Susan Alcorn / Frank Rosaly

Friday, January 22, 2016, Concert 8:00 PM, doors 7:00 PM
at Joe’s Cafe, 6014 Kingsbury Ave., 63122 (map)
Susan Alcorn — pedal steel guitar, Frank Rosaly — drums

Alcorn-Rosaly

Susan Alcorn is a Baltimore based composer and instrumentalist who has received international recognition as an innovator of the pedal steel guitar. Alcorn elicits an expansive range of sounds from her instrument, from accessible country glissandos to Theremin like science fiction “noir” effects. The warm and shimmering earnestness of her instrument is used to full effect in her arrangements, probing the depths and textures of the songs. The UK Guardian describes her music as “beautiful, glassy and liquid, however far she strays from pulse and conventional harmony.”

Though mostly a solo performer, she has collaborated with numerous artists including Pauline Oliveros, Joe McPhee, Ellen Fullman, Evan Parker, Michael Formanek, and Thurston Moore. Her most recent album, Soledad, was released in 2015 on Relative Pitch.

Drummer Frank Rosaly has lived in Chicago since 2001 and has become an integral part of that city’s musical fabric, playing in improvised and experimental ensembles as well lending his skills to rock and indie groups. This flexibility as a musician lends particularly well to his improvised sets, where possibly he shines brightest.

New Music Circle audiences may recall his performance in 2013 with Joshua Abrams’s Natural Information Society at Joe’s Cafe. As we heard, unusual percussive devices such as found objects and electronic sounds are often included in his arsenal, and he is capable of transitioning from the most subtle sounds to intense outbursts, all in the same breath.

Rosaly now devotes much of his time to performing, composing and teaching, as well as organizing musical events. His collaborations include work with Matana Roberts, Fred Lonberg-Holm, Jeb Bishop, Ken Vandermark, Roscoe Mitchell, Ryley Walker, Colin Stentson, and Marshall Allen.

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Silvie Courvoisier / Mark Feldman Duo

Presented by New Music Circle and KDHX

Friday, December 4, 2015, concert 8:00 PM, doors 7:00 PM
at The Stage at KDHX, 3524 Washington Ave., 63103 (map)
Sylvie Courvoisier — piano, Mark Feldman — violin

Mark Feldman / Silvie Courvoisier

Swiss pianist Sylvie Courvoisier and American violinist Mark Feldman have been close partners, both musically and personally, for more than fifteen years, and their music attests to that, imbuing a sense of familiarity yet avoiding predictability. Feldman spoke of the music’s goal to achieve “integration…the real organic integration of classical and modern jazz.”

Since relocating from Switzerland to New York City in 1998, Sylvie Courvoisier has been and active force in the downtown New York scene and has released albums on John Zorn’s Tzadik label as well as ECM. In both her playing and her composition, she reflects neoclassical influences mixed with European improvised styles and draws much inspiration from the unique sphere of experimental genres that make up the New York downtown scene, where she regularly performs and records with Ikue Mori and Susie Ibarra (as the trio Mephista), John Zorn, Yusef Lateef, Evan Parker, Lotte Anker, and Fred Frith, among others.

Mark Feldman belongs to that selective cadre of jazz violinists dominated by such greats as Noel Pointer and Stéphane Grappelli, all while honing a storyteller’s vernacular so much his own that he may one day be seen as the pioneer of a new tradition. Firmly established as one of jazz’s finest string players, his musical explorations establish a climate often associated with contemporary composition, yet include a sense of spontaneous ensemble interaction so critical to the jazz language. In concert he has performed with Paul Bley, Anthony Davis, Tim Berne, Muhal Richard Abrams, and many more.

 

SPECIAL FREE EVENT: Join New Music Circle and Jackson Pianos as we host a special event with Sylvie Courvoisier and Mark Feldman at the wonderful showroom at Jackson Pianos. Both artists will engage in a short performances and take time to discuss their work, music techniques, and participate in a Q+A. Snacks and beverages will be served. No RSVP is needed.

Thursday, December 3rd at Jackson Pianos (4354 Olive St, St. Louis, MO 63108). 6:30pm – 7:30pm. Free and open to the public.

