Engine 27 events in February
Engine 27
list@engine27.org
Mon, 03 Feb 2003 11:47:24 -0500
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February @ Engine 27
173 Franklin St., New York, NY, 10013
(between Hudson & Greenwich)
1/9 subway to Franklin St.
tel. 212-431-7466, fax 212-431-7403
email: post@engine27.org
more info at: http://www.engine27.org
Belated happy New Year and welcome back to Engine 27's new season. We're
resuming our presentation schedule with:
This coming weekend's two performances -
=80 the final evening of Erstwhile Records' AMPLIFY 2003:elemental festival
featuring an all star line-up including improvising guitar pioneer, Keith
Rowe.
=80 Roger Kleier in concert with his virtual guitar orchestra and guests Anni=
e
Gosfield and Jim Pugliese.
A sound installation created from the perspective of the visual arts -
=80 Raoul Bjorkenheim and Grady Gerbracht create a spatial portrait of Engine
27 using sounds collected from in and around the firehouse.
A full schedule listing all our events through June 2003 is available on ou=
r
www site.
See below for artist bios.
Engine 27 is proud to host a concert:
Erstwhile Records and Engine 27 present AMPLIFY 2003: elemental
Keith Rowe =AD electric guitar, electronics & Toshimaru Nakamura =AD no input
mixing board
Greg Kelley =AD trumpet & Bhob Rainey =AD soprano saxophone & Jason Lesalleet
tapeloops
Gunter Muller =AD selected percussion, electronics & Tetuzi Akiyama =AD electri=
c
guitar
Live sound spatialization by Michael Schumacher
date & time: Saturday, February 8, 7:30pm
admission: $12 available online at http://www.engine27.org or
at the door
Engine 27 is proud to present in our gallery a concert:
Roger Kleier =AD The 7th Department
Roger Kleier (guitars), Annie Gosfield (sampling keyboards), Jim Pugliese
(electronically altered percussion)
Programmed by Michael Schumacher
Three live musicians play with a sonic representation of an altered guitar
orchestra inspired by the Russian psychological/cultural sound warfare unit=
s
of the NKVD from Word War II.
date & time: Sunday, February 9, 8pm
suggested admission $10
The sound sources in this work were developed from samples and loops of
electric guitars and other sonic effluvia. The guitars were altered with
preparations, unusual tunings, and digital processing. The basic audio
tracks were recorded during the artist=B9s stay at the Djerassi Residency
Program in California. These tracks were then developed here towards
creating a panoramically mobile soundscape of a mutated guitar orchestra.
The group of live musicians perform against this backdrop in real time.
The title of this work refers to the NKVD special psychological warfare
units attached to the Red Army in World War II. One of their missions was t=
o
deprive the opposing German army of sleep by broadcasting through
loudspeakers musics that the NKVD secret police felt would have jarring,
sinister, or sentimental qualities. "I became fascinated with the concept o=
f
how cultures can define and presuppose the effects of different musics on
people from other cultures, and I tried to imagine the sonic field that
would have been created on such a vast landscape as the Russian Front."
Engine 27 is proud to present in our gallery an installation:
Raoul Bjorkenheim & Grady Gerbracht =AD Site&Sound
Programming and feedback by Matthew Ostrowski
Lighting design by Zachary Williamson
Recordings of the artists=B9 rhythmic and tonal exploration of Engine 27=B9s
architecture were made in all spaces of this former firehouse. Microphones
attached to the building=B9s structural columns, plumbing, heating, electrica=
l
and other service systems provided vibrations and sounds of the daily
existence of the building and its current inhabitants.
date & time: Saturday & Sunday, February 15, 16, 22, 23, 2-8pm
opening reception: Saturday, February 15, 6-8pm
To form an audible spatial portrait of the site, the artists=B9 on-site
recordings were combined with field recordings from a nearby operating
firehouse and horse stables which provide an abstract subtextual archeology
of this institution=B9s pre-history as a firehouse. To acknowledge the curren=
t
use of the space as a production facility for multi-channel sound
installations, Bjorkenheim used prepared guitars to respond to the space an=
d
Gerbracht added rhythmic and vocal improvisations. Each recording session
was engineered to capture the unique acoustic characteristics that define
the space and structure of Engine 27. The collected recordings were then
re-composed and manipulated to maximize the spatial effect of the in-house
multi-channel playback system.
Site&Sound is a generative work, which means that, unlike a linear
composition, it is different every time it is played/performed. The compute=
r
that controls playback of the piece uses software that selects randomly fro=
m
a list of pre-recorded sound files within parameters that are defined by th=
e
composers. Like all computers the selection process is based on a simple
yes/no or if/then system. The "similar but different" quality of generative
composition seems appropriate for a spatial portrait as the life-functions
of the building/institution vary little from day to day; however they are
different each time. The building performs the same basic functions every
day (shelter, drainage, signification, etc.), but not always in the same
way, at the same moment or to the same inhabitants.
