Stefan Maier + Chloe Alexandra Thompson + Marcus Price

Stefan Maier (b. 1990) is an artist and composer based in Vancouver, Canada. His compositions, installations, and performances, examine emergent and historical sound technologies and the modes of listening which they might engender. His work has been presented by Vancouver New Music, Ultima (Oslo), Forecast Festival (Berlin), SPOR Festival (Aarhus), Musik der Jahrhunderte (Stuttgart), Inter Arts Center (Malmö), Experimental Studio SWR (Freiburg), G(o)ng Tomorrow (Copenhagen), Kunsthal Aarhus, Kunstlerhaus Dortmund, and Haus der Kulturen der Welt (Berlin). Stefan will present his work Arranger. Originally commissioned for the opening of Haus der Kulturen der Welt’s Radiophonic Spaces exhibition, the work uses custom Machine Listening software to rearrange Maier’s computer-assisted improvisations in real-time. More information can be found here.

Chloe Alexandra Thompson is a Cree, Canadian artist and curator, living and working in Portland, Oregon. Using Pure Data, Arduino, hardware, and voice, Thompson creates unique sonic experiences and expressions through the spatialization of isolated frequencies. Thompson’s work has been shown at Unity Gain: High Density Loudspeaker Array, Corridor (Seattle), Littman and White Galleries, Compliance Division, Bronco Gallery, and Variform Gallery. She has also presented in collaborations for Convergence45, Disjecta, Out of Sight (Seattle), PICA T:BA:17, Subharmonic: A Music and Sonic Arts Symposium (PICA), and Nationale. Thompson has given lectures and workshops at T:BA:17 Institute in dialogue with Tanya Tagaq, Subharmonic (PICA) with France Jobin and Burke Jam, Open Signal, home school pdx, Portland State University and PNCA as guest faculty. Thompson’s written work has also been featured in publications including Art In America, Zero Cool, Provision, Cig Thesis, and Blankstairs.

Marcus Price is a stalwart veteran of Seattle’s experimental electronic music community. In his process-based performances, atomized sound files constellate into unstable rhythms that bend and crack under the force of their own velocity until they shatter again into prismatic clusters of noise and tone. His most recent LP, Brain Job, is published by Happy Accidents, and recordings of his live performances are extensively cataloged on his SoundCloud page.

Ensemble Three + Torch

Don Immel performs in Seattle for the first time in a decade, appearing with his critically acclaimed Australian contemporary music group Ensemble Three, in a side by side concert with local art-ensemble extraordinaire, Torch.

Ensemble Three was founded by Melbourne-based musicians unified in their goal to diversify and expand the chamber music repertoire for trumpet, trombone and guitar. Noted as “an inspiring example of forward-thinking classical music culture” (CutCommon), over the past six years the group has curated a significant and unique collection of cutting-edge new works, many of which can be heard on an ever-expanding catalogue of recordings. With influences ranging from jazz and popular music to traditional “classical” and avant-garde contemporary music, performances showcase the musicians’ “Virtuosity to burn.” (classikON).

Torch is a contemporary chamber music ensemble whose original compositions play with our heady intellects and our groove-craving souls. The group’s name is a reference to Tomas Mann where he proclaimed the aesthetic mantra, “Art is the sacred torch that must shed its merciful light into all life’s terrible depths.” In 2012, we asked, “Is it possible to create music that could exist as both intellectually rich and crafted with precision while maintaining a palpable groove without using a drummer?” TORCH was born to answer the question with series of self-composed, original programs of music. Rooted in contemporary classical composition, modern tango, and jazz improvisation, TORCH bridges gaps between genres, re-imagines works from master composers of the 20th century, and demonstrates an indie-band model of self-composition as a contemporary chamber music ensemble.

SIGE Records: “Experimental Love”

“Experimental Love” – A collective exploration of drone, free improv, abstracted song and electroacoustic composition by SIGE Records artists Nordra, William Fowler Collins, Faith Coloccia, Daniel Menche, Marshall Trammell and Aaron Turner.

