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ACME Observatory
Fall 2001 Season


Sunday September 9
8pm

Funding from Meet The Composer, Inc. is provided with the support of National Endowment for the Arts, ASCAP, and Virgil Thomson Foundation.

 

john cage's 89th birthday
Christopher Shultis
performs john cage's child of tree [1975] for amplified cactus along with his own composition 64 Statements re: and not re: Child of Tree [1989] for amplified cactus, speaker, percussion and four-channel tape.

in addition, we will present other works covering the entire range of cage's career, including Sonata for Clarinet [1933], Radio Music [1956] for 8 radios and Seven(2) [1990] for 7 low instruments performed by the sfSound group.
[steve adams bass flute, matt ingalls bass clarinet, toyoji tomita bass trombone, hugh livingston cello, eli crews contrabass, chris froh percussion]

 





Sunday September 16
8pm

Copresented with New Langton Arts
$10 general, $8 Langton members.

     

From Germany and Boston!
Axel Doerner/Greg Kelley [trumpets]
Andrea Neumann [innenklavier]
Bhob Rainey [saxophone]
Shoko Higake
[koto]

This September, two of Berlin's most renowned experimental musicians, Axel Doerner and Andrea Neumann , tour the United States with nmperign , Boston's acclaimed duo of Bhob Rainey and Greg Kelley.

Doerner and Kelley represent the forefront of innovation on their chosen instrument - the unlikely trumpet. In parallel, they have found ways to transform the traditionally unsubtle bad boy of the brass family into an instrument of intimate detail and variety, adding breath and an understated humor to a palette of sounds often associated with electronic music.

A similar case can be made for Rainey , whose music has challenged the role of the saxophone (specifically, the soprano saxophone) even in the well-trammelled field of experimental music. Distinctly un-saxophone-like sounds mingle with pure tones, multiphonics (split-tones), and a host of unnameable outpourings in a microtonal universe far removed from the well-tempered dungeon of Western Europe.

Andrea Neumann's instrument, the innenklavier (inside-piano), has a distant relationship with the well-tempered world - it is a custom-made inside-of-a-piano that Neumann prepares with kitchen-sink ingenuity (literally including items from the kitchen). But don't expect the orientalisms of John Cage's prepared piano works - Neumann's is a microscopic universe where noise scratches at the edge of silence.

The group's history is as follows: During a protracted stay in Chicago, Rainey met Doerner and performed with him in (cellist) Fred Lonberg-Holm's Lightbox Orchestra. The two developed a friendship at a post-concert jazz jam session, both musicians having a semi-secret jazz past. Later, when nmperign was planning a fall 2000 European tour, Doerner put them in touch with Neumann, who books a venue in Berlin called "Kule". On that tour, nmperign spent a week in Berlin and discovered a close affinity with the music of Doerner and Neumann. By the end of that week, plans were being hatched for a U.S. tour (to follow several concerts in Germany which happened this past spring), of which this is the outcome: a tour that lasts from September 2nd to October 2nd, 2001 and covers the continental U.S. - a schedule typical for nmperign, known for having the road stamina of a punk band.

Axel Dörner (b. 1964) - trumpet
Studied piano and trumpet (with Malte Burba) at the Musikhochschule, Cologne. Moved to Berlin in 1994. He has performed with numerous internationally respected figures (Schlippenbach, Fred Lonberg-Holm, Jim O'Rourke, Kevin Drumm, Sven-Ake Johansson, etc.) in the fields of Improvised Music, New Music and Jazz. He has developed a totally unique style of trumpet playing based in part on unusual, often self-invented techniques that seem to cross the boundary between electric and acoustic sound, although no electronics are used. He has toured in Europe, USA, Australia, Japan and appeared on numerous CD and record releases.

Greg Kelley (b. 1973) - trumpet
Studied classical trumpet at the Peabody Conservatory in Baltimore. There, in a small studio at night, he began, with a few like-minded individuals, to develop his approach to the trumpet - one filled with unique preparations and extended techniques that defy acoustic expectations. He has performed in the U.S., Europe, and Japan with highly respected musicians (Kevin Drumm, Donald Miller, Keiji Haino, Michael Zerang, etc.) and has appeared on numerous CDs.

