Miguel Frasconi

Miguel Frasconi will present solo works using his unique collection of glass and "de-evolved" musical instruments. His glass instruments, which have been called "a beautiful menagerie of pealing contraptions" (Time Out NY), will be augmented this evening by a ten-string zither, toy piano, mbira, and other unusual acoustic and electronic sound making devices.

Frasconi is a composer, improviser and sound artist who uses glass objects, electronics, keyboards, and devolved instruments to create music that sounds from a uniquely imagined tradition. His recent collaborations include new works with choreographer Alonzo King, electronic music pioneer Morton Subotnick, and the new music ensemble Gamelan Son of Lion. His background includes work with John Cage, Brian Eno, Jon Hassell, and James Tenney, and studies ranging from the music of South India and Indonesia to the Dada and Fluxus movements. Past collaborations include new works with Balinese composer I Dewa Berata, operatic tenor John Duykers, and Tibetan songwriter Techung, with whom he has performed in concerts throughout India. Miguel has created over three dozen dance scores and has performed with modern dance pioneer Anna Halprin at the Centre Pompidou in Paris. Miguel's early work includes ten years as a founding member of THE GLASS ORCHESTRA, the internationally acclaimed new music ensemble featuring all glass instruments.

Mark Howell & Rick Brown - inconvenient music

The latest in a series of collaborations between Rick Brown (percussion, electronics, funnels and vocals ) and Mark Howell (guitar, trumpet/cornet and percussion ), inconvenient music retains the rhythmic complexity, melodic directness and harmonic sophistication of the two musician/composers’ previous work while putting them at the service of music which is now more focused on long-form soundscapes, drones and repetitive, slowly evolving, rhythmic motifs.  Homemade and modified instruments and folk-oriented vocal parts combine with electric guitar, trumpet and laptop to create a sound both unheard-of and eerily familiar.

Gordon Beeferman & Jeff Arnal

Jeff Arnal (percussion) and Gordon Beeferman (piano) synthesize avant-garde jazz/improv and contemporary classical traditions of the 20th century into a unique “energized ritual of free expression…music with muscle and appeal” (Cadence Magazine). Since forming their duo in 2000, Arnal and Beeferman have become an integral part of the creative music scene in New York and beyond. Their duo has performed at the Knitting Factory, Music at the Anthology, Improvised and Otherwise (Brooklyn), San Francisco Alternative Music Festival, Philadelphia Fringe Festival, the Tremont Theater and Zeitgeist Gallery (Boston/Cambridge), and other venues for experimental and improvised music. Their first recording Bodies of Water (2001) was praised for its "near-perfect synchronicity... these two have talent to burn" (All Music Guide). In addition to working as a duet, they have collaborated with many other musicians and dancers, including choreographer Estelle Woodward (in the dance/music ensemble Loophole) and saxophonist Seth Misterka (as Rara Avis). Their newest recording, Rogue States, is being released in 2006.

Kenta Nagai

Composer Kenta Nagai presents Long Long Long, a new work for ensemble. Featuring an eclectic assortment of Asian instruments from Korea and Japan, Long Long Long draws on the heritage of these unique musical instruments and their uncommon sonorities. Equal parts Court Music, shamanistic ritual and 21st century New York, Long Long Long travels back through centuries to the pre-history of Japan and Korea, a time when national identity and lineage were nascent concepts. With Jerry Lim (Kayagum), Kenta Nagai (Shamisen), Tatsuya Nakatani (Percussion) and Sang Won Park (Kayagum). 

Vice Versa: Alessandro Bosetti, amplified soprano saxophone & Ricardo Arias, bass balloon kit, etc.

After convening over black coffee a year ago, Bosetti and Arias finally debut their duo which draws on their inverse, yet similar attitudes toward sound-making: treating traditional instruments as objects and vice versa. Their music reflects their shared interest and practice of electroacoustic music and improvisation.

