Sunday, June 23 @ 3PM
“THE SONG IN ALL OF US”
Kirsten Volness/Hotel Elefant
Moderated by Mary Rowell
Tuesday, June 25 @ 7PM
Moderated by James Moore
Friday, June 28 @ 7PM
“BELIEF: RELIGION OPTIONAL”
Jeremiah Lockwood/The Sway Machinery
Moderated by Martha Mooke
Saturday, June 29 @ 7PM
Moderated by Miguel Frasconi
Sunday, June 30 @ 3PM
Shoko Nagai/ Satoshi Takeishi’s ABYSM3
Christy & Emily
Moderated by Jed Distler
Mary Rowell (moderator)
Considered by critics to be one of the most interesting and exciting performers on the contemporary scene today, the innovative violinist Mary Rowell can not be classified. Known for her work with the Grammy Award® winning Tango Project, the indie band The Silos and pop icon Joe Jackson, she has carved an indelible place in the contemporary classical music world with the post-classical quartet ETHEL of which she co-founded. Mary has performed, recorded and premiered countless scores of today’s composers as soloist and chamber musician. She has appeared as violin and electric violin soloist with the National Symphony, Houston Symphony, New York Chamber Orchestra, and Warsaw Philharmonic, among others and has stunned the dance world with her brilliant solo electric violin performances of Richard Einhorn’s Maxwell’s Demon. Mary is an ensemble member of the Tribeca New Music Festival specializing in the “Avante-Pop” and is half of the experimental Americana duo BRIM with composer/performer Eve Beglarian. A graduate of the Juilliard School, she is currently on the faculty of Middlebury College and is the concertmaster of both the Radio City Music Hall Orchestra and the Broadway hit show Newsies.
Composed by William Gardiner
William Gardiner’s ‘hedgehog’ is a sonically immersive, captivating work which delves deep beneath the worlds of early music, contemporary classical music, metal, modernism and minimalism and finds a haunting common space. Written for a large amplified chamber ensemble, with a prominent electric guitar part, ‘hedgehog’ inhabits a rich, full-spectrum sound-world in which mind-melting guitar licks live alongside heart-breakingly beautiful harmonies, with earth-shattering results.
“a coherent vision and a rare ability to incorporate outside influences seamlessly into it … Classical music needs more new blood like this.” – Anthony D’Amico, brainwashed.com
William Gardiner is an Australian composer and producer currently based in the United States. His work has been performed in Australia, Europe and the USA. In 2013 he is a winner of the Albany Symphony Orchestra’s ‘Composer to Center Stage’ national composer search (USA), and the recipient of an award from the Presser Foundation.
The product of a diverse musical pedigree, he was born to a pair of passionate early music enthusiasts, and spent his earliest years immersed in early music. His teenage years were accompanied by the revelation of rock music, leading to him taking up the drum set. Upon finishing high school, one of his first compositional efforts, written in imitation of Bach and Piazzolla, was selected for performance at the Sydney Opera House. Gardiner’s work has grown to take on the influence of a wide range of music—classical and non-classical, electronic and acoustic, popular and unpopular—as he forges his own musical direction, and has been credited as “absolutely stunning…a bright beacon of things to come” (Adam Mills, Mess+Noise) and as having “a strong sense of grand sonic movement” (Adam Elmer, Cyclic Defrost).
Born in 1987, Gardiner is currently pursuing doctoral studies at the Yale School of Music in the United States, working with Martin Bresnick, Aaron Jay Kernis and David Lang. He previously attended the University of Sydney, where he received degrees in Arts and Law.