The piece is scored by combining the visual composition of Max objects from
the computer software that generates the sounds with architectural diagrams
representing the firehouse. The score is a map, visual evidence of the soni=
c
events that may unfold within the building during playback of the
composition. The architectures of the computer software that controls the
playback system are compared to and combined with representations of the
physical and institutional space in which the audience experiences the
piece.
Artist Bios:
AMPLIFY 2003: elemental
Tetuzi Akiyama and G=FCnter M=FCller met each other for the first time at the
What Is Music festival in Sydney, Australia in July 2002, also playing
together later that year in Auckland and Tokyo.
Akiyama plays guitar, alto violin, steel-pedal, electronic instruments, and
perhaps above all, with microphones - a humble and curious means by which
to open the way to the secret world of objects. His solo acoustic guitar CD
Relator (Slub) is one of the most beautiful documents of improvised music i=
n
recent memory.
M=FCller has been playing a unique drum set with a mobile pick-up and
microphone system of his own invention since 1981. The system allows
hand-generated sounds on drums and percussion to be modulated
electronically. Since 1998, minidiscs are also a part of his electronic set=
.
In 1990, he founded the seminal record label For 4 Ears.
Greg Kelley (trumpet), Bhob Rainey (soprano saxophone), and Jason Lescallee=
t
(tapeloops) are the driving forces in the burgeoning Boston alternative
improvised scene (although Jason has recently relocated to Maine). The
available recordings of this collaboration only hint at the extent and dept=
h
of the work these three have done together. This grave gap will soon be
filled by their upcoming double CD on Intransitive Records, Love Me Two
Times.
Bhob Rainey and Greg Kelley of nmperign have done numerous recordings,
separately and together, for labels such as Erstwhile, Grob, Selektion,
Potlatch, Twisted Village, and Meniscus. They have performed extensively
throughout the U.S. and Europe in major festivals such as Musique Action
(Nancy 2002), Fruits De Mhere (Mhere 2002), Densities (Verdun 2001), and
Superfici Sonore (Florence 2001).
Jason Lescalleet's sound world occupies a space between noise, contemporary
composition, and minimal electronics. His tactics are decidedly primitive
while retaining an exacting eye for detail. In live performance, Lescalleet
uses reel-to-reel tape decks to explore the textures of low fidelity analog
sounds and the natural phenomena of old tape and obsolete technology. He
blends layers of ambient tapeloops, found sound, shades of silence and whit=
e
noise, all transformed through cheap microphones and trashed speakers. His
first solo recording, Mattresslessness, has just been released on Cut
Records.
Keith Rowe and Toshimaru Nakamura, mutual fans of each other=B9s work, began
to collaborate in early 2001, releasing the seminal document Weather Sky
(Erstwhile). In the intervening years, they have worked together more and
more, as much as their busy schedules and their geographic separation will
allow. They are currently in the midst of a brief US tour.
Keith Rowe has been breaking new ground in improvised music since
co-founding AMM in 1965, a project that=B9s still going strong. In the last
few years, Rowe has begun working more and more with the younger stars of
the international electroacoustic improvised scene, such as Marcus
Schmickler, Christian Fennesz, Otomo Yoshihide, Sachiko M and Oren Ambarchi=
.
He has two imminent releases on Erstwhile, a trio record with Schmickler an=
d
Thomas Lehn, Rabbit Run, and a much anticipated double CD with his AMM
compatriot John Tilbury, Duos For Doris, both of which will be out this
spring.
Toshimaru Nakamura has developed into one of the strongest collaborators in
the improvised world, as evidenced on record by his work with Sachiko M,
Andrea Neumann and Rowe, and in live performances with Thomas Lehn, Christo=
f
Kurzmann and many others. Nakamura plays the "no-input mixing board,"
connecting the input of the board to the output, then manipulating the
resultant feedback.
More information available at:
http://www.erstwhilerecords.com
http://www.japanimprov.com/takiyama/
http://home.datacomm.ch/g.mueller/mueller.htm/
http://www.geocities.com/greyelkgel/
http://homepage.mac.com/bhobr/
http://www.shef.ac.uk/misc/rec/ps/efi/musician/mrowe.html
http://www.japanimprov.com/tnakamura
Roger Kleier =AD The 7th Department
Roger Kleier (b. 1958) is a guitarist and composer whose unique guitar styl=
e
draws equally from improvisation, contemporary classical music, electronic
processing, and the American guitar traditions of blues and rock. Much of
his compositional work involves the development of a broader vocabulary for
the electric guitar through the use of extended techniques and digital
technology. He has collaborated with Annie Gosfield, Carl Stone, Marc
Ribot=B9s Shrek, Elliott Sharp, Samm Bennett, David Moss, Chris Cutler, Davey
Williams, LaDonna Smith, Ikue Mori, Alan Licht, Zeitgeist, Phill Niblock,
Stan Ridgway, and many others.
