2018-19 Chicago Center for Contemporary Composition Concert Series

English: Tyshawn Sorey at moers festival 2010

Source: The University of Chicago.

Saturday, October 13, 2018 / 7:30 PM / Logan Center Performance Hall
The genre-bending percussion and piano quartet, described as “fascinating and exciting, with playing that is precise and full of purpose . . .” (George Grella, Brooklyn Rail), performs works by Misato Mochizuki, and Enno Poppe, and brand new music by Will Myers and Clay Mettens. (World Premiere)

Thursday, November 8, 2018 / 7:30 PM / Logan Center Performance Penthouse
Tyshawn Sorey Trio Composer/drummer
Tyshawn Sorey is widely considered to be among the most important young artists at the intersection between composed and improvised music. He is one of the most in-demand drummers on the modern jazz scene — known for his impossibly virtuosic technique and his mind-boggling ability to effortlessly master even the most difficult written scores — but is also one of a rare breed of jazz musicians who is pursuing composition as seriously as performance.

Friday, December 7, 2018 / 7:30 PM / Logan Center Performance Hall
Grossman Ensemble
Ben Bolter, conductor
Ben Bolter made his orchestral conducting debut with the National Symphony Orchestra at age 25, with the Washington Post praising his performance: “Bolter spotlighted the showiest aspects…and made it look easy.” He conducts the newly formed Grossman Ensemble in their debut performance with a program of world premiere works by Sam Pluta, David Rakowski, Shulamit Ran, and the 2018-19 CCCC Composition Fellow.

Friday, March 15, 2019 / 7:30 PM / Logan Center Performance Hall
Grossman Ensemble
James Baker, conductor
The Grossman Ensemble presents works by Chen Yi, Carlos Sanchez-Gutierrez, and University of Chicago graduate composers Rodrigo Bussad and Jack Hughes. James Baker, Music Director and Conductor of the Composers Conference at Wellesley College and Director of the Percussion Ensemble at Mannes College of Music, conducts the performance.

Thursday, May 2, 2019 / 7:30 PM / Logan Center Performance Hall
Augmented Pianos
Explore the synergy of pianos and technology, as musicians work with pianos and audio equipment to push the sonic capabilities of the instrument.

Friday, June 7, 2019 / 7:30 PM / Logan Center Performance Hall
Grossman Ensemble
David Dzubay, conductor
In the final concert of the season, the Grossman Ensemble presents four world premiere works by Kate Soper, Steve Lehman, Joungbum Lee, and David Dzubay, who will also conduct the concert.

More details to be announced later in 2018

Spektral Quartet and guests
World Premieres by Maria Kaoutzani, Joungbum Lee, David Clay Mettens, and Will Myers

~Nois Saxophone Quartet
World Premieres by Jack Hughes, Alison Yun-Fei Jiang, Ted Moore, and Rodrigo Bussad


RIP Robert Barry

Source: Bleader.

Barry graduated from DuSable High School, where he studied under the storied Captain Walter Dyett, and in the early 1950s he became one of the most important members of Sun Ra‘s Arkestra, cutting numerous records with the band—including classics such as We Travel the Space Ways, Nubians of Plutonia, and Sun Song—before it left Chicago in 1961 and he stayed behind.

The Free Jazz Collective Reviews

Thurston Moore

Source: The Free Jazz Collective.

Tyler Wilcox, Works for Two Chapels (Caduc, 2017) ****½

Thurston Moore & Umut Caglar – Dunia (Astral Spirits, 2017) ***½

Loren Connors – Angels That Fall (Family Vineyard, 2017) ***½

Doglife – Fresh From the Ruins (Omlott, 2017) ****½

Se och Hör – Se mig, hör mig, känn mig (Signal and Sounds Records, 2017) ****

Ftarri after Tomorrow (Meenna, 2017) ***

Ftarri Jam (Meenna, 2017) ***1/2

Ftarri de Solos (Ftarri, 2017) ****

Scores at Ftarri (Meenna, 2017) ****

José Lencastre Nau Quartet – Fragments Of Always ‎(FMR, 2017) ****

New World Records Releases

Source: New World Records.

‘We, Like Salangan Swallows…’ A choral gallery of Morton Feldman and contemporaries
Composer(s): Morton Feldman, Will Ogdon, Pauline Oliveros, Warren Burt, Earle Brown, Robert Carl
The Astra Choir; John McCaughey, director

The intense individuality of Morton Feldman’s (1926 – 1987) art and its “painterly” aspect have tended to push his rich output of works into a zone all of their own, surrounded by a moat of stillness.

Michael Winter: lower limit
Composer(s): Michael Winter

Elliot Simpson, Chaz Underriner, Cristián Alvear, Vicente Araya, guitars; Brian Parks, virginal; Colleen Potter Thorburn, harp

The immersive sonic textures that characterize Michael Winter’s (b. 1980) music are crafted from comprehensive lists of data, with each composition encompassing a musical question that is addressed algorithmically.

Pas Musique Presents Ambient Chaos in NY, March 9

Source: Pas Musique.

