{"id":5631,"date":"2015-10-19T11:16:26","date_gmt":"2015-10-19T11:16:26","guid":{"rendered":"http:\/\/joelasqo.com\/blog\/?p=5631"},"modified":"2015-10-19T21:49:00","modified_gmt":"2015-10-19T21:49:00","slug":"laptoppianoobjects-ornette-music-of-ornette-coleman-w-tomorrow-is-the-meta-body-lisle-ellis-%ef%bc%8f-darren-johnston-%ef%bc%8f-joe-lasqo-%ef%bc%8f-donald-robinson-with-ultravisuals-by-bill-thi","status":"publish","type":"post","link":"https:\/\/joelasqo.com\/blog\/2015\/10\/19\/laptoppianoobjects-ornette-music-of-ornette-coleman-w-tomorrow-is-the-meta-body-lisle-ellis-%ef%bc%8f-darren-johnston-%ef%bc%8f-joe-lasqo-%ef%bc%8f-donald-robinson-with-ultravisuals-by-bill-thi\/","title":{"rendered":"Laptop\/Piano\/Objects+: ORNETTE! Music of Ornette Coleman w Tomorrow Is The Meta-Body (Lisle Ellis \uff0f Darren Johnston \uff0f Joe Lasqo \uff0f Donald Robinson), plus ultravisuals by Bill Thibaut \u25c9 Sun 25 Oct: Center For New Music, SF (Set 1: John Ingle & Kjell Nordeson; Set 2: Aram Shelton\u2019s Marches) \u25c9 Mon 26 Oct: The Second Act, SF (Set 1: ROVA Saxophone Quartet)"},"content":{"rendered":"
\"Ornette<\/a>

Ornette Coleman (photo - Jimmy Katz)<\/p><\/div>\n

<\/a><\/p>\n

\n

\"Composers<\/a>

Composers (top, L \u2192 R): Steve Lacy, Ornette Coleman, John Carter, John Butcher, Jon Raskin \u2022 Bands (bottom, L \u2192 R): ROVA Saxophone Quartet, John Ingle\/Kjell Nordeson, Aram Shelton's Marches, Joe Lasqo's Tomorrow Is The Meta-Body<\/p><\/div>\n

2 shows:<\/span><\/strong><\/p>\n

\"\"<\/a><\/p>\n

Having many great memories from last year\u2019s Sun Ra Friendly Galaxies<\/strong> event, also curated by Jan Michaels, I\u2019m excited to again take part in C4NM\u2019s 2015 jazz ancestor extravaganza, which is focused on the music of jazz great Ornette Coleman<\/strong>, who passed earlier this year.<\/p>\n

\"The<\/a>

The Second Act, the next generation of the Haight's Red Vic<\/p><\/div>\n

I\u2019m also keenly looking forward to playing Ornette\u2019s music with this ensemble the next night at The Second Act, where ROVA Saxophone Quartet<\/strong><\/a> have designed a contrastive program featuring Ornette\u2019s associates Steve Lacy<\/strong> and John Carter<\/strong>.<\/p>\n

\"Ornette<\/a>

Ornette Coleman, sporting heightened psychotropic LED threads (photo - Jimmy Katz, modified)<\/p><\/div>\n

We\u2019re presenting Ornette on shrooms in a new many-colored coat, with \u201cheretical\u201d instrumentation, weaving in psychotropic LED threads of laptop electronics, and the almost-never-heard-with-Ornette piano<\/em>. To add to our Ornette instrumentation heresy \u2014 no reeds. A very fresh new sound with a new color scheme for tomorrow.<\/p>\n

\"Paul<\/a>

Paul Plimley & Lisle Ellis' masterpiece \u2014 Kaleidoscopes: The Ornette Coleman Songbook<\/p><\/div>\n

We\u2019re taking as our starting point the unique and very untraditional Ornette<\/strong> bass-piano dialog pioneered in Lisle Ellis<\/a>\u2019 Downbeat<\/em> \u2730\u2730\u2730\u2730\u2730 album with Canadian pianist Paul Plimley<\/a>, Kaleidoscopes – The Ornette Coleman Songbook<\/em><\/strong> \u2014 then adding in the searching, agile trumpet of Darren Johnston<\/a>, the inimitable sensitivity and cymbal-work of master percussionist Donald Robinson<\/a>, and a meta-body of electronic sound, vibrating energy sources, and sound-producing objects that will make new sonic colors flash across the night sky. The result is our new band, Tomorrow Is The Meta-Body<\/strong>.<\/p>\n

\"The<\/a>

The beyond-blue world of Ornette (photo - Jimmy Katz)<\/p><\/div>\n

2 shows<\/strong>:<\/span><\/p>\n

\n

\u25c9\u00a0 <\/strong>Center For New Music<\/em><\/strong><\/a> (<\/em><\/strong>55 Taylor Street, San Francisco, CA \u2013 map<\/em><\/strong><\/a>) \u00a0\u25c9<\/em><\/strong><\/p>\n

<\/em><\/strong> Set 3: 9pm, Sun 25 Oct<\/span><\/em><\/strong><\/p>\n

+ Set 1<\/strong>: John Ingle<\/a> & Kjell Nordeson<\/a>: 7pm<\/strong><\/p>\n

<\/strong><\/p>\n

+ Set 2:<\/strong> Aram Shelton<\/a>\u2019s Marches: 8pm<\/strong><\/p>\n

<\/strong><\/p>\n

+ afternoon films on Ornette: 2:30pm matin\u00e9e<\/strong><\/p>\n

<\/strong><\/p>\n

\u25c9\u00a0 <\/strong>The Second Act, SF, 1727 Haight St, SF (between Shrader & Cole \u2013 map)<\/a> \u25c9<\/strong><\/p>\n

<\/strong>Set 2: 8:30pm, Mon 26 Oct<\/em><\/strong><\/span><\/p>\n

+ Set 1<\/strong>: ROVA Saxophone Quartet<\/a>: 7:30pm<\/strong><\/p>\n

<\/strong><\/p>\n

\u261e<\/span> For discounted advance tickets<\/span><\/strong> on Show 2, click:\u00a0here<\/strong><\/a><\/p>\n

