hope\, 1125 S Broad St. 2nd Fl\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/Matthias-Müller-and-Christian-Marien.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080322T190000
DTEND;TZID=America/New_York:20080322T230000
DTSTAMP:20260426T035956
CREATED:20190603T175748Z
LAST-MODIFIED:20190603T175748Z
UID:10001052-1206212400-1206226800@www.bowerbird.org
SUMMARY:CHRISTIAN KESTEN / ALESSANDRO BOSETTI / MIKE SZEKELY/JON BARRIOS/MATT ENGLE / CECILIA CORRIGAN
DESCRIPTION:Christian Kesten was born in 1966 and works as composer\, performance artist\, vocalist and stage director. He lives in Berlin\, Germany.His interest lies in thespace in-between: between music and theatre\, music and language\, between music and the visual arts. His pieces work with the space which opens up between the sound of language and the parallel\, non-illustrative action (-cycling 1990; des Kleinen bergewicht 1995; 45 seconds 2006). They make use of everyday spaces and their sounds\, including works made for train stations\, in which minimal sounds of winds and brass are spread over the station and mixed with sounds of trains and passers-by (nordbahnhof 1996\, bahnhof westend 1996\, bahnhof zoo 1997). welcome home is written for the squeaking doors of the Nordbahnhof station in Berlin and two violins which mirror the door sounds: the passers-by experience the music while on the move. In (o.T.) f&uuml;r klarinette in einem raum mit langem nachhall 1(1999) and 2(2000) [(without title) for clarinet in a space with a long reverberation time] the clarinet plays to its own reverberation as a second voice\, microtonally\, and thus refers to the presence of space. parochial (1998) &ndash; for the group &bdquo;Maulwerker&ldquo; (4 female voices\, trumpet/voice\, clarinet/voice\, alto saxophone + additional instruments) &ndash; was written especially for the space of the Parochialkirche in Berlin: sculptural shaped sounds are moved in space\, while trumpet\, clarinet and sax move mostly outside the space and so extending acoustic perception beyond the walls of the church. \nRecently he developed the ;video audio field recording\, by recording field sounds with a video camera\, composing dense and light sound textures of field recordings and live instruments. The projected images are always fixed camera angles\, filming spaces in-between\, the incidental\, the mundane: the Los Angeles catalogue; dodger stadium; cypress park; urban cafe restroom (all 2007). Kesten studied at the University of Arts (UdK) Berlin (Music: guitar\, piano\, voice; counterpoint/twelvetone-technique with H.Fladt; musicological thesis on &bdquo;Silence in the works of John Cage and Morton Feldman&ldquo;; Experimental music and music-theatre with Dieter Schnebel | Performance Art | Projects with the stage design class of Achim Freyer) and TU Berlin (German literature and linguistics). 1989-91 he studied privately with Michael Vetter (overtone singing\, vocal improvisation\, calligraphy/notation etc.). Movement studies with various teachers (Amos Hetz a.o.). \nSince 1987\, he has been performing new vocal music and experimental music-theatre throughout Europe and in New York\, Rio de Janeiro\, Israel\, Moscow and Tokyo. He currently works with the ensemble Maulwerker and as soloist. In a long collaboration with Dieter Schnebel he premiered most of his music theatre works since 1987. He has recently worked with Alessandro Bosetti\, Jacques Demierre\, Chico Mello\, Makiko Nishikaze\, Iris ter Schiphorst\, who wrote solo works or operas for him. Kesten conceives and curates the series &bdquo;maulwerker performing music (since 2005) in Berlin with programs like poems for feet pro cedere. Music as Process\, Situationen. Interpenetrations of art and life or Halts Maul. Screaming pieces from four decades\, with World Premieres by Antonia Baehr\, Alessandro Bosetti\, Bill Dietz\, J&uuml;rg Frey\, Robin Hayward\, David Helbich\, Michael Hirsch\, Sven-&Aring;ke Johansson\, Travis Just\, Christian Kesten\, Andrea Neumann\, Pauline Oliveros\, Dieter Schnebel\, Emmett Williams\, Istv&aacute;n Zelenka\, a.o. Since 2006\, he is co-curator of the experimental music concert series Labor Sonor at KULE Berlin. \nALESSANDRO BOSETTI\nvoice\, electronics\, saxopone\nBerlin / Milano / Baltimore \nAlessandro Bosetti\, composer and sound artist\, was born in Milan\, Italy in 1973. He works on the musicality of spoken words and unusual aspects of spoken communication and produced text-sound compositions featured in live performances\, radio broadcastings and published recordings. In his work he moves on the line between sound anthropology and composition often including translation and misunderstanding in the creative process. Field research and interviews often build the basis for his