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  • Dave Burrell
    6:00 PM
    03/06/2019

    2200 Walnut Street Philadelphia PA 19103

    2200 Walnut Street Philadelphia PA 19103

    William Parker
    Chad Taylor
    Join Ars Nova Workshop for our first annual fundraiser. This year we honor Philadelphia composer-pianist Dave Burrell.

    “A pianist and composer of sweeping proficiency and expeditionary prowess…an artist with more than 50 years of recorded excellence in his rearview.”
    —WBGO

    Distinguished composer-pianist Dave Burrell is an African-American performing artist of singular stature on the international contemporary music scene. With awards from the Pew Fellowship to the Vision Festival Lifetime Achievement Award, Dave has collaborated with musicians like Archie Shepp, David Murray, Albert Ayler, Pharoah Sanders, and Roscoe Mitchell, among so many others. As a Philadelphian, Dave has been a longtime friend and artist of Ars Nova Workshop, and we are proud to have him as our first honoree.
    Special thanks to Space & Co. for hosting us.
    Thanks to: Print Liberation, Revival Letterpress, and Fireball Printing
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  • John Zorn’s Songs for Petra featuring the Julian Lage Trio
    8:00 PM
    03/08/2019

    416 Green Street Philadelphia, PA

    416 Green Street Philadelphia, PA

    Featuring
    • Petra Haden – vocals
    • Julian Lage – guitar
    • Jesse Harris – guitar
    • Jorge Roeder – bass
    • Kenny Wollesen – drums
    Please join us for the Philadelphia premiere of John Zorn’s “Songs for Petra,” a poetic song cycle written by the iconic composer especially for vocalist Petra Haden.
    “Songs for Petra” combines the music of renowned composer John Zorn with the lyrics of Grammy Award-winning songwriter Jesse Harris, best known for his collaborations with Norah Jones and Madeleine Peyroux. One of the triplet daughters of legendary bassist Charlie Haden and co-founder of the alt-rock quartet That Dog, Petra Haden has collaborated with a broad array of artists including Bill Frisell, the Foo Fighters, the Decemberists and Susannah Hoffs.
    In anticipation of his year-long 60th birthday celebration in 2013, Zorn invited Jesse Harris to participate in his “Song Project” along with Mike Patton, Sofía Rei and Sean Lennon; each of these diverse composers was asked to contribute lyrics to Zorn’s compositions. Harris initially worked with Haden on the album Seemed Like A Good Idea – Petra Haden Sings Jesse Harris (Sunnyside) in 2016. Inspired by Haden’s athletic vocal talents (as can be heard on her phenomenal a cappella reworking of The Who Sell Out from 2005), Zorn penned this song cycle to take full advantage of her stunning range. For this performance, Haden will be joined by Harris (on vocals and guitar) along with the Julian Lage Trio. A 2018 Grammy Award nominee, Lage is fast becoming one of the most acclaimed young guitarists in jazz. His latest album, Modern Lore (Mack Avenue) debuted at #1 on the Jazz Billboard chart, and he most recently appeared in Philly alongside fellow guitarist Marvin Sewell as part of saxophonist Charles Lloyd’s quintet.
  • Susan Alcorn/Anna Roberts-Gevalt duo & Kyle Press
    8:00 PM
    03/08/2019

