Events: Search Results

MATA Interval 2.2
The NEW New Virtuosity: Musicians of New Amsterdam Records
@
ISSUE Project Room
At the Old American Can Factory
232 3rd Street, 3rd Floor
Brooklyn, NY 11215
directions

Curated by composer and NAR co-director Judd Greenstein
Solo Performances by Andrew McKenna Lee and Nadia Sirota
Featuring the music of Andrew McKenna Lee, Marcos Balter, Nico Muhly, and Greenstein
 

@ Serial Underground

Monday, November 10, 8:30PM
Cornelia Street Café
29 Cornelia Street,NYC

Russ Johnson & Nate Wooley - trumpet
Curtis Hasselbring & Chris McIntyre - trombone
John Altieri & Joe Exley - tuba
John King - laptop

TILT Brass' SIXtet project performs on Composer Collaborative's Serial Underground series with music from composer, guitarist and Cunningham Co. music co-director John King, and TILT's own Chris McIntyre.
 

DARMSTADT presents ESSENTIAL REPERTOIRE at ISSUE PROJECT ROOM, October 22 - 26
Wed, Oct 22: Ne(x)tworks performs music of the New York School

Christian Wolff: Nos. 10 & 12 from from Exercises 1-14 (1973-74)
La Barbara, Frasconi, Kim, McIntyre

Morton Feldman: Projection 4 (1951)
Coleman, Kim

Earle Brown: selections from Folio (1953-54)
Four Systems
Frasconi, Burgon
November 1952
Coleman, McIntyre
December 1952
La Barbara, Kim

INTERMISSION

John Cage: Variations II (1962)
full ensemble

Ne(x)tworks
Joan La Barbara - voice
Shelley Burgon - harp
Miguel Frasconi - glass/electronics
Ariana Kim - violin
Chris McIntyre - trombone/electronics
Cornelius Dufallo - director
Special Guests: Anthony Coleman (keyboards)

Time Out New York says:
"Yes, we’re prone to hyperbole on occasion, but trust us when we say that Darmstadt’s Essential Repertoire series, which runs through Oct 26, is one of the most significant musical presentations of the season. In each concert, prominent interpreters explore an aspect of contemporary-classical music past or present; the series gets underway with a program devoted to music of the New York School—John Cage, Earle Brown, Morton Feldman and Christian Wolff—and no one illuminates this realm with more sympathy and conviction than the players of Ne(x)tworks."
 

A Power Stronger Than Itself:
A Celebration of the Association for the Advancement of Creative Musicians

Co-curated by George Lewis & Chris McIntyre

October 9 and 11, 2008
The Kitchen
512 West 19th Street, New York NY 10011
www.thekitchen.org

October 9, 8 pm

Muhal Richard Abrams: Trio for Violin, Clarinet, and Cello (2004)

Henry Threadgill: He Didn’t Give Up/He Was Taken (1990), for voice, piano, alto saxophone, and violin, with text by Thulani Davis

Leroy Jenkins: Wonderlust (2000), for chamber ensemble

Roscoe Mitchell: White Tiger Disguise (2006), for voice and string quintet, with text by Daniel Moore

Muhal Richard Abrams and Amina Claudine Myers, duo piano

October 11, 5 pm

Panel Discussion: The Meaning and Legacy of the AACM

With Brent Hayes Edwards, George E. Lewis, Nicole Mitchell, Amina Claudine Myers, Ted Panken, and Matana Roberts; Christopher McIntyre, moderator.

Following the discussion, Lewis will sign copies of A Power Stronger Than Itself: The AACM and American Experimental Music (University of Chicago Press, 2008)

October 11, 8 pm

Nicole Mitchell: Waterdance (2003), for flute, cello, and percussion

Wadada Leo Smith: Loving - Kindness (1997), for clarinet/bass clarinet, cello, piano, trombone/tuba

George Lewis: Hello Mary Lou (2007), for chamber ensemble and live electronics, with video by Kate Craig

Ritual and Rebellion (2008), a collaborative multi-movement program by Matana Roberts and Nicole Mitchell, with Craig Taborn and Chad Taylor

About the AACM

Since its founding on the virtually all-black South Side of Chicago in 1965, the African-American musicians' collective known as the Association for the Advancement of Creative Musicians (AACM) has played an unusually prominent role in the development of American experimental music. The composite output of AACM members explores a wide range of methodologies, processes and media. AACM musicians have developed new ideas about timbre, sound, collectivity, extended technique and instrumentation, performance practice, intermedia, the relationship of improvisation to composition, form, scores, computer music technologies, invented acoustic instruments, installations and kinetic sculptures.

In a 1973 article, two early AACM members, trumpeter John Shenoy Jackson and co-founder and pianist/composer Muhal Richard Abrams, asserted that, "The AACM intends to show how the disadvantaged and the disenfranchised can come together and determine their own strategies for political and economic freedom, thereby determining their own destinies.” The AACM's goals of individual and collective self-production and promotion challenged racialized limitations on venues and infrastructure, serving as an example to other artists in rethinking the artist/business relationship.