Nordra is the solo project of Zen Mother’s singer and guitarist Monika Khot, on label SIGE Records. Cinematic in nature, Nordra has utilized the trumpet to evoke an uncommon feeling of dread, along with sequenced beats, vocals, and guitar loops.

Originally from rural New England and now living in New Mexico, William Fowler Collins is an American composer, recording artist, and performer of dark minimalist music and drone music. Collins will perform material based on his new release, Field Music (SIGE). “Field Music isn’t a soundtrack for the bomb itself, but for the land that bore witness to its inception.” -THE WIRE

Faith Coloccia is an artist and composer/musician. She performs in Mamiffer, Mára and Barnett+Coloccia. She is the co-owner of SIGE records.

Daniel Menche is an experimental musician and multidisciplinary artist from Portland who has been performing and recording since 1989. He will be performing an electro-acoustic set of string drones reflecting the nature of his most ambient recordings on Sige Records — atmospheric and ominous drones that defy gravity.

Marshall Trammell is a critical Creative Music percussionist in the post-Max Roach continuum. He has performed with the likes of John Tchicai, Pauline Oliveros, David Murray and many others from Oakland to Amsterdam. He is a fellow with Intercultural Leadership Institute, a researcher with Solidarity Research Center, and consults with a newly formed collective of solidarity economics trainers for artists.

Aaron Turner is a musician and artist known primarily for his participation in groups such as SUMAC, ISIS, Mamiffer and Old Man Gloom. His work has been informed by a lifetime involvement with metal/heavy music, often materializing in highly abstracted forms utilizing improvisation and longform composition. Turner is the founder of the Hydra Head Records label and co-founder of SIGE Records with partner Faith Coloccia. This event will mark his first collaboration with Marshall Trammell.

34th Seattle Improvised Music Festival

THIS EVENT HAS BEEN CANCELLED DUE TO SNOW. We hope to reschedule in coming months.

Taking place Feb. 6 – 10, the Seattle Improvised Music Festival (SIMF) is the longest-running festival in the US dedicated solely to music that is completely improvised. This is truly “music of the moment,” allowing artists from diverse musical backgrounds to meet in an atmosphere of spontaneity, intuition, playfulness, and discovery. See the complete festival schedule here.

Tonight:

trio: Holland Andrews, clarinet/vox + Ambrosia Bardos, electronics/vox + Ebony Miranda, cello
trio: Abbey Blackwell, bass + Haley Freedlund, trombone + Patrick Shiroishi, sax
featured solo + ?: Odeya Nini, vox/movement (photo: Adeline Newmann)

34th Seattle Improvised Music Festival: Hoskin Tribute

THIS EVENT HAS BEEN CANCELLED DUE TO SNOW. We hope to reschedule in the coming months.

Taking place Feb. 6 – 10, the Seattle Improvised Music Festival (SIMF) is the longest-running festival in the US dedicated solely to music that is completely improvised. This is truly “music of the moment,” allowing artists from diverse musical backgrounds to meet in an atmosphere of spontaneity, intuition, playfulness, and discovery. See the complete festival schedule here.

Today:

A large group of veteran Seattle improvisers pay tribute to SIMF founder Paul Hoskin, who passed away last November.

Dave Abramson, Eric Amrine, Linda Austin, Angelina Baldoz, Gust Burns, Greg Campbell, Arrington de Dionyso, Stuart Dempster, Beth Fleenor, Scott Granlund, Sue Ann Harkey, Robert Hinrix, Bill Horist, Jeph Jerman, Jim Knodle, Dave Knott, Pete Leinonen, Carol J. Levin, Eveline Mueller-Graff, Eric Muhs, Tari Nelson-Zagar, Greg Powers, Dennis Rea, Charley Rowan, John Seman, Wilson Shook, Wally Shoup, Jenny Ziefel, others TBA

34th Seattle Improvised Music Festival: Dance!

