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June
  • 02
    06/02/2019

    8:00 PM
    06/02/2019
    House Gallery 1816
    1816 Frankford Avenue, Philadelphia, PA 19125, United States
    Spires That In The Sunset Rise:
    Spires That in the Sunset Rise have been unsettling and thrilling audiences for over a decade now with their brand of sonic alchemy. Combining traditional acoustic instruments like cello, spike fiddle, banjo, and lately more on flute and saxophone with electric elements and mesmerizing chants, one can call them goth, folk, psychedelic, experimental, electronic – and it all applies. They have four full length releases on labels like Secret Eye and Galactic Zoo Disk and two more on Hairy Spider Legs. The band is paired down to two women these days, each busy performing and releasing solo material as well. Many audiences have seen them expand into pure improvisation lately, but there is still song writing taking place, and often STITSR play the line between the two. Always original, and always pushing themselves into new territory.
    “Their breath is a physical force behind the instruments and singing here, giving the listener a chance to directly connect to the proceedings. Within these swirling parts, the listener can firmly grasp Peterson’s and Baird’s imagination with their ear, as the sharp, clear recordings present an easily perceived image within the sounds. This album will likely to appeal to longform experimental listeners beyond genre, as the jazz elements are highly orchestral and fanciful, while the energy is both bright and assertive throughout” – Nicholas Zettel/Decoder
    Erik Ruin (crankie performance):
    Erik Ruin is a Michigan-raised, Philadelphia-based printmaker, shadow puppeteer, paper-cut artist, etc., who has been lauded by the New York Times for his “spell-binding cut-paper animations.” His work oscillates between the poles of apocalyptic anxieties and utopian yearnings, with an emphasis on empathy, transcendence and obsessive detail. He frequently works collaboratively with musicians, theater performers, other artists and activist campaigns. He is a founding member of the international Justseeds Artists’ Cooperative, and co-author of the book Paths Toward Utopia: Graphic Explorations of Everyday Anarchism (w/ Cindy Milstein, PM Press, 2012).
  • 04
    06/04/2019

    8:00 PM
    06/04/2019
    Vox Populi
    319 North 11th Street, Philadelphia, PA 19107

    Nadah El Shazly:

    Nadah El Shazly is a Cairo-based producer, singer, and performer whose ethereal songcraft assimilates impulses from improvised and electronic idioms into an otherworldly modernization of the classical music of Al-Nahda, the Arabic renaissance. Shazly cut her teeth fronting a Misfits cover band and singing jazz standards before discovering the futuristic sensibilities latent in Egyptian music predating the 1940s. Studying the Arabic maqam and delving into granular synthesis, she wrote her acclaimed debut album, 2017’s Ahwar, on a computer between Egypt and Canada, later giving it a lavish instrumental arrangement in collaboration with Maurice Louca and Sam Shalabi, both members of The Dwarfs of East Agouza with Alan Bishop and central figures in Cairo’s new wave. From its diabolically pitch-shifted vocal introduction through to brooding trip-hop beats, African jazz workouts, and lilting bağlama expansions, Ahwar fulfills its title’s invocation of the marshlands, with El Shazly’s soaring voice as the listener’s guide through the unfamiliar.

    Nadah El Shazly will be accompanied by Shayna Dulberger on bass.

    Shayna Dulberger is an upright bassist, electric bassist and tape collage artist. She has been living and working in NYC since 2001.

    Tagine Dream:

    Tagine Dream is the noisey guttural child of Rana Fayez, which has been described as riding a droning industrial wave. Equipped with a contact mic, synths, and a snare drum, Tagine Dream tells narratives from memory through sound.