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Sylvie Courvoisier / Mark Feldman Artist Talk

Thursday, December 3rd, 2015, 6:30 PM
Jackson Pianos, 4354 Olive St, St. Louis, MO 63108 (map)

Mark-SylvieSPECIAL FREE EVENT: Join New Music Circle and Jackson Pianos as we host a special event with Sylvie Courvoisier and Mark Feldman at the wonderful showroom at Jackson Pianos. Both artists will engage in a short performances and take time to discuss their work, music techniques, and participate in a Q+A. Snacks and beverages will be served. No RSVP is needed.

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Charlemagne Palestine Pipe Organ Concert

Sunday, November 8, 2015
6:00pm doors / 7:00pm concert
Historic Trinity Luther Church. 812 Soulard, 63104
Charlemagne Palestine – Pipe Organ

Charlemagne Palestine may not be a considered a household name in all circles, but his moniker is one you would be unlikely to forget. Now at the age of 70, Palestine has made a name for himself as a musician unlike any other, his signature style being comprised of long evolving drones and sustained notes, often involving installations of stuffed animals that envelope the performance space. He is frequently associated with minimalist composition, since he was a contemporary in the 1970s of composers such as Terry Riley and Steve Reich, yet he states “I never wanted to be an anything”, a proclamation which might explain his wildly eclectic oeuvre, extending into film and art installations (His works have shown at MOMA and the 2014 Whitney Biennial.). His instruments include piano, church organ, church bells and synthesizers (Early in his career he worked with Morton Subotnick.), and with these tools in hand, Palestine composes sounds that exhibit spectral effects when either pushed beyond their bounds, left alone, or both. Palestine’s “strumming” technique can be explained as repeating sounds, ultimately invoking sonorities into existence.

Now based in Brussels, he was born in Brooklyn to Eastern European immigrant Jewish parents and draws much of his inspiration from the traditional sacred musics he encountered as a youth. Palestine got his early start singing in synagogues, where he learned the art of delivering long pieces. Then as a teenager he attended a special arts school in Manhattan and soon thereafter grew to fame as a carillioner, or bell-ringer, at a church across the street from the Museum of Modern Art. It was there that his musical style began its alteration between what Palestine refers to as “cataclysms” and at other times “sonorities”. Examples of these approaches can be heard in his many recordings, often in collaboration with artists such as Tony Conrad, Pan Sonic, and Rhys Chatham.

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Charlemagne Palestine

Saturday, November 7, 2015, Concert 8:00 PM, Doors 7:00 PM
at The Pulitzer Arts Foundation, 3716 Washington Blvd, 63108
Charlemagne Palestine — piano, electronics, voice

And special church organ concert…

Sunday, November 8, 2015
6:00pm doors / 7:00pm concert
Historic Trinity Luther Church. 812 Soulard, 63104
Charlemagne Palestine – Church Organ
3) Charlemagne Palestine Nov

Charlemagne Palestine may not be a considered a household name in all circles, but his moniker is one you would be unlikely to forget. Now at the age of 70, Palestine has made a name for himself as a musician unlike any other, his signature style being comprised of long evolving drones and sustained notes, often involving installations of stuffed animals that envelope the performance space. He is frequently associated with minimalist composition, since he was a contemporary in the 1970s of composers such as Terry Riley and Steve Reich, yet he states “I never wanted to be an anything”, a proclamation which might explain his wildly eclectic oeuvre, extending into film and art installations (His works have shown at MOMA and the 2014 Whitney Biennial.). His instruments include piano, church organ, church bells and synthesizers (Early in his career he worked with Morton Subotnick.), and with these tools in hand, Palestine composes sounds that exhibit spectral effects when either pushed beyond their bounds, left alone, or both. Palestine’s “strumming” technique can be explained as repeating sounds, ultimately invoking sonorities into existence.

Now based in Brussels, he was born in Brooklyn to Eastern European immigrant Jewish parents and draws much of his inspiration from the traditional sacred musics he encountered as a youth. Palestine got his early start singing in synagogues, where he learned the art of delivering long pieces. Then as a teenager he attended a special arts school in Manhattan and soon thereafter grew to fame as a carillioner, or bell-ringer, at a church across the street from the Museum of Modern Art. It was there that his musical style began its alteration between what Palestine refers to as “cataclysms” and at other times “sonorities”. Examples of these approaches can be heard in his many recordings, often in collaboration with artists such as Tony Conrad, Pan Sonic, and Rhys Chatham.