Pas Musique presents Ambient-Chaos at Spectrum

These are early shows. START TIME 7:30 PM SHARP-END TIME 10 PM. We have four amazing acts with VJ Fuzzy Bastard on live video!

70 Flushing Ave, Brooklyn, NY 11205

Live video all night by VJ Fuzzy Bastard!

Acts in order of appearance below.

1) Orakel

Orakel is an electro-acoustic project of Kora/oud player/sound artist, Kane Mathis and tabla player/poet, Roshni Samlal, who began their collaboration at the Brooklyn Raga Massive. Using electronic compositional elements of sound design, field recordings, and drones, synthesized by composer Kane Mathis and writing by Roshni Samlal, they create a newly cinematic context for traditional elements of Indian classical percussion and Kora repertoire.
Both traditions contain philosophies of improvising within rhythmic structures and Orakel explores the ways in which each tradition’s canon is complimentary to the other’s. All of the compositions are based on shifting “taals” or rhythmic cycles found in Indian classical music that mathematically resolve into other cyclical material. The kora adds its own idiomatic rhythmic statements called “kumbengo” to the interaction. Breaks and arrangements draw alternately from both traditions.

2) Ron Anderson and Ayako Kanda (Japan)

Ayako Kanda is an improvising performer whose medium is her voice. Low as an echo in a tunnel, then light as a child’s conversation; chasing the band one moment, and ringing out wild and alone the next: Ayako’s vocal performances encompass a kaleidoscopic range of expression. She made her debut as a performer during her time at art school, where she also began painting. Today she performs improvised live sets around Tokyo and worldwide. In 2016, she formed a band of local musicians in New York City to record her first album, “Antigravity Vacation.”

Ron Anderson is a guitarist, composer and improviser who plays traditional instruments like electric guitar but also anything that can make a sound, including a recording studio. He appears on over 70 releases and he has performed in over 20 different countries with multiple tours of North America, Europe and Japan. Born in Jersey City in 1959. He has worked with many of the world’s most innovative musicians including Tatsuya Yoshida, Elliott Sharp, Jac Berrocal and John Zorn. He was a founding member of 1980’s no-wave band Rat At Rat R, his bands The Molecules and PAK have been a vehicle for his ideas of combining composition and improvisation with various forms of rock music.

3) David First

David First has always been fascinated by opposites and extremes. At 20 he played guitar with renowned avant-jazz pianist Cecil Taylor in a legendary Carnegie Hall concert. Two years later he was creating electronic music as an artist-in- residence at Princeton (released in 2013 on Dais records) and leading a Mummerʼs String Band in Philadelphia parades. He has played in raucous drunken bar bands, semi-legal DIY basements and in pin-drop quiet concert halls with classical ensembles. As a composer First has created everything from finely crafted pop songs to long, severely minimalist microtonal droneworks. His AIDS crisis opera, The Manhattan Book of the Dead, was staged at LaMama’s Annex Theater (NYC) in 1995 and in Potsdam, Germany in 1996. His 2011 song, We Are (featuring TV on the Radio’s Kyp Malone), was released to much acclaim in the Occupy Movement and was officially released on the compilation Occupy This Album which also featured tracks by Patti Smith, Willie Nelson, Yoko Ono a.o. First’s performances often find him sitting trance-like without seeming to move a muscle, unless he is playing with his psychedelic punk band, Notekillers, at which time he is a whirling blur of hyperactive energy. He has been called “;a fascinating artist with a singular technique.”; in the NYTimes, and “a bizarre cross between Hendrix and La Monte Young.” in the Village Voice. First’s most recent project, Same Animal, Different Cages (Fabrica records), is a series of solo LPs on a variety of instruments, including acoustic guitar, analog synth, the most recent, Civil War Songs for solo harmonica, and sitar (TBR) spring 2018).

4) 4 Airports

4 Airports is a collaboration between guitarist Craig Chin (www.errant.space) and synthesist Nathan Yeager (www.campfiresedge.com). Together they create improvised electronic soundscapes, exploring weird sonic terrain and deep ambient textures.

McCoy Tyner In The ’70s: Part 2

McCoy Tyner in 1973

Source: burning ambulance.

Echoes of a Friend is a solo disc, recorded in Japan on November 11, 1972. It includes two new original compositions, “The Discovery” and “Folks,” but they make up the second side. The first three pieces are all either written by John Coltrane or strongly associated with him—”Naima,” “Promise,” and the standard “My Favorite Things,” which the saxophonist, accompanied by Tyner, memorably stripped down to a vamp he could ride into eternity. With no other instruments to mix, producer Tetsuya Shimoda and engineer Tamaki Bekku can really let the piano swell and blossom, and it does; the relatively tinny, barrelhouse sound of Song for My Lady, also recorded in autumn 1972, is gone here, replaced with an instrument in full roar. The three Coltrane-associated tunes are delivered in a thunderous onslaught, with only a few brief seconds of silence to let the listener catch his/her breath, and the album’s second half commences with the nearly 18-minute “The Discovery.”