Here’s some info on our crew, then details of each date and artists in other sets (Show 1 artist info, film program info, and Show 2 artist info, follow directly after Tomorrow Is The Meta-Body<\/strong> info \u2014 I will try to implement jump points).<\/p>\n

\"\"<\/a>

The electro-acoustic world of Lisle Ellis<\/p><\/div>\n

\u25c9 Lisle Ellis<\/a> (bass)<\/p>\n

Virtuoso bassist and computer musician Lisle Ellis<\/a> is a veteran of 40+ recordings (including Down Beat<\/strong> \u2730\u2730\u2730\u2730\u2730 The Ornette Coleman Songbook<\/em><\/strong>). Lisle has worked with Paul Bley<\/a>, Peter Br\u00f6tzmann<\/a>, Andrew Cyrille<\/a>, Anthony Davis<\/a>, Ben Goldberg<\/a>, Frank Gratowski<\/a>, Jo\u00eblle L\u00e9andre<\/a>, Rudresh Mahanthappa<\/a> (\u0cb0\u0cc1\u0ca6\u0ccd\u0cb0\u0cc7\u0cb6\u0ccd \u0cae\u0cb9\u0c82\u0ca4\u0caa\u0ccd\u0caa<\/a>), Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084), Myra Melford<\/a>, Bob Ostertag<\/a>, William Parker<\/a>, ROVA Saxophone Quartet<\/strong><\/a>, Stefano Scodanibbio<\/a>, Cecil Taylor<\/a>, William Winant<\/a>, Pamela Z<\/a>, and John Zorn<\/a>, among many others.<\/p>\n

Lisle Ellis\u2019<\/a> long-term working relationship with Donald Robinson<\/a>, in groupings such as the Glenn Spearman Trio<\/strong>,\u00a0What We Live<\/strong><\/a> and various Biggi Vinkeloe<\/a> bands, has created one of free jazz’s most subtly driving and telepathic rhythm sections, described as “the best bass-drums tag team on the scene” by Jazz Times<\/em>, and this telepathy will be in full force in our shows…<\/p>\n

\"\"<\/a>

Darren Johnston<\/p><\/div>\n

\u25c9 Darren Johnston<\/a> (trumpet)<\/p>\n

Trumpeter\/composer\/songwriter Darren Johnston<\/a> has collaborated and recorded with an extremely diverse cross-section of artists.\u00a0 His interests rotate around composing instrumental music, writing songs, & performing all styles of jazz, experimental and purely improvised music, as well as traditional music of the Balkans, Greece, Macedonia, Turkey, and the Arab world.\u00a0 These interest coalesce in his primary current ensemble, Darren Johnston\u2019s Broken Shadows<\/strong><\/a>.\u00a0 He\u2019s performed and\/or recorded with luminaries such as Electric Squeezebox Orchestra<\/strong><\/a>, Fred Frith<\/a>, Meklit Hadero<\/a> (\u1218\u12ad\u120a\u1275 \u12a0\u12e8\u1208 \u1200\u12f4\u122e<\/a>), ROVA Saxophone Quartet<\/strong><\/a>, Myra Melford<\/a>, Ben Goldberg<\/a>, Matt Wilson<\/a>, Mark Dresser<\/a>, Marshall Allen<\/a>, Dave Rempis<\/a>, Larry Ochs<\/a>, Marcus Shelby<\/a>, and others.<\/p>\n

As a composer, Darren has written for small jazz groups, big bands, string quartet, chamber ensembles, dance companies such as Axis Dance<\/strong><\/a>, Amy Seiwert\u2019s Imagery<\/strong><\/a>, Robert Moses\u2019 Kin<\/strong><\/a>, Liss Fain Dance<\/strong><\/a>, and others, as well as for short films. In his recent song-writing Darren has focused on using found text to create lyrics. In 2012 he composed a suite, excerpting text from a series of interviews he conducted with a diverse collection of immigrants living in the Bay Area, called Songs Of Seven Miles<\/em><\/strong>. The following year he continued this technique by commissioning letters from immigrants who wrote either to their own selves at the time they first arrived in the US, as if they were able to send a message with insights and advice back through time, or to a beloved of their choosing back in their country of origin. He then set the resulting songs on an elementary-school class, 3 middle-school classes, a high-school choir, a collection of professional singers, a Bulgarian tupan<\/em> drummer, and 6 horns, all using body-percussion and choreography, in order to form the Trans-Global People\u2019s Chorus<\/strong><\/a>. Other projects as a band-leader include the award winning Nice Guy Trio<\/strong><\/a>, The Darren Johnston Quintet<\/strong><\/a>, and the category defying Broken Shadows<\/strong><\/a>, which mixes song-writing with musicians from jazz, classical, Balkan, and other musical communities.<\/p>\n

\"Donald<\/a>

Donald Robinson, percussion dervish, performs w Larry Ochs' Sax & Drumming Core<\/p><\/div>\n

\u25c9 Donald Robinson<\/a> (drums)<\/p>\n

Master drummer Donald Robinson<\/a>, whom Coda Magazine<\/em> has described as a \u201cpercussion Dervish\u201d, has numbered among his most notable collaborators Alan Silva<\/a>, Anthony Braxton<\/a>, Oliver Lake<\/a>, Glenn Spearman<\/strong>, Larry Ochs<\/a>, Cecil Taylor<\/a>, Wadada Leo Smith<\/a>, George Lewis<\/a>, Bobby Few<\/a>, Raph\u00e9 Malik<\/strong>, Joe McPhee<\/a>, John Tchicai<\/strong>, Marco Eneidi<\/a>, Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084), Paul Plimley<\/a> & Matthew Goodheart<\/a>.<\/p>\n