Created by Kirsten Volness
Performed by Hotel Elefant:
Meg Zervoulis (music director), Caitlin McKechney (mezzo-soprano), Domenica Fossati (flutes), Andie Springer (violin), Alisa Horn (cello), Michelle Lou (bass), and David Friend (piano)
Kirsten Volness (composer) grew up in a small town in Minnesota—a place which fostered in her a keen interest in the outdoors. The magic to be found in the natural world informs and inspires her acoustic and electronic music, as does myth, science, environmental and sociopolitical issues. An avid collaborator, she plays piano with Hotel Elefant, is a founding member of multimedia performance group Awesome Collective, writes and performs operas with whose who have experienced homelessness in Erik Ehn’s Tenderloin Opera Company, and is an affiliate artist of Sleeping Weazel. She holds composition degrees from the Universities of Michigan (DMA, MM) and Minnesota (BA, summa cum laude), teaches privately and at the University of Rhode Island, and serves as Director of Outreach for The Boston New Music Initiative. www.kirstenvolness.com
Hotel Elefant is a contemporary music ensemble dedicated to the works of innovative, living composers. Formed in 2011 by composers Leaha Maria Villarreal and Mary Kouyoumdjian, Hotel Elefant ambitiously presents new music through commissions, performances, and moderated discussions between composers, performers, and audiences.
Meg Zervoulis (music director) is a musical director and pianist, collaborating in the realms of Broadway and chamber music alike. Zervoulis’ current residencies include Paper Mill Playhouse (M.D./Arranger/Accompanist) and Montclair State University (Adjunct Professor, Mainstage M.D., Accompanist). Her Off-Broadway credits include Chuckleball at the Snapple Theatre (M.D./Arranger/Stage Pianist) and Rated P…for Parenthood (M.D., Upcoming). Zervoulis received a B.F.A. with honors in Piano Performance from Carnegie Mellon University. www.megzmusic.com
Caitlin McKechney (mezzo-soprano) is a vocalist from Lake Bluff, Illinois. Operatic credits include Kate Pinkerton in Madame Butterfly with Opera New Jersey, The Wife/Mother in Mark-Anthony Turnage’s Greek and Inez in No Exit with Chicago Opera Vanguard, and Carmen in an outreach production with Opera Santa Barbara. McKechney apprenticed with Des Moines Metro Opera, Sarasota Opera, Opera Santa Barbara and Cedar Rapids Opera Theater. McKechney also loves to draw and paint and maintains a private voice studio.
Domenica Fossati (flutes) earned her M.F.A. at New York University with Robert Dick, where she also served as adjunct faculty. An advocate of fusing contemporary techniques with pop and non-western music, she performs with some of today’s leading artists, ensembles, and composers, blurring genre lines to allow for a unique and eclectic sound. She is a founding member of Concert Black and is the front-woman of the multicultural ensemble Underground System, one of the only afrobeat bands to exclusively feature a female at front.
Andie Springer (violin), a native of Fairbanks, Alaska, Springer specializes in contemporary music and is also a founder and co-director of new music ensembles TRANSIT and REDSHIFT. Springer has premiered and commissioned solo works by Mary Kouyoumdjian, Leaha Maria Villarreal, Rich Shemaria, Bryan Jacobs, and Robert Ashley. Recent highlights include the premiere and European tour of Richard Maxwell’s Neutral Hero, and the premiere of Redshift’s large-scale commissioning project “Arctic Sounds.”
Alisa Horn (cello), an active freelance cellist in New York City, enjoys performing, recording, and teaching a wide variety of musical genres from classical to jazz to rock and beyond. Horn performed in the Broadway musical Next to Normal (2009 Tony Award-Winning Musical; 2010 Pulitzer Prize for Drama) and is a member of the Inventions Trio with jazz greats Marvin Stamm and Bill Mays. www.alisahorn.com
Michelle Lou (bass) has had her music presented by ensembles such as the Arditti Quartet, ensemble ascolta, Ensemble SurPlus, the Argento Chamber Ensemble, sfsound, Earplay, the San Francisco Contemporary Music Players, and the JACK Quartet with future projects for Graeme Jennings and Ensemble ELISION. Lou primarily studied with composers Chaya Czernowin, Brian Ferneyhough, and Steven Kazuo Takazugi. She holds both a B.A. in Bass Performance/Composition and an M.A. in Composition from the University of California, San Diego and a D.M.A. in Composition from Stanford University.
David Friend (piano) is dedicated to ensuring the continued relevance of the art of the piano in contemporary culture. As a champion of new and experimental music, he has performed at top venues including Carnegie Hall, Royal Festival Hall (London), and the Reina Sofia Museum (Madrid). As a soloist, he presents programs that seek to revitalize the experience of a piano recital for the 21st century.