Andrea Neumann (b.1968) - innenklavier (custom-made portable instrument)
Studied piano at "Hochschule der Künste" in Berlin. In the process of exploring the piano for new sound possibilities she has reduced the instrument to strings, resonance board and metal frame. With the help of electronics to manipulate and amplify the sounds, she has developed numerous new playing techniques, sounds, and ways of preparing the dismantled instrument. She has worked intensively in the crossover area between composition and improvisation with musicians such as Annette Krebs, Axel Dörner, John Edwards, Kaffe Mathews, Phil Durrant, and Sven-Ĺke Johansson in a range of festivals at home and abroad. She has also composed for interdisciplinary projects such as film, dance and performance.

Bhob Rainey (b.1972) - soprano saxophone
Studied composition at the New England Conservatory. In 1996 he began to cultivate an approach to the saxophone that utilizes both the extreme possibilities of sound available on the instrument and the extreme ends of the dynamic spectrum, tending towards silence. He has performed with numerous internationally recognized musicians (John Zorn, Kevin Drumm, Fred Lonberg-Holm, Jerome Noetinger, etc.) in the U.S. and in Europe and has both produced and appeared on numerous CDs.

Shoko Higake will open the evening with a koto solo.
She is a newcomer to the bay area experimental music scene and moved here from Tokyo where she was a student of the great koto masters, Tadao Sawai and  Kazue Sawai. Shoko is 30 and has played koto since she was 3. She is a very innovative player with a very strong sound and a unique approach. Her new solo cd shows her to be one of the restructrularists on her instrument.




The Second Annual
Trio Festival
the improvising trio as a powerful collaborative tool pioneering
some of the most innovative musical vocabularies in contemporary music today

Friday September 28 8pm
Steve Adams Trio Steve Adams, Adam Lane and Scott Amendola with guest Ken Filiano
Matthew Sperry, Tim Perkis and Matt Ingalls

Friday promises to be an wide-ranging evening of high-energy, far-ranging, improvised excitement. We are lucky to have a reprise performance by Steve Adams's trio, whose energetic, forward-looking jazz absolutely burned at last year's Trio Festival. Drummer Amendola's playing combines hard-hitting grooves with sensitive, intricate stickwork to form a perfect counterpoint to Lane's versatile, highly melodic bass playing and Adams's fiery sax work. Special guest bassist Ken Filiano, a veteran of many of leader Vinny Golia's bands, will be sitting in during a rare west coast visit.

Complementing the jazz-based improvisations of the Adams trio, bassist Sperry, clarinetist Ingalls, and computerist Perkis expand the textural resources of their instruments to create spontaneous, trenchant interactions. Pure 21st century art music!

Saturday September 29 4pm
Phillip Greenlief, Ken Filiano and Donald Robinson
Ronald Thompson, Joseph Sabella and Dan Plonsey Trio
Philip Gelb, Shoko Hikage
Sing Sang Sung
Ernesto Diaz Infante, Damon Smith and Bob Marsh

Sunday September 30 4pm
ReTrace Jon Raskin, George Cremaschi, Garth Powell
Splatter Trio Dave Barrett, Myles Boisen and Gino Robair
Vorticella
Finger Puppet Joshua Brody, Ralph Carney and Kevin Mummey
Mixed Signals Tom Duff, Alan Brightbill and Tom Bickley




Sunday October 7
8pm - [$zero to $20, sliding scale]

Cornelius Cardew's classic graphic work:
Treatise


with special guest bassoonist Sara Schoenbeck

Twenty years after his death, Cornelius Cardew is still a figure to be reckoned with in the British avant-garde. His intense political engagement caused him to question everything about the hierarchical, often authoritarian nature of musical society and about the composer's role in it. (In the 1970's he became a Maoist and repudiated most of his own best work as decadent and elitist!) His Treatise (1963-1967) is a mammoth, intricate 193-page graphical score that undermines the composer's authority by, rather than indicating what and how to play, guiding and focusing performers' creative impulses. The performers are given no instructions on how to interpret the beautiful but often enigmatic score, but rather must arrive at their own conclusions about the notations, much as we normally use works of art, letting the marks of the page speak to us and making our own interpretations and readings through observation and conversation with our peers. On some level this reverses the usual relation of performer to score: normally the player pulls the music from the score, in Treatise the score draws the music from the player.

