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DTSTART;TZID=America/New_York:20140516T200000
DTEND;TZID=America/New_York:20140516T230000
DTSTAMP:20260430T125526
CREATED:20190429T152623Z
LAST-MODIFIED:20190429T152623Z
UID:10000942-1400270400-1400281200@www.bowerbird.org
SUMMARY:Nakatani Gong Orchestra
DESCRIPTION:NAKATANI GONG ORCHESTRA – ten gong ensemble\n+ TATSUYA NAKATANI – solo percussion set \nVibrating metal. Glacial ambiance. Percussionist Tatsuya Nakatani returns to Philadelphia for a solo set and to lead a performance of the Nakatani Gong Orchestra (NGO) – an ensemble of 10 gongs played by local musicians and conducted by Natakatani. \nAnyone who has seen Nakatani perform live should be familiar with his skill in manipulating metal discs of all shapes and sizes\, and as the director of the NGO\, he uses the same techniques on a larger scale\, creating rich expanses of sound that ripple and flow like the most seductive of Richard Serra’s oversized and oxidated steel sculptures. \nNakatani and his orchestra use hand-made bows and mallets to create a sonorous mass of imposing intensity and beautifully wavering mirage. The bowing and gentle striking of the gongs creates a shimmering sheen in constant motion\, using the instrument’s inherently complex chorus of overtones to construct a dense canvas of ever-evolving sound. The sizeable heft of the sound isn’t enough to keep it from floating on air\, a copper-toned aurora against a backdrop of endless black. \n  \nABOUT THE ARTIST \nBorn and raised in Osaka\, Japan\, Tatsuya Nakatani currently resides in Easton\, Pennsylvania. He has released over sixty CD recordings in the U.S. and Europe. Since the late 1990s\, he has performed primarily as a solo percussionist across the U.S. and overseas and has taught master classes at universities as well as holding workshops and lectures. His N.G.O. performs nationwide. \nNakatani’s approach to music is visceral\, non-linear and intuitively primitive\, expressing an unusually strong spirit while avoiding categorization. He creates sound with both traditional and extended percussion techniques\, utilizing drums\, bowed gongs\, singing bowls\, as well as various sticks\, kitchen tools and homemade bows. His approach is steeped in the sensibilities of free improvisation\, experimental music\, jazz\, rock\, and noise\, and yet retains the sense of space and quiet beauty found in traditional Japanese folk music.
URL:https://www.bowerbird.org/event/nakatani-gong-orchestra/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Nakatani_Gong.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140418T200000
DTEND;TZID=America/New_York:20140418T230000
DTSTAMP:20260430T125526
CREATED:20190429T152836Z
LAST-MODIFIED:20190429T152905Z
UID:10000943-1397851200-1397862000@www.bowerbird.org
SUMMARY:AXON LADDER by Bhob Rainey and Catherine Pancake
DESCRIPTION:Built upon shared interests in technology\, machine learning\, and artificial intelligence\, Axon Ladder is a multimedia performance installation by Bhob Rainey and Catherine Pancake. Combining algorithmic electronic composition with real-time video manipulation\, this world premiere evening length work offers a timely view into the intersection of advancing technology and human intuition. The performance features footage of dancer/ choreographer Meg Foley. \n  \nFrom the composer:\nImagine\, on the one hand\, a modest algorithm that describes a population of creatures who want two things only: to eat and to be near each other. Give them a field of “food” and rules for birth and death. Set the creatures in motion. You will see a space that throbs with activity\, a population that grows and shrinks unpredictably. To witness it is hypnotizing and occasionally horrific\, like the teeming goo under a wet log. On the other hand\, imagine an expressive synthesizer with too many “dials” to be performed. Picture nine of these synthesizers. To make them do things we find musically engaging\, we’ll write a program that moves dials to interesting places in sequences that we hope to be poetic. We’ll tell that program what we like and what we don’t\, and it will learn something from us. \nPut the two hands together. What happens? The “creatures” infect the music\, which is quite dense and furiously transforming. Individual phrases have a human quality\, but the density of changes and presence of uncanny silences suggest the creatures’ obsessiveness and the fragile stability of their population. The timbre is roughly vocal\, and intense specialization evokes a swarm. At the level of short events\, there is an overload of information. Yet\, the larger structure brings a sense of purpose\, so that a space is carved out for navigating an environment teeming with expression. \nAlone\, this music is evocative of the seductive but troubling relationship we have with “lifelike” technology. Yet\, there is more that can be done to tickle this tension into the concert space. By feeding the music into movement and mediating that movement through video representations\, we extend the resonance of this human-technological knot and form a loop-like structure: artificial life (technological presence) -> musical composition (aesthetic activity) -> dance (embodied aesthetic activity) -> uncanny videography (technological mediation). The formal clarity of this loop\, along with the strong impact that audio / visual collaborations bring\, will significantly heighten the actual experience of the conceptual content of this work. \n  \n  \nThis program has been funded in part\, with a grant from the American Composer’s Forum – Philadelphia Chapter.
URL:https://www.bowerbird.org/event/axon-ladder-by-bhob-rainey-and-catherine-pancake/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Axon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140309T200000
DTEND;TZID=America/New_York:20140309T220000
DTSTAMP:20260430T125526
CREATED:20190429T153549Z
LAST-MODIFIED:20190429T153549Z
UID:10000946-1394395200-1394402400@www.bowerbird.org
SUMMARY:XENAKIS: The Complete String Quartets
DESCRIPTION:The powerhouse JACK Quartet returns to Philadelphia for a concert featuring the hypercomplex string quartets by Iannis Xenakis. A leading figure in twentieth century music\, Xenakis (1922 – 2001) was trained as a civil engineer\, then became an architect and developed revolutionary designs while working with Le Corbusier. Utilizing his technical background\, Xenakis approached composition with a curious mix of analysis and intuition\, creating works of massed orchestral textures\, dense electronics\, polyrhythmic percussion music. Taken as a whole\, the four string quartets – Tetora\, Ergma\, ST-4/1\,080262\, and Tetras – represent a remarkable overview of this composer’s development and changing approaches to sound\, complexity\, density\, and form. \nXENAKIS: The Complete String Quartets\nperformed by the JACK Quartet \nIannis Xenakis\, Tetora\nIannis Xenakis\, Ergma\nIannis Xenakis\, ST-4/1\,080262\nIannis Xenakis\, Tetras
URL:https://www.bowerbird.org/event/xenakis-the-complete-string-quartets/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/04/Xenakis.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140221T200000
DTEND;TZID=America/New_York:20140221T220000
DTSTAMP:20260430T125526
CREATED:20190429T153806Z
LAST-MODIFIED:20190429T153806Z
UID:10000947-1393012800-1393020000@www.bowerbird.org
SUMMARY:MEETING MOOG: The Early Electronic Music of Andrew Rudin
DESCRIPTION:Bowerbird is pleased to present this concert portrait of the early electronic music of composer Andrew Rudin. The concert will feature Rudin’s Tragoedia performed with a live video accompaniment and Il Giuoco (1966)\, which Robert Moog said to be the first large-scale\, original\, serious composition created on his synthesizing instruments. Il Giuoco is accompanied by a film (also made by the composer). \nTHE PROGRAM \nIl Giuoco (with film\, 15:28)\nTragoedia (visuals by Peter Price\, 37:30)\nPaideia (with film\, 14:52) \nMEETING MOOG:\nThe Early Electronic Music of Andrew Rudin \nwith live video by Peter Price\nplus a Q+A with the composer moderated by Thomas Patteson
URL:https://www.bowerbird.org/event/meeting-moog-the-early-electronic-music-of-andrew-rudin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/04/MOOG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20140117T200000
DTEND;TZID=America/New_York:20140117T220000
DTSTAMP:20260430T125526
CREATED:20190429T153954Z
LAST-MODIFIED:20190429T154019Z
UID:10000948-1389988800-1389996000@www.bowerbird.org
SUMMARY:TREFOIL: Fleur de Valeur
DESCRIPTION:Bowerbird is very excited to present Trefoil\, a trio of singer-instrumentalists that specialize in European Medieval music\, performing works by Guillaume Dufay\, Gilles Binchois\, and others from their new CD Fleur de Valeur: A Medieval Bouquet. Like poets of all ages\, medieval songwriters invoked the imagery and natural magic of flowers in the service of ideal\, feminine beauty. In many poems\, the most revered flower was the Rose\, or fleur de valeur. As a symbol of Mary the Virgin this flower stood for virtue\, but also for the more sensual desires of the flesh\, where it became an object of masculine desire. \n  \nTREFOIL \nDrew Minter\, countertenor\, harp and percussion\nMark Rimple\, countertenor\, lute\, gittern\, and citole\nMarcia Young\, soprano and harp \n  \nTrefoil is a trio long active in early music\, with experience in such ensembles as Concert Royal\, Les Arts Florissants\, New York’s Ensemble for Early Music\, Pomerium\, Clarion Music society\, Piffaro\, My Lord Chamberlain’s Consort\, and other groups. The trio debuted in New York and Philadelphia early in 2000 with a program of 14th-century French ars subtilior song. The Philadelphia Inquirer tagged the performers as “a hearty trio of medieval music specialists” and their work as “an intricate\, enigmatic vocal art.”
