The Exsufflation Series at The Carrack

Exsufflation
ex·suf·fla·tion
eksəˈflāshən

the action of breathing forth or blowing; this action used as an exorcism in some rites of baptism

Polyorchard is pleased to announce The Exsufflation Series, a new monthly residency at The Carrack in Durham. Following on the heels of the successful monthly Free Improvised Tuesday series, The Exsufflation Series will focus on the grey area that Polyorchard has been mining for the last four years: the intersection of jazz, classical, & experimental traditions. In addition to free improvisation, the repertoire will be drawn from all manners of music with a special focus on spontaneous compositions from the ensemble, commissioning new works from members of Polyorchard and from other composers around the world, and selections from the repertoire of late twentieth/twenty-first century classical music.

The first date in the series, March 21, marks the first Polyorchard performance in NC since May of 2015. Performers for March 21 will include:

Laurent Estoppey (ensemBle baBel, collapss, Christian Marclay, etc.)
Shawn Galvin (New Music Raleigh, NC Symphony, Pittsburgh Symphony, etc.)
Bill McConaghy (MicroEast Collective, etc.)
David Menestres (leader of Polyorchard, Eugene Chadbourne, etc.)
Charles Phaneuf (hardest working man in showbiz)

On March 21, Polyorchard will be performing “An Answer to An Inquiry” based around a text of Agnes Martin.

The music begins at 8pm, every third Tuesday. The events are free and open to all.

Future dates in the series:
April 18
May 16
June 20
July 18
August 15

Chris Vitiello writing in IndyWeek: “The revolving, motley assortment of classical, jazz and rock musicians have played practically every kind of music in every possible configuration in almost every Triangle venue, emerging as a vital and wonderfully vexing force of the area’s sonic fringes.”

 

Allison Hussey’s Concert Preview in IndyWeek:

Much like taking a dip in a flowing river, you never take in the same Polyorchard show twice. Combining elements of free jazz, classical music, and whatever the hell else they feel like, Polyorchard is a free-form experimental music collective that challenges—and often outright transcends—boundaries of genre and style. The group went on an extended hiatus that began in the spring of 2015, when leader David Menestres decamped for a spell in New Mexico. Menestres has since returned and so, too, has Polyorchard. The group has long relied on a revolving roster of players, and this week’s iteration features Laurent Estoppey and Charles Phanheuf on saxophones, New Music Raleigh cofounder Shawn Galvin, and Menestres on bass. Tuesday night’s gathering is the first in a monthly series at The Carrack that runs through August.

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The Carrack http://thecarrack.org/  947 E. Main St., Durham, NC 27701

Polyorchard’s first album “Color Theory in Black and White” https://polyorchard.bandcamp.com/

“Color Theory in Black and White” was #11 on IndyWeek’s 25 Best Albums of 2015
IndyWeek review of “Color Theory in Black and White”

Polyorchard performs “Between Know and Then” a tribute to Sun Ra on his 100th birthday https://www.youtube.com/watch?v=67MmaJlV9h0&list=PLjACqM_Pm2eiA00JAZizc5xJhootMqKFv

Polyorchard performs Terry Riley’s 1964 composition “In C” on the 50th anniversary of it’s premiere https://www.youtube.com/watch?v=mVwqgd_jwss&list=PLjACqM_Pm2ei6ImXQKnagWbEugQ9LP5YH

Live recordings https://soundcloud.com/polyorchard

Lovesphere 22

I will be taking part in the Lovesphere 22 event in Greensboro, NC on Friday March 17 7:30pm at Greensboro Project (219 Lewis Street). Read about it below:

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Lovesphere 22 is the 22nd installment of a 67-year art festival that began in 1995 which takes place every year on the Spring Equinox.

Lovesphere is all about cross-pollinating generous and creating new audience experiences, and Lovesphere 22 will be pushing the envelope in new and innovative ways. GPS will be loaded with improvising musicians, each of whom carries a transistor radio. At 8pm, Lovesphere will broadcast a live solo musician—the great Laurent Estoppey— from WUAG-FM, and the musicians at GPS and across the world will accompany them. So, as one walks through the gallery, one can hear the same lead instrument with a constantly shifting rhythm section. Also, other musicians and groups can accompany from home or across the country, and we will later collect some of these recordings and mix them together—making it the largest recording studio ever created. Musicians include Ben Singer of Modern Robot, Dan Ruccia of Cyanotype, Vattel Cherry (the legend), Gwen Young of Knives of Spain, Gregory Miles Hoffman of Cenote, Sara Jane Mann of Van Reipen Collective and 1-0, and Andrew Beach. Also starring performance artist Lu Xu.

For more information, photos, recordings, etc. please contact Gary Heidt at psl@lovesphere.net of 336 897 7232.