Ricardo Arias was born in Bogotá. He has lived in Barcelona, The Hague, and currently resides in New York City. He studied composition and electroacoustic music with Chilean composer Gabriel Brncic at the Phonos Foundation in Barcelona and flute with Hiroshi Kobayashi and Joan Bofill, also in Barcelona. During 1995-1996 Arias  studied computer music at the Institute of Sonology in The Hague. He holds a BA in Anthropology from Hunter College in New York City. Most of Arias's music is improvised and made in collaboration with other musicians. Apart from occasionally playing the flute, he uses unconventional instruments and found objects as sound sources. He has performed with a shifting array of small found objects, amplified with piezo-electric transducers. Since 1992 he has focused almost exclusively on the balloon kit, a number of rubber balloons attached to a suitable structure and played with the hands and a set of accessories, including various kinds of sponges, pieces of Styrofoam, rubber bands, etc. Arias has been artist in residence at Harvestworks and at Engine 27 and was a fellow at the Civitella Ranieri Center (Umbria, Italy.) He has collaborated with numerous improvising musicians including a trio with Vic Rawlings and Tatsuya Nakatani, a duo with Michel Doneda and a duo with Stephane Rives. In July 2006, right before the Israeli attack on Lebanon began, he worked in Beirut with various Lebanese improvisers, including Sharif Sehnaoui, Raed Yassin, Christine Sehnaoui, and Mazen Kerbaj, among others.

Alessandro Bosetti was born in Milan. A composer, saxophonist and sound artist, he works on the musicality of spoken words and unusual aspects of spoken communication and has produced text-sound compositions featured in live performances, radio broadcasts, and recordings for labels of experimental music. His work inhabits the space between sound anthropology and composition. Field research and interviews often build the basis for his abstract compositions. As a saxophonist he has developed an original instrumental language that incorporates extended techniques, noises, and a strong influence from electronic music. He has performed in all European countries, the USA and Japan. He has had broadcasts and record releases in Germany, Spain, France, Italy, New Zealand and the USA. Bosetti lives and works in Berlin. [For more on Bosetti, see October 9th.]

Alessandro Bosetti - solo (voice + laptop)

“Idiosyncratic and radical” (The Wire,) composer, saxophonist and sound artist Alessandro Bosetti works with the musicality of spoken words, unusual aspects of spoken communication and produced text-sound compositions featured in live performances, radio broadcastings and published recordings. In his work he moves along the line between sound anthropology and composition, often including relation, translation and misunderstanding in the creative process.  Field research and interviews often build the basis for his abstract compositions. He has given performances in all European countries, the USA and Japan. His works has been broadcasted and record released in Germany, Spain, France, Italy, New Zealand and the USA. He lives and works in Berlin.

About tonight’s concert, he writes: “What I do could be roughly reminiscent of songs. Kind of almost spoken, abstract songs. I usually use my voice and a laptop, and then project the sound produced around the audience. During the concert I wear headphones. I consider headphones very poetic objects. I receive signals through the headphones and I try to react to them. Often I misunderstand them. Often I can't really control what I sing because the headphones separate me from the environment. I sing—as an untrained, passionate singer—and I speak—I don’t play the saxophone here, for anybody who might ask. It's not a "project" as much as it is a live performance, changing every evening, though still featuring a lot of hidden conceptual issues. Voice, language, misunderstandings, sound-anthropology, relational aesthetics, tone languages, conversations, headphones, geography, unspoken languages, feedback (in behavior and physics), interview, no control, handicap, imitation and mimesis all are favorite themes for me. They are all somehow there. I make music out of conversations that I’ve had, the people I’ve met. Often they were wearing headphones and I was having them listen to something. When it’s taking place you are not listening with them because of the headphones that cut you out. But you can listen to their reactions. They often misunderstand too. That's OK for me.”

Check out: www.melgun.net.

Nate Wooley

Nate Wooley is one of a handful of trumpet players redefining the instrument's role and technique. He has used the solo idiom to push the trumpet inside out, concentrating more on frequency, density, silence, and velocity than melody, rhythm, and harmony. Touching Extremes called his first solo disc, "Wrong Shape to be a Storyteller" (Creative Sources,) "exquisitely hostile." His acoustic trumpet playing references desiccated breathing, tape and electronic composition and harsh noise, while still maintaining a rigorous sense of composition. His second full-length solo disc, "Beast," will be out in the winter of 2006.

Since his arrival in New York in 2001, Wooley has made a name for himself as a leader (Blue Collar with Steve Swell & Tatsuya Nakatani and the Nate Wooley Quartet and Trio) and as a sideman (with Daniel Levin, Mike Pride, Harris Eisenstadt, Assif Tsahar.) In the past three years, his ability to fit a unique personality into many differing musical idioms has earned him spots on stage and in the studio with artists such as Paul Lytton, Anthony Braxton, Joe Morris, David Grubbs, Wolf Eyes and Tony Malaby.

