Peter Brotzmann returns to Philadelphia on May 30 to perform in the breathtaking German Society library.


Peter Brotzmann returns to Philadelphia on May 30 to perform in the breathtaking German Society library.

Ars Norge

This Sunday evening Ars Nova Workshop holds the first in a series of concerts entitled Ars Norge. This series presents some of the most visionary jazz, improvisational and experimental artists working in Scandinavia today. Lead by Ivar Grydeland and Ingar Zach, Norwegian quartet Dans les Arbres returns to Philadelphia, creating sonic landscapes that evolve slowly, with an intention that evokes the cinema of the natural world. Grydeland and Zach have been working with each other since the early ‘00s. Their latest release, Canopée (2012) was released by ECM.

Kim Myhr opens the show Sunday night, playing solo 12-string guitar. Once again, a music of slow development, drawing out the harmonic richness of the 12-string run through electronic processing. As guitarists, both Myhr and Grydeland are equally adept in, and move fluidly between, learned finger style approaches and tempered extended techniques.

Critics have referred to both groups as having “Americana,” “folk” and other “simplistic” influences in their work. Traditional and “folk” music has been a part of the jazz avant-garde since free jazz and improvisation became a distinct musical genre. Whether it was Charles Mingus drawing on the music of his Baptist upbringing, Albert Ayler’s use of hymns and New Orleans second line music, or Max Roach’s We Insist: The Freedom Now Suite, which explored the blues and African conceptions of rhythm across multiple places and time, the greatest music has always looked to the musical wisdom of the ancestors, rooting itself firmly in those forebears in order to create innovative collective artistic statements.

Drawing on traditional music palettes and moving in innovative directions has been, and will continue to be, a theme of ANW’s season this year. Sam Amidon and Bill Frisell’s performance certainly embodies this notion. Amidon’s recasting of traditional Appalachian and New England songs (his own parents folk singers themselves) carries forth not only traditional music, but the spirit of the 1960s Folk Revival, adding 21st century harmony to the mix. In December, we see the return of Abraxas, Shanir Ezra Blumenkranz’s group, performing songs composed by John Zorn as part of his ever-growing Masada songbook, a collection of songs drawing on Jewish identity.

Dans les Arbres, Kim Mhyr and Ballrogg all express this connection to traditional music forms as well. While they conjure sounds of place, melodies of the north shimmer, only to retreat to the very patient collective processes of creation that is the hallmark of their artistry. Their music does away with the distinction between so-called high- and low-art forms.

Tonight, William Parker concludes his ANW-commissioned four-part suite, Flower In Stained Glass Window (for creative music ensemble and improvising trio), featuring an all-Philadelphian chamber ensemble, led by Keir Neuringer (alto saxophone), and featuring Veronica Jurkiewicz (violin), Ryan Frazier (trumpet), Mike Watson (bass clarinet), Larry Toft (trombone + baritone horn), Diane Monroe (violin), and Thomas Kraines (cello). Keir shares his thoughts on these four nights:

In 1963 Martin Luther King wrote, in his too-infrequently read Letter from a Birmingham Jail, "the question is not whether we will be extremists, but what kind of extremists we will be...the nation and the world are in dire need of creative extremists." I have been motivated by this statement, on and off stage, for years. William Parker is the rare musician working these days who connects the notes he plays and composes, the things he has to say, the way he operates in the scene, to the revolutionary legacies of jazz. His example is visionary and inspiring. He is a creative extremist.

When Ars Nova announced that William Parker and Muhammad Ali would be coming to the First Unitarian Church in Philadelphia to perform a King-inspired piece with local improvisers, I knew I had to connect to this project. Even before knowing that MLK had attended a formative sermon here, I knew the genius loci of the side chapel to be deep. I recorded my solo album in its meditative, warm resonance last summer. But this project is not about solos, despite the roster of Philly elders joining us - Odean Pope, Marshall Allen, Dave Burrell, and Bobby Zankel. Parker's work seems to me to be about a collective expression. He gave us an instrumentation and it was a privilege to find and put together a new ensemble of Philadelphia musicians very much dedicated to this kind of work. The scores that Parker created reveal not too much beyond short motifs and harmonies of intense beauty. But the music is not on the paper; rather, it's in the interactions and the musicians ourselves. We will use the scores to support, propel, and contrast the improvisations each night, navigating Parker's ideas and our collective intuition to further the revolutionary legacy of this music.

The William Way LGBT Community Center, with generous support from The Pew Center for Arts & Heritage, is proud to announce OutBeat: America's First Queer Jazz Festival, set to take place on the final days of summer - Thursday, September 18 to Sunday, September 21. OutBeat host to a number of critically acclaimed jazz artists across a broad musical spectrum including: John Coltrane's favorite vocalist, Andy Bey, Grammy® Award-winning pianist Fred Hersch, Patricia Barber Quartet and drummer Bill Stewart. Additional headliners and further details will be announced throughout the spring.

Ars Nova Workshop is pround to announce that Artistic Director Mark Christman is helping co-produce the festival, which has already garnered a tremendous amount of buzz from outlets such as The New York Times, Philadelphia Magazine, DownBeat Magazine, and WHYY.

The New Paths Festival is underway, and the local press has shared our excitement.  Our pairings of music and place have generated interest from several media outlets. 

WHYY’s Peter Crimmins joined us for the festival opener, Ken Vandermark’s Made to Break at the Barnes Foundation, and spoke to both Vandermark and ANW executive director Mark Christman about “Fourth Foundation,” the composition commissioned by ANW for the festival. 

WXPN’s Alex Lewis covered last weekend’s presentation of Milford Graves at Bartram’s Gardens for The Key, calling it “a mesmerizing display of focus and virtuosity”.  If you missed this show, Lewis’s write-up really captures the impetus behind the New Paths Festival – it’s a glowing review of Graves’ performance with a healthy dose of background and context.

Additionally, other Ars Nova Workshop events have been receiving great press.  Tonight’s Nels Cline Singers show has garnered attention from several outlets, including Philebrity, and the Philadelphia Inquirer recently spoke to Cline about the influence of Coltrane, playing in Philadelphia, and his relationship with ANW: “I want to work with any such quixotic cultural organizations," he says, "who offer me these opportunities rather than me going to them, and ANW really keeps track."

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  • Sun, 01/11/2015 - 8:00pm
    FringeArts
    Ars Nova Workshop is thrilled to present a double bill featuring the Instant Composers Pool Orchestra and the duo of Ken Vandermark and Nate Wooley.
    (read more)

Ars Nova Workshop is a Philadelphia nonprofit jazz and experimental music presenting organization.  As a facilitator between artists and their audiences, Ars Nova Workshop works to inform, inspire and challenge listeners in order to elevate the role of jazz, improvisation and experimental music in contemporary culture.

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Music is the Healing Force of the Universe

"The challenge of creative music has never been more important than in periods of profound unrest and realignment." 
-Anthony Braxton