David Haney + FHTAGN: String Fury

A reckless carnage of harmonic versus melodic instrumentation; free jazz counterpoints music games in this “collidescope” of “nodal” perturbance, instigated by filmmaker/performance artist/composer Nadya Kadrevis.

David Haney studied composition with Czech American composer Tomas Svoboda. He has been a member of the Society of Oregon composers and his works have been performed throughout North and South America and Europe. Haney’s musical projects have included Roswell Rudd, Julian Priester, John Tchicai, Steve Swell, Roy Campbell, Bud Shank, Wolter Weirbos, Johannes Bauer, Daniel Carter, Han Bennink, Andrew Cyrille, Billy Martin, Bernard Purdie, Marvin Bugulu Smith, Gerry Hemingway, Buell Neidlinger, Dominic Duval, Adam Lane, Michael Bisio, Daniel Carter. As a leader, Haney has over 25 albums on CIMP-USA, Cadence-USA, SLAM-UK, NoSeSo-Argentina, La Gorda-Argentina, Canada Jazz Studio-Canada.

FHTAGN is an experimental chamber ensemble from Seattle, WA, led by composer/performance artists Blake DeGraw. Consisting of a rotating membership of musicians from various disciplines, FHTAGN explores alternative conducting techniques, aleatoric operations, gesturally generated works, extremes in spatial dispersion, and free improvisation. Since its formation in 205, FHTAGN has seen participation by more than 70 musicians, performing in combinations ranging from saxophone quartets to small string orchestras to mixed ensembles of 20+ musicians.

Seth Parker Woods, cello

Read a preview in the Seattle Times.

Edward Hamel Gray Neon Life – Seattle Premiere
Pierre Alexandre Tremblay asinglewordisnotenough 3 (invariant) – Seattle Premiere
Alvin Singleton Argoru II – Seattle Premiere
George Lewis Not Alone – Seattle Premiere

Company is a state of being here, in a program which speaks in worlds. In Edward Hamel’s Gray Neon Life the cellist is his own companion, uttering words which are not so much spoken over the music as sprayed on and under it, made both surface and core: adornment and essence. This double figure – cellist and voice in one – is Seth Parker Woods, and the piece in both concept and execution is a vehicle for his co-creative input, ranging from the precise choice of pitch material to the derivation of the texted component from the SAMO© tag of Jean-Michel Basquiat’s and Al Diaz’s New York street art, of which Woods is an aficionado. What Hamel and the rest of the composers featured tonight make from it is a sort of manifesto for city life and city art, summoned into existence by a harmonic double stop which, recurring as a fourfold refrain, finally offers a tentative way out … or on.

On, at first, into a hall of mirrors. The three remaining works on this programme – two of them, like Gray Neon Life, written for Woods – surround the cello with spatial silence and electronically produced sounds, and in the first two, by Alvin Singleton and George Lewis, these sounds are derived in real time from the cello’s own material. In Pierre Alexandre Tremblay’s asinglewordisnotenough3 (invariant) the sound sources are more diverse, and yet the work’s worlds are again conjured forth by this lone yet multiple figure. Here he is at the center of it all: muse and master of ceremonies, devising it all for company. — John Fallas/SPW

Critiqued as “a cellist of power and grace” (The Guardian) and possessing “mature artistry and willingness to go to the brink,” Seth Parker Woods has established a reputation as a versatile artist straddling several genres. Outside of solo performances, he has performed with the Chineke! Orchestra (UK), Ictus Ensemble (Brussels, BE), Ensemble L’Arsenal (IT), zone Experimental (CH), Basel Sinfonietta (CH), New York City Ballet, Ensemble LPR and Orchestra of St. Luke’s (US). A fierce advocate for contemporary arts, he has collaborated and worked with a wide range of artists ranging from the likes of Louis Andriessen, Elliott Carter, Heinz Holliger, Helmut Lachenmann, and Liza Lim to Peter Gabriel, Sting, Lou Reed, Dame Shirley Bassey, Rachael Yamagata, as well as visual artists Vanessa Beecroft, Aldo Tambellini, Jack Early and Adam Pendleton.

