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Clouds Moving

On Wednesday, February 23, Ars Nova Workshop presents the Anat Fort Trio at Philadelphia Art Alliance. The group dialogue between pianist Fort, bassist Gary Wang, and drummer Roland Schneider has been ongoing for ten years, and this deep relationship is evident on 2010’s spellbinding ECM debut, And If. In a 2007 interview with All About Jazz, Fort made the following comment about the trio: “The music is sometimes so subtle that you really need it to be there with no extra sound—then anything else can just disappear. I think that really demonstrates our concept, because we kind of weave in and out of each other's worlds. It's like the trio has its own universal consciousness, so to speak. We kind of swim in it together.”

Opening and closing with two nods to frequent collaborator Paul Motian, And If is a book of ten introspective compositions that produce lush, graceful and warm worlds of oceanic sound. On pieces like “Clouds Moving” and “Minnesota,” the trio presents vast open spaces that welcome healthy moments of gentle, and at times melancholic, contemplation. This robust conception of space is a vital constituent of Fort’s voice as a composer and musician. In addition to her excellent sense of humor, the following quote from the same interview makes clear that space is something she’s willing to fight for.

“But I never really consciously specify to myself, ‘Here I would like to have the solo continue the form,’ or something like that. I don't really think so consciously about it, but it's definitely my goal in this, and really, in every other tune: to compose in the moment. So whether the composition is very specific or not, I'm really into the moment. I'm not into anything that happens in the moment—I'm really into making a coherent statement. I really try to be clear to myself in what I am trying to say.

And I think that's why, a lot of times, I don't play so much. Because that's just how it works for me. I need the space. I really, really need those rests that you were talking about. That's really something very important to me. And sometimes it's hard to get musicians to understand that. And even if they understand that, it's really hard to get them to do it. I can't even tell you how many conversations I've had— even with Ed Schuller—where I've said, ‘Hey, leave that space alone. Don't play there, okay? I really want that open.’ And then he plays there anyway! He says, ‘Yeah, but I can't just play what's written. I have to make my own statement with it. Well [laughing] make your statement quiet! I need the space.’ And I totally understand where he's coming from. He just wants to somehow play the tune, and sometimes the tune is very sparse—whether it's this tune or some other tune. But it's always an ongoing—not battle, but issue— that I have with some musicians.

And I think the more I grow, the more I need more space. So if, in the beginning, I needed it every once in a while, now I need it even more. And I need the musicians to go with me, or it's just going to be [laughing]—it will be—a battle!”

Anat Fort Trio will perform on Wednesday, February 23 at Philadelphia Art Alliance (251 S. 18th Street).

 

On Tuesday, February 22, Ars Nova Workshop presents the Celestial Septet, featuring Rova and the Nels Cline Singers, who kick off their 5 date tour at International House Philadelphia. For those living outside the city who would like to experience this special concert, be sure to sign up for the web.illish.us-produced free live webcast at this link. We'll see everyone else on Tuesday! ANW was able to catch up with Larry Ochs, a founding member of Rova, for a few questions about the quartet’s past collaborations, their history with the Nels Cline Singers, and the last time they were in Philadelphia, when ANW presented Electric Ascension.

Rova has worked with an overwhelming number of artists since forming in 1977. What’s one of the critical collaborations that really pushed ROVA in a new creative direction?

I’ll start by saying that it has been an incredible privilege to have a means for inviting all these great artists to work with us. If not for the non-profit status and the foundation support we were able to get, none of this, well, most of it, could not have happened. I’m sure that John Zorn and Henry Kaiser and Fred Frith, Alvin Curran, a few others along the way, would have done projects with us ultimately, but in the end you want to honor the art by paying for the artists’ time and work. Back to your question.

