The Extradition Series 2017 Summer Concert in Portland

Source: Creative Music Guild.

The Extradition Series 2017 Summer Concert
July 22nd, 2017 — 7pm
$5-15, sliding scale
Leaven Community Center
5431 NE 20th Ave, Portland, OR

The Extradition Series 2017 Summer Concert will take place on Saturday, July 22, at Leaven Community Center in NE Portland. The concert will include seven intimate works of mostly 21st-century experimental music, performed by a cast of outstanding regional musicians:

Samuel Vriezen, “The Weather Riots” (2002): Written for two or more high-pitched instruments, this piece by Dutch composer Vriezen allows each performer to construct his or her own score from the same set of parts, selecting among melodic fragments that can be combined in many ways. The piece will be performed by Lee Elderton (clarinet), Catherine Lee (oboe), and Matt Carlson (piano).

Giacinto Scelsi, “Ko Tha” (1967): For this solo work, the guitar is treated as a percussion instrument, played with a series of complex rhythms and ringing tones. This performance will feature guitarist Doug Theriault on electric guitars, a break from tradition for this typically acoustic piece.

Nomi Epstein, “Combine, Juxtapose, Delayed Overlap” (2013): A work for four or more instruments of any variety, each of them limited to three sounds apiece. The title conveys the piece’s entire structure, with musicians playing their sounds either in harmony, following directly one after the other, or overlapping the last seconds of the musician that precedes them. The order of players shifts continually, creating interest from a limited palate. The piece will be performed by Matt Carlson (electronics), Loren Chasse (percussion), Lee Elderton (soprano sax), Matt Hannafin (percussion), Branic Howard (electronics), and Reed Wallsmith (alto sax).

Taylor Brook, “Alluvium” (2016): A piece for oboe and pre-recorded sound, based on the concept of microtonal drift, which occurs when modulating to different keys in an extended just-intonation context, causing the tonic to gradually drift away from equal temperament. Over the course of the piece, the tape part plays a series of precisely tuned microtonal modulations that gradually drifts the harmony from an E-flat tonal center to a D tonal center, spiraling through unfamiliar harmonic territory all along the way. The piece will be performed by oboist Catherine Lee, for whom it was written.

Branic Howard, untitled (2017): A work for oboe and electronics, commissioned and performed by Catherine Lee. More details to come.

Anastassis Philippakopoulos, “Onissia” (2002) and “Song No. 2” from “Two Piano Pieces 2006–2008”: Two simple, spacious solo works by Greek Wandelweiser composer Philippakopoulos, played sequentially by Jonathan Sielaff (bass clarinet) and Matt Carlson (piano).
The Extradition Series is a quarterly concert series presenting composed and improvised New Music and works from the 20th-century experimental tradition. The series is directed by Matt Hannafin and presented by the Creative Music Guild.

San Francisco Scene: July 15-21, 2017

Top of the Transamerica building, downtown San...

From the Bay Improviser Calendar.

Saturday, July 15

Sat 7/15 9:30 PM Studio Grand [3234 Grand Ave, Oakland]
Oakland < < Hearts > > SoCal Avant-Jazz Double Bill!
Bay Area jazz improviser/composers host three heroes of the SoCal music scene for an evening of free-spirited collaboration and exchange with Beth Schenck’s Guthrie Project+2 and the Tiner-Hubbard-Mezzacappa Three.

Sunday, July 16

Sun 7/16 7:30 PM Temescal Arts Center [511 48th Street Oakland]
Doors That Only Open in Silence (open participation workshop in free improvisation)
The monthly series of improvisation research at Temescal Arts Center continues. Bring your instrument or come to listen. No advance notice needed — just show up. Small groups will be randomly assembled from submitted names immediately before each group plays. We try to keep transition time between groups at a minimum. Audience & participants encouraged to donate some cash for space rental. Over by 10pm.

Monday, July 17

Mon 7/17 9:30 PM Studio Grand [3234 Grand Ave, Oakland]
Oakland Freedom Jazz Society: Tom Djll/Andrew Palmer Duo + Key West

Wednesday, July 19

Wed 7/19 7:45 PM The Peacock Lounge [552 Haight Street SF, CA 94117]
Ralph White, Angst Hase Pfeffer Nase, Scy1e, RTD3

Thursday, July 20

Thu 7/20 7:30 PM Yerba Buena Center for the Arts [701 Mission St @3rd SF]
Eye and Ear Control: ESP-Disk’ on Film
Guest curated by Brian Belovarac
A selection of short films on the evolution and formation of what came to be called free jazz through the form’s earliest adopting record label, ESP-Disk’.

