Source: Downtown Music Gallery.
Matt Shipp Trio! Anna Webber Octet! Jessica Pavone Solo! Guillermo Gregorio & Brandon Lopez! Tomeka Reid & Filippo Monico! Stephan Crump’s Rosetta Trio: Liberty Ellman! Two from Dave Rempis: Tasji Dorji & Brandon Lopez! Gerhard Ullmann & Alexey Kruglov! Lucian Ban & Alex Simu! Miho Hazama & M Unit! Cooper Moore & Stephen Gauci! Chris Welcome Octet! Two from Leap of Faith! Fido Plays Zappa! Dave Brubeck Quartet! Phill Niblock DVD! Laraaji & Lyghte & More..!
Upcoming Sets at Downtown Music Gallery – FREE, every Sunday at 6pm
Sunday, February 17th:
6pm: LIOR MILLIGER / ZACH SWANSON / JOE HERTENSTEIN – Sax / Bass / Drums
7pm: DAVID MEIER / DANIEL CARTER / JEONG LIM YANG – Drums / Horns / Bass
Sunday, February 24th: The REGGIE SYLVESTER Double Header:
6pm: ED KELLER / REGGIE SYLVESTER – Guitar & Drums Duo!
7pm: RETROGRADE ESP CD Set: MATT LAVELLE & REGGIE SYLVESTER!
Sunday, March 3rd:
6pm: AVANT-GARDE WORKING CLASS: JOE DALEY & JESSE DULMAN – Tuba Duet!
7pm: KAREN NG & HENRY FRASER – Sax & Clarinet / Bass!
Sunday, March 10th:
6pm: JESSICA / TONY JONES – Sax Duo – Two CD Releases Celebration!
7pm: THOMAS HEBERER / JOE HERTENSTEIN – Trumpet and Drums!
Sunday, March 17th:
6pm: SARAH BERNSTEIN VEER QUARTET: SANA NAGANO / LEONOR FALCON / NICK JOZWIAK!
7pm: JARVIS EARNSHAW / DANIEL CARTER / ZACH SWANSON – Sitar & Loops / Woodwinds / Bass
Marilyn Mazur’s Shamania
An all-female band, a gathering of ten of Scandinavia’s most inventive and respected female musicians.
Lotte Anker – sax (DK)
Josefine Cronholm – vocal and percussion (SE/DK)
Sissel Vera Pettersen – sax and vocal (NO)
Hildegunn Øiseth – trumpet and goat horn (NO)
Lis Wessberg – trombone (DK)
Makiko Hirabayashi – keyboards (Japan/DK)
Ellen Andrea Wang – bass (NO)
Anna Lund – drums (SE)
Lisbeth Diers – percussion (DK)
Marilyn Mazur – composer/leader, percussion, balaphone, kalimba (DK)
In 1978, Danish percussion master Marilyn Mazur founded the bold, innovative Primi Band, an all-female music-theater ensemble that drew from a deep well of primal energy and experimental audacity. Four decades later, Mazur reinvents the core concepts in an adventurous new fashion with Shamania, a gathering of ten of Scandinavia’s most inventive and respected female musicians.
Whereas Primi Band culled its members from risk-taking but non-professional musicians, Shamania comprises ten highly respected (but equally daring) artists from the Danish, Swedish and Norwegian avant-jazz scenes. Their stunning debut album is a vivid combination of primeval forces and virtuosic musicianship, fiercely original imaginings and deeply organic emotions, communal energies and singular voices.
Dave Liebman, Adam Rudolph, Hamid Drake – CHI
A transcendent collaboration deeply possessed of fresh inspiration and deep roots, ancient traditions and modern invention.
Dave Liebman – soprano and tenor saxophones, piano (“Formless Form”), wooden recorder
Adam Rudolph – hand drumset (kongos, djembe, tarija) piano (“Becoming”), sintir, multi-phonic vocal, percussion, electronic processing
Hamid Drake – drumset, vocal, frame drum, percussion
Chi brings together these three master musicians for a breathtaking excursion into spontaneous composition, an extended, adventurous set of free improvisation that maintains a through line of resilient architecture and unexpected twists and turns. Nowhere revealing the tenuous moments that might be expected in an initial collaboration, the music is vivid and powerful from beginning to end, evoking timeless traditions while surging forward with ferocious abandon.
Source: Unexplained Sounds Group.
African music is as diverse as the topography of the land itself, and is said to be comprised of literally thousands of different styles of music. But many experts of regional music tend to separate African music into two distinct groups: North African Music, which is strongly Arabic and Islamic in nature, and Black African music, or that which is centralized in the Western, Central and Sub Saharan regions of Africa.
So many iconic Western musicians have incorporated African instrumentation, ideas and ideals into their music. And ultimately there is an almost infinite variety of music forms, most of which, on some level, have been produced as a result of African music, or influenced by it. Whether Western instruments have evolved from ancient African models, or whether we have adopted our knowledge in terms of rhythms and cross rhythms, various scalic patterns, and the basic evolution of melody and harmony, Western music undoubtedly owes an immeasurable debt of gratitude to the African peoples for their wisdom, insight and creativity.
During recent decades we’ve witnessed more and more of the inverse phenomenon, with African musicians absorbing styles and trends developed in Western countries, so that at last the circle has closed. Finally, then, we can embark on our “unexplained sounds” journey into Mother Africa.
FRKTL, Abdellah M. Hassak, Ahmed Saleh, Victor Gama, Eryck Abecassis, Healer Oran, mehdi halib, In_o, Nur, 1§ÅdØrÅ dµ§+m1+(∑) jµnk, AMET.
Shelter Press with the support of INA GRM has published the new book “Spectres Composer l’écoute / Composing listening”. This book is the first in an annual series. The first edition features writings in English and French by François Bayle, Jim O’Rourke, Daniel Terruggi, Stephen O’Malley, Elaine Radigue, Chris Watson, Brunhild Ferrari, Beatriz Ferreyra, Espen Sommer Eide, Drew Daniel, François J. Bonnet, Régis Renouard Larivière, and Félicia Atkinson.
Each issue of “SPECTRES” will have a different subtitle / focus. “This book has been conceived as both a prism and a manual. Following the “traditional” arc of electroacoustic composition (listen—record—compose—deploy—feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation.
Although the term “experimental music” may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.”
More info at Shelter Press