Avant Music News

From NYTimes.com:

DARCY JAMES ARGUE’S SECRET SOCIETY (Saturday) “Infernal Machines” (New Amsterdam), one of the most celebrated jazz releases of 2009, was the debut of this ultramodern big band, led by Mr. Argue, an indefatigable young composer. Girded with indie-rock textures and a generous sense of drama, it still captures only part of what the group can pull off in performance. At 8 p.m., Galapagos Art Space, 16 Main Street, at Water Street, Dumbo, Brooklyn, (718) 222-8500, galapagosartspace.com; $15. (Chinen)

ELLERY ESKELIN TRIO (Saturday) Ellery Eskelin is a tenor saxophonist drawn to rhythmic tumult and tonal friction, though he also has his soulful side. He plays a fully improvised set here, with two new partners: Erik Deutsch on organ and Allison Miller on drums. At 9 p.m., Brecht Forum, 451 West Street, between Bank and Bethune Streets, West Village, (212) 242-4201, brechtforum.org; $10. (Chinen)

MARY HALVORSON TRIO (Thursday) The guitarist Mary Halvorson, a calmly prickly and increasingly prominent presence on the avant-garde landscape, leads a working trio with John Hébert on bass and Ches Smith on drums; their repertory will include new music as well as pieces from “Dragon’s Head” (Firehouse 12), Ms. Halvorson’s superb 2008 debut. At 9 and 10:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village, (212) 242-1063, jazzgallery.org. First set: $15; $10 for members. Second set: $10; $5 for members. (Chinen)

OPEN LOOSE (Saturday) Together with the tenor saxophonist Tony Malaby and the drummer Tom Rainey, Mark Helias, a bassist and composer, walks a line between form and freedom, confirming that there can be rigor in both. At 9 and 10:30 p.m., Cornelia Street Café, 29 Cornelia Street, West Village, (212) 989-9319, corneliastreetcafe.com; cover, $10, with a one-drink minimum. (Chinen)

MARC RIBOT TRIO (Monday) Marc Ribot, whose jangly electric guitar has long been a protean presence on the downtown scene, leads a trio previously at the core of Spiritual Unity, his tribute to the free-jazz saxophonist Albert Ayler. The bassist is Henry Grimes, a veteran of the Ayler-era avant-garde; the drummer is Chad Taylor, who also works more than credibly in the realm of experimental rock. At 9 p.m., Rose Live Music, 345 Grand Street, near Havemeyer Street, Williamsburg, Brooklyn, roselivemusic.com; $12 cover. (Chinen)

PHAROAH SANDERS QUARTET (Friday through Sunday) The tenor saxophonist Pharoah Sanders, one of the most significant survivors of 1960s free jazz, has never stopped imbuing his performances with the tone of a spiritual quest. His supportive quartet includes William Henderson on piano, Nat Reeves on bass and Joe Farnsworth on drums. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; cover, $30 and $40, with a $10 minimum. (Chinen)

TOMASZ STANKO NEW QUINTET (Tuesday through Thursday) The Polish trumpeter Tomasz Stanko is one of Europe’s most heralded jazz musicians, and he has earned his accolades with an intimate and haunted style. His new album, “Dark Eyes” (ECM), features the same new group appearing here, with Jakob Bro on guitar, Alexi Tuomarila on piano, Anders Christensen on bass and Olavi Louhivuori on drums. (Through April 17.) At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; $30 and $40, with a $10 minimum. (Chinen)

From NY’s Roulette:

