Chicago Scene: January 4 – 16

Fred lonberg-Holm

This is a weekly overview of live avant performances in the Chicago area.  Contact us if you’d like your shows listed.

January 4th:

7:00PM at the Rhythm Room, 1715 Maple Ave, Evanston IL, 847.491.9723
Jimmy Bennington Colour And Sound Trio, with Dan Pierson, Mike Harmon

January 5:

2:00PM-5:00PM at the Washington Park Arts Incubator, 301 E Garfield Blvd
Sonic Healing Ministries Weekly Services
Microcosmic Sound Orchestra : David Boykin, Alex Wing, Jayve Montgomery, Dan Godston, Eliel Sherman Storey

At Constellation, 3111 N. Western Ave.
Dal Niente Presents: Chris Wild Album Release Concert
Bring in the new year with the release of cellist Chris Wild’s first album, Abhanden, with a program that illustrates the high level of art and collaborations that arise from longstanding relationships between performers and composers. The cello’s sonic and technical extremes are explored in solo pieces by Stefan Prins and Kaija Saariaho, as well as in chamber pieces also featured on the album by Eliza Brown and Andrew Greenwald.

10:00PM at the Hungry Brain, 2319 W Belmont, 773.709.1401 ($7) (wheelchair-accessible)
Keefe Jackson, Tomeka Reid
Keefe Jackson, Tomeka Reid, Matt Schneider, Anton Hatwich

January 6:

9:00PM at Beat Kitchen, 2100 W Belmont, 773.281.4444 (wheelchair-accessible)
Extraordinary Popular Delusions : Jim Baker, Mars Williams, Brian Sandstrom, Steve Hunt

January 7:

10:00PM at Bar DeVille, 701 N Damen, 312.929.2349 (wheelchair-accessible)
Michael Zerang and The Blue Lights : Mars Williams, Dave Rempis, Josh Berman, Kent Kessler, Michael Zerang

January 9:

9:00PM at Multi Kulti, 1000 N Milwaukee, 4th Fl
Edward Wilkerson Jr, Jim Baker, Vincent Davis

9:00PM at Elastic, 2830 N Milwaukee, 2nd Fl, 773.772.3616
Anton Hatwich’s 333 with Phil Sudderberg, Keefe Jackson
Rooms : Dan Pierson, Charlie Kirchen, Matt Carroll

Saturday, January 11, 2014

8:00PM at Logan Center for the Arts, 915 East 60th Street
Lampo presents Anthony Pateras

Sunday, January 12th 2014

10:00PM at the Hungry Brain, 2319 W Belmont, 773.709.1401 ($7) (wheelchair-accessible)
Josh Berman, Joshua Abrams
Jason Stein, Mars Williams, Matt Lux, Mike Reed

Monday, January 13th 2014

9:00PM at Beat Kitchen, 2100 W Belmont, 773.281.4444 (wheelchair-accessible)
Extraordinary Popular Delusions : Jim Baker, Mars Williams, Brian Sandstrom, Steve Hunt

Tuesday, January 14th 2014

10:00PM at Bar DeVille, 701 N Damen, 312.929.2349 (wheelchair-accessible)
Michael Zerang and The Blue Lights : Mars Williams, Dave Rempis, Josh Berman, Kent Kessler, Michael Zerang

Thursday, January 16th 2014

9:00PM at Multi Kulti, 1000 N Milwaukee, 4th Fl
Edward Wilkerson Jr, Jim Baker, Vincent Davis
9:00PM at Elastic, 2830 N Milwaukee, 2nd Fl, 773.772.3616
Tomeka Reid, Fred Lonberg-Holm, Mikel Avery

For more information, such as show times and directions, as well as upcoming performances, see:

Now Is
The Ratchet Series
Umbrella Music
MCA Chicago
Chicago Events
The Skylark
The Hideout
The Elastic
Myopic Books
Lampo
Dal Niente
ICE Chicago
The Empty Bottle
Constellation

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Upcoming Releases From Cuneiform Records

English: Mary Halvorson, Jazz guitarist; Pictu...
Mary Halvorson

 

From Cuneiform Records:

 

Raoul Björkenheim / eCsTaSy

eCsTaSy is Raoul Björkenheim’s new electric, ecstatic jazz band, which features some of the younger talents on the Finnish jazz scene. The group consists of Raoul, Pauli Lyytinen (saxophones), Jori Huhtala (contrabass) and Markku Ounaskari (drums) in a repertory of original compositions painting swirling polyrhythms with a free-tonal palette. With influences ranging from Korean and African music to contemporary chamber music, new jazz and free rock, eCsTaSy’s mission is to elevate its audiences with their high energy and dedication to adventurous sound.

