IN THE SKY
by Leesa and Nicole Abahuni

Wednesday November 29th, 6-8pm
Reception and special performance

Location One is happy to announce that dancer Glen Rumsey will be joining the special performance by New York-based avant-garde musician Elliott Sharp, and percussionists Danny Tunick and Christine Bard, during the opening of In The Sky (performance at 7pm, free).

The multimedia installation, which marks the first solo show for twin artists Leesa and Nicole Abahuni, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

The exhibition will be on view through January 27^th 2007 (Tue-Sat, 12-6pm).

		American multi-instrumentalist, composer, and performer Elliott Sharp has personified the avant-garde experimental music scene in New York City for over thirty years. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. (website)Dancer, choreographer Glen Rumsey has worked with Merce Cunningham Dance Company, Mark Morris, Pam Tanowitz, and others. His dance suite ignored in my heaven… was performed at Location One last year to critical acclaim (website)

In The Sky was conceived by Leesa and Nicole Abahuni in their Location One studio while participating in Location One’s International Residency Program with support from the Andy Warhol Foundation for the Arts.

This exhibition has received funding from the Peter Norton Family Foundation and assistance from Harvestworks

Location One is pleased to present the debut solo exhibition in NYC by artists Leesa & Nicole Abahuni, on view in our main gallery at 26 Greene Street from November 21st through January 27th 2007 (Tue-Sat, 12-6pm).

An opening reception and performance will be held on Wednesday, November 29th from 6 to 8 pm.

The multimedia installation, which was commissioned by Location One, is entitled In the Sky, is an exploration into the sharing of the senses and the interconnectedness between perception and sensation as experienced through visual, aural, and physical realms.

In the Sky populates the gallery with strands of metallic beaded-chain hung in patterns from the ceiling, creating a spatial architecture through which visitors navigate. This web will force the individual to slow down the body so that the senses can become more aware of changes in tactile, visual and aural experiences while at the same time generating waves of movement, reflections and shadows. The audio portion of the installation presents six separate channels of sound, progressively laid out from the front to the back of the gallery. On the back wall of the gallery a video screen will show the work of hands weaving and unweaving a tapestry, or the movement of an acrobat winding and unwinding his body on a rope. Overall, the installation explores the notion of repetition, the weaving and unweaving of time and memory, so that the senses can rise to a greater awareness of the space around them.

The Abahunis have always worked as a team. “As twins we are born collaborators” says Nicole, and Leesa continues: “Collaboration is at the root of our thinking and our work. We believe that the active forging of tactile, aural and visual perception between humans and in collaboration with technology asks questions that can yield ways of better understanding, seeing and hearing natural order.”

Opening night, November 29th 2006, will include a half-hour performance of a new composition, commissioned by Location One and created specifically for this installation by New York-based avant-garde musician Elliott Sharp, and performed with percussionists Danny Tunick and Christine Bard, and dancer Glen Rumsey. Using MAX/MSP software that generates and manipulates sound, the musicians will create an aural environment that responds to the movements of people within the space. The performance will be recorded and the resultant selection of sound files will be used as audio components throughout the duration of the installation.

Leesa and Nicole Abahuni participated in Location One’s 2005-2006 International Residency Program, with support from the Andy Warhol Foundation for the Arts. In the Sky has received funding from the Peter Norton Family Foundation and assistance from Harvestworks.

The Abahunis studied at Goldsmiths College, University of London, MFA; Polimoda, Florence, Italy; and the School of Visual Arts, NYC, BFA in Computer Art. They have exhibited nationally and internationally including the 6th International Arts Biennial of Sharjah, United Arab Emirates; ICA, London; Sonic Interactions Conference, London; Redux, London; Gallery Mouri, Tokyo; Orb//Remote, Copenhagen; Half Machine Festival, Copenhagen; Eyebeam Atelier, NYC; Siggraph, Los Angeles; DUMBO Arts Festival, Brooklyn; DUMBO Arts Center, Brooklyn; 67 Gallery, Brooklyn; Deep Listening Space, Kingston; The Kitchen, NYC. Their solo performances include The New York Hall of Science, Queens and NYC in 2000. They have received awards and grants from the Experimental Television Center, NY; International Postgraduate Scholarship, Goldsmiths College, London, UK; Alumni Scholarship Award, School of Visual Arts, NY; and Award of Distinction, School of Visual Arts, NY.

