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DTSTART;TZID=America/New_York:20091213T200000
DTEND;TZID=America/New_York:20091213T220000
DTSTAMP:20260414T092923
CREATED:20190620T170754Z
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UID:10001083-1260734400-1260741600@www.bowerbird.org
SUMMARY:OVER-NITE SENSATION: Winter Edition
DESCRIPTION:With its most eclectic offering to date\, the winter edition of OVER-NITE SENSATION will offer a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations. This evening offers a bizarre mix of composers improvising\, improvisers composing\, realtime laptop processing of a counter tenor voice\, music from the Japanese avant-garde composer Toshio Hosokawa\, new works\, and old reunions\, all in one night. \n  \nTHE EPICUREANS (Dave Gross\, Ricardo Donoso\, Ryan Mcguire) – Boston’s lovable lowercase wedding band \nVAN STEIFEL and MARK RIMPLE – anachronistic laptop / counter tenor duo \nJASON CALLOWAY  – plays Toshio Hosokawa’s Sen II for solo cello \nTIM ALBRO  – low fi 12-string electric guitar noise-blue \nMARTHA SAVERY / EUGENE LEW – instigating the most controversial viola / percussion jams since 2009 \nSPECIAL WHAT? (Amnon Freidlin\, Bryan Rodgers\, Pete Angevine)  – one show reunion tour for Philly’s favorite one-show-reunion-tour-only band \nPaula Diehl’s SOUNDS2 performed by Paul Billbrough and Gabe Globus-Hoenich \n  \nImportant notes: Set durations will be generally between 10 – 15 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Seasonal revelry will abound. \n  \nABOUT THE ARTISTS \n  \nTHE EPICUREANS (Boston) \nDave Gross – sax \nRicardo Donoso – drums \nRyan Mcguire – bass \nFormed in 2008\, The Epicureans have the hottest new sound out there. they range from sparse ‘lowercase’ type music to “full on” (as the kids say these days) noise with a hardcore metal edge. at once playful and brutal\, the epicureans are your best friends and your enemies worst enemy. when they say ‘we love you’ at the end of every show they mean it. music is all about love and the epicureans\, with their thirst for seeking pleasure\, are here to provide. \n(Sea of Tranquility) “Avant-garde music has always been something for a relatively small group of listeners\, a musical art form that can be rather dissonant\, noisy\, and unmelodic\, rarely taking the shape or form of common song based structures. Then again\, there are acts that perform an even more extreme form of avant-garde\, of which The Epicureans certainly fall into. This trio\, whose new album A Riddle Within a Conundrum Within a Game is out now on Public Eyesore Records\, simply fails to meet any sort of criteria that would qualify it as music. Even after giving it 5 spins (and I’ve sat through a lot of releases from Public Eyesore over the years\, none of them being easy listening by any means)\, there’s nothing here that’s remotely pleasing to the ears. Dave Gross (sax)\, Ricardo Donoso (drums)\, and Ryan McGuire (bass)\, have put together six tracks of noise\, the first half of the CD barely registers a blip on the audio counter\, slight tinkering of cymbals & drums while bass strings are scraped against\, while the last two pieces\, “Blade of Fury” and “H.S.” brings to mind images of what a herd of dinosaurs farting might sound like\, Gross’ bleating\, squonking sax and McGuire’s bass practically unrecognizable\, instead rumbling like bad gas being squeezed out between many butt cheeks. Sounds harsh? Well\, I’m all for saying that there’s a market out there for just about anything\, and you have to give these guys credit for REALLY going out there with this\, but in the end I’d have a hard time recommending this flatulent nightmare to even the most loyal avant-garde lover out there. From what they’ve presented\, the listener has no clue that they know how to play their instruments\, let alone write a tune. Next time guys\, give us a little something extra…please?”- Pete Pardo \n  \nVAN STIEFEL – laptop processing \nMARK RIMPLE – counter tenor \nIn music by Van Stiefel lyrical voices are teased out of usual instrumental combinations: electric guitar quartets\, laptop ensembles\, turntables\, as well as more conventional ensembles. Trained as a classical guitarist at an early age\, Stiefel attended the Centro Flamenco Paco Pena in 1983\, studying with guitarist John Williams. He has collaborated with a variety of artists and ensembles including: visual artist Caroline Lathan-Stiefel\, improvisation trio maison vague\, Ursula’s End\, guitarist Eliot Fisk\, violinist Nurit Pacht\, guitarist Dan Lippel\, the Vega String Quartet\, choreographer David Dorfman\, the Nash Ensemble\, Thamyris Contemporary Music Ensemble\, the Minneapolis Guitar Quartet\, the Talujon Percussion Ensemble\, and the Macon Symphony. Stiefel is Assistant Professor of Music Theory and Composition at West Chester University School of Music in Pennsylvania and is completing a CD of chamber music with electric guitar\, laptop\, and other instruments. \nMark Rimple is a countertenor\, lutenist\, and composer who enjoys mixing his dual passions of early and new music. The Washington Post has praised his “splendid” countertenor singing\, and in 2004 a Chicago Tribune reviewer wrote of a performance with the Newberry Consort that “Rimple’s technique as a lutenist is fluid and confident\, adding a kinetic lift to the ensemble. His considerable assets as a countertenor include a centered\, clear tone\,” and “effortless upper notes capable of pinpoint agility.” He is a founding member of Trefoil\, an ensemble devoted to the performance of late medieval music from mensural notation\, and he can be heard on two recordings with the ensemble: Cristo e Nato: Lauding the Nativity in Medieval Italy\, and Masters\, Mazes and Monsters: Treading the Medieval Labyrinth (both recordings available at www.msrcd.com). He is a frequent guest of the Newberry Consort\, and appears on their most recent medieval recording\, Puzzles and Perfect Beauty. He also appears regularly with Piffaro\, the Renaissance Band\, and The Folger Consort. He is a specialist in the theory and notation of early music and often teaches this material at workshops throughout the country. Mark is an accomplished composer\, and holds a DMA in Composition from Temple University. His compositions have been performed by the ISCM Chamber Players\, Parnassus\, and The Network for New Music. He has also championed new music for guitar\, lute\, mandolin\, and countertenor with such ensembles as the Cygnus ensemble and the Network for New Music. Mark is an Associate Professor of Music Theory and Composition at West Chester University of Pennsylvania. \n  \nJASON CALLOWAY – cello performing Toshio Hosokawa’s (b. 1955) Sen II for solo cello \nCellist Jason Calloway has performed to acclaim throughout North America\, the Caribbean\, Europe\, and the Middle East as soloist and chamber musician. He has appeared at festivals including Lucerne\, Spoleto USA\, Darmstadt\, Klangspuren (Austria)\, Acanthes (France)\, Perpignan\, Valencia\, Citta’ della Pieve (Italy)\, Jerash (Jordan)\, Casals (Puerto Rico)\, Sarasota\, Blossom\, Music Academy of the West\, the New York String Seminar\, and Encore. Mr. Calloway has appeared around the world as cellist of the Naumburg award-winning Biava Quartet\, formerly in residence at the Juilliard School\, in addition to collaborations in chamber music with members of the Curtis\, Juilliard\, Miami\, Tokyo\, and Vermeer quartets and with principal players of most of the world’s leading orchestras. He has also travelled widely as a member of ‘In Freundschaft\,’ a duo with trombonist\, Steve Parker\, and with Animato!