Sonar – Static Motion

Sonar is a progressive, post-minimal band from Switzerland. Their name stands for SONic ARchitecture, a name which alludes to their intention of creating polymetric and highly structured avant-rock. Static Motion is Sonar fusing a rigorous minimal esthetic with the power of a rock band, every note and rhythm is precisely composed and performed, all of which are designed to move you from one rhythmic and / or harmonic tension to the next. Sonar is the last word in a rock band that works by building their music out of blocks consisting of slowly rising and unfolding musical tension and relief.

Mary Halvorson, Michael Formanek, Tomas Fujiwara: Thumbscrew

While Michael Formanek (double bass), Tomas Fujiwara (drums) and Mary Halvorson (guitar) are all known for their prodigious capabilities as leaders/improvisers on the new jazz/new music scene, Thumbscrew is more of a composer’s vehicle. With each musician contributing tunes, Thumbscrew encompasses an array of textures and strategies, while maintaining a consistently open and transparent sound. Generating tremendous intensity without necessarily increasingly volume or density, Thumbscrew buzzes and crackles, burns and croons. As DownBeat says: “…the bonds are already strong.”

The Ed Palermo Big Band – Oh No! Not Jazz!!

Oh No! Not Jazz!! consists of two albums of musical performances. The first further explores Ed’s distinctive, big band interpretations of the music of Frank Zappa and for the most part, he concentrates here on Frank’s initial burst of creative works from original Mothers Of Invention era of 1966-1970. In addition, two notable pieces from later are performed here. One of Frank’s most loved works, “Inca Roads,” with a vocal by guest Napoleon Murphy Brock contrasts with one of his most ‘notoriously difficult’ works, “The Black Page #2.” All of the performances and arrangements of these great pieces are fun, musically witty and masterful. The second album features Ed’s own colorful compositions, which are here featured on a recording for the 1st time in over 25 years!

 

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AMN Reviews: Land of Marigold – s/t (Bug Incision Records)

Land of Marigold – s/t (Bug Incision Records; 2013)

by Vincent Bergeron

Known ways now that you are likely to come across microtonal music first is through the wall of sounds made with no wave electric guitar music and the synth modes of various pretty and “pop” sound art. I mostly remember the provocative side of no wave and derivatives in rock, the other in the lines of musique d’ameublement is idealistic for conceptual reasons I mostly don’t care about. I don’t want to spend time listening to music that both denies human nature and the laws of nature or produce documents that are “representative” and “realistic” about the world we know.

Because another thing that attracted me later on a series of sound sources to compose my own music, which is really far from my direct musical background and the philosophy I used to have, is the obscure side of the human being and life in general, what we can’t hear directly. Now, years of music composition have pushed my mind on territories that I find difficult to encounter when I am not doing it myself.

Acoustics are now primordial to me, the raw sound presence of instruments more important than the decorative microtonal layer I could put out with synths, fun as well, but often only when attempting to have more obscure shifts (it can be really simple too) than what is currently being done. And I can only be idealistic for musical reasons. Focus on conceptual thinking in relation to music is not working all that great to express what I feel in me because it tends to exclude the most expressive part. I discovered more than once through composition that the concepts come across better for me if the music is the priority.

Even when taking an impressionistic approach to microtonal acoustics, Land of Marigold doesn’t have that steady tendency that is expected, even in compositions that is too often the case for microtonals, the absence of drive, the focus on silence and quietness. The unsteady Land of Marigold can work as a background, but it is likely to invite your mental routine to become inventive instead of finding that everything in music is great like it is and that nothing new can be added. Land of Marigold, although organic and healthy, it doesn’t sound like a spiritual ideal of passive contemplation, neither does it takes oriental progressions and philosophies as a constant mode of operation (only during a few moments). By the absence of comforting anchors, you wonder if you would love to live in this world sometimes. Yet, and specially for this very reason, it is always beautiful, specially if you concentrate your attention on this absence.

Ellwood Epps (trumpet) and Joshua Zubot (violin, low octave violin) created here music of a kind beyond a mode of operation, whatever music is being played in the moment or is fully organized. The chemistry between the musicians, years of playing together in various sets, perhaps mostly providing the organization, which I find to be top notch and highly balanced on my 8th listen or so through months in 2013. The feeling is an active soundscape that refuse to settle like an abandoned civilization that could never be buried or ruined. It is like zooming on what we can’t perceive with our senses, the life going on in our bodies, where we think nothing is happening. There is more unknown there than on the land of various planets, dead and so much harder to get to.

