San Francisco Scene: June 24-30, 2017

From the Bay Improviser Calendar.

Saturday, June 24

Sat 6/24 8:00 PM Center for New Music [55 Taylor St SF]
Secret Codes of Sound: Jane Rigler, flute & electronics
Exploring the complexities of language (i.e., rational, irrational, conscious, subconscious, structured, improvised), through speech, the voice, the physical and gestural, as well as the mysteries of codes, programming, animal, machine and other non-being languages, composer/performer Jane Rigler explores acoustic and electronic interactions of sounds as languages and languages as sounds.

Sunday, June 25

Sun 6/25 4:30 PM California Jazz Conservatory [2087 Addison Street Berkeley]
The Holly Martins

Sun 6/25 7:30 PM Center for New Music [55 Taylor St SF]
Mazdak Khamda
An evening of original music by Bay Area composer, and pianist Mazdak Khamda. The concert will also include works by other Bay Area composers.

Monday, June 26

Mon 6/26 9:30 PM Studio Grand [3234 Grand Ave, Oakland]
OFJS: Jonah Udall’s SHIFT plus Joseph’s Bones

Tuesday, June 27

Tue 6/27 4:00 PM Center for New Music [55 Taylor St SF]
Grant Writing Basics: Beginner’s Guide to Grants for Independent Musicians

Wednesday, June 28

Wed 6/28 9:30 PM Octopus Literary Salon [2101 Webster St. #170 Oakland]
Jonah Parzen-Johnson Solo Saxophone + Analog Synth // Steven Lugerner’s SLUGish Ensemble

Thursday, June 29

Thu 6/29 6:00 PM Mills College Art Museum [5000 MacArthur Boulevard Oakland, CA 94613]
ART + PROCESS + IDEAS (A+P+I) EXHIBITION
June 28-August 27, 2017
OPENING RECEPTION: THURSDAY, JUNE 29, 6:00–8:00 PM
FACEBOOK: http://bit.ly/2r0UMdt

Thu 6/29 8:00 PM Luggage Store Creative Music Series [1007 Market Street SF]
8pm: Christine Richers & Laura Schwartz
9pm: Pet the Tiger Instrument Inventors Collective plays Harmonic Series Gamelan
David Samas, Director
Bart Hopkin, Peter Whitehead, Daniel Schmidt, Stephen Parris, Derek Drudge, Sally Davis

Thu 6/29 8:00 PM Octopus Literary Salon [2101 Webster St. #170 Oakland]
Eugene Chadbourne & Poontang Wranglers

Friday, June 30

Fri 6/30 8:00 PM Old First Concerts [1751 Sacramento St. SF]
ZOFO: Eva-Maria Zimmermann; Keisuke Nakagoshi, piano

Roscoe Mitchell Interview

saxophonist Roscoe Mitchell at the Pomigliano ...

Source: The New York Times.

Blending jazz improvisation, post-John Cage modernism, funk and the occasional touch of rock, the Art Ensemble of Chicago and its co-founder, Roscoe Mitchell, made good on the ambition of its motto: “Great Black Music, Ancient to the Future.”

Mr. Mitchell formed that group in the wake of his involvement in the 1965 founding of the Association for the Advancement of Creative Musicians, a pathbreaking collective of black artists known as the A.A.C.M. In 2015 the Museum of Contemporary Art in Chicago presented “The Freedom Principle,” a 50th-anniversary exhibition devoted to the A.A.C.M. and its influence. The museum also hosted concerts of Mr. Mitchell’s music, which were recorded for “Bells for the South Side,” a two-disc set that will be released on Friday, June 30, by ECM Records.

An Introduction to Avant-Garde Electronic Music in Poland 

Source: Bandcamp Daily.

In recent years, there has been a steady increase in the reach of Polish underground music, in terms of both sonics and audience. That development didn’t come out nowhere; the country’s rich history of experimental cinema and animation fuelled a tradition of avant-garde music in the mid-20th century, deploying pioneering tape sampling methods alongside early synths to soundtrack many experimental short films. Warsaw-based audiovisual duo (and sisters) WIDT offer up a short history lesson: “In 1957, the Studio Eksperymentalne Polskiego Radia (Experimental Studio of the Polish Radio) was found by composer Józef Patkowski,” they explain. “This was the place where the soundtracks were produced and [where the] most significant creators came from.”