Evan Parker / Ned Rothenberg Duo

Evan Parker, soprano and tenor saxophones

Ned Rothenberg, alto saxophone and bass clarinet     

"Rothenberg stays with Parker every step of the way as they weave tapestries of breathtaking range, vigor, and technical skill. This kind of fascinating interplay...repeatedly rewards the attentive listener." (Robert Spencer, All About Jazz)

Among Europe's most innovative and intriguing saxophonists, Evan Parker's solos and playing style are distinguished by his creative use of circular breathing and false fingering. Parker can generate furious bursts, screeches, bleats, honks, and spiraling lines and phrases and his solo sax work isn't for the squeamish. Upon resettling in London in 1965, Parker began playing with Spontaneous Music Ensemble. He joined them in 1967 and remained until 1969. Parker met guitarist Derek Bailey while in the group, and the duo formed the Music Improvisation Company in 1968. Parker played with them until 1971, and also began working with the Tony Oxley Sextet in the late 60s. Parker started playing extensively with other European free music groups in the 70s, notably the Globe Unity Orchestra, as well as its founder Alexander von Schlippenbach's trio and quartet. Parker, Bailey, and Oxley co-formed Incus Records in 1970 and continued operating it through the 80s. Parker also played with Chris McGregor's Brotherhood of Breath, other groups with Bailey, and did duet sessions with John Stevens and Paul Lytton, as well as giving several solo concerts. Among his many releases are Process and Reality (1991), Breaths and Heartbeats (1995), Obliquities (1995), Bush Fire (1997), Here Now (1998), Drawn Inward (1999), Monkey Puzzle (2000), Two Seasons (2000), Alder Brook (2003) and After Appleby (2004). Eleventh Hour, officially credited to the Evan Parker Electo-Acoustic Ensemble, appeared from ECM in 2005.

Composer/Performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Intervals, a double CD of solo work, and Are You Be, by R.U.B. (Rothenberg, Kazuhisa Uchihashi and Samm Bennett) on Rothenberg's Animul label. Chamber music releases include Ghost Stories, on Tzadik and Power Lines on New World, along with Port of Entry, Sync's release on Intuition. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot, Yuji Takahashi and Evan Parker. Rothenberg generates a remarkable variety of new timbres through unique playing techniques including circular breathing allowing for extremely long melodic patterns, multiphonic chords, precise overtone control, elaborate rhythmic tonguing attacks, control of overlapping beat frequencies, combinations of the previous, and much more. His music evokes an emotional spectrum from humor to pathos, a feeling of rhapsodic melancholy to simple awe at encountering a sound never before experienced.

Alain Kirili, Joe McPhee, Clifton Hyde - NEW FORMS AND SOUNDS

A communion of painted and forged iron, steel, brass, wood and ideas presented in a program inspired by the seminal (FORMS AND SOUNDS).  NEW FORMS AND SOUNDS brings together Joe McPhee (alto saxophone/pocket trumpet) and Clifton Hyde (steel guitar/guitar/mandolin) in celebration and interaction with Alain Kirili's 2006 sculpture, IN EXTREMIS.

JANUS: Amanda Baker, Bridget Kibbey, Beth Meyers

Amanda Baker -flute, Beth Meyers -viola, Bridget Kibbey -harp

Join JANUS in this breaking-out concert of electronic and acoustic music.  Featuring the US premiere of All Collisions End in Static by Irish composer Linda Buckley, the trio will be augmented by live electronic processing.  Described by the composer, “All Collisions End in Static consists of a series of hyperactivities in miniature, which eventually exhaust themselves in a state of enlightened torpor.” The program also will include a pairing of equally intense works by Kaija Saariaho: Noa Noa, for processed flute solo and New Gates for trio.  Keymaster, by Alarm Will Sound’s Caleb Burhans will round out the program in a laid-back, smooth flowing minimalist style.

Hailed by Cleveland's Plain Dealer as "a gem made in heaven and polished to perfection," JANUS is recognized for their versatility in presenting new and established works for this unique and exciting combination of flute, viola, and harp.  This season's highlights include performances at Weill Recital Hall, Colgate University, and the Dame Myra Hess Memorial Recital Series in Chicago. JANUS has been presented at Symphony Space, the Look and Listen Festival, the Cleveland Museum of Art Recital Series, the DuBuQuE New Music Series, Hofstra University, and Trinity Church "Concerts At One".