Elliott Sharp is an American multi-instrumentalist, composer, and performer who has personified the avant-garde experimental music scene in New York City for over thirty years. He has released over sixty-five recordings spanning the musical spectrum from blues, jazz, and orchestral music to noise, no wave rock, and techno music. Sharp describes himself as a lifelong “science geek,” having modified and created musical instruments from his teen years. He is an inveterate performer, both as a soloist (playing mainly guitar, saxophone and bass clarinet) and with a number of ensembles.

Glen Rumsey is originally from Greensboro, NC. He graduated from the North Carolina School of the Arts and moved to New York to join the Merce Cunningham Dance Company. Glen has danced and collaborated with many choreographers, including Mark Morris, Pam Tanowitz, Stanley Love, and Sarah Michelson. He has also developed a drag performance character, Shasta Cola, whose shows have received critical accolades both in the US and Europe. In 2005 he choreographed an original dance suite entitled “ignored in my heaven…” which he performed to critical acclaim at Location One with his dance troupe, the Glen Rumsey Dance Project. He has received a Creative Residency for 2006-2007 at Dance Theater Workshop. www.glenrumsey.com

The nine million and twenty ninth dorkbot-nyc meeting took place on Wednesday, February 1st at 7pm.

It featured the lovely and talented:

	Ge Wang: ChucK + On-the-fly Programming + the Audicle ChucK, On-the-fly programming, and the Audicle are different parts of a new programming system and paradigm for real-time audio synthesis and multimedia. ChucK is the programming language; On-the-fly programming is the technique and aesthetic of writing/editing code during runtime; The Audicle is the context-sensitive graphical programming environment. Together, they form a theoretical and a practical framework for writing and experimenting with complex audio/multimedia programs that (1) have powerful control over time and concurrency and (2) can be created on-the-fly. We present the ChucK/Audicle framework and its potential applications for programmers, composers, and new media artists. http://chuck.cs.princeton.edu
	Anton Perich: painting machine In the Seventies I was a video artist, photographer and a painter. I dreamed of a machine that would paint. No more hand made paintings, but machine made, with sharp electric lines, on and off, like Morse code, short and long. So in 1977/78 I built such a machine, using surplus materials from Canal Street stores. I wired some photocells to the airbrushes on the motorized scanning unit that swept an area of about 10×12 feet, hung a piece of canvas, and made my first digital painting. In his Diaries Warhol said he was terribly jealous. This machine was an early precursor of ink jet printer/scanner. This was the time long before computer and digital art. I had my first show of electric paintings at Tony Shafrazy Gallery in 1979. I am still painting with this machine every day. It keeps breaking and I keep fixing it all the time. http://www.antonperich.com
	Carrie Dashow: recent works I work to address and expand the ways people communicate. I like collaborating with diverse groups of people to create enjoyable collective experiences transcending what we may expect of our interactions. Using pedestrian devices, these actions push personal and social boundaries. Through the use of technology unseen and subliminal connections momentarily surface. We are the medium technology dreams it can be. I will show some work from what I call the Negotiable Camera Ensemble, synchronized multi-camera people games, Red Light Relay; a public houselight event performed by downtown residents of Troy, NY, and my attempts at a self-editing video installation called the Informants, video pods who exist after the people have descended and are no longer necessary to a revived earth. http://www.dashow.net

Image gallery from the meeting

Friday, January 21 st , 2005

8:30 pm
Tickets: $12

Fifteen years after making a brief splash as an ill-fated downtown supergroup in the avant jazz and experimental music scene, Odd Job (Shelley Hirsch, Ned Rothenberg, David Weinstein and Samm Bennett along with new member bassplayer Stomu Takeishi) will give a one night reunion concert at Location One on Friday, January 21st , 2005.