I don’t think there has been one collaboration that pushed Rova in a brand new creative direction. Rova was born pushing the limits in many different directions and we tended then and continue now to invite performers who work similarly and who will be open to pushing and being pushed. But I would say that over time many of these collaborators and collaborations accreted information, purpose, ideas, new ways of organizing music for improvisers, and an air of confidence in what they did that built up our own confidence, our own abilities, and our own projects, if that all makes sense. You can go right back to the shows with Margaret Jenkins Dance Company in 1980 or 1981, or to Kronos in 1984, where we wrote the music and got them to be a little bit comfortable with improvisation. But probably the first shows that really ratified what we were up to were those with Anthony Braxton in 1986, and then again in 1988. We thought that these shows would be a real challenge, but instead Braxton’s music and Braxton as the fifth member of the quintet felt completely “right” immediately from the first rehearsal. His positive energy, legendary in improvised music circles, his playing on our pieces, and our playing in his was a real shot in the arm that absolutely confirmed what we were up to. Certainly I could also point to later compositions from Alvin Curran, Wadada Leo Smith, and Barry Guy as pieces that really had a fresh form that we were intrigued by, too. But there were many others, and all taught us something,  in one way or another, so it’s almost unfair to single certain ones out. 

Are there any artists with whom you haven’t yet collaborated but would like to?

Way too many to name. The thing is that “real time” and the reality of our music universe are real limiters on all these collaborations happening. The reality is that you just can’t do a big project unless there’s some money for that to happen, and finding sponsors gets harder all the time, given the cultural climate and the fact that “there is no money” for the arts anymore, not to mention that there is no money for education, infrastructure, and for anything else that might benefit the average person. Oh sorry, there is money for “security” and for making sure you don’t do anything wrong in your own home. Forgot about those.

How did the Celestial Septet initially come together? Does the group lineage extend beyond Rova: Orkestrova’s Electric Ascension project?

Rova met Nels a long, long time ago. I think the people in Wilco don’t want us to tell you how long ago because then their fans might figure out that he’s not such a young rocker, though absolutely rocking. Steve Adams has been playing with Nels in Vinny Golia projects since the 1990s, at least. Scott Amendola and Trevor Dunn first worked with me and Rova in 1998 on a long work of mine called “Pleistocene,” a concert that included pieces by Adams and Raskin working with an eleven piece ensemble including Kaiser, John Schott, Lisle Ellis, Mike Patton, and Willie Winant. Scott has played with me for ten years in Larry Ochs Sax & Drumming Core and with my band Kihnoua since 2007. He’s also part of Steve Adams’ trio with bassist Ken Filiano. Nels of course really hooked up with us in a big way in 2003 for Electric Ascension which continues to occur more or less biannually in festival performance somewhere on the planet. I forget that Devin Hoff was the bass player for the Singers until just last summer. Devin actually had a shorter history with Rova than Trevor, playing with us in Vancouver on Electric Ascension in 2007, and then in the septet until this series of shows. Trevor has played Electric Ascension two or three times including the Philly show, and he and I have also worked in a band called ODE with Lisle Ellis and Mike Sarin. And Mr Bungle, with Trevor on electric bass, did a collaborative performance with Rova in the 1990s.

Given all this intermixing, and given the nature of the two bands playing for you in the Celestial Septet, it was almost “natural” for this collaboration to happen. And it happened in a very relaxed way when, in 2006, we performed on a double bill together in Berkeley, CA. Steve Adams arranged a piece by John Coltrane as an encore to the concert. That music was so cool that we determined that night to compose music specifically for this septet and then reconvene “someday,” a day that turned out to be May 28, 2008.

What can audiences who have never previously experienced the Celestial Septet expect?

Nice writing, strong compositional forms, great playing, and both beauty and rocking energy. There’s also some real magic in the fact that 5 different people, working independently of each other, brought in compositions for the band to play prior to the 2008 show, and that these pieces all seemed to fit together so well in the sets played. One thing they have in common is that all the composers (except Nels himself!) wanted to hear Nels do some shredding somewhere in their piece, so you will get a lot of electric guitar in the shows. This is not a free jazz band nor a free improvisation band. It’s more conventional in a certain way. We have themes and melodies, and compositions that seem to tell stories.

When was the last time you played Philadelphia? Any fond memories?

The last time for Rova was Electric Ascension in 2007. That zoo is always a great scene in which to hang. The Philly show was the first for Andrew Cyrille and Trevor Dunn, and I love having the privilege of being on any stage with Cyrille. I always learn something. And I enjoyed Trevor telling me after the concert that right in the middle of his bass-drum duo with Cyrille, he thought, “Holy shit, I’m playing a duo with Andrew Cyrille!!” It was early February 2007 and the weather wasn’t bad. We’re bringing sunshine this time, both to the inside and outside of the International House.

The Celestial Septet plays on Tuesday, February 22 at International House (3701 Chestnut Street).