THIS EVENT HAS BEEN CANCELLED DUE TO SNOW. We hope to reschedule in the coming months.

Taking place Feb. 6 – 10, the Seattle Improvised Music Festival (SIMF) is the longest-running festival in the US dedicated solely to music that is completely improvised. This is truly “music of the moment,” allowing artists from diverse musical backgrounds to meet in an atmosphere of spontaneity, intuition, playfulness, and discovery. See the complete festival schedule here.

Today:

SIMF presents a performance of Dance & Music, curated by Stephanie Skura

Scruffy & determined, with fierce eyes, sharp beaks, & hearts melting! Nine deep-diving, life-long-improvising, shamanic music/dance mavens come together for the first time, guided by ancient instincts & minimal oxymoronic scoring. A rare-breed, wizardly dream-team for lovers of non-sequitor, alternative flow, & multi-versal realities:

Dancers: Linda Austin (PDX), Paige Barnes, Vanessa DeWolf, Nate Dryden (SLC), Jordan MacIntosh-Hougham, Stephanie Skura; Musicians: Beth Fleenor, clarinets/vox; Dave Knott, homemades; Steve Peters, field recordings, found things

“Performance is political not because of its subject matter but because of the way
performances are made, how they’re structured, and what they show about people
relating to each other.” [from Skura’s essay “Politics of Method”, in Reimaging America: The Arts of Social Change. New Society Publishers, 1990]

Nuanced, ego-dissolved music & dance!
Rarified & recalcitrant!
Ragged, restless, brainy, besmirched!

Free the Voice! Workshop with Odeya Nini

THIS EVENT HAS BEEN CANCELLED DUE TO SNOW. STAY TUNED FOR UPDATES ON THE REST OF TODAY’S SCHEDULED EVENTS. WE ARE NOT READY TO CANCEL EVERYTHING YET AND WILL BE MAKING DECISIONS AS THE DAY GOES ON.

Presented as part of the 34th Seattle Improvised Music Festival.

Odeya Nini is a Los Angeles-based experimental vocalist and composer with work spanning solo voice to chamber music and collages of musique concrète. As a vocalist she is devoted to redefining vocal interpretation and song through an exploration of extended vocal techniques, and how they resonate with the physical body’s language and space.

The Voice is an instrument that radiates from the soul, resonates in the body, and is pure energy and touch. Harnessing the energy of the Voice is a strength that is felt deep within ourselves and heard loudly outside of ourselves.

This two-hour workshop at the Good Shepherd Center Chapel in Wallingford is dedicated to Vocal Expression, sensing the voice, feeling and understanding the physicality of sound, freeing our minds of preconceived ideas of song, and realizing the transformational healing effects we have on ourselves and others when we use our voice with intention and love. Both through introspective work and outward playfulness, we will explore the voice as an instrument that radiates from the imagination, body and movement, not limited to conventions of language, but rather able to convey myriad forms of communication.

Come play, shift, listen, explore and Free The Voice!

To assure your place in this workshop, pre-registration is strongly suggested – please contact Odeya directly to register.

Odeya Nini has collaborated extensively with dancers, visual artists, filmmakers and theater directors as both a composer and soloist and has worked with and appeared in works by artists and ensembles such as Meredith Monk, Butch Morris, Lucy & Jorge Orta, wild Up and The Industry. Her work has been presented at venues and festivals across the US and internationally, such as The Hammer Museum, REDCAT, Joyce Soho, MONA and Art Basel Miami, from Los Angeles to Tel Aviv, Australia, Mongolia, Madagascar and Vietnam. Odeya holds a BFA from the New School for Jazz and Contemporary Music and an MFA in composition from California Institute of the Arts. She has lectured on contemporary vocal techniques and composition at the university level and leads workshops exploring the creative and healing qualities of voice and movement.

34th Seattle Improvised Music Festival

UPDATE: Tonight’s SIMF show at the Chapel will go on, but starting at 7 PM instead of 8, so folks can get home before things ice over. Come on out, brave souls!