\, a duo with pianist Christopher Weldon. He gave his Carnegie Hall recital debut under the auspices of Artists International and has also been heard in New York at Alice Tully Hall\, Steinway Hall\, the Museum of Modern Art\, the Kosciuszko Foundation\, the 92nd Street Y\, and the Polish Consulate; in Los Angeles at Disney Hall\, the Bing Theatre\, the Skirball Center and Pepperdine University; in Washington\, D.C. at the Kennedy Center; in San Francisco at Hoover Auditorium; in Philadelphia at the Academy of Music and the Ethical Society; and live on NPR\, WQXR (NYC)\, KMZT (Los Angeles)\, WFLN (Philadelphia)\, and on RAI television (Italy). \nA devoted advocate of new music\, Mr. Calloway has performed with leading ensembles around the world and with the New Juilliard Ensemble both in New York and abroad\, in addition to frequent appearances in Philadelphia with Bowerbird\, Soundfield\, and Network for New Music. Mr. Calloway also inaugurates this season the (h)ear project\, a Philadelphia concert series devoted to new and experimental music\, in addition to appearances with Instrumenta Contemporanea in Oaxaca. Among the hundreds of premieres he has presented are solo and ensemble works of Berio\, Knussen\, Lachenmann\, and Pintscher\, and he has collaborated intensively with some of today’s most important composers including Birtwistle\, Carter\, Davidovsky\, Dusapin\, Henze\, Hosokawa\, Husa\, Franke\, Rihm\, and Yannay. As a dedicated supporter of young composers\, he has for several seasons presented a series of concerts of solo cello works newly composed for him\, most recently at Harvard and Temple universities\, and at Spoleto USA gave the public premiere of Yanov-Yanovsky’s Hearing Solutions for cello and ensemble. \nMr. Calloway prizes his work with Pierre Boulez and the Ensemble InterContemporain\, both at the Lucerne Festival and at the Zug (Switzerland) Kunsthaus in Schoenberg’s Pierrot Lunaire and Serenade as part of a major Kandinsky/Gerstl exhibit\, in addition to his collaborations with the violinist Gilles Apap and with tap dancer Savion Glover. He is also artistic director of Shir Ami\, an ensemble dedicated to promoting the music of Holocaust composers\, and In Flux\, a recently formed new music ensemble. A native of Philadelphia\, Jason Calloway is a recent graduate of the Juilliard School and the University of Southern California. His teachers have included Ronald Leonard\, Orlando Cole\, Rohan de Saram\, Lynn Harrell\, Fred Sherry\, Robert Cafaro\, Joel Sachs\, Felix Galimir\, Luis Biava\, and Seymour Lipkin. Mr. Calloway is grateful for the assistance of the Maestro Foundation. \n  \nTIM ALBRO – guitar\, electronics \nBorn in Worcester\, MA in 1980\, currently based in Philadelphia\, Tim Albro received a BA in English at Wesleyan University. Since Wesleyan\, he has done ethnographic work on gospel music in West Philadelphia\, composed music for a dance ensemble\, as well as participate in the vibrant improvised/creative music community growing in Philadelphia. This work as an improvising/creative musician includes performing on the 12-string electric guitar /w electronics\, on the prepared guitar/electronics/radio in the duo HZL\, and recent solo work with home built radio transmitters. Current research interests include: the life of milarepa\, green anarchism\, and good advice. \n  \nPAULA DIEHL – composer \nDiehl’s SOUNDS 2 will be peroformed by guitarist Paul Billbrough and percussionist Gabe Globus-Hoenich. \nDiehl became interested in improvisation in 1982\, one result of a music system\, SEPARATION\, which came to her. She formed the ensemble SOUNDS to find out if the system could be used for improvs. It could. In 2009 SOUNDS became SOUNDS 2\, a duo which brought into being a new performance style. Separation improvs call for gradual decrease of INTERLOCK among\, usually\, three Fourths\, its working intervals\, until all are discrete entities. It also calls for varied ORDERINGS: that is\, designation of an open or closed status for the first and the last pitch of every Fourth\, a setup which\, in conjunction with interlock\, drives the music to an ending. Changed orderings are chosen for each new phase of interlock. A few orderings not chosen – and thus ‘wrong’- can be used; they add interest to the improvisation\, but must be made ‘right\,’ that is\, closed when closure of that phase takes place. All these pitches interact with adjacent exposed or closed pitches. At present a basic ensemble is one guitar\, acoustic or electric\, and non pitched percussion. The percussion is ‘composed. It mirrors in rhythm the ‘orderings’ which have become a part of each Fourth. In the new improv style all exposed notes from intervals in use are given to the guitar. \n  \nSPECIAL WHAT? (formerly BRKFST?) \nBryan Rodgers – sax \nPete Angevine – drums \nAmnon Freidlin – guitar \nSpecial What is a trio consisting of tenor saxophone\, electric guitar and drumset based in Philadelphia and Brooklyn. Their music is a blend of semi-composed\, semi-improvised newness; they exemplify a distinct and singular group aesthetic and musical vocabulary. Employing and enjoying the use of pulse (both abstracted and real)\, references to tonality and form\, Special What creates comprehensible yet exciting and unusual music. With a focused and direct approach\, their music yields high impact and compact abstractions of stuff that normal people would listen to. Members include Bryan Rogers (Shot x Shot\, The Scriptors\, Bobby Zankel)\, Amnon Freidlin (Zs\, Normal Love\, Pepi Ginsberg\, Model Barbers) and Pete Angevine (SATANIZED\, Model Barbers). \n  \nMARTHA SAVERY– viola \nEUGENE LEW – drumset \nMartha Savery was born in Swarthmore\, Pennsylvania in 1980. She had a happy childhood and began studying classical music at the age of 8. She studied a variety of instruments including the viola\, saxophone\, bassoon and bass. After winning a series of honors and competitions for classical music she felt unsatisfied creatively and decided to be an artist. She has been blowing glass for seven years\, and has studied at the Tyler School of Art and Salem Community College. In 2003 she received a scholarship from the Studio at the Corning Museum of Glass and in 2004 completed a 5-month assistantship residency at the Creative Glass Center of America in Millville\, New Jersey. She was awarded a scholarship to attend the famous Pilchuck Glass School in Washington State in August\, 2007. She currently lives in her studio in North Philadelphia\, which is also a martial arts dojo.
