Hasana Editions Documents the New Sound of Indonesian Experimental Music 

Source: Bandcamp Daily.

There have only been four releases on Indonesia’s Hasana Editions so far, but that doesn’t mean the label is lacking ambition. “I think of it as a potential archive,” says owner Duto Hardono. “I think it could become a library of sorts, for the history of sound in the arts in Indonesia and the entire region.”

Judging by Hasana’s current catalog, Indonesian sound art is certainly worthy of documentation. From the rhythmic loops of Julian Abraham to the video game-inspired abstractions of Mahesa Almeida to the chamber operas of Nursalim Yadi Anugerah, the music Hardono has chosen for Hasana shows how wide-ranging and unpredictable experimental music can be in this vast country.

5049 Records Podcast Episode 191 – Darcy James Argue 

Source: 5049 Records.

Darcy is composer and bandleader raised in Vancouver, based in Brooklyn NY. He studied with Bob Brookmeyer at the New England Conservatory and since the early 2000s has led his own big band, Darcy James Argue’s Secret Society, an eighteen piece ensemble that focuses on his original compositions. The group has released several albums and their 2009 debut “Infernal Machines” was nominated for a grammy. This weekend Secret Society will be doing four sets at the Jazz Gallery in NYC and Darcy stopped by to talk about what he’s been up to.

Coming to Philadelphia

Source: Ars Nova Workshop.

Sunday, January 13, 2019 – 8:00pm
JEREMY CUNNINGHAM’S THE WEATHER UP THERE
with Jeff Parker, guitar; Dustin Laurenzi, saxophone + electronics; Mike King, piano; Paul Bryan, bass, and Jeremy Cunningham, drums
+ BEN LAMAR GAY / CHAD TAYLOR DUO
Ben LaMar Gay, trumpet
Chad Taylor, drums

Boot & Saddle, 1131 S. Broad Street
$15 General Admission

Please join us for the Philadelphia premiere of Jeremy Cunningham’s The Weather Up There.

In 2017, Chicago’s Department of Cultural Affairs awarded Jeremy Cunningham an artist grant for his forthcoming album “The Weather Up There,” which addresses the tragedy of losing his younger brother Andrew in a home invasion robbery in 2008. Working closely with Jeff Parker and Paul Bryan, this new work confronts gun violence and examines the acute ripple effect on several people’s lives through the lens of memory, response, and collage. Cunningham includes regular collaborators Ben LeMar Gay, Jaimie Branch, Dustin Laurenzi, and Matt Ulery, in addition to a drum choir comprised of mentors and colleagues Mike Reed, Makaya McCraven, and Mikel Patrick Avery. The album also includes interviews from family members, and close friends, as well as recent poetry surrounding the experience of loss and the effect of gun violence. These musical compositions come to life live through an immersive experience, which includes many of the same artists, along with an accompanying visual tapestry comprised of original content shot on location in Cincinnati, and performed live by experimental video artist Kim Alpert. Cunningham has also paired with EveryTown For Gun Safety, a non-profit that shares his passion for enacting common sense gun laws.

Tickets: http://www.arsnovaworkshop.com/events/jeremy-cunningham’s-weather-there-01-13-2019

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Monday, January 14, 2019 – 8:00pm
KARUNA
with Dave Liebman, soprano and tenor saxophones + bamboo flute; Adam Rudolph, kongos, djembe, tarija, sintir, percussion, electronics; and Hamid Drake, drumset, vocals, frame drum, percussion

Boot & Saddle, 1131 S. Broad Street
$15 General Admission

Karuna brings together two of the most innovative, influential and creative percussionists in modern music, who have enjoyed a collaboration reaching back to a chance encounter between two 14-year-old aspiring percussionists in a downtown Chicago drum shop. Hailed as a “pioneer in world music” by the New York Times, composer-percussionist Adam Rudolph has melded a variety of traditions, both cultural and musical, for more than four decades. He’s performed extensively with Don Cherry, Jon Hassell, Sam Rivers, Pharoah Sanders and especially Yusef Lateef, with whom he recorded 15 albums ranging from duets to large ensemble collaborations In addition, Rudolph leads the ensembles Moving Pictures, Hu: Vibrational, and the Go: Organic Orchestra. Mentored by the legendary saxophonist Fred Anderson, Hamid Drake became a vital part of the Chicago avant-jazz scene while touring (alongside Rudolph) with Don Cherry. Drake has worked extensively, on both hand percussion and trap drums, with Anderson, William Parker, Peter Brötzmann, Joe McPhee, David Murray, Ken Vandermark and fellow Chicago percussionist Michael Zerang. For this very special performance, they’ll be joined by the one-and-only Dave Leibman. NEA Jazz Master Liebman’s career has spanned nearly five decades, beginning in the early 1970s as the saxophone/flautist in both the Elvin Jones and Miles Davis groups, continuing as a bandleader since. He has played on over five hundred recordings with nearly two hundred under his leadership and co-leadership. His bands over the years have included noted musicians such as John Scofield, Richie Beirach, Bob Moses, Billy Hart and others.