James Moore(moderator) is a versatile guitarist and multi-instrumentalist. A native of the San Francisco Bay Area, he has been immersed in New York’s creative music community since 2006, earning the titles of “local electric guitar hero” by Time Out NY and “model new music citizen” by the NY Times. James is is a founding member of the electric guitar quartet Dither, and performs internationally as a soloist and ensemble player. Current projects include Neutral Hero, a theater piece by the acclaimed playwright Richard Maxwell, in which James is an onstage musician and actor; PLAY/PAUSE, a collaborative piece for the BAM Next Wave Festival with composer David Lang and choreographer Susan Marshall; and The Book of Heads, John Zorn’s notorious collection of twisted guitar etudes. James is currently recording The Book of Heads for his first solo release on Tzadik Records in 2014.
He works frequently with John Cale, notably on his score to “American Psycho”. In 2009, John Cale and Mr. Woolf collaborated on a performance of all the songs from Cale’s most celebrated solo album ‘Paris 1919’, by Cale and his band, with orchestral arrangements by Woolf. This concert was presented by the Brooklyn Academy of Music on January 18 and 19, 2013, with 9 other songs of Cale’s, also arranged by Woolf. Woolf’s string quartet arrangements have accompanied Stephin Merritt, Siouxsie Sioux, Peaches, Meshell Ndegeocello and others.
His works have been performed by Kathleen Supové, Jennifer Choi, Timothy Fain, Mary Rowell, Todd Reynolds, Ethel, conductor and flutist Ransom Wilson, Present Music, Fulcrum Point, Pittsburgh New Music Ensemble, Seattle Symphony, Paul Dresher Ensemble, Bang On A Can/SPIT Orchestra, California EAR Unit, and others.
Composition, arrangement and vocals by Matt Siffert
Featuring Kristi Shade on harp
RISE is a song cycle for baritone voice and harp. The cycle combines folk-influenced songwriting with harmonic, textural, and contrapuntal techniques more commonly found in concert music. In composing songs for voice and harp, Siffert set out to recreate the singer-songwriter experience of pairing the voice with a solo instrumental accompaniment; the harp, however, unlocked textures and harmonies that are less commonly found as a musical backdrop to folk-driven songs.
Written by Matt Siffert in the fall of 2012, the cycle explores not only new musical territory, but also the kinds of stories and text that make for satisfying songs. Tired of writing lyrics that derived from stories of love and romance, Siffert turned to new sources of inspiration: from equally austere topics such as aging to light-hearted scenes such as celebrity spottings. RISE is Siffert’s third major cycle as a composer-songwriter. His first, ‘Morningside,’ featured Siffert alongside piano, percussion, French horn, and cello. Of the songs The Glass music blog said simply, “Get out of my head Matt Siffert!” His second, ‘Cold Songs,’ spotlighted Siffert with a string quartet. Lucid Culture praised the release, calling it “something entirely new… an extremely enjoyable, bracing ride.”
Matt Siffert (composer/lyricist/vocalist) is a New York City-based composer, songwriter, and bassist. He is committed to these duties as individual crafts, as well as exploring the connections between all three. Lucid Culture praised his interdisciplinary approach to music-making as “something entirely new.” He has premiered music locally and internationally, from Le Poisson Rouge in New York City to Villa La Pietra in Florence, working with groups such as Imani Winds, Wet Ink, Trio Kavak, and the International Contemporary Ensemble (ICE). He has been a finalist in the BMI John Lennon Scholarship, a fellow at the Johnny Mercer Songwriters Workshop at Northwestern University, and a member of The Singer-Songwriter Sessions at The Bitter End. He has performed in various capacities, from Cornelia Street Café’s ‘Classical at Cornelia’ series in New York to the Siena Jazz Festival in Italy. Matt Siffert grew up in New York City. He studied composition at The Juilliard School evening division with Conrad Cummings and Jonathan Dawe and received his Bachelor’s degree in music and psychology from Carnegie Mellon University, where he graduated cum laude and as a Carnegie Scholar. www.mattsiffert.com
Kristi Shade (harp) is based in New York City. She began playing the harp at the age of two and has since become one of the preeminent emerging harpists in the industry. Kristi received her Bachelor of Music degree from the University of Miami, where she studied with Valerie Whitcup. She went on to study with Susan Jolles at the Manhattan School of Music, where she received her Master of Music degree in 2007. Kristi is the Principal Harpist with The Chamber Orchestra of New York, with which she has recorded two albums on the Naxos record label. She also performs regularly with The Miami Symphony, The Argento Ensemble, One World Symphony and Ensemble 212. She is a founding member of the trio, The Gene Project, and the harp duo, Duo Scorpio. Kristi has made numerous television appearances, including The Today Show, Late Night with David Letterman and The Late Late Show with Craig Ferguson. She has collaborated and/or performed with artists such as Florence + The Machine, The The Killers, Sigur Rós, John Legend, Carlos Santana and Patti LaBelle.