Treatise is a work of monumental proportions, so tonight's performance will cover only the first half of the work, to be completed at our October 21 concert. The ensemble for this show consists mostly of stalwarts of the Bay Area improvised music scene. The group is heavy on guitars, with John Shiurba and Myles Boisen of the duo Uncle , and eminent avant-rocker (and Mills College professor!) Fred Frith . Rounding out the lineup are percussionist and organizer Gino Robair , Bill Hsu playing laptop and synthesizers, Matt Ingalls on clarinet, Matthew Sperry on bass, and a special guest: Bassoonist Sara Schoenbeck from Los Angeles.

Sara Schoenbeck will play a solo set to open the concert.





Sunday October 14
8pm - [$zero to $20, sliding scale]

Carol Genetti
voice, with
Bob Marsh cello

Pithot guitar duo by
Tom Boram and Jerry Lim

  Carol Genetti is one of the few vocal artists in the United States today who is solely dedicated to free improvised and experimental music. Mixing music idioms-such as jazz scat, Bulgarian folk singing, and extended vocal techniques. Genetti's non-verbal sound palette has a surprising depth and breadth. She has been described by Achy Obejas of the Chicago Tribune as "...a vocalist whose singing is, perhaps, an acquired taste in the same way as steak tartar or sushi... once you hook into it, it's really quite exquisite, almost otherworldly." Genetti has performed throughout the US, Canada, and Europe and has performed with Tatsu Aoki, Pauline Oliveros, Yuko Nexus Kitamura, Eric Leonardson, Bob Marsh, Michael Zerang, Jack Wright, Saturo Wono, and George Flynn.
The men of Pithot, a Mr. Jerry Lim and a Mr. Thomas Boram, have revealed the soft evil underbelly of improvised music by dragging their acoustic guitars across the walls of a highway underpass and also by frequently playing secret concerts for possibly no people every weekend at remote sites inside the innards of Baltimore and New York. These concerts have made clear the exact link between certain strands of the more tasteless industrial music of the early eighties as well as finding the more obvious connections between the American aleotoric tradition and the gut bucket blues of the Mississippi delta.




Sunday October 21
8pm - [$zero to $20, sliding scale]

Cornelius Cardew's classic graphic work:
Treatise


Twenty years after his death, Cornelius Cardew is still a figure to be reckoned with in the British avant-garde. His intense political engagement caused him to question everything about the hierarchical, often authoritarian nature of musical society and about the composer's role in it. (In the 1970's he became a Maoist and repudiated most of his own best work as decadent and elitist!) His Treatise (1963-1967) is a mammoth, intricate 193-page graphical score that undermines the composer's authority by, rather than indicating what and how to play, guiding and focusing performers' creative impulses. The performers are given no instructions on how to interpret the beautiful but often enigmatic score, but rather must arrive at their own conclusions about the notations, much as we normally use works of art, letting the marks of the page speak to us and making our own interpretations and readings through observation and conversation with our peers. On some level this reverses the usual relation of performer to score: normally the player pulls the music from the score, in Treatise the score draws the music from the player.

Where the ensemble for the first half of Treatise (presented October 7) was weighted towards guitarists, tonight's group features percussionists: Karen Stackpole on gongs and small metal items, Moe! Staiano on junkyard detritus and industrial mechanalia, eclectic trap-drummer Garth Powell and Tom Nunn , builder of ineffable insectoid mutant metal marimboids. Complementing this varied battery will be Hugh Livingston's cello, Brett Larner's koto, Tim Perkis's laptop controlled vintage digital synthesizer, George Cremaschi's double bass, Phil Gelb's shakuhachi and Tom Bickley's recorders.





