Gretchen Yanover CD release concert

Locally grown Seattle cellist Gretchen Yanover is giving a concert for the release of her third album, Bridge Across Sound. Using her electric cello and loop sampler, Gretchen builds her compositions in the moment. String layers create a nuanced landscape, with melodies that map the heart.

Thea Farhadian + Ewa Trębacz

Thea Farhadian is a composer based in San Francisco and Berlin. She comes from the background of new contemporary music and works primarily with free improvisation, and live electronic processing. Her solo work integrates extended techniques, microtonality, and sound-based material in what Touching Extremes calls “..fumes of disassembled harmony and dissonant refractions.” Tectonic Shifts, released November 1 on the Creative Sources label, integrates the interaction of the violin with electronics, altering the sound in real time through the software program Max/MSP. These pieces for violin and interactive electronics were selected from a cycle of works that blend improvisation and composition. Structures from the album, and further improvisations in a similar direction will be explored in tonight’s performance

Ewa Trębacz [pronounced Eva Trembatch] is a Polish-American composer living in Seattle. She holds Masters’ degree in Music Composition from the Kraków Academy of Music in Poland, and Ph.D. from the University of Washington Center for Digital Arts and Experimental Media (DXARTS), where she now works as a Research Scientist. Tonight she presents three works, two in collaboration with French horn player Josiah Boothby: Iriviskia (2015-2017) is an improvisational violin-horn duo with computer-realized sound; Anclsunr (2013) ANCLSUNR (2013) is a fixed-media version of a piece commissioned by the Polish Composers’ Union for the Polish Radio Symphony Orchestra, combining the original electronic layer with orchestral recordings from the rehearsals and the premiere in Warsaw, along with Ambisonic recordings from the Dan Harpole Cistern at Fort Worden State Park, and field recordings from Eastern Washington desert and Columbia River surroundings; Minotaur for live and pre-recorded horn improvisations and Ambisonic soundscapes gives Boothby an opportunity to fully demonstrate their virtuoso skills, requires both imagination and courage to freely approach the pre-composed material, and to create a unique conversation between the pre-recorded soundscapes and the performance space.

Josiah Boothby is a versatile hornist devoted to new music, with a particular focus on improvisation and creative collaboration with composers and other artists. Josiah has performed as a soloist at the Warsaw Autumn Music Festival (2009), the New York City Electroacoustic Music Festival (2017), and has collaborated extensively with composers including Ewa Trębacz, Eyvind Kang, and Ahamefule Oluo. Principal hornist with the Seattle Modern Orchestra and fourth hornist in the Yakima Symphony, Josiah can also be heard playing with the Jim Knapp Jazz Orchestra, Seattle Chamber Brass, as well as on recordings with The Debaucherauntes, Dan Mangan, and Sunn O))).

Presented by Nonsequitur. (photo: Heike Liss)


Scrape is a conductor-less string orchestra with harp and guitar that performs within a blend of jazz and classical traditions. Scrape plays the music of Jim Knapp and features great improvising artists guitarist Gregg Belisle-Chi, bassist Chris Symer, and guest soloist Mark Taylor. Toni McGowan will be presented at this event as both composer and lyricist and vocalist Chérie Hughes brings her outstanding musicianship to augment the sound with her lyric presence. Concertmaster Heather Bentley guides us through the night without a conductor in sight.

Earshot: Gregg Belisle-Chi

Earshot‘s Jazz: The Second Century gives voice to the vision of Seattle’s fine jazz artists. What is the future of jazz? This concert series seeks to bring the discussion into creative motion where it matters most – on the stage, with an attentive audience.

Guitarist/composer and third-time Second Century artist Gregg Belisle-Chi’s Book of Hours project began three years ago, during his first year of graduate school at the University of Washington. With a goal to learn and explore as much as he could in the realm of composition, Belisle-Chi took it upon himself to compose a whole set of music for one of the ensembles he played in, under the direction of his mentor Cuong Vu. As he was listening to a lot of classical music at the time, including Beethoven, Bach, Schoenberg, and Charles Ives, he and began noticing a trend of Mass settings, a form of sacred music composition specifically for voices.