In 1990 the group surprised and thrilled audiences by mixing skilled free noise improvisations with revisionist post-pop arrangements of rock and jazz standards. Their imaginative revisiting of songs by The Beatles, Jimi Hendrix, Bill Withers and other well-known pop icons subjected familiar melodies and structures to brutally altered arrangements and irreverent reconstruction.

Their inside-out recording of Hendrix’s Foxy Lady (female vocalist Hirsch, guitarless band) has earned them near legend status (Live at the Knitting Factory, Vol 2).

After one year the group disbanded amidst a host of invitations and exaltations, citing schedule conflicts and personal differences.

	Shelley Hirsch is an unorthodox, extraordinary fusion of vocalist, composer and performance artist whose work encompasses story telling pieces, staged performances, compositions, improvisations, collaborations, installations and radioplays, which have been presented on 5 continents. Hirsch has performed hundreds of concerts of improvised music with Anthony Coleman,Christian Marclay, Toshio Kajiwara, Aki Onda, Ikue Mori, Butch Morris, Billy Martin, DJ Olive, Dennis Delzotto, Fred Frith, Min Xiao Fen, David Watson and many many others. Her vocals can be heard on 30 cds including her most recent releases “The Far In Far Out Worlds of Shelley Hirsch” (Tzadik) and “Duets” with guitarist Uchihashi Kasuhisa ( Innocence) and “O Little Town of East New York” (Tzadik) and “Haiku Lingo” both with longtime collaborator, keyboardist/composer David Weinstein.
Photo by Caroline Forbes	Composer/performer Ned Rothenberg has been internationally acclaimed for both his solo and ensemble music, presented for the past 25 years in North and South America, Europe and Asia. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Intervals, a double-CD of solo work, and Are You Be, by R.U.B. (Rothenberg/Kazuhisa Uchihashi/Samm Bennett) on Rothenberg’s Animul label. Chamber music releases include Ghost Stories, on Tzadik and Power Lines on New World, along with Port of Entry, Sync’s release on Intuition. Other collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Marc Ribot, Yuji Takahashi and Evan Parker. For more visit www.nedrothenberg.com
photo by Mark Lentz	David Weinstein is keyboardist, composer and multimedia artist whose musical works juxtapose sound effects, traditional and non traditional instruments, synthetic sound, ancient and exotic tunings and noise. His group Impossible Music uses sound effects, found sound and cheap electronics to construct virtual soundtracks. As a keyboardist Weinstein has recorded and performed in collaboration with musician/artists including Shelley Hirsch, Angie Eng, Elliott Sharp, Doris Vila, Ned Rothenberg, John Zorn, Zeena Parkins, Rhys Chatham, Butch Morris, Christian Marclay and many others. Weinstein’s discography includes “Perfume” (Avant/Hips Road) and “A Classic Guide¡¨ (No Man’s Land).
	Samm Bennett is a composer and percussionist who over the past 25 years has blazed his own paths in the exploration of rhythm and polyrhythm. He’s long maintained an interest in electronic instruments as well as acoustic percussion, and his music has always been defined by an enthusiastic embrace of new sonic possibilities. The years he spent in NY saw him working as an improvisor or bandmember with Elliott Sharp, Shelley Hirsch, Ned Rothenberg, Hahn Rowe, Tom Cora and many others, as well as a bandleader and singer/songwriter with his own groups Chunk and History of the Last Five Minutes. Since 1995 he has resided in Tokyo, where he’s performed and recorded with musicians such as Haino Keiji, Yoshigaki Yasuhiro, Haco, Uchihashi Kazuhisa, Carl Stone, Akiyama Tetuzi, Tanaka Yumiko and others. He is a member of the the song/electronica project Skist, along with vocalist and sound creator Haruna Ito. Solo performance has become Bennett’s main focus over the last couple of years, and in 2004 he released “Secrets of Teaching Yourself Music” (Improvised Music From Japan IMJ-516), a live recording from solo concerts at various Tokyo venues. The album features his work on WaveDrum plus various other instruments and gadgets. The Wire’s Edwin Pouncey called the record an “amusing and entertaining DIY musical primer… Bennett’s lively manipulation of sound never fails to uncover some new means of communication between the objects he has assembled.”
photo from downtownmusic.net	Electric bassist Stomu Takeishi has recorded and toured with Myra Melford’s Crush Trio, Henry Threadgill’s Make A Move band, Eric Friedlander’s Topaz and with Dave Tronzo’s Tronzo Trio. He has recorded with Paul Motian and Mick Goodrick and has performed with Don Cherry, Bob Moses, Dave Liebman, Wynton Marsalis, Randy Brecker, Rasheed Ali, and Leni Stern.