Composed and performed by Pat Muchmore
PortRait_16,**NY2013 is a piece for cello, piano and electronic sounds both live and pre-recorded. Alternatingly meditative and violent—introspective and expressionist—the piece offers an abstract self-portrait of a composer and performer whose mind and voice is in a (hopefully reversible) decay into a fog of silence. The composer plays both instruments, but the electronic sounds constantly threaten to take over and efface his presence.
Pat Muchmore (composer/cellist/pianist) is co-founder of New York’s renegade punk-chamber group Anti-Social Music. He has studied with John Corigliano, David del Tredici, David Olan and Carolyn Bremer, and received a PhD from the City University of New York Graduate Center after acceptance of his dissertation “Humanity and Mechanicity in the Music of Nine Inch Nails.” Anti-Social Music recorded an album of his music entitled “Fracture: The Music of Pat Muchmore” which a Stanford Radio review described as “really crunchy, a kick in the balls – great stuff.” Pat has received awards from Meet The Composer, CUNY and The Copland Fund. Of his music, Time Out Chicago states: ’The chaos lies somewhere between John Zorn’s Naked City skronk and a nightmarish noir score, a little bit organ-grinder meet meat grinder. But there’s more to this than wild, antagonizing dissonance. Muchmore…has a fine ear for detail.’
Martha Mooke, (moderator) composer/electro-acoustic violist, a pioneer in the field of electric five string viola, transcends musical boundaries by synthesizing her classical music training with extended techniques, digital effects processing and improvisation. A Yamaha and Thomastik-Infeld Artist, she is a leading clinician on electric and progressive approaches to string playing including the use of electronics, extended techniques and improvisation.
Founder and violist of the electro-acoustic Scorchio Quartet, Mooke has played with Elton John, David Bowie, Philip Glass, Trey Anastasio, Bon Jovi, Enya, Lou Reed, Tony Bennett, Moby, and the Orchestra of St. Luke’s. She has toured with Barbra Streisand, Peter Gabriel, Andrea Bocelli, Sarah Brightman and “Star Wars in Concert” and is featured in the award winning documentary, “Inside the Perfect Circle”.
Mooke’s genre-defying recordings include Enharmonic Vision and Bowing’s Café Mars (duo with electric guitarist Randolph Hudson). Her catalog includes works for electric and acoustic instruments, film, theater, dance and multimedia.
She has received awards from ASCAP, Meet the Composer and Arts International among others. She was honored with an ASCAP Concert Music Award for conceiving and producing the new music showcase THRU THE WALLS featuring ASCAP composer/performers whose work defies categorization.
For more info: www.MarthaMooke.com
FOR STEFANOS TSIGRIMANIS
Composed and performed by Paul Pinto
Scored for two Caliphone turntables, guitar, voice and electronics, FOR STEFANOS TSIGRIMANIS is a haunting and meditative elegy dedicated to the young musician and scholar whose life was cut short after a bicycle accident in 2010. It is, in a sense, an accompaniment for a silent soloist.
