Jazz Listings From The New York Times

English: American jazz bassist Scott Colley
English: American jazz bassist Scott Colley (Photo credit: Wikipedia)

From NYTimes.com:

Dave Holland’s Prism (Tuesday through Nov. 30) The bassist-bandleader Dave Holland digs back into knockabout jazz-funk mode with “Prism,” his potent new album, which features a famous old colleague, the guitarist Kevin Eubanks, along with the brilliant pianist Craig Taborn and the indomitable drummer Eric Harland. And there’s every reason to believe that this engagement, which follows a long stretch on the road, will showcase the band even more emphatically. At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; $40, with a $10 minimum. (Chinen)

Chris Potter’s Underground Orchestra (Friday and Saturday) Chris Potter, the most commandingly skilled saxophonist of his generation, has developed a rugged kind of jazz-rock aesthetic with Underground, a band with Craig Taborn on keyboards, Fima Ephron on electric bass and Adam Rogers on guitar. Here he more than doubles the group’s size, with a roster that includes the vibraphonist Steve Nelson, the bassist Scott Colley and the violinists Mark Feldman and Joyce Hammann. Friday at 9:30 p.m., Saturday at 7 p.m., Allen Room, Frederick P. Rose Hall, Jazz at Lincoln Center, 60th Street and Broadway, (212) 721-6500, jalc.org; $45 to $75; tickets are limited. (Chinen)

Adam Rudolph at the Stone (Friday through Sunday) The percussionist and composer Adam Rudolph has been in residence at the Stone this week, and he’ll conclude with several good showcases for his searching, worldly aesthetic. On Friday his Moving Pictures Octet performs music from a recent album, “Return of the Magnificent Spirits.” On Saturday the same group draws from his “Dance Drama” series. And on Sunday, the first set will feature an all-flute ensemble, while the second set will add those flutes to the Moving Pictures band. At 8 and 10 p.m., Avenue C and Second Street, East Village, thestonenyc.com; $15 per set, $10 for students. (Chinen)

Chris Speed, Kris Davis, Chris Tordini, Devin Gray/Heavy Merge (Tuesday) This edition of the Konceptions series includes a 10:30 p.m. set by a texture-minded collective, consisting of Mr. Speed on tenor saxophone and clarinet, Ms. Davis on piano, Mr. Tordini on bass and Mr. Gray on drums. An earlier set, at 9 p.m., features Heavy Merge, a coalition of the saxophonist Jason Rigby, the keyboardist Russ Lossing and the drummer Jeff Davis. At Korzo, 667 Fifth Avenue, at 20th Street, Park Slope, konceptionsmusicseries.wordpress.com; $10 suggested donation, with a $10 minimum. (Chinen)

December Frequency Fridays in Columbus

From Columbus’s Fuse Factory:

Our December 2013 Frequency Fridays show features noise music duo Nautical Almanac (MD), electronic improv duo Hard R (CHI), ambient electronic musician Forest Management (CLE) and sound artist Samuel Hoar (CMHI). Date: Friday, December 6, 2013. Location: Wild Goose Creative (2491 Summit St. 43202). Admission: $10, $15 for 2. Doors open 8pm. Our Frequency Fridays 2013-2014 season is supported by a grant from the Greater Columbus Arts Council.

About the performers:

Nautical Almanac are a noise music group based out of Baltimore Maryland with a rotating membership based around Carly Ptak and Twig Harper. Originally formed in Ann Arbor, Nautical Almanac’s core members Twig Harper and Carly Ptak moved to Baltimore from Chicago in 2001. In search of a place to live, record music, and have shows, they bought a building that became known as Tarantula Hill. They also started a label called Heresee, releasing material by everyone from Wolf Eyes to Little Howlin’ Wolf. Other Nautical Almanac projects include modified electronics/custom-built instruments and pressing records out of various objects with their record-cutting machine.

Hard R is an Interstate 55-based collaboration between Mike Junokas and Edward Breitweiser. Since 2010, Juokas and Breitweiser have been designing concert-length improvised musical performances for electronics, laptops, and multiple loudspeakers. In these performances, custom software and handmade electronic devices are arranged into semi-autonomous networks whose long-form interactions develop into unforeseen musical structures and sonic environments.

Primarily a percussionist, John Daniel has been recording and releasing synthesizer-based, ambient music under the moniker Forest Management since 2011, as well as performing live throughout Cleveland in a variety of settings such as Ingenuity Fest, Beachland Tavern, Seidman Cancer Center, Walter R. Scheule Planetarium and other independent venues. His most recent project is Audacious Auditory, an underground record label that distributes and supports musicians of faith who aren’t constricted by the boundaries and norms that currently exist for sacred music.

A self-confessed hack, who jokes that he was born with “4 thumbs and a finger on each hand”, Samuel Hoar makes things with whatever he can get his hands on because otherwise he would go insane. There is some speculation that this goal is a moot point. He embraces digital technology as an art making tool primarily because of its free accessibility and the ever-present “undo” function. He is interested in platforms that utilize technology’s seductive power to contradict popular conceptions of art because they are boring and dangerous and to undermine the idea that creativity is something possessed by “others”.

