Anxious Sound Fall Series in New Orleans

Paal Nilssen-Love


This year’s series continues with a three-show “Throwdown Thursdays” series at the AllWays Lounge (Sept. 17th, Sept. 24th, and Oct 1st), which will feature five musicians in various combinations from solo to full ensemble along with surprise guests.

The Throwdown lineups are as follows:

Sept.17: Rob Cambre with Simon Lott (drums/fx), Jesse Morrow (bass), Travis Blotsky (baritone sax), and Jay Steigner (drums).

Sept. 24: Rob Cambre with Donald Miller (guitar), Will Thompson (pianao/fx), Travis Blotsky (baritone sax), and Jay Steigner (drums).

Oct. 1: Rob Cambre with Helen Gillet (cello), Donald Miller (guitar), Doug Garrison (drums), and Jesse Morrow (bass).

In addition, there’ll be a rock and roll show this Friday (September 18th) at the Saturn Bar featuring Plastic Crimewave Syndicate and Mr. Odom & the Odom Poles, and a Rob Cambre/Chris Robert duo. According to Cambre, there’ll be “all sortsa psychedelic free action going down.”

Finally, the series culminates on Monday, October 5th with a Gasa Gasa show featuring The Thing (Mats Gustafsson on saxophones, Ingebrigt Haker-Flaten on bass, and Paal Nilssen-Love on drums) and Cambre’s group Death Posture (himself and Donald Miller on guitars, and Chris Robert on percussion.)

Acoustic #7 Performance from ensemble mise-en 

Source: New York’s ensemble mise-en.


Works by:
Keith Kirchoff
Beth Wiemann
Hiroya Miura
William Matthews

MISE-EN_PLACE Bushwick (678 Hart St 1B, Brooklyn, NY 11221)
Friday, November 6, 2015 @ 8PM

Join us for SOUNDS FROM NEW ENGLAND, ACOUSTIC+ #7, a live event at MISE-EN_PLACE, the home venue of ensemble mise-en in Bushwick, Brooklyn. We will be premiering new works by four New England composers, written especially for this event. In addition to the new works, Keith Kirchoff will be giving a solo performance.

Kirchoff’s performance will consist of three pieces for solo piano and electronics: Seeing the Past Through the Prism of Tomorrow (2014), White Canvas (2011), and The Adventures of Norby (2007). In addition, ensemble mise-en will premiere his new piece, Irrational Rationalities.

Composer Beth Wiemann wrote Jet-Pack for ensemble mise-en this past summer. It is based on a poem by Miriam Gamble. Wiemann met Gamble while in residence at the Tyrone Guthrie Center in Ireland, where she heard Gamble’s work Introducing the Nissan Jet-Pack. The poem provides an interesting take on how we interact with machines, as well as particularly memorable rhythmic and comic phrasing.

Hiroya Miura, who wrote Chindami, was inspired by the music he heard in Okinawa as a boy in 1984. He later came to realize that the central mode of the Ryukyu folk songs of Okinawa more closely resembles the modes common in parts of Indonesia and Polynesia than those used in mainland Japan. Chindami is, in a sense, a magical realist piece—a song from an imaginary island between Okinawa and the South Pacific.

Bill Mathews, the Esty Professor of Music at Bates College in Maine, has taught there since 1978. His work has often been used in modern dance pieces and video installations. PORTMANTEAU was composed during the summer of 2015 for ensemble mise-en and Moon Young Ha. It is written for sextet (flute, clarinet, trombone, piano, violin, and bass) and stereo electro-acoustic tracks.

The connection between the new pieces and the Acoustic+ series is a simple idea. Art director, Moon Young Ha, required the composers to use more than acoustic instruments including electronic sounds such as live electronics and tape.

ENSEMBLE MISE-EN is a New York-based contemporary music collective led by composer Moon Young HA. Comprised of talented young musicians, our personnel strive to bring a repertoire of challenging new sounds to diverse audiences. We wish to impart an experience that is simultaneously multi-cultural, intellectually stimulating, and aesthetically pleasing. Since its inception in 2011, ensemble mise-en has collaborated with many esteemed partners such as: Washington Square Contemporary Music Society, International Alliance for Women in Music, Austrian Cultural Forum New York, Open Meadows Foundation, New York University, New York Foundation for the Arts, I-Park, Goethe-Institut Boston, Villa Gillet (FR) and others.

The Free Jazz Collective Reviews

American Jazz musician and composer Mat Maneri.

Source: The Free Jazz Collective.