JANUS is named after the Greek god whose double-faced image looks to the past and to the future.  The unique combination of the flute, viola, and harp was developed when Debussy introduced this genre to chamber music in one of the last epic pieces of his life.  Since then, composers have been allured by this instrumentation and have continued to develop a substantial body of repertoire. JANUS was formed in New York City in 2001 with the goal of commissioning works for the trio and introducing new audiences to the unique sound experience of this instrumentation. To date, JANUS has premiered at least five new works a year.  The '06-'07 season will also include new commissions and premieres as well as the recording of Barbara White’s soundtrack for Lift, a short film created by visual artist Alison Crocetta.

ZANANA - Monique Buzzarté & Kristin Norderval

Transforming sounds and spaces, Zanana is an electro-acoustic chamber music duo featuring Monique Buzzarté, trombone, and Kristin Norderval, voice, performing improvised music blending acoustic sounds, electronics, and live processing. The duo takes its name from a variant spelling of "zenana," the portion of a house in southwestern Asian countries dedicated to women.

"This collaboration between cutting-edge trombonist Monique Buzzarté and classically trained vocalist Kristin Norderval is as elegant as it is boundary-pushing. Laptop wizardry transforms Buzzarte's horn into a fragmented death knell and twists Norderval's voice into a Diamanda Galas-like tortured echo, but the acoustic in-between spaces play like shapely minimalist chamber work..." (Phillip Buchan, Splendid Magazine)

Kristin Norderval is a classically trained singer, improviser, and composer who performs an eclectic repertoire that spans the renaissance to the avant-garde. Many works have been written for her, and her collaborations have included work with choreographers, sculptors, filmmakers and installation artists. Since 1997, she has also been recording on-site improvisations in unusual spaces, many of them industrial. Profiled by The New York Times in "Downtown Divas Expand their Horizons" and hailed as one of "new music's best" by the Village Voice, her performances range from concert and opera to multi-media events. Her work as a soloist has taken her to festivals throughout the world, and her credits include performances with the San Francisco Symphony, the Stuttgart Philharmonic, Oslo Sinfonietta, the Philip Glass Ensemble, and numerous new music ensembles in the United States and Europe. She has recorded new works for Mode, Nonesuch, Point, and CRI as well as for Norwegian, German, and Austrian radio, and has performed in opera and music-theater productions for Lincoln Center, BAM, the Yerba Buena Arts Center in San Francisco, Santa Fe Opera, Netherlands Dance Theater, and Dance Alloy. Ms. Norderval received 2002 Artist Residencies at Harvestworks Digital Media Arts and Rensselaer Polytechic Institute. Ms. Norderval is certified to teach the meditative improvisation practices of Deep Listening.

More information about Kristin on her web site at www.norderval.org

Monique Buzzarté, trombonist is an avid proponent of contemporary music, commissioning and premiering many new works for trombone alone, with electronics, and in chamber ensembles. Since 1983 her New Music from Women: Trombone Commissions project has been supporting the expansion of the trombone repertoire with over twenty-five commissions in various genres. Ms. Buzzarté's recordings include John Cage's Five3 with the Arditti Quartet (Mode John CAGE: Vol. 19 - The Number Pieces 2) and Dreaming Wide Awake with the New Circle Five (Deep Listening 20). An author, activist, and educator as well as a performer/composer, Ms. Buzzarté has published research on the brass music of women composers and led efforts which led to the admission of women into the Vienna Philharmonic Orchestra. Ms. Buzzarté is certified to teach the meditative improvisation practices of Deep Listening.

More information about Monique on her web site at www.buzzarte.org

Odd Appetite

Based in New York City, Odd Appetite is the duo of performers/composers Ha-Yang Kim (cello) and Nathan Davis (percussion.) Odd Appetite makes music that is inspired by their experience with Balinese and Karnatic music and infused by a fascination with acoustic phenomena. Giant gongs, microtonal bells, drums, pipes, and hammered dulcimer are heard alongside a de-tuned and amplified cello, processed with stomp boxes…all played with virtuosity, passion, and spirit.

Both classically trained in American and European conservatories, Kim and Davis compose, collaborate and perform their own music and music that they commission for the duo. Odd Appetite made its Carnegie Hall debut in 2004 and since has performed at a wide variety of venues, including the Stone, Galapagos, and Bard College as well as at events throughout Europe and Indonesia.

Matt Bauder w/ Matana Roberts, Loren Dempster & Reuben Radding

Multi-reedist and composer Matt Bauder has been creating inspired and imaginative music since his early days in Ann Arbor, MI in the mid nineties.  Now based in NYC, he also has been an active member of the creative music scenes in Chicago and Berlin. Dusted Magazine calls his music “…the ideal collaboration between Morton Feldman and Jimmy Guiffre – the intersection of the long form composition and jazz’s improvisational technique.” He has studied, performed, and recorded with some of the major figures in modern music including Anthony Braxton, Alvin Lucier, Ellery Eskelin, Ken Vandermark, Rob Mazurek, Warn Devever, and Neil Micheal Haggerty.