URL:https://www.bowerbird.org/event/trefoil-fleur-de-valeur/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Trefoil.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131220T200000
DTEND;TZID=America/New_York:20131220T220000
DTSTAMP:20260430T125526
CREATED:20190429T154229Z
LAST-MODIFIED:20190429T154312Z
UID:10000949-1387569600-1387576800@www.bowerbird.org
SUMMARY:GESUALDO: DEATH FOR FIVE VOICES
DESCRIPTION:Bowerbird is pleased to present a rare screening of Werner Herzog’s peculiar 1995 documentary film Death in Five Voices about the troubled life of eccentric sixteenth century composer Don Carol Gesualdo. Shot on location in Italy and featuring interviews with Gesualdo Consort director Gerald Pace\, Il Complesso Barocco musical director Alan Curtis. From his sexual deviance and dangerous obsessions to a shocking act of murder\, Gesualdo’s personal demons and remarkable influence are explored as never before thanks to careful research and detailed interviews with those who have dedicated their lives to studying his remarkable legacy. \nThe evening will open with an introduction on Herzog and Gesualdo by Thomas Patteson.
URL:https://www.bowerbird.org/event/gesualdo-death-for-five-voices/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Gesualdo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131018T200000
DTEND;TZID=America/New_York:20131018T230000
DTSTAMP:20260430T125526
CREATED:20190429T154458Z
LAST-MODIFIED:20190429T154458Z
UID:10000950-1382126400-1382137200@www.bowerbird.org
SUMMARY:Gene Coleman and Ensemble N_JP
DESCRIPTION:International Ensemble N_JP (featuring Sho master Ko Ishikawa and live electronics from Toshimaru Nakamura) will give the Philadelphia premiere of new works by composer and director Gene Coleman. The program includes his new music and film piece “Sendai Transmissions” and “Bairo”\, a new work made in collaboration with contemporary Indian choreographer Shaily Dadiala.
URL:https://www.bowerbird.org/event/gene-coleman-and-ensemble-n_jp/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/N_JP.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20131009T200000
DTEND;TZID=America/New_York:20131009T220000
DTSTAMP:20260430T125526
CREATED:20190429T154650Z
LAST-MODIFIED:20190429T154650Z
UID:10000951-1381348800-1381356000@www.bowerbird.org
SUMMARY:Claire Chase
DESCRIPTION:Flutist Claire Chase\, “the young star of the modern flute” (The New Yorker) and a 2012 MacArthur Fellow\, celebrates the release of her third solo album\, DENSITY\, featuring tour de force flute works by Steve Reich\, Alvin Lucier\, Philip Glass\, Marcos Balter\, Mario Diaz de Leon\, and the seminal 1936 flute solo Density 21.5 by Edgard Varese. Taking the concept of “density” as a springboard for sonic explorations of texture\, layering and performative virtuosity\, the record commences with 11 multi-tracked flutes and gradually whittles down to just one. Chase offers the entire disc as a 75-minute continuous solo performance in collaboration with the sound designer Levy Lorenzo. DENSITY follows Chase’s critically other acclaimed solo albums\, Aliento (2009) and Terrestre (2012)\, and completes a three-part trilogy of records dedicated to the expansion and documentation of 20th and 21st century flute repertory.
URL:https://www.bowerbird.org/event/claire-chase/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Claire_Chase.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130621T200000
DTEND;TZID=America/New_York:20130621T220000
DTSTAMP:20260430T125526
CREATED:20190429T154839Z
LAST-MODIFIED:20190429T154839Z
UID:10000952-1371844800-1371852000@www.bowerbird.org
SUMMARY:JACK Quartet performing Lutoslawski\, Lachenmann\, Berenson
DESCRIPTION:The internationally acclaimed JACK Quartet returns for a concert featuring masterworks by Witold Lutoslawski\, Helmut Lachenman\, and the world premiere of Philadelphia based composer Adam Berenson’s String Quartet No. 3. In addition to the new work\, JACK will perform Lachenmann’s own String Quartet No. 1 “Gran Torso” (1972)\, and Lutoslawski’s radical aleatoric contribution to the genre. \n*An earlier version of this program included Luigi Nono’s Fragmente-Stille\, an Diotima. Due to unforsee circumstances JACK will perform Lutoslawski’s String Quartet instead.*
URL:https://www.bowerbird.org/event/jack-quartet-performing-lutoslawski-lachenmann-berenson/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Jack_Quartet.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130419T200000
DTEND;TZID=America/New_York:20130419T220000
DTSTAMP:20260430T125526
CREATED:20190429T155249Z
LAST-MODIFIED:20190429T155249Z
UID:10000954-1366401600-1366408800@www.bowerbird.org
SUMMARY:SOUND POETRY EFFECTS CATALOG
DESCRIPTION:SOUND POETRY EFFECTS CATALOG\ncurated by Danny Snelson\, \nwith live performances by Caleb Beckwith\, Mark Johnson\, Timothy Leonido\, Kate McGuire\, John Paetsch\, and Danny Snelson \nJoin Bowerbird for its first event exploring sound poetry\, an artistic form that bridges literary and musical composition. \nAs Joan La Barbara reminds us\, voice is the original instrument. Already in 1641\, Ben Jonson writes: “Others there are that have no composition at all but a kind of tuning and rhyming fall in what they write. It runs and slides\, and only makes a sound.” While Jonson here criticizes the mindless poetry of his contemporaries\, what might occur if we take this statement seriously? What emerges when the vocal apparatus goes beyond sense? This evening of sound poetry considers these questions alongside the tradition of sound poetry as conceived by a diverse constellation of poets including Kurt Schwitters\, Henri Chopin\, Steve McCaffery\, chris cheek\, Adachi Tomomi\, and Jaap Blonk\, among others. \nA program for the uninitiated and the more seasoned prosodic travelers\, writer and editor Danny Snelson has assembled a survey of texts\, micro-lectures\, and instantaneous digital publications to be performed by a cast of emerging sound poets. Testing the “catalog of effects” at play in the practice of sound poetry\, this event queries a broad database of historical forms to consider potentials for the contemporary application of poetic performance at the very limits of the human voice.
URL:https://www.bowerbird.org/event/sound-poetry-effects-catalog/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Sound_Poetry.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130215T200000
DTEND;TZID=America/New_York:20130215T220000
DTSTAMP:20260430T125526
CREATED:20190429T155444Z
LAST-MODIFIED:20190429T155512Z
UID:10000955-1360958400-1360965600@www.bowerbird.org
SUMMARY:ALASH ENSEMBLE
DESCRIPTION:ALASH ENSEMBLE\nwth beat boxer Shodekeh\,\ndouble bassist Garth Stevenson\,\nand vocalist/guitarist Annie Lynch \n  \nALASH are masters of Tuvan throat singing\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. For their spring 2013 tour\, Alahs is joined by Baltimore based beat boxer Shodekeh and NYC based composer/performers Garth Stevenson and Annie Lynch.
URL:https://www.bowerbird.org/event/alash-ensemble-3/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alash_Ensemble.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20130111T210000
DTEND;TZID=America/New_York:20130112T230000
DTSTAMP:20260430T125526
CREATED:20190429T163252Z
LAST-MODIFIED:20190429T163252Z
UID:10000964-1357938000-1358031600@www.bowerbird.org
SUMMARY:John Cage: Film Without Subject
DESCRIPTION:Created the year he died\, Cages only feature-length film One11 (1992) was composed entirely using 1\,200 random operations devised by a computereach determining the movements of a crane-mounted camera and the qualities of lighting within an empty room. A meditation on the perception of emptiness that harks back to Cages much earlier 433 (1952)\, One11 is a film without subject\, persons or things\, offering instead a sublime impression of another\, timeless place. For this performance\, a video of Cages own realization will be accompanied by a recording of its companion piece\, 103 (for a large orchestra).
