Annapurna Dharma Communion: The Wind That Rolls Upon the Water

Joey Largent presents his most recent composition in collaboration with movement/costume/installation artist Katrina Wolfe for an acoustic just intonation ensemble composed of practitioners of Burmese vipassana, musicians, and friends. Composed primarily on the Olympic Coast and in the North Cascades near the Lower Curtis Glacier, the work follows an exploration of changing natural landscapes and physical masses as the ensemble organically weaves through a semi-improvised score paired with the gradual tidal changes of an extended field recording from the Washington Coast. Sensitive to the sound and structure, Wolfe offers a complementary reflection of the terrain through continuous, hypnotic movement that is enhanced by her meticulously hand-stitched costumes and intricate choreography. Pulling from ongoing years of study in North Indian Classical gayaki (vocal music), Largent’s composition unifies these elements by suspending a passage through variations of four different ragas of morning, afternoon, and night for a slow moving work of an unfixed duration.

Annapurna Dharma Communion:

Jackie An – violin
Michael Shannon – cello, voice
Joey Largent – cello, voice, field recording, composition
Manasvi Patel – 7-limit shruti box, bamboo chimes, copper chimes, bells 
Sam Vanderlinda – 7-limit shruti box, steel tongue drum, bells, tibetan bowls 
Katrina Wolfe – movement, costumes, choreography
Russell Christenson – 7-limit harmonium, bells
Ian Gwin – Miraj tambura

Joey Largent’s work focuses on exploring long-duration compositions and improvisations for acoustic ensembles and solo performance. Beyond generating music alone, his goal is to offer a space for introspection, releasing from attachment, beauty, and connection. Through site-specific work and field recording, he seeks to connect daily experience more profoundly with the impermanent harmony of the natural world. He has collaborated with numerous dancers, musicians, and interdisciplinary artists over the years, and has studied North Indian Classical singing with several disciples of Pandit Pran Nath including Michael Harrison and Rose Okada.

Katrina Wolfe is an interdisciplinary artist working in the mediums of performance art, costume making, installation, photography, and sculpture. A primary focus of Katrina’s work is the practice, teaching and performance of Masukhuma: a dance, movement therapy and performance art technique that has evolved from her experience in butoh, visual arts, and her daily practice of Vipassana meditation. Katrina studied primarily with butoh artists Joan Laage and Atsushi Takenouchi. She also gained great inspiration through studying the films of butoh founder Tatsumi Hijikata and through an intensive workshop with first-generation butoh artist Daisuke Yoshimoto. By creating costumes and installations from organic and recycled materials, and through merging the body with various environments – both natural and created – Katrina’s work explores issues of attachment, over-consumption, climate change, waste, and ephemerality. 

(Photo: Dmitry Artamonov)

Caroline Kraabel: Open Improvisation Workshop

An invitation to explore large ensemble listening and playing. All instruments welcome, no experience required, just an open mind, heart, and ear.

As people who have experienced forms of oppression in music making and/or life, what is our aim when we make music among ourselves? Do we just recapitulate existing power structures, but try to place ourselves at the top? How deeply ingrained in us are these musical approaches?

Should we consciously aim to avoid those oppressor-created structures and hierarchies (how?) and make new ones? 

Can we choose to let go of power (loudness, “skill”, profuseness, traditional roles of instruments) without feeling constrained?

Can we be true to who we are, and to the instruments we play, without drowning out other musicians and their instruments?

Improvising: a way of accessing music in ourselves that is not part of an external system? But this doesn’t happen by itself, requires searching…

How can we play together as a large group and ALL be heard…? How can we respect each other, and be respected?

What is it like to play from silence? From sound?

Getting away from neo-liberal constraints on the concepts around music and musicians: Should we draw on art that is related to what is called the “domestic” sphere (references – pottery, needlework, work-songs, “folk” or traditional musics)? Escape from the idea of what is required of the “professional” musician? How? Is the notion of “ritual” relevant, or is it oppressive?

How do we unite in playing, and how do we play together and maintain our separate identities? The tension between leaving space and filling space…

SPACE, COURAGE, LISTENING and CONCISENESS are essential to large-group improvisation…

How do we make the most of our difference… in how we pay attention, in our ways of listening and uttering? How far can we go into difference?