With various ensembles Roger has toured extensively throughout the United
States, Canada, Europe, and Australia. Featured performances of his include
New Music America; Tonic; the Kitchen; Symphony Space; Bang On A Can
Festival at Lincoln Center; Taktlos Festival, Switzerland; Roulette;
Experimental Intermedia; Podewil, Berlin; The New Museum; the Rive de Gier
Jazz Festival; Westwerk, Hamburg; CUBA, Munster; Festival Musique Action
Nancy; Paradiso, Amsterdam; WUK, Vienna; ESC, Graz; Alter Schlachthof Wels;
New Morning, Paris; Mills College, San Francisco; The Salvador Dali Museum,
St. Petersburg; Festival Musique Actuelle, Victoriaville; Mesto Zensk,
Ljubljana; Utopia, Innsbruck; Desi, Nuremburg; Der Weimarhalle, Weimar; New
Music Marathon, Prague; The Anchorage; The Audio Art Festival, Cracow; The
Totally Huge New Music Festival, Perth; Warsaw Autumn; the Tampere Jazz
Festival, Finland; the Schleswig Holstein Festival, Hamburg; and the Santa
Fe Chamber Music Festival.
His discography includes CDs on the Tzadik, CRI, Intakt, Atavistic, Wergo,
EMF, and Geffen labels. His two solo CDs are "KlangenBang," released on the
Rift label, and his newest CD, "Deep Night, Deep Autumn" available on the
Starkland label. Kleier currently lives in New York City. For more
information, visit http://shoko.calarts.edu/~schlagen/.
=20
Annie Gosfield is a New York-based composer, improviser, and keyboardist.
She divides her time between composing for chamber ensembles and performing
with her own group. Her music combines traditional and non-traditional
techniques, and is often inspired by unorthodox and non-musical sources.
Gosfield's music has been performed and/or commissioned by the Bang on a Ca=
n
All Stars, The Miami String Quartet, Zeitgeist, Present Music, The West
Australia Symphony Orchestra New Music Group, Agon Orchestra, Newband/Harry
Partch instruments, the Silesian String Quartet, and many others. Her
discography includes recordings on Tzadik, Sony Classical, CRI, Wergo, EMF,
Atavistic, and Harmonia Mundi. Her latest CD, "Flying Sparks and Heavy
Machinery" features EWA7, an industrial-inspired, site-specific work that
was originally premiered in a factory during a residency in the industrial
environments of Nuremberg, Germany and Flying Sparks and Heavy Machinery, a
machine-inspired double quartet for strings and percussion performed by the
Flux Quartet and Talujon Percussion. Upcoming projects include a commission
for ex-Kronos cellist Joan Jeanrenaud and a concerto for acoustic and
electric cello for Felix Fan. Visit
http://www.otherminds.org/shtml/Gosfield.shtml for more information.
Jim Pugliese, born in Newark, NJ in 1952, has performed and or recorded new
music with John Cage, Lukas Foss, Kent Nagano, Philip Glass and John Zorn.
He has been recorded on over 60 CDs of new music, jazz and rock and has
established himself as both performer and composer throughout the United
States, Europe and Japan. In 1997, Avant released the first album from his
collaborative trio, Eastside Percussion, with Christine Bard and Michael
Evans. This group is about to release their second CD for the Avant label.
In his ongoing quest to explore the powerful, enlightening and spiritual
secrets of drumming, Pugliese is currently collaborating with Nii Tettey
Tetteh master musician from Ghana, and continuing his work with Milford
Graves learning about drumming and healing through the heartbeat. More
information about Jim Pugliese can be found at
http://www.webcom.com/jimp/pug.html.
Raoul Bjorkenheim & Grady Gerbracht =AD Site&Sound
Grady Gerbracht is an artist whose work focuses on the ordering systems of
everyday life. Inspired by personal observations and life experiences,
Gerbracht's projects employ art, architecture, sound and social dynamics to
render these ordering systems temporarily visible. He is Assistant Professo=
r
of Art at the State University of New York at Stony Brook, organizes events
for Nomads + Residents and serves on the Board of Trustees of the FLUXART
Center for Digital Art. His projects have been published and exhibited in
the U.S. and abroad. He recently organized Back and Forth, a series of four
exhibitions involving notions of commutes and itineraries, and is involved
in a number of ongoing curatorial projects including Global Priority. Recen=
t
works include Site, a series of events which examine the border between
performance and everyday life. These improvised performances are recorded a=
s
audio portraits, which capture the unique characteristics of the unusual
architectural spaces in which they take place.