PAPER GARDENS is an extended work stemming from the most basic of ideas. The unison and the cluster serve as springboards for compositional and improvisational expansion. Roles of the strings and reeds are swapped freely from foreground to background, creating mysterious textures that can as easily turn on a dime as they can morph subconsciously into the unexpected. Matana Roberts (alto saxophone, clarinet), Loren Dempster (cello) and Reuben Radding (bass), three singular voices in experimental music, have been performing Paper Gardens with Bauder for the past year, honing in on the delicate balance and interaction that the piece requires.

Dan Joseph & Loren Dempster

The New York-based duo of Loren Dempster (cello) and Dan Joseph (hammer dulcimer) perform collaborative compositions and improvisations that incorporate a mix of world music traditions, contemporary avant-garde techniques, and pulse minimalism. Active on the east coast since 2002, their music also contains a strong west coast sensibility, drawing as it does on their shared history in California where they originally met. They have performed to enthusiastic audiences at Merkin Concert Hall, Deep Listening Space, Galapagos, Issue Project Room and others.

Based in Williamsburg, Brooklyn, cellist Loren Kiyoshi Dempster can be found playing music with New York Minaturist Ensemble, Bushwick String Quartet, Jessica Pavone Ensemble, Matt Bauder Ensemble, XYZ composer collective, Taylor Ho Bynum Quintet, and the Dan Joseph Ensemble. Ever interested in the relationship between movement and sound, he has created or performed music for many choreographers including Chris Ferris, Catherine Kerr, Lenora Lee, Elke Rindfleisch, Ted Thomas, and Jeremy Wade.Dempster also enjoys performing as a touring musician with the Merce Cunningham Dance Company starting with the premieres of Biped, with music by Gavin Byrars and Interscape, which uses John Cage's solo cello work One8. A native of Seattle, has Cello performance degrees from the University of Washington, where he studied cello with Raymond Davis (Autumn 96, BA/BM) and from the San Francisco Conservatory of Music in 1999 where he studied with Bonnie Hampton.

Dan Joseph is a free-lance composer based in New York City. He began his career at 16 as a drummer in the explosive punk scene of his native Washington, DC. During the late 1980s, he was active in the experimental tape music underground producing works for independent labels in the U.S. and abroad. He moved to California in 1991 where he resided for 10 years, earning composition degrees from CalArts and Mills College. As an artist who embraces the musical multiplicity of our time, he works simultaneously in a variety of mediums and contexts, including traditional instrumental composition, free improvisation, sound art and popular electronica. Since the late 1990s, the hammer dulcimer has been the primary vehicle for his music and he is an active performer with his own ensemble, The Dan Joseph Ensemble, as well as in various improvisational collaborations with cellist Loren Dempster, saxophonist John Ingle and others, and as an occasional soloist. A new CD of his chamber music compositions entitled Archaea has just been released by Mutable Music.

Check out: http://www.danjoseph.org.

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Miya Masaoka

Miya Masaoka will be performing on koto, computer and Laser Koto and premiering Pieces for Plants #8, with several plants on stage, whose physiological response is made audible through medical electrodes and computer. In addition, she will premier Detritus, an interactive piece for rocks, gravel, sand, koto and video. 

Masaoka resides in New York City and is a classically trained musician, composer and sound/installation artist. She has created works for solo koto, laser interfaces, laptop and video.  She also has made works for sculpture installations and written scores for ensembles, chamber orchestra and mixed choirs.  In her pieces, she often works with the sonification of data, and maps the behavior of brain activity, plants and insect movement to sound.

Her work has been performed throughout the world, at events and venues including the Venice Biennale, Merkin Hall, Miller Theater, V2 (Rotterdam), IRCAM (Paris), KunstRadio (Vienna), Radio Bremen, Yerba Buena Center for the Arts, Le Centrale (Canada), and at festivals including Moers (Germany), Victoriaville (British Columbia), the London Musicians’ Collective’s Festival of Experimental Music, the Other Minds Festival, Bang on a Can at the Henry Street Settlement and the Santa Fe Electro-Acoustic Music Festival. She currently is a professor in the Music/Sound department at the Milton Avery School of the Arts MFA Program at Bard College, NY.

