Tyshawn Sorey Composer Portrait in NY, March 28

Source: Miller Theatre at Columbia University.

Tyshawn Sorey
Thursday, March 28, 2019, 8pm
Miller Theatre at Columbia University

Tyshawn Sorey is a visionary artist who is erasing the lines of musical preconceptions. The 2017 MacArthur Fellow has a wide-ranging creative practice, embracing the roles of composer, conductor, multi-instrumentalist, scholar, and educator. This Portrait features two new works, written for ensembles with which Sorey has close ties.

Performers

Tyshawn Sorey composer
JACK Quartet
International Contemporary Ensemble (ICE)

Repertoire

Autoschediasms for Creative Chamber Orchestra (2019), world premiere, Miller Theatre commission
…Changes (2018), New York premiere
Violin and Glockenspiel, in Memoriam Muhal Richard Abrams (2018)
Bertha’s Lair (2016)
Ornations (2014)

2019 Vancouver Improvised Music Meeting

Source: 2019 Vancouver Improvised Music Meeting.

Thursday March 28 | 8:30pm
Friday March 29 | 8:30pm
Saturday March 30 | 8:30pm
(Doors at 8:00)

TICKETS AT THE DOOR
$10 OR PWYC

Three evening performances featuring:

Eyvind Kang | viola (USA)
Torsten Müller | bass (CAN)
Sara Schoenbeck | bassoon (USA)
Elisa Thorn | harp (CAN)
Brad Turner | trumpet (CAN)
Dylan van der Schyff | percussion (CAN)
Jeff Younger | guitar (CAN)

AFTERNOON PERFORMANCE / Q & A (BY DONATION) AT 8EAST Saturday, March 30, 2pm Eyvind Kang | viola Kenton Loewen | drums Lisa Miller | piano

Presented by Barking Sphinx Performance Society
in partnership with NOW Society

AMN Reviews: Jakob Heinemann – Latticework [Scripts Records]; Matt Nelson – Starting [Eschatology Records ER-005]

As recently as sixty years ago, there was very little in the way of literature for the double bass as a solo voice; it was barely even considered a particularly musical instrument. (And don’t get me started on double bass jokes. As the ancient sage Jimmy Durante once said, I got a million of ‘em.) But now, not only is there a substantial and growing body of work written for the double bass either alone or as the solo voice within an ensemble, there is an even greater and faster-growing set of recordings for double bass as a vehicle for adventurous solo improvisation. Two fine new recordings by Jakob Heinemann and Matt Nelson can claim to be part of this now-venerable tradition. Both albums are concise and to the point—Heinemann’s four tracks total 34 minutes, while Nelson’s five come to 23 minutes—in presenting each artist’s engagement with the instrument’s broad range of techniques and consequent palette of sounds. While both bassists make generous and almost exclusive use of techniques largely developed within the last several decades, each does so with a sensibility that’s quite specific and ultimately personal. Heinemann seems drawn to the instrument’s naturally dark woodiness of tone, something he brings out with a robust, heavily percussive touch using both hands and bow. He’s especially effective at combining bow strikes with a strong left-hand attack to create a dense polyphony of timbres. Like Heinemann, Nelson is attentive to subsuming pitch in unconventional sound colors, albeit in a way less oriented toward auto-counterpoint. He shows himself to be particularly adept at exploring the multiphonic possibilities inherent in subjecting heavy strings to varying pressures from bow and fingers; on two tracks he plays with the microtonal variations that arise from simultaneously sounding stopped and open strings.

https://scriptsrecords.com/

https://jakobheinemann.com/

https://www.eschatologyrecords.com/product/matt-nelson-starting

https://www.facebook.com/matthewjoshuanelson

Daniel Barbiero

AMN Picks of the Week: Green Dome / Africa Anthology / Liebman, Rudolph & Drake / Rajna Swaminathan / Mount Meander

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

Green Dome (Parkins / Sawyer / Smith) – Thinking In Stitches (2019)
Various Artists – Anthology of Contemporary Music From Africa Continent (2019)
Dave Liebman / Adam Rudolph / Hamid Drake – Chi (2019)
Rajna Swaminathan – Of Agency and Abstraction (2019)
Mount Meander – Live in Berlin (2019)

Something Else! Reviews

Source: Something Else!

Matthew Shipp Trio – ‘Signature’ (2019)

Jon Lundbom and Big Five Chord – ‘Harder On the Outside’ (2019)

Jamie Saft, Steve Swallow and Bobby Previte – ‘You Don’t Know the Life’ (2019)

Eric Dolphy – ‘Musical Prophet: The Expanded 1963 New York Studio Sessions’ (1963; 2019 release)

Miles Davis’ Expanded ‘Kind of Blue: Legacy Edition’ Struck the Perfect Balance

Avant Scena Reviews

Source: Avant Scena.

Christian Winther Christensen – “Almost in G” (col legno, 2019)

Rempis/Lopez/Packard – “The Early Bird Gets” (Aerophonic Records, 2019)

Mount Meander – “Live in Berlin” (Gotta Let It Out, 2019)

James Brandon Lewis – “An UnRuly Manifesto” (Relative Pitch Records, 2019)

Guerino Mazzola / Heinz Geisser – “Live at Le Classique” (PfMentum, 2018)

GGRIL – “Façons” (Tour De Bras, 2018)

Christiane Bopp – “Noyau de Lune” (Fou Records, 2018)

Maryanne Amacher in Philadelphia April 9-13

Source: Bowerbird.

Bowerbird, in collaboration with Blank Forms, is pleased to present Maryanne Amacher: Perceptual Geographies, a multipart exploration into the work of pioneering sound artist and composer Maryanne Amacher (1938–2009). A collaborator with John Cage and Merce Cunningham, Amacher spent her formative years as an artist in Philadelphia, where she studied at the University of Pennsylvania with composer Karlheinz Stockhausen. Known by many for her sonic explorations of psychoacoustics or her architecturally staged installations, few listeners have been able to experience this wide breadth of Amacher’s “listening mind” in person.

Informed by years of research and presented by an international network of artists and scholars, Maryanne Amacher: Perceptual Geographies offers audiences a rare opportunity to experience Amacher’s work posthumously. In addition to a series of workshops and talks exploring Amacher’s methodology and artistic philosophy, the weekend will feature performances of Amacher’s compositions Adjacencies (1965), for two percussionists and electronics, and Petra (1991) for two pianos. The artistic collective Supreme Connections will also create a site-specific performance-installation using archival audio and visual materials. The concerts will take place at Holy Apostles and The Mediator Episcopal Church (51st and Spruce), with each component being sited in a different architectural space on the historic congregation’s expansive campus.

EVENTS

TUESDAY, APRIL 9 AT 7:00PM
MARYANNE AMACHER: AN INTRODUCTION
Kislak Center (UPENN)

FRIDAY, APRIL 12 AT 7:30PM
ADJACENCIES, PETRA, SUPREME CONNECTIONS
at Holy Apostles and The Mediator

SATURDAY, APRIL 13, 1PM TO 5PM
WAYS OF HEARING WORKSHOP
at Holy Apostles and The Mediator

SATURDAY, APRIL 13 AT 7:30PM
ADJACENCIES, PETRA, SUPREME CONNECTIONS
at Holy Apostles and The Mediator