JACK Quartet Performance of Georg Friedrich Haas in the Dark Reviewed

From NYTimes.com:

The four players are instructed to be as far apart as possible. The JACK musicians sat in the four corners of the studio. The opening and closing sections of the quartet are fully notated. But the work is structured as a series of 18 “situations,” the composer’s preferred term for sections. Given the darkness, the players must perform from memory. But the sequence of the situations, and how many times each one is played, is determined by the performers in the moment. Any musician can invite the others to begin a section by playing a gesture from it; the others may accept or decline the invitation, until they come to agreement and proceed. The adventurous JACK Quartet, which has performed the piece 21 times, usually takes just over an hour to complete it, as happened on Tuesday.

Igloo Magazine Reviews


From igloomag.com:

Lunar Abyss Deus Organum :: Atimundra (Biosonar Labyrint)
Dale Cooper Quartet & the Dictaphones :: Quatorze Pièces de Menace (Denovali)
Nev.Era :: Presión Profunda (Discontinu)
Hakobune :: Nebulous Sequences (VoxxoV)
Jilk :: Retreat To Sleep (Bit-Phalanx)
Lights Dim w/ Gallery Six :: Between Spaces (Kaico)

Many, Many Women by the S.E.M. Ensemble

From New York’s S.E.M. Ensemble:

S.E.M. Ensemble performs a classic of New York avant-garde music from the 70s
By Petr Kotik with text by Getrude Stein

12 singers and instrumentalists performing for five continuous hours
Friday, December 20, 2013, 7 p.m. – midnight
@ Paula Cooper Gallery, NYC

Like other composers such as La Monte Young, John Cage, Glass, and later Morton Feldman, Kotik created extended-duration compositions throughout the 1970s and early 80s, that require multiple hours of continuous performance. Kotik’s works from this period include voices and use texts by Gertrude Stein and R. Buckminster Fuller. Many Many Women marks the culmination of a period during which Kotik began experimenting with the use of parallel perfect intervals (octaves, fifths, and fourths). It is his largest piece to date, divided into 173 sections, with no distinct beginning or ending. Any portion of the score can be performed and listened to as an independent musical event. The audience is invited to enter and exit or remain and listen for the whole duration. Depending on tempos and densities, the performance may last up to six hours.

Musicians include Kamala Sankaram and Sadie Dawkins Rosales (soprano), Patrick Fennig (countertenor), Daniel Neer (tenor), Kelvin Chan (baritone), Steven Hrycelak (bass), Petr Kotik and Martha Cargo (flutes), Thomas Verchot and Jason Bitonti (trumpets), William Lang and Jen Baker (trombones).

The S.E.M. Ensemble’s performance of Many Many Women will take place at Paula Cooper Gallery, located at 534 West 21st Street, New York City. Tickets are $15//$10 in advance, $20/12 at the door. The audience is invited to enter and exit or remain and listen for the whole duration. For info and reservations, contact: http://www.semensemble.org/tickets

A preview will take place on December 11 at 6 pm at Willow Place Auditorium, located at 26 Willow Place in Brooklyn.

REDCAT in December

Luigi Russolo ca. 1916
Luigi Russolo ca. 1916 (Photo credit: Wikipedia)


Tuesday, December 3, 2013
100th anniversary year of Futurist Luigi Russolo‘s manifesto, The Art of Noises

The Orchestra of Futurist Noise Intoners (Luciano Chessa, Director) performs on the only complete reconstruction of Russolo’s earliest Intonarumori Orchestra, commissioned by Performa. Hand-cranked instruments designed to produce “noises”—the first instruments capable of creating and manipulating sound through entirely mechanical processes—generate sounds of whirrs and buzzes, clangs, scrapes, sirens and mechanically plucked strings. The program includes historical compositions by Russolo and Paolo Buzzi, as well as newly composed works by Chessa, Ulrich Krieger, Joan La Barbara, Annie Lewandowski, Theresa Wong (all also performing) and others, and features tenor Timur Bekbosunov, soprano Carmina Escobar and 16 players operating the instruments under Chessa’s baton.

A double LP dedicated to the Orchestra of Futurist Noise Intoners and documenting the first phase of this project is forthcoming on the label Sub Rosa.

Tuesday, December 3, 2013 at 8:30 pm
$20 general [$16 student]

Charlie Haden’s CalArts Liberation Music Orchestra
Tuesday, December 10, 2013

NEA Jazz Master and Legendary Bassist Charlie Haden, who founded the Jazz Studies program at CalArts in 1982, conducts CalArts musicians in compositions from Haden’s groundbreaking Liberation Music Orchestra, a large jazz ensemble that he formed in 1969. With innovative and dynamic arrangements by Carla Bley, the orchestra features experimental harmonies and improvisation for a wide palette of brass instruments and piano, bass, guitar, percussion and drums. The ensemble’s body of work has reflected Haden’s political concerns, including juxtaposing music from the Spanish Civil War, African National Congress and other folk music while exploring the realms of free jazz.

Tuesday, December 10, 2013 at 8:30 pm