Friday October 26
8pm - [$zero to $20, sliding scale]

Maggi Payne

Goodheart-Allen-Powell Trio
"...these three San Francisco bay area musicians are neither young lions or grizzled seniors, which renders them relatively difficult to market in a genre glutted with releases. These three have however been around the block enough times to have jettisoned their influences, and have long since set course to hone and amplify their artistic voices.

In recent years, Pianist Matthew Goodheart's discography has begun to flourish, represented by a handful of discs as a leader (Ninewinds & Meniscus Records), two sessions as a co-leader for Cadence Jazz Records with bassist Dominic Duval and mystic trumpeter extraordinaire Wadada Leo Smith, and recorded as a sideman with the likes of saxophonists Marco Eneidi, and the late Glenn Spearman.

Percussionist Garth Powell spent the better part of the nineties working all over the bay area as a sideman, and can be heard on recordings with Eugene Chadbourne (Leo Records), Gianni Gebbia (Rastascan), and Eneidi to name but a small portion of his varied activities.

This session marks the recording debut of tenor saxophonist Josh Allen, although as evidenced by his assured sound and technical command picked up while cutting his teeth with living legends such as Cecil Taylor and Reggie Workman, correcting this oversight was just a matter of time.

To properly consume the music at hand, once must throw caution to the wind, forget all about noise-floors and other such audiophile concerns and crank this mother up. If not, the subtlety, and hence the crux of what this trio is trying to convey in their music would be lost. Besides, this trio's music takes precedence over individual solos, making it more difficult to fathom without close inspection as voices emerge, contribute a variety of hues to the palette, and then quickly veer off on another path. Musical forms are left loosely constructed only to be dissected and reinvented with fervor. In other words, this is creative improvised music at its most vivid.

Goodheart is a discreet, yet formidable presence, less inclined to take flight himself, and instead tends to favor lending his comprehensive technique with eloquent restraint. His offerings are full of craggy note choices and knotty chords, sensitive modulations, and deft, often outright bent, tonal nuance. Powell serves as a keen foil with an exceptional ear, resisting the temptation to burry his partners in the mix, and instead finding ways to intuitively assert himself while concurrently complimenting and contributing to the ebb and flow of the music with acute use of skittish patterns and a propulsive, seemingly elastic sense of time. Together, the two create a sometimes menacingly somber, often ominous thicket of textures for Allen to work with, but he responds admirably with tumultuous flurries of his own, aided by his adept sense of phrasing and pacing, enabling him to cut jagged, roughhewn lines or alternately taking a reflective fork in the road with laconic musings and asides. I Can Climb A Tree, I Can Tie A Know, I Can Have A Conversation is impassioned, highly unpredictable, ruminative, and often times surreal, without sounding prosaic and insular, and therefore an anomaly, and quite a find in the 21st century."


Jon Morgan Minneapolis, MN 8/4/01




  Maggi Payne will open the evening with a set of electroacoustic compositions with video.

 





Sunday October 28
8pm - [$zero to $20, sliding scale]


Konk Pack
Thomas Lehn (D) analogue synthesizer Roger Turner (GB) drumsets and percussion Tim Hodgkinson (GB) flat guitar, electronics, cl, sax

The group met at Szuenetjel Festival in Budapest 1997. Tours in Italy 1998 and Netherlands 1999 followed. In 2000, Konk Pack are touring in UK, Germany and Canada and perform various other festivals.

CD "BIG DEEP" release in Dec. 1999 on GROB, Cologne/D (GROB.102)

"Collectively improvised music comes in many forms, with as many degrees of success. Only some genuinely presses the envelope, pushing into a terrain where the unknown can happen and where even the best players encounter risk. On that transcendent scale, the trio Konk Pack - Tim Hodgkinson on table-top guitar and clarinet, Thomas Lehn on synthesizer, and the wondrous Roger Turner on percussion - fared best among the groups at this festival [Festival International Musique Actuelle Victoriaville, May 2000], creating music in which a barrage of discreet particles bounced around, colliding in a universe in which chance and interactivity blurred into one another. Playing at one o'clock on Saturday afternoon in the festival's smallest venue, Konk Pack established a benchmark by which other improvisers' performances would inevitably be judged."
Bill Smith, Coda Magazine, June 2000

