From Philly’s Rip Rig, Sunday, February 3rd, 8pm:
Daniel Rovin – Saxophone / Austin White – Bass / David Miller – Drums are Karl 2000. Other projects incluse Pet Bottle Ningen, killer BOB, etc.“Karl 2000plays music by combining elements of Traditional Russian Folk tunes with Albert Ayler enthusiasm, original compositions with the humor and playfulness of The Bad Plus, arrangements of solo piano repertoire for Saxophone-Bass-Drums and popular covers such as David Cassidy’s ”I Think I Love You” and Percy Sledge’s “When a Man Loves a Woman” to name a few. Karl’s primary influence is The Alexandrov Ensemble, taking choral music and presenting it in the power-trio format. With Daniel Rovin on tenor saxophone, Austin White upright bass & Dave Miller drums, Karl plays hard, free-swinging jazz with a passion for the masses.”
Keir Neuringer has been called a “drum-pounding prophet of doom, keyboard playing last poet and sax marathonist” whose “percussive riffs and musical spitfire sermons disrupt neurons and reorient thinking – and hit the gut.” Raised in New York, he learned the saxophone from an early age, studied composition as a Fulbright Scholar in Krakow, and was a graduate of the The Hague’s interdisciplinary ArtScience Institute, where he created video, theater, and installation works. On the saxophone, he performs intensely physical circular breathing improvisations that honor and build upon diverse music-making traditions. He also plays a vintage Farfisa organ while simultaneously drumming and singing. Neuringer travels widely to present his work, collaborating closely with Rafal Mazur, Ensemble Klang and DJ Sniff. He has shared bills with Deerhoof, Faust, Philip Jeck, and Peter Brotzmann, and improvised with Evan Parker, Misha Mengelberg, and electronic music pioneers (and former mentors) Joel Ryan, Marek Choloniewski, and Michel Waisvisz. He moved to Philadelphia in the summer of 2012.
“Sounds as if he’s eviscerating the metal and splintering his reed as he plays.” (Ken Waxman, Jazzword)
Emily Bate’s current musical work borrows from and responds to American popular music from the 30s, 40s, and 90s. She writes not-quite-right pop songs, and bends ears with dissonant approaches to conventional harmony.