John Duncan at Lampo

From Chicago’s Lampo:

JOHN DUNCAN
FEB 21 9pm

John Duncan returns to Chicago for his first visit in over five years, presenting a new 4-channel work, “The Hidden.” Digital audio debris, generated noise, field recordings and shortwave radio static. Cinema for the blind, where the sighted are the challenged.
John Duncan (b. 1953, Wichita, Kan.) is widely recognized for his performance events, music and installations, often exploring audience response to sensory deprivation and stimuli. His work has been presented at MOCA in Los Angeles, PS1 in New York, MAK in Vienna, MACBA in Barcelona and MOT in Tokyo.

His formative artistic years were spent in and around Los Angeles. As a teenager Duncan left Wichita and his strict Calvinist upbringing for CalArts, where he studied for 18 months before moving to Hollywood and then Pasadena. Throughout the 1970s he presented his first controversial performance events, recorded early audio experiments with shortwave radio, hung out with friends Paul McCarthy (with whom he co-produced Close Radio) and Tom Recchion (John says, “Tom introduced me to an entire spectrum of sound, patiently playing one record after another…”) and was an unofficial L.A.F.M.S. associate. He spent most of the 1980s in Tokyo collaborating with Japanese noise artists, and the 1990s in Amsterdam, before moving to Italy. He now lives and works in Bologna.

Of special note, his 1996 project “The Crackling,” composed with Max Springer from field recordings made at the Stanford Linear Accelerator Center in California is considered a landmark in experimental sound. “Nav,” his audio project with Francisco López, received a 1999 Prix Ars Electronica award for digital music. More recent work includes collaborations with zeitkratzer, Carl Michael von Hausswolff, Asmus Tietchens, Valerio Tricoli, and Pan Sonic members Mika Vainio and Ilpo Väisänen.
John Duncan first appeared at Lampo in April 2000, when he performed the U.S. premiere of “Palace of Mind.” In October 2003 he presented “Infrasound-Tidal,” made with sounds derived from seismic data and tidal readings collected on the Australian coast.

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Richardson / Carter / Jordan / Davis / Gruner / Letman-Burtinovic at RUCMA

From New York’s RUCMA (with a slightly updated lineup):

Start: 2/18/09 – 9:30pm
End: 2/18/09 – 11:00pm
Timezone: Etc/GMT-4

Richardson / Carter / Jordan / Davis / Gruner / Letman-Burtinovic
Wednesday, February 18 @ 9 30PM
Yippie Café: 9 Bleecker Street, near Bowery
General Admission: $10

Demian Richardson (trumpet)
Daniel Carter (reeds)
Andrew Jordan (reeds and percussion) – www.maprajna.com
Nicolas Letman-Burtinovic (bass)
Gunter Gruner (drums)
Floyd Davis (poetry)

Over the past three decades Daniel Carter has performed with such musical luminaries as Sun Ra, William Parker, Thurston Moore, MMW (Medeski, Martin, & Wood), Vernon Reid, Sam Rivers, Cecil Taylor, David S. Ware, D.J. Logic, Butch Morris, TEST, One World Ensemble, Saturnalia String Trio, and many others. As a staunch advocate of musical democracy he has been an inspiration for many young musicians. Of his musical collaborations, Carter states, “Most of the groups I’m in are collectives. Sometimes they’ve started out otherwise, and I’ve fought for them to be under a collective name, because that name… some name that would be inspirational or aspirational for the whole group.”

Drummer and composer Gunter Gruner has studied music at the Hochschule fuer Musik und Theater in Hamburg, Germany, the City College of New York and privately with drumming legend, Andrew Cyrille. Since moving to New York in 2005, he has performed with William Parker, Emilio Teubal, Matt Lavelle, Christoph Auer, Shanir Blumenkranz, Andrew Jordan, Daniel Carter, Nicolas Letman-Burtinovic, David Moss, Joerg Hochapfel, Salim Washington, Bato the Gypsy, Yusuke Yamamoto, Rodney Gardiner, Lakecia Benjamin, Kirk Knuffke, Tom Zlabinger, Floyd Davis, Ras Moshe and others. His project “The Invisible Landscape” connects Jazz, free improvisation, contemporary composition and various traditional music from around the world. He received a Mark Brunswick Award for composition in 2005 and was nominated for a Van Lier Fellowship for composition in 2007.
Percussionist and reedman Andrew Jordan has studied and performed in China, Ghana, and Egypt, and brings traditions from each to his music. His studies of world music have led him to the dynamic music of New York free improvisationists, who artfully mix any and all sprititual influences. “This language is one of immense importance to me, and I just try and get to it’s many meanings by keeping these people, and these sounds in my body as long as possible, then letting them seep out into the basement venues to which I’ve been partitioned.”