Check out: http://www.miyamasaoka.com

CHILDREN'S CONCERT - 2-3 PM

TIM SPELIOS and the THEODOR GEISEL TEMPORARY QUARTET

Mark Deffenbaugh: numerous stringed devices

Matt Freedman: spoken word & sharpie on paper

John Sherman: klopp box

Tim Spelios: traps and percussion

For Roulette's first-ever CHILDREN'S CONCERT, Tim Spelios and the Theodor Geisel Temporary Quartet present a music- and fun-filled afternoon of wacky and playful sounds, instruments, images and readings for students in Pre-K through third grade. The hour-long interactive and participatory concert will include projected images from Seuss's classic, Green Eggs and Ham, with a live reading and musical accompaniment. The group also will play 'three-chord garage songs' and nursery rhymes using new and unusual instrumentation, ranging from strings and percussion to invented sound-making devices and a squeeze box (accordion-like instrument.) In addition to the music, Matt Freedman will perform speed-drawing, creating stories featuring the likes of cartoon characters Nancy & Sluggo.

Tim Spelios is a renowned New York City-based sound and mulit-media artist. As a musician, Tim has recorded and performed internationally at venues such as PS122, Creative Time, PS1 Radio and the Knitting Factory and has toured extensively with his ensemble of electronic musicians, Impossible Music. As an artist, his work has been shown in solo and group shows at Rosa Esman Gallery, Sarah Bowen Gallery, The Drawing Center and Long Island University, among many others. His music and artwork have been reviewed widely in publications such as the New York Times, the Village Voice and Art in America. He has held professorships in art at the University of Illinois and taught art and woodshop at New York City's Allen Stevenson School to grades K through 9.

Reservations strongly suggested: 212.219.8242

Amy Knoles

Amy Knoles, is a composer/performer who tours globally performing computer assisted live electronic music with percussion controllers and linear/interactive video. Her work has been described as being of "frightening beauty, fascinating, complex" -N.P.R. A "Los Angeles' new music Luminary, infinitely variable, infinitely fascinating" - Los Angeles Times. Amy is the recipient of the 2005 American Composers Forum Subito Grant 2005, the Durfee Grant - 2003, "UNESCO International Prize for the Performing Arts - 2000", the 1999-2000 "Indiviual Artist Fellowship" Award from C.O.L.A. , the 2001 Lester Horton Award for "Outstanding Achievement in Original Music for Dance", and she was the 1996 ASCAP Foundation " Composer-in-Residence at the Music Center of Los Angeles", recently created a sound environment for the J. Paul Getty Museums' walking tour, and is the composer for Collage Dance Theater. Co founder of the California E.A.R. Unit now @ REDCAT, has worked with the Los Angeles Philharmonic New Music Group, Kronos Quartet, Pierre Boulez, Rachel Rosenthal, NatPlast (with Marek Choloniewski), Squint, Ensemble Modern of Frankfurt, The Bang On A Can All Stars, The Paul Dresher Ensemble, Collage Dance Theater, Basso Bongo, and Squint performing with live electronics and interactive video. And has worked with John Cage, Elliott Carter, Morton Feldman, Louis Andriessen, Don Preston, Frank Zappa, Morton Subotnick, Steve Reich, Tod Machover, Flea, Quincy Jones, and many others.

Amy has recorded nearly 30 CD's of new music and is proud to announce the release of her solo recordings "Men in the Cities" and 2 x 10 x 10 x 10 + 1", on the Echograph Label.

MICHAEL SAKAMOTO (Writer, Director, Choreographer, Performer) is an acclaimed multidisciplinary artist whose works combining theater, dance, music, media and visual art display a truly unique breadth of technique and versatility. His ensemble and solo works have toured to San Francisco, Seattle, Philadelphia, Phoenix, Santa Fe, festivals in France and Mexico as well as venues throughout Southern California.

