Jarrett Gilgore and Jaimie Branch on Tour in March

From Jarrett Gilgore:

3/15- Garfield Artworks, Pittsburgh —Jesse Sparhawk, Eric Carbanara
3/16- House party, Chicago– with Fred Lonberg-Holm
3/17- Hungry Brain, Chicago– quartet with Frank Rosaly, Anton Hatwich
3/18- Audio for the Arts (surrounded by reality)- madison WI duo
3/22- The Freedom Garden, Brooklyn NY–quartet with Deric Dickens and Devin Gray
3/23- Highwire Gallery, Philadelphia– Ross Hammond/G Calvin Weston & Superlith

Since graduating high school, Jarrett has performed with Andrew D’Angelo, Jeff Lederer, John Dierker, Greg Ward, Josh Sinton, Alex Norris, Mike Boone, and Devin Gray among others. Jarrett currently studies at the Peabody Conservatory at Johns Hopkins University with Gary Thomas and Michael Formanek. He is an active improviser in Baltimore; a member of Out Of Your Head Collective, Ben Frock’s Love Unit, Talkshow, Jaimie Branch’s Bombshelter, Chris Pumphrey’s Sextet, and Jazz Lunch.

The Vortex Jazz Club Shows

The Dalston Culture House now houses the Vorte...

From London’s Vortex Jazz Club:

FRI 15 + SAT 16 • 20.30 • £10

Led Bib are one of the original torch bearers for the revitalized young British jazz scene. Relentlessly dodging definition, Led Bib are both a maverick jazz band and an unlikely rock quintet. This five-piece pride themselves on side-stepping convention with incendiary results.

Since forming in 2003 Led Bib have rocketed into the public consciousness within a swirl of critical acclaim and a growing audience base, won over by their electric live sets – the sonic equivalent of a volcanic eruption backed by a fire storm. They have drawn references from across the musical spectrum from Captain Beefheart and John Zorn to Pink Floyd. With new record Bring Your Own they created a record to rival their last – it has the markers of a jazz album of all time.


SUN 17 • 20.30 • £8 • MD

Our monthly night featuring three sets by some of the UK’s finest improvisers.

Kipple: Very pleased to welcome Kipple, a six-strong improvising collective with some of the most active electronic, experimental and free jazz players based across the North of England and playing together in London for the first time. With music that moves between an experimental electronics ensemble to crazed free jazz, the group manages to sound both new and strangely familiar.

Ian Simpson (electronics) / Derek Saw (trumpet, flugelhorn) / Shaun Blezard (electronics) / Herev Perez (sax) / John Jasnoch (guitars) / Charlie Collins (drums, percussion)

Kay Grant (voice) / Alex Ward (clarinet)
Two excellent musicians in an established pairing. Their 2012 CD “Fast Talk’ deservedly attracting wide spread acclaim, they play a music that is full of charm, surprise and fun.

John Russell (guitar) / Phil Wachsmann (violin)
One of the finest violinists working in improvised music today, Wachsmann’s technique and musicality are a perfect fit, giving full reign to his creative imagination in any of the many situations in which he has worked. Constantly inventive and sensitive to his musical partners he is joined here by long term associate Russell in what promises to be an aural treat.


MON 18 • 20.30 • £9 • MD

This new trio played to rapturous acclaim at The Copenhagen Jazz Festival in summer 2012. The free improvised drumming style of Jon Christensen and the elegance from Morgan’s harmonies opens up new dimensions in Bro’s compositions and interpretations. Bro’s poetic style has never sounded so captivating and full of vitality. Due to the success of the musical collaboration the trio is scheduled to record for the legendary ECM label in 2013.

Jakob Bro (guitar) / Thomas Morgan (d. bass) / Jon Christensen (drums)


TUE 19 • 20.30 • £9 • MD


Following a special performance in commemoration of the late Lol Coxhill, the music produced by this group proved so good it seemed natural to continue. As two legends of improvised music in Watts and Prevost meet two younger talents with their own international reputations in Edwards and Bevan, it’s hard to describe the quartet as anything but a supergroup.


WED 20 • 20.30 • £8 • MD


‘De-composition’ is a new work by pianist/composer Elliot Galvin exploring creation by de-construction, through the relationship between improvisation and composition.

Oren Marshall (tuba) / Laura Jurd (trumpet) / Alex Roth (guitar) / Rob Cope (clarinets) / Simon Roth (percussion) / Elliot Galvin (director)

+ support from Blue-Eyed Hawk: Laura Jurd (trumpet) / Alex Roth (guitar) / Lauren Kinsella (voice) / Corrie Dick (drums)

The Kandinsky Effect (photography by Jim Rosemberg)

THU 21 • 20.30 • £9 • MD


The Kandinsky Effect are a French/American trio based in Paris. Searching for new ways to improvise, they blend jazz, rock, electronica, hip-hop and sonic experimentation to create a unique sound. Improvisation is ever-present and spontaneity is paramount.

+ support from DOLLYman: Kerry Andrew (voice, keys, various) / Matt Dibble (clarinets, sax, voice, keys) / James Lindsay (cello, voice, keys) / Lucy Mulgan (bass) / Pat Moore (drums, voice)


SUN 24 • 20.30 • £9 • MD

Metamorphic draws from an interest in textures, music in dreams and the translation of transformative emotional experiences through composition and performance.