  • 06
    06/06/2019

    7:30 PM
    06/06/2019
    Drummers
    2152 E Norris St, Philadelphia, PA 19125, USA
    Dada Tapan Kanti Baidya
    Dada Tapan Kanti Baidya was born in Bangladesh. In 1976, he won the Gold Medal in the National Music Competition which enabled him to a full scholarship to study North Indian Classical Music at the Visva Bharati University in India. There he studied with various masters from different Gharana/schools such as Pt Prasun Kr Benergee, Smti Mamta Dasgupta (Patiala Gharana), Pt Nemai Chand Baral (Dagar Gharana Dhrupad), Ustad Eunus Hossain Khan (Khyal Agra/Atroli Gharana), Mohan Sing Khangura, Pt Aloke Chattergee (kirana Gharana Khyal).
    After earning his Masters in Music in 1982, he returned to Bangladesh where he served as a professor of North Indian Classical Vocal at the National music and arts academy in Dhaka, Bangladesh. He appeared regularly in public as well as television as a Classical vocal performer. In 1986, he established his school, Sadarang Sangit Shamaroha (Sadarang School of Music) based on his own style and technique of vocal performance (Gharana).
    In 1992, he was invited by the Bangladesh Cultural Center in New York to open a classical Music department. After his arrival to New York, he taught at the Bangladesh Cultural Center NY, Bangladesh society of new york and Bangladesh association of New Jersey as well as frequent visits to teach in Florida and Washington DC. Also during this time, he established an organization called the Bangla Institute of performing arts which supports artists and performers in all fields of Indian traditional music (Dhrupad, Dhamar, Khyal, Tarana and Thumri). As a performer, he held concerts at venues such as the Ecosoc Hall–United Nations NY, Yale University, and John Hopkins University to name a few. He also performed and taught at the National Music College, Dhaka in his yearly return to Bangladesh. In 2002 he was invited to perform in India Habitat center in New Delhi, India.
    In 2007, he formed the Sadarang Music Center in New York, and continues to teach children and continues to hold a large class of students. In his recent return to Bangladesh in January of 2011, he performed in a historical concert consisting of a 5 hour continuous performance of N.Indian Classical vocal Music at the Dhaka University.
  • 13
    06/13/2019

    8:00 PM
    06/13/2019
    University Lutheran Church
    3637 Chestnut St, Philadelphia, Pennsylvania 19104
    Continuing an already ten year commitment to exploring the music of Morton Feldman, Bowerbird is pleased to present his landmark work Trio (for piano, violin, and cello), performed by NYC based ensemble Longleash.  Originally premiered in 1980, Trio is one of Feldman’s earliest extended duration works (predated by only his String Quartet No. 1).  And though epic in duration (approximately 1 hour 40 mins), the work is threaded together with an intricate patchwork of quiet blocks of sound, pointillistic colors, and wispy melodies that stretch the listener’s musical memory and perception of time. The performance includes work by lighting designer and artist Julie Zhu. 
    Bowerbird’s Steinway Model O piano was donated in honor of Virginia Francis Lease.

    PROGRAM
    Morton Feldman: Trio (1980)
    for piano, violin, and cello

    ABOUT THE PERFORMER
    Longleash (Pala Garcia, violin; John Popham, cello; Renate Rohlfing, piano) is an ensemble with a traditional instrumentation and a progressive identity. The “expert young trio” (Strad Magazine) takes its name from Operation Long Leash, a recently-declassified CIA operation promoting the work of American avant-garde artists in Europe during the Cold War. “Fearlessly accomplished” (Arts Desk UK), Longleash has quickly earned a reputation in the US and abroad for innovative programming, artistic excellence and new music advocacy.  Recent and upcoming engagements for Longleash include Kaufman Music Center’s Ecstatic Music Festival (New York City), National Sawdust (Brooklyn), (le) Poisson Rouge (New York City), Princeton Sound Kitchen, Constellation (Chicago), Equilibrium Concerts (Boston), Center for New Music (San Francisco), Green Music Center (Sonoma), Experimental Media and Performing Arts Center (Troy, NY) and the Metropolitan Museum of Art. Appearances abroad include Trondheim International Chamber Music Festival (Norway), Echoraum (Vienna), Open Music (Graz, Austria) and Kunstuniversität Graz. Longleash has given lectures, workshops, composition readings and performances at Juilliard, Manhattan School of Music, Hunter College, New York University,  City University of New York, Rutgers, Ohio University and University of Nebraska-Kearney. J. Zhu is a composer, artist, and carillonneur. She is the recipient of the Paul and Daisy Soros Fellowship for her interdisciplinary work, visual and aural, that has since been exhibited and performed internationally. Zhu studied at Yale University (mathematics), the Royal Carillon School, Hunter College (MFA art), and is currently pursuing a DMA in composition at Stanford University.
  • 13
    06/13/2019