He set out to challenge himself to write a full, five-movement piece with one narrative thread throughout. He decided to compose his own “Mass” but, rather than using voices, using the instruments available in the ensemble. He set the five movements (Kyrie, Gloria, Credo, Sanctus, Agnus Dei) using the text as his source material for the melodic content. Originally titled “Mass for Modern Ensemble,” the piece was debuted at Meany Hall in 2015, with guitar, violin, bass clarinet, drum set, alto
sax, tenor sax, and two trumpets.

Since then, Belisle-Chi has re-orchestrated the material several times, allowing more room for improvisation each time, and adding a previously unrecorded solo guitar piece. Belisle-Chi performs Book of Hours with Seattle musicians Daniel Salka (keyboards), Mark Hunter (bass), and Thomas Campbell (drums).


Recognized as a new age visionary sound artist, Laraaji performs new music with modified electric zither/harp, voice, kalimba, and electronics. The music tends toward celestial, trance inducing, uplifting. He is accompanied by longtime collaborator healing sound musician Arji OceAnanda, who shares her heart space through a variety of gentle percussion and electronic instruments.

Laraaji’s classic 1979 album Day of Radiance, a Brian Eno-produced collaboration put him and his uniquely uplifting electric open-tuned zither on the global music stage. He tours annually performing at festivals, conferences, yoga centers and collaboration events.

Arji OceAnanda has been collaborating in performances and laughter meditation workshops with Laraaji for many years. She moves healing energy through intuitive percussion and gentle synthesizer.

Presented by Nonsequitur.

ALSO: Laraaji and Arji will be giving a laughter and sound healing workshop at Seattle Sound Temple on Friday July 21 from 7-9 PM. Cost is $35. Purchase tickets here.

Earshot: Ramen Trio

Earshot‘s Jazz: The Second Century gives voice to the vision of Seattle’s fine jazz artists. What is the future of jazz? This concert series seeks to bring the discussion into creative motion where it matters most – on the stage, with an attentive audience.

Ramen Trio uses the combination of composition and improvisation in order to make music in the moment and hopefully capture the listener’s imagination. Comprised of veteran Seattle musicians Jay Weaver (drums), Doug Lilla (bass), and James DeJoie (clarinet, bass clarinet), the Ramen Trio blurs the line between the written and improvised material. The trio sometimes improvises on forms, but also relishes making up a form as they go along. Their interplay depends on focused listening, and any member may “float to the top” at any time. Both DeJoie and Lilla contribute original music that mixes written material with improvisation and covers a wide swath of possibilities. They look to the past, present and future in hope of displaying their humanity through the language of music.

Jay Weaver and Doug Lilla first met when they played in Al Hood’s Aspects back in the 20th Century, and discovered their shared music interests. After a long period of each musician going down various paths through life, they began playing together again a few years ago. James DeJoie has joined forces with them in this new trio which seeks to make music live and breathe through composition and improvisation.

FHTAGN vs. Driftwood Orchestra

FHTAGN is an experimental chamber group with an ever-rotating lineup of musicians from various disciplines, often performing in combinations ranging from 10-20 performers. FHTAGN’s primary focus is exploration of extremes in spatial dispersion, as well as methods of indeterminacy and alternative conduction techniques within those extremes.
Driftwood Orchestra is a collective of artists who create improvised music using modified & amplified pieces of driftwood gathered from the Cascade Mountains. Driftwood Orchestra is not concerned with perfection or standards of artistic success. Driftwood Orchestra is interested in creating a way to communicate with the forest with the intent to somehow, someday, apologize.

FHTAGN and Driftwood Orchestra will position themselves on opposite sides of the room and perform simultaneous, overlapping sets, allowing the audience to be caught in the sonic crossfire as the two groups present different ways to manipulate modified pieces of wood.

Local composers Noel Kennon and Nicholas Mackelprang will also be present works of new music.

Nicholas Mackelprang is a composer and pianist studying at Cornish College of the Arts. He has written and performed music in a variety of contexts including solo piano, small jazz combos, big bands, chamber ensembles and improvised music groups. He has also worked in interdisciplinary settings with choreographers and actors.

Noel Kennon is a composer and improviser who is inspired by musical inclusion and listening. His live works incorporate light, dance, space and sound. He will present a composition inspired by Cy Twombly’s Scenes from an Ideal Marriage.

Blown Reunion

64 Box-Fans pointing up: primal human conflict transformed a flexible rush of air through the circular chamber,

rushes into a crack in the mountain and disappears.

