Steve Peters: Canções Profundas/Deep Songs

Canções Profundas (Deep Songs) is a new evening-length work by Seattle composer Steve Peters. Inspired by research into his family history in the Azores, this evocative sonic poem explores themes of migration, diaspora, memory, identity and emotional/cultural ties to place.

A chain of nine volcanic islands in the mid-Atlantic, the Azores are an isolated region of Portugal and the western-most edge of Europe. American whaling ships began arriving in the 18th century, taking on Azorean men as crew; this began a long pattern of emigration and the establishment of Portuguese enclaves in New England, California, Hawaii, and Canada in which Azorean cultural traditions and contact with the archipelago have persisted. Caetano Freitas came to the US from the island of Flores on a whaler in 1865. He settled on California’s central coast and married Maria Isabel Avellar, also from Flores; one of their grandsons was Peters’ maternal grandfather. Peters visited the Azores briefly in 2011 and again for three weeks in 2014, and was profoundly moved by this place and culture that are largely forgotten within his own family.

Gradually taking shape over several years, Canções Profundas (Deep Songs) is an immersive soundscape of field recordings Peters made in the Azores and in California: bubbling geothermal pits, gurgling ocean waves, exotic birds, buzzing whales, religious ceremonies, community celebrations, and other sounds of daily life. Within this constantly evolving collage of environmental and human sounds, a small ensemble of musicians improvise live on abstracted traditional Azorean musical themes: Lesli Dalaba, trumpet; Beth Fleenor, clarinets; Paul Kikuchi, percussion; Naomi Siegel, trombone; Greg Sinibaldi, saxophone. With recorded contributions by Joshua Parmenter, additional electronic processing; and Rafael Carvalho, viola da terra.

A short Q&A session with the artists will follow the performance.

Presented by Nonsequitur. Made possible in part by a GAP grant from Artist Trust (2011) and an Artist Project grant from 4Culture (2014).

Post-Haste Reed Duo

Washington Composers Forum presents the Post-Haste Reed Duo performing music by Jacob Ter Veldhuis, Michael Johanson, Simon Hutchinson, Edward J. Hines, Ryan Hare, Ethan Wickman, and music chosen from a call for scores.

Coming together in 2009, The Post-Haste Reed Duo of Sean Fredenburg, saxophone, and Javier Rodriguez, bassoon, has commissioned acoustic and electroacoustic works by composers including Nansi Carroll, Stephen Coxe, Simon Hutchinson, Joshua Keeling, Michael Johanson, Lanier Sammons, John Steinmetz, Ethan Wickman, and Marc Yates.

Post-Haste has toured colleges and universities throughout the United States, performing and presenting master classes in woodwind performance, chamber music, and entrepreneurship. Additionally, they have appeared at national meetings of College Music Society, North American Saxophone Alliance, and the Society for Electro Acoustic Music in the United States. Post-Haste has been featured artists at the Jubilus Festival in Gainesville, FL, White Lake Chamber Music Festival in White Lake, MI, Friends of Rain New Music Ensemble of Portland, OR, and Future Music Oregon in Eugene, OR.

Serving as Ensemble-In-Residence for Classical Revolution PDX’s inaugural Outreach Series Program, Post-Haste presented concerts in the Portland metro area with specific emphasis on social outreach and education.

Zero-G: Ask the Ages + Spite House Band

The Spite House Band blossomed out of weekly sessions of improvised music organized by composer/pianist/vocalist Stephen Fandrich with the Monktail Creative Music Concern. Fandrich now hosts these weekly events at his home, a long-time oasis for artists on Capitol Hill, in spite of manic high-rise development. Curated by a community of local musicians, the Spite House Series explores performer/artist intimacy and immediacy; music as energy, acoustic, kinetic, precise. Each week’s performance opens with an invocation by the Spite House Band featuring Stephen Fandrich (piano), Beth Fleenor (clarinets), and Bill Monto (saxophones). In celebration of Monktail’s 15th anniversary they will perform a special set in the acoustic womb that is the Good Shepherd Chapel.

