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X-WR-CALDESC:Events for BOWERBIRD ::: MUSIC, DANCE, FILM ::: Philadelphia, PA
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DTSTART;TZID=America/New_York:20081211T200000
DTEND;TZID=America/New_York:20081211T220000
DTSTAMP:20260816T184929
CREATED:20190613T165401Z
LAST-MODIFIED:20190613T165401Z
UID:10001064-1229025600-1229032800@www.bowerbird.org
SUMMARY:Emerging Voices
DESCRIPTION:Alexander Bruck and Jason Calloway perform new music from Latin America and the former Soviet Republics. \nNever before has the exchange ideas and information proliferated so widely and easily. As the world continues to become more interconnected through shifting economies and the increasing reach of new technologies\, countries that were once over shadowed by the cultural prominence of the United States\, Japan\, and Western Europe\, are now emerging on the global stage. \nPlease join us as internationally renowned cellist Jason Calloway performs new works for solo cello from the former Soviet Republics Estonian\, Latvia\, Azerbaijan\, Georgia\, and Kazakhstan\, and Mexico City based Alexander Bruck presents newly commission works for Viola and Electronics from Latin American countries Columbia\, Argentina\, and Mexico.
URL:https://www.bowerbird.org/event/emerging-voices/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/AlexanderBruck.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081120T200000
DTEND;TZID=America/New_York:20081120T220000
DTSTAMP:20260816T184929
CREATED:20190613T162030Z
LAST-MODIFIED:20190613T162030Z
UID:10001061-1227211200-1227218400@www.bowerbird.org
SUMMARY:ROMA: Economical and Effective
DESCRIPTION:New sound and video works by Maria Chavez\, New York City based turntablist\, with special guests. \nIn the last couple years\, Maria Chavez has compiled an impressive list of residencies and festival appearances including STEIM (Amsterdam)\, Wien Modern festival of contemporary music in Vienna (performing with fellow turntablists Otomo Yoshihide\, dieb13\, and ErikM)\, and was most recently featured as an artist-in-residence with the Merce Cunningham Dance Company at Dia:Beacon\, in which she performed inside one of Richard Serra’s “Torqued Ellipses”. \nAside from a few appearances on compilations and her highly praised sold out solo CD “Those Eyes of Hers”\, Chavez has largely forgone any commercial releases of her work\, making her live appearances\, particularly those in Philadelphia\, unique opportunities to enjoy her music. \nThis evening\, in additional to live collaborations with guest musicians\, Chavez will present her sound and video piece “ROMA:Economical and Effective”\, which addresses her views on the fleeting and ephemeral nature of the roles and ideas of identity\, as well as her Peruvian roots. After the performance the audience will be invited to discuss the work and provide the artists feedback. \n  \nABOUT THE ARTIST \nMaria Chavez is an avant-turntablist from Peru\, living in New York City. She focuses on electro acoustic sound of vinyl and needle and has a collection of needles from immaculate to ruined that she calls her “pencils of sound” and a collection of records that provide the palette. She has toured with Christiina Carter (Charlambides\, Scorses)\, performed with Thurston Moore of Sonic Youth in her New York City debut\, and recorded with London-based laptop artist Kaffe Matthews. \nChavez has curated and performed in galleries and sound spaces around the world\, including STEIM (Amsterdam)\, El Cervatino (Merida\, Yucatan)\, the Kitchen (NYC)\, and Issue Project Room (Brooklyn)\, where she was an artist-in-residence for the fall of 2006. In November\, she collaborated with fellow turntablists Otomo Yoshihide\, dieb13\, and ErikM as part of the Wien Modern festival of contemporary music in Vienna. In June and July 2008\, she participated in an artist-in-residency program with the Merce Cunningham Dance Company\, Bard College at the Dia Foundation’s museum in Beacon\, New York. She performed within one of Richard Serra’s “Torqued Ellipses” along with David Linton\, Newton Armstrong and Stephan Moore. \nChavez was recently awarded the Jerome Emerging Artist Grant from Roulette in SOHO\, NYC. Currently\, she is working on a short film score w/ video artist David Gacs and performing artist Matthew Day entitled “I Run But I Pursue”. Chavez will also be included alongside Ikue Mori\, Mira Calix\, and Marina Rosenfeld in a book entitled “Pink Noises: Women on Electronic Music and Sound\,” written by Tara Rodgers and due to be published by Duke University Press in 2008.
