Springtime is nearly upon us – some days lately have felt like it’s already here, plus ça climate change – and with the new season’s arrival comes a fresh programmatic thrust at National Sawdust: Spring Revolution, a festival that focuses this year on female empowerment and discourse. The series gets off to a strong start on Wednesday, March 1, with a performance by Amanda Gookin, a cellist, activist, organizer, and founding member of PUBLIQuartet.
CEP, John Adams, Terry Riley, Jim O’Rourke, Áine O’Dwyer, Sarah Davachi, Immolation, and other striking sounds heard lately at Night After Night HQ.
Up until now, the versatile singer, songwriter, and producer Caroline Polachek has been best known for her work as the singer for the popular, adventurous pop duo Chairlift. Now, as part of Polachek’s National Sawdust residency, her recent electronic project comes to life onstage February 23 and 24, with new vocals supplied by the adventurous vocal chamber ensemble Choral Chameleon.
The Iceland Symphony Orchestra, Michael Pisaro, Grant Evans, Motion Sickness of Time Travel, George Lewis, and other striking sounds heard lately at Night After Night HQ.
Wadada Leo Smith, the venerable trumpeter, composer, improviser, and bandleader who recently performed at National Sawdust alongside pianist Vijay Iyer, has just announced a new two-day celebration built around some of his most ambitious and profound works. The inaugural CREATE Festival is scheduled to take place on April 8 and 9, 2017, at Firehouse 12 in New Haven, CT.
Our friends at New Amsterdam Records have given us the opportunity to share a number of exclusive album previews in recent months. Today we’ve got something different to offer along with NewAm: our first video premiere, for the Molly Joyce composition Shapeshifter.
Luca D’Alberto, Nicole Mitchell, Matt Mitchell, The Necks, Merzbow, ‘Moana,’ and other striking sounds heard lately at Night After Night HQ.
When I turned 30, even though it was going to be expensive, I felt I ought to purchase health insurance. Having heard horror stories from older colleagues about scenarios in which they had found themselves, it seemed to be the right thing to do. I could only hope it was the biggest chunk of money I would ever “throw away.” Fifteen months after I had made that decision, I was diagnosed with Multiple Sclerosis.
Soper presents a variable treatise on art and its available meanings, one as clever and sly as it is erudite and provocative. But instantly, the musical conversation – and as often as not it’s exactly that, given Soper’s demands on her instrumental accomplices to verbalize, to engage in theatrics, to deliver lines outright – suggests some nuances she clearly intended, along with others she surely could not have foreseen entirely.
Let’s begin bold: There surely will be no student undertaking of an operatic or music-theater work more significant than the new production of Robert Ashley’s 1999 opera Dust that the College of Performing Arts at the New School unveiled on February 2 in the school’s Ernst C. Stiefel Concert Hall.