Ask the Ages is a Seattle-based avant-jazz band. Formed in 2010, the group includes Greg Campbell (drums and percussion), Steven Bell (vibraphone), Brian Heaney (electric guitar), Kate Olson (saxophone/woodwinds), and John Seman (contrabass). The band has also collaborated with an international cast of stellar musicians including Stuart Dempster, Melissa Walsh, Archana Bennur, Bora Ju, and Dale Speicher. Among their influences are Sonny Sharrock, Sun Ra, Alice Coltrane, and Pharoah Sanders.

Fulfilling the need for an outlet for music that blends modern jazz, progressive rock, and the unclassifiable, Zero-G Concerts is a co-presentation of leading Seattle instrumentalists Jason Goessl, Dennis Rea, John Seman and Rik Wright. With a focus on forward-thinking instrumental music, Zero-G Concerts spotlights a multifarious selection of the region’s most adventurous instrumentalists from diverse scenes, from accomplished scene veterans to head-turning emerging artists. The first Zero-G event was held in October, 2010 at the venerable Mars Bar (RIP) in Seattle WA. The organization has since expanded to present events at numerous venues in the Seattle area, including the Comet Tavern, Egan’s Ballard Jam House, The Mix, Lucid Jazz Lounge, White Rabbit (RIP), Lo-Fi Performance Gallery, the Royal Room and the Chapel Performance Space.

Chris Brokaw + Lori Goldston + Greg Kelley

Guitarist Chris Brokaw, known for his work with Codeine, Come, Thurston Moore, Wrekmeister Harmonies, Rhys Chatham, The Catamites (duo with Sephen O’malley) and many more, meets with cellist Lori Goldston (Black Cat Orchestra, Earth, Nirvana, etc.) and trumpet player Greg Kelley (Nmperign, etc.) for a first-time meeting: solos, duos, and a trio finale. Expect everything from quiet beginnings to savage conclusions.

Chris and Greg are both fairly recent transplants from Boston to Seattle; Lori has been a longtime fixture in the Seattle experimental music scene. East meets West; this is only the beginning.

Popstronauts

Popstronauts is an improvisational duo that seeks to explore the chaos and reality that is life. As individual humans have little control over the events that take place in the world around us, we instead do what we can to fit in and create our own space within the world. The music is non-apologetic free improvisation taking influence from free jazz, Carribbean and African rhythmic forms, electronic noise, and popular music.

Clifford Kimbrel-Dunn is a specialist in extended wind instrument techniques. His musical life has been devoted to pushing the limits of the flute’s capabilities. He has performed throughout the USA, Canada, and Western Europe. His passions include Linux, balanced audio, vegan food, and his beautiful wife and daughter.

A Drummer, a person, a fool,
Dio, the man child.

That is all.
That is all

Dio Jean-Baptiste

Ant’lrd + Panabrite + RM Francis

Three Pacific Northwest artists present an evening of exploratory solo electronic sound performances, ranging from the drifting phonic ecstasies of Portland’s Ant’lrd to Panabrite’s concrète-kosmische hybridizations and the fragmented computer synthesis of RM Francis.

Ant’lrd is the solo collage-ambient, loopidelic cloud of Portland-based multi-instrumentalist, Colin Blanton.

Panabrite is a solo project of Seattle-based Norm Chambers. Emerging from a love of early electronic, concrete and tape music, soundtracks and early new age, Chambers attempts to create worlds of sound that touch on many elements and moods, from more spatially motivated ambient to aspects of minimalist composition and improvisation.

RM Francis is a computer musician living in Seattle. His work incorporates granular synthesis, spectral processing, algorithmic composition, graphical interfaces and image sonification. He has been performing solo since 2011. His most recent releases are Attributed Agency on DRAFT and Recycled Sleep on Agents of Chaos.

(Panabrite photo: Harmony Seiko Shenk)

CANCELLED! [Akio Suzuki & Aki Onda]

Due to bureaucratic lameness at the US embassy in Japan and a typhoon that is likely to result in all flights from Japan being cancelled, we regret to inform you that this show will not happen. Maybe next spring…

Japanese sound artists Akio Suzuki and Aki Onda perform with self-made instruments, analogue tape machines and radios, wood pieces, nails, hammer, and daily objects, by responding to the architecture, acoustics and energy of the performance space. Though they differ in generation and performance practice, Suzuki and Onda have collaborated extensively in recent years and share a deep interest in the relationship between sound and space and explore the possibilities of site-specific happenings. They released their first duo album <em>ma ta ta bi in 2014. Onda and Suzuki perform by utilizing unconventional and self-made instruments including analog cassette Walkmans and radios, found pieces of wood, nails, hammers, buckets, marbles, and glass jars, allowing the individual architecture and acoustics of the various sites to guide the flow and development of the performances. Each performance will begin with the artists in the middle of the space, surrounded by the audience, before gradually moving throughout the environment as the performance unfolds.