URL:https://www.bowerbird.org/event/john-cage-film-without-subject/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/one_11_and_103_cage_film_poster_walkerart.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20121209T200000
DTEND;TZID=America/New_York:20121209T220000
DTSTAMP:20260430T125526
CREATED:20190429T164237Z
LAST-MODIFIED:20190429T164237Z
UID:10000967-1355083200-1355090400@www.bowerbird.org
SUMMARY:Cage: Variations I - III
DESCRIPTION:• Variations I (1958)\nperformed by Christopher Colucci and Jorge Cousineau \n• Variations II (1961)\nperformed by Nate Wooley and Susan Alcorn \n• Variations III (1962)\nperformed by Bonnie Jones and Jesse Kudler \nWith vastly open and indeterminate scores and happenings\, Variations I – VIII (1958 – 1967) is a series of compositions that foreshadows both Song Books and the Fluxus movement performance pieces. Sometimes scored as broadly as “for any number of players and any sound producing means\,” Variation IV also includes 0’00”\, Cage’s second version of 4’33”. \nThis event starts at 8pm sharp. Due to unforeseen circumstances\, C Spencer Yeh and Maria Chavez will not be performing as previously planned.
URL:https://www.bowerbird.org/event/cage-variations-i-iii/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/04/Cage_Variations.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120615T200000
DTEND;TZID=America/New_York:20120615T220000
DTSTAMP:20260430T125526
CREATED:20190502T163529Z
LAST-MODIFIED:20190502T163529Z
UID:10000985-1339790400-1339797600@www.bowerbird.org
SUMMARY:Bernard Parmegiani's "De natura sonorum"
DESCRIPTION:Bernard Parmegiani (b. 1927): “De natura sonorum” (1975)\nSuite in twelve movements \nDigital artist Peter Price will perform live projected visuals to accompany the digital playback. The concert will be preceded by a brief introductory talk by Thomas Patteson. \nABOUT THE EVENT \nBuilding on the acoustic investigations of his teacher Pierre Schaeffer\, the founder of musique concrete\, French composer Bernard Parmegiani creates what he calls “acousmatic music” — a kind of sonic art conceived especially for presentation through loudspeakers\, designed to invoke powerful mental images through the pure play of disembodied sound. Parmegiani’s 1975 composition De natura sonorum is an unrivaled masterpiece in this genre. Each of the work’s 12 movements is an etude in which opposing sonic properties–percussive versus sustained tones\, or synthetic versus natural–are played against each other in a highly refined counterpoint of acoustic forms. At once playful and imposing\, sensual and cerebral\, De natura sonorum leads the listener on a unique exploration of the nature of sound.
URL:https://www.bowerbird.org/event/bernard-parmegianis-de-natura-sonorum/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Parmegiani.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20120420T200000
DTEND;TZID=America/New_York:20120420T230000
DTSTAMP:20260430T125526
CREATED:20190502T165116Z
LAST-MODIFIED:20190502T165116Z
UID:10000988-1334952000-1334962800@www.bowerbird.org
SUMMARY:Diamond Terrifier + Femme Tops + Wait + Patrick Higgins
DESCRIPTION:Difficult to summarize\, yet unified in ethos and affect\, this evening features three solo projects – Diamond Terrifier (Sam Hillmer of the Zs’s)\, Partrick Higgins (in an extensive reworking of JS Bach’s music)\, and Wait (a solo electronics project by Robert J). Also on the evening is a new quartetFemme Tops featuring Alex Hampshire\, Rick Weaver\, Evan Lipson\, and Jeff Zagers.
URL:https://www.bowerbird.org/event/diamond-terrifier-femme-tops-wait-patrick-higgins/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Diamond_Terrifier.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20111021T200000
DTEND;TZID=America/New_York:20111021T220000
DTSTAMP:20260430T125526
CREATED:20190502T170317Z
LAST-MODIFIED:20190502T170317Z
UID:10000990-1319227200-1319234400@www.bowerbird.org
SUMMARY:POWERS OF TEN
DESCRIPTION:When we think of documentary films\, we probably call to mind certain familiar forms\, such as archival footage of World War II battles or British-accented narration of natural scenes. But conceived in the broadest terms\, the documentary is an extremely diverse cinematic genre with at least as much room for artistic experimentation as the fictional film. This program is intended to trace the fascinating variety of short documentary films\, which spans the roughly century-long history of cinema itself. \n  \nIn different ways\, the films featured in this program explore the possible meanings of cinema as a vehicle for human knowledge and aesthetic pleasure. Some are self-consciously experimental\, while others challenge us through their historical and cultural distance from our ingrained habits of perception. All these films both expand our experience of the world and force us to re-examine our comfortable relationship with the “reality” that film presents.
URL:https://www.bowerbird.org/event/powers-of-ten/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/Powers-of-ten-eames.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091218T200000
DTEND;TZID=America/New_York:20091218T220000
DTSTAMP:20260430T125526
CREATED:20190620T171855Z
LAST-MODIFIED:20190620T172022Z
UID:10001084-1261166400-1261173600@www.bowerbird.org
SUMMARY:ICE PLANET
DESCRIPTION:Bowerbird pays homage to the eclectic past of the GATE series\, and offers a synth laden night of psychedelic slow jams and industrial thrashes. Headling the evening will be New York City’s post-punk electronic band OUTPOST featuring Mark C of the 80s no wave band Live Skull on guitar\, synths\, and vocals\, with Stuart Argabright (Ike Yard\, Dominatrix\, Death Comet Crew) on synths\, laptop\, vocals\, and bassist Kent Heine (Holy Ghost\, Steve Shiffman & the Land of No). Opening the evening will be Charles Cohen and Tyler Weaver’s duo project COLOR IS LUXURY\, and a solo by DAVE SMOLEN.