Wet Ink Ensemble Festival of New American Music, Part 1
Sat May 1 – 8:30 PM

MIXOLOGY: Ray Sweeten
Sun May 2 – 8:30 PM

MIXOLOGY: Backbreakerneckbrace: Mike & Dawn Haleta
Mon May 3 – 8:30 PM

MIXOLOGY: Adam Savje & Madeleine Gallagher
Tue May 4 – 8:30 PM

Nancy Garcia
Thu May 6 – 8:30 PM

Drew Krause
Fri May 7 – 8:30 PM

Eclipse Quartet
Sat May 8 – 8:30 PM

Bora Yoon w/ Luke DuBoise: PHONATION
Thu May 9 – 8:30 PM

MIXOLOGY: Jesse Stiles, Chris Harvey & Olivia Robinson
Mon May 10 – 8:30 PM

MIXOLOGY: Betsey Biggs: PERFORMANCE FOR CALVIN S. HALL
Tue May 11 – 8:30 PM

MIXOLOGY: Bioluminescence: Lesley Flanagan and Luke DuBois
Wed May 12 – 8:30 PM

MIXOLOGY: Clinker “On the Other Side….” Live Cinema
Thu May 13 – 8:30 PM

MIXOLOGY: Mendi and Keith Obadike
Fri May 14 – 8:30 PM

John King : 10 MYSTERIES : Tzadik CD Release Event
Sat May 15 – 8:30 PM

Seth Cluett: Three Forms of Forgetting, featuring Okkyung Lee and Liz Tonne
Sun May 16 – 8:30 PM

Bill Frisell – ROULETTE BENEFIT! $35 / $30 presale
Mon May 17 – 8:30 PM

Dan Joseph Ensemble
Mon May 24 – 8:30 PM

INTERPRETATIONS: Yasunao Tone / Adachi Tomomi
Tue May 25 – 8:00 PM

Missy Mazzoli (Jerome Foundation Commission)
Fri May 28 – 8:30 PM

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At New York’s Rise Up Creative Music & Arts:

April 12

7PM – Mossa Bildner / Gary Lucas
Mossa Bildner – Voice
Gary Lucas – Guitar

8PM – 10
Mariqido – Laptop & effects
Itta – Voice & poetry

9PM – Harris Eisenstadt & Canada Day
Nate Wooley – Trumpet
Matt Bauder – Tenor sax
Chris Dingman – Vibes
Eivind Opsvik – Bass
Harris Eisenstadt – Drums

10PM – Lorenzo Sangueldoce / Michael Bisio Duo
Lorenzo Sangueldoce – Tenor sax
Michael Bisio – Bass

April 19

7PM – Rosie Hertlein Solo
Rosie Hwrtlein – Vocals & Violin

8PM – Heidi Martin / George Burton / Samir Moulay / Romeir Mendez
Heidi Martin – Voice
Samir Moulay – Guitar
George Burton – Keys
Romeir Mendez -Bass
TBA -Drums

9PM – TEST
Sabir Mateen – Reeds
Daniel Carter – Reeds & trumpet
Matthew Heyner – Bass
Tom Bruno – Drums

10PM – Word Games
Dave Schnug – Alto sax
Trevor Lagrange – Keys
Dave Miller – Drums

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Chicago’s Lampo returns with three shows this Spring. The Chicago Reader has more detail.

TOMOMI ADACHI
FRI APR 16 8pm
Columbia College
916 S Wabash, Rm 214
Admission $10, Students $5

Solo music and sound poetry, voice, electronics and self-made synths cased in Tupperware. Lampo is thrilled to present Tomomi Adachi in his Chicago debut. His stuff is truly fascinating—animated by gesture, imbued with a sly sense of humor, and not to be missed.

The evening will unfold in three parts: first, his own text-sound compositions and work from a collection of historical Japanese sound poetry—seldom heard material by Hide Kinoshita from 1924, and Seiichi Niikuni from the 1960s and 70s. He’ll also improvise with his homemade gear, including both the amplified Tomoring II, made of springs and metal wire, and the Tomomin II, one of his Tupperware instruments. Lastly, Adachi performs the beguiling “Voice and Infrared Sensor Shirt,” in which the artist wears a sensor-bedazzled shirt that modulates his voice as he moves.

Tomomi Adachi (b. 1972, Kanazawa, Japan) is a performer, composer, sound poet and video artist living in Tokyo. He plays improvised music with voice, computer and self-made instruments and composes works for his own group “Adachi Tomomi Royal Chorus,” a punk-style choir of non-professionals. In the field of sound poetry, he performs his own text-sound works as well as those from the little-known historical Japanese avant-garde. He has performed with many musicians, including Jaap Blonk, Nicolas Collins, Carl Stone, Toshi Ichiyanagi, Jérôme Noetinger and Tetsuo Furudate, and presented his work at the Tate Modern, IRCAM/Centre Pompidou, Walker Art Center, STEIM, National Museum of Art Osaka, Experimental Intermedia Foundation, Anthology Film Archives and Fylkingen, among others.

Organized in cooperation with Columbia College, Audio Arts and Acoustics Department, and School of the Art Institute of Chicago, Department of Sound. Adachi is currently visiting the U.S. as a grantee of the Asian Cultural Council.