abstract compositions along with electro-acoustic and acoustic collages\, relational strategies\,trained and untrained instrumental practices\, vocal explorations and digital manipulations. Since he’s curious about differences he travels. Just in 2006 he’s been living and working in West Africa\, China\, Taiwan\, Holland\, Scandinavia\, United States \, Germany and Italy. For the future he plans to be living and working between Berlin (D)\, Milano (I) and Baltimore (USA). \nJon Barrios has performed with Toshi Makihara\, Dan Blacksberg\, Jack Wright\, Tatsuya Nakatani\, Anne West\, Dustin Hurt\, Alban Bailly\, Christine Shenoui\, Gerald Sloan\, John Dikeman\, Dan Scofield\, Jesse Kudler\, Marina Petersen\, Fabrizio Spera\, Raed Yassin\, and others. \nBarrios also founded the small label Lift Records\, which focused on limited edition short-run releases\nof curious projects. Other recent projects include Equis Equis Equis (with Bryan Rogers and Mike Szekely)\, trio music with Toshi Makihara and Jack Wright\, and the ongoing larger piece ìFantasy No. 1\,î a double bass and electronics project with a release due in June 2008. \nMatt Engle grew up ten minutes outside of Philadelphia in South Jersey. He now resides in Philadelphia where he is a working member of the music scene. Matt studied with Kevin McConnell and Tony Marino while attending The University of the Arts. He has an integral role in the longstanding improvisational outfit Shot x Shot\, as both a performer and composer. In addition to Shot x Shot\, Matt has played with\nTrio Rhizome (with Seth Meicht and Mike Szekely)\, the Seth Meicht Trio\, and Sonic Liberation Front. \nMike Szekely studied jazz at the Hartt School of Music\, led by saxophonist Jackie McLean. He has also studied percussion with drum master Milford Graves. Since 1993\, Michael has co-led various projects with saxophonist Allen Livermore (NYC)\, resulting in two recordings: Feet Musicís Assertions & sketches (Chroma Independent Media\, 1995) and the ALMS Trioís Advocates (Eighth Nerve Records\, 2005). Michael also co-founded Trio Rhizome (with Matt Engle and Seth Meicht) and\nhas worked with Dan Blacksberg\, Anthony Braxton\, Toshi Makihara\, Ed Mann\, Stephen Haynes\, Taylor Ho Bynum\, Jackson Moore\, and Matt Mitchell\, among others\, on various projects. \nCECILIA CORRIGANand guests\nvoice\, eletronics\nPhiladelphia\, PA \nCecilia Corrigan was born in Tokyo\, Japan and now grows old in Philadelphia\, Pennsylvania. Her past musical projects have included Kikillia\, Robbers of the Soil\, and various other monikers for collaborations with Meg Frisch and Jim Strong\, among others. She is interested in sound as synchronous play and polemic. Recorded music can be heard at this internet location: \nhttp://myspace.com/slothropianstars
URL:https://www.bowerbird.org/event/christian-kesten-alessandro-bosetti-mike-szekely-jon-barrios-matt-engle-cecilia-corrigan/
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/lift_mov.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080320T190000
DTEND;TZID=America/New_York:20080320T230000
DTSTAMP:20260426T035956
CREATED:20190603T174922Z
LAST-MODIFIED:20190603T174922Z
UID:10001050-1206039600-1206054000@www.bowerbird.org
SUMMARY:OSSATURA
DESCRIPTION:Elio Martusciello (electronics)\nFabrizio Spera (percussion and electronics)\nLuca Venitucci (accordion and electronics) \nSlought Foundation and Soundfield NFP are pleased to present an evening of new and experimental music featuring the Rome-based ensemble Ossatura and Philadelphia-based Ensemble Noamnesia on Thursday\, March 20th\, 2008. Ossatura features Elio Martusciello (electronics)\, Fabrizio Spera (percussion and electronics)\, and Luca Venitucci (accordion and electronics). Featured members of Ensemble Noamnesia will include Marina Peterson (cello)\, Katt Hernandez (violin)\, Evan Lipson (bass) and Gene Coleman (bass clarinet). \nAs part of the ongoing Soundfield series called &quot;EurEthos&quot;\, they will perform graphic scores by Anthony Braxton (&quot;Composition #10&quot; (1969)\, arranged by Art Lange)\, Alessandro Bosetti (&quot;Dogs Protected by an Invisible Fence&quot; (2008) and Gene Coleman (&quot;Atman III&quot; (2008) \nThis concert is part of the 2007-2008 &quot;Soundfield@Slought&quot; series. This program is supported by 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. \nImprovisation represents the backbone of the music played by Ossatura. The practice of improvising is integrated by discussion\, research and critical analysis\, all of which contribute to the elaboration of structures\, information and organizational modes. Their music is marked by a sequence of sound blocks and diversified interlocking timbres and shapes\, where detailed textural work alternates