    8:00 PM
    06/13/2019
    Union Transfer
    1026 Spring Garden Street, Philadelphia, PA 19123, USA
    The Sun Ra Arkestra has been hailed as one of the greatest big bands of all time, and their maestro Marshall Allen will be celebrating his 95th “arrival day” this year! In celebration, Ars Nova Workshop is presenting the Arkestra with another legendary Philadelphia collective, Sounds of Liberation. Drummer-composer Eli Keszler, best known for his work with Laurel Halo and Oneohtrix Point Never, opens.
    Though the iconic Sun Ra left the planet in 1993, his cosmic legacy is proudly maintained by the interstellar sounds of the Arkestra, which now operates under the direction of alto saxophonist Marshall Allen. With a massive, joyous songbook and the kind of well-organized chaos that sees their legendary two-hour sets move deftly between rolling grooves, sing-along chants, and atonal blasts of mischievous brass, the Arkestra remain one of the most unmissable live acts today. In 2018, the 83rd Downbeat Readers Poll saw the Arkestra ranked eighth in the “Big Band” category. In the last year alone, the Arkestra has backed Solange and U2, inspired Lady Gaga to include “Rocket Number Nine” as part of her stage show, and welcomed artists like Kamasi Washington and Shabaka Hutchings to join in the fun, opening up the ears of new music audiences globally to a challenging and uniquely defined sound.
    As a young musician, Marshall Belford Allen (b. May 25, 1924) performed with pianist Art Simmons, Don Byas, and James Moody before enrolling in the Paris Conservatory of Music. After relocating to Chicago, Allen became a pupil of Sun Ra, subsequently joining the Arkestra in 1958 and leading Sun Ra’s formidable reed section for the next 40 years. Marshall, along with John Gilmore, June Tyson, and James Jacson, lived, rehearsed, toured, and recorded with Sun Ra almost exclusively for much of Sun Ra’s musical career.His membership in the Arkestra makes Allen a pioneer of the Free Jazz movement of the early 1960s, having remarkable influence on the leading voices in the avant-garde. He is featured on over 200 Sun Ra recordings, in addition to collaborations with Phish, Sonic Youth, Digable Planets, and Medeski, Martin & Wood. Allen assumed the position of maestro in 1995, following the ascension of Sun Ra in 1993 and John Gilmore in 1995. Marshall continues to be committed to the study, research, and development of Sun Ra’s musical precepts and has launched the Sun Ra Arkestra into a dimension beyond that of mere “ghost” band by writing fresh arrangements of Sun Ra’s music, as well as composing new music and arrangements for the Arkestra. He works unceasingly to keep the big-band tradition alive.
    Sounds of Liberation
    Sounds of Liberation was a self-described “community force” that sprang from Philadelphia’s Germantown and Mt. Airy neighborhoods, and they were in the avant garde of Black expression in the early 1970s. Originally conceived and formed by Khan Jamal, the arrival of Byard Lancaster in 1971 helped shift them into a higher gear. At times reminiscent of the Modern Jazz Quartet and Elevation-era Pharaoh Sanders, SoL played with a singular blend of free-funk, fiery spiritual jazz, and Afro-Cuban rhythms. SoL’s only documented recording, a self-titled LP released on the group’s own Dogtown label in 1972, was a mythical score for free jazz vinyl collectors until Porter Records’ Luke Mosling reissued it “sound unheard” 38 years later. We now celebrate the first-ever release of a long-lost 1973 Philly session, “Unreleased,” also on Dogtown, in collaboration with Brewerytown Beats Records.
    Eli Keszler is experimental electronic music’s favorite drummer. A regular collaborator of Laurel Halo and Oneohtrix Point Never, the virtuosic percussionist helps bring surreal, digital compositions to life. As a composer, Keszler has received commissions from the Icelandic Symphony Orchestra, ICE Ensemble, Brooklyn String Orchestra and So Percussion.
    *VIP admission includes seating in elevated areas in front of the stage, as well as a limited edition silk-screen poster, a Sounds of Liberation “Unreleased” new recording on Dogtown Records (your choice of CD or LP), and your choice of a Death’s Headquarters or Sounds of Liberation tote bag.
    Special thanks to Brewerytown Beats and R5 Productions.
    Support for this event has been provided by the Arthur Judson Foundation.
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