 

TWO free artist talks / Q+A’s with Charlemagne Palestine. Both are FREE and open to the public.

Friday, November 6
10am – 11am
Kemp Auditorium (in Givens Hall). First floor. Room #116
(parking available on Skinker Blvd.)
Hosted and led by Heather Bennett (Sam Fox School Lecturer)

Friday, November 6
12pm – 1pm
Free and open to the public
Sverdrup Complex, 8300 Big Bend Boulevard, Room 123
(Street parking available on Big Bend or parking garage on Garden Ave.)
Hosted and led by Marie Heilich (curator, writer, and the Assistant Director of White Flag Projects)

 

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Two free artist talks by Charlemagne Palestine this Friday

Charlemagne Palestine will partake in two artist talks and Q&A’s on Friday, November 6th. These are both FREE and open to the public. Outside of his voluminous musical works and performances he also is a noted visual and performance artist (with works showing at MOMA and The Whitney). Throughout the 1970s, Palestine produced a seminal body of performance-driven, psychodramatic video works in which he activates a ritualistic use of physicality, motion and sound to achieve an outward articulation of internal states. He will discuss both his visual art and musical works at both of these talks.

Friday, November 6
10am – 11am
Kemp Auditorium (in Givens Hall). First floor. Room #116
(parking available on Skinker Blvd.)
Hosted and led by Heather Bennett (Sam Fox School Lecturer)
Facebook event page here

Friday, November 6
12pm – 1pm
Free and open to the public
Sverdrup Complex, 8300 Big Bend Boulevard, Room 123
(Street parking available on Big Bend or parking garage on Garden Ave.)
Hosted and led by Marie Heilich (curator, writer, and the Assistant Director of White Flag Projects)
Facebook event page here
Charlemagne_THE_FILM_GALLERY
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Evan Parker / Peter Evans Duo

Friday, October 2, 2015, concert 8:00 PM, doors 7:00 PM
Joe’s Cafe, 6014 Kingsbury Ave., 63122 (map)
Evan Parker — saxophones, Peter Evans — trumpet

Parker-Evans-2From the late 1960s onward, Evan Parker has remained a crucial figure in the development of European free jazz and free improvisation and has pioneered or substantially expanded an array of extended techniques for wind instruments. Critic Ron Wynn describes Parker as “among Europe’s most innovative and intriguing saxophonists … his solo sax work isn’t for the squeamish.” In Evan Parker’s music, thought process and breath control are continuous, each being the instrument and measure of the other.

Though Parker has worked extensively in both large and small ensembles, he is perhaps best known for his solo soprano saxophone music, a singular body of work that in recent years has centered around his continuing exploration of techniques such as circular breathing and multi-phonics. Alone, these are mere technical devices, such that Parker’s use of them is, he says, less analytical than intuitive. He has likened his solo performances to entering a quasi trance-like state. The resulting affect is a hypnotic, uninterrupted flow of snaky, densely textured sound, and many listeners have found it hard to perceive that one man could create such intricate, complex music in real time.

Now at the age of 71, Evan Parker’s list of associations is prolific and includes collaborations with such vanguard improvisers as Anthony Braxton and Milford Graves, yet also with avant-rock names like Spiritualized and Scott Walker, and he continues to perform with emerging improvisers such as Okkyung Lee, Chris Corsano, and John Wiese.

Peter Evans is a trumpet player, improviser and composer based in New York City. Since 2013, Evans has participated in New York City’s broad, hybridized scene of musical experimentation, thus his work cuts across a wide range of modern musical practices and traditions. He is committed to the simultaneously self-reflective yet collaborative nature of musical improvisation as a compositional tool, and his capabilities in improvised concert settings are already legendary. Says regular collaborator, Okkyung Lee, “Peter can do anything!”, and when leading his own groups, Peter Evans Quintet and Zebulon Trio, he juxtaposes the cerebral and the playful in a truly unique manner.