Holding a Ph.D. from the University of Huddersfield, his principal teachers were Thomas
Demenga, Lucas Fels, Frederik Zlotkin, and Daniel Morganstern. In recent years he has given talks, workshops and performances at Royal Albert Hall (BBC Proms), Musée d’art Moderne et Contemporain (FR), Le Poisson Rouge and the Bohemian National Hall (USA), Cafe OTO (London, UK), Huddersfield Contemporary Music Festival (UK), Klang Festival (Durham, UK), INTER/ actions Symposium (Wales), ICMC-SMS Conference (Athens, GR), NIME Conference (London), Sound and Body Festival (Lille, Brussels), Instalakcje Festival (PL), Virginia Tech, La Salle College (Singapore), and FINDARS (Malaysia) amongst others. Recent awards and acknowledgements include Artist of the Month for Musical America, an Earle Brown/Morton Feldman Foundation Grant (USA), McGill University- CIRMMT/IDMIL Visiting Researcher Residency (CA), Centre Intermondes Artist Residency (FR), Francis Chagrin Award (UK), Concours [Re]connaissance – Premiere Prix (FR) and the Paul Sacher Stiftung Research Scholarship (CH). Read more in Strings and Musical America.

Presented by Nonsequitur.

Eveline Müller & the Klang Quintet

Eveline Müller has been a drummer with the Swiss new wave group Hertz and has made appearances with the Swiss/US collaboration Pale Nudes and the US based group Imij. For the last 15 years she has been focusing on sound creations with her home-built instrument the Boeing. Consisting of sawblades, airplane washer, school bells and pan lids, the Boeing has contributed many sounds to a variety of projects — SIL2K, Bill Horist’s Springtrap Hum, Metal Men, Rollerball, Nous sommes des Enfants, and many more.

The Klang Quintet is Müller’s own project combining acoustic, electric, and electronic worlds into beautiful, ugly, scratchy, ringy, loud, quiet, tense and sparse soundscapes.
The Quintet features Eveline on the Boeing, Stuart McLeod on brainwave manipulator and various objects, Carl Farrow on electronics, Bob Rees on xylophone and percussion, the guests Jim Knodle on trumpet and Kole Galbraith on bass. Recording and transforming our sounds is James Drage that will treat the audience to a musical journey.

Opening up are Eveline and Vanessa Skantze with a sound and dance duo. They have both been collaborating in various other projects, namely with Tatsuya Nakatani and Noisepoetnobody, and harbor great respect and intrigue for each others’ work.

Inverted Space Ensemble

Inverted Space opens its 6th Season with an exploration of American music. Fred Frith’s Elegy for Elias and John Luther Adams’ Canticles of the Sky evoke a timeless quality and invites personal reflection. The Alabama Song by Kurt Weill is presented in an extraordinary reworking by Morton Feldman. Lou Harrison’s incredible Suite for Violin and American Gamelan is featured to end the program.

Gregg Skloff + Cyclopsycho + Raica

Gregg Skloff‘s contrabass playing, augmented by electronic effects and found objects, evokes swirling storms and sweeping vistas through the exploration of electro-acoustic ambient drone, encompassing composition and improvisation.

Cyclopsycho is an experiment by musician and vocalist Ashley Shomo wherein voice technique, words, syllables and electronic medium combine to manifest adventures into the wild.

Raica is Chloe Harris, electronic musician and co-founder of the Further label. Raica always improvises with the machines and boxes. The idea of never knowing what to expect and adapting to the room and surroundings is what drives this project. Analog and digital meet to marry a wall of sporadic and intermixed sounds.


An improvising duo featuring Satchel Henneman (guitar) and Nicholas Mackelprang (piano), Semi-Formal spontaneously creates short, formally cohesive pieces that together form a fluid and varied concert experience.

Nicholas Mackelprang is a composer and pianist who has worked in a variety of settings across genres including solo piano, small jazz combos, big bands, chamber ensembles, improvised music groups and with dancers and actors. As a composer, Mackelprang is interested in creating specific sound worlds that blur the line between composition and improvisation.