"Definitively the best fusion of acoustic and electronic sound of the festival."
Nicolas Tittley, Voir, Montreal, 25-31 May 2000

"As for pure total improvisation, the verdict on german-english trio Konk Pack was unanimous. Even listeners unreceptive to improvised noise (bending frequencies and sound-textures via an analog synth, manipulation of a guitar on a table, free percussion, etc) were won over by these subtle sonorities superbly segued, magnificent interplay."
Alain Brunet, La Presse, Montreal, 23 May 20












Sunday November 4
8pm - [$zero to $20, sliding scale]

David Gross
Jesse Canterbury

  Labeled as "One of Boston's steadfast explorers," by Bob Blumenthal of the Boston Globe, saxophonist and clarinetist David Gross discovered the world of improvised music while studying with Yusef Lateef at Hampshire College. He has performed with Le Quan Ninh, Eddie Prevost, Steve Roden, Martin Tetrault, Kaffe Matthews, Glenn Spearman, Raphe Malik and many members of the Boston free-improv scene including Bhob Rainey, Greg Kelley, and Laurence Cook.

Currently, Gross is transforming the saxophone into exactly what it is: a metal tube with keys, mouthpiece, and a reed. Reviews of his recordings, on his own Tautology label with ensembles EED and FETISH , have been as varied as "The range of textured noise that he cajoles from his instrument is impressive" to "lengthy episodes of fingernails ripping at a blackboard." He has performed throughout the US.

For his ACME performance, Gross will be joined by local favorites Matthew Sperry on contrabass and Gino Robair on percussion.

Seattle-based clarinetist Jesse Canterbury has performed new music in a variety of different contexts, ranging from modern classical music through chamber-style free improvisation to unrestricted energy music. His solo playing draws from a nonlinear approach to the clarinet and includes large vocabulary of extended techniques. As an ensemble player, he has worked and performed with George Lewis, Butch Morris, the Shaking Ray Levis, Walter Thompson, Philip Gelb, Matthew Sperry, Gino Robair, and Kevin Drumm. Since moving to Seattle in August 2000, he has performed with Seattle improvisers Angelina Baldoz, Paul Hoskin, Greg Sinibaldi, Reuben Radding, Bob Rees, and Mark Collins. Most recently he can be heard as clarinetist with the quartet Vena Cava, which recently shared a bill with the Barre Phillips String Trio. He is currently studying clarinet with Francois Houle and William O. Smith.

Mr. Canterbury's solo performance will consist of improvisations and three compositions: Eric Dolphy's "Something Sweet, Something Tender," William O. Smith's _Five Fragments_ for double clarinet (1977), and [what is probably] the California premier of Smith's _Sumi-e_ for clarinet and tape (2000).

 







Monday November 5
8pm - [$zero to $20, sliding scale]

Saadet Türköz
solo voice

Saadet Türköz gave an amazing performance to a packed house this past February and we are pleased to have her back! She sings traditional Kazakh and Turkish folk songs with contemporary interpretations characterized by striking intensity, emotion, and beauty. Her only solo performance in this bay area visit, this event is not to be missed!

Born 1961 in Istanbul, Saadet Türköz currently lives in Zurich, Switzerland. Looking to transform memory, Saadet seeks to evoke pictures and atmosphere by means of voice and music which transcend cultural boundaries. She states that memory everywhere and everytime is the same - not changeable - but the expression is different: Individual perception develops a universal impression of the cultural life.

In addition to her frequent solo concerts, she regularly performs in duos, trios or bigger formations with free improvising jazz musicians - working with musicians such as Elliot Sharp, Gianni Gebbia, Carl Rüdiger, and Werner Luedi.