Raoul Bjorkenheim=B9s guitar playing is often described as a force of nature,
the conventional traits usually associated with jazz or rock having given
way to a more visceral, expressionistic approach to creating music.
Experimenting with various tunings on 6 and 12 string guitars, Bjorkenheim
makes full use of the subtleties offered by electronics, creating startling
textures that imitate everything from birds, opera singers or flutes to
heavy industrial machines, string orchestras or butterfly wings. This
creative versatility has taken him to stages all over Europe where he
performed with such comrades-in-sound as Bill Laswell, Ronald Shannon
Jackson, Jah Wobble, Edward Vesala, Paul Schutze and Mats Gustafsson.
Born in Los Angeles in 1956 of Finnish parents, Bjorkenheim spent his schoo=
l
years shuttling back and forth between New York and Helsinki. After
completing his studies at the Berklee College of Music in 1981, he moved to
Helsinki where he lived for the next 20 years, teaching at the Sibelius
Academy and teaming up with like-spirited Finnish musicians to create
several influential bands, the most important of which was Krakatau. This
group recorded two albums for ECM which led to performances at the biggest
European festivals, and the first album received the Finnish "Grammy" award
for best jazz album of the year.
Parallel to his career as a guitarist, Bjorkenheim has created an impressiv=
e
body of compositions, ranging from works for solo guitar to his most recent
concerto for electric guitar, violin and symphony orchestra. A string
quintet is now under construction, as well as a suite for electric guitar.
More information about Raoul Bjorkenheim can be found at
http://www.musicfinland.com/bjorkenheim/.
To be added to Engine 27=B9s email list:
http://64.247.23.2/mailman/listinfo/events_engine27.org.
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<HEAD>
<TITLE>February</TITLE>
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<BODY BGCOLOR=3D"#EEEEEE">
<FONT COLOR=3D"#008000"><FONT SIZE=3D"7">February @ Engine 27<BR>
</FONT></FONT><FONT SIZE=3D"2">173 Franklin St., New York, NY, 10013<BR>
(between Hudson & Greenwich)<BR>
<FONT COLOR=3D"#FF0000">1/9</FONT> subway to Franklin St.<BR>
<BR>
tel. 212-431-7466, fax 212-431-7403<BR>
email: <FONT COLOR=3D"#008000"><B>post@engine27.org<BR>
</B></FONT>more info at: <FONT COLOR=3D"#008000"><B>http://www.engine27.org<B=
R>
</B></FONT></FONT><H5><I><BR>
</I></H5><FONT SIZE=3D"2">Belated happy New Year and welcome back to Engine 2=
7's new season. We're resuming our presentation schedule with:<BR>
<BR>
This coming weekend's two performances -<BR>
=80 the final evening of Erstwhile Records' <I>AMPLIFY 2003:elemental</I> fes=
tival featuring an all star line-up including improvising guitar pioneer, Ke=
ith Rowe.<BR>
=80 Roger Kleier in concert with his virtual guitar orchestra and guests Anni=
e Gosfield and Jim Pugliese. <BR>
<BR>
A sound installation created from the perspective of the visual arts -<BR>
=80 Raoul Bjorkenheim and Grady Gerbracht create a spatial portrait of Engine=
27 using sounds collected from in and around the firehouse.<BR>
<BR>
A full schedule listing all our events through June 2003 is available on ou=
r www site.<BR>
<BR>
</FONT><H5>See below for artist bios.<BR>
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"></H5><FONT SIZE=3D"2">Engine 27 is prou=
d to host a concert:<BR>
</FONT><FONT COLOR=3D"#008000"><FONT SIZE=3D"5"><B>Erstwhile Records and Engine=
27 present <I>AMPLIFY 2003: elemental</I></B></FONT></FONT><FONT SIZE=3D"5"><=
B> <BR>
</B></FONT><B><FONT SIZE=3D"2">Keith Rowe =AD electric guitar, electronics &=
; Toshimaru Nakamura =AD no input mixing board<BR>
Greg Kelley =AD trumpet & Bhob Rainey =AD soprano saxophone & Jason Les=
alleet tapeloops<BR>
Gunter Muller =AD selected percussion, electronics & Tetuzi Akiyama =AD ele=
ctric guitar<BR>
Live sound spatialization by Michael Schumacher<BR>
</FONT></B><FONT SIZE=3D"2"><I><BR>
</I><B>date & time:</B> <B> &=
nbsp;<FONT COLOR=3D"#008000">Saturday, February 8<FONT FACE=3D"Times">, </FONT> =
7:30pm<BR>
</FONT>admission: &nb=
sp; $12 available online at <FONT COLOR=3D"#008000">http://ww=
w.engine27.org</FONT> or at the door<BR>
</B></FONT><H5><BR>
</H5><FONT SIZE=3D"2"><HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%">Engine 27 is prou=