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

All tickets at the door: $10, Members Free

Janene Higgins and Ikue Mori will perform a live duet of video and music.

JANENE HIGGINS’ videos and digital media have been presented internationally at numerous festivals and galleries throughout the world. She has developed a unique style for live video performance, utilizing video mixers and Powerbook as performance instruments. This brought collaborations with such artists as Alan Licht, Prema Murthy, Elliott Sharp, and Zeena Parkins. She has performed in many music festivals in Europe and North America, including Music Unlimited in Wels, Austria; the City of Women festival, Slovenia; Vasistas Festival of Multimedia, Montreal; Roulette Festival of Mixology, NYC, and at Documenta X.

IKUE MORI, one of New York’s most exciting improvisers and composers, has played with musicians such as Fred Frith, John Zorn, Zeena Parkins and Jim Staley. Ikue Mori has developed a personal and innovative technique of playing samplers triggered by adapted drum machines and incorporated laptop computer programming to broaden her scope of musical expression. Her most recent albums are Labyrinth, solo computer (Tzadik 2001), One Hundred Aspects of the Moon (Tzadik 2000), Painted Desert (Avant) with guitarists Marc Ribot and Robert Quine, Death Praxis (Nonsequitor) with vocalist Tenko, and Vibraslaps (Rec Rec) with singer Catherine Jauniaux. Other recent projects include the collaboration Mephista (Tzadik, 2002) with Sylvie Courvoisier and Susie Ibarra. She has also recorded as a member of the groups Fukuko, Tohban Djan, and The Worlds Of Love (with David Garland and Cinnie Cole). Mori was a member of the legendary late ’70s “No Wave” group DNA (with Arto Lindsay) who can be heard on albums on Avant and American Clave, and on the Brian Eno-produced No New York compilation on Antilles. Ikue has given workshops at the International Percussion Festival in Berlin, and performed at NY Symphony Space and Derek Baily’s Company Week in London. In 1999 she won the Distinctive Award for Prix Ars Electonics in the Digital Music category.

Shelley Hirsch will perform solo and improvisational works with turntablists Marina Rosenfeld and Toshio Kajiwara. Hirsch will be celebrating her record release The Far in Far Out Worlds of Shelley Hirsch (Tzadik) and Duets with Uchihashi Kasuhisa (Innocence).

SHELLEY HIRSCH is a vocalist, composer, performance artist whose written and improvised work for stage, concert, record, film, television and radio has been presented on 5 continents. Hirsch has been called “enormously inventive, scathingly satiric and virtuosic” by the NY Times. Her work incorporates extended vocal techniques, real and imaginary language, international music styles, stream of consciousness, electronics, characterizations, storytelling, movement and mixed visual media.