Fusing Eastern and Western influences, intense, minimalist imagery, historical depth and absurd humor, he creates global, multilingual experiences to evoke a benevolent multiculturalism. Sakamoto's works question popular culture, media and common notions of authenticity and knowledge and blend complex structures through abstract, iconic texts.
Sakamoto's work ranges from witty comic repartee, pop pastiche and B-movie caricature to poeticism and subversive kitsch in multiple languages. Sakamoto is also one of the most innovative dancers to emerge from butoh in recent years. His installation, graphics, media and photo works have been exhibited at Documenta, Siggraph and throughout the Los Angeles area, including at The Getty Center, Skirball Cultural Center, 18th Street Arts Center and numerous galleries

Ross Feller

Ross Feller - saxophone, Peter Evans -trumpet, Steven Parker -trombone, Tom Blancarte - bass,
Patrick Barter -percussion

Composer/Saxophonist Ross Feller presents a program featuring new and recent solo and chamber works with Feller on saxophone, and special guest appearances by trumpeter Peter Evans, trombonist Steven Parker, bassist Tom Blancarte and percussionist Patrick Barter. Feller’s work has been called “entirely non-derivative” (Gerhard Stabler) and has been characterized as “an elaborate show” (Chicago Tribune.) Over the past twenty years he has developed a musical vocabulary that features raw, ecstatic layers of material that seethe with refined, virtuosic gestures, the movements for which are often explicitly choreographed.

He has received awards and grants from ASCAP, the Illinois Arts Council, Atlantic Center for the Arts, Paul Sacher Foundation (Basel,) Société des Auteurs et Compositeurs (Brussels) and the Gesellschaft für Gute und Gemeinützige (Basel.)

His compositions have been performed throughout the USA, Canada and Europe by ensembles including the Aurelia Saxophone Quartet, Luna Nova, Goliard Ensemble, Ciosoni, Performers Workshop Ensemble, the University of Illinois Contemporary Chamber Players, Oberlin Conservatory Contemporary Music Ensemble, Oberlin Percussion Group, and members of the Cleveland Symphony Orchestra, Atlanta Symphony Orchestra, Prism Saxophone Quartet, and Elision Ensemble.

Recent performances have taken place at Symphony Space, Playhouse Square Center (Cleveland,) and at festivals in Ohio, Illinois, Florida, and Guelph, Ontario.

As a saxophonist he’s performed with George Lewis, Roscoe Mitchell, Leroy Jenkins, Greg Bendian, Chris Cochrane, David Mott, LaDonna Smith, Malcolm Goldstein and many others. Kyle Gann (Village Voice) has described Feller’s playing as “beautifully sensitive saxophone improvisation.” Feller co-founded Dot Dot Dot and Walleye, two ensembles that mix improvisation with highly structured materials. With choreographer Kora Radella he co-founded Double-Edge Dance, a collaborative dance and music company that has received critical acclaim in the U.S. and Europe.

Julia Heyward - Nothing Random Access Memory

with Gregg Smith, Mike Barron & Collier Hyams

Julia Heyward -Heyward will be performing with elements of her large scale triptych “Nothing Random Access Memory” which includes the completed interactive version of "Miracles in Reverse" as well as work-in-progress versions of part two, "Points of View,” a series of 'faux' windows (including the artist's own bedroom window, which looks out onto Cortland Alley, an often used film location featuring a continuous stream of Hollywood simulated violence) and part three "The Gabriel Frequency," featuring the Archangel Gabriel the middleman of monotheism and the source of much of the conflicting revelations that to this day is at the core of the various infidel cleansings. All parts of the triptych deal with trauma and memory -- some from a local/personal perspective others from a global/mythological perspective. 

“Miracles in Reverse” was directed and designed by Heyward with music by Heyward and Greg Smith with Michael Kott, Dwight Loop and Greg Bowman; additional sound design by Don Christensen.The lingo prgamming is by Aishwarya Saigal.

This work was produced by generous grants from TheRockefeller Foundation’s Film/Video/Multimedia Fellowship , The Rockefeller Foundation’s Multi Arts Production Grant,  The John Simon Guggenheim Foundation Fellowship, The Greenwall Foundation, The New York State Council on the Arts and The New York Foundation for the Arts.This project is sponsored through Harvestworks.

"Miracles in Reverse" is an interactive DVD-ROM an audio visual album… a hybrid of a family album and a music album. "Miracles" is structurally and conceptually  composed of loops ( music and visuals ). These designs explore the rhythms of the vicious cycles of associative and obsessive thoughts as well as other mantras. Within the programming design there is room for interpretation in the sense that the performer can literally play her 'life movies' like a musical instrument which evokes sounds and pictures. The narrative is centered around trauma and memory consistently traveling between the personal and the global with a kind of slippery Jungian spirit dipping into the collective unconscious, quantum theory, animism, neuroarcheology, and history reflexively. How we survive the memories, how we distort the memories, and how we store and access the memories gets equal time in this life’s reflections.