d to present in our gallery a concert:<BR>
</FONT><FONT COLOR=3D"#008000"><FONT SIZE=3D"5"><B>Roger Kleier =AD <I>The 7th De=
partment<BR>
</I></B></FONT></FONT><H5>Roger Kleier (guitars), Annie Gosfield (sampling =
keyboards), Jim Pugliese (electronically altered percussion) <BR>
Programmed by Michael Schumacher<BR>
<BR>
</H5><FONT SIZE=3D"2"><I>Three live musicians play with a sonic representatio=
n of an altered guitar orchestra inspired by the Russian psychological/cultu=
ral sound warfare units of the NKVD from Word War II.<BR>
<BR>
</I>date & time: <FONT COLOR=3D"#008000"><B>Sunday, Feb=
ruary 9, 8pm<BR>
</B></FONT></FONT><H5> &nbs=
p; &n=
bsp; suggested admission $10<BR>
</H5><FONT SIZE=3D"2"><U><BR>
</U>The sound sources in this work were developed from samples and loops of=
electric guitars and other sonic effluvia. The guitars were altered w=
ith preparations, unusual tunings, and digital processing. The basic audio t=
racks were recorded during the artist=B9s stay at the Djerassi Residency Progr=
am in California. These tracks were then developed here towards creating a p=
anoramically mobile soundscape of a mutated guitar orchestra. The group of l=
ive musicians perform against this backdrop in real time. <BR>
<BR>
The title of this work refers to the NKVD special psychological warfare uni=
ts attached to the Red Army in World War II. One of their missions was to de=
prive the opposing German army of sleep by broadcasting through loudspeakers=
musics that the NKVD secret police felt would have jarring, sinister, or se=
ntimental qualities. "I became fascinated with the concept of how cultu=
res can define and presuppose the effects of different musics on people from=
other cultures, and I tried to imagine the sonic field that would have been=
created on such a vast landscape as the Russian Front."<BR>
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%">Engine 27 is proud to present in our =
gallery an installation: <BR>
</FONT><FONT COLOR=3D"#008000"><FONT SIZE=3D"5"><B>Raoul Bjorkenheim & Grad=
y Gerbracht =AD <I>Site&Sound</I></B><I> <BR>
</I></FONT></FONT><H5>Programming and feedback by Matthew Ostrowski<BR>
Lighting design by Zachary Williamson<BR>
<BR>
</H5><FONT SIZE=3D"2"><I>Recordings of the artists=B9 rhythmic and tonal explor=
ation of Engine 27=B9s architecture were made in all spaces of this former fir=
ehouse. Microphones attached to the building=B9s structural columns, plumbing,=
heating, electrical and other service systems provided vibrations and sound=
s of the daily existence of the building and its current inhabitants.<BR>
<BR>
</I>date & time: =
<FONT COLOR=3D"#008000"><B>Saturday & Sunday, February 1=
5, 16, 22, 23, 2-8pm<BR>
</B></FONT>opening reception: <FONT COLOR=3D"#008000"><B>Sa=
turday, February 15, 6-8pm</B></FONT><B>  =
; &nb=
sp; <BR>
</B><U><BR>
</U>To form an audible spatial portrait of the site, the artists=B9 on-site r=
ecordings were combined with field recordings from a nearby operating fireho=
use and horse stables which provide an abstract subtextual archeology of thi=
s institution=B9s pre-history as a firehouse. To acknowledge the current use o=
f the space as a production facility for multi-channel sound installations, =
Bjorkenheim used prepared guitars to respond to the space and Gerbracht adde=
d rhythmic and vocal improvisations. Each recording session was engineered t=
o capture the unique acoustic characteristics that define the space and stru=
cture of Engine 27. The collected recordings were then re-composed and manip=
ulated to maximize the spatial effect of the in-house multi-channel playback=
system. <BR>
<BR>
<I>Site&Sound</I> is a generative work, which means that, unlike a line=
ar composition, it is different every time it is played/performed. The compu=
ter that controls playback of the piece uses software that selects randomly =
from a list of pre-recorded sound files within parameters that are defined b=
y the composers. Like all computers the selection process is based on a simp=
le yes/no or if/then system. The "similar but different" quality o=
f generative composition seems appropriate for a spatial portrait as the lif=
e-functions of the building/institution vary little from day to day; however=
they are different each time. The building performs the same basic function=
s every day (shelter, drainage, signification, etc.), but not always in the =