She has presented her mostly staged solo pieces at prestigious festivals, theaters and museums around the world including The Hebbel Theater (Berlin), WienerFestWochen (Vienna), The Zurcher InternationalTheaterSpektakel (Zurich) Adelaide State Theater (Australia) The Whitney Museum (NYC) Experimenta Festival (Buenos Aires), Helsinki Biennale (Finland) Angelica Festival (Bologna Italy)City of Women Festival (Llubliana Slovenia). She has performed improvised music with musicians Anthony Coleman, Christian Marclay, Ikue Mori, John Zorn, Fred Frith , DJ Olive and Toshio Kajiwara, Min Zhou Feng among others and can be heard on dozens of CDs including her latest CDs Duets with Uchihashi Kasuhisa and a soon to be released solo CD The Far Out Far In Worlds Of Shelley Hirsch on Tzadik; States; her storytelling CD O, Little Town of East New York on Tzadik ; Haiku Lingo on No Mans Land (both with keyboardist David Weinstein) and with the groups September Band and X-Communication (both on FMP). She can also be heard on CDs by Richard Teitelbaum, Jon Rose, Elliot Sharp, Nicolas Collins, John Zorn, David Moss, Sven Ake Johannson and Alexander Von Schlippenbach, Butch Morris, Jim Staley, Hans Koch, Martin Schutz and many compilation CDs. Hirsch is the recipient of many grants and fellowships including NEA, NYFA , NYSCA and Creative Capital.

Mark Dresser Modular Ensemble
a music performance curated by Ned Rothenburg

Mark Dresser & Marcus Weiss Duo

8:00 PM Each night
$10 admission – Members Free

Mark Dresser Modular Ensemble Composer and bassist Mark Dresser will present an evening of his compositions including the U.S. Premier of “Althaus” for an ensemble of virtuoso musicians from Switzerland including tuba soloist, David LeClair with Marcus Weiss (alto sax), Regula Schneider (clarinet), Stefania’ Verita’ (cello) and New York bassist, Mark Dresser.

“Althaus” is written for tuba virtuoso David LeClair and a mixed ensemble of reeds and strings. It was recorded on Mark Dresser’s 2000 Tzadik release, “Marinade”. This “tuba-fest” has Mr. LeClair as featured soloist in a work that integrates composition and improvisation, mining rich “new” sounds, catchy grooves, a long evolving melody, and a singing chorale. Also featured will be “Quartet for Trio” with Matthias Ziegler (flutes), Regula Scheneider (voice and clarinet) and bassist Dresser. There will also be a world premier of a sextet composed by saxophonist, Marcus Weiss.

Mark Dresser & Marcus Weiss Duo
Swiss virtuoso saxophonist Marcus Weiss, a champion of contemporary music performance, and the New York bass virtuoso and composer Mark Dresser will present an evening of compositions, structured improvisations and solo pieces. In the last ten years Marcus Weiss has premiered more than a hundred works for solo saxophone, chamber music and saxophone concertos. Such composers as Georges Aperghis, John Cage, Helmut Lachenmann, Salvatore Sciarrino, Vinko Globokar, Hanspeter Kyburz, Manuel Hidalgo, Jô Kôndô, Elliott Sharp, Brice Pauset, Stefano Gervasoni, Mauricio Sotelo and others have composed for him.

Location One announces the last performance of its Spring Music Series, which will be an evening with Zeena Parkins and Janene Higgins, presenting their latest works, Arch and How I See the World, #1. With electric harp, processors, multiple projections, and cameras, they perform a live music/live video duet. Parkins continues her sonic research on her self-invented electric harp, a hybrid of an acoustic harp and an electric guitar. Higgins utilizes video mixers and cameras in a live performance setting, enabling her to “play” the video as a musician would play an instrument. The performance will be presented in the gallery and be streamed live at www.location1.org.

Arch considers the human body and its penetration into architecture and the urban landscape. The piece premiered at Roulette, New York City, in May 2000 as part of their Festival of Mixology. It since has been taped for Roulette TV, airing in early 2001, and was part of the December music series at Phill Niblock’s Experimental Intermedia. How I See the World is the first of a series of more purely improvisational works.

The duo have been collaborating for five years. Their last full-length piece, Artificial Eye, premiered in Kassel, Germany, for Documenta X. Other presentations include Music Unlimited festival in Wels, Austria and at the City of Women festival in Slovenia.

The development of Arch was partially funded by a grant from The Experimental Television Center, which is supported in part by the New York State Council on the Arts.