Paul Pinto (composer/performer) is a New York native and a composer, vocalist and founding artistic director of thingNY. His music has been performed in the International Istanbul Film Festival, Glasgow’s Shakespeare in the City Festival, and by ensembles and performers including Pauline Oliveros, the BBC Scottish Symphony, the Cuarteto Latinoamericano, loadbang, the ai Ensemble and IKTUS Percussion Quartet. Paul is also a conductor and is an advocate of underrepresented experimentalists in classical music. At the helm of thingNY (called an “inventive new music cabal” by Time Out New York) Paul has recorded and performed the experimental opera, “ADDDDDDDDD”, and has premiered hundreds of works from emerging composers in thingNY’s five year existence. Paul has also led premieres of more established composers like Paul Burnell, Art Jarvinen, Kyle Gann, Gerard Grisey, and Robert Ashley. Paul has also released four albums: The Gentlemen, Every Note on the Piano, NUDES, and For Stefanos Tsigrimanis, and scenes from his ballet Miseke on DVD. His scores have been published by Deep Listening. http://www.pfpinto.com
PIANO QUINTET (BRING ME A GREAT COFFIN, IN IT I WILL PLACE MANY THINGS, BUT I WILL NOT YET SAY WHAT)
Composed by Jeremiah Lockwood
Featuring Shoko Nagai (piano), Jordan McLean (trumpet), Dean Buck (tenor saxophone), Anneke Schaul-Yoder (cello), Pauline Kim (violin)
PIANO QUINTET (BRING ME A GREAT COFFIN, IN IT I WILL PLACE MANY THINGS, BUT I WILL NOT YET SAY WHAT)—a new work created especially for Music With a View. The piece draws inspiration form the Classical period and the of early experimentation with sonata form, as well as from Saharan folk music and various dreams.
Jeremiah Lockwood (composer) is best known as the leader of the world-exploring rock band The Sway Machinery. He has branches pointing in many directions—early blues, the Cantorial tradition of his family, West African popular music. This latest piece is a continuation of his work for chamber ensembles that got jump started during Jeremiah’s participation in the Brooklyn Philharmonic Orchestra composer fellowship.
Miguel Frasconi is a composer/performer who uses electronics, laptop, and an instrumentarium of glass objects to create music from a uniquely imagined tradition. His unique glass instruments are struck, blown, stroked, smashed and otherwise coaxed into vibration. His compositions include chamber music, operas, film music, and dance scores. Miguel has worked closely with composers John Cage, Jon Hassell, James Tenney, Morton Subotnick, and has composed over three dozen dance scores including collaborations with modern dance pioneer Anna Halprin. In September 2012 his CAGE100 Festival @ The Stone was called “one of the best observances of John Cage’s 100th birthday” by the New York Times and included performances by his ensembles The Noisy Toy Piano Orchestra and the John Cage Variety Show Big Band. Miguel’s music has been released on New Albion Records, Porter Records, and a recording of his string quartets featuring the JACK Quartet will be released in 2013 on the Tzadik label. Miguel is currently a visiting professor at the Bard College Electronic Music Studios. (www.frasconimusic.com)
WITHIN AND WITHOUT
Composed and performed by Michael Century
WITHIN AND WITHOUT, for accordion and electronics, uses the rich expressive control and timbral palette of the accordion to “drive” a music of rhythmic pulsation. The piece is in a popular idiom, and its title refers to the George Harrison song “Within You and Without You”, which provides some of the melodic motifs. The electronic modules are the classic filters and samplers that have been around since analogue days, and the central instrumental technique used in the piece is the tremolando effect – shaking the accordion in fast rhythmic repetition – usually synced tightly with the electronic pulsation.
Michael Century (composer/soloist) is Professor of Music and New Media at Rensselaer Polytechnic Institute (RPI) America’s oldest technological university, renowned for its programs in experimental music and media arts. A concert pianist, composer, and accordionist, he is also the Director of the Rensselaer Contemporary Music Ensemble, which has performed over sixty 20th century works in programs presented at Rensselaer’s Experimental Media and Performing Art Center since 2008. His academic degrees are in musicology and piano performance, and he also did advanced studies with Nadia Boulanger, electronic music and orchestral conducting. His performances and compositions have been programmed in prestigious festivals and concert series throughout North America. www.nextcentury.ca
HOW FAST IS EVIL?
