Admission $6-10 sliding scale
All ages welcome, no one refused for lack of funds.
8pm Eric Glick Rieman and friends
Nava Dunkelman: percussion.
Stephanie Neumann: saxophones and voice.
Jakob Pek: guitars and percussion.
Eric Glick Rieman : uncharacteristically on modular synthesizer and box board
9pm Loop 2.4.3’s Time-Machine_music – Thomas Kozumplik (aka Loop 2.4.3)
combines man’s oldest instruments (percussion and voice) with electronics and time-based effects to create an other-worldly musical journey.
Eric Glick Rieman has assembled a small cast of improviser/performers for this set. On the docket, find his graphic scores made in collaboration with snails (http://www.ericglickrieman.com/scores.html), free/open improvisation, and perhaps a piece from his vaults (“She Dolls with Dollies” – from 2000 – created using a codification system analyzing the words from the poem of the same name by Dada poet Kurt Schwitters).
Thomas Kozumplik (aka Loop 2.4.3) combines man’s oldest instruments (percussion and voice) with electronics and time-based effects to create an other-worldly musical journey. The material deals with literally and figuratively manipulating and experiencing “time” in different ways, from a personal and social perspective, and is alternately contemplative, melodic, rhythmic, poignant, and cathartic. Please see www.loop243.com for more.
This concert is part of a California tour that will take the œTime-Machine to Santa Cruz, Sacramento, San Francisco, Los Angeles, Studio City, Whittier, and Joshua Tree. The engagements include concerts at clubs and arts centers, as well as outreach programs for students from elementary to college level, arranged through Look 2.4.3™s label, Music Starts From Silence (www.MusicStartsFromSilence.com).
Thomas Kozumplik (Loop 2.4.3, Clogs) has appeared internationally as a soloist and chamber musician in collaborations with the Brooklyn Philharmonic, Adelaide Art Orchestra, Kronos Quartet, Dafnis Prieto, Evan Ziporyn, Bang on a Can All-Stars, Shara Worden, Sufjan Stevens, The Books, The National, Gyan Riley, Legacy Percussion Orchestra, and more, at venues such as the Barbican (London), Carnegie Hall (NYC), Brighton Dome (Brighton, UK), Paradiso (Amsterdam), France Inter Radio “White Sessions” (Paris), international festivals such as the Sydney Festival (AUS), Adelaide Festival (AUS), London Jazz Festival (UK), Music Now (Cincinnati), Big Ears (Knoxville), Ecstatic Music Festival (NYC), Halifax Jazz Festival (NS), and universities, including Cornell, California Institute of the Arts, Michigan State Univ., Santa Clara Univ., and many more. His original music has been described as “action adventures and reveries…it all sounds like part of a well-thought-out tradition. Only the tradition has never existed until now.” – NPR
Ad-Hoc Groups night
Bring an instrument for some group improv! Instrumentalists will have their names drawn from a receptacle into trios and quartets for short (7 minute) sets. Confirmed participants:
Jorge Bachmann – electronics
CJ Borosque – trumpet
Matt Davignon – electronics
Brian Day – homemade instruments
Karl Evangelista – guitar
Philip Everett – electronics
Joe Lasqo – keys
Josh Marshall – sax
Mark Pino – percussion
Rent Romus – sax
Eli Wallace – keys
“Sound-Speak” Continues with another night of spoken word and experimental sounds…
8:00pm Nick Obando (and other musicians TBA:)
9:00pm “Pitta of the Mind” (electronic synth, and poetry-)
Nick Obando’s path to music came at a very young age when discovering a saxophone in his father’s closet. He continued to study multiple genres from symphonic to jazz all the way through college where he majored in Music at Cal State San Marcos. Returning to the Bay Area he became an educator. In addition to teaching privately, Obando is also currently a middle school music teacher at a local private school in Oakland. He develops himself as a musician through the medium of improvisation where he performs around the bay area with an experimental jazz group Mutual Aid Project, a politically conscious band. His involvement in the Philippine arts began by studying bandurria through ACPA. Obando fell in love with the music and dance of the Philippines. He also felt a more complete self in learning about his cultural background by way of the arts.
“Pitta of the Mind “is the duo of Amanda Chaudhary and Maw Shein Win, combining poetry with abstract electronic music. Their highly theatrical performances each center around a theme that is explored via text, sound and visuals.
Amanda Chaudhary is a composer and performer specializing in contemporary and electronic music. Her solo work involves experimenting with innovative sounds via analog synthesis and custom software with computers and mobile devices as well as folk and toy instruments. Her other ensemble projects include Reconnaissance Fly, an art-pop band and composers collective; and Surplus 1980, a Bay Area post-punk band.
Maw Shein Win often collaborates with visual artists and musicians, and her latest poetry chapbook, Ruins of a glittering palace, with paintings by Mark Dutcher, was published by SPA/Commonwealth Projects. She is currently a poetry editor for Rivet: The Journal of Writing that Risks for Red Bridge Press, a freelancer at the San Francisco Writers’ Grotto, and a co-publisher for Stretcher.