Thursday November 8
8pm - [$zero to $20, sliding scale]

Jack Wright & The Bay Plus Nonet
Jeffrey Allport and Tim Olive
  This nonet is one of several large groups jack wright has been organizing in north america, a project over the past three years, two previously in the bay area. All free improvisers speak a common language--one based on listening to each other--and so playing itself is the basis for a very unusual kind of community, unique to this kind of music. The large group project is a means to experience this and evolve musically from it, by always incorporating different players, and alternating players from earlier sessions. Players from the bay area, in this case, are combined with three traveling improvisers, Jack Wright from Boulder, saxes, Jeffrey Allport, percussion, and Tim Olive , guitar, both from Victoria, B.C. Canada. The players from the bay area will be Bob Marsh, cello, voice; John Shiurba, guitar; Morgan Guberman, bass; Tim Perkis, electronics; Matt Ingalls, reeds; Matt Sperry, bass; Karen Stackpole, percussion. Some of us have played together before, some will be hearing each other for the first time.

In this project, there is no implication that all the players who might be appropriate are included at any one session; each grouping is for that time only. Also, some balance of instrumentation is followed in choice of players. Finally, an effort is made to find players who are attracted to blending sonically with others, rather than limited to jazz-based playing, which requires smaller groupings and soloing. In this session we leave our solos behind and discover the ever-new ways of experiencing group listening and playing. --jack wright

The duo of Jeffrey Allport (percussion) and Tim Olive (guitar) began in Vancouver in 1996, continuing intermittently with both spending extended lengths of time in Japan. Since forming, the two musicians have developed a unique voice, avoiding the typical dynamics and textures of percussion/guitar pairing. They have released two CDs, each showcasing the duo's fine sense of empathy and improvisatory subtlety. Both use a variety of atypical techniques to liberate a palette of sounds not commonly associated with their respective instruments. Eschewing the grand gesture, Allport and Olive inhabit minute sound worlds, respecting each carefully extracted sound and the silence from which they are borne.

Both musicians share aversion to the clichés of much improvised music, allowing them to move toward a high degree of abstraction. There is a willingness to allow the sounds lead the way, an attempt to "allow sounds be themselves" (Cage), and an avoidance of the use of sound as symbol. An investigation into the nature of sound itself, and its effects.

Allport and Olive 's unique approach and shared vision places them in a unclassifiable territory, perhaps somewhere between European non-idiomatic improvisation and contemporary electronic composition; two of their key influences. They also acknowledge various Asian traditional musics, musique concrete, and numerous twentieth century composers, in particular John Cage, as being key influences in their work. In addition to the philosophies of Cage, the duo also has an ideological kinship with the Japanese Onkyo movement.

Individually and as a duo, Allport and Olive have worked with some of the leading practitioners of improvised music. Former collaborators include British saxophonist John Butcher, Australian guitarist Oren Ambarchi, and Canadian turntablist Martin Tetreault. While in Japan performances and recordings have taken place with Yamamoto and Yoshimi (Boredoms), Uchihashi Kazuhisa (Ground Zero/Altered States), Tsuyama Atsushi (Acid Mothers Temple), Sugimoto Taku, Nakamura Toshimaru, Masonna, and Solmania. The two have also been involved in soundtrack work, multi-media events, sound art, and collaborations with Japanese butoh dance groups, including the renowned Dairakudakan.








Sunday November 11
8pm - [$10/$8]

Special Location!
Berkeley Art Center
1275 Walnut Street
Berkeley, California

The Cornelius Cardew Choir
performing
Cornelius Cardew's The Great Learning, Paragraph 7
and
Kathy Kennedy's Sonic Choreographies (2001)



The Great Learning, Paragraph 7 by Cornelius Cardew is his setting of an English translation of a classic text by Confucius. It is a quiet, meditative work which takes about an hour to perform, and is scored using an elegant set of textual instructions. Performers make numerous decisions that affect the sound of the piece and their involvement provides a stream of energy throughout work.

Beginning the program will be the premier of Bay Area composer Kathy Kennedy's most recent Sonic Choreographies score. Sonic Choreographies are the general name for the musical works that Kennedy has been composing for specific spaces for over a decade. They are musical compositions which use live performers moving in or around a specific site. They have been performed at the International Voice Festival in Montreal in 1994, the inauguration of the Vancouver New Public Library in 1996 and the Lincoln Center Out of Doors Series in 1999.