Demian Richardson is a dynamic trumpeter, the likes of which will blow you out of this place. Calling on all sectors of imagination and tradition, jazz evaporates and only Demian remains. He has performed with Daniel Carter, Federico Ughi, Chris Welcome, Ed Schuller, John Blum, Ornette Coleman, Cecil Taylor, William Parker, Allen Ginsberg.

Nicolas LETMAN-BURTINOVIC attended Paris Beaux Arts until 1994 and work as a professional artist in Europe, when he switched to studying bass for 6 month at the classical conservatory in the 20th arrondissement of Paris. In 1998, Nicolas moved to New York. During the same time, he started traveling to parts of New England and Philadelphia to play with such musicians as legendary saxophonist Archie Shepp, drummers Jay Alan Jackson, Philadelphia-based drummer Bill Roye, Philadelphia-based saxophonist Odean Pope, drummer Alan Nelson and bassist Avery Sharpe. In 2004 he recorded with drummer Matt Wilson on NBJ’s CD. Nicolas’s original compositions, performed by Bomb X and Haleoscene are based on the odd meter and polymeter system developed by Jymie Merritt. The band is a strong trio, bringing in guests which vary the band’s sound and energy. In 2005 he was musical director and bass player for Knewness, a double quintet recording including Archie Shepp, Avery Sharp, Spaceman, Colmore Duncan, Butch Campbel… He is curently active with the New York creative music scene.

www.myspace.com/guntergruner
www.myspace.com/demianrichardson
www.myspace.com/musicartscienceliterature
www.myspace.com/davidmossbass
www.maprajna.com/music

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DMG Newsletter February 13th, 2009

Paal Nilssen-Love
Image via Wikipedia

From DMG:

Ken Vandermark Duets! Paal Nilssen-Love Duos: Peter Brotzmann & Joe McPhee! The Flow Trio (Belogenis/Morris/Downs)! Don Cherry Montmartre Live V3! Matt Lavelle!

Daniel Kelly! Alan Wilkinson/John Edwards/Steve Noble! Source Records Box Set! Boghossian/Tilbury/Wastell! John Cage! Peter Ablinger! Merzbow!

Sub Rosa DVD’s from David Toop and Henri Pousseur! 2 More from Toshi Ichiyanagi! More Secret Museum of Mankind Series! Rare Enja label Last Copies!

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Improvised music is made for listening

The Seattle Improvised Music Festival is previewed.

Starting tonight and continuing for two consecutive weekends, the Seattle Improvised Music Festival will feature a dozen musicians in various combinations, performing one of the most- difficult-to describe forms of modern music. There are several saxophone players (Wilson Shook, Wally Shoup, Kelvin Pittman), keyboard players (Gust Burns and Jonathan Zorn — not to be confused with avant-garde composer John Zorn), a trumpet player (Greg Kelley), even a singer (Liz Tonne) — many of whom perform with sophisticated, electronic effects.

“I see it as a tangled core of different strands of music that developed out of jazz and free jazz in the ’60s and ’70s,” said Burns, director of the festival, whose history goes back 24 years.

“It’s also heavily experimental, electronic music that has nothing to do with jazz. It doesn’t have swing; it doesn’t have a groove. Then, there’s a post-rock, post- Sonic Youth spirit, noise music. It’s kind of a tangled mess that has an improvisational and experimental core.”

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Bagatellen Reviews

Barre Phillips, 2008, moers festival
Image via Wikipedia

From Bagatellen:

phroq [x 2]

In his recent review of a Daniel Jones / David Papapostolou disc for Signal To Noise, Brian Marley refers to EAI as a “fading genre of improvised music.” It’s a curious quote, and for reasons that go beyond breakdowns of the troublesome necessity to assign labels. Statements such as this are faithful cause for [...]

Joe Morris/Barre Phillips – Elm City Duets 2006 (Clean Feed)

This one is an incredible meeting between Joe Morris — here exclusively on acoustic guitar — and one of his musical heroes, contrabassist Barre Phillips. It had been a while since I’d heard anything from either musician, and this record is quite simply a beaut. It’s the kind of thing that actually restores my faith [...]

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Upcoming Emily Hay Appearances

From Emily Hay:

February 18, 2009 circa 11:00pm
Duo performance by Emily Hay (flutes/vocals/electronics) and Motoko Honda
(keyboards/electronics/sound art)
Spark Festival of Experimental and Electronic Music (University of
Minnesota)
Bedlam Theater
1501 S. 6th Street, Minneapolis, Minnesota

http://spark.cla.umn.edu/

http://www.emilyhay.com

http://www.myspace.com/motokohonda

April 24-25, 2009
Duo performance by Emily Hay (flutes/vocals/electronics) and Motoko Honda
(piano/electronics)
Third Annual Boise Experimental Music Festival
El Korah Shrine Center
1118 w. Idaho Street, Boise, Idaho

http://www.krispenhartung.com/BEMF-3/

http://www.emilyhay.com

http://www.myspace.com/motokohonda

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