URL:https://www.bowerbird.org/event/ice-planet/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/iCE-PLANET.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091120T200000
DTEND;TZID=America/New_York:20091120T220000
DTSTAMP:20260430T125526
CREATED:20190620T164645Z
LAST-MODIFIED:20190620T164645Z
UID:10001082-1258747200-1258754400@www.bowerbird.org
SUMMARY:YOU SAY HELLO\, I SAY GOODBYE
DESCRIPTION:There is something wonderfully fleeting about improvised music. The music itself lives for only the briefest of moments\, and collaborations\, even extended ones\, can come and go quite often. Maybe this has to do with the relative ease with which partners can interchange with one another\, or the transient nature of its practitioners\, but in any case this openness for possibility creates great potential for artistic exploration. \nOn this evening Bowerbird offers a geographical survey of projects new and old from across the region\, nation\, and world. The night will an international quartet of Margarida Garcia (born in Lisbon\, now based in New York City\, playing upright electric bass)\, Manuel Mota (from Lisbon\, playing guitar)\, Barry Weisblat (from New York City\, homemade electronic inventions)\, and Marcia Bassett (aka Zaimph\, predominately using guitar and vocals); Andrew T. Royal\, a solo violinist from Chicago; and a fantastic trio of Philadelphia-based musicians\, Ian Fraser\, Jesse Kudler\, and Tim Albro (playing a combination of laptop\, guitar\, craked electronics\, cheap consumer devices: a no-name table top electric guitar\, hand-held cassette recorders\, radios and transmitters). Also this evening\, as a special farewell\, the once-upon-a-time based in Philadelphia duo Hisswig\, featuring double bassist Evan Lipson (now in Chattanooga) and microtonal violinist Katt Hernandez (heading to Boston)\, will say so long\, see ya later to Philadelphia. \n  \nTHE PROGRAM \n  \n(1) MANUEL MOTA\, MARGARIDA GARCIA\, \nBARRY WEISBLAT\, MARCIA BASSETT \n(2) JESSE KUDLER\, IAN FRASER\, TIM ALBRO TRIO \n(3) HISSWIG (EVAN LIPSON / KATT HERNANDEZ) \n(4) ANDREW T. ROYAL \n  \nABOUT THE ARTISTS \n  \n Barry Weisblat was born in Brooklyn in 1975 and remains one of the unsung heroes of deep and investigative Sound Thought. Beyond a long-running commitment to participating in the underground’s underground of improvisation and a dynamic sense of musical conversation\, Weisblat has extended his reach and pool of knowledge beyond rubbing the surface of the black box of sound to designing and implementing his own systems. Translating light into sound\, sound into action\, action into thought\, and thought into light\, Weisblat’s ceaseless curiosity and simultaneous obsessive desire to participate and join in dialogue has pushed his output farther out than most people can see or conceive of. \n  \nManuel Mota guitarist born in Lisbon\, with public activity since 1989. From that to 1997 he studies and experiments with prepared guitar\, mainly acoustic. Since then his interests shifted to the development of a personal language for fingerstyle electric guitar and started working in a regular basis with bassist Margarida Garcia. A lot of acoustic guitar has been played at home in the last years\, and it has also been possible to find him playing with bands Osso Exótico\, Curia\, Dru\, and collaborating with David Maranha and Afonso Simões. Worked with Sei Miguel from 1997 to 2005. Founds the record label Headlights in 1998. Draws and shoots. \n  \nMargarida Garcia and Marcia Bassett first collaborated in a group working with sound\, text and light projections. Other members of the group included Mattin\, Emma Hedditch and Jeffery Perkins. Through these early meetings\, Bassett and Garcia recognized a similar sonic aesthetic. Further meetings of the two have lead to handful of local improvised shows and a forth-coming LP to be released on the label Headlights. \nMarcia Bassett\, born in USA Bassett aka Zaimph\, predominately uses guitar and vocals to create sounds that shimmer in a dark metallic buzz of sonic noise and drone\, before a swift shift into blissed out ragas or crippling\, brutal\, white-hot noise. The organic improvised elements of Bassett’s work leave traces of eerie ghost voices and deep-space echoes that recall the electrified ritual of nomadic Japanese avant-gardists Taj Mahal Travellers — but more immediately sound like a magnification of her contributions to Double Leopards and Hototogisu\, generating towers of electricity that move from malevolent arcs of anti-gravity and spumes of throttled single notes into deep wormholes that do violence to feeble notions of time and space. \nMargarida Garcia\, born in Lisbon. Using double bass as her main instrument\, she developed a close collaboration with guitarist Manuel Mota in 1997. The two have worked as a duo as well as in the group\, Curia\, which includes Afonso Simões and David Maranha (organeye\, osso exótico). Garcia has also worked with Sei Miguel from 1999 to 2002. Other close collabs include Marcia Bassett\, Barry Weisblat and Mattin. She has played in live/recording settings with Nöel Akchoté\, Otomo Yoshihide\, Ferran Fages\, Alfredo C. Monteiro\, Ruth Barberán\, John Tilbury\, Eddie Prevost\, Rhodri Davies\, Matt Valentine\, Erica Elder\, David Keenan and Alex Neilson (tight meat duo). \n  \nEvan Lipson (b. 1981\, Toronto) is a bassist and composer who currently resides in Chattanooga\, Tennessee. Lipson has worked in a variety of contexts and styles since adolescence; with roots predominantly based in modernist classical\, punk\, jazz\, outsider pop\, noise\, and free improvisation. However\, Lipson has been invariably focused on transcending the politics of genre. Following his own forms of occult research and pragmatic synthesis\, Lipson’s efforts strive towards cultivating the rarefied\, esoteric\, and iconoclastic world(s) of unconventional music. With a central emphasis on working directly with his own bands (including regular tours and regional performances)\, Lipson’s music and his modus operandi have always been based on the intuitive search for the liminal zones where intellect and instinct\, history and myth\, and creative and destructive forces intersect. \n  \nFocused primarily on freely improvised music\, Katt Hernandez draws a firey array of electronic-like sounds and keening melodies from her completely accoustic violin. She also 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. Katt 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 perform 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. \n  \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’s work often operates on the extremes of volume\, demonstrating an interest in the subtleties that can arise from intense softness or loudness\, and it is marked by special attention to the stereo field. Recent interest has focused on both internal (electronic/radio) and external (microphone/speaker) feedback. Beyond simply exploring non-pitched sounds\, Kudler investigates their use in creating improvised structure. 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\, Chris Cogburn\, 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\, Christian Weber\, Barry Weisblat\, Ellen Weller\, Matt Weston\, Jack Wright\, Jason Zeh\, and many others. He has toured the United States several times.
URL:https://www.bowerbird.org/event/you-say-hello-i-say-goodbye/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Hello-Goodbye.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20091016T200000
DTEND;TZID=America/New_York:20091016T220000
DTSTAMP:20260430T125526
CREATED:20190620T155847Z
LAST-MODIFIED:20190620T163708Z
UID:10001078-1255723200-1255730400@www.bowerbird.org
SUMMARY:GATE
DESCRIPTION:SHOT X SHOT \nwith special guest MATT MITCHELL \n  \nShot x Shot is a Philadelphia quartet that has forged a distinctive sound through five years of steady collaboration. Their work is based in collective improvisational compositions that run the gamut from delicate to ruthless. The band was formed in 2004 while the members were students at The University of the Arts in Philadelphia. They began performing at local venues and gradually extended their range to include New York\, Boston\, Chicago\, Montreal and other major cities. Shot × Shot has performed alongside Peter Br0tzmann\, Jeb Bishop\, Chicago Luzern Exchange\, Peter Evans\, Jack Wright and Pete Robbins among others. In 2007\, the band showcased at South by Southwest. Shot × Shot’s self-titled live debut (High Two\, 2006) was heralded in the pages of Downbeat\, The Wire\, Signal to Noise\, All About Jazz-NY\, and other publications. The Village Voice and All About Jazz-NY listed the album among the top debuts of 2006. \n“…a true collaborative quartet\, with each continuously listening\, adjusting\, leading and following. What is startling to realize is that even in the densest sections\, when all four players are letting fly\, each line can be heard as being in an almost contrapuntal relationship with the others.Let Nature Square is a remarkable achievement.” -Budd Kopman\, All About Jazz \n  \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 is currently a member of Tim Berne’s ensembles Los Totopos and Adobe Probe. He also performs and records with a number of different ensembles\, including Brown Grant [an electroacoustic duo with Aaron Meicht]\, a trio with Doug Hirlinger and Tarus Mateen\, a trio with Matt Engle and Mike Szekely\, and Anwar Marshall’s quartet. 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. Additionally he peforms with a number of musicians including Ralph Alessi\, Ravi Coltrane\, Brad Shepik\, Tom Rainey\, Shane Endsley\, Andrew D’Angelo\, Ben Perowsky\, Drew Gress\, Tony Malaby\, Mark Helias\, 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].