Much of his work has seen him featured in the stellar rhythm section of Donald Robinson<\/a> and bassist Lisle Ellis<\/a>, especially including the band What We Live<\/strong><\/a> with Larry Ochs<\/a> on saxophones, a trio that toured in Europe and North America from 1994 \u2013 2002, sometimes with special guests such as Dave Douglas<\/a>, Wadada Leo Smith<\/a> or Kazakh vocalist Saadet T\u00fcrk\u00f6z<\/a> (\u0421\u0430\u0430\u0434\u0435\u0442 \u0422\u0443\u0440\u043a\u0451\u0437<\/a>). His longest musical association, dating from the 1970’s, was with the late tenor saxophonist Glenn Spearman<\/strong>; these two appear on something close to a dozen CDs together in sextets, quintets, and quartets with several tours to Europe<\/p>\n

After coming up in the hothouse of the Paris free jazz scene, Donald has been a stalwart of both the SF Bay Area and northern and central European avant-garde jazz scenes, frequently touring there with Biggi Vinkeloe<\/a> and Larry Ochs<\/a>.<\/p>\n

It has been my distinct honor and pleasure to collaborate with Donald on various projects such as the Biggi <\/strong>Vinkeloe<\/strong><\/a> Roughtet<\/strong>, IBIM LAB<\/strong>, and the occasional quartet of Bruce Ackley<\/a> – Lisle Ellis<\/a> – Joe Lasqo<\/a> – Donald Robinson<\/a>.<\/p>\n

\"\"<\/a>

Joe Lasqo & Morgana perform w Jim Ryan's Green Alembic in the sfSoundSalonSeries at Center for New Music, San Francisco, 15 Apr 2014 (Photo by Carly Hoopes)<\/p><\/div>\n

\u25c9 Joe Lasqo<\/a> (keyboards | laptop | objects)<\/p>\n

Pianist \/ laptopist Joe Lasqo<\/strong><\/a> studied classical music in India; computer\/electronic music at MIT, Columbia, Berkeley\/CNMAT; has been a long-time performing modern & avant jazz musician; & has lived, played and listened in several Asian and European countries (now in San Francisco).\u00a0He’s keen on the application of artificial intelligence techniques to improvisation and the meeting of traditional Asian musics with the 21st century. His recent album, Turquoise Sessions<\/em><\/strong><\/a>, is available on Edgetone Records; with new releases planned in 2015.<\/p>\n

Joe had a weekly residency for 3\u00bd years+ in the afternoon piano series at Viracocha<\/strong>, and has appeared recently with Bruce Ackley<\/a> and Steve Adams<\/a> of ROVA Saxophone Quartet<\/strong><\/a>, Aaron Bennett’s<\/a> Electro-Magnetic Trans-Personal Orchestra<\/strong>,\u00a0Phillip Greenlief’s<\/a> Orchesperry<\/strong>, his own Renga-kai (<\/strong>\u9023\u6b4c\u4f1a<\/strong>)<\/strong>, Mukaiji-kai (<\/strong>\u9727\u6d77<\/strong>\u7b8e\u4f1a)<\/strong>, and Fushigi Kenky\u016bkai (<\/strong>\u4e0d\u601d\u8b70\u7814\u7a76\u4f1a<\/strong>)<\/strong> <\/strong>ensembles, synthesist Thomas Dimuzio<\/a>, clarinetist\/vocalist Beth Custer<\/a>, pianist Thollem McDonas<\/a>, percussionist Suki O’Kane<\/a>, sound artists Joe Snape<\/a> (UK) & Lucie V\u00edtkov\u00e1<\/a> (Czech Rep.), technodivas \/ electronic musicians Pamela Z<\/a> &\u00a0Viv Corringham<\/a> (NYC\/London) and many others.<\/p>\n

AU QUOTIDIEN<\/em><\/strong>, a new album with German-Swedish saxist\/flautist Biggi Vinkeloe<\/a>, master drummer Donald Robinson<\/a>, and cello madman Teddy Rankin-Parker<\/a> is in production for release in early 2016.<\/p>\n

\"\"<\/a>

The 4 heads of Bill Thibault depicted as video Brahm\u0101 (\u092c\u094d\u0930\u0939\u094d\u092e\u093e)<\/p><\/div>\n

\u25c9 Bill Thibault<\/strong><\/a> (video)<\/p>\n

Bill Thibault<\/strong><\/a> received a Ph.D. in Information & Computer Science from the Georgia Institute of Technology (thesis: \u201cApplication of Binary Space Partitioning Trees to Geometric Modeling and Ray-Tracing\u201d). As a Ph.D. candidate he worked at Bell Labs (now Lucent Technologies) in Murray Hill, NJ. After graduating, he took positions on the faculty of the Dept. of Math & Computer Science at California State University, East Bay and more recently, with Obscura Digital<\/strong><\/a>.<\/p>\n

Somewhere along the way he also turned to the Multispectral Side<\/em> and became the notorious VJLove<\/strong><\/a>, master of the doors of visual perception, and co-conspirator in many raids on reality, with partners in crime like Kattt Atchley<\/a>, Kenneth Atchley<\/a>, John Bischoff<\/a>, Chris Brown<\/a>, Barbara Golden<\/a>, Scot Gresham-Lancaster<\/a>, Tim Perkis<\/a>, and WIGBAND<\/strong><\/a>.<\/p>\n

<\/a>\"\"<\/a><\/p>\n

\u25c9 Sun 25 Oct<\/span><\/em><\/strong> @<\/em><\/strong> <\/strong>Center For New Music<\/em><\/strong><\/a> (<\/em><\/strong>55 Taylor Street, San Francisco, CA \u2013 map<\/em><\/strong><\/a>)<\/em><\/strong>, Set 3, 9pm: Tomorrow Is The Meta-Body<\/span><\/em><\/strong><\/p>\n

Set 1<\/strong>:<\/span><\/strong> <\/span>Aram\u00a0Ingle<\/a> & Kjell Nordeson<\/a>, 7pm<\/span><\/em><\/strong><\/p>\n