with rhythmic accelerations and highly dense sound events. Standard instrumental techniques are explored\, together with heterodox practices such as manipulation\, treatment\, electrification and amplification of various objects\, assuming noise as a structural element. Their improvisational work develops through electro acoustical elaboration in real time and the use of tapes\, which both expand and define the space where sound is manipulated. Ossatura tends towards a combination of non-musical languages through a creative process where music is but one of the components in a complex and extended project. \nElio Martusciello is a self-taught musician and composer and teaches electronic music and electro acoustics at the Conservatory of Cagliari\, Italy. \nFabrizio Spera has actively contributed as a percussionist to the contemporary and improvised music scene since the late eighties. His current projects and groups involve Ossatura Triowith John Butcher and John Edwards\, RARA ensemble\, and a trio with Alberto Braida and Lisle Ellis. \nLuca Venitucci attended musical studies at the scuola popolare di musica in Roma and studied composition with Boris Porena and Luca Venitucci. In the late eighties he began to participate in the activities of the improvised music scene in Italy and Europe\, and during the next decade performed with musicians including Mike Cooper\, Peter Kowald\, Otomo Yoshihide\, Thomas Lehn\, Axel Dorner and others. From 1996 to 2002 he has been part of zeitkratzer ensemble\, with whom he performed and recorded contemporary music scores by Cage\, Glass\, Stockhausen\, La Monte Young and James Tenney. He has undertaken original projects and collaborations with several experimental musicians and composers such as Christian Marclay\, Butch Morris\, Francisco Lopez\, Keith Rowe\, Phil Niblock\, Lee Renaldo\, and Nicolas Collins.
URL:https://www.bowerbird.org/event/ossatura/
LOCATION:The Slought Foundation\, 4017 Walnut Street\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/download-3.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080315T200000
DTEND;TZID=America/New_York:20080315T220000
DTSTAMP:20260426T035956
CREATED:20190603T174144Z
LAST-MODIFIED:20260129T034457Z
UID:10001048-1205611200-1205618400@www.bowerbird.org
SUMMARY:BLISTERNG VIRTUOSITY
DESCRIPTION:PETER EVANS trumpet\nCOLIN STETSON saxophones\nKATT HERNANDEZ violin \n*record release* \nWhat if Evan Parker played the trumpet? A possible answer to that captivating question comes in the personage of Peter Evans and his newly released solo venture on Psi. Evans adapts the familiar Parkerian extended techniques of circular breathing\, split tones and multiphonics to a degree that the surname\, first name similarity no longer seems simply a coincidence. Recorded within the reverberant acoustics of a chapel in Oberlin\, Ohio\, the location incidentally\, of his alma mater\, Evans holds an intimate recital. Five of the seven pieces feature him on piccolo trumpet\, the remaining two on a regular-sized variant. The smaller instrument accommodates a surprising amount of tonal breadth as the busy opener ìSentimentî effusively demonstrates. Growls\, slurs and glottal stops pepper an improvisation mainly concerned with pure sound over any semblance of conventional melody or rhythm. \nEvansí pitch command and ability to parse sound are pretty amazing\, especially in light of the unforgiving mouthpiece and the traditional octave limitations of his instrument. He regularly sets up a central striated line as base canvas\, spectral drones materializing above and below to create a flickering metallic chorus of pigments. The occasional dry scuttling clatter of ungreased valve buttons adds another percussive element. His accelerated constructions on ìRitualî bring these components into bold focus and find him filling the performance space with a huge supply of constantly fluctuating sound. Embouchure puckered tightly against trumpet and air squeezed outward in precisely parceled gusts\, the prolonged breath control on display is downright astonishing. \nìAirî is all laborious expulsions and pinpoint putterings with Evans referencing everything from throat singing to the reverberating drones of a didgeridoo\, culminating in a repeating carousel of Doppler tones that reminds me strangely of a lonely lighthouse lamp illuminating a craggy desolate shore. ìSlender Explosions of Noisesî initially features him at his most jazz-like\, sketching a busy\, bouncing succession of notes that grows progressively more abstract and elemental to conclude in a wash of whirring harmonics. ìClothes of Inhabitants Near or Far Awayî caps the set with a delicate tone poem coda that uncannily echoes Parkerís mellifluous blurred pitch exercises on soprano. Evans