Zeena Parkins
multi-instrumentalist, improviser, composer, is a leading light in European and North American ‘Other Music’ circles. A frequent guest of festivals covering the broadest spectrum of musical activity, she is not only one of the pioneers of the electric harp, and extended techniques and digital processing on the acoustic and electric harps, but a composer with a unique vision of how to meld acoustic and electronic processes, in pieces such as Isabelle, Mouth=Maul=Betrayer, Pan-Acousticon and VOU-Valley of Unrest. Zeena has performed and/or recorded with (among others): John Zorn, Ikue Mori, Fred Frith, Elliott Sharp, Jim O’Rourke, Thurston Moore, Lee Renaldo, David Shea and Pauline Oliveros and has toured throughout Europe, Japan in Russia and in the States. Recent collaborations include scores for choreographers Neil Greenberg, Emmanuelle Vo-Dinh, Jennifer Lacey and video artist Janene Higgins. Zeena is a recipient of the prestigious grant for Contemporary Performance Arts, numerous commissioning funds from Mary Flagler Cary Trust, the Jerome Foundation, a Rockefeller Foundation grant, and Nysca Composer Commission. Most recently Zeena performed with Yoko Ono at the Japan Society and has also been working with Bjšrk on her newest record.

Janene Higgins
is a graphic designer and video artist living in New York City. Since 1996, her videos and digital media have been presented in numerous festivals throughout the world, including New York and Chicago’s Underground Film Festivals, The Barcelona Festival of Independent Video, Art Institute of Chicago, The Impakt Festival in Holland, New York Lesbian & Gay Film Festival, Experimenta Festival in Buenos Aires, The Hamburg Short Film Festival, and at New York’s Irving Plaza. In the realm of live video performance she has worked with such artists as Vernon Reid, Prema Murthy, Wharton Tiers, sculptor Jude Tallichet, and has an ongoing duo with Zeena Parkins. She is a frequent artist-in-residence at The Experimental Television Center in Owego, New York, and was a recent recipient of their Finishing Funds grant. Her latest video, We Hate You Little Boy, was featured in the multimedia exhibits “FACING FEAR” at the San Francisco Art Commission Gallery, and “VIVISECTION” at Location One in NYC.

For more information: http://www.echonyc.com/~myrakoob/performance/arch.html
Interview with Zeena and Janene at the “Noisy.org” website: http://www.noisy.org/mixology.html.

Click here to view the embedded video.

Marc Ribot (pronounced REE-bow)
was born in Newark, New Jersey in 1954. As a teen, he played guitar in various garage bands while studying with his mentor, the Haitian classical guitarist and composer Frantz Casseus. In 1978, Ribot crossed the river to New York City, where he served as sideman for such musicians as jazz organist Jack McDuff and legendary soul shouter Wilson Pickett. The following year, Ribot joined up with the Realtones and the Uptown Horns Band, which worked as a NYC pickup band for such Stax/Volt stars as Carla Thomas, Rufus Thomas, Solomon Burke and many others. Ribot began his five year stint as a member of the Lounge Lizards John Lurie’s innovative and influential Downtown jazz ensemble in 1984.

His six-string stylings, which blended elements of classicist Blues guitar with an ironic No Wave/Knitting Factory aestethic, caught the ear of a number of artists who were also interested in amalgamating and disrupting disparate musical traditions. Ribot went on to perform on some of these singer/songwriter’s finest moments, including Elvis Costello’s “SPIKE,” “MIGHTY LIKE A ROSE,” and “KOJAK VARIETY”; Marianne Faithful’s “BLAZING AWAY”; and, most notably, Tom Waits’ “RAIN DOGS,” “BIG TIME,” “FRANK’S WILD YEARS,” and the new “MULE VARIATIONS.”