URL:https://www.bowerbird.org/event/gate/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/Shot-x-Shot-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090518T200000
DTEND;TZID=America/New_York:20090518T220000
DTSTAMP:20260430T125526
CREATED:20190617T165726Z
LAST-MODIFIED:20190617T165726Z
UID:10001074-1242676800-1242684000@www.bowerbird.org
SUMMARY:Rafael Toral
DESCRIPTION:THE PROGRAM \nRafael Toral – Tatsuya Nakatani \nVuitton (Alex Nagle – Joe Lentini) \nDave Smolen \n  \nABOUT THE ARTIST \nRafael Toral is researching performance possibilities in electronic music. Using custom-built or modified electronic instruments\, he’s developing the long-term Space Program to structure musical phrasing in “post-free jazz electronic music”. Approaching jazz as a system of individual decision-making from the viewpoint of electronics\, his conception deals with gestural performance\, “phrasing and swing”\, instruments with a clear sonic identity\, and articulation of silence and sound. \nFormerly known for his drone/ ambient work with guitar and electronics and records such as Wave Field (1994) or Violence of Discovery and Calm of Acceptance (2000)\, in 2003 he decided to completely renew his approach to music\, launching the Space Program in 2004. In 2006 he released Space\, followed by Space Solo 1 in 2007 and Space Elements Vol. I in 2008. Also in 2008 premiered the Space Collective\, a slowly developing orchestral group. \nIn the course of his work\, collaborating with other musicians has been a decisive factor in learning and development. Among these\, the most important is a long time connection with Sei Miguel (since 1993)\, Portuguese master of avant-Jazz\, a key figure in the development of the Space program. In 1998 Rafael became a member of MIMEO electronic orchestra\, a forum where surprising and uncontrollable events take place. Often described as a ‘supergroup’\, its other members are Keith Rowe\, Thomas Lehn\, Kaffe Matthews\, Marcus Schmickler\, Jérome Noetinger\, Christian Fennesz\, Peter Rehberg\, Gert-Jan Prins\, Cor Fuhler and Phil Durrant. Throughout his path\, Rafael Toral has kept collaborating with other people\, among which are Jim O’Rourke\, João Paulo Feliciano\, Phill Niblock\, Sonic Youth\, Lee Ranaldo\, Evan Parker\, Dean Roberts\, Manuel Mota\, Roger Turner\, David Toop\, Alvin Lucier\, John Zorn\, Christian Marclay\, Rhys Chatham\, C Spencer Yeh\, Trevor Tremaine\, and many others. \nAn artist as well\, he had activity in visual and spatial arts\, having produced video and several installations from 1994 to 2003. The demanding Space Program called for suspending this output for fully focusing on music. \n  \n 
URL:https://www.bowerbird.org/event/rafael-toral/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/Rafael_Toral.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090405T200000
DTEND;TZID=America/New_York:20090405T220000
DTSTAMP:20260430T125526
CREATED:20190617T161307Z
LAST-MODIFIED:20190617T161307Z
UID:10001071-1238961600-1238968800@www.bowerbird.org
SUMMARY:THE BREADWINNER
DESCRIPTION:Graham Lambkin and Jason Lescalleet are both highly respected artists\, with small but intensely hardcore followings. Since 2001\, they’ve been gradually moving closer towards realizing a collaborative project\, and The Breadwinner is the results of two years of recording\, reworking and polishing. \nLambkin first entered the public consciousness at 19 when he formed his band The Shadow Ring\, in Folkestone\, a small town in Kent\, England. The band was memorable and built an rabidly passionate fan base because of its sui generis approach\, blending elements of folk\, noise\, cracked electronics\, and surrealist poetry\, while radically changing the overall formula with each release. A decade of increasingly skewed and inspired work culminated in 2003’s I’m Some Songs\, constructed long distance as Lambkin had relocated to the US in 1998. Over the last few years\, Lambkin has primarily worked under his own name\, most notably with 2007’s brilliant Salmon Run\, a precursor to The Breadwinner. \nLescalleet has gradually and painstakingly built a compelling discography over the past decade. He uses reel-to-reel tape decks to explore the textures of low fidelity analog sounds and the natural phenomena of old tape and obsolete technology. He is one of a growing list of master producer/musicians\, whose skill lies as much in reworking\, assembling and mastering the material available as in creating it (or helping create it) in the first place. He has worked with such wide-ranging artists as Ron Lessard\, Joe Colley and Phill Niblock\, and has released a string of superb solo discs in Mattresslessness (Cut)\, Electronic Music (RRR) and The Pilgrim (Glistening Examples). This is his second release for Erstwhile\, after 2001’s Forlorn Green (w/Greg Kelley)\, and his third is already in preparation\, a duo with Bhob Rainey\, planned for release in early 2009. \nThe material for The Breadwinner was recorded at Lambkin’s house in upstate NY\, over two recording sessions. The duo treated the entire building and its surrounding grounds as a studio\, welcoming in outside sounds\, which were later kept or eliminated as they felt appropriate. The subtitle on the front cover is “musical settings for common environments and domestic situations\,”  layering numerous submerged fragments to find beauty in everyday life. \nJason Lescalleet’s influence was palpably present long before the average Joe knew how many L’s were in his last name (or could successfully google it). He spun tape loops with nmperign from the get-go\, frequently signified the endings of his characteristically foundation-shaking performances by hurling a nearly indestructible\, hundred-pound Peavy amp across the stage\, and provided the bulk of the “disaster” in legendary drummer Laurence Cook’s “Disaster Unit 2000”. But as the smoke cleared and the Peavy met its demise in a white-walled room\, it became apparent to an awful lot of people that Lescalleet was making some amazing music; beautifully constructed symphonies of decay born of an intimacy with items and ideas lesser minds might discard: tape machines\, lo-bit samplers\, the tedium of everyday life. His ability to evoke powerfully complex emotional experiences from such muck made a collaboration with Graham Lambkin practically inevitable. \nComposer Walter Marchetti once made a statement to the effect that he was seeking to reach the “bottom” of music. Some more diligent attention to this task might lead him to the music of Graham Lambkin. Already marking out a glorious bottom with his former band\, The Shadow Ring\, Lambkin has pursued a music so removed from prescribed aesthetics that one is flooded by the beauty it seems to ruthlessly avoid. He puts the mundane to tape and carves out its horror\, its sweetness\, and its unsettling ambivalence. Shrouded in a disarming naïveté\, the music leaves the listener ill-prepared for its very adult take on being-in-the-world. We are fortunate that humor can be so black\, that we may surrender happily and willingly to an experience not many artists are willing or capable of delivering. \n  \nThis event is made possible with support from the Philadelphia Cultural Fund and the Rotunda\, with additional support from Washington College. \n 
URL:https://www.bowerbird.org/event/the-breadwinner/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/png:https://www.bowerbird.org/wp-content/uploads/2019/06/the-Breadwinner.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090304T200000
DTEND;TZID=America/New_York:20090304T220000
DTSTAMP:20260430T125526
CREATED:20190617T152354Z
LAST-MODIFIED:20190617T152354Z
UID:10001067-1236196800-1236204000@www.bowerbird.org
SUMMARY:SONIC MIRRORS
DESCRIPTION:Bowerbird presents SONIC MIRRORS featuring music by The International Nothing\, Lopass Mates\, and Ko Koed. \nFor as much as the duo format highlights the creative boundaries of its individual artists\, duos featuring two of the same instrument push these frontiers even further. Hidden beneath a veneer of sameness\, the minute and nuanced details of sound and structure rise to the foreground. \nPerhaps the most sensuous example of this can be found in Kai Fagaschinski and Michael Thieke’s Berlin-based clarinet duo International Nothing. As Brian Olewnick notes in his Bagatellen review of their recently release CD\, “Fagaschinski seems very preoccupied with the reinvestigation of more “traditional” clarinet sonorities and he and Thieke do so with a vengeance here. The first sounds you hear\, on “Einfache Freuden”\, are the paired reeds\, one full and burred\, one breathier\, tracing long lines in closely spaced pitches\, splintering out into adjacent areas\, recombining a bit later. It’s a lovely effect\, slightly reminiscent of Alvin Lucier’s experiments with sine waves and pitched percussion though there’s no tinge of the laboratory here.” \nA similar exploration of interweaving sonorities is the Philadelphia based accordion duo of Alban Bailly and Dustin Hurt called Ko Koed. Named for a small town in Bailly’s native France\, Ko Koed is almost completely devoid of the instrument’s idiomatic heritage\, and instead explores the rich and enigmatic characteristics of dense and complex harmonies\, and the dancing acoustic phenomenon that occur in its overtones. \nTranslating this idea of a matched duo to the name of an instrument designer rather than an exact instrument will significantly broaden the sonic palette. However\, when that designer is Don Buchla\, creator of Charles Cohen’s Buchla Music Easel\, as well as the Buchla 200 Modular Analog Synthesizer\, the Easel’s “mothership”\, here piloted by Christian Mirande\, the musical explorations become no less interesting. \n  \nABOUT THE ARTISTS \nTHE INTERNATIONAL NOTHING (Berlin) \nKai Fagaschinski – clarinet\, composition \nMichael Thieke – clarinet\, composition \nKai Fagaschinski (Los Glissandinos\, The Magic I.D.\, etc.) and Michael Thieke (Unununium\, The Magic I.D.\, etc.) are members of Berlin’s vibrant echtzeitmusik scene. The International Nothing (*2000) is their hardest working project of the last years. They are working exclusively on compositions (no improv)\, where both instruments melt into one sound\, which sometimes sounds like more than two instruments through the extended use of multiphonics and difference tones. Their pieces have a delicate and slowed down quality and celebrate a unique and timeless beauty. They will present a collection of pieces developted between 2003 and 2009. \n  \nLOPASS MATES \nCharles Cohen – buchla music easel \nChristian Mirande – buchla 200 \nLopass Mates is a collaborative improvisation featuring Charles Cohen playing the Buchla Music Easel\, an integrated performance analog synthesizer made in 1976\, and Christian Mirande playing the Buchla 200 Modular Analog Synthesizer\, a studio instrument from the same era. The Buchla 200 is the Mother Ship of the Music Easel. It only appears in public once a decade. For this improvisational performance it will be piloted by Mr Mirande\, an aficionado of Sharks\, Coral\, Century Series Fighter Planes\, and Electro-Acoustic Music. Charles Cohen has been doing electronic music performance since 1971\, specializing in collaborative\, cross disciplinary projects with theater\, dance\, music\, and media artists\, and is singularly interested in live performance and improvisation \n  \nKO KOED \nAlban Bailly – accordion \nDustin Hurt – accordion \nKo Koed is an accordion duo of Alban Bailly and Dustin Hurt. Exploring the possibilities of this instrument\, these two improvisers coax surprising and unheard sound from their amazing squeeze boxes. By using a very large pitch and textures register\, they create music that ranges from intimately quiet to violently striking. They are going to create some irresistible tension that would\, almost\, make you wish you were one of the reeds of their accordions. KO KOED’s experimentation is a celebration of the bittersweet taste. \n  \nThe International Nothing is kindly supported by Goethe-Institut San Fransisco and Kulturverwaltung des Landes Berlin. This event is made possible with the support of the Rotunda.
