Ronan Delisle + Ryan Ferreira

Composer and guitarist Ronan Delisle introduces his most recent project. Cosmic Punishment is Delisle’s attempt to marry extremes: the acoustic integrity and organic nature of instruments like the arch-top guitar and double bass with the synthetic, infinite nuance of the synthesizer; through-composed and specific roles with indeterminate and flexible improvised textures. While being guitar-centric in its roots, Delisle’s group also features the fluidity of drummer Mike Gebhart and the versatile Abbey Blackwell as the group’s backbone, providing the foundation of the band’s sound. Delisle originally drew influence for Cosmic Punishment from the “Harmolodic” approach of Ornette Coleman and the group dynamic of the Bad Plus, with which he has infused with his own love of American roots music and the symmetry of past masters J.S. Bach and Frederic Chopin.

He will be followed by guitarist and UW professor Ryan Ferreira, performing immersive solo guitar works.

Goldenrod + God & Vanilla + Sacred Signs

God & Vanilla, Sacred Signs and Goldenrod present a night of ambient electronic music.

God and Vanilla, the ethereal dark ambient project of solo guitarist Richard O’Leary, creates lush tapestries and hauntingly inviting dreamscapes that draw the listener to an otherworldly place where warm colors run together to create beautiful portraits.

Goldenrod is Noisegasm guitarist Greg Weber’s solo project. His solo music is heavily influenced by Brian Eno’s ambient work with nods to avant-rockers Henry Cow and Pere Ubu and the electronic works of Charles Wuorinen. Harmonica processed with filter sweeps and bleeps and bit-crushed drones and loops float and morph with only the occasional hint of a melody betraying the original sound source.

Sacred Signs is a revolving cast of angels, demons, gods, ghosts, apparitions, possessed voodoo warriors, and psychedelic piano duelers revolving around Winter Parkin.

Driftwood Orchestra + Uneasy Chairs/Kelley/Müller

Driftwood Orchestra is not concerned with perfection or standards of artistic success, but is interested in creating a way to communicate with the forest with the intent to somehow, someday apologize. The point is not to create music, or to showcase instrument playing skills. More so it is a way to give a voice to the trees. All that they have survived to grow and exist and everything that has happened to a piece of wood before it became an object in Driftwood Orchestra. Ever increasing demands of civilization unconcerned with the survival of the forest always pushing. Until now the trees had no voice after death to tell the stores or share knowledge from a life of silent suffering. Not that the trees would use a language any of us could ever understand or perhaps care if we understand in the direct way we perceive language. However if given the chance and under situations where people are open to receiving messages from the forest via a dead tree it could be that the forest may send a message of sorts. As one listens to Driftwood Orchestra players struggle to find solutions to creating sound in a live improvised setting imagine that the message could be simply “we all live and thrive together or we all suffer and die together”.

Greg Kelley has performed throughout North America, Europe, Japan, Argentina & Mexico at numerous festivals, in clubs, outdoors, in living rooms, in a bank, and at least once on a vibrating floor. He has collaborated with a number of musicians across the globe performing experimental music, free jazz and noise, appearing on over 90 recordings in the process. He constantly seeks to push the boundaries of the trumpet and of “music.”

Eveline Müller is a saw blade and airplane washer collector. Together with her metal contraption she likes to take her audience on a journey through beautiful, ugly, loud, quiet, tense and sparse sonic landscapes.

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 and experimenting with sound. 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. An interest in various approaches to meditation and Buddhist philosophy informs his playing, listening and approach.

Dave Rempis & friends: Lattice

Prolific Chicago-based saxophonist, improviser, and composer Dave Rempis undertakes a sprawling solo journey around the US this spring (working title: Lattice), developing repertoire for his first solo release scheduled on Aerophonic Records this fall, while also working to strengthen the informal networks that connect, inform, and sustain the improvised music scene throughout the country. Each concert includes a solo set, and a collaboration with one or more locally-based musicians in every city he visits. Tonight’s second set will feature mixed groupings with James Falzone (clarinet), Arrington de Dionyso (reeds), Kate Olson (reeds), Lori Goldston (cello), and John Niekrasz (drums).