All the while, the increasingly in-demand guitarist continued to explore the ever-changing terrain of New York’s New Music, working with such musicians as Arto Lindsay, Don Byron, Elliot Sharp, Anthony Coleman, T-Bone Burnett, the Jazz Passengers, Evan Lurie, Chocolate Genius, Jamaaladeen Tacuma, and John Zorn in any number of incarnations. Ribot also composed and recorded his own brand of Downtown soul music with his bands, Rootless Cosmopolitans and Shrek, as well under his own name. His 1996 “DON’T BLAME ME,” which found a solo Ribot reinventing a number of American standards, was hailed by The Village Voice’s Gary Giddins as “a record filled with savory and unlikely amusements.”

In recent years, Ribot’s always-eclectic workload has included sessions with Cibo Matto, the late Allen Ginsburg, Phish guitarist Trey Anastasio’s Surrender To The Air project, Atlantic recording artist Madeleine Peyroux (found on her 1996 “DREAMLAND”), and Patty Scialfa on her forthcoming solo album. Ribot also continues to do a great deal of work with Zorn, having played on his “FILMWORKS” collections, and as a member of his Bar Kokhba ensemble.

Click here to view the embedded video.

See RADIOLARIA description

Premiered at the 42 St. Whitney Museum in December ’99, RADIOLARIA is the latest of E#’s algorithmic compositions.

Based on biological models of growth and reproduction, the 12-piece ensemble of winds, brass, samplers, and percussion plus real-time computer processing, uses sets of simple instructions to manipulate a variety of composed cores, creating structures in a mode analogous to that of organisms such as “radiolaria,” a kind of aquatic, single-celled protozoa. These structures are not just ordered in time but also in acoustic space, with the stacked overtones of the interacting instruments manifesting difference tone effects and “ghost instruments.” This effect is enhanced by the live computer processing of the massed sound of the ensemble to extract overtones and subharmonics fed back into the mix.

The group includes: Frank London and Eric Shanfield (trumpets), Ned Rothenberg and Sam Furnace (alto saxes), Evan Spritzer and Tim Smith (bass clarinets), Steve Swell and Julie Kalu (trombones), Zeena Parkins and David Weinstein (samplers), and Jim Pugliese (percussion.) E#: soprano sax, Powerbook

RADIOLARIA was commissioned for Orchestra Carbon as part of the national series of works from Meet The Composer/Arts Endowment Commissioning Music USA, with support from the Helen F. Whitaker Fund.

The latest Orchestra Carbon CD, SyndaKit, is now out on the zOaR label and available from Downtown Music Gallery (dmg@panix.com)

Elliott Sharp bio

Click here to view the embedded video.

Ned Rothenberg composes and performs on saxophones, bass clarinet, flute and shakuhachi (an end blown Japanese bamboo flute). He has been internationally acclaimed for his solo music which he has presented for the past 16 years in hundreds of concerts throughout North and South America, Europe and Japan. He leads the ensembles Double Band and Power Lines and was a founding member of the cooperative group New Winds (with Robert Dick, flutes and Herb Robertson, Trumpet). His newest project is Sync, a trio with guitarist/bassist Jerome Harris and Tabla virtuoso Samir Chatterjee. His co-collaborators in other projects have included Paul Dresher, Yuji Takahashi, Sainkho Namchylak, Richard Teitelbaum, Elliott Sharp, Samm Bennett, John Zorn, Katsuya Yokoyama, Kazuhisa Uchihashi and Fred Frith. He’s lived and worked in New York City since 1978.

Rothenberg’s musical interests are numerous and his work varies widely in its sonic, emotive and stylistic profiles. A strong underlying element of his instrumental voice is the extension of the woodwind language to incorporate polyphony and accurate microtonal organization through the manipulation of multiphonics, circular breathing, and overtone control, not only using his horns in their standard melodic role but also as rhythmic and harmonic engines in both solo and ensemble contexts. As a composer he can move from “Jazz-funk in cubist perspective, dizzying, yet visceral”* (Double Band) to a solo music that is “intense, slightly melancholic, rhapsodic without being sentimental”+, while avoiding the use of mere effect- “crafting distinct, evocative compositions that boast shape as well as texture^”. (*-Jon Pareles and +Edward Rothstein, NY Times and ^Neil Tesser, Chicago Reader).