The musical influence of the AACM has extended across borders of race, geography, genre, and musical practice and must be confronted in any nonracialized account of experimental music. To the extent that AACM musicians challenged racialized hierarchies of aesthetics, method, place, infrastructure and economics, the organization's work epitomizes the early questioning of borders by artists of color that is only beginning to be explored in serious scholarship on music.

The internationally prominent and ongoing example of the AACM expanded the range of thinkable and actualizable positions for a generation of experimental musicians, and challenged conventional understandings of American experimental music, obliging the recognition of a multicultural, multi-ethnic reality, with a variety of perspectives, histories, traditions and methods. These evenings of AACM music at the Kitchen, presented in conjunction with the emergence of George E. Lewis’s important new book, A Power Stronger Than Itself: The AACM and American Contemporary Music (University of Chicago Press, 2008) are intended to give listeners a notion of the diversity of musical thinking and cultural influence that has emerged from this groundbreaking artists’ collective.

For more on the AACM, see aacm-newyork.com and aacmchicago.org.
 

Waters Horn Quartet
Charles Waters - alto saxophone, clarinet
Matt Bauder - tenor saxophone
Nate Wooley - trumpet
Chris McIntyre - trombone

Monkey Town
718.384.1369
58 N 3rd St
(btw. Kent & Wythe)
Williamsburg, Brooklyn 11211

Screening of Elise Kermani's film Jocasta, and experimental adaptation of Euripides' The Phoenician Women. Includes a live performance by a quartet of trombones featured in the film, with Steve Swell, Mike Seltzer, Kevin James, and CJM

SEM Ensemble @ Willow Place Auditorium
26 Willow Place Brooklyn, NY

Program:
Roscoe Mitchell - Non-Cognitive Aspects of the City
Muhal Abrams - Mergertone
Petr Kotik - Asymmetric Landing

Pete Drungle (piano, electronics), George Rush (upright and elec. bass), Fred Kennedy (drums), Chris McIntyre (trombone, Nord Lead2)

A new Brooklyn-based collective made up of composer/performers working in various avant and otherwise musical realms. In addition to leading their own groups, collaborative experiences include Slavic Soul Party!, Guignol, Michael Portnoy, Ronald Shannon Jackson, Ne(x)tworks, and Klezmer Madness, among many others.

Description
5/15 - Screenings at 7 and 9pm of Wild Combination, a new documentary about AR by Matt Wolf

5/16 & 17 - Songs and other things by Nick Hallett & Alex Waterman + Nat Baldwin + Rebecca Gates + Joel Gibb

Instrumental music:

5/16 - Tower of Meaning

Bill Ruyle (perc/conductor), Cornelius Dufallo (violin), Okkyung Lee (cello), Peter Hess (alto sax/clarinet), Shelley Burgon (harp), Matt Bauder (tenor sax/clarinet), Chris McIntyre (trombone)

5/17 - The Singing Tractors

Peter Zummo (Music Director/trombone), Bill Ruyle (perc), Ernie Brooks (bass gtr), Cornelius Dufallo (violin), Okkyung Lee (cello), Shelley Burgon (harp), Chris McIntyre (trombone)

New York Times review

More info at thekitchen.org

Santa Fe Reporter Pick of the Day

CJM (trombone, laptop, composition), Chris Jonas (saxophones, composition), rosS Hamlin (elec. gtr, bass gtr, compositions), J.A. Deane (bass flute), Katie Harlow (cello), Milton Villarrubia (perc)

Dialogics: Ne(x)tworks at Chelsea Art Museum [gmap]
2008 Residency
Saturday, April 5, 2PM

Joan La Barbara - new work
Miguel Frasconi - new work
Alvin Curran - Selections from The Alvin Curran Fake Book

Joan La Barbara - voice, Shelley Burgon - harp/elec, Yves Dharamraj - cello, Cornelius Dufallo - violin, Miguel Frasconi - glass/elec, Stephen Gosling - piano/synth, Chris McIntyre - trombone

Main Space

Cox discusses concepts behind his innovative book Audio Culture and the ontology of sound art. Post-lecture discussion between Cox and Micah Silver.

PROGRAMAaron Gervais - Culture No. 3 (2006)
fl/pic, cl, hn, trb, pno, perc, vn, va, vc, db

Jennifer Fitzgerald - A Thousand Machines (2007)cl, vn, pno

Nico Muhly - I Know Where Everything Is (2007)fl, cl, vn, cl

Judd Greenstein - At the end of a really great day (2007)fl, cl, vn, cl

Ziboukle Martinayite - 2008 MATA Commissionfl, cl, ob, bsn, trb, hn, pno, perc, vn, va, vc, db