Gregg Belisle-Chi + Carmen Rothwell

Guitarist/composer Gregg Belisle-Chi celebrates the release of his debut album, Tenebrae, for solo guitar and with vocalist Chelsea Crabtree on the Canadian Songlines label.

Currently completing his M.Mus at UW, Gregg Belisle-Chi has performed with a wide range of musicians in Seattle, among them Jim Knapp, Andy Clausen, Bill Frisell (a friend and mentor), Wayne Horvitz and Eyvind Kang, and in a variety of genres (avant-garde, pop/rock, folk, chamber). The vocals are by his wife (their musical collaboration began in 2009). Two years in the making, Tenebrae comes out of Belisle-Chi’s personal relationship to the guitar and his listening to 20th century classical composers such as Bartok and Ligeti, consciously balancing harmonic dissonance with clear melodic line. The music is through-composed, there is no improvisation as such. Words and songwriting are a central focus, with a strong literary influence:

“For this music I drew a lot of inspiration from writers: when it came to composing, I divided up all the elements similarly to how you might a piece of fiction, in terms of form, phrase, structure, characters, development, motifs. All these things sort of relate to one another, in musical and literary terms. More and more I’m attracted to the idea of incorporating songwriting into a jazz/improvising ensemble. I think jazz sort of missed the mark by just taking the Great American Songbook and using the chord progressions as vehicles to improvise over; everything is about the instrumental solo and the virtuosity of the players, but that leaves out the listeners who might want to hear a great story or who appreciate great poetry, anyone who’s attracted to words, which seems like a majority of listeners today.”

Bassist Carmen Rothwell plays what she wants to hear, and she wants you to hear it too. Some of her solo pieces are carefully crafted compositions–methodical utilizations of extended techniques; others are simple melodies dreamed up over long car rides. Others still are improvisations being sculpted as we listen. Carmen has established herself as an active voice in Seattle’s improvised music scene. She performs with many groups around the city (Tyrant Lizard, The Sky is a Suitcase, Wally Shoup Trio + One, Tofte, Ings, and more), and has been developing a unique repertoire of solo bass music. She was voted Earshot Jazz’s 2014 Emerging Artist of the Year.

Seattle Composers’ Salon

The Seattle Composers’ Salon fosters the development, performance and appreciation of new music by regional composers and performers. At bi-monthly, informal presentations, the Salon features finished works, previews, and works in progress. Composers, performers, and audience members gather in a casual setting that allows for experimentation and discussion. Everyone is welcome! This salon features new music by Matthew James Briggs, Michael Owcharuk, Jay Hamilton, and Jeremy Shaskus.

Vance Galloway & Charles Stanyon

Vance Galloway (SEA) and Charles Stanyon (PDX) present Source to Sea: electronic explorations and meditations on the transformation of sound, from the infinitesimal to the infinite.

Vance Galloway and Charles Stanyon return to the Chapel with a compelling new collection of electronic works and electroacoustic improvisations for guitar, modular synthesizer, found Sound, and signal processors. The program will make use of the lovely acoustic properties of the Chapel and will be presented in immersive surround sound. Audience members are encouraged to experience the pieces from any location in the space, exploring the compelling acoustic properties of the venue.

Please join us for an early evening of evocative sound and acoustic meditation.

Vance Galloway is a composer, improviser and Instrument designer based in Seattle Washington. While often recognized for his audio engineering and technical work for influential electronic artists and festivals worldwide, his own artistic output focuses on the direct connection of sound with human psychology and physiology. His work attempts to bypass the linguistic aspects of musical presentation with the aim of directly influencing the listener on a emotive, visceral level.

Charles Stanyan is fascinated by sound. His performances focus on post-consumption aethetics explored via live sampling, audio processing and feedback loops.