Composed and performed by Leo Ciesa and Julie Joslyn
HOW FAST IS EVIL? is the US Premier of new compositions by ICONOCLAST, the duo of Julie Joslyn and Leo Ciesa. This distinctly original genre-busting program explores new ideas for duo performance, including an orchestral approach to arrangement where instruments may be used in atypical and unexpected ways, creating a larger than duo impact. Composition and improvisation exist side by side with dramatic shifts in mood, timbre and intensity. HOW FAST IS EVIL? takes you on an adventure with surprising twists and turns. Be prepared for a unique and uncompromising evening of music. Not for the faint of heart. ICONOCLAST is a duo from New York City comprised of Julie Joslyn (alto saxophone, live electronics, violin, vocals) and Leo Ciesa (drums, percussion, keyboards, vocals). Ciesa and Joslyn have been composing and performing together since the beginning of 1987 and have developed a bold and distinctive sound. ICONOCLAST’s music and performance is known for its intensity, physicality and “larger than duo” impact. Acoustic and electronic sounds exist side by side as the music moves between improvisation and composition without stylistic limitation.
ICONOCLAST has performed extensively throughout the United States, Canada and Europe. Ciesa and Joslyn have also performed at numerous renowned festivals, including the Avantgarde Jazz Festival in Imola, Italy; Audio Art Festival in Krakow, Poland; Sziget Festival in Budapest, Hungary; International Ring Ring Festival in Belgrade, Serbia; Pohyb-Zvuk-Prostor Festival in the Czech Republic; II Festiwal Muzyka z Mozgu in Bydgoszcz, Poland; Interzone International Festival in Novi Sad, Serbia; The Humanisticni Maraton in Slovenia; The DUMBO Arts Festival, Festival of Women Improvisers and NYU Independent Music Fest, in New York City. The duo performed regularly at the now legendary New York clubs CBGB and the original Knitting Factory. ICONOCLAST has been featured on various radio and television programs worldwide. Joslyn and Ciesa have done numerous radio and television interviews as well as a live on-the-air concerts including WFMU, WBAI and TV Metropolis (Belgrade). ICONOCLAST composed and performed the title theme music for the cable television series Labor at the Crossroads, and has been featured on the TV series Welcome to Nocturnia (The Art World). The duo composed and performed the music for the documentary film Savage Acts: Wars, Fairs and Empire and the website The Lost Museum (American Social History Productions, Inc.). ICONOCLAST’s music provides the soundtrack for the short films The Bench (Poland, 2010) and Con gli occhi di domain/With Tomorrow’s Eyes (Italy, 2006). ICONOCLAST contributed compositions to the compilation CDs “The NYFA Collection: 25 Years of New York New Music” (Innova, 2010) and “Transforms: The Nerve Events Project” (Cuneiform, 1993). The duo has collaborated and performed with noted Polish poet Andrzej Dorobek. Ciesa and Joslyn have received grants from Meet the Composer and from Arts International: The Fund for U.S. Artists at International Festivals and Exhibitions and are recipients of Artist’s Fellowships in Music Composition from the New York Foundation for the Arts.
ICONOCLAST’s CDs “Dirty Jazz” (2010), “The Body Never Lies” (2006), “The Dreadful Dance” (2005), “Paradise” (2000), “Blood is Red” (1995), “The Speed of Desire” (1992) and “City of Temptation” (1990), all on Fang Records, as well as “In the Vodka Garden” (2005) on the Russian label Record One and the cassette “Sins of New York” (1989), have been enthusiastically reviewed in publications such as The Village Voice, All About Jazz, Cadence, Jazzwise (UK), Tone Clusters, EAR, Creem, Option, New York Review of Records, Toronto Eye Weekly, The Gazette (Canada), The London Free Press, Margen (Spain), Il Manifesto (Italy), La Republica (Italy), Rumore (Italy), Rockstar (Italy), Music Club (Italy), Batteur (France), Informator ‘ARS’ 2 (Poland), Dziennik Polski (Poland) and Afisha (Russia).
Leo Ciesa (drummer/percussionist/pianist/vocalist) is based in New York City. In addition to ICONOCLAST he has a solo project and recently released the CD “Coat of Arms — Music for Solo Drumset” (Soundyard). He is also a member of the octet Doctor Nerve with whom he has performed at renowned festivals such as Moers Jazzfestival (Germany), FIMAV (Canada), Mimi (France) etc. He is on the Doctor Nerve recordings “The Monkey Farm” (Punos Music), “Ereia,” “Every Screaming Ear,” “Skin,” “Beta 14 OK,” “Did Sprinting Die?,” (Cuneiform Records), and on “Live at the Knitting Factory, Vol. 3” (A&M Records). He is also on Micro-East Collective’s CD “Out of My Face” (Umbrella) and Larry Polansky’s “Change” (Artifact). Leo Ciesa also teaches drums. He has an endorsement with Pro-Mark drum sticks. www.leociesa.com.