<\/strong><\/p>\n

Set 2<\/strong>:<\/span><\/strong> <\/span>Aram Shelton\u2019s<\/a> Marches<\/strong><\/a>, 8pm<\/span><\/em><\/strong><\/p>\n

<\/em><\/strong><\/p>\n

\u2026.For info on earlier afternoon\u00a0Ornette Documentary Film program<\/strong>, see below<\/p>\n

\u2026.For info on Tomorrow Is The Meta-Body<\/strong>, jump here<\/a>.<\/p>\n

\u2026.For info on our next night, with ROVA Saxophone Quartet<\/strong>, see below.<\/p>\n

\u25c9 Set 1<\/strong>:<\/strong><\/span> John Ingle<\/a> & Kjell Nordeson<\/a> \u2022 sax\/percussion pas de deux<\/em> in hyperspace with two\u00a0sfSound<\/strong><\/a> masters, 7pm<\/span><\/em><\/strong><\/p>\n

\"John<\/a>

John Ingle<\/p><\/div>\n

\u2014 John Ingle<\/a>\u2019s music is informed and influenced by contemporary concert music, improvised music, electronic music, jazz, Asian folk music traditions, & the blues and gospel of his native Southeast US. He collaborates with electronics innovator Laetitia Sonami<\/a>, in duo with NYC-based composer\/dulcimerist Dan Joseph<\/a> and is a founding member of the sfSoundGroup<\/strong><\/a>. John’s solo sax music emphasizes multiphonics, vocal harmonics and subtle control of extended sax techniques, while his chamber music explores such musical parameters as spiral time, linear pulse, & non-linear harmony, and indulges in both simple resonance as well as complex timbre and auditory sleights-of-hand.<\/p>\n

\"Kjell<\/a>

Kjell Nordeson<\/p><\/div>\n

\u2014 Kjell Nordeson<\/a> divides his time between Stockholm, San Francisco, and Southern California.<\/p>\n

Together with saxophonist Mats Gustafsson<\/a>, he formed AALY Trio<\/strong> and has performed with Peter Br\u00f6tzmann<\/a>, Barry Guy<\/a>, Ken Vandermark<\/a>, Joe Morris<\/a>, William Parker<\/a>, Paul Rutherford<\/a>, Gerry Hemingway<\/a>, Frank Gratkowski<\/a>, Stefano Scodanibbio<\/a>, and many others. He also founded Co. Alba<\/strong> with choreographer Nathalie Ruiz<\/a>.<\/p>\n

Since 2004, Kjell has been active in the San Francisco Bay Area\u2019s thriving community of free-improvised, experimental and new music, regularly playing with musicians Larry Ochs<\/a>, Jon Raskin<\/a>, Greg Goodman<\/a>, George Cremaschi<\/a>, Scott Looney<\/a>, Damon Smith<\/a>, John Ingle<\/a>, Aram Shelton<\/a>, Darren Johnston<\/a>, Lisa Mezzacappa<\/a> & many others.<\/p>\n

\u25c9 Set 2:<\/strong><\/span> Aram Shelton\u2019s<\/a> Marches<\/strong><\/a> \u2022\u00a0 (Aram Shelton<\/a>, Cory Wright<\/a>, Steve Blum<\/a>, Safa Shokrai<\/a> (\u0635\u0641\u0627\u0621 \u0634\u06a9\u0631\u06cc<\/a>), Britt Ciampa<\/a>, Jordan Glenn<\/a>) \u2022 double reed \/ double drum power in action, 8pm<\/span><\/em><\/strong><\/p>\n

The music of Marches is inspired by Albert Ayler<\/strong> & Sun Ra<\/strong>, and is guided by an aesthetic centered on simple tonal melodies and performers that bring energy to the music. It uses the instrumentation of the ensemble to create a distinct sound: combining the timbres of the saxophones and keyboards to make a lush and thick textured sound with intertwining parts propelled by the two drummer \/ one bass rhythm section.<\/p>\n

\"Aram<\/a>

Aram Shelton<\/p><\/div>\n

\u2014 Aram Shelton<\/a> performs on saxophone, clarinets, & live electronics. Based in Oakland, the projects Tonal Masher<\/strong><\/a>, Broken Trap Ensemble<\/strong><\/a>, Gold Age<\/strong><\/a>, & Ton Trio II<\/strong><\/a>, among many others, represent his music. His writing and playing has been documented through more than two dozen albums since 2003 and is grounded in and influenced by the rich history of avant-jazz & free improvisation in America. He\u2019s performed in Europe, Canada and the US, including appearances at the Monterey Jazz Festival, Chicago Jazz Festival, the Suoni per il Popolo Festival in Montreal, and the Krakow Autumn Jazz Festival.<\/p>\n

A tireless curator and instigator of new, creative music throughout the Bay Area, and especially in Oakland, Aram\u2019s events have long lit up the scene at The Uptown, Studio Grand, and other pioneering East Bay venues.<\/p>\n

\"Cory<\/a>

Cory Wright<\/p><\/div>\n

\u2014 Reeds player Cory Wright<\/a>, has been involved in both the jazz and creative music worlds for the past 20 years, in New York, L.A., & in the San Francisco Bay Area. His recent projects reflect his interest in blurring the distinction between composed & improvised material and in combining the harmonious with the atonal, & groove with the arrhythmic. Cory has played in ensembles lead by Anthony Braxton<\/a>, Vinny Golia<\/a>, Eddie Gale<\/a>, Adam Rudolph<\/a> and Yusef Lateef<\/strong> (\u064a\u0648\u0633\u0641 \u0644\u0637\u064a\u0641<\/strong>). He is currently a member of bay area groups Bristle<\/strong><\/a>, Wiener Kids<\/strong><\/a>, the Nathan Clevenger Group<\/strong><\/a> and the Oakland Active Orchestra<\/strong><\/a>, and leads his own projects Green Mitchell<\/strong><\/a> and the Cory Wright Outfit<\/strong><\/a>.<\/p>\n

