Jill Burton and Wade Matthews in Orlando, March 3rd

From Orlando’s CM5:

Jill Burton brings her voice and physical form as the two main tools of her trade. Her bio includes training in ballet and classical music at an early age, while having quickly developed an affinity for improvising in performance. Ms. Burton was a witness and participant in the profound cultural and interdisciplinary possibilities of the 1980′s arts renaissance that blossomed out of the then near-apocalyptic urban collapse and wholly non-commercial NYC/Lower East Side scene. While many musicians here for CM5 concerts come from that same NYC/LES arts scene, few could add something as inverted a seminal experience as Burton’s six years as musical accompanist for Pacific Northwestern Tlingit tribe storytellers in Sitka, Alaska. She has spent more than fifteen years studying and practicing non-invasive medical modalities including Reiki, Ortho-Bionomy and Sound Healing. Burton’s improvised works manifest most often in wordless vocals, seemingly constructing invisible sonic architecture, both bordering the interior of a venue and transforming those same borders into transducers carrying vibrations. Jill has performed vocal and dance improvisations with a number of earlier CM5 concert artists including Tatsuya Nakatani, Doug Mathews, Kris Gruda, Emily Hay and Philip Gelb.

Wade Matthews, like Jill Burton, makes his Timucua white house début after several visits to Urban ReThink’s Sunday Afternoon Improv series. Matthews is a French-born American living in Madrid, Spain, practicing in the art of digital synthesis and manipulated field recordings. His doctoral dissertation on improvisation guided by electronic sounds at Columbia University and the historic Columbia-Princeton Electronic Music Center certainly defines his current career. His previous appearances in Orlando saw Matthews recording the performance space ambiance and early arriving patrons as field recording subjects to potentially be used in the ensuing music created. While originally known for his bass clarinet and alto flute work, a two computer setup has become the primary locus for both solo and group improvisations. It’s swiftly notable that he has created technical and working disciplines to close the potentially awkward intervals in the reaction time between computers and conventional music instruments during group improvisations. An overview of collaborations will turn up dancers, poets, visual artists in addition to vocalists and live, conventional or electronic instrumentalists. His live performances include the Museum of Modern Art in New York, the National Center for the Arts in Mexico City, the Teatro Colón in Buenos Aires and the Reina Sofía Museum of Contemporary Art in Madrid.