same way, at the same moment or to the same inhabitants. <BR>
<BR>
The piece is scored by combining the visual composition of Max objects from=
the computer software that generates the sounds with architectural diagrams=
representing the firehouse. The score is a map, visual evidence of the soni=
c events that may unfold within the building during playback of the composit=
ion. The architectures of the computer software that controls the playback s=
ystem are compared to and combined with representations of the physical and =
institutional space in which the audience experiences the piece.<BR>
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"></FONT><H2>Artist Bios:<BR>
</H2><FONT COLOR=3D"#008000"><B><BR>
<I>AMPLIFY 2003: elemental<BR>
</I></B></FONT><B><FONT SIZE=3D"2">Tetuzi Akiyama</FONT></B><FONT SIZE=3D"2"> a=
nd <B>G=FCnter M=FCller</B> met each other for the first time at the <I>What Is =
Music </I>festival in Sydney, Australia in July 2002, also playing together =
later that year in Auckland and Tokyo. <BR>
<BR>
Akiyama plays guitar, alto violin, steel-pedal, electronic instruments, and=
perhaps above all, with microphones - a humble and curious means by w=
hich to open the way to the secret world of objects. His solo acoustic guita=
r CD <I>Relator</I> (Slub) is one of the most beautiful documents of improvi=
sed music in recent memory.<BR>
<BR>
M=FCller has been playing a unique drum set with a mobile pick-up and microph=
one system of his own invention since 1981. The system allows hand-generated=
sounds on drums and percussion to be modulated electronically. Since 1998, =
minidiscs are also a part of his electronic set. In 1990, he founded the sem=
inal record label For 4 Ears.<BR>
<BR>
<B>Greg Kelley</B> (trumpet), <B>Bhob Rainey</B> (soprano saxophone), and <=
B>Jason Lescalleet</B> (tapeloops) are the driving forces in the burgeoning =
Boston alternative improvised scene (although Jason has recently relocated t=
o Maine). The available recordings of this collaboration only hint at the ex=
tent and depth of the work these three have done together. This grave gap wi=
ll soon be filled by their upcoming double CD on Intransitive Records, <I>Lo=
ve Me Two Times</I>.<BR>
<BR>
Bhob Rainey and Greg Kelley of nmperign have done numerous recordings, sepa=
rately and together, for labels such as Erstwhile, Grob, Selektion, Potlatch=
, Twisted Village, and Meniscus. They have performed extensively throughout =
the U.S. and Europe in major festivals such as <I>Musique Action</I> (Nancy =
2002), <I>Fruits De Mhere</I> (Mhere 2002), <I>Densities</I> (Verdun 2001), =
and <I>Superfici Sonore</I> (Florence 2001). <BR>
<BR>
Jason Lescalleet's sound world occupies a space between noise, contemporary=
composition, and minimal electronics. His tactics are decidedly primitive w=
hile retaining an exacting eye for detail. In live performance, Lescalleet u=
ses reel-to-reel tape decks to explore the textures of low fidelity analog s=
ounds and the natural phenomena of old tape and obsolete technology. He blen=
ds layers of ambient tapeloops, found sound, shades of silence and white noi=
se, all transformed through cheap microphones and trashed speakers. His firs=
t solo recording, <I>Mattresslessness</I>, has just been released on Cut Rec=
ords.<BR>
<BR>
<B>Keith Rowe</B> and <B>Toshimaru Nakamura</B>, mutual fans of each other=B9=
s work, began to collaborate in early 2001, releasing the seminal document <=
I>Weather Sky</I> (Erstwhile). In the intervening years, they have worked to=
gether more and more, as much as their busy schedules and their geographic s=
eparation will allow. They are currently in the midst of a brief US tour.<BR=
>
<BR>
Keith Rowe has been breaking new ground in improvised music since co-foundi=
ng AMM in 1965, a project that=B9s still going strong. In the last few years, =
Rowe has begun working more and more with the younger stars of the internati=
onal electroacoustic improvised scene, such as Marcus Schmickler, Christian =
Fennesz, Otomo Yoshihide, Sachiko M and Oren Ambarchi. He has two imminent r=
eleases on Erstwhile, a trio record with Schmickler and Thomas Lehn, <I>Rabb=
it Run</I>, and a much anticipated double CD with his AMM compatriot John Ti=
lbury, <I>Duos For Doris</I>, both of which will be out this spring.<BR>
<BR>