 

On Tuesday, February 22, Ars Nova Workshop presents the Celestial Septet, an extraordinary union of the Nels Cline Singers and the ROVA Saxophone Quartet. Hitting the road for only 5 concerts, this first date of the tour marks the septet’s Philadelphia debut. Given the significance of this epic collaboration, ANW and local webcast production team web.illish.us will be offering a free live webcast of the concert to audiences outside Philadelphia. Please follow this link to register for the webcast.

Local audiences can purchase tickets to the event at International House here. Stay tuned for an interview with ROVA coming shortly. Meanwhile, check out a brief history of the septet below. 

Whether providing ripping solos for indie rock heroes Wilco or improvising with Sonic Youth’s Thurston Moore, Nels Cline ceaselessly lives up to his reputation as “the world’s most dangerous guitarist” (Jazz Times). The Nels Cline Singers, with drummer Scott Amendola and newly appointed bassist and frequent John Zorn collaborator Trevor Dunn, is Cline’s avant-jazz power trio. Their fourth record, 2010’s Initiate, was praised for its “spacious and highly textured, simultaneously beautiful and discordant instrumentals” (NPR) and deservingly made the top 25 on the Village Voice Jazz Critic’s Poll.

“Visionary all-saxophone ensemble” (New York Times) the ROVA Saxophone Quartet has been at the forefront of creative music for over 25 years, earning numerous commissions and awards, and working with artists such as John Zorn, Pauline Oliveros, Alvin Currin, Terry Riley, and Henry Threadgill. Featuring four furious saxophonists – Bruce Ackley, Steve Adams, Larry Ochs, and Jon Raskin – ROVA has been praised by audiences and critics around the globe for their unrivaled and profound contribution to the trajectory of experimental music. Uniquely reflecting the quartet’s deep understanding and appreciation of jazz and avant-garde musics, from The Art Ensemble of Chicago to Iannis Xenakis, the ROVA experience is one of celebration and innovation.

The seeds for the 2008 creation of the Celestial Septet were planted when, in 2003, Nels Cline joined ROVA Orkestrova for a series of performances of John Coltrane’s legendary free-jazz record Ascension. After only 4 concerts the Celestial Septet disappeared, and then reemerged in 2010 with the release of a stunning self-titled record. “Free from stylistic restraints,” Point of Departure’s Troy Collins wrote of the New World Records release, “they fuse elements of primal free jazz, visceral rock conventions, aleatoric meditations and austere classicism into a series of unorthodox compositions that balance formal structure with unfettered improvisation.”

 

Wave Lengths

On February 17, Ars Nova Workshop presents a free concert at The Rotunda with William Hooker's Two Sides of Now and Norwegian duo Vertex. Tonight (February 11) on WRTI’s premier jazz program The Bridge, host J. Michael Harrison interviews William Hooker. Broadcasting live at 10pm (EST) from WRTI’s headquarters at Temple University, you can stream the interview here.

Along with Dave Burrell's Echo, Ornette Coleman’s Free Jazz, and Sunny Murray's Sunny's Time Now, drummer William Hooker's Is Eternal Life is one of the greatest documents of the early free jazz movement and the Loft era. Crossing genres and mediums, from poetry and music to visual art, Hooker has not just adapted to the changing currents of creative music, but has been a pioneering figure. His recent collaborators include musicians from diverse scenes including Sonic Youth founders Thurston Moore and Lee Ranaldo, as well as turntablists like Christian Marclay and DJ Olive. The work of this foundational improviser and composer continues to be explosive and forward-thinking, and for this concert he'll be joined by guitarist Dave Ross and trumpeter Matt Lavelle, who have worked with William Parker, Daniel Carter, Rashid Bakr, and Sabir Mateen. 

Making their Philadelphia debut, Norwegian electroacoustic duo Vertex will provide an opening set. Their debut album, shapes & phases, was released last year on Ingar Zach's renowned SOFA label, and was mixed and mastered by leading Italian experimentalist Giuseppe Ielasi. This is a very rare appearance – 1 of only 5 East Coast dates - by this improvising unit that mixes lowercase drones, noise, and indefinable electronic blips to create delicately swirling soundscapes similar to groups like Supersilent, Koboku Senju, and Emeralds. 

William Hooker's Two Sides of Now and Vertex perform on Thursday, February 17 at The Rotunda (4014 Walnut Street).