Satchel Henneman is an artist who works in the mediums of the interpretation, improvisation, and composition of music. Henneman has performed multiple concerts of entirely New Music, and strives to challenge the concert format. He has premiered works by Tom Baker and Jarrad Powell, and performs in collaboration with Allison Burke in STEPDAD, and Nicholas Mackelprang in Semi-Formal.

Kin of the Moon

Seattle’s new chamber music series, Kin of the Moon, debuts at its spiritual home, the Chapel Performance Space. Composer/vocalist Kaley Lane Eaton, flutist Leanna Keith, and violist Heather Bentley perform an innovative program of new electroacoustic and acoustic music that transcends genre and classification. Featuring Pulitzer-prize finalist Kate Soper’s Only the Words Themselves Mean What They Say, Eaton, Keith, and Bentley’s collaborative electroacoustic improvisation Atmokinesis, and new works from Eaton and others, this program provides a portal into the daring, cutting-edge work of Seattle new music’s iconoclastic women.

Kin of the Moon is an improvisation-centric chamber music series incubated in Seattle’s rich musical scene. Headed by violist/improviser/composer Heather Bentley, the group explores sonic rituals, promotes cross-pollination of genres, emphasizes the communicative power of specific performance locales and celebrates the creativity that multiplies itself through the collaboration of performers and composers. The artists of Kin of the Moon devote their lives to reaching higher vibrational levels through sound creation.

Olson + Gundran + Falzone

Three of Seattle’s premier improvisers and noise musicians come together for a night of magical sounds and contemplative moments, in solo sets and a trio.

Patrick Neill Gundran has been performing live as a guitarist in the Pacific Northwest under the name Uneasy Chairs for the past 4 years, focusing entirely on free improvising. As well as performing solo, he has also been an active live collaborator with a diverse community of musicians and artists with backgrounds ranging from jazz, classical, rock and roll, electronic, noise as well as Butoh dance.

Kate Olson (KO SOLO) is an improviser and woodwind specialist based in Seattle. She plays with many different ensembles, ranging in scope from classical saxophone quartets to large noise ensembles and everything in between. She and her ensembles KO Electric and Syrinx Effect have been nominated for many Earshot Golden Ear Awards, and she teaches at the Northwest School, SAAS, JazzED, and Garfield High School.

Describing the work of a modern musician can be a complex business. For an artist like James Falzone, genres and categories are porous. In short, James is a clarinetist, composer, improviser, and educator who works at the intersection of jazz, classical and world music traditions. But the story is so much more interesting than that, as they often are. If you stopped there, you wouldn’t even know about his training as an artisan bread baker!

Matthew McCright, piano: Connecting Flights

Minneapolis-based pianist Matthew McCright brings his Connecting Flights program to Seattle. The evening’s music features a wide range of interconnected, contemporary composers that will be featured on his upcoming 2018 recording What is Left Behind. Venezuelan composer Reinaldo Moya’s epic 30-minute The Way North appears alongside music by traditional Irish composer Linda Buckley, as well as poignant pieces by Amy Williams, Stephen Andrew Taylor, and the percussive dance-club rhythms of Andrea Mazzariello’s Flight School. “When sitting on a long flight; having run out of podcasts or my latest digital book is done, I am drawn to the airline magazine section that shows the route map for the globe. It is fascinating how interconnected the world really is,” said McCright. “My program takes its inspiration from that route map — each piece touches on the notion of flight and influences and connects with the other.”

Passenger Pigeon + Mark Schlipper + Too Tired to Say Anything

As Passenger Pigeon, Levi Fuller (Levi and the Library, Luna Moth, Ball of Wax Audio Quarterly) uses a baritone guitar, a cheap microphone, and a looper to create improvised pieces of wordless music that range from the droney and dissonant to the upbeat and melodic.

Using influences as disparate as the avant garde, Eastern sacred, and American roots music, Mark Schlipper uses a guitar (and sometimes other things) to create sounds to cross senses, to alter states, and to entertain in the process hopefully.

Too Tired to Say Anything is a fortnightly-ish podcast of blurry music designed to put us all to sleep. There’ll be loops and synths and sometimes piano and guitar and the sound of flickering lights.