Friday, January 18, 2013, 7:30PM White Flag Projects
4568 Manchester Avenue
Saint Louis, Missouri 63110
Eric Lanham – Electronics, Synthesizer Chris Bush – Electronics, Synthesizer

Caboladies members Eric Lanham and Chris Bush have maintained a significant presence on the experimental electronic music scene since the duo’s debut in 2006. Both as a collaborative duo and under the solo monikers of Carl CalmFlower Manand Palmetto Moon Electronic Group, Lanham and Bush have produced a wealth of music that documents their uniquely fractured sonic sensibilities. Regularly touring and releasing LPs, cassettes, and CDs for labels such as NNA, Editions Mego/Spectrum Spools, and Dekoder, Caboladies have quickly established themselves as fixtures on the midwest experimental electronic scene, finding common ground with peers such as Emeralds and Onehtrix Point Never.

Their January performance for New Music Circle at White Flag Projects will consist of separate opening sets by Lanham and Bush, followed by a proper Caboladies set with special live video accompaniment by fellow Lexington musician and graphic designer, Robert Beatty ( Three Legged Race / Hair Police ).

George Lewis / Marina Rosenfeld, “Sour Mash”

Saturday, December 15, 2012 CAM (Contemporary Art Museum)
3750 Washington Blvd
St. Louis, MO 63108

Sour Mash was composed by George Lewis and Marina Rosenfeld as a recording collaboration for multiple playback recombinations. Their fruitful partnership produced vinyl records intended to be further manipulated in their “Sour Mash” live sets, and also as creative material to be further used by other musicians and DJs.

A member of the AACM (Association for the Advancement of Creative Musicians), George Lewis’s work as composer, improvisor, and performer explores electronic music, multimedia installations, and text-sound works. His awards include the MacArthur Fellowship, and he has published and recorded prolifically. Lewis is currently the Edwin H. Case Professor of American Music at Columbia University.

Turntablist and multi-media artist, Marina Rosenfeld, creates large-scale performance works and installations. Her work has been commissioned by the Whitney Biennial, Tate Modern, The Kitchen, Merce Cunningham Dance Company, and her music presented at festivals such as Mutek, Donaueschingen, and Ars Electronica.


Taylor Ho Bynum Sextet

Saturday, November 3, 2012, 7:30PM The Luminary Center for the Arts
4900 Reber Place
Saint Louis MO 63139
  • Taylor Ho Bynum (cornet)
  • Jim Hobbs (alto saxophone)
  • Bill Lowe (bass trombone, tuba)
  • Mary Halvorson (guitar)
  • Ken Filiano (bass)
  • Chad Taylor (drums)

Composer, bandleader, and interdisciplinary collaborator, Taylor Ho Bynum, is a performer on cornet and various brass instruments. Bynum’s ongoing association with composer Anthony Braxton is recognized as one of the most fruitful partnerships of Braxton’s long career, and his work with Bill Dixon produced some of the departed trumpet-innovator’s late masterpieces.

For the past six years, the Taylor Ho Bynum Sextet has been Bynum’s primary working ensemble. Releasing albums and performing throughout the World, the Sextet supergroup is made up of Jim Hobbs (alto saxophone), Bill Lowe (bass trombone, tuba), Mary Halvorson (guitar), Ken Filiano (bass), and Chad Taylor (drums). The group’s 2007 debut, The Middle Picture Was hailed by The Wire Magazine as “the shape of jazz to come.”

Intermission musical selections and ambience provided by Guest DJ, Josh Weinstein (KDHX All Soul No Borders).

Read a NMC interview with Taylor Ho Bynum on our interviews page.


Taylor Ho Bynum Interview

We recently had a chance to ask Taylor a few questions about his music and the sextet he will be bringing to St. Louis this Saturday for a concert at the Luminary Center for the Arts. This is the first in a series of interviews with upcoming NMC artists.

