Archive for the “Big Band” Category
The San Francisco Bay Area has long been a friendly and nurturing environment for musicians “without a home” – operating between and outside of genres. For those shut out of the concert halls and jazz clubs, it’s been a haven where non-traditional musicians build non-traditional alliances, and run non-traditional music venues and concert series where they can take risks and create uncompromising work. Over decades of community-building and creative ferment, this lack of formal boundaries has defined the sound and feel of the scene, interweaving free improvisation with elements of noise, minimalism, rock, jazz, drone, chamber music, electronica, and other more slippery sounds which resist categorization.
The scene’s relentless DIY approach has led to the establishment of numerous artist-run concert series and festivals, of which the Outsound New Music Summit, the Tom’s Place house concert series in Berkeley, the SIMM Series at the Musicians’ Union Hall, the Wednesday and Sunday series at the Berkeley Arts Festival Space, and the San Francisco Electronic Music Festival are just a few examples. This month they’ll be joined by a brand-new one, the Active Music Festival, covering February 20-22 in downtown Oakland. Read the rest of this entry »
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Posted by Polly Moller in Big Band, Chamber Music, Composers, Contemporary Classical, Events, Experimental Music, Festivals, Improv, jazz, Piano, Premieres, San Francisco, Saxophone, Sound Art, Women composers
The San Francisco Bay Area’s underground music scene will come together this coming July in an annual celebration of its tremendous range of styles, its love of improvisation, and its collective obsession with new and unusual timbres and techniques. It’s the 11th Annual Outsound New Music Summit! All events will take place at the San Francisco Community Music Center at 544 Capp Street near 20th Street in the Mission District, and tickets can be ordered online from Brown Paper Tickets or purchased at the door.
The ever-popular Touch the Gear Expo kicks off the Summit on Sunday July 15, 7-10 pm. It’s designed especially for anyone who’s longed for a closer look at an experimental musician’s gear on stage, and for the opportunity to mess with it. 25-30 sound artists will be there to demonstrate everything from oscillators to planks of wood with strings attached and answer questions. Visitors of all ages have free rein to make sound and experience how these set-ups work, and best of all, it’s free.
The second Summit night is also free, and this time the composers take over. In the Tuesday night Composers’ Symposium (July 17, 7-10 pm), John Shiurba, Christina Stanley, Benjamin Ethan Tinker, and Matthew Goodheart will all discuss how they navigate modern compositional techniques, while combining them with improvisation and their own individual forms of experimentation. The public is invited to talk freely with the composers and ask them questions.
Performances begin at 8:00 pm on Wednesday, July 18th with the first of four themed concerts – Sonic Poetry. This night is curated by Outsound Board members Amar Chaudhary and Robert Anbian, who’ve recruited three leading poets to collaborate with Bay Area improvising musicians to create new word and sound compositions. Words are by Ronald Sauer, rAmu Aki, and Carla Harryman, with music by Jacob Felix Heule, Jordan Glenn, Karl Evangelista, Jon Raskin, and Gino Robair.
The Tuesday night Composers’ Symposium prepares everyone for the second performance evening on Thursday, July 19th – The Composer’s Muse. Christina Stanley, Matthew Goodheart, and John Shiurba will all premiere new works running the gamut from graphic scores for string quartet, to prepared piano with sonified metal percussion, to a major work for large ensemble celebrating the newspaper.
Thwack, Bome, Chime on Friday night, July 20th, curated by Outsound Board member Pete Martin, will feature the world of percussion in all its coloristic and dynamic glory. David Douglas will combine percussion instruments with custom-built delays, loopers, samplers, and other effects to create The Walls Are White With Flame, a series of highly spatialized sound sculptures. In Seems An Eternity, Benjamin Ethan Tinker will assemble three percussion trios of metal and skin percussion to explore the same musical material in canon. And finally the San Francisco percussion ensemble Falkortet will show off its versatility combining traditional percussion, hand drums, and electronics with influences from Indonesian music, Brazilian music, Jazz, minimalism, and rock.
The final day of the Outsound Summit, July 21st, will be a big one starting with a 2-4 pm Harmolodics workshop led by Dave Bryant. Dave will share material from his years of Harmolodic Theory performance and study with Ornette Coleman, plus his own compositional and improvisational techniques developed on his own and with his ensembles. The 8 pm final concert, Fire and Energy, curated by Outsound founder Rent Romus, will feature Dave Bryant with his Trio, along with Jack Wright, the Vinny Golia Sextet, and Tony Passarell’s Thin Air Orchestra.
You can only keep a secret society secret so long, and with our old S21 pal Darcy James Argue‘s new CD release that time has come. Infernal Machines is out now on New Amsterdam Records, and to celebrate the kick-off DJA’s Secret Society will be performing the music from the CD Friday at Galapagos Arts Space (16 Main St. @ Water St., Brooklyn / Door – 9pm, Show – 10pm, $10).
Troy Collins advance-reviewed it at AllAboutJazz.com:
Drawing inspiration from classic stalwarts like the Thad Jones-Mel Lewis Orchestra as well as pioneering post-rock bands like Explosions In The Sky and Tortoise, Argue tastefully incorporates electric guitars, Fender Rhodes and electric bass into traditional big band instrumentation, extending the innovations of such visionaries as Don Ellis, Gil Evans and George Russell.
Straddling the pastoral opulence of Maria Schneider’s Orchestra and the visceral brio of Adam Lane’s Full Throttle Orchestra and Satoko Fujii’s various big bands, Argue has succeeded at creating a magnificent chimera. His harmonically rich blend of contrapuntal horn voicings, atmospheric electronic textures and post-minimalist rhythms surpass the early fusion experiments of his predecessors, yielding a fully integrated sound world as current as it is timeless.
A masterful tunesmith, his dramatic sense of pacing borders on the cinematic, and his instinct for arranging multiple voices into colorful pitch sets exudes kaleidoscopic detail worthy of Ellington.
Drawing inspiration from classic stalwarts like the Thad Jones-Mel Lewis Orchestra as well as pioneering post-rock bands like Explosions In The Sky and Tortoise, Argue tastefully incorporates electric guitars, Fender Rhodes and electric bass into traditional big band instrumentation, extending the innovations of such visionaries as Don Ellis, Gil Evans and George Russell [....] Straddling the pastoral opulence of Maria Schneider’s Orchestra and the visceral brio of Adam Lane’s Full Throttle Orchestra and Satoko Fujii’s various big bands, Argue has succeeded at creating a magnificent chimera. His harmonically rich blend of contrapuntal horn voicings, atmospheric electronic textures and post-minimalist rhythms surpass the early fusion experiments of his predecessors, yielding a fully integrated sound world as current as it is timeless.
If you want to get primed and pumped beforehand, New Amsterdam is letting you stream the whole CD online. The musical cast is stellar, the pieces are grand, the recording immaculate. Way to go Darcy; here’s to many more words like those above, now and in all the Machines to come.
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