\"Steve<\/a>

Steve Bloom<\/p><\/div>\n

\u2014 Pianist Steve Blum<\/a>\u2019s influences include Western classical music, the jazz avant-garde, Indian classical music, and West African ensemble drumming. Steve\u2019s played throughout L.A. and has toured the U.S., playing piano with stage productions & vocal harmony groups. He was music director and keyboardist for the infamous lounge singer \u201cTony Clifton<\/a>\u201d for a 5 month run at the Comedy Store in Hollywood in 2012. Steve is now in the Bay Area, where he works as an accompanist\/instructor for Pacific Boychoir Academy<\/strong><\/a> in Oakland & music director for Sophia Rose Choir<\/strong><\/a> in Sebastopol.<\/p>\n

\"Safa<\/a>

Safa Shokrai (\u0635\u0641\u0627\u0621 \u0634\u06a9\u0631\u06cc)<\/p><\/div>\n

\u2014 Safa Shokrai<\/a> (\u0635\u0641\u0627\u0621 \u0634\u06a9\u0631\u06cc<\/a>) is inspired by visual art, architecture, and movement, informing the color and tone of his work. He strives to create a performance experience in which the audience steps into a film, a world that has been fabricated and imagined, realized with sound and sight. He has toured with Rupa & The April Fishes<\/strong><\/a>, and leads some of the Bay Area’s finest musicians in his ensemble The Glasses<\/strong><\/a>, described as \u201cstep into your own noir film with our soundtrack”.<\/p>\n

\"Britt<\/a>

Britt Ciampa<\/p><\/div>\n

\u2014 Percussionist and composer Britt Ciampa<\/a> attended the prestigious Jazz Studies program at William Paterson University, studying with such jazz luminaries as Mulgrew Miller<\/strong>, Rich Perry<\/a>, Kevin Norton<\/a>, Horacee Arnold<\/a>, Steve LaSpina<\/a>, and Cecil Bridgewater<\/a>, and continued his studies at UCCS Colorado Springs where he studied with improvised music masters Jane Rigler<\/a>, Glen Whitehead<\/a>, and Randy Bowen<\/strong>. In 2013, Britt relocated to the Bay Area where he can be currently found lingering about the Bay Bridge and seeking out suspension bridge\/seafood enthusiasts who might be interested in making music.<\/p>\n

\"Jordan<\/a>

Jordan Glenn<\/p><\/div>\n

\u2014 Jordan Glenn<\/a> spent his formative years in Oregon drawing cartoons, taking dance classes from his aunt, and putting on plays with his sisters.\u00a0 As he got older he began making movies with his friends and studying jazz, classical, and rock music.\u00a0 Later, he relocated to the Bay Area, received a masters degree from Mills College and since has worked closely with Fred Frith<\/a>, William Winant<\/a>, Zeena Parkins<\/a>, Roscoe Mitchell<\/a>, ROVA Saxophone Quartet<\/strong><\/a>, Ben Goldberg<\/a>, Todd Sickafoose<\/a>, John Schott<\/a>, Dominique Leone<\/a>, Aaron Novik<\/a>, Darren Johnston<\/a>, Aram Shelton<\/a>, Cory Wright<\/a>, Lisa Mezzacappa<\/a>, Karl Evangelista<\/a>, Michael Coleman<\/a>, Matthew Welch<\/a> and the bands Jack O’ The Clock<\/strong><\/a>, Arts & Sciences<\/strong><\/a>, 20 Minute Loop<\/strong> (Facebook<\/a>), Beep!<\/strong>, tUnE-yArDs<\/strong><\/a>, and the Oakland Active Orchestra<\/strong><\/a>.\u00a0 He also leads and conducts the project Mindless Thing<\/strong><\/a>, a collaboration with poet\/free-jazzer\/sage Jim Ryan<\/a>, as well as the long standing trio Wiener Kids<\/strong><\/a> & the 10-piece expansion, The Wiener Kids Family Band<\/strong><\/a>.<\/p>\n

\u25c9 Afternoon films on Ornette: <\/strong>2:30pm matin\u00e9e, Sun 25 Oct<\/span><\/strong><\/p>\n

\u2026.For info on Tomorrow Is The Meta-Body<\/strong>, jump: here<\/a>.<\/p>\n

\u2026.For info on evening sets with John<\/strong> Ingle\/<\/strong>Kjell<\/strong> Nordeson<\/strong> & Aram Shelton\u2019s Marches<\/strong>: see above.<\/p>\n

\u2026.For info on our next night, with ROVA Saxophone Quartet<\/strong>, see below.<\/p>\n

Acclaimed documentaries, curated by Peter\u00a0Esmonde<\/strong>, filmmaker of\u00a0TRIMPIN: The Sound of \u00a0Invention<\/a><\/em><\/strong>:<\/p>\n

\n

\u2014\u00a0Ornette: Made in America<\/em><\/strong><\/a> (dir. Shirley\u00a0Clarke<\/a>)<\/p>\n

\u2014 Moffett, David, and Ornette<\/em><\/strong> (dir. Dick\u00a0Fontaine <\/a>)<\/p>\n<\/div>\n

These incisive documentaries show this unique innovator in a wide variety of performances, situations, and moods.<\/p>\n

\"Ornette:<\/a>

Ornette: Made in America (dir. Shirley Clark)<\/p><\/div>\n

Shirley Clarke<\/a>‘s 1985 Ornette: Made in America<\/em><\/strong><\/a> includes footage of Ornette Coleman<\/strong> performing in New York, Fort Worth, & Morocco, and includes interviews with Don Cherry<\/strong>, Charlie Haden<\/strong>, Dewey Redman<\/strong>, Yoko Ono<\/a> (\u5c0f\u91ce<\/a>\u6d0b\u5b50), William S. Burroughs<\/strong>, and many others.<\/p>\n