Julie Joslyn (saxophonist/violinist/vocalist) is a native New Yorker. She studied for a number of years with soprano saxophonist and composer Jane Ira Bloom. She has played with the Indian-influenced rock quintet Church of Betty, and can be heard on MacLean and Ponomarenko’s album “Music Without Computers” and as guest screamer on Doctor Nerve’s “Skin.” In addition, she is a practicing psychoanalyst and painter.
Composer/pianist Jed Distler is Artistic Director of ComposersCollaborative, inc., a 2012 ASCAP Deems Taylor Award Winner, and a regular contributor to Gramophone and Classicstoday.com. Upcoming events include the Make Music New York premier of Broken Record – his new work for 175 keyboards, plus solo piano recitals encompassing Thelonious Monk’s complete songs in one program. For full details of Jed’s rich musical life, visit www.jeddistler.com.
SHOKO NAGAI & SATOSHI TAKEISHI’S ABYSM
Composed, processed and performed by Shoko Nagai
Drums and electronics by Satoshi Takeishi
Shoko Nagai/ Satoshi Takeishi’s ABYSM3 – artist line up :Shoko Nagai (piano, processing/ compositions)
Satoshi Takeishi ( Drums/ Electronics)
ABYSM is a series of compositions by Satoshi Takeishi and Shoko Nagai incorporating Piano, Accordion, Organ, Percussion and several other acoustic instruments with electronics to explore the possibilities of the sound texture as well as the musical elements. Their goal is to express the “abyss” of the fundamental elements of the sound. The compositional style includes Jazz, contemporary classical music and free improvisation. They music has been described as “almost visible to the listener”.
Shoko Nagai (composer/pianist/improviser) was born in Nagoya, Japan. She has been evolving as a professional musician for 18 years. After graduating from Berklee College of Music in 1999, she moved to New York City and quickly established herself in the downtown jazz scene performing with such renowned artists as John Zorn, Rasheid Ali, Matana Roberts, Miho Hatori (Cibo Matto), Frank London, Satoshi Takeishi, Butch Morris, and Elliot Sharp, to name a few. Shoko Nagai has performed extensively at the Blue Note, The Stone, Joe’s Pub, Vision Festival, Roulette and The Kitchen as well as at other top New York venues. Nagai and Takeishi curated one month at The Stone in 2009. Nagai has performed in Paris (at Banlieues Bleues, 2012), in Switzerland (at Rote Fabrik, 2012), in Holland (at Bimhuis, 2012), in Germany (at Club Maniufactur, 2012) in Sweden (at the Nobel prize ceremony, 2009 for a German writer, Herta Muller), Norway (Natt jazz festival, 1998), Germany (Moers jazz festival, 2006), Japan, Switzerland, Brasil (resfest, 2007), Israel ( at Romanian Institute, 2011), Canada (Suoni Popolo festival, 2008) and United States (Freihofer’s Jazz Festival, 2008). She has received numerous grants from NYFA (2010), JazzJaunts” (2008). She also composes and performs for film scores. Her works includes, a French film L’AMOUR CACHÉ (2007) directed by Alessandro Capone, conducted by Butch Morris. A Japanese film Starfish Hotel (2006), directed by John Williams. She is currently composing for a Japanese TV network “NHK” documentary Things Left Behind, directed by Linda Hoaglund. a documentary film ANPO (selected 2011 Toronto Film Festival, Vancouver Film Festival, Hong Kong Film Festival, Poland Film Festival) directed by Linda Hoaglund, which is showing world wide and Guggenheim Museum in NYC.