In comparison, a steady and repetitive use of microtonals is often the illusion of realism and a poor representation of our limited perceptions, both bring nothing to our experience of life anyway, only the comforting notion that it is about something “real”, when it is not even the case. It is accessible if you never want to go further, but it encourages mistakes and prejudices about life.

The wild open sound here doesn’t need your approval, it is produced for a need far more vital than social back-up to confirm a vision already in place. Listen ! It will continue to play in your mind…

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Arts for Art Evolving Series in NY

William Parker
Cover of William Parker

 

From Arts for Art:

 

WHEN: Each Monday, 3 sets beginning at 7:30
WHERE: Abrazo Gallery – Clemente Soto Velez Cultural & Educational Center
107 Suffolk St – between Delancey & Rivington
TICKETS: January 6th : $15 per set – $20 for 2 / $5 for Jam
students & seniors: $8 / $15 for 2 / $5 Jam Session
Jan 13/20/27th : $11 per set / $16 for 2 / $22 for 3
students & seniors : $8 / $12 for 2 /16 for night
Monday, January 6th :

7:30 Michael Wimberly & Charles Gayle Duo
Michael Wimberly – drums
Charles Gayle – tenor saxophone

8:45 New York Ensemble
Andrew Lamb – tenor
Will Connell – alto
Charles Gayle – bass
Andrew Bemkey – piano
Michael Wimberly – drums

10:00 Special jam session led by Michael Wimberly

Monday, January 13th :

7:30 Michael Wimberly Afro-Hypnotics
Yacouba Sissoko – kora
Famoro Dioubate – balafon
Michael Wimberly – percussion

8:45 & 10:00 BBMQ
Michael Wimberly – drums
Ken Filiano – bass
Connie Crothers – piano
Louie Belogenis – saxophone

Monday, January 20th :

7:30 Adam Hopkins Quartet
Adam Hopkin – double bass
Anna Webber – tenor sax
Ed Rosenberg – tenor sax
Jason Nazary – drums

8:45 Michael Bisio Accortet
Kirk Knuffke – cornet
Art Bailey – accordion
Michael Bisio – double bass

10:00 Swell/Connell/Nicholson
Steve Swell – trombone
Will Connell – alto sax & bass clarinet
Reggie Nicholson – drums
Monday, January 27th :

7:30 Pascal Niggenkemper trio
Brandon Seabrock – guitar
Pascal Niggenkemper – double bass
Mike Pride – drums

8:45 Parker/Campbell
Roy Campbell – trumpets & flute
William Parker – double bass

10:00 Coelacanth
Daniel Levin – cello
Rob Brown – sax
Russ Lossing – piano
Gerald Cleaver – drums

 

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Coming to the Vortex Jazz Club

From London’s Vortex:

MON 6 JAN • 20.00 • £9
DENMAN MARONEY / TIM HODGKINSON / DOMINIC LASH / PAUL LYTTON
The music of “hyperpianist” Denman Maroney is inspired by nature and the music of John Cage, Ornette Coleman, Henry Cowell, Duke Ellington, Charles Ives, Scott Joplin, Olivier Messiaen, Thelonious Monk, Conlon Nancarrow and Karheinz Stockhausen, amongst others. Tonight he forms this particular quartet for the third time, reconvening their “search for lost phrases and resonances”.

WED 8 JAN • 20.00 • £8
ATROCITY + MADWORT’S MECHANICAL MINDSET
Catch two brand new groups, made up of some of the most interesting young UK musical voices around. Atrocity is led by trumpeter Chris Dowding, playing completely improvised music. Saxophonist Tom Ward’s new line-up goes by the name of Madwort’s Mechanical Mindset, and features keyboards (Dave O’Brien), bass (Spencer Brown) and drums (Olly Blackman). Using Steve Coleman style number sequences the band embark upon exploratory journeys, transporting their audience into unexpected sonic territories.