URL:https://www.bowerbird.org/event/over-nite-sensation-winter-edition/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091023T210000
DTEND;TZID=America/New_York:20091023T230000
DTSTAMP:20260414T092923
CREATED:20190620T162322Z
LAST-MODIFIED:20190620T162322Z
UID:10001080-1256331600-1256338800@www.bowerbird.org
SUMMARY:OVER-NITE SENSATION: Fall Edition
DESCRIPTION:For over three years Bowerbird has stood under the banner of “experimental” and championed the multitude of perspectives that umbrella encompasses. OVER-NITE SENSATION offers a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations\, all in one night.  Artists from Philadelphia and far beyond will beguile the audience with free jazz\, electro-acoustic improvisation\, free improv\, inter-media video and sound works\, dance\, euphoric drones\, and psychedelic compositions. \n  \n1. Damon Smith – solo bass; not jazz\, not not jazz; west coast style\, maybe a bit upside down. \n2. Phill Sheldon – unresolved investigations at the edge of Fluxus\, not a little bit Yoko Ono. \n3. Ian Fraser – electronic array I: analog electronic circuits\, laptop\, tapes\, radio\, etc. \n4. Mike Szekely (drums)\, Matt Engle (bass)\, Matt Mitchell (keyboards/electronics); Jack Wright (saxophones) – also not jazz\, not not jazz. \n5. Travis Woodson – solo guitar; \n6. Scott Allison – electronic array II: analog electronic circuits\, laptop\, tapes\, radio\, etc. \n7. Mikronesia \n  \n(order subject to change and further obfuscation) \nImportant notes: Note 9pm start time. Set durations will be generally between 10 – 15 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Revelry will abound. \n  \n 
URL:https://www.bowerbird.org/event/over-nite-sensation-fall-edition/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Over-nite2.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090805T200000
DTEND;TZID=America/New_York:20090805T220000
DTSTAMP:20260414T092923
CREATED:20190617T172916Z
LAST-MODIFIED:20190617T172916Z
UID:10001054-1249502400-1249509600@www.bowerbird.org
SUMMARY:SUMMER SUBLIME
DESCRIPTION:A triple bill of haunting beauty and sublime intensity closes out the Bowerbird summer season. \nDetroit’s Graveyards (members of Wolf Eyes\, Melee)\, will be joined by Melisa Putz and Thomas Clark’s dance and music collaboration PIMA Group\, and special performance by Chris Madak’s Bee Mask. The event will take place on the air-conditioned 3rd Floor of the Plays and Players Theater\, and the adjacent Quig’s Pub will be offering adult beverages and other libations throughout the night. \n  \n  \nABOUT THE ARTISTS \nWolf Eyes has long been the dominant sonic export from Detroit\, Michigan\, but it’s members are just the tip of an exciting community of musicians. In Graveyards\, Wolf Eyes’ John Olson (here playing saxophones) is joined by percussionist Ben Hall and guitarist Chris Riggs (stepping in for cellist Hans Beutow) for what Hall describes as “New American Improvisation.” Decidedly outside both the jazz idiom and the sounds that have become associated with the term free improvisation (and even further from the harsh noise of Wolf Eyes ) Graveyards seeks to find a new\, spontaneously composed vocabulary to allow for a sound that is both large and succinct at once. \n  \n  \nFounded as an outlet for dancer and choreographer Melisa Putz and musicians Michael Barker and Thomas Clark to develop new methods for the integration of dance\, music\, and visual art\, PIMA Group has been consistently among the most affecting and provocative collaborations Philadelphia has to offer. Best characterized as ‘beauty in distress’\, PIMA Group’s work has a haunting and disembodied quality that prospers richly in the unique character of the Plays and Players Theater. \nPIMA Group is interested in developing new processes and approaches to the integration of dance\, music and visual art. The works range from improvisational performance art work to more formal choreographed and composed pieces. PIMA Group has performed at venues in Baltimore\, Boston\, New York City and Philadelphia including the Painted Bride Art Center\, The Community Education Center\, Mobius\, The Construction Company\, Joyce SOHO\, 92nd St. Y\, Williamsburg Art Nexus and The Red Room. \nPIMA Group has also performed at dance festivals including the Improvised and Otherwise Festival in Brooklyn\, NY\, the 2003 Philadelphia Fringe Festival at the Table Space Gallery\, the Dance On Earth Festival at University Settlement’s Beacon\, NY campus and the Goose Route Dance Festival in Shepherdstown\, WV. As well as for the Bread and Roses Community Fund at Vox Populi Gallery in Philadelphia. PIMA Group has received Temple University Space Grants to assist in the development of new work. PIMA Group gratefully acknowledges support from the Philadelphia Cultural Fund and Fractured Atlas. PIMA Group is a 501(c)3 non-profit organization. \nMelisa Putz is a dancer and choreographer based in Philadelphia\, PA. She is co-founder and artistic director of PIMA Group\, a music and dance performance group founded in 2001. She received her dance training through the Professional Training Program at the Merce Cunningham Dance Studio in New York City and received a full dance scholarship to attend the Strictly Seattle Dance Intensive in Seattle\, WA. Melisa has also studied with Lisa Kraus (Trisha Brown Dance Company) and is currently performing in her newest work\, The Partita Project. Melisa co-directs Ballet Concerto\, a pre-professional ballet company at the Pennsylvania Performing Arts Academy and is a certified yoga instructor through the Yoga Alliance\, teaching weekly classes throughout the Philadelphia area. During the Summer of 2007\, Melisa will teach a week-long dance workshop and perform a site-specific piece in Romania as part of the Sibiu Dance 2007 Festival. This residency is made possible through support from the Dance Theater Workshop Suitcase Fund. Melisa has been awarded a Leeway Foundation Grant Award (2002)\, a Rocky Dance Award (2002)\, and selection for the Susan Hess Choreographer’s Project (2004-2005). She has been Dance Artist-In-Residence at the Community Education Center in Philadelphia during the 2006-2007 season. \n  \nBee Mask is an ongoing project of Philadelphia-based artist and curator Chris Benedetto Madak\, focused on the use of handmade electronics\, tape\, synthesizers\, and prepared instruments in inherently indeterminate situations that underscore the distinction between the improviser as an embodied subject and improvisation as a grammatical activity. Live and on record\, this work evokes complex and often absurd genealogies of tactics and signifiers as a means toward a contemporary implementation of the utopian ethics of experimental music and historical anti-arts. \nIn addition to his work as Bee Mask\, Chris has been active as an artist and curator in Philadelphia\, New York\, Cleveland\, and Northampton\, Massachusetts\, where he was a founding director of GalleryTK. Since 2005\, he has published editions of contemporary experimental music on his Deception Island imprint. \n  \n 
URL:https://www.bowerbird.org/event/summer-sublime/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/completion.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090625T200000
DTEND;TZID=America/New_York:20090625T220000
DTSTAMP:20260414T092923
CREATED:20190617T171548Z
LAST-MODIFIED:20190617T171548Z