DOWNTOWNMUSIC.NET Photos

Source: DOWNTOWNMUSIC.NET.

January 5, 2019
Joel Ross Good Vibes, SubCulture
Or Bareket Jeremy Corren Jeremy Dutton Joel Ross Immanuel Wilkins

January 5, 2019
Ghost Train Orchestra plays Moondog, SubCulture
Brian Carpenter David Cossin Rob Garcia Curtis Hasselbring Christopher Hoffman Andy Laster Dennis Lichtman Chris Lightcap Dina Maccabee Maxim Moston Sara Schoenbeck Brandon Seabrook Alec Spiegelman Ben Stapp Mazz Swift Karen Waltuch Joan Wasser

Coming to Detroit’s Trinosophes

Source: Trinosophes.

Tuesday, Jan. 8: Derek Worthington’s Lossy Codecs

Trumpeter Derek Worthington debuts his large ensemble Lossy Codecs, performing brand-new and rarely-performed compositions for improvisers. Each piece organizes form, structure, and methodology in a unique way, while the musical content will be created on the spot by some of our favorite improvising musicians:

Derek Worthington, trumpet & compositions
Molly Jones, saxophones
Andrew Peck, horn
Nathan Smith, bass clarinet
Abby Alwin, cello
Kirsten Carey, guitar
Simon Alexander-Adams, synths
Betsy Soukup, bass
Ben Willis, bass
Jon Taylor, drums
Doors at 8 pm; $10 suggested donation

Thursday, Jan. 17: Atomic (Norway/Sweden)

Fredrik Ljungkvist (reeds), Magnus Broo (trumpet), Håvard Wiik (piano), Hans Hulbækmo (drums) Ingebrigt Håker Flaten (bass)

The Swedish-Norwegian quintet Atomic has held a position at the forefront of the Scandinavian and European contemporary jazz scene for nearly 17 years. Over this time the band has consistently delved ever-more deeply into its own expressive idiom, while remaining inquisitive, vital and full of energy.

Few can combine jazz, improvisation and ideas from classical contemporary music in as spontaneous and memorable a way as Atomic. Naturally their musical interplay is perfectly integrated after 17 years, but the fact that they have also managed to keep their joy of playing together intact is is very rare.

All this time Håvard Wiik and Fredrik Ljungkvist have been responsible for all the compositions, but on the upcoming album Pet Variations (release date November 2, 2019) Atomic will play compositions by by Edgar Varese, Olivier Messiaen, Steve Lacy, Jimmy Giuffre, Jan Garbarek and Brian Wilson – to mention a few.

Doors at 8 pm; $10/

Friday, Jan. 18: Sarah Davachi

Sarah Davachi (b. 1987, Calgary, Canada) holds a bachelor’s degree in philosophy from the University of Calgary, and a master’s degree in electronic music and recording media from Mills College in Oakland, California where she studied with Maggi Payne, James Fei, and David Bernstein. As a composer and performer of electroacoustic music, Davachi’s projects are primarily concerned with disclosing the delicate psychoacoustics of intimate aural spaces, utilizing extended durations and simple harmonic structures that emphasize subtle variations in overtone complexity, temperament and intonation, and natural resonances. The instrumentation she employs is varied, including analog synthesizers, piano, electric organ, pipe and reed organ, voice, tape-replay samplers, orchestral strings, and woodwinds, with mutual idioms often layered in textural and timbral counterpoint. Similarly informed by minimalist tenets of the 1960s and 1970s, baroque leanings toward slow-moving chordal suspensions, and experimental production practices of the studio environment, in her sound is manifest an experience that lessens apprehension of consonance and dissonance in likeness of the familiar and the distant.

Her work as a researcher considers aspects of organology and hermeneutics and has been published and presented in North America and Europe. Between 2007 and 2017, Davachi also had the unique opportunity to work for the National Music Centre in Canada as an interpreter and content developer of their collection of acoustic and electronic keyboard instruments. She has held artist residencies at The Banff Centre for the Arts (Banff, Canada), STEIM (Amsterdam, Netherlands), WORM (Rotterdam, Netherlands), EMS (Stockholm, Sweden), OBORO (Montréal, Canada), and MESS (Melbourne, Australia) and is the recipient of grants from the Canada Council for the Arts, the Alberta Foundation for the Arts, and SOCAN. In addition to her recorded output, including 2018’s Gave in Rest​ on Ba Da Bing and Let Night Come On Bells End The Day on Recital and 2017’s All My Circles Run on Students of Decay, Davachi has toured extensively across the globe and has shared the stage with artists such as Grouper, the London Contemporary Orchestra, Arnold Dreyblatt, Donald Buchla, Aki Onda, ​Ariel Kalma, Alessandro Cortini, Oren Ambarchi, Ian William Craig, Kara-lis Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro, Loren Connors, and filmmaker Paul Clipson. She is currently a doctoral student in musicology at UCLA – where she works on the aesthetic phenomenology of musical instruments and timbre in popular, experimental, and early music – and is based in Los Angeles, California.
Doors at 8 pm; S10/