URL:https://www.bowerbird.org/event/roma-economical-and-effective/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/MariaChavez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081108T200000
DTEND;TZID=America/New_York:20081108T230000
DTSTAMP:20260816T184929
CREATED:20190613T153448Z
LAST-MODIFIED:20190613T153448Z
UID:10001058-1226174400-1226185200@www.bowerbird.org
SUMMARY:Ian Nagoski: Orphan Music / Black Mirror
DESCRIPTION:Nagoski presents new work and excerpts from his lecture CD\, Black Mirror: Reflections in Global Musics\, 1918-1954 including Ottoman Songs in New York Cafes\, 1910s-30s. \n  \nABOUT BLACK MIRROR \n  \nDrawn from the best of Nagoski’s vernacular 78 collecting\, Black Mirror is a compilation of 24 recordings from the first half of the 20th century of music from Syria\, Bali\, Scotland\, Thailand\, Ukraine\, China\, Camaroon\, India\, Turkey\, Germany\, Spain\, Vietnam\, Yugoslavia\, Korea\, Poland\, Greece\, Java\, Portugal\, Laos\, Sweden and Burma\, all newly transferred and mastered from 78 rpm discs\, at least 18 of which never issued before on CD (all but one never having been previously reissued in the U.S.) Each performance is a gorgeous manifestation of outrageous virtuosity\, religious devotion\, heart-stopping ebullience and/or worshipful ache\, just as they reflect a moment in the personal trajectories of the individual performers and their now generations-past historical contexts\, elucidated to a great degree by record collector and compiler Ian Nagoski’s notes. \n  \n“…enigmatic\, transfixing\, haunting\, pretty\, and just plain odd. And while\, yes\, it’s the product of a record geek for record geeks\, it’s such an idiosyncratic dose of the weird and the beautiful that it’s hard to imagine any music fan not being intrigued by the mysteries it contains.”- Bret McCabe\, Baltimore City Paper \n  \n“Track after track on Black Mirror startles and delights\, and the accumulation of all of it makes one wonder what other lost treasures\, what other black mirrors of times and places and distant lives are stacked in the back of that old junk shop on the corner\, for these pieces\, in addition to being pleasures to listen to\, are objects that have traveled and touched people along the way. That concept\, that one can actually hand another a piece of music\, a living\, breathing piece of music created and captured in another time and place\, and that that music can move from hand to hand and place to place until it is all but lost and half forgotten until someone like Nagoski rediscovers it\, is fast slipping from our lives. Oh yeah\, you can get on the web and do a virtual search\, but this collection is for those who understand that virtual isn’t exactly real. It is\, by definition\, only almost real. The selections on Black Mirror are real. They’ve traveled. They’ve been lost. They’ve been found. They live again and still as very real objects in this very real world.” – Steve Leggett\, All Music \n  \n“No slouch in the programming department\, Nagoski has frontloaded Black Mirror with love-at-first-note stuff that flows across continents\, decades\, and traditions with skewed but unassailable logic.” – Bill Myer\, Dusted \n  \n“wonderfully diverse… a testament to the continuing spirit of the excavation of lost music. There are so many musical revelations brought to focus on this single disc that it can be used as a valid primer of non-American ethnomusicology. That Nagoski had the wherewithal to curate such a heft of magic with such limited resources should be a call of arms to all of us that mine the crates. Here’s hoping that this becomes a series as I bet there’s plenty more treasures under this umbrella.” – Steve Lowenthall
URL:https://www.bowerbird.org/event/ian-nagoski-orphan-music-black-mirror/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/ian-nagoski.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080928T080000
DTEND;TZID=America/New_York:20080928T170000
DTSTAMP:20260816T184929
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080730T200000
DTEND;TZID=America/New_York:20080730T230000
DTSTAMP:20260816T184929
CREATED:20190610T164529Z
LAST-MODIFIED:20190610T164529Z
UID:10001022-1217448000-1217458800@www.bowerbird.org
SUMMARY:ARAM SHELTON | DAN BLACKSBERG | MATT DAVIS
DESCRIPTION:ARAM SHELTON’S   ARRIVE  (Chicago\, IL)\nDAN BLACKSBERG’S   SYNTHESIS MUSIC\nMATT DAVIS   SOLO \nThe quartet of Aram Shelton\, Jason Adasiewicz\, Jason Roebke and Tim Daisy. Arrive features Shelton on alto saxophone\, Adasiewicz on vibraphone\, Roebke on bass and Daisy on drums. All four are active players in the modern international creative music world\, with Tim Daisy being a frequent collaborator of Ken Vandermark\, Jason Roebke being tightly involved with Fred Lonberg-Holm\, and Jason Adasiewicz being an integral member of Rob Mazurek’s Exploding Star Orchestra. \nThe music for the debut self-titled album was written by Shelton in the Winter of 2001 and is strongly influenced by the music of John Tchichai\, Steve Lacy and Ornette Coleman. It was recorded by Devin Davis at Acme Recording in Chicago in 2001 and released in 2005 by 482 Music as part of their Document Chicago series.
URL:https://www.bowerbird.org/event/aram-shelton-dan-blacksberg-matt-davis/
LOCATION:Gershman Y\, Borowsky Gallery\, 401 S Broad St\, Philadelphia\, PA\, 19147\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/download-6.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080603T080000
DTEND;TZID=America/New_York:20080603T170000
DTSTAMP:20260816T184929
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
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080510T200000
DTEND;TZID=America/New_York:20080510T200000
DTSTAMP:20260816T184929
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:20080315T200000
DTEND;TZID=America/New_York:20080315T220000
DTSTAMP:20260816T184929
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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