Source: Downtown Music Gallery.
Mary Halvorson & Joe Morris! Ingrid Laubrock Chaos Practices: Kris Davis / Nate Wooley / Mary Halvorson! Evan Parker / William Parker Trio! Peter Brotzmann & Heather Leigh III! Larry Ochs / Gerald Cleaver! Jamie Saft Qt: Bill McHenry!
River on Mars: Avram Fefer/Greg Tate/On Ka’a Davis! Chicago Edge Unit: Mars Williams/Jeb Bishop/Hamid Drake..! Kaja Draksler Trio! Francois Houle/Alexander Hawkins/Harris Eisenstadt! Aaron Goldberg/Matt Penman/Leon Parker! Brandon Lopez & Andrew Bernstein Solo Discs! Bob Drake!
Plus Historic Discs from the United States of America! Lee Morgan! Duke Ellington & His Orchestra! Barney Kessel! The MC5! King Tubby & Linval Thompson! Plus Lots of Great Vinyl!
Upcoming Sets at Downtown Music Gallery – FREE, every Sunday at 6pm
6pm: THE BEYOND TRIO: MICHAEL EATON – Soprano Sax / CHERYL PYLE – C Alto Flutes /
REGGIE SYLVESTER – Drums
7pm: MICHAEL FOSTER / JOANNA MATTREY / DAVID MEIER – Saxes / Viola / Drums!
Sunday, December 2nd:
6pm: GUILLERMO GREGORIO & OMAR TAMEZ – Clarinet & Guitar
7pm: GUILLERMO GREGORIO / OMAR TAMEZ / RAYMON LOPEZ – Clarinet / Guitar / Drums
Sunday, December 9th:
6pm: FACKPAMP: ANDERS NILSSON / HAMPUS OHMAN-FROLUND SARAH BERNSTEIN
7pm: AXIS: JON IRABAGON / JOHN HEGRE / NILS DRONEN!
8pm: GIACOMO MEREGA / KENT O’DOHERTY – Bass Guitar / Alto Sax
Sunday, December 16th:
6pm: HUMAN RITES TRIO: JASON KAO HWANG / KEN FILIANO / ANDREW DRURY – Strings/Bass/Drums
Source: Los Angeles Times.
The Walt Disney Concert Hall organ pipes were bathed in a slimy green light that made them look like they were up to no good. To begin a Los Angeles Philharmonic Green Umbrella program Tuesday night, Italian composer and organist Francesco Filidei, who has written such pieces as the aptly titled “Killing Bach,” sat motionless at the organ keyboard onstage, as if waiting.
Waiting for what? Was it the faint rumbling that sounded like it was coming from backstage? When it got a little louder, and the vibrations were mildly felt under foot, another possibility came to mind that no one wanted to think about.
Filidei’s feet weren’t moving, but they were on the pedals. He was stirring the barely audible but plenty physical lowest notes on the largest pipes, summoning colliding pitches capable of producing a rumble. Ever stronger, rumble became roar, the organ pipes now seeming some slimy green monster from the deep.
Over all that, a tinnitus-like high pitch, with the sound of a flute, ominously pierced the atmosphere. The piece eventually reached a huge climax before dying away. Throughout, Filidei produced a repertory of sounds I had never heard before from this magnificent instrument.