UID:10001075-1245960000-1245967200@www.bowerbird.org
SUMMARY:Over-Nite Sensation
DESCRIPTION:For over three years Bowerbird has stood under the banner of "experimental" and championed the multitude of perspectives that umbrella encompasses. OVER-NITE SENSATION offers a unique opportunity\, for the seasoned and the uninitiated alike\, to sample a broad array of artistic inclinations\, all in one night. Artists from Philadelphia and far beyond will beguile the audience with free jazz\, electro-acoustic improvisation\, free improv\, inter-media video and sound works\, dance\, euphoric drones\, and psychedelic compositions. \n  \n1. Jon Mueller / Jim Schoenecker / David Bailey – hailing from Milwaukee\, WI\, our northern neighbors provide pummeling frequencies to unveil complex rhythms \n2. Nicole Bindler – moves through sounds of silence expressing the inexpressible \n3. Bonnie Lander / Kate Porter – lovely sounds of strings and voice imported from Baltimore \n4. Jesse Kudler – resonant small sounds and an awareness of the spaces containing them \n5. John Phillips – an orchestra of sound and video at the intersection of technology and art \n6. Troy Herion / Sean Mattio – quivering crescendos and ecstatic climaxes \n7. David Fishkin – full frontal sax jams with an added kick from the low end \n(order subject to change and further obfuscation) \n  \nImportant notes: Set durations will be generally between 10 – 20 minutes\, making for a quicker\, but not exhausting parade of performances. Quig’s Pub\, the Plays and Players on-premise speakeasy\, will be offering adult beverages and other libations throughout the night. Revelry will abound. \n  \nABOUT THE ARTISTS \n  \nPHYSICAL CHANGES \nEnter Jon Mueller’s mammoth new solo percussion work\, Physical Changes. If his previous solo effort Metals was about pummeling rhythms and frequencies\, Physical Changes drives the whole idea into oblivion\, as the sounds here are something to be felt as much as heard. Joined by the intense propulsion of James Plotkin (Khanate\, Khlyst\, Phantomsmasher)\, the textural chaos of Fred Lonberg-Holm (Wilco\, Peter Brotzmann Tentet\, Ken Vandermark’s Territory Band)\, the computer meltdown of Marcus Schmickler (Pluramon)\, the surreal precision of Dan Burke (Illusion of Safety)\, the glorious flight of Jim Schoenecker (Collections of Colonies of Bees) and the stunning landscape film work of David Dinnell\, Physical Changes takes the idea of “heavy rhythm” and spreads it out over an elaborate\, all-inclusive three format (LP/CD/DVD) release that reveals how complex and diverse heavy rhythm can actually be. From the pounding\, raw country minimalism of “Nothing Changes\,” to the brutally intense onslaught of “Things Will Not Stay the Way They Are\,” Mueller takes the fundamental concepts of rhythm and percussion\, those primal devices\, and turns them into an entirely new experience that’s heard\, seen\, and felt. Come experience it for yourself. \nJon Mueller has been an active drummer and percussionist since the mid-80s. Whether utilizing bombastic minimalism\, dense interplay\, or electroacoustic practices\, his approach focuses on a physical dialog between situation and material. He has performed throughout the U.S.\, Japan\, and Europe\, works regularly with the group Collections of Colonies of Bees\, and has performed or recorded with members of the groups Swans\, Wilco\, Bon Iver\, Rhys Chatham’s Guitar Trio\, and many others. \n  \nNICOLE BINDLER \nNicole Bindler\, (b.1977)\, choreographer\, improviser\, educator and bodyworker\, is an experimental dance artist whose work ranges from personal and political commentaries to abstract explorations of form. Her dances are always site-specific\, seeking to activate and enliven all performance spaces\, whether they are theaters\, studios\, homes\, places of business or the outdoors. Her movement vocabulary is inspired by her studies of new dance\, dance-theater\, butoh\, contact improvisation\, yoga\, body-mind centering\, feldenkrais and martial arts. She has choreographed over fifteen original dance works and has performed over 100 improvised dances in cities throughout the U.S.\, Canada\, Argentina and in Berlin\, Tokyo and Beirut. Some notable venues include\, Links Hall\, Williamsburg Art neXus\, The Joyce Soho\, The Somerville Theater\, The Creative Alliance\, The Theater Project\, The Kennedy Center. In August 2004\, her solo “Places I’ve Never/Been” was performed in Quito\, Ecuador by dancer\, Stephanie Sherman. Bindler has performed in The High Zero Festival\, The Transmodern Age Festival\, The Shawinigan Street Theater Festival\, The Imagine Festival of Arts\, Issues and Ideas\, The Philadelphia Live Arts Festival\, the D.C. Improvisation Festival\, Fireside Festival (Seattle)\, the Performance Mix Festival and the nEW Festival. Her work has been supported by Philadelphia Dance Projects\, Foundation for Contemporary Arts and Dance Advance. \nBindler has performed in the work of Linda Diamond\, Heather Azano-Brown\, Brenda Divelbliss\, Jennifer Hicks\, Debra Bluth\, Ju-Yeon Ryu\, Leah Stein\, PIMA Group\, Liza Clark\, Willi Dorner\, Zaitoun Dance Troupe\, Katsura Kan and has collaborated with dancers Hana van der Kolk\, Lailye Weidman\, Alli Ross\, Joe Burgio\, Teresa Czepiel\, Jessica Newman\, Melisa Putz\, John Luna\, Emily Sweeney\, Alissa Cardone\, Ayako Kato and Asimina Chremos. She has worked with many experimental musicians including Bhob Rainey\, Greg Kelley\, Jonathan Vincent\, Vic Rawlings\, Mike Bullock\, John Berndt\, Katt Hernandez\, Chris Cooper\, Kyle Bruckmann\, Ernst Karel\, Axel Dorner\, Andrea Neumann\, Annette Krebs\, Dan Breen\, Andy Hayleck\, Kristen Toedtman\, Audrey Chen\, Le Quan Ninh\, Carol Genetti\, Susan Alcorn\, Sean Meehan\, Kate Porter\, Helena Espvall\, Leonel Kaplan\, Leandro Barzabal\, Tim Feeney\, Dustin Hurt\, Jack Wright\, James Ilgenfritz\, Tim Albro\, Gene Coleman\, Raed Yassin\, Christine Sehnaoui\, Mazen Kerbaj\, Sharif Sehnaoui\, The Signal Quintet\, Ko Ishikawa\, Kazuhisa Uchihashi\, Ryuko Mizutani\, Bill Horist\, Gregory Reynolds and Reuben Radding among others\, and with visual artists\, Janene Higgins\, Walter Wright\, Paul Santoleri and Bilwa. \n  \nJESSE KUDLER \nJesse Kudler\, born 1979\, improvises on cheap consumer devices: a no-name electric guitar\, hand-held cassette recorders\, radios and transmitters\, various small junk\, and pedals/electronics. He uses a computer to assemble his recorded music. Kudler attended public school until Wesleyan University\, where he studied music with Ron Kuivila\, Alvin Lucier\, and a little bit with Anthony Braxton\, among others. In his various travels\, Kudler has performed with Matt Bauder\, Kyle Bruckmann\, Gene Coleman\, James Coleman\, Tim Feeney\, Marcos Fernandes\, Margarida Garcia\, Brent Gutzeit\, Horse Sinister\, Bonnie Jones\, Newton\, Pauline Oliveros\, Bhob Rainey\, Vic Rawlings\, Christine Sehnaoui\, Mike Shiflet\, Jason Soliday\, Howard Stelzer\, Barry Weisblat\, Ellen Weller\, Matt Weston\, Jack Wright\, Jason Zeh\, and many others. He has toured the United States several times. Jesse Kudler lives in Philadelphia. Current projects include: Benito Cereno (with Dustin Hurt\, Chandan Narayan\, Tim Albro\, and Ian Fraser); HZL\, an electronics duo with Tim Albro; Tweeter\, a treble-intensive noise trio with Alex Nagle and Eli Litwin; solo performance and recording; and various ad hoc groupings.
