Coming to the ISSUE Project Room

From New York’s ISSUE Project Room:

08/05 @ 8pm – Franck Vigroux (electronics, guitar) Matthew Bourne (piano, synth) featuring Ellery Eskelin (saxophone) Lambic Jones
Following the release of their highly acclaimed duo album ‘me madame (good news from wonderland)’ on D’Autres Cordes (d’ac 5002) earlier this year, Franck Vigroux (France) and Matthew Bourne (UK) make their debut appearance here in New York. A passion for intense counterpoint, analog synthesizers and extremes of texture ensure that this concert will be […]

08/06 @ 8pm – Gleason’s Twins Michael Beharie
Gleason’s Twins is an ensemble obsessed with the blur between speech and music, word and sound. The duo performs a kind of modern art song in which the group sets its own poems, infusing pre-composition with improvisation. With an unusual and spare instrumentation, voice and trumpet, they seek to expand the sonic ranges of their […]

08/07 @ 8pm – Sensorium Saxophone Orchestra William Hooker w/David Soldier Sabir Mateen Braithwaite
Brooklyn, NY, July 6th, 2009 —-When composer and musician Ben Miller takes the stage at the Issue Project Room in Brooklyn on Friday August 7th, he will trade his guitar for a conductor’s baton, and lead his 15-piece saxophone ensemble, the Sensorium Saxophone Orchestra (SSO), through a rousing evening of musical […]

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Wolf Eyes – Always Wrong Reviewed

Cover of "Human Animal"
Cover of Human Animal

Experimental noise group Wolf Eyes has their latest effort reviewed.

“Cellar” starts the album out by shedding the processed vocals that were integral to earlier Wolf Eyes releases in favor of a snotty, almost punk sounding snarl before letting the electronic waste and reeds tear everything asunder. This is Wolf Eyes in an even more ferocious mode than anything from Human Animal. At the other end of the album, the group creates a new kind of drift for themselves by incorporating a droning harmonica on “Droll/Cut The Dog” that wouldn’t sound out of place in an Ennio Morricone soundtrack except for the sinister ramblings that blanket the composition.

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Kaoru Watanabe / Tomas Fujiwara Duo & Saco Yasuma Trio in New York

From New York’s RUCMA:

Start: 07/13/2009 – 7:30pm
End: 07/13/2009 – 10:30pm

Kaoru Watanabe, flute
Tomas Fujiwara, drums

Saco Yasuma, alto sax
Ken Filiano, bass
Michael T. A. Thompson, drums

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Steve Swell Quintet & Josh Roseman Group at Rise Up Creative Music & Arts

From New York’s RUCMA:

Start: 07/06/2009 – 7:30pm
End: 07/06/2009 – 10:30pm

Steve Swell, trombone
Rob Brown, alto sax
Chris Forbes, piano
Hill Greene, bass
Michael T. A. Thompson, drums

Josh Roseman, trombone
others TBA

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Michael Moore to Play New Orleans


Moore’s distinctive voice on clarinet and alto saxophone has landed him in the front ranks of contemporary improvisers, performing with such artists as Bill Frisell, Dave Douglas, Han Bennink, and Misha Mengleberg’s Instant Composers Pool Orchestra. The 54-year-old California native was voted the world’s No. 1 clarinetist in Downbeat magazine’s annual critics poll in 2000, 2001 and 2002.

Although Moore’s work has been documented on more than 80 CDs, Thursday’s performance at the Hi-Ho Lounge will be the first chance to hear him live in New Orleans. He will lead a quintet assembled from some of the city’s most progressive improvisers: cellist Helen Gillet, guitarist Jonathan Freilich, drummer Doug Garrison and bassist Jesse Boyd.

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Vision Festival 2009 Review

DMG reviews this year’s Vision Fest.

Tuesday, June 9th got off to great start with an Opening Invocation featuring Patricia Nicholson doing voice and dance, William Parker on gimbri (4-string African bass) and Hamid Drake on frame drum. Ms. Nicholson is the Vision Fest’s main organizer and the epicenter of good vibes that flow through every Vision Fest that I’ve attended, which is all of them. This was a perfect opening with a ritualistic vibe. Patricia chanted, “Change is Coming” and this is something we can all agree with.

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SICPP Review

From The Boston Globe:

How to generalize a 36-piece, eight-hour sweep? Much of the program seemed compositionally less concerned with advocating particular vocabularies (tonal/atonal) or concepts (minimalism/serialism) than with exploring the means of production, the various orthodox and unorthodox ways instruments can make noise. Results were often mobile-like, artfully arranged rather than intensely plotted. Flutist Ashley Addington and guitarist Mark Wilson deftly placed the stop-and-go Impressionism of Toru Takemitsu’s “Toward the Sea.’’ Karlheinz Stockhausen’s “Refrain’’ uses the decay of vibraphone, celesta, and piano (John Andress, Christopher Lim, and Stephen Olsen) to chart loose, ringing constellations. Lukas Foss’s “Ni bruit ni vitesse’’ explores the far reaches of two pianos – Lim and Leah Kosch at the keyboards, percussionists Victoria Aschheim and Masako Kunimoto working inside the instruments’ cases – and the combination of clanging, buzzing, and slow-rolling scales was mysterious and magical.

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