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DTSTART;TZID=America/New_York:20080517T190000
DTEND;TZID=America/New_York:20080517T230000
DTSTAMP:20260426T051733
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’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 – 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 Unternährer and drummer Frank Rosaly) calls itself the Chicago-Luzern Exchange because Unternährer\, a native of the Swiss city of Luzern\, spent five months in Chicago in 2002 as part of a "sister cities" 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 & ARROWS\nWilly Cliffton saxophone\nBrandon May  keys\nJosh Machiz bass\nAlex Maio drums\nPhiladelphia\, PA \nBrackets & Arrows is an improvisational quartet with strong leanings to experimental jazz & 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:20260426T051733
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 × 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 × Shot’s self-titled live debut (High Two\, 2006) was heralded in the pages of Downbeat\, The Wire\, Signal to Noise\, All About Jazz;NY\, and other publications. The Village Voice and All About Jazz;NY listed the album among the top debuts of 2006. \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:20260426T051733
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 & 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
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DTSTART;TZID=America/New_York:20080428T200000
DTEND;TZID=America/New_York:20080428T220000
DTSTAMP:20260426T051733
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:20260426T051733
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’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:20260426T051733
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’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:20260426T051733
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:20260426T051733
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:20260426T051733
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.) für 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) – for the group „Maulwerker“ (4 female voices\, trumpet/voice\, clarinet/voice\, alto saxophone + additional instruments) – 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 „Silence in the works of John Cage and Morton Feldman“; 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 „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\, Jürg Frey\, Robin Hayward\, David Helbich\, Michael Hirsch\, Sven-Åke Johansson\, Travis Just\, Christian Kesten\, Andrea Neumann\, Pauline Oliveros\, Dieter Schnebel\, Emmett Williams\, István 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:20260426T051733
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 "EurEthos"\, they will perform graphic scores by Anthony Braxton ("Composition #10" (1969)\, arranged by Art Lange)\, Alessandro Bosetti ("Dogs Protected by an Invisible Fence" (2008) and Gene Coleman ("Atman III" (2008) \nThis concert is part of the 2007-2008 "Soundfield@Slought" 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:20260426T051733
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’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’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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080307T190000
DTEND;TZID=America/New_York:20080307T220000
DTSTAMP:20260426T051733
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080226T200000
DTEND;TZID=America/New_York:20080226T230000
DTSTAMP:20260426T051733
CREATED:20190603T171452Z
LAST-MODIFIED:20190603T171452Z
UID:10001040-1204056000-1204066800@www.bowerbird.org
SUMMARY:POLWECHSEL 'Archives of the North'
DESCRIPTION:POLWECHSEL\nWerner Dafeldecker (double bass)\nMartin Brandlmayr (percussion)\nJohn Butcher (saxophones)\nMichael Moser (cello\, electronics)\nBurkhard Beins (percussion)\nvienna / london \nSlought Foundation and Soundfield NFP are pleased to announce an evening of new and experimental music featuring Vienna/London-based ensemble Polwechsel on Tuesday\, February 26th\, 2008 from 8:00-9:30pm. Polwechsel features Werner Dafeldecker (double bass)\, Martin Brandlmayr (percussion)\, John Butcher (saxophones)\, 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 2007-2008 Soundfield @ Slought series. \nOver the past two decades Polwechsel 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/
LOCATION:The Slought Foundation\, 4017 Walnut Street\, Philadelphia\, PA\, United States
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DTSTART;TZID=America/New_York:20080208T190000
DTEND;TZID=America/New_York:20080208T220000
DTSTAMP:20260426T051733
CREATED:20190603T165416Z
LAST-MODIFIED:20190603T165416Z
UID:10001033-1202497200-1202508000@www.bowerbird.org
