Friday, March 19, 2010

Karen Bentley Pollick: Violin & Alternating Currents

Karen Bentley Pollick gives the Seattle premiere of four new compositions for violin with electronics by Alabama composers a week after their world premiere at the Birmingham Museum of Art. In collaboration with video artist Sheri Wills, Charles Norman Mason's Metaman explores the concept of soloist as a visual and aural landscape. Dorothy Hindman fuses live and recorded materials of her earlier compositions composed for Pollick in Fantasia for Karen Alone. Capital Spheres by Michael Angell presents a musical city scape in counterpoint with the voice of the violin. A Girl and Her Dog by Brian Moon weaves samples of Pollick's hound dog Bobik with live violin. Other compositions on the concert include Sole Injection by Illinois composer Zack Browning, Impossible Animals by Californian David A. Jaffe, Vista by Washington composer Alex Shapiro, and Solo Blues for Violin and Piano by New York based jazz pianist Dan Tepfer.

Saturday, March 13, 2010

Crepuscule Trio + Jesse Canterbury's Vertigo

A solid working unit for many years but operating under the radar of the mainstream jazz world in the Los Angeles area, the Crepuscule Trio represents the most fundamental and vital aspects and values of what came to be termed "free jazz." Consisting of three outstanding musicians – saxophonist Ken Kawamura, bassist Anthony Shadduck, and drummer Alan Cook – the trio mines the tradition of the music they know intimately while blasting it open into the realm of spacious and multi-directional musical possibility.

Seattle clarinetist Jesse Canterbury leads Vertigo, an all-acoustic ensemble in a strikingly original mix of chamber music, improvisation, and tune-oriented melodic material informed and inspired by the music of clarinetists Louis Sclavis and Michael Moore.

Tuesday, March 02, 2010

Lubomyr Melnyk: Continuous Music

Presented in partnership with Unseen Worlds Records. Read a preview in The Stranger.

Ukrainian-Canadian composer/pianist Lubomyr Melnyk's Continuous Music is based on the principle of a ”continuous” and unbroken line of sound from the piano, created by generating a constant flow of rapid notes, usually with the pedal sustained non-stop. As in the music of composers such as LaMonte Young, Terry Riley, and Charlemagne Palestine, this requires a special technique that takes years to master, and is the very basis of the meditative and "metaphysical" aspects within the music and the art of the piano. In his earlier works, Melnyk devoted much attention to the overtones which the piano generates, but in his more recent works, he has become more and more involved with the melodic potential of this music. Melnyk's earlier music was generally classified as Minimalism, although he strongly refutes that term, preferring to call his music MAXIMALism, since the player has to generate so many notes to create these "Fourth Dimensions of Sound." His classic 1978 album KMH was reissued in 2007 by Seattle label Unseen Worlds.