\"Frame<\/a>

Frame from Moffett, David, and Ornette (dir. Dick Fontaine)<\/p><\/div>\n

Dick Fontaine<\/a>\u2019s 1966 short Moffett, David, and Ornette<\/em><\/strong> shows Charles Moffett<\/strong>, David Izenzon<\/strong>, & Ornette Coleman<\/strong> working through a frustrating recording session in Paris.<\/p>\n

\"The<\/a>

The Second Act, electronic music and wayang sinema capital of the Upper Haight<\/p><\/div>\n

\u25c9 Mon 26 Oct:<\/span><\/em><\/strong> ORNETTE, LACY, & POINTS BEYOND\u2026 @<\/em><\/strong> <\/strong>The Second Act, SF, 1727 Haight St, SF (between Shrader & Cole \u2013 map)<\/strong><\/a>, Set 2: 8:30pm: Tomorrow Is The Meta-Body<\/span><\/em><\/strong><\/p>\n

<\/em><\/strong><\/p>\n

\u2026.For info on the previous night, with John Ingle\/Kjell Nordeson<\/strong> & Aram Shelton\u2019s Marches<\/strong>: see above.<\/p>\n

\u2026.For info on previous afternoon\u2019s Ornette Documentary Film program<\/strong>,see above.<\/p>\n

\u2026.For info on Tomorrow Is The Meta-Body<\/strong>, jump: here<\/a>.<\/p>\n

\"ROVA<\/a>

ROVA Saxophone Quartet (photo by Myles Boisen)<\/p><\/div>\n

Set 1<\/strong>:<\/span> ROVA Saxophone Quartet<\/strong><\/a>, 7:30pm<\/span><\/em><\/strong><\/p>\n

\"John<\/a>

John Butcher soloing, Orkney mainland, Scotland 2006 (photo - Keiko Yoshida : \u5409\u7530\u3051\u3044\u3053)<\/p><\/div>\n

ROVA<\/strong><\/a> will present a set of works largely by outside composers. In juxtaposition to Tomorrow Is The Meta-Body\u2019s<\/strong> Ornette Coleman<\/strong>-inspired set, ROVA<\/strong><\/a> will perform compositions by Ornette<\/strong> associates Steve Lacy<\/strong> and John Carter<\/strong>, as well as a piece each by ROVA<\/strong><\/a> member Jon Raskin<\/a>, and British composer John Butcher<\/a>.<\/p>\n

\"Steve<\/a>

Steve Lacy<\/p><\/div>\n

Soprano sax specialist Steve Lacy<\/strong> played regularly and shared ideas with trumpeter Don Cherry<\/strong>, one of Ornette\u2019s<\/strong> longest standing collaborators. Lacy<\/strong> rehearsed and played with Ornette<\/strong>, and even traveled with his double quartet to Cincinnati in 1961 to perform Free Jazz<\/em><\/strong>. The concert never happened, but that\u2019s another story. ROVA<\/strong><\/a> will perform a Steve Adams<\/a> arrangement of Lacy\u2019s<\/strong> Cliches<\/em><\/strong>.<\/p>\n

\"John<\/a>

John Carter (photo by Mark Weber)<\/p><\/div>\n

Multi-instrumentalist and composer John Carter<\/strong> grew up in Fort Worth, Texas and was an early associate of Ornette\u2019s<\/strong>. They both migrated to L.A., where John Carter<\/strong> settled, performing his brand of open jazz, and working as an educator. His approach to improvisation shared a lot with Ornette<\/strong>, especially in the early days, but his compositional sense developed quite differently. In the early 1990s, Carter wrote the monumental Colors<\/em><\/strong> for ROVA<\/strong><\/a>, who have recently reactivated this raging work for some upcoming retrospective performances.<\/p>\n

<\/strong><\/p>\n

ROVA Saxophone Quartet<\/strong><\/a> explore the synthesis of composition and collective improvisation, creating exciting, genre-bending music that challenges and inspires.<\/p>\n

ROVA<\/strong><\/a> are one of the longest-standing groups in the music movement that has its roots in post-bop, free jazz, avant-rock, and 20th-century new music, and draw inspiration from the visual arts and from the traditional and popular music styles of Africa, Asia, Europe and the United States.<\/p>\n

\"ROVA<\/a>

ROVA Saxophone Quartet (perhaps performing Braxton's Ghost Dance Music?), Jazzclub Unterfahrt, M\u00fcnchen 02 Nov 2005 (photo by Matthew Campbell)<\/p><\/div>\n

In noting\u00a0ROVA<\/strong><\/a>‘s innovative role in developing the all-saxophone ensemble as “a regular and conceptually wide-ranging unit,” The Penguin Guide To Jazz<\/em><\/strong> calls its music “a teeming cosmos of saxophone sounds” created by “deliberately eschewing conventional notions about swing [and] prodding at the boundaries of sound and space…” Likewise Jazz: The Rough Guide<\/em><\/strong> notes, “Highly inventive, eclectic and willing to experiment, Rova [is] arguably the most exciting of the saxophone quartets to emerge in the format’s late ’70s boom.”<\/p>\n

Inspired by a broad spectrum of musical influences – from Charles Ives<\/strong>, Edgard Var\u00e8se<\/strong>, Olivier Messiaen<\/strong>, Iannis Xenakis<\/strong> (\u0399\u03ac\u03bd\u03bd\u03b7\u03c2 \u039e\u03b5\u03bd\u03ac\u03ba\u03b7\u03c2<\/strong>) and Morton Feldman<\/strong> to The Art Ensemble Of Chicago<\/strong><\/a>, John Coltrane<\/strong>, Anthony Braxton<\/a>, Steve Lacy<\/strong>, Cecil Taylor<\/a>, Sun Ra<\/strong> and Ornette Coleman<\/strong> – ROVA<\/strong><\/a> began, in 1978, writing new material, touring, and recording, including early collaborations with such like-minded colleagues as guitarists Henry Kaiser<\/a> and Fred Frith<\/a>, and saxophonist John Zorn<\/a>. Also in its early years, ROVA<\/strong><\/a> shared the stage in collaborations with fellow San Francisco based trailblazers Kronos Quartet<\/strong><\/a> and Margaret Jenkins Dance Company<\/strong><\/a>. A 1983 tour of the USSR and accompanying PBS documentary highlighted the first five years of Rova’s existence.<\/p>\n

