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!

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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