Toshimaru Nakamura has developed into one of the strongest collaborators in=
the improvised world, as evidenced on record by his work with Sachiko M, An=
drea Neumann and Rowe, and in live performances with Thomas Lehn, Christof K=
urzmann and many others. Nakamura plays the "no-input mixing board,&quo=
t; connecting the input of the board to the output, then manipulating the re=
sultant feedback. <BR>
<BR>
More information available at:<BR>
<FONT COLOR=3D"#008000">http://www.erstwhilerecords.com<BR>
http://www.japanimprov.com/takiyama/<BR>
http://home.datacomm.ch/g.mueller/mueller.htm/<BR>
http://www.geocities.com/greyelkgel/<BR>
http://homepage.mac.com/bhobr/<BR>
http://www.shef.ac.uk/misc/rec/ps/efi/musician/mrowe.html<BR>
http://www.japanimprov.com/tnakamura<BR>
</FONT><FONT COLOR=3D"#0000FF"><U><BR>
</U></FONT></FONT><H5><BR>
</H5><FONT COLOR=3D"#008000"><B>Roger Kleier =AD <I>The 7th Department<BR>
</I></B></FONT><B><FONT SIZE=3D"2">Roger Kleier </FONT></B><FONT SIZE=3D"2">(b.=
1958) is a guitarist and composer whose unique guitar style draws equally f=
rom improvisation, contemporary classical music, electronic processing, and =
the American guitar traditions of blues and rock. Much of his compositional =
work involves the development of a broader vocabulary for the electric guita=
r through the use of extended techniques and digital technology. He has coll=
aborated with Annie Gosfield, Carl Stone, Marc Ribot=B9s Shrek, Elliott Sharp,=
Samm Bennett, David Moss, Chris Cutler, Davey Williams, LaDonna Smith, Ikue=
Mori, Alan Licht, Zeitgeist, Phill Niblock, Stan Ridgway, and many others. =
<BR>
<BR>
With various ensembles Roger has toured extensively throughout the United S=
tates, Canada, Europe, and Australia. Featured performances of his include N=
ew Music America; Tonic; the Kitchen; Symphony Space; Bang On A Can Festival=
at Lincoln Center; Taktlos Festival, Switzerland; Roulette; Experimental In=
termedia; Podewil, Berlin; The New Museum; the Rive de Gier Jazz Festival; W=
estwerk, Hamburg; CUBA, Munster; Festival Musique Action Nancy; Paradiso, Am=
sterdam; WUK, Vienna; ESC, Graz; Alter Schlachthof Wels; New Morning, Paris;=
Mills College, San Francisco; The Salvador Dali Museum, St. Petersburg; Fes=
tival Musique Actuelle, Victoriaville; Mesto Zensk, Ljubljana; Utopia, Innsb=
ruck; Desi, Nuremburg; Der Weimarhalle, Weimar; New Music Marathon, Prague; =
The Anchorage; The Audio Art Festival, Cracow; The Totally Huge New Music Fe=
stival,<B> </B>Perth; Warsaw Autumn; the Tampere Jazz Festival, Finland; the=
Schleswig Holstein Festival, Hamburg; and the Santa Fe Chamber Music Festiv=
al. <BR>
<BR>
His discography includes CDs on the Tzadik, CRI, Intakt, Atavistic, Wergo, =
EMF, and Geffen labels. His two solo CDs are "KlangenBang," releas=
ed on the Rift label, and his newest CD, "Deep Night, Deep Autumn"=
available on the Starkland label. Kleier currently lives in New York City. =
For more information, visit <FONT COLOR=3D"#008000">http://shoko.calarts=
.edu/~schlagen/</FONT>. <BR>
<BR>
<B>Annie Gosfield</B> is a New York-based composer, improviser, and keyboar=
dist. She divides her time between composing for chamber ensembles and perfo=
rming with her own group. Her music combines traditional and non-traditional=
techniques, and is often inspired by unorthodox and non-musical sources. Go=
sfield's music has been performed and/or commissioned by the Bang on a Can A=
ll Stars, The Miami String Quartet, Zeitgeist, Present Music, The West Austr=
alia Symphony Orchestra New Music Group, Agon Orchestra, Newband/Harry Partc=
h instruments, the Silesian String Quartet, and many others. Her disco=
graphy includes recordings on Tzadik, Sony Classical, CRI, Wergo, EMF, Atavi=
stic, and Harmonia Mundi. Her latest CD, "Flying Sparks and Heavy Machi=
nery" features <I>EWA7</I>, an industrial-inspired, site-specific work =
that was originally premiered in a factory during a residency in the industr=
ial environments of Nuremberg, Germany and <I>Flying Sparks and Heavy Machin=
ery, </I>a machine-inspired double quartet for strings and percussion perfor=
med by the Flux Quartet and Talujon Percussion. Upcoming projects include a =
commission for ex-Kronos cellist Joan Jeanrenaud and a concerto for acoustic=
and electric cello for Felix Fan. Visit <FONT COLOR=3D"#008000">http://www.ot=
herminds.org/shtml/Gosfield.shtml </FONT>for more information.<BR>