What is it like to do the “wrong” thing?

Originally from Seattle, Caroline Kraabel is a London-based improviser, saxophonist, artist and composer. She conducts and plays with the London Improvisers Orchestra (LIO). Sometimes she improvises solo while walking in London and elsewhere (broadcast over several years on Resonance
104.4 FM as Taking a Life for a Walk and Going Outside). She releases ephemeral solo pieces as part of Lonely Impulse Collective and works with many other excellent improvisers, including Robert Wyatt, Maggie Nicols, John Edwards, Louis Moholo, Cleveland Watkiss, Hyelim Kim, Pat Thomas, Susan Alcorn, Sarah Washington, and Charlotte Hug.

Tom Baker Quartet: Songs & Triangles

The Tom Baker Quartet will be performing a soundscape/composition called Songs and Triangles in which we will be joined by our amazing friend, Kaley Lane Eaton. TBQ will follow with a set of original tunes and improvisations.

TBQ is Tom Baker, guitars; Greg Campbell drums and horn; Jesse Canterbury, clarinet; Brian Cobb, bass.

“Creative, free, and at times, funky… TBQ pushes the musical envelope.” — All About Jazz

PLEASE NOTE: The elevator at Good Shepherd Center is expected to be undergoing renovation at this time, so the Chapel may be accessible only by stairs. We apologize for the inconvenience.

Seattle Composer-Pianists

Join four Seattle-area composer-pianists as they perform their own works, many of them world premieres. Gavin Borchert will be presenting his hybrid work Text-piano alongside striking miniatures. Keith Eisenbrey will be playing the last two movements of his extensive Etudes d’execution imminent series. Aaron Keyt is joined by Jennifer K. Chung to premiere his new set of 4-hand works, Monsters. And Peter Nelson-King will be reprising his 28-piece suite The Magpie’s Shadow, rounding out a new piano music showcase as varied as it is unique.

Gavin Borchert is a longtime music journalist and was a copy editor for the Seattle Weekly for many years, and is currently a copy chief at Crosscut. Keith Eisenbrey has co-run Banned Rehearsal, an ongoing experimental music collective, for nearly 40 years. Aaron Keyt is a founding member of Banned Rehearsal and sings with the Harmonia Orchestra and Chorus. Peter Nelson-King plays trumpet with multiple ensembles, teaches piano and trumpet on the Eastside, and is a published poet.

COVID-19 PROTOCOLS: Performers will be masked; masks and social distancing are strongly encouraged for all attendees

Infinite Passage: In Memory of Norm Chambers

Please join us as we celebrate the life and music of Norm Chambers, a beloved figure in the PNW electronic music community who passed away on October 30th. This event will provide space for sharing memories and stories of Norm, with selections from his extensive discography presented by DJ Veins (Dave Segal) and live performances by Matt Carlson, RM Francis, Raica (Chloe Harris), and Jeppa Hall (aka Queen Shmooquan) & Eli Kaufman. Messages and musical offerings from some of Norm’s many friends from afar will also be shared. Admission is free, but donations to assist with medical expenses are welcome.

Noel Kennon

An evening of music for solo viola and spatialized aleatoric acousmatic sound. The evening will be divided into two sections with a short prelude and postlude. There will be a moment of silence in between these two sections.

prelude

(opening and invitation)

section one

> ( light everbloom in respite or despite the latter failings I cannot recount to ten  )

– tacet

section two

>( forever love ring[ing] for {h} – in velvet afterglow (blues/ violent/ yellow)) 

postlude

(closing and adieu)

Noel Kennon is a composer and artist living and working in Seattle. This work often is in reference to the physical qualities of sound such as the mathematical (or theoretical) forms of pitch space in relation to the harmonic series, difference tones, and the sonority of volume or rather the sonority of space both enclosed and open (on any scale) as well as nominating the socio/environmental effects and phenomenon of sounding in space such as the purpose and politics in engaging strangers along with other unhelpful pursuits. All the while stumbling toward an expression of the sound of that which is not struck in the search of a way to reach compassion to address our collective unending suffering.