SUMMARY:AELITA: QUEEN OF MARS
DESCRIPTION:ENSEMBLE NOAMNESIA:\nGene Coleman\, bass clarinet\nJason Calloway\, cello\nMarina Peterson\, cello\nEvan Lipson\, bass\nAlban Bailly\, guitar / accordion\nDustin Hurt\, trumpet / accordion \nAelita: Queen of Mars is a silent film directed by Soviet filmmaker\nYakov Protazanov made at Mezhrabpom-Rus Film Studio and released in\n1924. It was based on Alexei Tolstoy’s novel of the same name. For its\nshowing at the I-House on February 9th\, the film will be presented\nwith live music created by Philadelphia composer Gene Coleman and\nperformed by Ensemble Noamnesia. The ensemble will feature Anthony Jay Ptak\nplaying the Thermin\, an electronic instrument invented in the early 20th century\,\nwhich many people are familiar with from its use in science fiction movie\nsoundtracks of the 1950s. \nThough one focus of the story is on the daily lives of a group of\npeople during the post-World War I Soviet Union\, the enduring\nimportance of the film comes from its early science fiction elements.\nIt primarily tells of a young man\, Loss\, traveling to Mars in a rocket\nship\, where he leads a popular uprising against the king\, with the\nsupport of Queen Aelita who has fallen in love with him (after\nwatching him through a telescope). Probably the first full-length\nmovie about space travel\, the most notable part of the film remains\nthe constructivist Martian sets and costumes designed by Aleksandra\nEkster. Their influence can be seen in a number of later films\,\nincluding the Flash Gordon serials and probably Fritz Lang’s\nMetropolis. While very popular at first\, the film later fell out of\nfavor with the Soviet government and was thus very difficult to see\nuntil after the Cold War period.\ \nGene Coleman is a composer\, musician and artistic director. He has\ncreated over 50 works for various instrumentation\, often-using complex\nnotations and improvisation in the same score. Innovative use of sound\nmakes Coleman\, both as a composer and as a performer\, an artist who\nseeks a synthesis between what is called noise and what is called\nmusic. Since 2001 his work has focused on globalization and music’s\nrelationship with architecture and video. He studied painting\, music\nand film making at the School of the Art Institute of Chicago\, where\nhis principle teachers included legendary experimental film artists\nStan Brakhage and Ernie Gehr. \nEnsemble Noamnesia is a group of musicians playing new and\nexperimental music. Founded by composer Gene Coleman in Chicago in\n1987\, the group now consists of about 10 musicians who work on a\nproject-by-project basis in Philadelphia\, Chicago and New York. Many\nof the players come from a classical music background\, but are equally\nversed in new types of interpretation and sound production\, as well as\nimprovisation. Over the years a stellar cast of international guest\nartists have worked with them\, including Jim O’Rourke\, Helmut\nLachenmann\, Otomo Yoshihide\, Luc Ferrari\, George Crumb and many\nothers. The group is devoted to playing music that invites new ways of listening. \nAnthony Jay Ptak is an artist and a composer born in Brooklyn\, New York in 1970. He grew up near the Brookhaven National Laboratory and the RCA Radio Central testing facility. An inviolable autodidacticist\, he has studied with Tony Conrad\, Paul Sharits\, Lydia Kavina\, and Herbert Br¸n\, and had technical consultations with Robert Moog. He performed at the First International Theremin Festival. He has been a guest theremin artist under directorScott Wyatt at the historic Experimental Music Studios at the University of Illinois at Urbana-Champaign since 2000. He was appointed visiting researcher in 2001\, and participated in the C4A Computing for the Arts initiative for Fine and Applied Arts at UIUC. He taught sound art and musique concrËte for new media artists at the School of Art and Design at University of Illinois at Urbana-Champaign. He has presented at Society for Electro-Acoustic Music in the United States (SEAMUS)\, School of the Art Institute\, Chicago Cultural Center\, St. Louis Art Museum\, Krannert Art Museum\, FFMUP Princeton University\, Institute for Advanced Study in Princeton\, New Jersey\, Roulette Intermedium\, The Kitchen\, and Issue Project Room in New York. He was first introduced to the theremin in 1987 by improviser Eric Ross . He began playing an etherwave theremin kit 0017 in 1995. A. J. Ptak is a founding member of the New York Theremin Society . He currently resides in New York City. More at: http://axoxnxs.com
URL:https://www.bowerbird.org/event/aelita-queen-of-mars/
LOCATION:International House\, 3701 Chestnut St\, Philadelphia\, PA\, 19104
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