Thu 7/20 8:00 PM Luggage Store Creative Music Series [1007 Market Street SF]
8pm: Ear Spray
Mark Pino, Ann O’Rourke, Carlos Jennings
9pm: RoitNozzle
Mika Pontecorvo, with Voi!Maa members Mark Pino and Adriane Pontecorvo

Friday, July 21

Fri 7/21 11:30 AM Berkeley Art Museum and Pacific Film Archive [2155 Center St. Berkeley]
The twentieth annual Brave New Voices International Youth Poetry Slam Festival convenes young poets from around the world for several days of workshops, showcases, and other events across the Bay Area. We are pleased to host two quarterfinal poetry slam competitions at BAMPFA. See the full schedule of events at

Fri 7/21 6:00 PM Montalvo Arts Center – Park Grounds [15400 Montalvo Road Saratoga, CA 95070]
Now Hear This!
Art on the Grounds Opening Celebration
The opening celebrations will include various sonic performances and opportunities for interactive engagement by visitors. It will also feature a tribute to the work and life of Pauline Oliveros, a central figure in the development of experimental and post-war electronic art music, and her commitment to cultivating radically receptive listening.

Fri 7/21 8:00 PM Old First Concerts [1751 Sacramento St. SF]
Friction Quartet

Fri 7/21 8:00 PM Center for New Music [55 Taylor St SF]
MicroFest North: Parsing the Octave, Contemporary Compositions in Small EDOs

AMN Picks of the Week: A Year in the Country / Council of Nine / Vijay Iyer / Coleman & Byrd / J Butler

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

A Year in the Country – Undercurrents (2017)
Council of Nine – Trinity (2017)
Vijay Iyer Sextet – Far From Over (2017)
Rodger Coleman / Sam Byrd – Who Doesn’t Fade (2017)
J Butler – Real and Surreal (2017)

Dusted Reviews

Publicity photo of composer/songwriter/musicia...

Source: Dusted.

Raymond Scott — Three Willow Park: Electronic Music from Inner Space, 1961-1971 (Basta)

Tony Malaby/Mat Maneri/Daniel Levin – New Artifacts (Clean Feed)

Stephan Micus — Inland Sea (ECM)

Silke Eberhard Trio – The Being Inn (Intakt)

Arnold Dreyblatt and the Orchestra of Excited Strings — Propellers in Love (Superior Viaduct)

Keiji Hano—Watashi Dake? (Black Edition)

Gravetemple — Impassable Fears (Svart Records)

Steve Swell Interview

Source: All About Jazz.

Steve Swell is a New York based trombonist who for forty years has pursued music at the frontier, variously called avant-garde, the new thing, free jazz, the “outside,” music that goes beyond conventionality, is sometimes controversial, and often challenges the listening process. From his early exposures to trombonists Roswell Rudd and Grachan Moncur III, as well as innovators like Cecil Taylor, Ornette Coleman, and David Murray, he has joined others in America and Europe who compose and play outside standard expectations. Such music is dismissed by some critics and lauded by others. Regardless of opinion, it has influenced all of jazz, regardless of genre. In this interview, Swell reflects on the place of such music in the ever-expanding jazz scene of the New Millennium. He also shares his ideas on how listeners and musicians can expand their horizons to appreciate music that initially seems foreign or disturbing.

Italian Psych Rock Profiled

Source: Bandcamp Daily. Many interesting bands here, including some with sounds that go beyond the “psych” moniker.

Italy has a rich musical tradition that dates back centuries, providing fertile ground for inspiration. Puccini’s operas, Vivaldi’s baroque symphonies, and Verdi’s bombastic classical compositions all feed into Italian rock as much as The Beatles or The Rolling Stones. Nowhere is that clearer than in the bands that popped up in response to the burgeoning psych rock scene in the ‘60s and their antecedents.

As with the rest of the world, the late 1960s and ‘70s were decades of upheaval in Italy, marked by both violent battles between political extremes as well as great social progress. Art reflected that reality—just look at the nihilistic Spaghetti Westerns of Sergio Leone and Sergio Corbucci, or the giallos by Dario Argento and Mario Bava that made normal life seem filled with uncanny horrors—to say nothing of the brutal, amoral poliziotteschi crime films of Enzo G. Castellari and Ruggero Deodato. The psychedelic rock bands of the time may have fought back against the darkness with whimsy instead of cynicism, but they too were touched by the ténèbre.