     Julia Heyward: Heyward's work centers around the orchestration of music, image, and language in the forms of multimedia, performance and new media. Heyward's "No Local Stops" won a 'BESSIE' for outstanding performance of the year for 1984 presented by DTW New York Dance and Theater Award. Heyward has written, produced and performed in all of her multimedia works notably two other large scale multimedia performances entitled respectively "Mood Music" premiered May 1988 and "Miracles in Reverse" premiering in Potsdam, Germany in 1996. Heyward has received grants from the John Simon Guggenheim Foundation, the Rockefeller Foundation’s Multi-Arts and Film/Video/Multimedia Foundations,  The Greenwall Foundation, NYSCA and NYFA in support of this work. For the past six years Heyward has been totally submerged in digital and interactive technologies. The DVD-ROM version of “Miracles in Reverse" has been shown at The Daejeon Municipal Museum in Korea (curated by Lawrence Rinder), Art Interactive in Boston (curated by Kathy Brew), the Wood Street Galleries in Pittsburgh, and Centro de la Imagen in Mexico City as an installation. Heyward’s commercial work includes directing for pop television including many music videos as well as shorts for MTV and M2.

Yael Acher - The Shadow…

In celebration of the release of her solo CD, La Belle Ombre (The Beautiful Shadow), Yael Acher, flutist and composer, has invited three unique artists to compose together an associative world evoking the urban spirit. The show will consist of diverse multimedia expressions and impressions, based on contemporary improvisation and created out of the interaction among the performers.

Since Halloween is at the door, the audience is invited to show up in costumes…and there will be surprises…

Yael Acher’s work has been called “spell binding, action packed and deeply original” (Berlingske Tidende, Denmark.) A native of Tel Aviv, Acher graduated with a BA degree in music and classical flute performance from the Rubin Academy for Music and Dance in Jerusalem. She lived and worked in Copenhagen from 1992-2005. Since 2005 she has worked, studied composition, and resided in New York.

Her music has been reviewed internationally in Jazz Magazine (France) and Cadence Magazine, among others, and has been broadcast in Denmark, Spain, France, Rumania and the USA. She is the recipient of many grants, including awards from the Fulbright Commission, Copenhagen Culture Foundation, Danish Art Council, Danish Artists Union, Danish Jazz Foundation, Danish Musicians Union. Her compositions have been released on three CDs thus far, Redcar (MODIANO), “MODIANO” (MODIANO) and La Belle Ombre (Capstone.)

Benjamin Chadabe, improvising percussionist and video artist, has performed and recorded with poets, sculptors, dancers, and other media artists, including Min Tanaka, Ellen Sinopoli Dance Company, Pierre Joris, Nicole Peyrafitte, and Warren Burt. He also has collaborated with sculptor Andrew Jerabek in concerts involving site-specific sound-sculptures at Bennington College, the RCA Gallery in Albany, and at SUNYA. Chadabe graduated from Bennington College in 1994 where he studied percussion with Milford Graves and video arts with Tony Carruthers. He currently is Executive Director of Electronic Music Foundation.

Andrés Martínez has been involved with sound art, contemporary music composition and performance, and music composition for film, video documentaries, and TV. He is an ex-member of the noise/punk band, Yuri Gagarin. He has collaborated with filmmakers such as Mauricio Pardo, Colbert García, Cristina López, Juliana Barrera, Laura Richard, and Andrew Maclean. With Colombian composer Camilo Sanabria he founded the music collective Monareta, an experimental medley of Caribbean music, dub, and negroclash sounds. Their music can be heard on Nacional Records. He is pursuing his Master’s Degree in Music Composition at New York University and is developing his music research through a Fulbright Grant.

Kurt Ralske is a video artist, composer, and programmer who uses technology to research time and the atemporal. He works in a variety of practices, including improvised audio visual performance, in installations, in digital print media, and in software art. His work is created exclusively with his own custom software, written in C/C++ and Java. He has performed and exhibited at museums, galleries, and theaters throughout Europe, Canada, and the US, including the Guggenheim Bilbao, Los Angeles Museum of Contemporary Art and the Montreal Museum of Contemporary Art. Kurt programmed and co-designed a 9-channel video installation that is permanently in the lobby of the MoMA in NYC. In 2003, his work received First Prize at the Transmediale International Media Art Festival in Berlin, as a member of the video ensemble 242.pilots. He also is the author/programmer of Auvi, a popular video software environment in use by artists in 22 countries. The New York Times has praised his "compelling, ingenious alliance of sound and motion" and "technological wizardry." Kurt resides in New York City. He teaches at the School of the Museum of Fine Arts, Boston and the School of Visual Arts, New York.