STEN HANSON
SAT MAY 8 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE
Space is limited; RSVP to rsvp@grahamfoundation.org

Sten Hanson is coming to Chicago! The legendary Swedish composer will perform a range of works for voice and recorded sound from the span of his career, some old and some new, in this joint project from Lampo and the Graham Foundation. In summary, wow.

Sten Hanson (b. 1936, Klövsjö, Sweden) first came to prominence in the early 1960s as an experimental poet and composer. He pioneered the use of tape-recording techniques in the renewal and development of poetry, and as a means to expand the limitations of language. One of the forerunners in the field of multi-media art, Hanson’s combined his theories of “Text-sound-visual image” with intensely personal live performances. From his earliest pieces consisting of rough cut-and-paste tape collages, through to the later use of computer to apply effects, Hanson’s voice remains the focus throughout. His works include electroacoustic pieces as well as instrumental and vocal compositions.

From the end of the 1960s up to 1979, he worked essentially with electroacoustic music and created, with Lars-Gunnar Bodin, Åke Hodell, Bengt Emil Johnson, the theory and the practice of a new aesthetic field: “the electronic text-sound.” Many of his early compositions were short, hard-hitting collages of text and sound with social and political content: “Che” (1968), “Western Europe” (1969), “Revolution” (1970). In other works the emphasis was more on humorous burlesque: “Coucher et souffler” (1968), “How are You” (1969). Compositions like “Fnarp(e)” (1970) and “L’Inferno de Strindberg” (1971) have passed through more extensive electroacoustic processing, as is also the case in the humorous but cautionary “The Flight of the Bumblebee” (1982).

Throughout his career, Hanson has played an extremely active part in both Swedish and international musical life. He was leader of the Fylkingen language group from 1968 and in charge of the Text-Sound Festivals that were held for many years. He was director (1968-1977) and then chairman (1980-1984) of Fylkingen, chairman of the ISCM (1975-1981), member of the Royal Academy of Music of Sweden and president of the Swedish Composers’ Union (1985-1994), member of the Executive Committee of International Confederation of Electroacoustic Music (ICEM) (1981-1982) and chairman of this organization from 1997 to 2002, among other positions.

LIONEL MARCHETTI
SAT JUNE 5 8pm
Graham Foundation
Madlener House
4 West Burton Place
Admission FREE
Space is limited; RSVP to rsvp@grahamfoundation.org

Hard (difficile) to believe, but it’s been 9 years since Lampo enjoyed the pleasure of Lionel’s company. We missed him and so too have the nice people at Alcala’s. He created spectacular music during his 2002 visit, and then left town with an equally spectacular cobra belt—but that’s a story for another blurb. At long last he returns, and only in part for the Western wear.

Here, he’ll present an epic two-hour musique concrète performance, an “interpretation with spatialization,” layering nature recordings, spoken text, pop songs and ethnic music through eight loudspeakers distributed around the room. Once on site, Marchetti will study the acoustics of the space and select appropriate works from his 20-year body of work.

The evening, brought to you by Lampo and the Graham Foundation, will be divided into two parts, each with its own direction and theme—perhaps “the natural world” or “human psychology,” or “shamanism,” a favorite of Marchetti’s, who sees parallels between the medicine man and composer, both as someone who transports you into another world.

Lionel Marchetti (b. 1967, Marseille, France) is an electroacoustic improviser and musique concrète composer. Initially self-taught, Marchetti studied with Xavier Garcia in Grenoble. A scholar, he later worked at the CFMI (Lyon) and INA-GRM studios (Paris), and published a book on composer Michel Chion.

In the mid-1990s Marchetti was one of a handful of artists who took electroacoustic music out of the academic studio and into the realm of free improv, using a live set-up with microphones, small speakers, tape recorders and radio. As an improviser he performs in his long-standing duo with Jérôme Noetinger, in the audio-visual project Le Cube, with influential collective Archipel, and with dancer Yôko Higashi. In his studio work he incorporates sound collage and electroacoustic composition, although the level of poetry and refusal of genre boundaries in his music puts him closer to Kristoff K. Roll and Luc Ferrari than Pierre Henry or Bernard Parmegiani. Lionel Marchetti made his U.S. debut at Lampo in June 2002, in a duo performance with Jérôme Noetinger.

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