URL:https://www.bowerbird.org/event/over-nite-sensation/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Over-nite.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090514T200000
DTEND;TZID=America/New_York:20090514T220000
DTSTAMP:20260414T092923
CREATED:20190617T165132Z
LAST-MODIFIED:20190617T165132Z
UID:10001073-1242331200-1242338400@www.bowerbird.org
SUMMARY:Streifenjunko
DESCRIPTION:Some of the most exciting music to cross the Atlantic in recent memory\, saxophonist Espen Reinertsen and trumpeter Eivind Lonning are part of the bright young generation of Norwegian improvisors. The two play high energy “acoustic noise” music maybe more evocative of a summer’s evening in the country\, then their traditional trumpet/sax duo might suggest possible. This is the result of a totally fresh approach to their instrumental technique – Listeners will find great new territories of sonic landscape opened before them. \nAlso on this evening are performances by Shot x Shot’s percussionist Dan Cappechi\, joined by marimbist Ashley Deekus\, and West Philadelphia Orchestra trumpeter Dawn Webster; plus a jazz-leaning trio of Dan Blacksberg (trombone)\, Matt Mitchell (piano)\, and Dan Pell (percussion). \n  \nTHE PROGRAM \nStreifenjunko \nCappechi – Deekus – Webster \nIlpsanuul (Blacksberg – Pell – Mitchell) \n  \nABOUT THE ARTISTS \nSTREIFENJUNKO (Norway) \nStreifenjunko makes vigorous music with the rare instrumentation of tenor saxophone and trumpet. Espen Reinertsen and Eivind Lnning apply uncommon instrumental techniques to project a spacious sound with nothing else around. Streifenjunko has collaborated with a lot of exciting musicians\, like Tetuzi Akiyama\, Toshi Nakamura\, Christian Wallumrd\, Sidsel Endresen and video artist Kjell Bjrgeengen. The quartet Akiyama/Taxt/Lnning/Reinertsen recently released the album “Varianter av dde trr” on Sofa\, and Streifenjunko now presents their debut album “No Longer Burning” on the same label. Streifenjunko has over the last couple of years toured Asia\, Africa and Europe\, and festival performances includes Fri Resonans and Phonofestivalen in Norway\, On the Edge of Wrong Festival in South Africa and Moers Festival in Germany. \n  \nILPSANUUL \nDan Blacksberg – trombone \nDan Pell – percussion \nMatt Mitchell – piano \nIlpsanuul is an improvising ensemble of three Philadelphia area musicians who are extending the range of their instruments. These musicians combine their knowledge in the fields of jazz\, imporvised as well as many other musical styles to play from a place of deep intuitive connection\, eschewing the well traveled sonic paths that have become what we know as improvised music. Rather than a music of no style\, no idiom\, this is a music that allows the musicians to explore diversity of their backgrounds in a sonic environment where the boundries are created or destroyed in the moment. \nDan Pell lives in Philadelphia. He is is influenced by many musical styles and musicians including Max Roach\, Cecil Taylor\, John Coltrane\, Elvin Jones\, Captain Beefheart\, and Soft Machine. \nMatt Mitchell Since moving to Philadelphia in 1999\, Matt Mitchell has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. His most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a current member of Tim Berne’s Adobe Probe\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Shane Endsley\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. He is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM].
URL:https://www.bowerbird.org/event/streifenjunko/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/Streifenjunko.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090505T200000
DTEND;TZID=America/New_York:20090505T220000
DTSTAMP:20260414T092923
CREATED:20190617T164044Z
LAST-MODIFIED:20190617T164230Z
UID:10001072-1241553600-1241560800@www.bowerbird.org
SUMMARY:Three Trios
DESCRIPTION:Fabrizio Spera – Alberto Braida – Jack Wright \nMike Szekely – Matt Mitchell – Matt Engle \nLarry Toft – Dawn Webster – David Fishkin \n  \nMuch of the jazz tradition is built on well defined instrumental roles – bass and drum in the rhythm section\, horns playing melodic solos and harmonic supporting material. But just as quickly as these norms were established\, musicians have been breaking these boundaries to redefine the own sonic territory. This evening\, three trios of jazz-capable musicians suspend these questions for another day. \nItalians musicians Fabrizio Spera (percussion) and Alberto Braida (piano) will be joined by American saxophonist Jack Wright. Forged through a globe trotting story becoming more common in improvised music\, the trio came together after Spera\, who had met Wright at the Irtijal Festival in Beirut Lebanon\, suggested that a regular partner of his\, pianist Braida\, would be a superb choice for a trio. The group first came together in the village of Montepulciano\, Italy in November 2006 and was followed by an Italian tour. Fabrizio and Alberto have toured several times in the US\, supported by the Italian Institute in 2006 in San Francisco\, and in 2008 in New York. Fabrizio has come several times with his trio Ossatura\, most recently in 2007\, and also performed in May 2008 at the Vision Festival in NY. He also toured with Jack Wright in San Francisco and in trio with Gust Burns in Seattle and Portland Or in spring 2008. \nOpening the evening are two trios made up Philadelphia musicians. Though drawn from a pull of frequent collaborators\, these groupings constitute new experiments in personnel. Shot x Shot bassists Matt Engle is joined by percussionist Michael Szekely and pianist Matt Mitchell. Rounding out the night\, West Philadelphia Orchestra trombonist Larry Toft and trumpeter Dawn Webster will be joined by baritone saxiphonist David Fishkin. \n  \nABOUT THE ARTISTS \n  \nFABRIZIO SPERA – percussion\, electronics \nSince the end of the eighties Fabrizio Spera has been active as musician and organizer in the field of experimental music with a special interest in free improvisation. He has played and collaborated with\, among others: Mike Cooper\, Peter Kowald\, Wolfgang Fuchs\, Otomo Yoshihide\, Jon Rose\, Tim Hodgkinson\, Thomas Lehn\, Jean Marc Montera\, Tom Cora\, Elio Martusciello\, Conrad Bauer\, Tristan Honsinger\, Werner Ludi\, John Butcher\, John Edwards\, Ab Baars\, Rhodri Davies\, Marc Wastell\, Lol Coxhill\, Chris Cutler\, Mario Schiano\, Giancarlo Schiaffini\, Guido Mazzon\, Sebi Tramontana\, Martin Tétreault\, Michel Doneda\, Jérome Noetinger\, Burkhard Beins Saadet Turkoz\, Hans Koch\, Martin Schuetz\, Larry Ochs\, Lisle Ellis\, Wadada Leo Smith. \nSome of his current groups are Ossatura with Elio Martusciello and Luca Venitucci; Blast with Dirk Bruinsma\, Frank Crjins\, Paed Conca; Viktoria Frey (H. Eisler songs) with Sabina Meyer\, Lauro Rossi\, Fabrizio Puglisi; Lingua Wolfgang Fuchs with Thomas Lehn\, Trio with John Butcher and John Edwards\, RARA ensemble; Di Terra\, trio with Alberto Braida and Lisle Ellis\, and of course the trio with Jack Wright and Alberto Braida. \nHe has played in festivals like: the Vision Festival (NYC); Controindicazioni (Rome\, Italy)\, London Musician’s Collective (London\, UK)\, Europa Jazz Festival (Noci\, Italy)\, Musique Actuelle (Victoriaville\, Quebec)\, Angelica (Bologna\, Italiy)\, Musique Action (Vandœuvre-lès-Nancy\, France)\, Jazzhaus Festival (Cologne\, Germany)\, Synthese (Bourges\, France)\, Musique Innovatrices (Saint-Étienne\, France)\, Humannoise Congress (Wiesbaden\, Germany)\, Tampere Jazz Happenings (Tampere\, Finland)\, Alternativa (Prague\, Hungary)\, Fruits de Mhere (Mhere\, France)\, Total Music Meeting (Berlin\, Germany)\, Yokohama Jazz promenade (Yokohama\, Japan)\, Nits de Musica (Barcelona\, Spain)\, Ring Ring (Belgrade\, Serbia)\, Mix 02 (Århus\, Denmark)\, Densité (Fresnes en Woevre\, France)\, November Music (Ghent\, Belgium) \n  \nALBERTO BRAIDA – piano \nBegan his piano studies when he was