BEGIN:VCALENDAR VERSION:2.0 PRODID:-//BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA - ECPv6.16.2//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://www.bowerbird.org X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20070311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20071104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20080309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20081102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20090308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20091101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20080315T200000 DTEND;TZID=America/New_York:20080315T220000 DTSTAMP:20260628T084409 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:20260628T084409 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 "catalytic text" 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 "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)" (Tadao Sawai) 1985 \nRyuko Mizutani (Koto)\nIII. Solo composition for Sho by Ko Ishikawa\nKo Ishikawa (Sho)\nIV. "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. "Andolangen" (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 (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:20260628T084409 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 ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/download.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20080208T190000 DTEND;TZID=America/New_York:20080208T220000 DTSTAMP:20260628T084409 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 END:VEVENT END:VCALENDAR