 

Rhys Chatham has played trumpet since the early-1980s but it’s still appropriate to recognize his new Brass Trio as a significant sea change. Known for organizing terrifyingly large ensembles with up to 400 guitarists, the pioneering composer who has found a common thread running through punk fury, minimalism, and avant-garde jazz displayed the strongest trumpet work of his career on last year’s stunning record The Bern Project. On February 13, Ars Nova Workshop presents the Philadelphia debut of the Rhys Chatham Brass Trio, the freshest realization of the celebrated composer’s ceaseless forward momentum. Having just arrived from Paris for only 4 U.S. dates, ANW caught up with Chatham to talk about his trumpet turn, the new trio, and his upcoming record on Northern-Spy.

So, as a song title from The Bern Project asks, is there life after guitar trio?

I had just come back to trumpet after taking a hiatus for a number of years, so on the album I'm playing guitar as well as trumpet. The album's producer really wanted to call one of the tracks "Is there life after Guitar Trio?” so that's what we did. We've been playing G3 in various formats for over 30 years now. For many years, I played it as the finale of each of our concerts. Guitar Trio really was my life. I was even going to put a version on the new release of brass playing that's coming out on Northern-Spy Records, but my girlfriend said, “Rhys, enough already!” I took her advice and did that album with just brass. It was a good idea. I mean, after, there's gotta be life after Guitar Trio, no?

Guitar is likely the first thing that comes to mind for people when your name is mentioned. Do you see your recent turn to trumpet as a sharp trajectory shift from your past work or as building upon it?

My brass and guitar work have always been on two parallel tracks. I started playing trumpet in 1983 when I realized that I was losing my hearing from playing too much loud guitar music. I decided it would be better to play a softer instrument. I had just made a piece for choreographer Karole Armitage called “For Brass,” which was a brass octet with drummer Anton Fier. I kind of fell in love with trumpet after that. The only thing was, the damn thing takes ten years to learn how to play. As soon as I realized this I decided to continue with my guitar pieces, but I practiced trumpet at home until I was ready to play out. 

By the mid-1990s, I was ready. My training as a composer comes out of the classical tradition, but my training as a trumpet player came exclusively out of the jazz tradition. I had to learn all my major and minor keys, how to play over iim7, V7, I changes in any and all tempos and any and all keys. Basically, I learned how to do what every trumpet player is supposed to know how to do.

My first album as a trumpet player was released during the mid-1990s by an electronica label called Ninja Tune. I had kept all my distortion boxes from my rock days and applied them to trumpet. I was playing over heavy electronica grooves. When the guys at Ninja Tune heard it, they said, “Wicked guitar playing, man!” They thought it was an electric guitar! The album was a success and with the release I had defined a personal sound on trumpet: a trumpet which sounded suspiciously like a highly distorted electric guitar. So in that sense, the work I was doing on trumpet from that period built upon my experience as a guitar player.

Who are some of your favorite trumpeters and what about their approach and voice has influenced you?

All trumpet players spend many years finding and refining their personal voices, so there are many trumpet players I like and who I've been influenced by. In terms of my own voice on trumpet, I was particularly influenced by two people. I liked the way Don Cherry played during the glory days of free jazz, and on the minimalist composition side of things I liked Jon Hassell's work. In fact, a good description of the way I currently play is "Don Cherry meets Jon Hassell meets Bill Dixon.”

I always enjoyed playing over changes during my student days, but when it came time to play out on my own, I found them too restricting and preferred Don's free approach to things. So I took this route and developed my own way of doing it. Jon Hassell was the first player to use a harmonizer as part of his sound, so in one of the pieces the Brass Trio is going to play at Ars Nova Workshop, I use a harmonizer as a kind of tribute to Jon. Jon and I also both come out of the same background. When I played during the early-1970s in La Monte Young's group, the Theater of Eternal Music, Jon was in the band, too. That's where I met him. We also both studied with Pandit Pran Nath, the singer, whose work has greatly influenced and formed both Jon and myself.

You’ve cited Black Sabbath guitarist Tony Iommi as an influential force when you first started playing trumpet. How has Iommi’s guitar work translated into your playing?