Alissa Derubeis lives in Portland, where she works for 4MS and S1. She co-founded the Synth Library. Yasi Pereira lives in Oakland; also works in the synthesizer industry.
Michael Swaine lives in Seattle. Teaches ceramics.

John Cage, Marcel Duchamp played chess on a specially-constructed board sending sounds everywhich way, rushes into a crack in the mountain and disappears.
Yasi made a chessboard like that. Michael likes fans, Alissa likes music.
Alan Turing wrote a chess-playing program. we will play it for you. clank clank woosh

IF YOU HAVE A BOX FAN (our fingers are crossed)

Earshot: Some’tet

Earshot‘s Jazz: The Second Century gives voice to the vision of Seattle’s fine jazz artists. What is the future of jazz? This concert series seeks to bring the discussion into creative motion where it matters most – on the stage, with an attentive audience.

Back in April 2013, guitarist and composer Michael Whitmore began a weekly residency at the Snapdragon Café on Vashon Island. Over the next couple of years, this Sunday night jam grew into a full-blown ensemble. Since then, Some’tet has been gigging around the Puget Sound, mostly as a sextet, sometimes as a quartet, as a trio, but always Some’tet. The music is both composed and improvised; the overall sound is mellow, almost West Coast cool with moments of intense invention, plus a dollop each of American primitivism, clusters of neo-bossa nova rhythms, and the occasional art song, augmented with a chunk of free jazz and outside music, and soulful vocals. Four elements are important to the music of Some’tet: adventure, beauty, spirituality, and soul.

The members of Some’tet live on Vashon, an island known for its idiosyncratic personality. Barry Cooper (trumpet, flugelhorn) hails from Orange County, CA. For many years he performed with his dad, the renowned SoCal educator Dick Cooper, before moving to Vashon about seven years ago. Dianne Krouse (alto & tenor sax, clarinet) was born and raised in Issaquah. She formally held the lead alto sax chair in the Seattle Women’s Jazz Orchestra, and was the first musician to regularly sit in on the Snapdragon sessions. Upright bassist Patrick Christie is a respected professor at the University of Washington, and has led various comparative, socioecological research projects around the world. Dodd Johnson (drums, percussion) hails from Wisconsin and has played with dozens of bands from rock to free jazz. Vocalist and Seattle native Christine Goering met Whitmore at a karaoke session on Vashon. She also leads her own band, Delilah Pearl and the Mantarays. Whitmore was a veteran of the Los Angeles improvised music scene before moving to Vashon about a decade ago. He has a few dozen recording credits under his belt as either a leader and as a sideman, and has received an NEA Composers grant.

Chris Brown: Six Primes

Six Primes (2014), for piano in 13-limit just intonation is a suite of six pieces that use the six prime numbers 2, 3, 5, 7, 11, and 13 to govern both the tuning and rhythmic structure of the music, including the harmony and rhythmic subdivisions. The piano is re-tuned in a just intonation in which the notes are tuned to one ratio with the highest prime factor of 2, three ratios with highest prime of 3, and two ratios each with highest primes of 5, 7, 11 and 13. It rigorously explores the 75 intervals thus created in rhythmic structures that mirror in time the proportions given by the notes employed.

Adhering to systems is one thing; creating flowing, uncontrived music from them is quite another – and Brown has achieved this in an exemplary manner. To these ends, Brown’s assets as a pianist are essential; his touch allows his contrapuntal passages to breathe, gives his cascading lines loft, and pillows his rests-punctuated moments.” — Bill Shoemaker, Point of Departure

Chris Brown, composer, pianist, and electronic musician, makes music with self-designed sonic systems that include acoustic and electroacoustic instruments, interactive software, computer networks, microtonal tunings, and improvisation. His compositions are designs for performances in which people bring to life the musical structures embedded in scores, instruments, and machines.

Recordings of his music are available on New World, Tzadik, Pogus, Intakt, Rastascan, Ecstatic Peace, Red Toucan, Leo, and Artifact Recordings. He has also performed and recorded music by Henry Cowell, Luc Ferrari, José Maceda, John Zorn, David Rosenboom, Larry Ochs, Glenn Spearman, and Wadada Leo Smith; as an improvisor he has performed and recorded with Pauline Oliveros, Fred Frith, the Rova Saxophone Quartet, William Winant, and Frank Gratkowski, among many others. He teaches at the Center for Contemporary Music (CCM) at Mills College in Oakland, California.

Presented by Nonsequitur.