Source: Ars Nova Workshop.
Philadelphia Art Alliance, 251 S. 18th Street
$20 General Admission
Ars Nova Workshop is pleased to present Philadelphia native Brian Marsella and his trio, performing songs from John Zorn’s second Masada book, “The Book of Angels,” as recorded on their new Tzadik release, Buer.
Collecting 16 Masada compositions performed by a dynamic piano trio, Buer (Volume 31 of “The Book of Angels”) features three remarkable musicians well-versed in the Zorn canon: Brian Marsella, the astonishing and passionate pianist from Banquet of the Spirits, Zion80 and The Flail who also leads his own project, the sinic theater group Imaginarium, and appears regularly with Philly jazz supergroup the Fresh Cut Orchestra. Marsella is joined on the album by the classic Masada rhythm section of bassist Trevor Dunn, known for his wide-ranging playing with Mr. Bungle, Tomahawk, Fantômas, the Nels Cline Singers and his own Trio Convulsant; and drummer Kenny Wollesen, familiar as a founding member of Sex Mob and the New Klezmer Trio as well as for his work with Bill Frisell, Tom Waits, Julian Lage, John Lurie and countless others.
Thursday, June 8 – 8:00pm
PETER BROTZMANN / HEATHER LEIGH DUO
with Peter Brötzmann, reeds; and Heather Leigh, pedal steel guitar
FringeArts, 140 N. Columbus Blvd. (at Race St.)
$18 General Admission
Ars Nova Workshop is honored to present the return of saxophonist Peter Brötzmann and pedal steel guitarist Heather Leigh.
Peter Brötzmann (b. 1941) has been a polarizing figure in global free jazz since the late 1960s. A painter by trade, Brötzmann applied lessons learned from Sidney Bechet, the proverbial American holy trinity — Coltrane, Sanders, Ayler — and Fluxus (he was a card-carrying member) to a primordial tenor sax caterwaul that even Bill Clinton couldn’t deny. Nate Chinen writes, “Mr. Brötzmann is famous for a hardheaded, fulminating style devoid of any trace of bathos. Trying to describe it sends you grasping for overheated metaphors: blowtorches, hellfires, certain Congressional libidos.”
Heather Leigh is a Houston-bred coal miner’s daughter who lives and works in Glasgow. Equally informed by her Appalachian roots, Albert Ayler, and Harry Pussy, Leigh’s approach to the pedal steel guitar could be interpreted as a fractured survey of American culture’s deeply troubled heritage. Dusted Magazine writes, “All notions of the pedal steel’s laid-back, country harmony are shattered as Leigh extols jagged notes and blocks of electric noise that seem to rail against rock, jazz and other notions of freedom music.” Leigh’s collaborations with Charalambides, Chris Corsano, Jandek, Thurston Moore, and Smegma illuminate connections and eliminate distinctions between noise rock, free jazz, and what Arthur Magazine dubbed “New Weird America” in the mid-oughts.