This Week at the ISSUE Project Room

English: Marc Ribot at Jazzfestival Saalfelden...
English: Marc Ribot at Jazzfestival Saalfelden, Austria, 2010 Photography by Frank Schindelbeck, http://www.schindelbeck.org (Photo credit: Wikipedia)

From New York’s ISSUE Project Room:

Ten Years Alive on the Infinite Plain

Thursday, September 12th – 8:00pm
Marc Ribot / Matana Roberts / Cian Nugent

The acclaimed guitarist Marc Ribot, who helped organize and performed in the first ever ISSUE Project Room concert, has been called “a master of introverted ironies” by The Village Voice. Over three decades and 19 solo albums, his music has explored diverse genres including Haitian classical music, free jazz, American roots music, and composition for symphony orchestra. He returns tonight for an evening featuring the dynamic saxophonist, composer and improviser Matana Roberts, and the Irish guitarist Cian Nugent, whose striking instrumental folk draws on acoustic Americana traditions.

Marc Ribot
Saturday, September 14th – 8:00pm
Pauline Oliveros: “Primordial/Lift”
Olivia Block : “Dissolution”

Pauline Oliveros, composer, performer, author and philosopher, has left a profound imprint American music. Now celebrating her 81st year, Oliveros returns to ISSUE for the third-ever performance of Primordial/Lift (1998), a surreal work centered around a low frequency oscillator, mirroring the resonant frequency of the earth. The large ensemble work includes performers Anne Bourne, David Grubbs, Miguel Frasconi, Shelly Burgon, Jason Hwang, and Matthew Cullen.

Chicago-based composer Olivia Block presents the World Premiere of Dissolution (2013), a solo performance crossing field recordings, recorded dialogues, and live processing in a meditation on mistranslation, interference, and disruption.

Birth of the Out in Baltimore

From Baltimore City Paper:

As the High Zero festival prepares for its 15th iteration next week at the Theatre Project, one could argue that the celebration of avant-garde and experimental music and culture is not even on the fringes of Baltimore’s culture anymore but, instead, has come to occupy the center of the city that improvises. Long before Rolling Stone declared that Baltimore had the best music scene in the country, avant-gardists the world over knew about the Red Room collective, which gave birth to the High Zero Festival. And now, not only have instances of High Zero’s improvisatory, avant-garde approach multiplied with Out of Your Head, the Baltimore Boom Bap Society, and the Transmodern Festival, but its DNA has infected all areas of Baltimore culture, from indie rock to the Baltimore Club scene.