    1638 East Berks Street, Philadelphia, PA 19125

    1638 East Berks Street, Philadelphia, PA 19125

    SUSAN ALCORN & ANNA ROBERTS-GEVALT DUO:
    One of the world’s premiere musical innovators on her instrument, Baltimore-based Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country and western swing music. Known among steel guitarists for her virtuosity and authenticity in a traditional context, Alcorn first paid her dues in Texas country & western bands. Soon she began to expand the vocabulary of her instrument through her study of modern classical music (Messiaen, Varèse, Penderecki), the deep listening of Pauline Oliveros, Astor Piazzolla’s nuevo tango, free jazz, and world musics (Indian raags, South American songs, and gamelan orchestra). Her pieces reveal the complexity of her instrument and her musical experience while never straying from a very direct, intense, and personal musical expression. The UK Guardian describes her music as “beautiful, glassy and liquid, however far she strays from pulse and conventional harmony.” Susan, along with Joe McPhee was recently awarded the first ever Instant Award in Improvised Music.
    Anna Roberts-Gevalt is a multi disciplinary artist working in Brooklyn, moving outwards from her immersion in folk music. Following an ethnomusicology degree at Wesleyan University, she spent the last decade studying with masters of traditional fiddle and banjo music in Kentucky and Virginia.
    For the last seven years, she has been creative director of a traditional ballad-based collaboration with Virginia singer Elizabeth LaPrelle, Anna & Elizabeth. They conduct creative research in archives, and reworking the old songs and texts through multi-media performances with song, sound, illustration and story. They have collaborated with Jim White, Susan Alcorn, and Irish composer Linda Buckley, tour the US and UK extensively, including the Newport Folk Festival, Big Ears, NPR’s Tiny Desk Concert, and have their Carnegie Hall debut this fall. Smithsonian Folkways released their third record The Invisible Comes to Us, which Anna co-produced and was heralded by the New Yorker as “a radical expansion of what folk songs are supposed to do.” She currently serves as a guest curator of traditional music at the Big Ears Music Festival in Knoxville; has been a fellow at The MacDowell Colony, Virginia Center for Creative Arts, Berea College Traditional Music Archive, Bang on a Can’s Found Sound Nation; teaches fiddle and banjo across the country.
    KYLE PRESS:
    Kyle Press performs improvised, amplified, and effected soundscapes of multiphonics and overtones on vocals and saxophones.
    As a member of bands such as Impressionist, Space Whale Orchestra, The Love Club, and OhBree he has released more than a dozen albums of original material, shared the stage with big names from the Sun Ra Arkestra to Akron/Family, and toured up and down the East Coast.
    All the while, something quieter and more mysterious had been gestating in his brain. That something is finally ready to emerge, in the form of an eponymous solo project.
    Funneling his vocals and saxophones (and plenty of extended techniques) through effects pedals and an amplifier, the emergent music is a cross between the serenity of ambient / noise / drone and and the barely controlled chaos of way out free-jazz and improvisation.
    The debut album of this material, tentatively titled Overtones, Drones, and Saxophones, is slated for a 2019 release on Philadelphia’s No Rent Records. Stay tuned and keep your eyes and ears out for live performances in the meantime!
    THIS PROJECT WAS SUPPORTED BY A GRANT FROM PENN TREATY SPECIAL SERVICES DISTRICT
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  • Matt Nelson & Ben Cohen, Dan Blacksberg, Ben Rosen & Leo Suarez
    7:30 PM-10:00 PM
    03/09/2019

    713 North 4th St. Philadelphia, PA 19123

    713 North 4th St. Philadelphia, PA 19123

    Saturday, March 9th
    More improvised music at The Random Tea Room!
    Doors- 7PM, music starts @ 7:30PM, all over before 10!
    $6-8 suggested donation.

    Matt Nelson & Ben Cohen-
    On tour from NY and TN, Ben and Matt will be playing duos for bass and sax.

    Dan Blacksberg, Ben Rosen and Leo Suarez-
    a first-time local trio of trombone, keys and drums will be opening the show!

  • Jandek In Concert
    8:00 PM
    03/09/2019

    3701 Chestnut Street, Philadelphia, PA, USA

    3701 Chestnut Street, Philadelphia, PA, USA

    Jandek is the musical project of Corwood Industries, a record label that operates out of Houston, Texas. Since 1978, Jandek/Corwood Industries has independently released over 100 albums/DVDs of unusual, often emotionally dissolute folk, rock, and blues songs without ever granting an interview or providing any biographical information. Jandek often plays a highly idiosyncratic and frequently atonal form of folk, rock, punk, country, classical and blues music, at times using an open and unconventional chord structure. The name “Jandek” is most commonly used to refer specifically to the project and not an individual.
    Doors 7:00pm, Show 8:00pm
    For more information, visit: www.corwoodindustries.com
    Presented by Cavum Soni and Clavius Productions
  • Joshua Stamper’s color as time
    8:00 PM
    03/09/2019