Double-Basse – This is Not Art (Clean Feed, 2015) ***½
Liberty Ellman Sextet – Radiate (Pi Recordings, 2015) ****½
Brötzmann – Münster Bern (Cubus Records, 2015) ****½
Matt Turner – Virion Impasto (Icker, 2015) ****
Albrecht Maurer, Lucian Ban & Mat Maneri – Fantasm (Nemu, 2015) ****
Rhodri Davies & John Butcher – Routing Lynn (Ftarri, 2014) ****
Luis Vicente, Theo Ceccaldi, Valentin Ceccaldi & Marcelo Dos Reis – Chamber 4 (FMR, 2015) *****
Thollem/Cline/Wimberly – Radical Empathy (Relative Pitch, 2015) ****

Loop 2.4.3, Lost Civilizations, and Utenzil in DC This Weekend

tumblr_inline_mllxrlDWH71rkbrrhOn Sunday, September 20, Loop 2.4.3, the Lost Civilizations experimental music project and Utenzil will perform in the Indie Adams Morgan series at the Tap Room of the Black Squirrel, which is located at 2427 18th Street, NW. The performance begins at 8 pm.

Loop 2.4.3 offers a “refreshing combination of rigor, complexity, and force” mixed with “emotionally rich expression” (George Grella, The Big City), in original music that’s built around percussion, steel drum, vocals, and electronics. FounderThomas Kozumplik (also of indie-classical quartet Clogs), multi-instrumentalist Lorne Watson, and guests, create works and give performances described as “visceral and satisfying,” with “brand-new yet iconic sounds that create a riveting aura, a genuine time warp.” (Gramophone) Their “energetic performances” (New York Times) and “stunning improvisational sense” (Time Out Chicago) are featured at music festivals, arts centers, universities, experimental venues, and jazz and rock clubs internationally. They are also often asked to provide educational and community outreach programs. Embracing heritage while pursuing their own path, “Kozumplik and Watson never sound like makers of arbitrary music…it all sounds like part of a well-though-out tradition. Only the tradition has never existed until now.” (Fresh Air, NPR)

Loop 2.4.3 is founded on the work of Kozumplik and Watson as the New York Percussion Duo. After the release of Batterie, their first album, they expanded their writing to include electronics, voices, and strings. Loop 2.4.3 has toured internationally as the New York Percussion Duo and in expanded formation in collaborations with Clogs, Newband (Harry Partch Ensemble), Dafnis Prieto, Belle Orchestre, the Books, Evan Ziporyn, Shara Worden (My Brightest Diamond, the Decemberists), their late mentor Robert Hohner, dancer/choreographer Alan Good, and director John Jeserun. They have soloed with the Brooklyn Philharmonic at the BAM Opera House, and performed at Times Square in a collaboration with Robert Indiana, Michael McKenzie and Teresa Smith Dance. They have performed for radio, theater, and television, including The Learning Channel and MTV, and have appeared at the Sydney Festival, the London Jazz Festival, Merkin Hall, Carnegie Hall and the Japan Society (NYC) among others.

The group has held residencies or has been guest artists at CalArts, Michigan State University, Ithaca College, Cornell University, University at Buffalo, St. Cloud University, UC San Bernardino, CNMAT at UC Berkeley, Stony Brook University, New York University, Oklahoma City University, Central Washington University, and Eastern Oregon University, among others. They have been featured artists at Percussive Arts Society festivals in New York, Pennsylvania, and Minnesota, and are active within the Brooklyn Arts Council in NYC.

The Lost Civilizations experimental music project is a collaboration between Mike Sebastian (Tenor Sax, Saxello and Baritone Sax) and T. A. Zook (BassCello and Misc. Instruments). Although it is essentially a duo and performs most frequently as such, it often features guest performers. When complex schedules permit, it now performs with Doug Kallmeyer on bass and electronics, Sam Lohman on drums, Jerry Busher on percussion and electronics, Larry Gomez on percussion, Patrick Whitehead on horns and Emily Chimiak on vocals and violin.

At this performance, Sam Lohman (drums) and Patrick Whitehead (flügelhorn and trumpet) will be accompanying the Lost Civilizations experimental music project.

Utenzil is the solo project of Michael McMorris, which brings together fitful decades of musical experience/experiments plus software, laptops, mixer and instruments which include various controllers, a DIY double neck midi guitar, live guitar and voice.

This event is no cover/no minimum and all ages.

For further information:

Anthony Braxton Interview From 1973

Source: Vancouver Jazz.

I’m kind of far away from the A.A.C.M. now, I know that in the period when we were working, I don’t think I was concerned with worries any more, it was just work. The A.A.C.M. have created a separate school of thought, quite different from the jazz tradition of New York. Probably the biggest difference in the music between Chicago and New York is the environment. In Chicago there was time to research and study and refine some of the elements that constitute how the music would flow in Chicago. I think between ‘66 and ‘68, or maybe in ‘69, there was a lot of creativity happening; no one was so much concerned with labels, and because everybody came from different directions eventually they went and continued in their own directions. It was very interesting, nobody came out sounding alike. And yet at some point we embraced certain realities together. I don’t know if all the music could be called jazz. Actually I’m involved in contemporary classical music and to some degree with improvised music. So what I do is a logical extension of my interest in both areas, which is one of the reasons why I say I’m not a jazz musician.