Since Poland was still deeply under Soviet pressure at the time, it was only possible for this outpost of experimental electronic music to emerge during the détente in Russian influence that followed Stalin’s death in 1953. By 1956, Poland had became noticeably more autonomous, and censorship’s reach gradually declined. In the 1980s, groups like Germany’s Tangerine Dream were hugely popular, and homegrown Polish pioneers like Marek Biliński were starting to experiment with electronics, finally outside of the context of soundtrack work.

Jazz in NYC This Week 

English: Jean-Luc Ponty at the Nice Jazz Festi...

Source: The New York Times.

CHARLIE HADEN’S LIBERATION MUSIC ORCHESTRA WITH CARLA BLEY at the Blue Note (June 27, 8 and 10:30 p.m.). When not performing with the likes of Ornette Coleman and Hank Jones, the bassist Charlie Haden, who died in 2014, spent much of his time leading the Liberation Music Orchestra, an ensemble with political convictions, shadowy harmonies and a roster of restless improvisers. The pianist and composer Carla Bley was always a linchpin of the group, and she proved instrumental to the creation of its 2016 album, “Time/Life.” Ms. Bley now leads the orchestra, which is likely to play selections from that album here.
212-475-8592, bluenote.net/newyork

JEAN-LUC PONTY at B.B. King Blues Club & Grill (June 25, 8 p.m.). Mr. Ponty, a French violinist, is known for his flashy virtuosity and his venturesome original music, a fusion-era brew of European folk song, funk, postbop and rock. In the 1970s he became one of the first jazz musicians to use an electric violin. From 1976 to 1985 he released a string of albums for Atlantic Records, some of them minor gems. At this show, the last on his American tour, Mr. Ponty will revisit that repertoire with some of the musicians who played with him in the 1980s: Wally Minko on keyboard, Jamie Glaser on guitar, Rayford Griffin on drums and Baron Browne on bass.
212-997-4144, bbkingblues.com

PHAROAH SANDERS at Prospect Park Bandshell (June 23, 7:30 p.m.). Mr. Sanders, 76, played with John Coltrane near the end of his life, seeming to inherit Coltrane’s affinity for global folk musics, Eastern spirituality and caterwauling expressionism. In his own music, Mr. Sanders renders long and scorching solos over lovely vamps, balancing fury and enlightenment. (Fans of Kamasi Washington, take note: Mr. Sanders was doing it first.) Mr. Sanders draws much inspiration from Indian classical music, so the intrepid Brooklyn Raga Massive is an apt opener for Friday’s concert.
718-683-5600, bricartsmedia.org

TRIO S at National Sawdust (June 23, 10 p.m.). On Friday Doug Wieselman, a clarinetist and multi-instrumentalist, releases “Somewhere Glimmer,” a new album with his Trio S. The band includes the cellist Jane Scarpantoni and the drummer Kenny Wollesen; all three members are veterans of the New York downtown scene of the 1990s, when an impish countercultural attitude reigned and improvisers were boiling 20th-century minimalism, free jazz and punk rock into something new and instinctual. The eight original tracks on “Somewhere Glimmer” are soft, slow and cinematic; Mr. Wieselman often uses simple loops, not building to a critical mass, but lulling you into a rolling meditation.
646-779-8455, nationalsawdust.org

Classical Music in NYC This Week 

Source: The New York Times.

ASHLEY BATHGATE at National Sawdust (June 25, 7 p.m.). Part of the ever-enjoyable Kettle Corn New Music series, this rare performance of Steve Reich’s “Cello Counterpoint,” for solo instrument and seven prerecorded doubles, will feature the cellist Ashley Bathgate playing music by Emily Cooley, Alex Weiser and Fjola Evans as well.
646-779-8455, nationalsawdust.org

CANTATA PROFANA at Here (June 23-24, 7 p.m.; June 25, 2 p.m.). Adventurous programming, as ever, is on offer from this vocal and instrumental ensemble, this time exploring so-called ancient groove music and the evolution of dance music, from Machaut and Monteverdi to Reich and Gorecki. Jacob Ashworth, on the violin, is the artistic director.
212-352-3101, here.org

‘TRAGEDY OPERA’ at National Sawdust (June 23, 7 p.m.). Julia Holter’s “Tragedy,” a 2011 album inspired by Euripides’ “Hippolytus,” gets turned into an opera here, with luxury accompaniment from the ensemble wild Up, and the composer’s vocals backed by a production from the artists Yelena Zhelezov and Zoe Aja Moore.
646-779-8455, nationalsawdust.org