\"\"<\/a>

Bruce Ackley w ROVA \/ Nels Cline Celestial Septet at Freight & Salvage, Berkeley, 20 Aug 2011 (photo by peak, http\/\/:peakness.com)<\/p><\/div>\n

\u25c9 Largely self-taught, Bruce Ackley<\/a> studied saxophone briefly with Lee Hester<\/strong> and Noel Jewkes<\/a>, and clarinet with Beth Custer<\/a> and Ben Goldberg<\/a>. Throughout the 1970s he was involved with the emerging free improvisation scene in San Francisco, and formed Sound Clinic with Lewis Jordan<\/a> and George Sams<\/strong> in 1975. He began playing with Larry Ochs<\/a> in 1973 and Jon Raskin<\/a> in 1975, which led to the formation of ROVA Saxophone Quartet<\/strong><\/a> in the fall of 1977.<\/p>\n

Since then Bruce has mainly devoted his musical life to his work with ROVA<\/strong><\/a>, with some notable side projects. In 1977 he performed and recorded with the quartet Twins<\/strong>, featuring John Zorn<\/a> on reeds, and Eugene Chadbourne<\/a> and Henry Kaiser<\/a> on guitars. During the 1980s he played regularly with trombone-electronics wizard, Dino J.A. Deane<\/a> and drummer Joseph Sabella<\/strong>. They formed Planet X<\/strong> in 1992, which performed extensively in the Bay Area and made a recording at that time. Bruce has also performed with the Italian bass virtuoso, Stefano Scodanibbio<\/a>. In 1996 they performed together with koto-electronics player Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084), and the brilliant cellist, Rohan de Saram<\/a>, formerly of the Arditti String Quartet<\/strong><\/a>.<\/p>\n

\"\"<\/a>

Bruce Ackley, Celestial Septet @ le poisson rouge, 26 Feb 2011, w ROVA, Nels Cline (& Nels Cline Singers), Scott Amendola, and Trevor Dunn<\/p><\/div>\n

That year Bruce formed a trio to perform his more jazz-oriented original compositions, Actual Size<\/strong>, with George Cremaschi<\/a> on bass and Garth Powell<\/a> on drums. This led to the recording The Hearing<\/em><\/strong><\/a> by the Bruce Ackley Trio<\/strong>, featuring Joey Baron<\/a> on Drums and Greg Cohen<\/a> on bass, and released on the John Zorn<\/a>-curated Japanese label Avant. During the late 1990s Bruce formed Frankenstein<\/strong>, a jazz repertory band that played the music of many of the forward-looking artists of the early \u201860s, particularly Grachan Moncur III<\/a>, Andrew Hill<\/strong>, Eric Dolphy<\/strong>, and Jackie McLean<\/strong>\u2014providing him an opportunity to dig into material that significantly impacted him during formative years.<\/p>\n

\"Steve<\/a>

Steve Adams<\/p><\/div>\n

\u25c9 Fellow ROVA-ite Steve\u00a0Adams<\/a> needs little introduction to lovers of jazz and new music, having been a long-standing key player in various East & West Coast scenes. His work on various saxes, flutes, electronics and as a composer combines probing originality, playful improv structures and swing with a very specific angular momentum.<\/p>\n

\"\"<\/a>

Steve Adams<\/p><\/div>\n

Steve is best known as a member of ROVA Saxophone Quartet<\/strong><\/a>, whom he\u2019s been with for more than 20 years. Steve is also a member of the Bill\u00a0Horvitz<\/a> Band, various Matt Small<\/a> ensembles, and the Vinny Golia<\/a> Large Ensemble<\/strong>, as well as leading his own projects.<\/p>\n

Steve lived in Boston in the \u201970s and \u201980s, where he was a member of Your Neighborhood Sax Quartet<\/strong>, Birdsongs Of The Mesozoic<\/strong><\/a>, and Composers In Red Sneakers<\/strong><\/a> among others. A remarkable collaboration with avant jazz bassist Ken\u00a0Filiano<\/a>, which we in the Bay Area have the pleasure of hearing on Ken’s swings to the West Coast, was formed in this period.<\/p>\n

\"Larry<\/a>

Larry Ochs<\/p><\/div>\n

\u25c9 Larry Ochs<\/a> works on and breathes music. He composes. He plays saxophone. He looks for adventurous ideas to take on and for other artists – musicians and friends in other art mediums – to take them on with him.<\/p>\n

Larry is primarily, but not only, found in the worlds of \u201cavant-garde\u201d or \u201cimprovised music\u201d \u2014 but any artists in the visual arts or other performance-based arts that have an interest in taking chances are welcomed in. Thus, for example, he has worked recently with Shinichi Iova Koga<\/a> (\u30b7\u30f3\u30a4\u30c1\u30fb\u30a4\u30aa\u30f4\u30a1\u30fb\u30b3\u30ac<\/a>) and his dance group inkBoat<\/strong><\/a>; he is at the beginning \u00a0of a relationship with We Players<\/strong><\/a>, a Bay Area theater company, and is into ongoing work with Korean performance artist and vocalist Dohee Lee<\/a> (\uc774<\/a>\ub3c4\ud76c).<\/p>\n

\"\"<\/a>

Larry Ochs & friend<\/p><\/div>\n

Since 1978, Larry’s activities have been primarily centered around the ROVA Saxophone Quartet<\/strong><\/a> which has made over 35 European tours plus numerous concerts throughout the U.S. and Canada, as well as recording over 30 CDs\/LPs as a quartet and\/or in collaboration with other artists. Larry has created roughly two dozen compositions for saxophone quartet as well as other pieces for ROVA<\/strong><\/a> in larger ensembles, many of which are recorded, and some of which were commissioned by Chamber Music America\/Doris Duke Foundation and Meet the Composer. He has been acting executive director of Rova:Arts<\/strong> since 1988.<\/p>\n

