Upcoming Philadelphia Shows

Aki Takase
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From Philly’s Ars Nova Workshop:

Wednesday, April 6, 8pm
Eugene Chadbourne, guitar + banjo; and Tatsuya Nakatani, percussion

Fleisher/Ollman Gallery, 1616 Walnut Street
$12 General Admission

Ars Nova Workshop is excited to present this rare duo performance with guitarist and banjoist Eugene Chadbourne and percussionist Tatsuya Nakatani. These two sonic adventurers have been working together since 2007, merging their diverse musical languages to create a unique world of cosmopolitan sound. Guitarist and banjoist Eugene Chadbourne has been fusing experimental rock, bluegrass, free jazz, blues and noise since he began making music in the mid-1970s. Equally inspired by the sounds of Appalachia, Jimi Hendrix, John Coltrane, and Captain Beefheart, he has formulated a
musical language and category of his own. Over the years he has worked with John Zorn, Henry Kaiser, Fred Frith, Derek Bailey, Han Bennink, Sun City Girls, Aki Takase, and many other leading experimental musicians. Originally from Osaka, Japan but currently living in Easton, PA, Tatsuya Nakatani has articulated his own percussive style that combines free jazz, rock, noise and traditional Japanese folk music. In order to capture this vast aural landscape, his drum kit is supplemented with gongs, cymbals, singing bowls, bells, and metal objects.



ANW Recommends:

Saturday, April 9, 8pm

Montgomery County Community College
340 DeKalb Pike, Blue Bell | $25

Coleman was the key proponent of M-Base, which has done its part to push modern jazz to ever greater levels of rhythmic and compositional complexity. Many of his early collaborators in that movement, such as Greg Osby, Cassandra Wilson, Geri Allen, Marvin “Smitty” Smith and Robin Eubanks have gone on to great acclaim. His influence can also be found in a whole generation of younger jazz artists, including musicians like Vijay Iyer, Rudresh Mahanthappa, and Steve Lehman. Coleman’s music, based on a lifetime of travel and research into the music of the African diaspora – jazz, blues, Cuban, funk, R&B, hip hop, African, Brazilian, along with Indian and Indonesian – defy easy definition. Much of his work is distinguished by its complex, constantly shifting rhythms that convey a fundamental sense of groove. This effect is not just carried out by the rhythm section; it is also found in the intertwining horns lines that weave a pattern of contrapuntal polyphony. Coleman’s compositions are made
up of many layers, all constantly mutating, coming and going without simple resolution.

Tickets available at http://www.mc3.edu/campusLife/artsCulture/apr.aspx

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