I always wanted to be able to play as fast as Tony Iommi on guitar and I tried and I tried and tried. But it never happened for me because a guitar has so many frets on it. I could never figure out where to put my fingers. Trumpet is much easier, because it only has three valves. I found that my problem of having less than average digital dexterity didn't prevent me from playing really, really fast on trumpet. So it wasn't until I played trumpet that I could play as fast as Tony Iommi. I was so pleased.

You’ve worked with guitarist David Daniell and drummer Ryan Sawyer in your guitar ensembles. How did you know they were the right pieces for your brass trio?

Well, for one thing, as you mention, I've worked with both of them in other contexts. I've been working with David for years: he's the concert master of my 100 and 200 electric guitar pieces. Ryan was playing percussion at the Crimson Grail performance we did at Lincoln Center last year, and was a real pleasure to work with. I listened to a selection of the wide range of styles he is capable of playing, so that clenched it. We asked him if he was available and he said “Yes!”

But I have to back up a bit to answer your question properly. During the 1990s, I had developed a voice on trumpet that made use of heavy distortion and loud volumes, like I said. It sounded not unlike a distorted electric guitar. I took a break from trumpet for a time and about three years ago I decided to return to it. However, I didn't want to play the same way I did during the 1990s, so I set about defining a completely new style. When I currently play trumpet, I go through a number of delay devices, which have become part of my instrument and sound. While during the 1990s my trumpet was loud and distorted, for the new work I decided to go for a more pure trumpet sound, using no distortion at all. Also, I make much wider use of the range of the trumpet: a technique which came out of the work of Bill Dixon. Using looped long tones give the pieces their flavor of early minimalism.

Later on, I heard a recording of one of David Daniell's pieces, and discovered to my surprise that he, too, was working with delay devices in his set-up, and also working with looped long-tones. So I asked him to play in the context of one of my brass pieces. He asked me what I wanted him to play. I said, "Just play what you would normally play.” The work that we were doing was that close, he made sense as the guitar player to work with.

Last week it was announced that you signed a two record deal with Northern-Spy, and the first one will be out in April. What can you tell us about it?

The first record with Northern-Spy, called Outdoor Spell, marks a real break from my past brass releases. When I returned to playing brass a few years back, I spent almost a year defining a complete new way, at least for me, of playing trumpet. No more distortion, no more wah-wah pedal, just pure trumpet, making use of its entire range, from the lowest pedal tones to high triple Cs. Outdoor Spell is the first release where we can hear this new style. The first piece has me on voice and trumpet. The second includes a Cuban percussionist that I know from Paris named Beatriz Rojas. And the final piece included the French improvisor Jean-Marc Montera on electric guitar and Kevin Shea on drums. Jean-Marc I've played with for years in France. He's also worked with groups as diverse as Sonic Youth and Patti Smith. He's essentially a free player, but he’s conversant in nearly all styles of guitar playing. Kevin also plays with Mostly Others Do the Killing, Peter Evans Quartet, and Talibam!

When was the last time you played Philadelphia? Any fond memories of previous visits?

The last time we played in Philadelphia was at Ars Nova Workshop! We had a great time there and the sound system was really good. I think I was playing guitar in the context of a group called Essentialist. We had a blast, and I'm looking forward to visiting you guys again!

Rhys Chatham Brass Trio and Chris Forsyth will perform on Sunday, February 13 at International House (3701 Chestnut Street).

 

Philadelphia guitarist Chris Forsyth opens for Rhys Chatham Brass Trio on Sunday, February 13. A member of boundary-pushing, outsider trio Peeesseye and caretaker of the Evolving Ear imprint, Forsyth builds upon a firm foundation of minimalism, blues, improv, and psychedelic rock while always articulating new sonic terrains. In preparation for his performance, Ars Nova Workshop spoke to Chris about his recent tour with Tetuzi Akiyama, his upcoming Family Vineyard album Paranoid Cat, and Chatham’s influence on his work.

You played several dates late last year in duo with Japanese guitarist Tetuzi Akiyama. Was there a particular moment during your improvisations that stands out? Where the dialogue seemed to optimally connect?