Satoshi Takeishi (drummer/percussionist/arranger) is a native of Mito, Japan. He studied music at Berklee College of Music in Boston. While at Berklee, he developed an interest in the music of South America and went to live in Colombia at the invitation of a friend. He spent four years there and forged many musical and personal relationships. One of the projects he worked on while in Colombia was “Macumbia” with composer/arranger Francisco Zumaque in which traditional, jazz and classical music were combined. With this group he performed with the Bogota Symphony Orchestra to do a series of concerts honoring the music of the most popular composer in Colombia, Lucho Bermudes. In 1986, he returned to the U.S. and he began work as an arranger in Miami. In 1987, he produced “Morning Ride” for jazz flautist Nestor Torres on Polygram Records. His interest expanded to the rhythms and melodies of the Middle East where he studied and performed with Armenian-American oud master Joe Zeytoonian. Since moving to New York in 1991, he has performed and recorded with many musicians such as Ray Barretto, Carlos “Patato” Valdes, Eliane Elias, Marc Johnson, Eddie Gomez, Randy Brecker, Dave Liebman, Anthony Braxton, Mark Murphy, Herbie Mann, Paul Winter Consort, Rabih Abu Khalil, Toshiko Akiyoshi Big Band, Erik Friedlander and Pablo Ziegler to name a few. He continues to explore multi-cultural, electronics and improvisational music with local musicians and composers in New York. http://home.earthlink.net/~takeishi/
CHRISTY & EMILY AND THE LIBERAL ARTS
Guitar and vocals by Christy Edwards
Piano and vocals by Emily Manzo
Featuring Rachel Cox (percussion, voice), Kristin Mueller (drums), Peter Nye Kerlin (bass), Karen Waltuch (viola), Brock Monroe (light show)
Psychedelic chamber-folk musicians CHRISTY & EMILY will be joined by their extraordinary backing band THE LIBERAL ARTS. The group will perform their own music, including the premiere of a collaboration with composer and bassoonist, Katherine Young.
Christy & Emily, an Experimental folk-pop duo, is comprised of Christy Edwards, a self taught indie-rock guitarist and Emily Manzo, a classically trained pianist. The duo began writing music together after their band with Walter Martin of The Walkmen dissolved. Since their 2006 debut on The Social Registry, they have toured in the US and extensively in Europe. Their second record was made in Emily’s basement apartment and found itself on Robert Lloyd’s UK label, Big Print. In 2009 and 2011 they recorded two albums with producer Hans Joachim Irmler of Faust in the German countryside. At home in New York they have performed at Le Poisson Rouge, The Brooklyn Museum, The Knitting Factory, The Stone and Joe’s Pub, often collaborating with musicians from both rock and avant-garde classical worlds. Recently the duo has had the great honor to develop a concert with Brock Monroe of The Joshua Lightshow and perform with him throughout Germany, Austria, Switzerland and the Czech Republic. They are also delighted to say that their music can be heard in the film Nancy, Please (2012), directed by Andrew Seamans and winner of the World Narrative Competition at the Tribeca Film Festival. www.christyandemily.com
Over many years Christy & Emily have forged a songwriting style that melds haunting vocal harmonies with jagged guitar swells and vintage electric piano/organ dreaminess. For the latest album and tours, they have built up their sound by adding vocalist Rachel Cox (Oakley Hall, Rain Machine), Peter Kerlin (Chris Forsyth, Source of Yellow) on bass and Kristin Mueller (Gloria Deluxe, Cynthia Hopkins) on drums. In their more subtle formation as a duo, Erik Satie’s First Gymnopédie does not feel out of place during a surprise appearance in their tune “Lover’s Talk.”
“In Christy & Emily’s music, we find unconventional rockers with Brazilian baiao rhythms seated in a psychedelic netherworld, suicide ballads invoking the sordid tales in the Harry Smith Anthology and chords borrowed from Schumann and Liszt with a chorus that nods to Brian Wilson.”
–Digital In Berlin
“Like Arthur Russell jamming with Galaxy 500.”
“[Their music] comes on as soft-edged pop with ghostly bits of melody held together by heavenly harmonies. But there’s something unsettling beneath the Wurlitzer organ wubwub and Christy’s reverb-drenched guitar. Doomy minor chords jut out and harmonies diverge as the two ladies sing of evil thoughts and bad dreams. Before long, their overt innocence feels like a crafty, almost creepy shadow play.”
© 2015 The Flea Theater. Site design by Thinkso Creative