 

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January 2014 New York Calendar from Extended Techniques

Uri Caine
Cover of Uri Caine

 

Via Extended Techniques:

 

NYC Calendar: January 2014

Highlights of the month:
2014 Winter Jazzfest
and
FOCUS! 2014 – Alfred Schnittke’s World

SUNDAY, January 5
3 PM Helena Basilova, piano
VENUE: Spectrum
DETAILS: Gubaidulina Chaconne, Prokofiev Sonata #7, Ustvolskaya Sonata #4, A. Basilov “Variations”
ADMISSION: $10-15

MONDAY, January 6
7:30 PM – Michael Wimberly & Charles Gayle Duo
VENUE: Evolving Music
DETAILS:
Michael Wimberly – drums
Charles Gayle – tenor saxophone
ADMISSION: TBD

FRIDAY, January 10
11:15 PM Peter Brötzmann w/ Hamid Drake and Jason Adasiewicz

VENUE: Judson Church
DETAILS: http://winterjazzfest.com/2014/marathon-schedule/
ADMISSION: $35

SATURDAY, January 11
7:00 PM Sylvie Courvoisier – Mark Feldman Duo
VENUE: Judson Church
DETAILS: http://winterjazzfest.com/2014/marathon-schedule/
ADMISSION: $35

SATURDAY, January 11
11:45 PM Elliott Sharp’s Orchestra Carbon

VENUE: NYU Law
DETAILS: http://winterjazzfest.com/2014/marathon-schedule/
ADMISSION: $35

SATURDAY, January 11
12:15 AM Erik Friedlander’s Bonebridge
1:30 AM ABRAXAS – John Zorn’s Book of Angels by Shanir Ezra Blumenkranz
VENUE: Subculture
DETAILS: http://winterjazzfest.com/2014/marathon-schedule/
ADMISSION: $35

WEDNESDAY, January 22
8:00 PM Ingrid Laubrock’s latest compositions
VENUE: Barbes
DETAILS: Ingrid Laubrock’s latest compositions, written for saxophones/brass + drums.
W/Ingrid Laubrock, Tim Berne, Ben Gerstein, Dan Peck and Tom Rainey.
ADMISSION: $10

WEDNESDAY, January 22
10 PM Ofakim (a tribute to Luciano Berio)
VENUE: The Stone
DETAILS: Ralph Alessi (trumpet) Jim Black (drums) Uri Caine
ADMISSION: $15

THURSDAY, January 23
8 PM Uri Caine and John Zorn Duo
VENUE: The Stone
DETAILS: Uri Caine (piano) John Zorn (sax)
ADMISSION: $20

THURSDAY, January 23
10 PM Duo with Tim Berne
VENUE: The Stone
DETAILS: Uri Caine (piano) Tim Berne (sax)
ADMISSION: $15

MONDAY-THURSDAY January 27-30
8:00 PM FOCUS! 2014 Chamber Concerts commemorating 80th anniversary of Alfred Schnittke

VENUE: The Juilliard School, Peter Jay Sharp Theater
DETAILS:
Commemorating the 80th anniversary of the birth of Soviet-Russian composer Alfred Schnittke (1934-1998) and his circle of composers.
Works by Schnittke, Silvestrov, Gubaidulina, Part, Kancheli, different program every night.
Jan 27 http://events.juilliard.edu/chamber.php#/?i=1
Jan 28 http://events.juilliard.edu/chamber.php#/?i=1
Jan 29 http://events.juilliard.edu/chamber.php#/?i=1
Jan 30 http://events.juilliard.edu/chamber.php#/?i=1
ADMISSION: FREE

THURSDAY, January 30
10 PM Roy Nathanson & Marc Ribot duo
VENUE: The Stone
DETAILS: Roy Nathanson (sax) Marc Ribot (guitar)
ADMISSION: $15

THURSDAY, January 30
8:00 PM Matthew Shipp Solo – The Piano Sutras Project
VENUE: Roulette
DETAILS:

http://roulette.org/events/matthew-shipp-solo-piano-sutras-project/

ADMISSION: $15-20

THURSDAY, January 30
8:00 PM Steven Schick: Origins
VENUE: Miller Theatre
DETAILS:
Karlheinz Stockhausen: Nr. 9 Zyklus (1959)
Morton Feldman: The King of Denmark (1964)
Helmut Lachenmann: Interieur I (1966)
Vinko Globokar: Toucher (1972)
Iannis Xenakis: Psappha (1975)
Alvin Lucier: Silvers Streetcar for the Orchestra (1982)
Vinko Globokar: Corporel (1982)
Iannis Xenakis: Rebonds (1989)

http://www.millertheatre.com/Events/EventDetails.aspx?nid=1628

ADMISSION: $25 – $35

 

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