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    Bowerbird is pleased to present color as time, an ensemble led by Philadelphia composer / performer Joshua Stamper that inhabits the blur between classical, jazz, folk, and experimental textures. Playing at the edges of the composed and the improvised, the music is inspired by Elliott Carter’s and Olivier Messiaen’s time-stretching compositional techniques, immersed in a love for contrapuntal textures, and occupies a harmonic world redolent of jazz musicians from Bill Evans to Duke Ellington to Wayne Shorter.
    Paul Arbogast – trombones
    Bethany Brooks – piano, keyboards, accordion
    Christopher McDonald – keyboards, electronics, piano
    Anthony Nigro – woodwinds
    Matt Scarano – drums
    Joshua Stamper – guitar, double-bass, compositions
    Bowerbird’s Steinway Model O piano was donated in honor of Virginia Francis Lease.
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  • Johanna Beyer: Music of the Spheres – Night One
    8:00 PM
    03/15/2019

    4014 Walnut Street, Philadelphia, PA 19104, United States

    4014 Walnut Street, Philadelphia, PA 19104, United States

    Bowerbird is honored to present a two evening retrospective of pioneering composer Johanna Beyer. The first evening features her percussion music and the second evening features her chamber music.
    Although Beyer’s music was overlooked during her lifetime and for decades after her death, it was some of the most experimental and prophetic work created during the 1930s. Music of the Spheres (1938) is the first known work scored for electronic instruments by a female composer. The fourth movements of her two clarinet suites (1932) are some of the earliest examples of a pitch-based approach to rhythmic processes, which would not be fully explored again until the late 1940s by composers such as Elliott Carter and Conlon Nancarrow. Several of her works anticipate the minimalist music of the 1960s, most notably the fourth movement of her first String Quartet. She included tone clusters in Clusters, a suite for solo piano, and the duet, Movement for Two Pianos. The large clusters in these works often require the pianist to play the keys with their forearms. Perhaps Beyer’s most important and overlooked contribution to the development of new music is her repertoire for percussion ensemble. The Percussion Suite of 1933 is one of the earliest examples in this genre and differs from those of her contemporaries in that it “explores the understated and quiet expressive possibilities of percussion.
    We extend our thanks to Frog Peak Music and Amy Beal and their dedication in  recovering Beyer’s work, without whom these concerts would not be possible.  
    CONCERT PROGRAM
    Music of the Spheres
    Alison Stout and ensemble
    Percussion Suite
    Arcana Percussion Ensemble
    – Ashley Tini
    – Julius Masri
    – Adam Bailey
    – Emily Roane
    – Andy Thierauf
    Three Movements for Percussion
    I. Restless, II. Endless, 
    III. Tactless

    Arcana Percussion Ensemble
    Percussion
    Kutztown University Percussion Ensemble

    – John Spero
    – Sam Wetzel
    – Bryana Donnelly
    – Dominick Cavallucci
    – Adrian Garcia
    – Courtney Smith
    – Michael Mester
    – Damian Lunny
    – Andy Thierauf, co-director
    Waltz for Percussion
    Kutztown University Percussion Ensemble
    ABOUT THE COMPOSER
    Beyer was born on July 11, 1888 in Leipzig. She studied piano and music theory in Germany. In 1924 she arrived in New York and went to study at the David Mannes School. After receiving a teacher’s certificate in 1928, she took private lessons with Dane Rudhyar, Ruth Crawford, Charles Seeger, and Henry Cowell. During this time she wrote music and several plays for various projects. She was familiar with Henry Cowell and other composers of his circle. During Cowell’s incarceration in San Quentin (1937-40), Beyer served as his secretary and took care of his scores. Towards the end of her life she began to receive a small amount of recognition by her peers, but she died in poverty in New York, on January 9, 1944.
    ABOUT THE PERFORMERS
    The Arcana New Music Ensemble is a Philadelphia based ensemble for performing interesting, beautiful, and unconventional music in interesting, beautiful, and unconventional spaces. Founded in 2016, the ensemble comprises a flexible roster of more than 30 musicians and performs regularly in Philadelphia. Past concerts have featured the music of Julius Eastman, Galina Ustvolskaya, Morton Feldman, Moondog, among others.
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  • Johanna Beyer: Music of the Spheres – Night Two
    8:00 PM
    03/16/2019