works regularly with a handful of East Coast improv collectives covering a sweep between free jazz and free improv with a naturalistic ease. This work definitely resides at the latter end of that spectrum and proves fully that Parkerís faith in his younger protÈgÈ is well founded. ~ Derek Taylor. Photo: Catto. \nColin Stetson was born and raised in Ann Arbor\, MI\, where he began to carve out his singular musical voice that channels John Coltrane&rsquo;s sheets of sounds\, as well as the post-modern beauty and angst of Sonic Youth and the Pixies. Using assorted saxophones\, clarinet\, flute and French horn\, Stetson has played and recorded with some of today&rsquo;s hottest and most revered musicians and bands\, like Arcade Fire\, Tom Waits\, TV on the Radio\, Antibalas\, Anthony Braxton\, Medeski\, Martin and Wood and Burning Spear. Studying with the likes of Roscoe Mitchell\, Donald Sinta\, Steve Adams and Henry Threadgill\, Stetson earned a music degree from the University of Michigan in 1997. More importantly\, extensive gigging with his band Transmission around Ann Arbor and Detroit earned him a reputation for being an exemplary improviser\, composer and circular breather. \nNever one to cage himself into categories\, Stetson joined forces with progressive jazz-rockers Larval\, as well as DJ Recloose\, which eventually led to Stetsons appearance on the acclaimed Cardiology recording. Along with the rest of Transmission\, Stetson moved to San Francisco in 1998\, befriending\, playing and recording with the likes of Fred Frith\, Kenny Wollesen\, Beulah and the late Matthew Sperry. Stetson and his Transmission brothers anchored a musical community that garnered high praise in the Bay Area press\, and eventually led to national and international attention when in 2002\, Tom Waits recruited Stetson to record on the landmark albums Alice and Blood Money (which led to Stetson making an appearance on David Letterman with Waits). \nWhile it is true to say that Stetson makes an impression whenever he plays\, his ability to become the music comes through best when he is the leader of a band\, or a one-man show. Since relocating to New York City in 2004\, Stetson has been able to balance high-exposure gigs with innovative solo performances in front of captivated audiences. According to the Village Voice\, Stetson’s solo work ranges from fireside-warm Hungarian folk tunes to bass squonking that jackhammers the mind. In 2002\, Stetson recorded a solo\, limited edition CD release of a performance at the Artship in Oakland\, and his full-length debut as a leader came in the summer of 2003 with the quintet recording Slow Descent. Approaching songs as narratives\, a trick he learned from Waits\, adds an emotional dynamic to Stetsons playing that exceeds listeners expectations as to what sounds can issue forth from any of the instruments Stetson puts to his lips. No better is this virtuosic ability heard than on New History Warfare\, Volume 1\, Stetsons first full-length solo recording from Aagoo Records. On this album\, the vast musical experiences that Stetson has accumulated over a short period of time have been crafted into 12 songs that defy genres\, establishing a sound that is Colin Stetson in full bloom. \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\, including a rather magnificannt concert of this new and old form of music at Carnegie Hall as part of David Byrne’s Welcome to Dreamland event. Before leaving Boston\, she also participated in the Voltaic Vaudeville festival\, wherein she played Solo\, with dancer Jennifer Hicks\, and as part of the Beat Circus Vaudeville Orchestra. \nFocused primarily on freely improvised music\, Katt draws a firey array of electronic-like sounds and keening melodies from her completely accoustic violin. She 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. \nKatt has collaborated with a magnificently variated sea of musicians\, dancers\, and others including- but certainly not limited to- Joe Maneri\, Zack Fuller\, David Maxwell\, Beat Circus\, Nicole Bindler\, Matt Somalis\, Vashti Bunyan\, John Voigt\, Allisa Cardone\, Gordon Beeferman\, Jonathan Vincent\, Walter Wright\, Joe Burgio\, Eric Rosenthal\, Jeff Arnal\, Jaimie McGlaughlin\, Andrew Neumann\, Dave Gross\, and Hans Rickheit. She has twice been invited to perfrom on the Autumn Uprising\, High Zero\, Mobius ArtRages\, and Improvised and Otherwise festivals\, and has also appeared at the Montreaux-Detroit\, Brandeis New Music\, Boston CyberArts\, Michiania\, IAJE\, IASJ\, and Ear Whacks festivals. She has been a guest artist at MIT\, Harvard\, University of Indiana and the New England Conservatory\, performed in a vast slew of localized venues and life-making places throughout the east coast metropolii.