Rempis has been an integral part of the thriving Chicago jazz and improvised music scene since 1997, when he joined the well-known Chicago jazz outfit The Vandermark Five at age 22. At the same time, Rempis began to develop the many Chicago-based groups for which he’s currently known, including the Rempis Percussion Quartet, The Engines, Ballister, Rempis/Abrams/Ra, Wheelhouse, Triage, The Rempis/Rosaly Duo, and The Rempis/Daisy Duo. Other collaborations have included work with Paul Lytton, Axel Dörner, Fred Anderson, Peter Brötzmann, C. Spencer Yeh, Hamid Drake, Steve Swell, John Tchicai, Roscoe Mitchell, Kevin Drumm, Paal Nilssen-Love, Nels Cline, and Joe McPhee.

His musical expression draws on a number of touchstones. While heavily improvisational in nature, his Greek ethnicity, studies in jazz and ethnomusicology, an appreciation for the philosophical underpinnings of contempory composition, and a love for unforgivingly strident yelps, screeches, and squeals that can encompass the ever-evolving state of human depravity all inform his work.

Aside from his work as a musician and composer, Rempis has worked tirelessly as a presenter. Since 2002, he’s organized and produced a weekly series of improvised music at Chicago’s Elastic Arts Foundation. He was a founding member of Umbrella Music, and one of the lead producers and curators of its annual festival from 2006-2014, and served as the business manager of the Pitchfork Music Festival from 2005-2016.

Inverted Space Ensemble: Carter + Zorn

Inverted Space Ensemble presents the music of Elliott Carter and John Zorn. Featured on the program is Elliott Carter’s Shard (1997) and Triple Duo (1983). From John Zorn, his passagen (2011) (dedicated to Elliott Carter), bateau ivry (2011), and the West Coast premiere of obscure objects of desire (2016).

Menzies + Stilwell + Chambers

An evening of solo electronic and electroacoustic works with New York City’s Roarke Menzies and Portland’s Samson Stilwell making their Seattle debuts, along with Seattle’s own Norm Chambers.

Roarke Menzies is a New York City-based artist and composer who uses his voice, mouth and body, along with audio hardware, software and field recordings, to create electronic and electroacoustic sound works. His music has been described by The New Yorker as “a layered electronic throb, coming and going, always enhancing but never overpowering.” Menzies is releasing his fourth solo recording, Breath’s Length, on his own Coup de Glotte label in June 2017.

Samson Stilwell is a Portland, OR based sound artist and musician. He works with modular synthesizers, field recordings, and software to create electroacoustic compositions that explore the liminality or between spaces of language and sound, physicality and interiority. His first album, Signals, is out on Sounds et al (May 2017).

Emerging from a love of early electronics, concrete/tape music, soundtracks and early new age, Norm Chambers creates worlds of sound that touch on many elements and moods, from spatially motivated ambient to aspects of minimalist composition and improvisation. Chambers utilizes an array of synthesizer equipment to achieve his sounds, in addition to field sounds and occasional acoustic elements.

Cursive: As It Fell Upon a Day

Cursive, a modern chamber ensemble specializing in performing hidden gems of modern classical music with a modular ensemble, is proud to present its season closer, As It Fell Upon A Day. Inspired by the joy and action of Spring and Summer, this unique program combines flute, clarinet, viola, voice and piano in distinct combinations to perform widely varied works themed around love and animals. The program features scarcely heard works by big name composers such as Copland, Stravinsky and Takemitsu, as well as lesser-known names such as Matyas Seiber and Netty Simons, and is capped by a new commissioned work by the Yale-based newcomer Anteo Fabris, Elles sont disparus dans le haze.

The players include flutist Colleen McElroy, founder of the Emissary Quartet; clarinetist Mary Kantor of the Lake Washington Symphony Orchestra; violist Tricia Wu of the Seattle Metropolitan Chamber Orchestra; and vocalist, pianist and group founder Peter Nelson-King of Brass Band Northwest.