I love the dynamic of touring with another artist because you get to hear them every night and see how their practice evolves (or doesn’t) each night. I've had great experiences traveling alongside other artists and sharing bills with them, like Steve Gunn and Ignatz and Es, as well as with bandmates in Peeesseye or Phantom Limb & Bison, where we'd be largely improvising or developing material every night together. But with Akiyama it was a combination of both, since we were each playing solo sets as well as duo sets most nights. He's simply one of the best guitarists I've ever heard and his breadth is really astonishing. That's one of the things I most respect about him.  He can make magic happen with the most abstract sound-oriented approach as well as straight up finger-picking or blues playing. He could probably jam with a squeaky door hinge and it'd be compelling. I think his "straight" playing - which is actually totally bent - is woefully under-documented, at least as far as I'm aware. Someone please put out an Akiyama solo finger picking record! I don't think he differentiates in a hierarchical way between idioms - he just kills. That's inspiring to me.

How does Paranoid Cat depart from and/or build upon your last record, 2009’s Dreams?

Well, in my mind, it's the logical extension of what Dreams started, which was the very simple notion of taking pieces I'd been playing solo on tour and fleshing them out in the studio with some very talented collaborators and friends. Over the last year or two that I was in Brooklyn (2008-2009), I was also experimenting with some band lineups, playing gigs with Peter Kerlin on bass and, initially, Ryan Sawyer on drums, and then, a little later and more consistently, with Mike Pride on drums. I've been playing with Mike off and on since 2000. These dudes all have rock n' roll hearts, but also totally sophisticated conceptions of music and big musical personalities. They know the power of a simple idea, they don't need a ton of direction, and they think fast.

But running a band is hard, especially when people like these guys are so busy, so I took these tunes that I've been playing live on tour and demoed them (an early, much shorter, acoustic version of the song "Paranoid Cat" appeared on the Imaginational Anthem IV: New Possibilities comp on Tompkins Square last year), and then went into the studio and slowly built up the tracks, often starting with me and Mike Pride's drums as the basic track. I overdubbed organ, bass guitar, and percussion myself.  Then I either conducted sessions with people who I thought could bring something to the pieces - Marc Orleans on pedal steel, Hans Chew on piano, Nate Wooley (another longtime collaborator) on trumpet - and farmed out some of the tracks to others to simply add stuff on their own - Koen Holtkamp's synths, Jaime Fennelly's harmonium overdub, and Shawn Edward Hansen's organ playing especially. On the basic tracks and the overdub sessions that I supervised, everything was largely done in just a few takes.  This whole process took about 18 sporadic months - six months of generating material and live woodshedding followed by six months of recording, followed by six months of waiting for the record to come out! The record was finished in August 2010. So, now that the record is done and the music is all there, I plan on doing gigs with a band lineup of this and other material. That's my main focus for 2011: a quartet that can play these pieces as well as improvise and make things happen on stage.

Like your past releases, both solo and with Peeesseye, Paranoid Cat features a diverse cast of collaborators. Do you see these musicians as conversing from distinctive aesthetics or as already occupying the same, albeit less obvious, musical continuum?

I don't know. I suppose people like to break things into formats that can be more easily digested, but, as I said, these people all have such broad conceptions of music that I see it as being all one thing. No one with any real depth draws their influence from a shallow pool.

You’ll be playing this show with organist Don Bruno. Is he a member of the new quartet you’ve assembled?

Don's a really brilliant multi-instrumentalist. One of the most astute musicians I've ever known. We have really deep roots and played a lot of music together in the early to mid 1990s - real formative experiences, psychic trekking. We've only recently started playing together again after a hiatus - I did some more trekking and he did some trekking and we ended kind of in the same place as we were when we left off, except I think we're both much better trekkers now. He'll be playing organ and synth alongside Mike Pride, Peter Kerlin, Hans Chew (piano), and I for some shows around the time of Paranoid Cat's release, including a live set on WFMU and a record release show at Issue Project Room in Brooklyn, both on March 18. I'm in the process of setting up a Philly show for the group as well. In addition to Don's keyboard playing, I imagine he and I will also be doing some double guitar stuff as set lists develop and gigs get booked.  It's exciting.

Tonight you’ll be opening for Rhys Chatham, whose guitar ensembles you’ve participated in. How has Chatham influenced your own musical path?

Rhys's influence extends so far because he's been influencing people for so long that the people he's influenced have influenced other people. It's exponential. As far as my direct experience with him, sure, playing in the Crimson Grail guitar army for two successive years (including the rain-out year) kind of blew my mind. Some of it is that thing that I love so much - embracing the variables of having lots of people doing something that is essentially simple. Brilliant, but simple.  It's control, but it's also open to the accidents and collisions of the player's interpretation. So, even though it's a composed piece and purely an extension of his personal vision, there's improvisation and differences in every performance and the players’ individual idiosyncrasies are exploited. There's magic there. I love that.