Taking place Feb. 6 – 10, the Seattle Improvised Music Festival (SIMF) is the longest-running festival in the US dedicated solely to music that is completely improvised. This is truly “music of the moment,” allowing artists from diverse musical backgrounds to meet in an atmosphere of spontaneity, intuition, playfulness, and discovery. See the complete festival schedule here.

Tonight:

duo: Haley Freedlund, trombone + Tom Varner, horn
duo: Andria Nicodemou, vibes + Marc Seales, piano
trio: Kenny Mandell, sax + Kelsey Mines, bass + Odeya Nini, vox/movement
featured solo + ?: CK Barlow, electronics (photo: Karen Milling)

David Watson/John Krausbauer + Bill Horist + Amelia Coulter

David Watson is an experimental guitarist, bagpiper, improviser and composer. Originally from New Zealand, he has lived and worked in New York City since 1987. As a guitarist he has been featured in John Zorn’s Cobra, and in groups with Ikue Mori, Christian Marclay, Zeena Parkins, Fred Lonberg-Holm, and Tipple. In the early 90’s he added Highland bagpipes. He has worked to create a new vocabulary for the instrument, pushing the limits of space, sound and timbre. Phill Niblock has created the piece Bag, using Watson’s pipe sounds as source material, and performed it many times internationally. Watson founded and organizes the music performance series WOrK, which is predicated on exploring what “experimental” means today and has presented over fifty concerts since 2015.

John Krausbauer is a composer/multi-instrumentalist/improviser currently living in Oakland. A long time purveyor of the ur-drone and trance-psychedelia, his work involves audio transmissions for TOTAL/immersive sensory experience. Transcendence through repetition, duration, alternate tunings, maximum volumes, and (often) stroboscopic lighting. His current music projects include the Ecstatic Music Band (a 10+ member-collective of strings players); solo music for voice, violin, and synth; his collaboration with partner, Kaori Suzuki, with bells, voices, strings, tape; the Minimalist psych-punk group Night Collectors; his systems-based phase compositions; and ongoing collaborations with the Kentuckian steel bodied resonator guitar player, R. Keenan Lawler, NYC bagpipe player, David Watson, and Tokyo based guitarist, Tetuzi Akiyama.

Seattle guitarist Bill Horist is an improviser/composer/performer in a wide array of genres including rock, jazz, contemporary chamber, avant-garde, folk, new music and several subgenres within each. He has appeared on over 100 recordings and has performed hundreds of concerts throughout North and Central America, Europe, and Japan. Over the past two decades, Bill has collaborated with a long list of notable musicians from around the world. He has toured and recorded with a number of bands including Master Musicians of Bukkake, Six Organs of Admittance, Kinski, Jessica Lurie, Nobodaddy, Phineas Gage, Axolotl, UnFolkUs, Zahir, Tablet, Nervewheel, Ghidra, Rollerball and the Paul Rucker Ensemble in addition to extensive solo activity.

Amelia Coulter plays the alto trombone. She works mainly with alternative techniques, including modified/prepared trombones and vocal-, text-, location-, and object-oriented performance, with a focus on the Gregorian chant tradition. She has: a bachelor of music from Cornish College of the Arts, and a cat named Hippo.

WHSS Duo (Sara Schoenbeck/Wayne Horvitz)

Long-time musical partners Wayne Horvitz and Sara Schoenbeck (WHSS Duo) perform compositions and improvisations for bassoon, piano and electronics, exploring music from the obscure to the sublime. Plus special guests Ray Larsen and Abbey Blackwell.

Sara Schoenbeck (bassoon) and Wayne Horvitz (piano, electronics) first met as performers at the Company-style improvisation festival Time Flies in Vancouver B.C. in 2000. They have been frequent collaborators ever since in the Gravitas Quartet, Some Places Are Forever Afternoon, and numerous improvised collectives and performances. They are dedicating their long-time collaboration to duo spaces of original music and improvisation. A study of the crossroads where texture and extended technique meet with and support the expression of melody and song.