seven years old. He obtained a diploma at the Conservatory “G. Nicolini” in Piacenza and attended jazz music seminars in Siena from 1989 to 1991. He has been focused since the beginning on improvisation and its relationship with composition. Braida has collaborated and played with musicians and composers such as Wadada Leo Smith\, Lisle Ellis\, Peter Kowald\, Paul Lovens\, Wolfgang Fuchs\, John Edwards\, Jack Wright\, Wilbert De Joode\, John Butcher\, Gino Robair\, Hans Koch\, Giancarlo Locatelli\, Ab Baars\, Fabrizio Spera\, George Cremaschi\, Ig Henneman\, John Hughes\, Liz Albee\, Fabio Martini\, Edoardo Marraffa\, Antonio Borghini\, Gianfranco Tedeschi\, Serge Baghdassarians\, Sabina Mayer\, Michael Thieke\, Alessandro Bosetti\, Jeff Arnal\, Michael Griener\, Alexander Frangheneim\, Filippo Monico\, Boris Baltschun\, Astrid Weins\, Massimo Falascone\, Lars Scherzberg\, Luca Venitucci and many other. \nHe played in Berlin (Total Music Meeting 2001 and Total Music Meeting 2004)\, Hamburg\, Hannover\, Cologne\, Oberhausen\, Locarno\, Milano (“Festival milanese della musica d’improvvisazione” 2004 and 2005)\, Lodi (“ContemporaneaMente” festival)\, Rome (Controindicazioni)\, London (Free Radicals at the Red Rose)\, Music Unlimited Festival XIX (Wells Austria)\, San Francisco\, Olimpia College\, Portland\, New York (Improvised and otherwise Festival 2003)\, Boston\, Baltimore\, Bennington College and many other places. Braida is one of the curators of the contemporary and improvised music festival “Contemporaneamente” in Lodi and he serves as teacher (piano\, harmony and improvisation) at the musical institute”F. Gaffurio” in Lodi. \n  \nJACK WRIGHT – saxes \nOver the past twenty-five years Jack Wright has been a bold saxophonist\, as well as an influential musical personality. Either on tour or organizing the next one\, he has played in virtually every venue available to experimental improvised music in the US. He toured in Europe extensively in the 1980’s and began again on a regular basis in 2000; in Europe\, he is mostly based in Paris. \nIn 1982 Wright began Spring Garden Music as a vehicle for organizing an improvisational music community\, and as a label on which he and his partners record. As a musical explorer\, his music passes through radical shifts of style and approach from one year to the next\, yet always somehow identifiable as his own. These days he is playing mostly alto and soprano saxophones\, in every possible direction\, sometimes barely recognizable as those instruments. He lives in Easton Pennsylvania\, which enables him to commute easily to NYC and Phila. \nThe Washington Post says\, “In the rarefied\, underground world of experimental free improvisation\, saxophonist Jack Wright is king.” And a German publication\, Bad Alchemy\, had this to say of his solo: “Wright does not make music\, he embodies it\, he transforms it with a naïveté; of another order. It grows into a sound river\, he is part of the diaphragm through which the heterogeneous whispers.” \nJack has over sixty partners around the US and in Europe with whom he plays on his travels and records. Some of his recent partners in Europe have been: Michel Doneda\, soprano sax; Agnes Palier\, vocalist; Olivier Toutlemond\, percussion; Fabrizio Spera\, drums; Alberto Braida\, piano; Sebastien Cirotteau\, trumpet; Marlene Jobstl\, butoh dancer; Pascal Battus\, table guitar; Jean-Philippe Gross\, electronics; Sharif Sehnaoui\, guitar; Christine Sehnaoui\, alto sax; Stephane Rives\, soprano sax; Jean-luc Guionnet\, alto sax; David Chiesa\, double bass; Jean Borde\, double bass; Michael Griener percussion and Sabine Vogel flute of Berlin; Le Quan Ninh\, percussion; Barre Philipps\, double bass; and Phil Durrant\, English laptop musician. \nHis most recent tours have been with Fabrizio Spera and Alberto Braida in Italy; with Agnes Palier and Olivier Toutlemond in France-Switzerland-Germany; a solo tour in Scandinavia; with Michael Johnsen\, electronicist\, in France\, Holland\, Belgium\, etc.\, joined by Sebastien Cirotteau; with Michel Doneda and NYC percussionist Tatsuya Nakatani (From Between Trio) in Japan\, France\, and the US; with Wade Matthews\, bass cl\, flute\, electronics\, in the US; with Carol Genetti\, and Jon Mueller (NomTom trio)\, in the US; Nate Wooley\, trumpet\, of NYC in Europe; cellist Bob Marsh of the Bay area; Michael Griener and Sabine Vogel of Berlin; Reuben Radding\, NYC bassist; Phil Durrant\, in the US; and with trumpet player Tom Djll from Oakland and soprano sax player Bhob Rainey on the West Coast. \n  \nMATT MITCHELL – piano \nSince moving to Philadelphia in 1999\, Matt Mitchell has pursued an interest in the intersections of both composed and improvised music and of ‘classical’\, ‘jazz’\, and electronic music\, performing consistently throughout the United States and Europe. In addition to his solo activities he has been a member of the long standing Philadelphia-area groups Kaktus and Feigner\, both of which groups have explored new areas of non-idiomatic group improvisation and released several acclaimed albums on Scrapple Records. Matt’s most recent recording\, the large-scale electroacoustic piece ‘vapor squint\, antique chromatic’\, was released on Scrapple in 2007 to uniformly positive reviews. In addition to being a current member of Tim Berne’s Adobe Probe\, he has performed with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Shane Endsley\, Drew Gress\, Mark Helias\, Tom Rainey\, Jim Black\, Ari Hoenig\, Josh Roseman\, and John Swana\, as well as being a former member of the avant-rock band Thinking Plague. Matt is also a faculty member with the Brooklyn\, NY based School for Improvisational Music [SIM]. \n  \nMIKE SZEKELY – drums \nMike Szekely studied jazz as an undergraduate at the Hartt School of Music (Hartford) led by the late saxophonist Jackie McLean. In 1996\, he studied percussion with drum master Milford Graves at Bennington College. Mike has for the past few years been involved with many wonderful musicians and various groups contributing to the burgeoning improvisational and experimental music scenes in Philadelphia\, including Equis Equis Equis\, The Scriptors (with Engle and Bryan Rogers)\, and the Dan Blacksberg Trio. He also plays drums with singer-songwriter Courtney Parker\, whose music spans a range of jazz\, pop\, and folk styles. Since 1993\, Michael has co-led various intermittent projects with New York-based saxophonist Allen Livermore\, resulting in two recordings: Feet Music’s “Assertions & sketches” (Chroma Independent Media\, 1995) and the ALMS Trio’s “Advocates” (Eighth Nerve Records\, 2005). Mike has also collaborated on projects and concerts with Anthony Braxton\, Ed Mann\, Stephen Haynes\, Taylor Ho Bynum\, Toshi Makihara\, and Jack Wright. He received his doctorate from Temple University and continues to teach and write on philosophy\, especially in aesthetics and the philosophy of music. \n  \nMATT ENGLE – bass \nMatt Engle grew up ten minutes outside of Philadelphia in South Jersey. He has since resided in Philadelphia where he has continued to be a consistently active and sought-after bassist in the local music scene. Matt studied with Kevin McConnell and Tony Marino while attending The University of the Arts. He has had an integral role in the longstanding Philadelphia-based improvisational outfit Shot x Shot\, as both a performer and composer. In addition to his work with Shot x Shot\, Matt is a regular member of the nationally and internationally acclaimed group\, Sonic Liberation Front\, which combines Afro-Cuban and free jazz influences. He has also collaborated in recent years with saxophonist Seth Meicht (trio and quartet) and as a member of The Scriptors (with Szekely and Bryan Rogers). \n  \nLARRY TOFT – trombone \nTrombonist Larry Toft performs frequently around the Delaware Valley. Being located in Philadelphia gives him the opportunity to perform a wide range