Newsbits: Han Bennink / Circuit Bender’s Ball / Robert Rich / Leap of Faith Orchestra / Lowercase in Classical

English: ICP Orchestra - Han Bannink

The Chicago Reader reviews Han Bennink‘s new trio album.

This year’s Circuit Bender’s Ball will take place in Nashville, August 25th to 27th, and is looking for performers.

Ambient artist Robert Rich’s next album is due out soon.

Jazz Right Now reviews the new album from Leap of Faith Orchestra.

On a lighter note, the New York Times has a surprisingly lengthy piece on the (over) use of lowercase letters in classical music.

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MATA Festival 2017 Announced

Source: MATA.

MATA FESTIVAL RETURNS
TO THE KITCHEN,
APRIL 25 – 29

Now in its nineteenth year, MATA Festival is back at The Kitchen on April 25 – 29 with an overflowing bounty of the newest music. Representing 31 early-career composers from seventeen countries, it offers a singular opportunity for New Yorkers to grasp the complete spectrum of new music emerging today – from gritty European modernism to experiments in theater, sound, and acoustics. This year’s concerts include seven world premieres (including three MATA commissions), fifteen US premieres, and six NY premieres.

C O N C E R T P R O G R A M S B Y E V E N I N G

Monday, April 24: Opening Night Concert Reception at WhiteBox
Meet and mingle with the composers and performers of MATA Festival 2017, hear some short pieces, drink some wine. Program includes members of Scenatet in a US premiere by Jexper Holman and a New York premiere by Thomas Kotcheff, played by Hocket.

Tuesday, April 25: SCENATET: Wow and Flutter
Denmark’s buzzy Scenatet makes its official New York debut with a potent program that belies the cozy Danish stereotype of ‘Hygge.’ Along with the twitchy improvised grooves of Yu Oda and the strobe-funk theatrics of Kaj Duncan David’s Computer Music, highlights include the first of this year’s MATA commissions, a world premiere by Eric Wubbels. Also on tap: the hermetic canons of Daniel Tacke’s musica ricercata | musica poetica, Turkish composer Murat Çolak’s Orchid, an octet by rising Danish star Christian Winther Christensen, and German composer Martin Grütter’s Messer Engel Atem Kling (Cleaver Angel Breathing ‘Ding’).

Wednesday, April 26: 88 Keys Open Many Doors
LA’s bold Hocket piano duo, heard in its New York debut, joins some of NY’s fiercest new-music pianists in an evening of keyboard adventures. Adam Tendler explores unintentional sounds in Charlie Sdraulig’s subtly choreographed collector, and repurposes the piano in Marina Poleukhina’s for thing. Hocket teases the ebonies and ivories in Joseph Michaels’ Together in Perfect Harmony and Michael Laurello’s Touch. Molly Herron’s trio resonates in her exquisite Full Blood Moon. Soprano Sarah Brailey is joined by pianist Blair McMillen in Sojourner Hodges’s eloquent Fire Command Room, while interloper harpist Bridget Kibbey gives life to Iranian composer Karen Keyhani’s Nightly Monologue II.

Thursday, April 27: plus 1
Three-dimensional works for one or two players. Thursday’s MATA Festival concert opens with Oleg Elagin’s space age electronic fanfare, The Formation of New Sensual Experience, setting the tone for an evening of evolution and innovation. Samuel Cedillo’s Monólogo III refashions the viola in an incredible tour de force of expression. The consummate Daniel Lippel brings elegance to the shifting guitar figures of Karin Wetzel’s Amorphose II and Basque composer Mikel Urquiza’s dialogues with Dowland, Belarretan. The evening reaches for the heavens with Nikolet Burzyńska’s Cold burning out, played by TIGUE’s Matt Evans, and Liisa Hirsch’s ethereal Cloud Tones for piano “glides” and viola.