URL:https://www.bowerbird.org/event/blisterng-virtuosity/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080307T190000
DTEND;TZID=America/New_York:20080307T220000
DTSTAMP:20260426T035956
CREATED:20190603T173010Z
LAST-MODIFIED:20220906T220810Z
UID:10001046-1204916400-1204927200@www.bowerbird.org
SUMMARY:JAPANESE MODERN Art After Five
DESCRIPTION:A concert program with Ensemble N_JP (Japan/USA)\, featuring traditional Japanese music and contemporary works by Japanese and American composers. The program will include the US premiere of Andolangen\, a music-video composition by Philadelphia composer Gene Coleman\, based on architecture by Tadao Ando. Celebrate Japan with a program that focuses on Japanese music\, architecture and design sensibility\, viewed through the lens of globalization. \nPhiladelphia composer Gene Coleman formed Ensemble N_JP in 2001 as a vehicle for his ongoing work with outstanding musicians from Japan and guest artists from the USA and Europe. The goal of the group is to explore new relationships between traditional and experimental art and to create a platform for cultural exchange between Japan and the West. These ideas are made manifest through concert programs\, multimedia works and educational projects. For the PMA program\, traditional music for the Japanese instruments Sho (bamboo mouth organ) and Koto (large 13 string zither) is heard in relation to a new composition by the venerable Japanese composer Yuji Takahashi. A special feature of the program will be the US premiere of Andolangen\, a music and video composition by Gene Coleman\, scored for an ensemble of western and Japanese instruments with two screen video projection. Andolangen is one in a series of works by Coleman that explore relationships between music\, architecture and video in the context of globalization. In Andolangen\, the work springs from the primal language of form and space found in Tadao Ando’s elegant Langen Foundation building\, using it as a &quot;catalytic text&quot; for a music and video composition. The graphic elements of the building itself become part of the score and composition\, through a process that is both formal and poetic. In this way\, Coleman asks the question &quot;what does this building sound like \nThis program is part of the Art after 5 series at the PMA and will also feature a screening of Making the Modern\, a film by Harry Lynch that follows Tadao Ando’s design and construction of the Museum of Modern Art in Fort Worth\, with commentary by architect Frank Gerry and artist Richard Serra. The film will screen at 5:45 and 7:00 PM in the PMA auditorium. An introduction by Stephanie C. Feldman\, Instructor in the School of Architecture at the University of Pennsylvania will accompany the 7:00 PM screening. \n  \nPROGRAM:\n5:45 to 6:45 –\n(Yatsuhashi Kengyo) (Koto solo 17th Century traditional music)\nRyuko Mizutani (Koto)\nTori no Yoni (Like a Bird)&quot; (Tadao Sawai) 1985 \nRyuko Mizutani (Koto)\nIII. Solo composition for Sho by Ko Ishikawa\nKo Ishikawa (Sho)\nIV. &quot;Koto nado (Yuji Takahashi) for koto and ensemble (2000) \nRyuko Mizutani (Koto) and Ensemble N_JP \nPAUSE \n7:15 to 8:15\nV. Improvisations\nfeaturing Ensemble N_JP (Ko Ishikawa (sho)\, Ryuko Mizutani (koto)\,\nKazuhisa Uchihashi (e-guitar) and US musicians) \nVI. &quot;Andolangen&quot; (Gene Coleman)\nFor Ensemble with 2 screen video projection (2007) \nEnsemble N_JP (Japan/USA)\nconducted by Thaddeus Squire\nKo Ishikawa (sho)\nRyuko Mizutani (koto)\nKazuhisaUchihashi</strong> (e-guitar)\nGene Coleman (bass clarinet)\nAlban Bailly (shamisen and guitar)\nGordon Beeferman (piano)\nKevin McFarland (cello)\nNick Lerman (video editor and technical advisor) \nAndolangen was commissioned by the Culture Foundation of Nordrhein Westphalia and the E-Mex Ensemble (Germany). Support for this program was made possible by: The Philadelphia Museum of Art\, The Japan America Society of Greater Philadelphia\, The Foundation for Contemporary Art\, Soundfield\, NFP.
URL:https://www.bowerbird.org/event/japanese-modern-art-after-five/
LOCATION:Philadelphia Museum of Art
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END:VCALENDAR