Seattle Scene: November 15-18, 2017

From Seattle’s Wayward Music Series:


Chapel Performance Space at Good Shepherd Center

4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)

Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

Passenger Pigeon + Mark Schlipper + Too Tired to Say Anything
Wed. Nov. 15, 8 PM; $5 – $15 donation at door

Passenger Pigeon (Levi Fuller) uses baritone guitar, cheap mic, and looper to make improvised wordless music; guitarist Mark Schlipper creates sounds to cross senses and alter states with influences as disparate as the avant garde, Eastern sacred, and American roots music; Too Tired to Say Anything plays blurry music designed to put us all to sleep with loops, synths, piano, guitar and flickering lights.

Matthew McCright, piano
Thu. Nov. 16, 8 PM; $5 – $15 donation at door

Minneapolis-based pianist Matthew McCright presents Connecting Flights, a wide range of interconnected, contemporary composers including Venezuelan composer Reinaldo Moya’s epic 30-minute The Way North appears alongside music by Irish composer Linda Buckley, as well as poignant pieces by Amy Williams, Stephen Andrew Taylor, and the percussive dance-club rhythms of Andrea Mazzariello’s Flight School.

Olson / Gundran / Falzone
Fri. Nov. 17, 8 PM; $5 – $15 donation at door

Three of Seattle’s premier improvisers and noise musicians come together for a night of magical sounds and contemplative moments, in solo sets and a trio: guitarist Patrick Neill Gundran (aka Uneasy Chairs), woodwind specialist Kate Olson (KO SOLO, Syrinx Effect), and clarinetist James Falzone.

Kin of the Moon
Sat. Nov. 18, 8 PM; $5 – $15 donation at door

Composer/vocalist Kaley Lane Eaton, flutist Leanna Keith, and violist Heather Bentley debut an innovative program of new electroacoustic compositions and improvisations that transcends genre and classification, providing a portal into the daring, cutting-edge work of Seattle new music’s iconoclastic women.

The Free Jazz Collective Reviews

Via The Free Jazz Collective.

Pan-Scan Ensemble ‎– Air and Light and Time and Space (Hispid Recordings / PNL Records 2017) ****½

Lean Left – I Forgot To Breathe (Trost, 2017) ****

Emmanuelle Waeckerlé – Ode (owed) to O (Edition Wandelweiser Records, 2017) ****

Spontaneous Music Ensemble – Karyōbin (Emanem, 2017) ****½

Paul Rutherford / Sabu Toyozumi – The Conscience (NoBusiness Records, 2017) ***½

Max Johnson – In the West (Clean Feed, 2017) ****½

Alister Spence Trio – Not Everything But Enough (Alister Spence Music, 2017) ****½

Coming to the ISSUE Project Room

Oren Ambarchi of Gravetemple.

Via New York’s ISSUE Project Room.

Wed 15 Nov, 2017, 8pm, 22 Boerum Place, Brooklyn
ISSUE is pleased to present the first-ever duo performance between guitarists Loren Connors and Oren Ambarchi: an occasion intersecting their parallel championing of the instrumental abstraction of the guitar, and their independently meaningful performance histories at ISSUE. The event is free for ISSUE Members.

Suzanne Fiol Curatorial Fellowship 2017
Fri 17 Nov, 2017, 8pm, 22 Boerum Place, Brooklyn
For his third and final project as 2017 Suzanne Fiol Curatorial Fellow, DeForrest Brown Jr. presents Xenopoietic Deviations, a radical new lecture-as-performance, composed in segments by theorist Inigo Wilkins and Berlin-based digital artist and producer Lars “TCF” Holdhus.

Thu 30 Nov, 2017, 8pm, 22 Boerum Place, Brooklyn
Thursday, November 30th, ISSUE is pleased to premiere Berlin-based composer Bryan Eubanks’ “Object V” and composer and percussionist Sarah Hennies’ “Contralto,” two new works employing unique compositional strategies.

The Future of Philadelphia Music


2017 has been a succession of large-scale, at-the-edge events. Bowerbird’s Julius Eastman festival recovered lost works of the late African American composer (1940-90), whose music was scattered to the winds at his death but who is now emerging as an infectious visionary. It was historic. Meanwhile, Philly Fringe, Opera Philadelphia’s O17, the October Revolution, and PRISM Quartet have all had concerts that were artistic successes and that carved out a larger-than-usual space in the musical ecosystem.