Friday, April 28: Stencils and shadows
Performing as Friends of MATA, nine of NYC’s top new-music interpreters – including violinist Miranda Cuckson, cellist Mariel Roberts, and pianist Isabelle O’Connell – play works that explore what remains unsaid. Bangkok native Siraseth Pantura-Umporn’s MATA-Commissioned Ripples, inspired by disturbances of water, exposes what lies beneath the surface. Chilean composer Francisco C. Goldschmidt reflects on the loneliness of existence in his mesmerizing …y te pierdes y te hundes… Foreground and background are engaged through the vibrant absences of the Italian Giovanni Bertelli’s quartet Libro d’Aprile and the shifting shapes and contours of Piano by Krists Auznieks from Latvia.

Saturday, April 29: Dangerous currents
Novus NY, the vibrant new music ensemble based at Trinity Church, makes its MATA Festival debut in an evening of large-ensemble works. British composer Philip Venables uncovers a vein of Shakespearean tragedy in his boxing melodrama The Revenge of Miguel Cotto. In Letters from Brown Men, Paul Pinto explores the fallout from natural disasters. A monolithic yet ethereal stillness infuses Russian composer Dmitri Timofeev’s elegy, Angel. This year’s final MATA commission, Kristina Wolfe’s Record of Ancient Mirrors, conjures the drones of temple bells through retuned viola da gamba and large ensemble. Bringing it all back home, the Festival closes with the New York-based Le Boeuf Brothers joining Novus for Pascal Le Boeuf‘s bracingly inventive Alkaline for string quartet and jazz combo.

AMN Picks of the Week: Adam Rudolph / Jü / Akropolis Reed Quintet / Subversive Intentions / Dead Neanderthals / Northumbria

Adam Rudolph and Moving Pictures in 2006.

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.

Adam Rudolph / Moving Pictures – Glare of the Tiger (2017)
Jü – Summa (2017)
Akropolis Reed Quintet – The Space Between Us (2017)
Subversive Intentions – Every Sound is a Drone (2017)
Dead Neanderthals – Craters (2017)
Northumbria – Markland (2017)

Newsbits: Sirene 1009 / David Buddin / Meredith Monk / GRID

Jazz Right Now reviews new albums from Sirene 1009 and David Buddin.

I Care if You Listen reviews Meredith Monk‘s new release on ECM.

And finally, NPR reviews the new release from GRID. (Read our review of the same album here).

Orenda Records Overview Published

We recently published an overview of L.A.’s Orenda Records.  This page collects nine reviews that we’ve written on Orenda releases over the last three years, and provides what I believe to be the only overview of the label.  You can access it at the Retrospectives menu above, or at the link below. Enjoy!

https://avantmusicnews.com/career-retrospectives/orenda-records/

AMN Picks of the Week: Chicago-London Underground / Reid Karris / Mostly Other People Do The Killing / Peter Bjärgö / Webber, Stemeseder, Gray

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.

Chicago / London Underground – A Night Walking Through Mirrors (2017)
Reid Karris – Divinatio Exitium (2017)
Mostly Other People Do The Killing – Loafer’s Hollow (2017)
Peter Bjärgö – Animus Retinentia (2017)
Anna Webber / Elias Stemeseder / Devin Gray – Jagged Spheres II (2017)

The New York Loft Scene Profiled

Source: PopMatters.

What they weren’t able to do was get gigs in jazz clubs. Many of those venues were drying up, as jazz’s receding from mass awareness was in full swing (save for the electric work of Miles Davis and bands formed by members of his various aggregations, and popular jazz-funk hits), and those that were hanging on weren’t having all that caterwauling in their establishments. So the avant-jazzers made their own infrastructure, using vacant buildings in Manhattan as rehearsal, performance and, for some, living spaces.

These spaces, with their wide-open floor plans, were repurposed from their former lives as factories and warehouses. Sometimes the actual owners knew about it, but that doesn’t seem to have always been the case. From this turf, musicians staged their own concerts, held their own jam sessions, and forged their own micro-economy. Eventually, word got out, and as is often the case, someone felt inspired to label this new thing. As is also often the case, the people being labeled weren’t all that happy with the label that stuck: “loft jazz”.