A few of Rothenberg’s more notable sojourns have been 6 trips to Japan including a 6-month residency there during which he performed his music and studied shakuhachi with two of the foremost masters of the instrument, Goro Yamaguchi and Katsuya Yokoyama. 3 trips to the former Soviet Union in’89, ‘92 and ‘94 working solo, in various groups and in duo with Sainkho Namchylak. December ‘91 saw his first trip to South America where he presented his solo music. This is in addition to numerous tours in North America and Western Europe each year playing festivals, theatres and clubs as a leader or collaborator.

Ned Rothenberg’s discography includes: a solo CD, The Crux (Leo), Double Band’s ‘Over Lays’ and ‘Real & Imagined Time’, Power Lines’ premier recording (New World ), ‘Amulet’, duo with Tuvan vocalist Sainkho Namchylak (Leo), ‘Monkey Puzzle’, a duo with Evan Parker (Leo), a studio collaboration co-composed with Paul Dresher, ‘Opposites Attract’ (New World), 2 records by Semantics (Rift & SST), New Winds’ releases ‘Potion’,’Digging it Harder From Afar’ (Victo), ‘The Cliff’ and ‘Traction’ (Sound Aspects), Cafe 9.15 with the Japanese band Altered States (DIW) as well as 3 solo LPs: Trespass, Portal, and Trials of the Argo on Lumina. His work can also be heard on the Nonesuch, A&M, ECM, Recommended, Sub Rosa, Enemy and Virgin labels. (For a complete discography see url below)

Born in 1956 in Boston, Rothenberg graduated from Oberlin College and studied music at Oberlin Conservatory, Berklee School of Music, privately with Les Scott (saxophone & clarinet), and George Coleman (jazz improvisation). However, his trademark solo technique is self-taught. His musical efforts have been furthered by grants and commissions from the New York Foundation for the Arts, New York State Council on the Arts, Cary Trust, Lila Wallace Foundation, Chamber Music America, Asian Cultural Council, Roulette, Jerome Foundation, Meet the Composer, and ASCAP.

For booking information or other info Email Ned Rothenberg: location1@location1.org
To order CD’s Email Bruce Gallanter at New York’s Downtown Music Gallery: dmg@panix.com
For full discography posted on the web: http://www.nwu.edu/jazz/artists/rothenberg.ned/discog.html#ned_discography

We are happy to announce the initiation of our performance program by offering a free concert of music and dance on Saturday, February 12th at 8pm. Ned Rothenberg and Yves Musard will collaborate on an exploration of the new exhibition space: Ned, with music and Yves, with dance. We will broadcast the performance over the Internet.

These two original performers have worked together previously at the Cartier Foundation in Paris, the Bolzano Festival in Italy and at Dia Center for the Arts in New York. They have developed a fascinating and complex interaction. The audience will experience a spell cast by Rothenberg’s quasi-polyphonic solo saxophone music in Location One’s beautifully reverberate acoustic space. Musard’s movement functions both to outline and interweave with the physical and sonic environment.

Ned Rothenberg composes and performs on saxophones, clarinets, and shakuhachi. He has been internationally acclaimed for his solo music, presented for the past 18 years in hundreds of concerts throughout North America and South America, Europe and Asia. He currently leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, table and the ensembles Double Band, and Power Lines Close collaborators have included Sainkho Namchylak, Paul Dresher, John Zorn, Masahiko Sato, Samm Bennett, Elliott Sharp, and Katsuya Yokoyama.

Yves Mustard has been based in New York since 1979. In 1990 he began to create a series of “dance itineraries” in relation to specific views and details of architecture in public spaces. His most recent projects are “Spots and Loops” (1999), a guided visit through the Museum of Contemporary Art (MAMCO) in Geneva, Switzerland and “Between 19th and 14th” (1999), a promenade starting at the Kitchen in Chelsea, produced by the Downtown Arts Festival.

Click here to view the embedded video.