Cornelius Cardew was born May 7, 1936, in Winchcombe, Gloucestershire, England; and killed in an automobile accident in London, December 13, 1981. He taught at the Royal Academy of Music in London as well as other schools. With Michael Parsons and Howard Skempton he formed an improvisational ensemble The Scratch Orchestra, which premiered the entire cycle The Great Learning. He was active in the seminal chamber ensemble AMM with Eddie Prevost, Keith Rowe, John Tilbury and Christopher Hobbs. Cardew's concern for human rights and economic justice led him into Marxist politics and renunciation of his experimental music. He pursued popular styles of music-making. At the very end of his life (and after Mao Tse-Tung's death), he appeared to be open to reclaiming his earlier broad approach to sonic art.

KATHY KENNEDY is a sound artist with a background in classical singing. She holds a Masters in Vocal Performance from the University of Western Ontario as well as a Bachelors degree in music and another in visual art. Her practise generally involves the voice and issues of interface with technology, often using telephony or radio. She is also involved in community art and is a founder of the digital media resource center for women in Canada, Studio XX, as well as the innovative choral groups for women Choeur Maha and Esther. Her large scale sonic installation/performances for up to 100 singers and radio, called "sonic choreographies," have been performed internationally, including the Lincoln Center's Out of Doors Series.








Friday November 16
8pm - [$zero to $20, sliding scale]

Griffin-Burns-Dionyso Trio

Arrington de Dionyso of Old Time Relijun is taking a new trio of ecstatic noise-shamans on the road this November. The trio consists of Arrington on bassclarinets and throatsinging, Michael Griffin of the seminal noise band NOGGIN on violin, and Gust Burns on piano. The group will be playing sets of entirely free improvised music.



At 67, Michael Griffin is an elder of the northwest creative music scene. for more than 20 years michael has played amplified violin in countless ensembles, most notably the wall of noise duo NOGGIN, which has released more than a dozen albums on various small labels, and the avant-deathmetal band BEHEAD THE PROPHET NO LORD SHALL LIVE. Michael is well known in the Pacific Northwest for his undying dedication to free improvised music, and many younger up-and-coming players credit michael with setting them the path of creative experimentation with sound. Based out of Bellingham, WA, Michael came to music in the 70's after already establishing himself as an expressionist painter. The trio with Gust Burns and Arrington de Dionyso represents a slight departure from usual form for Michael, relying more on the inherant acoustic value of his violin than with his other groups, in which his violin sound is heavily amplified and signal-processed.

Multi-instrumentalist Arrington de Dionyso has gained some notoreity with his Olympia, WA ecstatic avant-gospel band Old Time Relijun, but his first love and primary occupation in music is in the realm of free improvisation. Arrington first picked up the clarinet in 1990, and quickly moved to bass clarinet, which has been his primary woodwind up to today. his playing reflects years of ethnomusicological study, incorporating rare techniques such as the multi-phonic singing associated with Tuvan throatsingers while simeltaneously playing the bass clarinet. his horn playing also gives props to such diverse influences as Peter Brotzman, master musicians of jajouka, Naftulie Brandwein (klezmer legend), Charles Gayle, and multiphonics master Bert Wilson, with whom Arrington has studied in Olympia.








Sunday November 25
8pm - [$zero to $20, sliding scale]

John Butcher
plays with
Fred Frith

Sunday December 2
8pm - [$zero to $20, sliding scale]

Lesli Dalaba

trumpet, from seattle
with Fred Frith, Gino Robair, and Matthew Sperry,

Aaron Bennett

solo saxophone





Sunday December 9
8pm - [$zero to $20, sliding scale]

The Toids

traditional and new music from the balkans

Trio Natto

Phillip Gelp | Shoko Hikage | Tim Perkis
[shakuhachi]     [koto]       [computer]

Plays music by John Zorn and Pauline Oliveros