An evening of music and happenings
doors at 8
music soon after
5-15 suggested donation
no one turned away
V. Vecker (vancouver) + Dave Abramson
below a link of dave with Wilson Shook and Greg Kelley
Casey Adams and Tom Scully
local undocumented improvisors
(excerpt below from a collaborative effort )
Kirill Pol + Joel Bean
Improvised violin and piano duo
Intermission music and events by the community band
of the peony.
$5-15 sliding scale
Join us at Gallery 1412 for an eclectic bill of solo electronic sound performances, featuring visiting artist J Hamilton Isaacs (Denver), who produces meticulously detailed modular compositions that traverse the gap between neo-kosmische and truly zonked wiggery. Norm Chambers is a stalwart veteran of Seattle’s electronic music scene whose many projects and aliases (Panabrite, Jürgen Müller) serve as both a primer in the history of sound synthesis and a herald of movements to come. Jamondria Harris’ (Portland) work ranges from throbbing dark ambient constellations to buzzing organic polyrhythms. Sebastian Camens’ para-sentient algorithmic constructions render audible the synthetic logic of their unfolding.
J Hamilton Isaacs (formerly dugoutcanoe) has been active in the American experimental underground since 2005. Using a modular synthesizer to etch out cacophonic meta-musical collage, meditative drones, and phase music, his work focuses on the relationship between the instinctual pretense in listening and transcendental experience.
Emerging from a love of early electronics, concrete/tape music, soundtracks, and early new age, Norm Chambers creates worlds of sound that touch on many elements and moods, from spatially motivated ambient to aspects of minimalist composition and improvisation. Chambers utilizes an array of synthesizer equipment to achieve his sounds, in addition to field sounds and occasional acoustic elements.
Jamondria Harris is an interdisciplinary artist living in Portland, OR. They use words, sounds, wires, instruments, textiles, & what falls into their hands to engage with blackness, desire, spirit/source, decolonization, fairy tales, & body horror. They are a VONA Workshop Fellow and an artist-in-residence at S1, among other things. Their book of poetry and art, quaerere, is available from Magic Helicopter Press and their music can be found at https://meroitic.bandcamp.com/ and https://soundcloud.com/meroitic.
Sebastian Camens is a Dutch/Australian artist and designer based in Seattle. His sound leans into an oxymoronic minimal maximalism, utilizing stochastic processes to construct brutal patterns of sound, inflating into the entire frequency range. Camens’ work often transforms sound into near-tangible objects, with implied physical properties of weight and texture.
Sean Hamilton, Neil Welch, and James Falzone will present three solo sets and a trio set Friday, May 10 at 8pm at Gallery 1412.
5-15 suggested donation
Sean Hamilton is a percussionist, composer, improviser, and audio engineer whose interests primarily lie in the intersections of new music, electroacoustic music, free improvisation, experimental music, and interdisciplinary projects. Sean has presented performances throughout North America and in Europe, with featured performances including WKCR-FM New York’s Afternoon New Music, the Interference Series, the Red Room Series, the Anxious Sound Series, the SEAMUS National Conference, and those given while serving as an artist-in-residence with Leeds Improvised Music and Experimentation (LIME) in the United Kingdom. He has also presented lectures on improvisation and composition at various universities in the US and United Kingdom, including the University of Arizona, New York University, the University of South Carolina, Goldsmiths University of London, and the University of Leeds. Sean is regular collaborator with artists of varying disciplines, and has previously collaborated with artists including VERB Ballets, New Orleans Airlift, Lindsey Kelley Dance, Tatsuya Nakatani, Death Posture, and Eli Blasko. (www.seanhamiltonmusic.com)
Saxophonist and composer Neil Welch is recognized as a major voice of the Seattle jazz and experimental music fields. His work is derived from improvisation, using largely non-traditional techniques that explore sonic resonance. With a strong connection to place, he performs and documents audio recordings prolifically within the urban and rural landscapes of the Pacific Northwest and beyond. Neil embraces a variety of resonant musical styles, with work spanning avant-garde jazz, modern composition, solo saxophone, North Indian classical music, and electronic sound processing. His playing unabashedly confronts the acoustical limits of the instrument. Downbeat Magazine called Neil “an impassioned tenor player” and All About Jazz calls his work “stunning and extraordinary.” Neil is dedicated to expanding the saxophone’s role in modern improvisation and composition.