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    Bowerbird is honored to present a two evening retrospective of pioneering composer Johanna Beyer. The first evening features her percussion music and the second evening features her chamber music.
    Although Beyer’s music was overlooked during her lifetime and for decades after her death, it was some of the most experimental and prophetic work created during the 1930s. Music of the Spheres (1938) is the first known work scored for electronic instruments by a female composer. The fourth movements of her two clarinet suites (1932) are some of the earliest examples of a pitch-based approach to rhythmic processes, which would not be fully explored again until the late 1940s by composers such as Elliott Carter and Conlon Nancarrow. Several of her works anticipate the minimalist music of the 1960s, most notably the fourth movement of her first String Quartet. She included tone clusters in Clusters, a suite for solo piano, and the duet, Movement for Two Pianos. The large clusters in these works often require the pianist to play the keys with their forearms. Perhaps Beyer’s most important and overlooked contribution to the development of new music is her repertoire for percussion ensemble. The Percussion Suite of 1933 is one of the earliest examples in this genre and differs from those of her contemporaries in that it “explores the understated and quiet expressive possibilities of percussion.
     
    We extend our thanks to Frog Peak Music and Amy Beal and their dedication in  recovering Beyer’s work, without whom these concerts would not be possible.  
     
    CONCERT PROGRAM
    Dissonant Counterpoint
    Michael Tan
    Gebrauchs-Musik
    Michael Tan
    Bees
    Michael Tan
    Three Songs for Percussion, Voice, and Piano
    Eva Kastner-Puschl, voice
    Andy Thierauf, percussion
    David Hughes, piano
    Movement for Double Bass and Piano
    Joshua Machiz, double bass
    David Hughes, piano
    Suite for Violin and Piano
    Molly Germer, violin
    David Hughes, piano
    Sky Pieces
    Alize Rozsnyai, voice
    David Hughes, piano
    Robin in the Rain
    Alize Rozsnyai, soprano
    Eva Kastner-Puschl, alto
    David Hughes, piano
    Have Faith!
    Alize Rozsnyai, soprano
    Nicholas Handahl, flute
    Four Pieces for Oboe and Bassoon
    Meghan Woodard, oboe
    Dominic Panunto, bassoon
    Solo Clarinet Suite I
    Sean Bailey, clarinet
    String Quartet II
    Bismuth Quartet
    String Quartet IV
    Bismuth Quartet
    ABOUT THE COMPOSER
    Beyer was born on July 11, 1888 in Leipzig. She studied piano and music theory in Germany. In 1924 she arrived in New York and went to study at the David Mannes School. After receiving a teacher’s certificate in 1928, she took private lessons with Dane Rudhyar, Ruth Crawford, Charles Seeger, and Henry Cowell. During this time she wrote music and several plays for various projects. She was familiar with Henry Cowell and other composers of his circle. During Cowell’s incarceration in San Quentin (1937-40), Beyer served as his secretary and took care of his scores. Towards the end of her life she began to receive a small amount of recognition by her peers, but she died in poverty in New York, on January 9, 1944.
    ABOUT THE PERFORMERS
    The Arcana New Music Ensemble is a Philadelphia based ensemble for performing interesting, beautiful, and unconventional music in interesting, beautiful, and unconventional spaces. Founded in 2016, the ensemble comprises a flexible roster of more than 30 musicians and performs regularly in Philadelphia. Past concerts have featured the music of Julius Eastman, Galina Ustvolskaya, Morton Feldman, Moondog, among others.
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  • Kiranavali Vidyasankar – Carnatic vocal concert
    5:00 PM
    03/17/2019