of musical styles such as jazz\, classical\, salsa\, reggae\, Balkan\, and funk. The avant-garde has always inspired Toft’s music and he works it into his performances whenever possible. He is a regular member of Bobby Zankel’s Warriors of the Wonderful Sound as well as numerous other local big bands including the Phil Giordano Orchestra\, and the Lars Halle Jazz Orchestra. He has performed with salsa legends Johnny Pacheco of the Fania All-Stars\, Lalo Rodriguez\, Michael Stewart\, and Johnny Rivera. A Graduate of Temple University\, he studied with former Philadelphia Orchestra’s trombonist Tyrone Breuninger and jazz with Don Collins and Luis Bonilla of the Village Vanguard Orchestra. \n  \nDAVID FISHKIN – saxophone \nDavid Fishkin was born in Philadelphia. At the age of seven\, he heard a street-corner saxophonist playing the theme to the “Pink Panther.” At that moment\, David knew that he wanted to play the saxophone. He studied music at Oberlin College\, and during a semester spent in Philadelphia\, David studied with Odean Pope. Since then\, David has experimented with amplifying his instrument; his setup has been described as an “amplified saxophone earthquake.” David plays in Gun Muffs\, a power duo with the drummer Eli Litwin. David is also a saxophone teacher\, and he has arranged music for an ensemble made up of his students. Currently\, David is writing a puppet musical\, which will premiere this fall in the Philadelphia Fringe Festival. \n  \nDAWN WEBSTER – trumpet \nDawn Webster is one of Philadelphia’s rising young talents. A multi-instrumentalist\, Dawn has performed in a wide range of genres from the ancient to post-modern. Ms. Webster can currently be heard performing on horn\, euphonium\, flute\, recorders\, cornetto\, and trumpet\, her main instrument. Ms. Webster worked with David Bilger and Peter Bond during her formal studies in classical trumpet. A summer workshop with avant-garde soloist Markus Stockhausen sparked her interests in new music and free improvisation\, while her time as an employee in the university music library and world music classes sparked her later interests in the music of the East. \nCurrent projects include Eastern European groups Galata Ensemble and the West Philadelphia Orchestra\, classical/pop brass ensemble Rodney Mack Philadelphia Big Brass\, as well as solo appearances as a recitalist and on Philadelphia’s Soundprints\, Cybersounds\, and SciFi Philly new music series. She has appeared with many local orchestras including the Haddonfield\, Lancaster\, and Reading Symphony Orchestras\, and with Piffaro\, the Renaissance Band. She is currently adjunct faculty at Temple University in addition to teaching throughout the greater Philadelphia area.
URL:https://www.bowerbird.org/event/three-trios/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/ThreeTrios-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090322T200000
DTEND;TZID=America/New_York:20090322T220000
DTSTAMP:20260414T092923
CREATED:20190617T160326Z
LAST-MODIFIED:20190617T160351Z
UID:10001070-1237752000-1237759200@www.bowerbird.org
SUMMARY:A Matter of Guitar
DESCRIPTION:DAVID DANIELL\, JACK ROSE\, GLENN JONES\, and ANDY GILES \npresented with Plays and Players \n  \nThe guitar is arguably today’s most important vehicle for musical creativity. Despite the enormous amount of material that already exists\, or perhaps because of it\, there are a number of artists that continue to redefine and recast the boundaries and capabilities of the instrument. On this evening\, four artists\, Chicago’s David\, Boston’s Glenn Jones\, and Philadelphia’s Jack Rose and Andy Giles\, will share the musical realms that they have staked out. A noticeable departure from more dissonant offerings\, the listeners here will be drawn into an immersive world of resonate sonorities and hypnotic melodies. As sensuous and beautiful as this music is\, the complexity and genius in which it is created should not be diminished. \n  \nABOUT THE ARTISTS \nDavid Daniell – guitar\, electronics \nDavid Daniell is a composer and performer working in the intersections of acoustic and electronic instrumentation and of composition and improvisation. His music focuses on two primary areas of concern: perception and listening at the margins of audibility\, through repetition\, drone\, and a gradual and lateral development of timbre; and the social narrative of musical forms\, both in terms of improvisation and intuitive composition\, as well as through the recontextualization and incorporation of sounds from and inspired by his rural heritage. \nAs a performer\, Daniell utilizes acoustic\, electric\, and pedal steel guitar along with a variety of electronics. He has worked for over a decade as a member of the improvising blues-drone trio San Agustin\, along with many other collaborators through the years\, including Tim Barnes\, Ateleia\, Jeph Jerman\, Thurston Moore\, Sean Meehan\, Loren Connors\, Tomas Korber\, Greg Davis\, and most recently as lead guitarist in Jonathan Kane’s live band\, as head of both of Rhys Chatham’s current ensembles\, and in an ongoing duo with Douglas McCombs (of Brokeback\, Tortoise\, Eleventh Dream Day). Daniell’s compositional work utilizes displaced and abstracted field recordings juxtaposed with manipulated acoustic instruments and sounds of purely electronic origin\, with great attention to sonic detail and aural depth-of-field\, as captured in two solo albums\, 2002’s sem (Antiopic) and 2006’s Coastal (Xeric/Table of the Elements). Recent compositions have incorporated a variety of instruments in larger ensemble settings. One such work\, Sunfish (for twelve to fifteen musicians)\, was performed at the Fugue State Festival in Chicago (June 2007) and the X Avant Festival in Toronto (September 2007). \nRecent releases include two live solo recordings (Los Jacintos\, a recording of a live electric guitar performance in Madrid in February 2008\, and The Hideout\, of an acoustic guitar and electronics performance in Chicago) released as part of Antiopic’s Live Series\, as well as a solo LP in Table of the Elements’ Guitar Series Volume 4. Early 2009 will see the debut album of his duo with Douglas McCombs\, to be released on the Chicago label Thrill Jockey. \nDaniell has worked extensively with the record label Table of the Elements (including engineering John Fahey’s 1998 Table of the Elements release Georgia Stomps\, Atlanta Struts and Other Contemporary Dance Favorites)\, and as producer and artistic director of his own record label Antiopic since 2002. Antiopic’s catalog includes Alvin Lucier\, Joyce Hinterding\, Tetuzi Akiyama\, Oren Ambarchi\, Ultra-Red\, Lee Ranaldo\, Jim O’Rourke\, Eddie Prévost and Alan Licht among others\, as well as 2003’s critically-acclaimed Allegorical Power series of politically-charged web-only releases. Daniell has recently started working with video\, including a collaboration with artist Robert Longo as producer of the DVD of Longo’s 1979 Pictures For Music. \n  \nJack Rose – guitar \nJack Rose has been going places lately\, and the evidence is all over this splendid record. The names of six of its eight tunes refer to places\, some easy to find on a map “Calais To Dover”\, some harder to pin down “Cross the North Fork”. Another brings up the journey we all must eventually take “Flirtin with the Undertaker”. The guitarist has toured like a demon in the year that preceded this recording\, and it shows in the best possible ways. Every track is a first take\, and each radiates the confidence of a man who knows he can just sit down and nail it\, no problem. Rose has never sounded better; some credit must go to engineer Mike Chaffin for an exceptionally bright and present recording job\, but more must go to the artist for the clarity\, strength and purposefulness of his finger picking. He also forges ahead in his material\, sometimes by turning back the clock. Working backwards is part of his MO .. remember that he recorded crumbling rock\, acoustic trance\, and full-on noise with Pelt for half a dozen years before he laid down his first finger-style performances. Kensington Blues includes a couple delightful ragtime tunes\, his first compositions in that ancient but honorable style. It also features several winding\, quasi-narrative fantasias\, pieces that will lose you in the sheer gorgeousness of their sound without ever really getting lost; go ahead\, try and stay rooted in this time and place whilst listening to “North Fork” or “Cathedral et Chartres” (forgive his French .. you’d do the same for Chic). If you do\, you..ve got some serious karmic baggage weighing down your soul. “Now that I’m a Man Full Grown II”\, his latest Indian-style slide piece\, picks up where Rose’s side of the By The Fruits You Shall Know The Roots compilation left off. It accelerates slowly\, affording plenty of time to appreciate his voluptuous tone on the lap steel before he builds to a thrilling breakneck climax and elegant denouement. Rose also travels to the mountain. He..s dedicated music to John Fahey\, but here he finally records one of the man..s compositions. His version of “Sunflower River Blues” sounds regal\, unflappable and complete in the way that\, say\, Rose’s pleasant but somewhat hurried cover of Blind Willie Johnson’s “Dark was the Night\, Cold was the Ground” on his first album was not. Truly he is a man full grown\, and this is one of the best albums in any genre to come out in 2005. Bill Meyer \n  \nGlenn Jones – guitar \n“The best guitarist you never heard of.” –The Boston Globe \nA 30+-year devotee of the so-called “Takoma school\,” Jones has written extensively about two of the label’s leading lights\, steel-string acoustic guitar architects John Fahey (with whom he was friends for nearly 25 years)\, and Robbie Basho (Jones was friends with the guitarist until his untimely death in 1986\, and hosted Basho’s final tour of the East Coast). \nBesides performing with both artists\, Jones’ band\, Cul de Sac\, collaborated on an album with John Fahey in 1996 (the Fahey-titled Epiphany of Glenn Jones). Jones also produced Fahey’s posthumously issued 1968 live album\, The Great Santa Barbara Oil Slick (Water) and a 1980 live recording by Robbie Basho\, Bonn Ist Supreme (Bo’ Weavil). \nIn 2004\, Jones offered up the first of his own “new possibilities.” This Is the Wind That Blows It Out\, an album of acoustic 6- & 12-string guitar instrumentals\, was released to rave reviews\, and was followed by a month-long tour of Europe with guitarist extraordinaire\, Jack Rose. \nAgainst Which the Sea Continually Beats was issued in early 2007. Recorded on Martha’s Vineyard\, the island setting coaxed impeccable performances from the guitarist. The album’s 11 tunes run the gamut from Delta to Appalachia\, from bastard classical to cinematic soundscapes. Graceful\, subtle\, resonating with confidence and power\, Against Which the Sea Continually Beats is a significant addition to the “guitar soli” cannon. \nGlenn Jones and Jack Rose completed their first U.S. tour in September and October 2007\, and Jones appears on Jack’s recent Dr. Ragtime & Pals. \nA Jack Rose / Glenn Jones DVD\, featuring solo sets from each artist\, and a pair of duets\, is in the works\, to be issued in 2009 for the Strange Attractors label. \nIn May / June Strange attractors will issue Jones’ third album\, Barbecue Bob in Fishtown. \nAlong with Jack Rose\, Jones has performed with Peter Lang\, Steffen Basho-Junghans\, Cian Nugent\, James Blackshaw\, Paul Metzger\, Peter Walker\, Meg Baird\, Harris Newman\, Sean Smith\, MV + EE\, Dredd Foole\, Tom Carter\, and many others. \n  \nAndy Giles – guitar \nA resident of Philadelphia for a few years now\, Andy Giles remains elusive and difficult to categorize. His emotional lacerations are conveyed through electroacoustic caverns of reverb and prepared guitar. The compositions exhibit a uniquely darkened doom squall that draws influence from the likes of Gyorgy Ligeti and Giacinto Scelsi\, while comparisons have made to the work of Loren Connors and recent Scott Walker.
URL:https://www.bowerbird.org/event/a-matter-of-guitar/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/A-Matter-of-Guitar.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090317T200000
DTEND;TZID=America/New_York:20090317T220000
DTSTAMP:20260414T092923
CREATED:20190617T154811Z
LAST-MODIFIED:20190617T154811Z
UID:10001069-1237320000-1237327200@www.bowerbird.org
SUMMARY:SIZE MATTERS
DESCRIPTION:Bowerbird presents SIZE MATTERS featuring ENSEMBLE PAMPLEMOUSSE and ENSEMBLE NOMOS presented with Plays and Players. \nOften pursued\, rarely achieved\, the attempt to conquer the dynamic possibilities in a large ensemble is the holy grail of experimental music. Somewhere after the fourth or fifth person is added\, the same individuality that makes a duo or trio so intriguing starts to become a liability. One way to address this calamity is through the use of “re-arrangeable constructions” as New York City’s Ensemble Pamplemousse does. But what other possibilities exist? Philadelphia’s Ensemble Nomos offers an alternative hidden in deep history of collaboration. \n  \nENSEMBLE PAMPLEMOUSSE (New York City) \nNatacha Diels – flute\, compositions \nKiku Enomoto – violin\, compositions \nJessie Marino – cello\, compositions \nDave Broome – piano\, compositions \nAndrew Greenwald – percussion\, compositions \nRama Gottfried – electronics\, compositions \n  \nLike Buckmaster Fuller\, reversible sweaters\, or Mr. Potato Head\, Ensemble Pamplemousse’s Blocks Tour is a rearrangeable construction of elements. Prefab modules by the six composers are reconfigured each night of the tour into new structures of sonic architecture. As each block maintains its own internal logic\, the listener is pulled forward through the linear unfolding of time. Intertwining patterns of material emerge and dissolve\, connect\, obstruct\, and confer with each other\, unveiling new angles of hearing each sonic unit. \nFounded in 2002 as a vehicle for musical exploration\, Pamplemousse presents concerts of extraordinary focus and clarity. Comprised of virtuosic musicians trained in classical\, electronic\, and improvisational realms\, the group consistently delivers fresh\, exhilarating new concepts in sound. The members’ eagerness for aural discovery has allowed for ample experimentation processes\, where boundaries are non-existent\, and from which a strong dialogue has emerged. Among the group’s vernacular resides formerly unfathomable sound landscapes formed by the acute relationships the performers have forged with each other\, and with the composers who are an intrinsic part of the ensemble. The product\, uncompromising and resolutely beautiful\, is created by incredibly innovative\, yet-to-be-named approaches to performance and composition. \n  \nENSEMBLE NOMOS \nHelena Espvall – cello \nKatt Hernandez – violin \nJon Barrios – bass \nDan Blacksberg – trombone \nDustin Hurt – trumpet \nAlban Bailly – guitar \nMatt Mitchell – piano \nToshi Makihara – percussion \n  \nConceived in the shadowed memory of hundreds of concerts\, Ensemble Nomos is an evolving collaboration between eight of Philadelphia’s most curious and experienced free improvisers. The ensemble’s instrumentation – violin\, cello\, bass\, trumpet\, trombone\, guitar\, piano\, percussion – is entirely acoustic\, and leans strangely on the tails of European classical traditions. Though it’s membership is capable of a broad range of musical styles\, Nomos is about creating a single\, new sound concept\, rather than an assemblage of musical references\, in an effort to better understand the sonic world in which we live.
URL:https://www.bowerbird.org/event/size-matters/
LOCATION:Plays and Players\, 1714 Delancy St\, Philadelphia\, PA\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/pamplemousse.jpg
END:VEVENT
END:VCALENDAR