<BR>
<B>Jim Pugliese</B>, born in Newark, NJ in 1952, has performed and or recor=
ded new music with John Cage, Lukas Foss, Kent Nagano, Philip Glass and John=
Zorn. He has been recorded on over 60 CDs of new music, jazz and rock and h=
as established himself as both performer and composer throughout the United =
States, Europe and Japan. In 1997, Avant released the first album from his c=
ollaborative trio,<I> </I>Eastside Percussion<I>,</I> with Christine Bard an=
d Michael Evans. This group is about to release their second CD for the Avan=
t label. In his ongoing quest to explore the powerful, enlightening and spir=
itual secrets of drumming, Pugliese is currently collaborating with Nii Tett=
ey Tetteh master musician from Ghana, and continuing his work with Milford G=
raves learning about drumming and healing through the heartbeat. More inform=
ation about Jim Pugliese can be found at <FONT COLOR=3D"#008000">http://www.we=
bcom.com/jimp/pug.html</FONT></FONT><FONT SIZE=3D"4"><TT>.<BR>
</TT></FONT><FONT SIZE=3D"2"><U><BR>
<BR>
</U></FONT><FONT COLOR=3D"#008000"><B>Raoul Bjorkenheim & Grady Gerbracht=
=AD <I>Site&Sound</I></B><I> <BR>
</I></FONT><FONT SIZE=3D"2"><B>Grady Gerbracht</B> is an artist whose work fo=
cuses on the ordering systems of everyday life. Inspired by personal observa=
tions and life experiences, Gerbracht's projects employ art, architecture, s=
ound and social dynamics to render these ordering systems temporarily visibl=
e. He is Assistant Professor of Art at the State University of New York at S=
tony Brook, organizes events for Nomads + Residents and serves on the Board =
of Trustees of the FLUXART Center for Digital Art. His projects have been pu=
blished and exhibited in the U.S. and abroad. He recently organized<I> Back =
and Forth,</I> a series of four exhibitions involving notions of commutes an=
d itineraries, and is involved in a number of ongoing curatorial projects in=
cluding <I>Global Priority.</I> Recent works include <I>Site,</I> a series o=
f events which examine the border between performance and everyday life. The=
se improvised performances are recorded as audio portraits, which capture th=
e unique characteristics of the unusual architectural spaces in which they t=
ake place. <BR>
<BR>
<B>Raoul Bjorkenheim=B9s</B> guitar playing is often described as a force of =
nature, the conventional traits usually associated with jazz or rock having =
given way to a more visceral, expressionistic approach to creating music. Ex=
perimenting with various tunings on 6 and 12 string guitars, Bjorkenheim mak=
es full use of the subtleties offered by electronics, creating startling tex=
tures that imitate everything from birds, opera singers or flutes to heavy i=
ndustrial machines, string orchestras or butterfly wings. This creativ=
e versatility has taken him to stages all over Europe where he performed wit=
h such comrades-in-sound as Bill Laswell, Ronald Shannon Jackson, Jah Wobble=
, Edward Vesala, Paul Schutze and Mats Gustafsson. <BR>
<BR>
Born in Los Angeles in 1956 of Finnish parents, Bjorkenheim spent his schoo=
l years shuttling back and forth between New York and Helsinki. After comple=
ting his studies at the Berklee College of Music in 1981, he moved to Helsin=
ki where he lived for the next 20 years, teaching at the Sibelius Academy an=
d teaming up with like-spirited Finnish musicians to create several influent=
ial bands, the most important of which was Krakatau. This group recorded two=
albums for ECM which led to performances at the biggest European festivals,=
and the first album received the Finnish "Grammy" award for best =
jazz album of the year. <BR>
<BR>
Parallel to his career as a guitarist, Bjorkenheim has created an impressiv=
e body of compositions, ranging from works for solo guitar to his most recen=
t concerto for electric guitar, violin and symphony orchestra. A string quin=
tet is now under construction, as well as a suite for electric guitar. More =
information about Raoul Bjorkenheim can be found at <FONT COLOR=3D"#008000">ht=
tp://www.musicfinland.com/bjorkenheim/</FONT>.<BR>
<BR>
<HR ALIGN=3DCENTER SIZE=3D"3" WIDTH=3D"95%"><FONT COLOR=3D"#0000FF">To be added to =
Engine 27=B9s email list: http://64.247.23.2/mailman/listinfo/events_engine27.=
org.<BR>
</FONT></FONT><H5><BR>
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