Rafał Blechacz, Max Richter, Anthony Braxton, Herbie Hancock, Sarah Davachi, Misha Mengelberg, and other striking sounds heard lately at Night After Night HQ.
Struggling to find the right words with which to describe a performance by the Necks, a writer can’t be faulted for veering off-road. The long-running Australian improvising trio, which celebrated its 30th anniversary with a three-concert series at Issue Project Room in Brooklyn February 22-25, consistently lives up to the hoary adage “more than meets the eye” – and, as compared to its impressive string of 18 albums, “more than meets the ear,” too. Live, believe me, the group’s impact encourages gonzo.
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.
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.
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.
Listen to an exclusive preview of a gorgeous John Luther Adams piece included on ‘Thrive on Routine,’ the forthcoming album by New York’s much admired ensemble ACME on the consistently impressive audiophile label Sono Luminus.