Chris Forsyth and Rhys Chatham Brass Trio perform on Sunday, February 13 at International House (3701 Chestnut Street).

 

Planet Y, a Philadelphia duo consisting of Buchla Music Easel master Charles Cohen and guitarist Yanni Papadopoulos, will provide an opening set for Acid Birds on Friday night at Kung Fu Necktie. This is a very rare appearance by Planet Y, whose sole recording, 2007’s Space Station, is available in mp3 format through Thrill Jockey. Papadopoulos, well known as a founding member of Steve Albini-recorded power trio Stinking Lizaveta, spoke with Ars Nova Workshop in preparation for Friday’s show. Also be sure to check out the recent post by Pitchfork's Altered Zones about Cohen and Planet Y.

Stinking Lizaveta embrace metal and jazz. Often shoved into opposite corners of the sonic landscape, most people miss the overlap of these two categories. What are people missing?

Jazz and metal share a heroic quality. John Coltrane wanted to be a superman of his instrument in the jazz idiom. He destroyed jazz to recreate it. Similarly, Black Flag’s Greg Ginn aspired to be a superman of punk, and destroyed punk with Family Man. The "shredders" of jazz and metal are of the same mind, that's why Bill Laswell worked with Buckethead and Tony Williams in Arcana.

What metal record would you recommend to a jazz fan? What about a jazz record to a metal fan?

To a jazz fan I would recommend Leviathan by Mastodon; to a metal fan, Iron Path by Last Exit.

When did you meet Charles Cohen, and what was your first impression of the sounds he was making on the Buchla Music Easel?

I first met Charles at a noise festival called "Infest" at the Killtime in 1994. I thought the Music Easel perfectly expressed zen.

In Planet Y you play a dg-20 Casio digital guitar. How does this instrument compliment Charles’ Music Easel?

I send out a time code, so we are magically in synch. All our sounds are synthetic.

Planet Y released only one album, 2007’s Space Station. Are there any plans to release another?

I'd love to do another record.  It will happen.

What should new visitors to Planet Y be ready for?

Alien landscapes.

Acid Birds and Planet Y perform on Friday, February 4 at Kung Fu Necktie (1248 N. Front Street).

 

On November 10, 2010, Ars Nova Workshop presented the Netherlands' Benjamin Herman Quartet in Philadelphia. For those who experienced their smoking set of Misha Mengelberg compositions, you likely noticed the camera crew. WHYY-TV’s On Canvas documented this rare performance, which will be premiering on the channel tonight at 10pm. If you missed the concert, be sure to tune in, and check their website for future airings. The preview below shows the band playing a Mengelberg tune called “Brozziman,” inspired by fiery German saxophonist Peter Brötzmann.

Bassist Ernst Glerum will be returning in a few months, when the Instant Composers Pool Orchestra storm Philadelphia for three nights of live music. Joining ICP founders Misha Mengelberg and Han Bennink, the tentet will be performing at Christ Church Neighborhood House Theatre on April 1, 2, and 3. Single event and 3-Concert Passes are available now. Be sure to purchase tickets soon so you won’t miss this rare opportunity to witness one of the most influential and pioneering creative music ensembles in action.  

On January 28, Ars Nova Workshop welcomes Amina Claudine Myers to Philadelphia for a solo pipe organ performance at St. Mark’s Church. Called “a virtuoso pianist and organist” by musician and scholar George Lewis, Myers is a first wave member of the AACM who has worked with Archie Shepp, Muhal Richard Abrams, Henry Threadgill, and Lester Bowie. To learn more about the unique 1937 Aeolian-Skinner organ Myers will be playing for this special occasion, ANW spoke with local expert Matthew Glandorf. 

“The organ has long been referred to as the King of Instruments. Dating back to the 2nd Century BCE, the organ predates most modern instruments and ensembles. In the late Middle Ages, organ building, particularly in Northern Europe, began to develop into the complex instrument that it is today: sometimes with rows of pipes totaling several thousand, some as short as a few inches to the longest over thirty-two feet tall, two to five keyboards, and a pedal board enabling the organist to play with their feet.

