New World Records Release

From New World Records:

David Rosenboom: How Much Better if Plymouth Rock had Landed on the Pilgrims

David Rosenboom (b. 1947) has been widely acclaimed as an innovator in American experimental music since the 1960s. Although much of his work has been collaborative, virtually none of his large-scale collaborative works has hitherto been documented on record. How Much Better If Plymouth Rock Had Landed on the Pilgrims (1969–71) is considered to be one of the most important, prompting the following Washington Post review after a 1970 performance: “If there were a device whereby one could plug into the deepest levels of human consciousness, and then translate this input ..

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Berangere Maximin at Roulette

From New York’s Roulette:

makes a rare US appearance with “Stuck in a Nasty Little Film”
MAY 26 @ 8:30pm

Tzadik recording artist Berangere Maximin makes a rare US appearance with ‘Stuck In a Nasty Little Film’ @ Roulette: Solo of Tape Music + Electro-soft + Video-musics + Spoken Words. BM: Laptop, voice and various objects. Videos: Anton Yakutovych.

Berangere Maximin was born in 1976 on the Island of Reunion, where she resided until the age of fifteen. Performing first as a singer, she later studied electroacoustic music with the composer Denis Dufour at the Perpignan Conservatoire. Her first professional experiences occurred in Paris, and in 2002 she moved there permanently. As a composer, she is most interested in preserving the spirit of live music in the studio, a passion passed on to her from her friends-guitarists and singers in rock and world music bands. Working out of her own Home Sweet Home Studio, she shoots sounds in a dark silent room, records soundscapes and acoustic sounds, plays with sampling, digital effects, performs on a variety of objects and sings. She has written musical works for concert and radio shows, and has contributed greatly to the French Contemporary Music Movement. Her attraction to light and powerful sounds gives her work a very unique quality.

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Microtonal marks 20 years with several premieres

Joe Maneri (4/3/04 at the 40 Watt Club in Athe...
Image via Wikipedia

A recent Boston Microtonal Society performance is reviewed.

The equal-tempered 12-note scale is near-universal in Western music; but within that qualifying “near,” the Boston Microtonal Society finds an expansive playground. Founded 20 years ago by composer and avant-garde jazz saxophonist Joseph Maneri, the BMS and its resident ensemble, NotaRiotous, threw a long, varied anniversary party on Sunday: 12 pieces, six premieres, countless divisions of the octave.

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Firehouse 12 To Present Trio BraamDeJoodeVatcher June 12th

From Improvised Communications:

On Friday, June 12th, Firehouse 12’s 2009 Spring Jazz Series will conclude with a two-set performance by Dutch jazz heavyweights, Trio BraamDeJoodeVatcher. Led by pianist/composer Michiel Braam, and featuring bassist Wilbert de Joode and drummer Michael Vatcher, the group is touring North America in June and July, performing new compositions and welcoming a local improviser into the group at each stop. For this event, the trio’s late set will feature special guest cornetist, and Firehouse 12 Records co-founder, Taylor Ho Bynum.

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Darmstadt “Classics of the Avant Garde” in June

Darmstadt’s “Classics of the Avant Garde” will be featured at New York’s Issue Project Room in June.

A Month-Long Festival of Concerts, Workshops, Film Screenings, Conversations and World Premieres Featuring:

Susie Ibarra, Elliot Sharp, Tony Oursler, Anthony Coleman, Tony Conrad, David Grubbs, Joan La Barbara, Luke Dubois, Tom Hamilton, Ha-Yang Kim, Branden W. Joseph, Stephan Moore, John King, Dan Joseph, Ne(x)tworks, Matthew Welch, Elodie Lauten, Bing and Ruth, TILT, Either/Or, Pterodactyl, Christy & Emily, Connie Beckley, Ensemble Pamplemousse and much more!

Darmstadt “Classics of the Avant-Garde” music series is proud to announce its first ever Institute, a month-long festival at ISSUE Project Room dedicated to exploring the connection between live performance and pedagogical practice. This month of interdisciplinary programming includes concerts, lectures, workshops, film screenings, and talkbacks which celebrate and critically examine the continuum of the experimental tradition in music and related media. It is the hope of Darmstadt’s curators that its Institute will deepen the understanding and appreciation of experimental work, both within the New York music community and the general public.

This month of dynamic programming involves both established composers and performers, alongside emerging artists. In addition to countless concerts of premieres and cherished repertoire, highlights of the festival include workshops led by Joan LaBarbara and Susie Ibarra, conversations between David Grubbs and Branden W. Joseph and Tony Conrad and Luke Dubois, a lecture-performance by Merce Cunningham Music Committee members Stephan Moore and John King featuring a live rendering of John Cage‘s “Fontana Mix,” film presentations by Tony Oursler and Bradley Eros, in addition to “sectional” events—a program of guitar music with Dan Joseph and Elliot Sharp and an evening connecting the voice to visual art, with Connie Beckley and Lesley Flanigan. There will also be post-performance talkbacks with performers and composers.

The Institute kicks off Monday, June 1 with a FREE artist-in-attendance screening of Tony Oursler’s video project, Synesthesia, an oral history of New York’s downtown music and art scenes, and concludes on Sunday, June 28 with an outdoor concert featuring two of Brooklyn’s brightest young art rock ensembles, Pterodactyl and Christy & Emily.

Darmstadt is describing the artists participating in its June Institute as a “faculty” of sorts, enabling a non-institutional, publicly accessible forum. In the spirit of its namesake’s “holiday course,” Darmstadt aims to provide a vital resource, a venue to connect artists, performers, writers, and educators with each other and, in turn, with audiences…all towards the enrichment of New York’s vibrant new music scene.

Darmstadt “Classics of the Avant Garde” is the Brooklyn-based contemporary music series led by composer-musicians Zach Layton and Nick Hallett, which presents the best of New York City’s live experimental music, and relevant media. Darmstadt will celebrate its fifth anniversary this November with an annual performance of Terry Riley‘s In C, which Alan Kozinn described in the New York TImes as “the most vital, audacious and energizing performance of the score I’ve ever heard.” Darmstadt regularly hosts its concerts and DJ sets at ISSUE Project Room while its founders both create and curate work for such institutions as PS1 and The Kitchen. Darmstadt began as a “listening party” of avant-garde recordings at Galapagos Art Space before quickly evolving into a live performance series, and in 2007 was included in The New York Times ‘Best of New Music’ rundown. As DJ’s, Layton and Hallett have delivered memorable sets at Steve Reich 70th birthday celebration at the Brooklyn Academy of Music and at the Buenos Aires International Independent Film Festival, in collaboration with filmmakers Jonas Mekas, Virginie Marchand, and Butoh dance master Kazuo Ohno.

Darmstadt Institute is sponsored in part by funding from Meet the Composer Creative Connections, New York City Department of Cultural Affairs, and the Experimental Television Center (supported by the New York State Council on the Arts)


June 2009

ISSUE Project Room

in the (OA) Can Factory

232 3rd Street (at 3rd Ave), Brooklyn

performances at 8pm unless noted otherwise

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