Born in 1981, Evans has been a member of New York City’s musical community since 2003, when he moved there after graduating from the Oberlin Conservatory with a degree in classical trumpet performance. He currently works in a wide range of settings, including solo performance, chamber orchestra, performance art, free improvisation, electro-acoustic and composition. Regular collaborations include work with Mary Halvorson, Zach Hill, Claire Chase, Brandon Seabrook and Nate Wooley.

Special Engagement:
Evan Parker and Peter Evans will participate in a collaborative performance and artist talk at FOAM (3359 S. Jefferson Ave.) on Saturday, October 3rd at 11am. This event is FREE and open to the public. Local musicians will collaborate in short sets with each artist. Foam will have coffee and pastries available. Please see our website for updated information. RSVP on Facebook at: https://www.facebook.com/events/1642020816065882/

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Kickoff Celebration at Tick Tock Tavern!

NMC 2015 Season

Join New Music Circle at the Tick Tock Tavern (3459 Magnolia Ave, 63118) on Thursday, September 17th for an evening of drinks, live DJ’s (Josh Weinstein and Jeremy Kannapell), and raffle prizes such as vinyl LP’s, CD’s, and tickets to NMC concerts. This event is free. From 6 pm to 9 pm all proceeds of the drinks purchased will go towards supporting NMC concerts and workshops throughout this coming year.

For more info, see our Facebook event: NMC Kickoff Celebration Event.

 

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Tim Berne’s Snakeoil – (quartet)

Presented by New Music Circle and KDHX

Friday, May 8, 2015
Concert 7:30 PM
Doors 7:00 PM
The Stage at KDHX – welcomed by KDHX
3524 Washington Ave. 63103 (map)
  • Tim Berne — saxophone
  • Oscar Noriega — clarinets
  • Matt Mitchell — piano
  • Ches Smith — percussion
New York-based alto saxophonist Tim Berne has long been regarded as one of the Downtown scene’s most forward thinking bandleaders. Active in New York since 1974, Berne has fostered the creative talent of subsequent generations.Since learning music at the elbow of St. Louis master Julius Hemphill in the ’70s, Berne has built an expansive discography, and The New York Times described Berne’s signature sound as one consisting of “wide intervals, athletic tone, tiny grooves worked into the music’s pivots and hesitations”.Within the project, Snakeoil, Berne writes highly investigative and intricate jazz, bringing together the talents of Oscar Noriega (clarinet, bass clarinet), Matt Mitchell (piano), and Ches Smith (drums, percussion). The group has released three highly acclaimed albums for ECM.For an interview with Tim Berne published in Sunday’s Post Dispatch, click here.

For more information and links to video clips, go to our facebook page.

Buy tickets for Snakeoil


Special thanks to Piano Distributors and Jackson Pianos

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Gerald Cleaver’s Black Host

Presented by NMC and KDHX

Saturday, April 25, 2015
concert 7:30 PM, doors 7:00PM
The Stage at KDHX
3524 Washington Ave. 63103 (map)
  • Gerald Cleaver – Drums, Sound Design
  • Cooper-Moore – Piano, Electronics
  • Darius Jones – Saxophones
  • Pascal Niggenkemper – Upright Bass
  • Brandon Seabrook – Electric Guitar
BlackHost
Black Host is a Brooklyn-based quintet led by in-demand drummer Gerald Cleaver. For close to 20 years Cleaver has lent his drum skills to many ongoing collaborations with experimental-jazz figureheads as Roscoe Mitchell, Craig Taborn, and William Parker. In his Black Host project,  Cleaver is joined by pianist Cooper-Moore, alto saxophonist Darius Jones, bassist Pascal Niggenkemper and guitarist Brandon Seabrook.  As Black Host, they bring forth original compositions that blend modern jazz, free music, psych, post-punk and electrified noise with painstaking detail and heady abandon. For references, one might find comparisons to  Albert Ayler (especially the groups with pianist Bobby Few and guitarist Henry Vestine), the early ‘70s music of Norwegians Jan Garbarek and Terje Rypdal, or even Sonic Youth. Their 2014 release on Northern SpyLife in the Sugar Candle Mines, is the group’s first record – hopefully one among several – a reverb-drenched and incisive stew of rhapsodic piano, searing alto and fractured guitar over rhythms that are alternately chunky and airy, rendered with a tremendous live energy.

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