URL:https://www.bowerbird.org/event/sonic-mirrors/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/sonic_mirrors.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20090202T200000
DTEND;TZID=America/New_York:20090202T220000
DTSTAMP:20260430T125526
CREATED:20190613T170822Z
LAST-MODIFIED:20190613T170822Z
UID:10001065-1233604800-1233612000@www.bowerbird.org
SUMMARY:Nate Wooley / Ivar Grydeland
DESCRIPTION:Nate Wooley / Ivar Grydeland \nBen Hall / Chris Riggs \nBring It Inside with McOmber \nToshi Makihara \n  \nABOUT THE ARTISTS \n  \nGuitarist Ivar Grydeland (b.Trondheim 1976) started his music education degree in the mid-nineties. Having a base as a free jazz artist\, Grydeland has continually expanded his experimental style to include new sounds. This unique style set it’s roots while Grydeland studied improvised chamber music at Norway’s College of Music (2001-2003)\, together with percussionist Ingar Zach. Since\, the musical style of Grydeland has burst the improvisational traditions\, whether it is called free jazz\, or intuitive music As a improvisational artist\, Grydeland has had the change to play with countless groups\, as well as being part of numerous recordings. This fluid approach to musical collaboration might be a condition for the boundary breaking genre this style of music represents. \nAs such\, it is not surprising that Ivar Grydeland is a very adaptive musician. He takes pieces of his own surroundings and weaves them into his own unique style. This proves true\, whether it be an adaptation to the sounds of Japanese artist Yumiko Tanaka with her traditional shamisen\, or pianist Christian Wallumr’s sober\, repetitive sounds. Like many musicians\, improvisers\, and composers\, Grydeland has developed an artistic practice which results in hybrid musical forms\, working styles\, and genre stretching cooperation. There doesn’t appear to be a deliberate ideological drive behind this development\, rather a continual search of music’s communicative possibilities. \nOne of Grydelands distinguishing features is his work with prepared string instruments. With the use of various metal\, plastic\, rubber and wooden objects\, Grydeland manipulates the strings\, sound board\, and skin of his instrument (one of his instruments is also a guitar-banjo: a guitar neck with a banjo body). He experiments with various tuning of the instrument with the use of various sympathetic strings to give his instrument new sounds. Here one sees influence from John Cages work with the prepared piano during the 1940s. However\, where Cages has a prosaic desire to create a percussion instrument using a piano\, Grydeland transforms his instrument into something unknown. In this way\, Grydeland is able to develop a hybrid style which also includes the string instrument he works with. Using an instrument whose sound is well known\, he has mutated and transformed his guitars sound to something unknown. \n  \nTraum is a guitar/percussion duo that often becomes a trio with the addition of ‘cello. The guitar chair is now held by Chris Riggs. Traum has lp releases on Arbor-Built for Nothing\, brokenresearch-Slab Pt. 2\, and Music Fellowship which is a collaboration with Bark Haze [Thurston Moore + Andrew McGregor [Gown]]. Traum also has a variety of cd-r releases as well as a tape on Tapeworm entitled Cloudburst. \n  \nBen Hall (Detroit/Percussion) has performed and/or recorded with Wolf Eyes\, Corsano\, Greg Kelley\, Joe Morris\, Thurston Moore\, John Dierker\, Kowald\, Lambsbread\, Zac Davis\, Katt Hernandez\, Kurt Heyl\, Luca Tilli\, Alberto Braida\, Nino Locatelli\, Hair Police\, Bark Haze\, John Voigt\, Jeff Arnal\, Sick Llama\, Elliott Stevens\, Joe Lijoi and Megan Schubert. \n  \nDetroit-based guitarist Christopher Riggs studied composition and performance at the Oberlin Conservatory of Music in Oberlin\, OH under Derek Keller and Ross Feller.  His music is primarily interested in the vast wasteland between “free improvisation” and academic composition. While exploring this territory\, Christopher sticks objects between the strings\, bows springs placed on the neck\, and drags magnets across the pickups of his instrument. Christopher has CDs out on Detroit’s Broken Research\, Mexico’s Ruido Horrible\, and a forthcoming cassette on Aaron Dilloway’s(of Wolf Eyes fame) Hanson Records.  Since relocating to Detroit\, he runs his own Holy Cheever Church Records mail order label and performs with the improvising ensembles Traum and Trauma around southeastern Michigan. \n  \nToshi Makihara studied drums\, percussion and improvisation with Sabu Toyozumi\, a prominent percussionist in Tokyo. Since arriving in the United States\, he has worked with various new music ensembles as well as with numerous dance and theater companies internationally. Makihara has provided original music to Arden Theater Company\, Diversions Dance Company (Wales)\, Pennsylvania Ballet\, ZeroMoving Dance Company\, Merian Soto / Performance Practice and Leah Stein Dance Company\, and has worked with musicians including Steve Beresford\, Peter Brotzmann\, John Butcher\, Nels Cline\, Eugene Chadbourne\, Tom Cora\, Amy Denio\, Thurston Moore\, William Parker and John Zorn. He has also collaborated with poets\, visual artists\, filmmakers and performance artists widely. \nSince the fall of 2000\, Makihara has been focusing on three separate performing styles: 1. New Jazz performances on a conventional drum-set\, 2. music for theater and dance using a variety of percussion and discovered sound media\, and 3. the experimental free improvisation using a simple setting consisting of one snare drum and one small cymbal. \nMakihara’s recordings include Grammy nominated “Another Shining Path” (1998 Drimala Records) in trio with Gary Hassay (alto saxophone) and William Parker (bass)\, and “Hurricane Floyd” (Spring 2000\, Sublingual Records) in trio with Thurston Moore (guitar) and Wally Shoup (alto sax).
URL:https://www.bowerbird.org/event/nate-wooley-ivar-grydeland/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/ivar.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081121T200000
DTEND;TZID=America/New_York:20081121T230000
DTSTAMP:20260430T125526
CREATED:20190613T163333Z
LAST-MODIFIED:20190613T163333Z
UID:10001062-1227297600-1227308400@www.bowerbird.org
SUMMARY:Maria Chavez + J. Morrison\, Katt Hernandez + Erik Ruin
DESCRIPTION:Maria 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 of 2007\, 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 a coveted 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 finished working on a short film score w/ video artist David Gacs and performing artist Matthew Day entitled “I Run But I Pursue” and is working as an apprentice with BROOKLYN:PHONO\, a professional vinyl cutting service under the instruction of Master Lathe cutter Albert Grundy\, founder of the Audio Engineering Society. \nChavez 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 2009. \nHer sold-out 2005 solo CD “Those Eyes of Hers” “shows indeed a great love for the way out experimental possibilities of turntablism\,” (Vital Weekly) \n  \nj. morrison is an Brooklyn-based artist/designer. He holds a BFA in printmaking from Kent State University\, Ohio. His work was recently featured in the “Into Me/Out of Me” traveling exhibition at the MACRO Museum of Contemporary Art in Rome\, which has shown at P.S.1 and the KW Institute for Contemporary Art\, Berlin. Other recent exhibitions include: White Box\, ISE Cultural Foundation\, the third New York Art Book Fair\, Printed Matter\, Exit Art\, and the Powerhouse Arena in Brooklyn. \nHis work has been published in the New York Times\, New York Sun\, Time Out\, Swiss Institute\, Jane Magazine\, Paper\, Veer\, and Salon. He has designed work for Proto-type Theater\, Xiu Xiu\, Indian Jewelry\, Phiiliip\, The Creeping Nobodies\, and Acuarela records in Spain\, and new independent films in New York and Chicago. \nmorrison creates a line of handmade screenprinted multiples\, on various cloth and paper goods. They have been featured in venues such as The New Museum store\, Bloomingdale’s\, Printed Matter\, Art Metropole (Toronto)\, and the artist’s. \n  \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. Before leaving Boston\, she participated in the Voltaic Vaudeville festival\, wherein she played Solo\, with butoh dancer Jennifer Hicks\, and as part of the Beat Circus Vaudeville Orchestra. Focused primarily on freely improvised music\, Katt draws a firey array of electronic-like sounds and keening melodies from her completely accoustic violin. She also 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.