Laura Cole (piano, composer/arranger) / Kerry Andrew (vocals) / Chris Williams (sax) / John Martin (sax) / Tom Greenhalgh (drums) / Paul Sandy (d. bass)

Snorkel are a South London based collective whose members come from different corners of the alternative scene, bringing together the tactics of improvisation, electronica, and sound art. The band features the combined talents of Ralph Cumbers [aka Bass Clef] (electronics), Frank Byng (drums), Ben Cowen (keyboards), Tom Marriott (trombone) and Roberto Sassi (guitar).

William Parker at Roulette for Three Nights

William Parker (Charles Gayle Trio)
William Parker (Charles Gayle Trio) (Photo credit: _mattxb)

From New York’s Roulette:

Thursday February 14, 2013 William Parker’s Alphaville Suite
Friday February 15 – Heart Sound Music -Milford /Parker /Nicholson
Saturday February 16 Parker’s Essential Orchestra “Inscription”
dedicated to Cecil Taylor

Alphaville Suite Thursday Feb 14
Original Live soundtrack performed to Jean Luc Godard’s 1965 Film.
William Parker -bass
Rob Brown -alto sax
Lewis Barnes -trumpet
Cooper moore -piano
Jason Hwang -violin
Jean Cook -violin
Mazz Swift -violin
Alex Waterman -cello

Friday Feb 15
Milford Graves

Friday Feb 15 Heart Sound Music
William Parker bass
Milford Graves drums
Patricia Nicholson dance

Saturday February 16
Parker’s Essential Orchestra “Inscription”
For Cecil Taylor
William Parker -composer, arranger, bass
Rob Brown -alto sax
Darius Jones -alto sax
Atsushi -alto sax
Roy Campbell -trumpet
Lewis Barnes -trumpet
Ryan Messina – trumpet
Robert Stringer -trombone
Josh Roseman -trombone
Masahiko Kono -trombone
Sabir Mateen -tenor sax
Kirsy Rosa -tenor sax
Brian Price -tenor, bs clarinet
Dave Sewelson -baritone sax
Shayna Duhlberger -bass
Dave Hofstra -bass tuba
Jackson Krall – drums, perc
Dominic Fragman – drs, perc
Fay Victor -vocals
Cooper moore -piano
Jason Hwang -violin
Jean Cook -violin
Mazz Swift -violin
Alex Waterman -cello
February 14, 15, 16, 2013
At Roulette 509 Atlantic Ave & Third Ave

Adults $15 Seniors & Students & Members $10

Three New Sides to a Square at Arraymusic

From Toronto’s Arraymusic:

Three New Sides to a Square
8pm Friday, February 15th , 2013
The New Array Space
155 Walnut Ave. M6J 3W3
416 532 3019
$20 through Eventbrite, $25 at the door

World premieres:

Christopher Butterfield : ‘Frame’ is composed around a found object, a sketch for piano I wrote sometime in the last few years, but had never done anything with. Attending rehearsals of Cage’s ‘Ryoanji’ this past fall, I heard the term ‘Korean unison’ for the first time. This indicates an attack on a note by players that is more or less in unison, but because not exactly simultaneous, results in a kind of heterophony. The idea of inexact unison is an attractive one – I had thought to use a graphic notation in my attempt to convey this to the ensemble, but opted for an extremely precise metered notation instead, which I hoped would result, paradoxically, in a greater sense of spontaneity. The piano sketch, then, is used as the armature for a lattice of attacks. It is played three times, forming a triptych. There is also a drum solo in the third part, which is there simply as a gift to Jim Pugliese. ‘Frame’ is dedicated to Rick Sacks and Jim Pugliese, and Arraymusic.

Daniel Foley: Dominant Violet (2010) In memory of Michael J. Baker. My long relationship with Arraymusic dates back to 1978 when the ensemble premiered my Hommage à Monet (1977) at Heliconian Hall. That composition marked the beginning of series of chamber works honouring a succession of visual artists (Monet, Kandinsky, Klee, Mondrian, Rousseau and Gauguin) that have occupied me ever since. Michael J. Baker (artistic director of Arraymusic from 1992-2000) and I shared an abiding interest in the painters of the Bauhaus school and their interest in synesthetic analogies between music and art. The influence of Paul Klee figures prominently in Michael’s multi-disciplinary magnum opus Big Pictures from 1992. I was deeply saddened by his passing in the year 2000. A decade later, Robert W. Stevenson (director from 2005-2010) encouraged me to compose this work in Michael’s memory. The title Dominant Violet refers to the 1934 painting by Wassily Kandinsky. My intention was to sonically evoke the sense of mystery and the biomorphic iconography of Kandinsky’s spiritual universe and, through Russian and Mongolian thematic references, his personal heritage. The trumpet (Michael’s own instrument) plays a prominent role in the ensemble.

Nick Storring: Hypnic Jerk draws its title from a particular phenomenon where one who is sleeping, just about to be totally immersed in slumber, suddenly (and seemingly inexplicably) jolts awake. The “jerk” is often accompanied by a falling sensation. I came across this term while in the midst of finishing this work and somehow it felt relevant, despite the lack of conspicuous jerk-like gestures in the piece. The hovering, liminal quality of the work for me was evocative of that not-quite-dreaming state, and that falling feeling that, for me, often precedes a hypnic jerk.

To complete the concert, the Array Ensemble will reprise their performance of Jan-Bas Bollen’s Square Time.