\"The<\/a>

The Throne, tour de force of sax+drum subtlety, passion and drive, by Larry Ochs & our joint collaborator, Donald Robinson<\/p><\/div>\n

In addition Larry currently composes for and leads Kihnoua<\/strong><\/a> with vocalist Dohee Lee<\/a> (\uc774<\/a>\ub3c4\ud76c), Scott Amendola<\/a> and special guests; The Fictive Five<\/strong><\/a> with New York\u2013based musicians Nate Wooley<\/a>, Ken Filiano<\/a>, Pascal Niggenkemper<\/a>, Harris Eisenstadt<\/a>; Larry Ochs Sax & Drumming Core<\/strong><\/a> with Scott Amendola<\/a>, Donald Robinson<\/a>, Satoko Fujii<\/a> (\u85e4\u4e95<\/a>\u90f7\u5b50), and Natsuki Tamura<\/a> (\u7530\u6751<\/a>\u590f\u6a39). He also performs in and often composes for more \u201ccollective\u201d bands such as: East-West Collective<\/strong><\/a> with Didier Petit<\/a>, Sylvain Kassap<\/a>, Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084), Xu<\/a> Fengxia (\u5f90<\/a>\u51e4\u971e); Ochs-Robinson Duo<\/strong><\/a> with drummer Donald Robinson<\/a>; Jones Jones<\/strong><\/a> – with Mark Dresser<\/a> and Vladimir Tarasov<\/a> (\u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0422\u0430\u0440\u0430\u0441\u043e\u0432<\/a>); Maybe Monday<\/strong><\/a> with Miya Masaoka<\/a> (\u6b63\u5ca1<\/a>\u307f\u3084) and Fred Frith<\/a>; Shelton-Ochs Quartet<\/strong> with Aram Shelton<\/a>, Kjell Nordeson<\/a> and Mark Dresser<\/a>; and the Trio<\/strong><\/a> of Dave Rempis<\/a> \/ Darren Johnston<\/a> \/ Larry Ochs<\/a>.<\/p>\n

\"Jon<\/a>

Jon Raskin<\/p><\/div>\n

\u25c9 Jon Raskin<\/a> has been a member of ROVA Saxophone Quartet<\/strong><\/a> for 3 decades, exploring the relationship of improvisation and composition, developing and honing the language of ensemble music and researching linguistic possibilities of the saxophone.<\/p>\n

Highlights of Rova founding member Jon\u2019s early career include his \u201970s participation in new music ensembles directed by composers John Adams<\/a> and Barney Childs<\/strong>. Before ROVA<\/strong><\/a>, Jon served as music director of the Tumbleweed Dance Company<\/strong>, was a founding member of the Blue Dolphin Alternative Music Space, and participated in the creation of The Farm<\/strong> \u2014 an art project that included a city farm, a community garden, Ecology Center, Dance and Theater companies and organized the creation of a city park.<\/p>\n

\"Jon<\/a>

Jon Raskin<\/p><\/div>\n

Highlights as a member of ROVA<\/strong><\/a> include composing a collaborative work for San Francisco Taiko Dojo (\u30b5\u30f3\u30d5\u30e9\u30f3\u30b7\u30b9\u30b3\u592a\u9f13\u9053\u5834)<\/strong><\/a>\/ROVA<\/strong><\/a>, working with Howard Martin<\/strong> on the installation work Occupancy<\/em><\/strong>, composing music for Mr. Bungle<\/strong><\/a>\/ROVA<\/strong><\/a>, organizing the 30 year Anniversary Concert of John Coltrane\u2019s Ascension<\/em><\/strong>, performing the music of Miles Davis<\/strong> at the Fillmore with Yo Miles!<\/em><\/strong>, the Glass Head<\/em><\/strong> <\/em>project with inkboat<\/strong><\/a> and the ongoing Electric Ascension<\/em><\/strong> <\/em>project.<\/p>\n

Jon has worked and recorded with Liz Allbee<\/a>, Tim Berne<\/a>, Anthony Braxton<\/a>, George Cremaschi<\/a>, Fred Frith<\/a>, Philip Gelb<\/a>, Matthew Goodheart<\/a>, Phillip Greenlief<\/a>, Phillip Johnston<\/a>, Henry Kaiser<\/a>, Pauline Oliveros<\/a>, Kanoko Nishi-Smith<\/a> (\u897f<\/a>\u9e7f\u4e43\u5b50) Dana Reason<\/a>, Gino Robair<\/a>, Sam Rivers<\/strong>, John Shiurba<\/a>, Wadada Leo Smith<\/a>, Vladimir Tarasov<\/a> (\u0412\u043b\u0430\u0434\u0438\u043c\u0438\u0440 \u0422\u0430\u0440\u0430\u0441\u043e\u0432<\/a>), and poet Carla Harryman<\/a>, among many others.<\/p>\n

\u2014\u2014\u2014<\/p>\n

Experience the gems of Ornette Coleman\u2019s<\/strong> songbook glowing under a brilliant new ultra-violet light \u2014 come vibrate with us at Center For New Music and The Second Act!<\/p>\n

<\/strong><\/p>\n

\u3069\u3046\u305e\u3002\u3002\u3002<\/p>\n

Joe<\/p>\n

<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

2 shows: Having many great memories from last year\u2019s Sun Ra Friendly Galaxies event, also curated by Jan Michaels, I\u2019m excited to again take part in C4NM\u2019s 2015 jazz ancestor extravaganza, which is focused on the music of jazz great … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/5631"}],"collection":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/comments?post=5631"}],"version-history":[{"count":115,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/5631\/revisions"}],"predecessor-version":[{"id":5756,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/posts\/5631\/revisions\/5756"}],"wp:attachment":[{"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/media?parent=5631"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/categories?post=5631"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/joelasqo.com\/blog\/wp-json\/wp\/v2\/tags?post=5631"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}