NonSeq – From Alaska to Amazonas

From Alaska to Amazonas: Indigenous Music, Culture, and Resistance

Join us for a richly layered evening of music, spoken word poetry, visual art, and resistance drawn from two Native cultures—the Tlingit people of southern Alaska and the Indigenous Brazilian people of the Amazon. Co-created by Nahaan, Tlingit artist of multiple genres and Indigenous activist, and by Adriana Giordano, Seattle’s premier Brazilian vocalist, and concert producer, this event will emphasize experience over concept, leading you on an exploration of the paths of Native peoples as they navigate, and resist, the challenges of colonization and climate change.

Expect powerful storytelling and visuals from Nahaan, who lives and creates art in both traditional Tlingit culture and resistance culture—from ceremonial tattooing to carving and formline art—and allies himself with the Land Back movement.

Adriana, accompanied by stellar Seattle musicians from different genres, will provide an immersive music and sound experience that evokes the Amazon and Indigenous tribal culture, drawing on recordings of tribal songs, as well as other Brazilian musical genres. This musical mosaic will provide the sensory grounding for the evening and will highlight transitions in the shifts between Indigenous Brazilian and Tlingit culture.

The band:

Nahaan – vocals, spoken word
Adriana Giordano – vocals, triangle and other percussion instruments
Gabe Hall-Rodrigues – piano and accordion
Julian Weisman – double bass
Jeff Busch – percussion

Curated by Marina Albero for Nonsequitur’s NonSeq series.

Earshot: Battle Trance

Presented by Earshot Jazz Festival. Welcomed by KBCS.

The genre-defying ensemble of four tenor saxophonists performs the music of Travis Laplante who is joined by Matthew Nelson, Jeremy Viner, and Patrick Breiner, all pushing their instrument to the limit, circular breathing hypnotic waves of sound and blistering runs to create intricate textures. With unorthodox articulations and unusual fingerings, they create a vast sonic vocabulary and yet create music that speaks directly to the heart.

*Earshot Jazz COVID-19 Policy: Earshot recommends that all ticket holders be vaccinated. Masks are strongly encouraged indoors unless actively eating or drinking. Policy subject to change. Full policy here.

(photo: Big Fish)

Composers & Improvisers Workshop Reunion

In celebration of their 60th anniversary this year, Jack Straw Cultural Center presents a special evening of performance featuring members of the Composers & Improvisers Workshop. Workshop alumni Lynette Westendorf, Sumiko Sato, Jim Knodle, Kenny Mandell, Don Berman, Steve Griggs, Charles Hiestand, Casey James, Elizabeth Strauss, poet Pamela Moore Dionne, and others will perform newly composed works and improvisations in a variety of combinations.

In the mid 1990s, a group of Seattle musicians began a series of workshops as a way for musicians to bring their compositions and ideas for improvisation to a collaborative session, not with the goal of performing or recording, but rather to talk over the music, the creative process, and to gain feedback from one another. Some people focused exclusively on scored music, while others led improvised “conductions” or open structured improv. The group eventually developed into the Composers & Improvisers Workshop, and was open to participation to anyone interested in developing their skills and collaborating with other musicians. CIW presented regularly at Jack Straw in the late ‘90s and early 2000s.

Stephen Fandrich

Just being Stephen Fandrich, at the piano, erasing time and expectation – a rare glimpse of this otherworldly musical genius in solo concert form.

Stephen Fandrich has been a resident performing artist of Seattle for 35 years. His piano improvisations exude a rare and rich combination of Russian late Romantic composers, Javanese Karawitan, and late 20th century piano improvisers. Classical piano, jazz piano, prepared piano, gamelan, bi-tonal singing, just-intonation, tuning, instrument building, sound-based installation, composition and improvisation are all current passions. Vessel, a new album produced by Gamelan Pacifica (2022), features three new works by Fandrich, including a composition combining gamelan and the Del Sol String Quartet.

Fandrich will perform long-form improvisations for solo piano and for the piano prepared with sticks of wood, to transform the piano into a custom-tuned percussion orchestra.