URL:https://www.bowerbird.org/event/maria-chavez-j-morrison-katt-hernandez-erik-ruin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=application/pdf:https://www.bowerbird.org/wp-content/uploads/2019/06/Copy-of-double-duty-duos.pdf
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081028T200000
DTEND;TZID=America/New_York:20081028T230000
DTSTAMP:20260430T125526
CREATED:20190610T184936Z
LAST-MODIFIED:20190610T184936Z
UID:10001056-1225224000-1225234800@www.bowerbird.org
SUMMARY:Extra Life | Whales and Cops | Altamira
DESCRIPTION:CONSERVATORY OF NOW \nSome of the greatest things in music have been happening at the edges of the Rock genres. The depth of complexity\, instrumental coloring\, and overall creative ingenuity rivals\, if not surpasses\, the level of compositional prowess happening in concert halls today.&nbsp; And with the popularity of bands like the Dirty Projectors or Animal Collective\, it’s not surprising that younger generations of composers are turning to the amplified settings of warehouses\, parties and rock clubs to work out their musical ideas. \nAmong the best examples of this new wave is the New York City based Extra Life. Extra Life combines elements of medieval vocal music\, aggressive math rock\, dark romantic pop and modern classical composition. For years Looker was a core member of noise/chamber group Zs\, and has also worked with diverse bands and artists such as Dirty Projectors\, John Zorn\, Glenn Branca\, Period\, William Parker\, Christian Wolff and the S.E.M. Ensemble. Extra Life also includes various combinations of the following musicians: violinist Caley Monahon-Ward (Snowblink)\, bassist Tony Gedrich (Stats)\, drummer Nicholas Podgurski (Yukon)\, and saxophonist/keyboardist Travis Laplante (Little Women). Extra Life’s debut full-length CD Secular Workswas released in 2008 on Planaria Recordings to wide critical acclaim\, topping many Best and/or Strangest of 08 lists. \nTwo veterans of West Philadelphia’s late\, lamented scene (Squi!\, Son Bees\, King of Prussia\, Oskama Bin Skaden)\, half-brothers Mr. Nathaniel Cops (keys) and Finger Julius Mountain (drums) were first united by a desire to get the fuck out of Man Man after simultaneously discovering (to their great horror) that they’d been playing with them for years.<strong> Whales and Cops began rehearsals at once\, cleaving to a vigorous\, manly regimen of certain foods and exercises and\, significantly\, a staunch refusal to hide the light of their Modern music under a bushel of implausible pseudonyms and fake\,stupid band names. With the addition of fancy\, German-looking multi-instrumentalist and usually one other human\, Whales and Cops stand poised at the very brink of the Culture itself\, beckoning to you. \nAltamira was formed in October 2007\, only three months before their first tour of the Midwest. The three members of the band\, Nick Millevoi\, Ricardo Lagomasino and John DeBlase are all busy in their own right\, but when they play together the sum is greater than that of its parts. Combining progressive song structures\, brutally intense improvisation\, and an amalgam of musical influences\, they pull off quite an exciting live.
URL:https://www.bowerbird.org/event/extra-life-whales-and-cops-altamira/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/altamira2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20081002T200000
DTEND;TZID=America/New_York:20081002T230000
DTSTAMP:20260430T125526
CREATED:20190610T174703Z
LAST-MODIFIED:20190610T174703Z
UID:10001036-1222977600-1222988400@www.bowerbird.org
SUMMARY:Paul Flaherty | Randall Colbourne | Evan Lipson | Carlos Santiago | Bring It Inside with Goodman
DESCRIPTION:We are extremely excited to present the amazing free jazz duo of Paul Flaherty and Randall Colbourne. They have been playing together for over 20 years and have over 15 releases together\, but this is only their first tour. \nAlto and tenor saxophonist Paul Flaherty is New England’s purveyor of the ecstatic jazz pulse. Even before his 1978 debut Flaherty remained unshakable in the pursuit of soul healing and demon dashing through freedom music. Since 2001 Flaherty’s notoriety has risen in tandem with his hyper-acclaimed duo with drummer Chris Corsano and regular group work with Dream/Aktion Unit\, Cold Bleak Heat\, Spencer Yeh\, Dredd Foole\, Joe McPhee\, Steve Baczkowski\, Marc Edwards\, and many others. \nRandall Colbourne is best known for his intense trapset work on the dozen+ albums he released with Paul Flaherty on the Zaabway\, Tulpa\, and Cadence music labels during the 1980s; 90.More recently\, Colbourne expanded his prowess by releasing; Clarinet Works\, a solo album on which he played all of the instruments including Bb\, Eb\, and alto clarinets; drums\, bass\, and live electronics. \nAs a duo\, Carlos Santiago and Evan Lipson’s violin and upright bass improvisations sound uncannily composed. Rapid\, virtuosic firings of sliding glissandi\, harsh bowed noises\, light\, angular melodies\, and spontaneous lilting syncopation at the edge of jazz\, but somehow not even close. \nBring It Inside\, a percussion duo plus one\, is an ongoing\, always morphing project of Philadelphian’s Eli Litwin and Pete Angevine. Each performance is anchored by semi-composed conceptual idea depending on the third member. Previous incarnations of this project have included a version with Mike Pride (Bring It Inside w/ Pride)\, with Ricardo Lagomasino (of Capillary Action and Pads Steel)\, and with Jive Nation\, a large ensemble harsh noise supergroup. This version will feature guitarist Marc Goodman of Illuminea.