    4014 Walnut Street, Philadelphia, PA 19104, United States

    4014 Walnut Street, Philadelphia, PA 19104, United States

    Kiranavali Vidyasankar:
    By age two Kiranavali Vidyasankar was hailed as a child prodigy, being able to identify over 200 ragas (melodic scales), demonstrate the 175 talas (rhythmic cycles) and answer numerous other technical questions pertaining to Carnatic music. The Indian Express (June 14, 1975) declared her to be “astounding in her precocity”, while The Hindu (June 1976) wrote, “More fantastic is the manner in which 3-year old Kiranavali is able to tell the raga even at the commencement of its outline.”
    Kiranavali’s father, Narasimhan, an outstanding musician and teacher, and son of the renowed Gotuvadyam Narayana Iyengar, saw Kiranavali’s potential even as a toddler and started training her in the intricacies of music. Under his watchful guidance, she grew from prodigy to musician with sure-footedness. Her early performances were in tandem with her older brother, K N Shashikiran. As a pair of bright young children, this unique brother-sister duo won much appreciation from connoisseurs, critics and the music-loving public. Both of them branched out as soloists during their teens.
    Kiranavali’s childhood and youth were replete with fun-filled music sessions and intensity of learning with her older brother, Chitravina Ravikiran. His positive and value-based approach to music and life have deeply influenced her.
    In her early teens, Kiranavali had the opportunity of closely following and learning from T Brinda, a great repository of some of the best Carnatic treasures. For nearly a decade, Kiranavali assimilated a sizeable number of compositions of unparalleled quality in Brindamma’s repertoire. She immensely values the extraordinary privilege she had in accompanying her guru in several public and private performances as well as radio and television recordings. After Brindamma’s demise in 1996, Kiranavali learnt a few pieces from her equally renowned sister, T Mukta, and accompanied her in a hugely successful performance at the Cleveland Tyagaraja Aradhana (Mar 2002).
    Around the age of seventeen, Kiranavali discovered her interest in and talent for Chitravina, an ancient South Indian slide instrument her family is famed for, and started pursuing it with great passion. Within a span of two years, she made rapid strides on the instrument that not only allowed her to team up with Ravikiran but also perform solo at many prestigious venues in India such as The Music Academy (Chennai), Krishna Gana Sabha (Chennai) and Sri Shanmukhananda Fine Arts (Mumbai).
    The rich musical environment in which she grew up, the thorough training from her illustrious gurus, the many years of hard work and good work ethics, have sharpened Kiranavali’s innate talent and keen musical acumen. She is recognized and regarded as a musician with sound scholarship and a distinct voice. Some of her notable works include Lakshmi Prabhavam, a special dance production in which she was a lead singer, and her much acclaimed concert featuring a single piece in 101 and 108 ragas respectively. These performances not only received rave reviews and special mention at sell-out shows, but also established her credentials as a worthy torchbearer of her illustrious music lineage.
    Kiranavali’s vocal career has taken her to many renowned centers across India, USA, Canada and Europe. They include the National Center for Performing Arts (Mumbai), India International Center (New Delhi), India Habitat Center (New Delhi), Narada Gana Sabha (Chennai), Sri Parthasarathy Swami Sabha (Chennai), Brahma Gana Sabha (Chennai), Karthik Fine Arts (Chennai), The Music Academy (Chennai), Jaya TV’s Margazhi Mahotsav, Shanmukhananda Fine Arts (Mumbai), South Indian Cultural Association (Hyderabad), Cleveland Tyagaraja Festival (Ohio), Bharati Kala Manram (Toronto), Ethnological Museum (Hamburg) and Reitberg Museum (Zurich). She has also been featured in prominent television networks such as Doordarshan, Jaya TV, Raj TV and SVBC, besides recording for various radio networks in India and the United States. Kiranavali has lent her voice for documentaries on various great masters including her guru, T Brinda and her legendary grandmother, Vina Dhanammal, and has cut her own CD albums as well.
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  • John Cage: Sonatas and Interludes
    8:00 PM
    03/21/2019

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    3637 Chestnut St, Philadelphia, Pennsylvania 19104

