Source: Something Else!
Louis Minus XVI – Kindergarten (2015)
Ivo Perelman, Mat Maneri + Tanya Kalmanovitch – Villa Lobos Suite (2015)
Ivo Perelman and Matthew Shipp – Complementary Colors (2015)
Will Mason Ensemble – Beams of the Huge Night (2015)
White Out with Nels Cline – Accidental Sky (2015)
Sopko Laswell Pridgen – Sopko Laswell Pridgen (2015)
Jon Irabagon – Inaction Is An Action (2015)
Mary Halvorson – Meltframe (2015)
Mike Pride – Listening Party (2015)
Source: The New York Times.
The New York debut of Music on the Edge, on Tuesday, wasn’t predictable at all. This ensemble is based in Pittsburgh and directed by Mathew Rosenblum and Mr. Moe, whose morsel was played with conviction by Lindsey Goodman. The group was celebrating its 25th anniversary season with a filling spread at SubCulture.
Source: Rolling Stone.
Mary Halvorson‘s guitar playing can be challenging and at times even confrontational, but it is never conventional. A fixture in avant-garde and improvisational music circles, the 35-year-old New York City–based guitarist is just as likely to pick out intricate, harmonically and melodically complex lines of stunning beauty as she is to unleash a violent spray of atonal, harshly distorted six-string noise. And she does it all with an impressive array of musicians — over the past dozen years, Halvorson has appeared on more than 70 albums, working as a bandleader, an ensemble member and a guest artist — and in a wide range of styles.
Source: West Park Presbyterian Church.
Monday November 30th at 7:30 PM
at New York’s historic West-Park Presbyterian Church
86th St. @ Amsterdam Avenue
Of particular note for AMN readers is Margaret Leng Tan:
Margaret Leng Tan has established herself as a major force within the American avant-garde; a highly visible, talented and visionary pianist whose work sidesteps perceived artificial boundaries within the usual concert experience and creates a new level of communication with listeners. Embracing aspects of theater, choreography, performance and even “props” such as the teapot she “plays” in Alvin Lucier’s Nothing is Real, Tan has brought to the avant-garde, a measure of good old-fashioned showmanship tempered with a disciplinary rigor inherited from her mentor John Cage. This has won Tan acceptance far beyond the norm for performers of avant-garde music, as she is regularly featured at international festivals, records often for adventurous labels such as Mode and New Albion and has appeared on American public television, at Lincoln Center and Carnegie Hall.