URL:https://www.bowerbird.org/event/paul-flaherty-randall-colbourne-evan-lipson-carlos-santiago-bring-it-inside-with-goodman/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/duo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080919T080000
DTEND;TZID=America/New_York:20080919T170000
DTSTAMP:20260430T125526
CREATED:20190610T171540Z
LAST-MODIFIED:20190610T171540Z
UID:10001030-1221811200-1221843600@www.bowerbird.org
SUMMARY:LEERRAUM [ ] NIGHT
DESCRIPTION:Films and live performances by Atsushi Yamamoto\, Christian Schneider\, Delgado Fuchs\, Hammes\, Zende\, Helena Gough\, Pe Lang\, Richard Garet\, and Zimoun \nco-presented with GATE \nJoin us for an evening of experimental video and sound performances featuring a survey of work from of European\, Asian\, and American artists of the Leerraum [ ] network. \nIn a world clamoring with sounds\, we are often bombarded by their calamity and attempt to shut them out. But when we are able to focus we can easily hear the sensual qualities found in their detail.&nbsp; When this focus is aided by the experience of an artist\, we are often able to see mundane things with new perspective. \nLeerraum [ ] is an international network\, platform and label of artists engaged in studying space\, form and structure through a reductionist approach and careful yet radical handling of materials. Up to now\, Leerraum [ ] has published some 50 CDs\, DVDs and obscure objects\, and presented more than 30 sound installations by its artists. At this point\, Leerraum [ ] consists of 45 artists of 15 different nationalities\, spread across 4 continents and 25 cities. Leerraum [ ] was founded 2003 by the artist Zimoun and the graphic designer Marc Beekhuis. \nWHAT TO EXPECT \nIn September 2008\, Leerraum [ ] will be presented for the first time in the United States\, featured as Leerraum [ ] Nights in New York\, Boston and Philadelphia. The presentations will feature works of 13 artists as live performances or video screenings. Simultaneously\, the Gosia Koszielak Gallery in Chicago will be presenting a sound installation from the series &laquo;Untitled Sound Objects&raquo; by Pe Lang and Zimoun. \nThe Philadelphia program will include: \nAtsushi Yamamoto (Tokyo\, video)\nChristian Schneider (Bern\, video)\nDelgado Fuchs (Bern/Lausanne/Brussels\, video)\nHammes + Zende (Berlin\, video)\nHelena Gough + Zimoun (Berlin/Bern\, performed by Zimoun)\nPe Lang (Berlin\, live)\nPe Lang\, Richard Garet + Zimoun (Berlin/New York/Bern\, live)\nRichard Garet (New York\, live)
URL:https://www.bowerbird.org/event/leerraum-night/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/leerraum2_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20080514T190000
DTEND;TZID=America/New_York:20080514T220000
DTSTAMP:20260430T125526
CREATED:20190603T185017Z
LAST-MODIFIED:20190603T185017Z
UID:10001010-1210791600-1210802400@www.bowerbird.org
SUMMARY:SHOT x SHOT
DESCRIPTION:ELI LITWIN / JON BARRIOS / CARLOS SANTIAGO \nDAVE SMOLEN \nLIONSHEAD (JULIUS MASRI / BEN REMSEN) \nplus a special screening of\nCHARLES COHEN AT THE BUCHLA MUSIC EASEL: a new short film by Alex Tyson \n* CD RELEASE SHOW *\nDan Capecchi- Drums\nMatt Engle- Bass\nBryan Rogers- Tenor Saxophone\nDan Scofield- Alto Saxophone\nPhiladelphia\, PA \nShot x Shots second album Let Nature Square\, their first studio recording\, is due to be released by High Two in May 2008. \nShot x Shot is a Philadelphia quartet that has forged a distinctive sound through five years of steady collaboration. Their work is based in collective improvisational compositions that run the gamut from delicate to ruthless. The band was formed in 2004 while the members were students at The University of the Arts in Philadelphia. They began performing at local venues and gradually extended their range to include New York\, Boston\, Chicago\, Montreal and other major cities. Shot &times; Shot has performed alongside Peter Brouml;tzmann\, Jeb Bishop\, Chicago Luzern Exchange\, Peter Evans\, Jack Wright and Pete Robbins among others. In 2007\, the band showcased at South by Southwest. Shot &times; Shot&rsquo;s self-titled live debut (High Two\, 2006) was heralded in the pages of Downbeat\, The Wire\, Signal to Noise\, All About Jazz;NY\, and other publications. The Village Voice and All About Jazz;NY listed the album among the top debuts of 2006. \nELI LITWIN percussion\nJON BARRIOS bass\nCARLOS SANTIGO violin\nPhiladelphia\, PA \nEli Litwin was born in 1983 in Morristown\, NJ. He began playing drums at the age of 9 and started his first rock band at age 11. Through high school he continued to play in a variety of rock bands as well as the high school jazz band. Eli chose to attend the Esther Boyer College of Music at Temple University where he studied drum set with Erik Johnson. Since graduating with his Bachelors of Music in Jazz Performance\, Eli has remained in Philadelphia to pursue music on both the performing and teaching ends. Though his area of expertise began largely in metal\, Eli has gained significant experience playing in jazz\, rock & avant-garde idioms as well. He is currently a member of Knife the Glitter\, Normal Love\, Time Is Like A Sword\, Inzinzac\, Bring It Inside\, Tweeter\, and Gun Muffs\, (to name a few). In his own time\, Eli composes a variety of music on the computer\, ranging from ambient and experimental electronic music to “crazy metal MIDIís” \nJon Barrios was born in New York and at the age of six months moved to Japan for 6 years. Later he moved to Venezuela\, South Korea and settled in Miami\, Fl where he began to study the guitar with cuban guitarist George Aguirre. After 12 years in Miami and having found a musical plateu\, Jon decided to move to his mother’s home town of Fayetteville\, AR to develop his music in the quiet of the Ozarks. During his stay in Fayetteville\, Jon switched to the double bass and met saxophonists Keefe Jackson (Chicago Luzern Exchange) and John Dikeman. At this time he became deeply involved with free improvisation much to the dismay of the locals. Currently Jon lives in Jack Wright’s house in Philadelphia and collaborates with house mates Alban Bailly\, Evan Lipson and Dave Smollen. \nDAVE SMOLEN solo electronics\nPhiladelphia\, PA \nDave Smolen (processed percussion/analogue electronics) Smolen began playing music at age 10 on the trumpet for 2 years\, then later switched to drums at 12. He went on to play rock music for 8 years. He then became interested in processing his drums with analogue phaser and ring modulator effects. After continued practice with this minimal setup\, he created one that consisted of ring modulators\, reverb units\, equalized distortion\,multi-modulation/oscillation effects\, an open circuit board of a digital chorus pedal and additionally 2 loop pedals. The electronic configuration provides a pitch “mask” over the original acoustic sounds from snare drum and various bells as well as electric sounds including feedback\, removed/broken inputs\, flipped effect switches and circuit bending. Each sound is either left live or sent through 2 loop pedals\, then reset at various tempos and/or enveloped in an overall reprocessed pitch. \nSmolen collaborates mainly with Philly locals such as John Heron in a proc. perc./electronics duo and with Joe Lentini (Max/MSP) in Clown Food. He has toured with Evan Lipson and Alex Nagle performing Nagle’s piece\, Flittermice of Eld. He was invited to perform in the 2006 edition of the internationally renowned High Zero Festival of Experimental Improvised Music in Baltimore\, where he performed with Stewart Mostofsky\, Rose Hammer\, Leonel Kaplan\, Alessandro Bosetti\, George Lewis\, Max Eisenberg\, Jake Freeman\, Jenny Graf Bibulah\, Michael Muniak\, and Jackie Stewart. Smolen’s diverse improvisations and compositions have been documented on two recent solo CDs released by Sprout. \nLIONSHEAD \nJulius Masri percussion\nBen Remsen guitar\nPhiladelphia\, PA \nLionshead is Julius Masri playing drums and Ben Remsen playing amplified acoustic guitar. Julius played in Kuru Kuru Pah (with members of Shot X Shot and Make a Rising) and Goldenball\, and currently plays in Circles and Chakra Khan/Air Pirates. Ben plays in Little Ocean and Big Ocean. \nCHARLES COHEN AT THE BUCHLA MUSIC EASEL\na new short film by Alex Tyson \nThis colorful video features sound artist Charles Cohen improvising on a 1970’s Buchla Music Easel. This extremely rare instrument is one of Don Buchla’s 200 series. Buchla (a pioneer of audio synthesis) only manufactured 14 of these units. The entire film (5’25”) was edited from an hour-long set of free improvisation\, with audio was taken directly from Charles’ mixing board. All of the photography and editing was produced by Alex Tyson\, a sound and video artist from Pennsylvania. The film was shot in 16:9 720p High Definition format\, using the Letus35 Extreme and a 35mm LensBaby 3GPL.
URL:https://www.bowerbird.org/event/shot-x-shot/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/06/shotxshot_top.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20071123T200000
DTEND;TZID=America/New_York:20071123T200000
DTSTAMP:20260430T125526
CREATED:20190523T180608Z
LAST-MODIFIED:20190523T180656Z
UID:10001005-1195848000-1195848000@www.bowerbird.org
SUMMARY:ATSURA YAMAUCHI\, HEDDY BOUBAKER\, JACK WRIGHT / DAVE SMOLEN / JASON CALLOWAY
DESCRIPTION:KATSURA YAMAUCHI saxes \nHEDDY BOUBAKER saxes \nJACK WRIGHT saxes \njapan / france / usa \nBorn in 1963 in Marseille (France) a nice Sunday of March at siesta time\, influenced by the Mediterranean sea and the Mistral wind\, Heddy Boubaker has played music and experimented with sounds since 1977\, starting with electric guitar in a mainly rock/punk style. He’s now playing improvised music with his alto saxophone in an indescribable style\, in which we are always able to hear the sea and the wind among many other … things. Actively participated to organisation of Zieu-M-Zic festival in 2003 and 2004. Participate to numerous projects and never stop to do many artistic meetings. He also live in\, with his familly\, and manages the improvised music venue &quot;la maison peinte&quot; near Toulouse. Active member of IREA association and of SonoFages collective. \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\, and many in Europe as well. In 1982 he began Spring Garden Music as a vehicle for organizing an improvisational music community\, which continues to grow through regular No Net weekend sessions. He has been called the Johnny Appleseed of free improvisation for his encouragement to young players. As a musical explorer as well\, 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 even recognizable as such. He lives in Easton\, which enables him to commute easily to NYC and Phila. He is also increasingly active in Europe\, touring both sides of the Atlantic with European musicians \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.
URL:https://www.bowerbird.org/event/atsura-yamauchi-heddy-boubaker-jack-wright-dave-smolen-jason-calloway/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/05/071123_front.jpg
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END:VCALENDAR