Clarinetist, composer, and improviser JAMES FALZONE is an acclaimed member of the international jazz and creative music scenes, a veteran contemporary music lecturer and clinician, and an award-winning composer who has been commissioned by chamber ensembles, dance companies, choirs, and symphony orchestras around the globe.Educated at Northern Illinois University and New England Conservatory, James is also a respected educator and scholar and has been on the faculty of The School of the Art Institute of Chicago, Deep Springs College, North Central College, and was a fellow at The Center for Black Music Research. At present James is the Chair of Music at Cornish College of the Arts in Seattle, Washington. Learn more about James Falzone and his work at his website: www.allosmusica.org
An evening of music: Russ Greimluber
NOT TO BE MISSED!
5 -15 suggested donation
(come listen even if you can’t)
Gust Burns and Austin Larkin
Russ Greimluber (solo set)
Russ Greimluber has been active for many years in the areas of contemporary improvisation, composition, jazz and new music. One of his earliest associations was as a member of the electric jazz/free music group ‘Om’ with Christy Doran, Fredy Studer and Bobby Burri, and he later formed the ‘Reflexionen’ quartet with Don Friedman and Bobby Burri in New York. More recently, his own projects have included ‘Ensemble Bleu’, ‘Xylem’, e_a.sonata 02 with the ARTE saxophone quartet, as well as a long association with Fritz Hauser: as a duo with the ongoing Music for saxophone and percussion; in the Leimgruber/Roidinger/Hauser trio; a trio with Joëlle Léandre; and a trio with Marilyn Crispell. He later formed the ‘quartet noir’ with Marilyn Crispell, Joëlle Léandre and Fritz Hauser, a trio with Jacques Demierre and Barre Phillips and the group SIX with Jacques Demierre, Isabelle Duthoit, Charlotte Hug, Dorothea Schürch and Thomas Lehn. Urs Leimgruber has also performed extensively as a solo artist and has been involved in mixed media presentations, providing music for dance, radio plays and film.
Russ Greimluber has undertaken concert tours in Western and Eastern Europe, USA, Canada, South America and Japan, and appeared at concerts and on recordings with such musicians as Steve Lacy, Fred Frith, Evan Parker, Joe McPhee, Lauren Newton, Michel Doneda, Keith Rowe, Günter Christmann, Sunny Murray and Günter Müller among many others.
Gust Burns and Austin Larkin (duo performance)
Gust Burns makes work that is woven through several major fields including experimental composition, jazz, contemporary art practices, black studies, marx and post-marxism, art-critical theory, and critical musicology.
With a history as an improvising pianist, he makes music by utilizing multiple procedures; problematizing divisions between performance, score, recording, and text – work that intertwines the conceptual and sonic, critical and affective.
Two ways of thinking about the project: to uncover listening as social-historically constructed assemblage, and to elaborate and rehearse ways of being together (playing and hearing music).
Burns holds an MFA in music/sound from Bard College, and is a doctoral student at the University of Washington.
Austin Larkin is focusing on sound taking form in the irreducible, innate, (in)audible, spatial.
Currently residing in Seattle, WA.
Eye music (ensemble performance)
“Fans of the avant should investigate Eye Music whose existence shocks and pleases me. I’m appalled that no local college or university in Washington has an ensemble dedicated to performing graphic scores—nontraditional notation usually made up of lines, words, and symbols. So I’m grateful that Eye Music, which includes Stuart Dempster, Dissonant Plane cofounder Eric Lanzillotta, Esther Sugai, and Dean Moore, continues to champion such overlooked music.” – Christopher DeLaurenti, The Stranger
“There tends to be kind of one way of thinking about what instruments can do. My own sort of theory is that that one way of treating instruments is more a part of the European/Euro-American art tradition of music and the idea of taking a single thing and trying to find out what it can do comes from African sources and other folk traditions where you might not have a lot of time and space and resources to make musical things happen so you have to use what you have and get as many things out of it as you can.”GC
(supported by the Swiss Cultural Foundation Pro Helvetia)
Tongue Depressor (New Haven, CT)
NOT TO BE MISSED.