    Bowerbird, in collaboration with the University of Pennsylvania Department of Music, is pleased to present Amy Williams performing Sonatas and Interludes, John Cage’s groundbreaking cycle for prepared piano.  The work was composed in 1946–48, shortly after Cage’s introduction to Indian philosophy and the teachings of art historian Ananda K. Coomaraswamy, both of which became major influences on the composer’s later work. Significantly more complex than his other works for prepared piano, Sonatas and Interludes is generally recognized as one of Cage’s most important compositions. The cycle consists of sixteen sonatas (thirteen of which are cast in binary form, the remaining three in ternary form) and four more freely structured interludes.Cage’s works will be interspersed with new interludes by Jay Alan Yim, Jeffrey Weeter, Robert Reinhart and Philly composers Adam Vidiksis and Kevin Laskey. The influence of Cage’s invention is still felt 70 years after the premiere and will be reflected in the new works using the same set of preparations. Pianist/composer Amy Williams will present this journey through the eight permanent emotions of Ancient Hindu aesthetics: the “white” emotions (heroic, erotic, mirthful and wondrous) and the “black” emotions (fear, anger, disgust, and sorrow). All lead to a state of transcendence and tranquility.
    Bowerbird’s Steinway Model O piano was donated in honor of Virginia Francis Lease.
    Co-presented with the University of Pennsylvania Department of Music.  Concert admission is FREE for PennCard holders.

    About Amy Williams
    Amy Williams is a composer of music that is “simultaneously demanding, rewarding and fascinating” (Buffalo News), “fresh, daring and incisive” (Fanfare). Her compositions have been presented at renowned contemporary music venues on four continents by many of the leading contemporary music soloists and ensembles, including the Pittsburgh Symphony Orchestra, Buffalo Philharmonic Orchestra, JACK Quartet, Ensemble Aleph, Dal Niente, Wet Ink, Talujon, International Contemporary Ensemble, and pianist Ursula Oppens. Her pieces appear on the Albany, Parma, VDM (Italy), Blue Griffin, Centaur and New Ariel labels. As a member of the Bugallo-Williams Piano Duo, Ms. Williams has performed at important new music festivals and series worldwide and recorded six critically-acclaimed CDs for Wergo (works of Nancarrow, Stravinsky, Varèse/Feldman and Kurtág). She has taught at Bennington College and Northwestern University and is currently Associate Professor of Composition at the University of Pittsburgh. She is a visiting professor of composition at U Penn in the spring of 2019.
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  • Yunohana Variations
    8:00 PM
    03/24/2019

    1201 N. Frankford Avenue Philadelphia, PA

    1201 N. Frankford Avenue Philadelphia, PA

    Featuring
    • YoshimiO – drums
    • Susie Ibarra – drums + percussion
    • Robert Aiki Aubrey Lowe – electronics
    Please join us for the Philadelphia premiere of Yunohana Variations, an engrossing new collaboration from three improvisational legends.
    Yunohana Variations brings together a trio of experimental luminaries, each of whom has built their own towering reputation on transgressing stylistic and performative boundaries: drummer and singer YoshimiO from the mighty Boredoms, avant-garde composer and percussionist Susie Ibarra, and singer and synthesizer master Robert Aiki Aubrey Lowe, known to many as Lichens.

    “Yunohana Variations is a great example of formless improv that is not just engaging but enthralling, perhaps even transcendent.”
    —The Quietus

    With Boredoms, OOIOO, and even the quiet Yoshimi and Yuka duo, YoshimiO favors a kind of ecstatic maximalism, music where something is always happy to be happening. Collaborator to the likes of John Zorn, David S. Ware, Wadada Leo Smith, and William Parker, Ibarra seems to stockpile fragments from a world of sound into her music, with rhythmic themes imported by her global curiosity. And Lowe specializes in phosphorescent drones, with radiant harmonies between man and machine. The three met for the first time in December of 2016 for a performance that turned out to be a singular evening of exquisite sound, resulting in their debut album “Flower of Sulphur” (Thrill Jockey).
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  • Amirtha Kidambi & Elder Ones
    6:30 PM-9:00 PM
    03/27/2019