NMC: Your music is a skillful melange of modern ideas and trends such as extended techniques and instrumentation combined with perhaps the most important elements in Jazz. It’s clear from listening to the 3 THB Sextet recordings–Asphalt Flowers, The Middle Picture and Apparent Distance– that composition plays a part in your music, but clearly so does freedom and unplanned improvisation. How do you create your music, i.e. how often do the six of you get a chance to practice and evolve off stage. Are you (Taylor) the only member working as composer or is that role being shared?

THB: The juxtaposition (and blurring) of composition and improvisation is one of my primary interests as an artist. I want to improvise with how we implement the pre-composed materials, and apply compositional instincts to how we improvise. All of the musicians in my sextet I’ve had long standing relationships with, so I can really trust their choices in that space, and we can take risks together as an ensemble. In this particular ensemble, I’ve composed all of the music, but I’ve spent much time playing compositions by all the other members, and those have clearly been influences on my writing for this group. Also, with the new piece we’ll be playing in St. Louis (tentatively titled “Navigation: Possibility Abstract”), I’ve tried to increase the freedom the musicians have in creating the structure of the piece while maintaining a strong compositional imprint. I’ve written six movements of composed materials, but how and when we play anything is up to the members of the group, they choose the direction of the journey in the moment.

NMC: The title of your most current album, “Apparent Distance” describes a sort of reflection of current events, mindsets, and a shift of language and realities…could you extend upon your choice in this title a little?

THB: I enjoy playing with language (with the new title for instance, abstract is more a noun than an adjective; an overview of the possibilities rather than the possibility of abstraction, but it’s also a little bit of both). With Apparent Distance, I was referencing both the visual illusion that makes objects of different sizes appear the same, and the idea that things that are viewed as separate (composition and improvisation, in and out, known and unknown) are actually more related than we generally assume.

NMC: Taylor, in your upcoming touring you’ll be performing in Poland at a “Made In Chicago” concert. The Chicago jazz and improvised music scenes continue to be some of the most important around – Do you see any direct links in your music to that of the Chicago heritage?

THB: Well, clearly the musics that emerged from the first generation of the AACM (Anthony Braxton, Herny Threadgill, Wadada Leo Smith, the Art Ensemble of Chicago, Muhal Richard Abrams) are some of the primary touchstones of my whole artistic aesthetic. The kind of creative individualism and compositional and improvisational innovation those masters pioneered remains one of my primary inspirations. I know I share the love and respect for that music with many of my generational peers in Chicago. But I also think the current scenes in both New York and Chicago are engaged in exploring our own ideas, and I think there is definitely a feeling of kindred spirits coming from different cities that is more about the present than it is about the past.

NMC: On your website you posted a piece about the passing of Bill Dixon and your memories and experience of working with him. Would you mind sharing any specific memories, learning experiences, or quotes from this giant of music, art, and expression?

THB: Bill Dixon was a life-changing influence for me, not just as a trumpet player but as a thinker, an organizer, and a philosopher. The way he combined sound and silence, patience and surprise, lyricism and noise, remains something I think about every time I pick up my horn or write music or lead a band. Bill dropped serious wisdom on such a regular basis it is very difficult to sum up in any one anecdote. However, I will close with the words he gave me immediately before we took the stage at the Victoriaville festival, at his final concert just a few weeks before he passed away. He told me I was going to start off the music, and instructed me to “Play something you’ve never played before, but that only you could do.” Those are words I try to live by every time I play.


Mephista Trio

Saturday, October 6, 2012, 7:30PM The 560 Music Center Ballroom
560 Trinity Ave.
University City, MO 63130
This concert is part of the American Arts Experience – St Louis

Prolific pioneers of experimental collaborations and veterans of the downtown NYC scene, Mephista consists of Sylvie Courvoisier (piano), “No Wave” pioneer and electronic musician Ikue Mori (laptop), and experimental percussionist Susie Ibarra (percussion).

Separately these three have worked with voices in new music such as Derek Bailey, William Parker, Zeena Parkins, John Zorn, and Sonic Youth. As Mephista they have released two albums for John Zorn’s Tzadik label. These releases spotlight each musician’s distinct approach to their instrument, as well as the densely textured static sounds they collaboratively compose as a trio.