No other instrument boasts such a great variety of tonal color, imitating the flute, oboe, batteries of trumpet stops and strings. Thus, in the 19th and early 20th centuries, the organ began to be conceived "symphonically.” Indeed, in concert halls and theaters all over America, thousands of audience members could hear orchestral music transcribed for the organ or for silent films, accompanying the latest antics of Charlie Chaplin or Harold Lloyd.

In the age of electronic replicas, synthesizers and all other digital wonders of the computer, the pipe organ still amazes and thrills audiences in churches, concert halls, and even the Macy's department store here in Philadelphia, home to the largest functioning pipe organ in the world.

The Saint Mark's organ is an important landmark instrument built by the Aeolian-Skinner Organ Company of Boston, Mass. in 1937. It has 4 keyboards and a pedal board, and over one-hundred ranks of pipes spread out in the north of the choir, in the ceiling, and a recently added West End Antiphonal division was installed ten years ago.”

Matthew Glandorf is Organist Choirmaster of Saint Mark's Church, on the faculty of the Curtis Institute of Music, and conductor of the Choral Arts Philadelphia and The Philadelphia Bach Festival. He is a specialist in organ improvisation, and can be heard each Sunday at Saint Mark's.

Amina Claudine Myers will perform on Friday, January 28 at St. Mark’s Church (1625 Locust Street). General admission is free, and limited sanctuary seating is available for $10, purchasable here.

 

Ars Nova Workshop is thrilled to welcome the Jemeel Moondoc Trio, featuring bassist Hilliard Greene and drummer Chad Taylor, to West Philadelphia for a free concert at The Rotunda on Thursday, January 20. Saxophonist Jemeel Moondoc was a co-founder of Ensemble Muntu, one of the most daring and innovative Loft Era groups, which included dynamic musicians such as William Parker, Rashid Bakr, and Roy Campbell.  Muntu Ensemble’s music was nearly impossible to track down until last year, when Lithuanian label NoBusiness released Muntu Recordings, a three-disc set of the group’s outstanding studio and live recordings.  The collection includes two essays on Muntu and the Loft Era by Ed Hazell, one of which can be read at Point Of Departure, and one written by Moondoc about studying with Cecil Taylor at Antioch College and Muntu’s formation.  NoBusiness kindly shared Moondoc’s essay and a few selected paragraphs appear below:

Muntu: The New African Culture obviously inspired me in as much as I named my first band after this book. Muntu, a Bantu word, is usually translated as “man,” but the concept of Muntu embraces the living and the dead, ancestors and deified ancestors: gods. This concept is common to all African cultures. The soul of the African cultures exists in their complete celebration of life, and in the spirits and deities surrounding life and death. The book Muntu depicts the survival of African cultures, in conflict with a modern world. When you consider that American Black music is deeply rooted in the African experience and this experience survived more than 300 years of slavery, Black music in America, and subsequently the creation of jazz, came about through the institution of slavery…

Muntu is about the transition and survival of an old world culture connected to me by birth. Muntu is about me traveling back centuries into an ancient world known to me only through my ancestors. This connection is spiritual, and embraces the living and the dead. When performing music, the execution of contacting the ancestors requires a religious belief. This process can be an outer body experience causing one to be possessed, but can also bring into the room the spirits of ancestors known and unknown. The intent of the performance is not to merely entertain, but to uplift, and awaken the listener’s spiritual powers. One of the spirits that I always try to evoke during a performance is that of an ancestor, much talked about when I was a kid, Moondoc, the moonshiner and medicine man, who would heal anything that ailed you with a powerful cure-all concoction of home-distilled peach brandy and herbs, bottled and corked. Many a day the Moonshine Doctor would vend his remedy from the back of a wagon with a song and a dance while playing a violin.

We are the Blue Men
We have been carved out of the dark, hard ebony of Africa
Our shapes are awesome as well as beautiful
Our lines are jagged and sharp as well as soft and smooth
We are symmetrical and asymmetrical in the same instant
We span a vertical line from the abyss to the astral
For we are dark unto ourselves
And in the bright and glistening noon-time sunlight
We reflect a magnificent midnight blue
We are the Blue Men.”

The Jemeel Moondoc Trio will play a free concert on Thursday, January 20 at The Rotunda (4014 Walnut Street).