    118 South 36th Street, Philadelphia, PA 19104, USA

    118 South 36th Street, Philadelphia, PA 19104, USA

    In conjunction with Introducing Tony Conrad: A Retrospective and in partnership with Fire Museum Presents, vocalist and composer Amirtha Kidambi and her quartet, Elder Ones, present a selection of performances influenced by free jazz, modal meditation, atonal expressionism, free improvisation and melodic invention. Amirtha Kidambi is the composer and bandleader of her quartet Elder Ones, with Matt Nelson, Max Jaffe and Nick Dunston. Their forthcoming release From Untruth builds upon the bedrock foundation of Kidambi’s previous compositional and conceptual work with Elder Ones, while forging uncharted territory. After a journey into wordless abstraction on Holy Science, Kidambi felt the urgency of the political moment required a direct and verbal call to action. The lyric fragments in “Eat the Rich”, “Decolonize the Mind”, “Dance of the Subaltern” and “From Untruth” critique power structures of capitalism, racism, colonialism and fascism, distilling heavy post-colonial theory into concentrated visceral battle cries. The instrumentation adds a layer of technology as a metaphor for modernity, with Kidambi on analog synthesizer and Max Jaffe’s drumming talents extended to electronic Sensory Percussion. The frenzied improvising of Matt Nelson on soprano sax and gravity of Nick Dunston on bass, anchor the music in the tradition of free jazz, while it pushes into new futurist realms. The aesthetic seamlessly reels from modal meditation, atonal expressionism, free improvisation and melodic invention, to unabashed bursts of punk rock energy. This is Elder Ones at an unadulterated breaking point; on the edge of a knife that cuts.
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  • Mike Baggetta-Mike Watt-Stephen Hodges Trio
    8:00 PM
    03/28/2019

    1201 N. Frankford Avenue Philadelphia, PA

    1201 N. Frankford Avenue Philadelphia, PA

    Featuring
    • Mike Baggetta – guitar
    • Mike Watt – bass
    • Stephen Hodges – drums
    Please join us for a performance by a truly one-of-a-kind trio led by guitarist Mike Baggetta and featuring drummer Stephen Hodges and punk legend Mike Watt.
    New York guitarist Mike Baggetta has it all, from swinging modern bop chops that flow like John Abercrombie to whammy bar pedal steel licks influenced by his first guitar hero, David Torn. In this raucous new trio he’s joined by drummer Stephen Hodges (Tom Waits, Mavis Staples, David Lynch) and Minutemen bassist Mike Watt, whose wide-ranging career also spans work with Iggy Pop and the Stooges and fIREHOSE. The music they create together is utterly unclassifiable; calling it post-genre-improv-jazz-rock may come close, but still doesn’t even begin to touch on the wild electric textures Baggetta’s guitar alone brings to the table.

    “NY Guitar poet Mike Baggetta’s new recording with his potent trio veers daringly and compellingly from patient, elegiac freedom to searing, oozing sludge rock without the slightest hesitation or apology. One cannot resist its myriad charms. Cool!”
    —Nels Cline

    “Mike Baggetta makes stealthy, mysterious music…he’s trying to do something personal with collective improvisation without ever getting in the way of beauty.”
    —Ben Ratliff, The New York Times

    This show celebrates the release of Baggetta’s new album, “Wall of Flowers” (Big Ego), featuring Watt and legendary drummer Jim Keltner. His last four albums as a leader have been released on the Fresh Sound New Talent label and have featured working bands including Jerome Harris, Billy Mintz, Jason Rigby, Eivind Opsvik, George Schuller, and RJ Miller. Baggetta also co-leads the new music duo TIN/BAG with trumpeter Kris Tiner and has worked with a wide array of visionary musicians including Donny McCaslin, Darcy James Argue’s Secret Society, Tim Berne, Craig Taborn, Ches Smith, Tyshawn Sorey, Psychic Temple, Jon Irabagon, David Wax Museum, Tom Harrell, and Ruth Brown among many others.
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  • Alash Ensemble
    8:00 PM
    03/30/2019

    4014 Walnut Street, Philadelphia, PA 19104, United States

    4014 Walnut Street, Philadelphia, PA 19104, United States

    Philadelphia favorites Alash return to The Rotunda for a FREE concert. Alash are masters of Tuvan throat singing (xöömei), a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing, Alash are deeply committed to traditional Tuvan music and culture. At the same time, they are fans of western music. Believing that traditional music must constantly evolve, the musicians subtly infuse their songs with western elements, creating their own unique style that is fresh and new, yet true to their Tuvan musical heritage.
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