Seattle Modern Orch. w/ Carol Robinson

For its season finale concert, Seattle Modern Orchestra collaborates with Paris-based clarinetist Carol Robinson in a program centered around Italian composer Giacinto Scelsi. Robinson worked closely with this enigmatic composer on his works. She will premiere a new work by SMO co-artistic director Jérémy Jolley, and celebrate the 90th birthday of renowned Seattle clarinetist/composer William O. “Bill” Smith. Program:

Interview with Carol Robinson at 7:30 PM, music starts at 8 PM
William O. Smith, Rites
Giacinto Scelsi, Ko-Lho
Giacinto Scelsi, Kya
Jeremy Jolley, Archipel… en résonnant à Venise…


Kaley Lane Eaton: Lily

Kaley Lane Eaton presents Lily, an electroacoustic “opera” for voice, live electronic processing and sensors, violas, saxophone, electric harp, piano, choreography, and projected imagery with an original libretto by Felicia Klingenberg. 



Lily explores the psyche and heart of Lily Isabel Bunny, Eaton’s great-grandmother, an orphan who fled England at the start of WWI in 1915, alone, 25, female. She took a ship to Montreal and then a train, which she rode to the end of the railroad, arriving at Cascade Tunnel east of Everett, WA. 

Through terrifying, vast electronic soundscapes, intimate instrumental meditations, eerie and intertwining spoken words, and raw melodies that span the range of Eaton’s classical and jazz vocal inflections, this piece imagines Lily’s grief, exhaustion, joy, and transformation. With Klingenberg’s text, full of transcendent clarity and soul, along with the superb skill of some of Seattle’s best performers and improvisers, we invite you in to the enormously complicated experience of migration that unites our species.

Featuring:
 Kaley Lane Eaton, voice, electronics; 
Heather Bentley, viola; 
Gwen Franz, viola
; Steve Treseler, saxophones and clarinets; 
Carol Levin, electric harp
; Wei Yang, piano
; Karin Stevens, choreography; 
Rian Souleles, projected images

Kaley Lane Eaton is a composer and vocalist currently based in Seattle, WA. Her work has been performed across the US and internationally, in venues ranging from Hong Kong concert halls, to the streets of Skid Row in Los Angeles. Seattle’s Live Music Project calls Eaton’s work “startling,” “intriguing” and “enjoyable … fresh, thoughtful and, importantly in the nova music area, pleasant on first hearing.” With a background as a multi-genre vocalist, instrumentalist, and teacher, Eaton’s work crosses genre boundaries, exploring how the voice, body, and unconscious world of the performer can provide musical data through electronics and improvisation. In Spring of 2017, Eaton will be an associate artist at the Atlantic Center for the Arts with master artist Derek Bermel.

In addition to her life as a performer and creator, Eaton is a seasoned teaching artist and arts education activist, having taught in socially conscious music programs around the US. She has developed and taught courses at the Los Angeles Philharmonic’s Associate Composer program, Youth Orchestra Los Angeles, Boston Public Schools, Watertown Children’s Theatre (Boston), Arts Corps (Seattle), Creative Music Adventures (Seattle), and the University of Washington (Seattle).

Eaton is currently a DMA candidate in composition at the University of Washington and is a Teaching Artist with the Seattle Symphony.

Photo by Arthur Allen (instragram: @moviemensch)

Funded by 4Culture’s Tech Specific Program

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Remy Morritt

Remy Morritt presents a recital given for the University of Washington School of Music. An up-and-coming drummer in the Seattle jazz and improvised scene and a student of Cuong Vu, Ted Poor and Greg Sinibaldi, Remy presents original contemporary jazz music and improvisations in the first performance of a collection entitled The Ant. This performance will feature Remy Morritt on drums, Alex Oliverio on electric guitar, Daniel Salka on keyboards, and Mark Hunter on electric bass.