 

http://www.greensboroprojectspace.com/upcoming/lovesphere

https://www.facebook.com/events/631797987012133

Eugene Chadbourne Presents the International Wonder of Weird Songbook

Eugene Chadbourne Presents the International Wonder of Weird Songbook every Monday in January at Neptune’s Parlour. Featuring a rotating army of weirdos including the Chadbourne Family Singers (Molly, Lizzie, and Jenny Chadbourne), Carrie Shull, Laurent Estoppey, James Gilmore. Dave Doyle. Joe Westerlund, myself, and other assorted oddities.

Doors at 8pm. Music at 8:30pm. $8 at the door.

 

Michaela Davies DUTY at Currents

I’m one of seven people performing Michael Davies DUTY this weekend at CURRENTS: Santa Fe International New Media Festival at El Museo Cultural in the Santa Fe Railyard.

5 performances:

Friday June 10 at 7:30pm & 10:00pm

Saturday June 11 at 5:00pm & 9:30pm

Sunday June 12 at 11:00pm

From Michaela’s website:

Duty explores sonic possibilities and human limits, harnessing the bodily convulsions produced by electrical impulses to control seven performers in a work composed in one octave for fourteen handbells. The title of the work refers both to the movement of a bell and the enforced physical obligation of the performers, and references Pavlovian classical conditioning experiments pairing the sound of a bell with another stimulus to elicit conditioned responses in subjects.

A performative realization of a system where agency is dispersed across people, objects, and the environment, the work creates a distributed system where the artist/composer executes pre-determined motor actions in the performers via electric muscle stimulation (EMS).

A composition converted to MIDI triggers two custom-built EMS devices, which deliver electrical impulses to specific points on the performers’ arms via electrodes attached to their skin, causing their muscles to contract and generating specific involuntary movements at changing velocities.

Variations in voltage, frequency and pulse width dictate different muscular responses in the performers, ranging from unnatural jolts to unnervingly fast movements. Duty uses the induction of involuntary movement to explore the way physical (and psychological) constraint can determine both a musical outcome and extend sonic possibilities. Expanding the potential of the human body beyond conscious control the use of electric muscle stimulation in this context enables experimentation with rhythmic structures and fast movements that the performers would be unable to achieve of their own volition. The ensemble of performers create a unified somatic instrument; a conduit for complex rhythmic soundscapes and visually unnerving movements.

The application of EMS to musical performance provides a novel way to explore the interface between technology and live performance, and raises interesting questions regarding creative agency in the creation of music. The transmogrification of the performers’ body as an input/output device literalizes aspects of musical performance, where musicians frequently describe feeling like conduits or transcribers of a creation that is not their own. A perverse take on Schoenberg’s (1911) claim that “art is born not of ‘I can’ but of ‘I must’”, Duty explores the liminal space between didactic execution and free interpretation inherent in all musical performance.

In a broader sense, Duty questions assumptions about agency and free will both in musical performance and everyday contexts. An enquiry into the nature of agency within systems where cognition is distributed across people, objects and environment through technologies of connection, Duty explores what happens when embodied experience is disrupted or extended, and what kind of agency is created in these distributed systems.

 

Polyorchard 1 + 1 and Bad Luck

BAD-LUCK-FALL-TOUR-abq-web

On October 14th, the newest iteration of Polyorchard will be opening for Bad Luck at Tortuga Gallery in Albuquerque. Polyorchard 1 + 1 will feature the double bass madness of Ben Wright and David Menestres. Bad Luck from Seattle will be on tour featuring Chris Icasiano on drums and Neil Welch on saxophone/electronics. Show starts at 8pm and is $10 at the door.

Listen to recordings of Polyorchard 1+1

 

Listen to the new album from Bad Luck

More on Bad Luck:

Over half a decade after their first performance, drummer Chris Icasiano and saxophonist Neil Welch continue to develop a unique musical voice together. Bad Luck has become a sonic outlet to be reckoned with. In the highly trodden medium of drums and saxophone, Bad Luck proves that there is much left to be said.

Called “One of the best Seattle jazz recordings in years” (Earshot Jazz) Bad Luck was awarded the “Best Outside Jazz Group” of 2009 by Earshot Magazine, and a finalist for “Best Avant Group” in the 2009 Inside Out awards. Performing all original compositions, the pair use live loops and pedals to create an astounding range of sound. Icasiano and Welch can quickly shift into fierce improvisations, sound art and carefully constructed harmonic palettes. A duo with skin tight precision and melodic inventiveness, their music is set off by a commanding stage presence.

 

June 17 in Santa Fe, NM with High Mayhem

For those of you that don’t know, I am about to move from Raleigh, NC (where I’ve been based for the last 5.5 years) to Santa Fe, NM.

My first gig in Santa Fe will occur on June 17th at High Mayhem along with solo sets from CJ Boyd and The Uninvited Guest. The magic starts at 8pm (MDT). Tickets can be bough here. And for those not in Santa Fe, you can live stream the event here.

Really excited to be moving out to the desert/mountains of Northeastern New Mexico and honored to be taking part in a High Mayhem event.

From The Uninvited Guest:

We are very excited to feature 3 very different and amazing solo bass acts.

We have a limited number of presale tickets available for the in studio performance.

By your tix for $10 in advance – Use the ticket link above. An email will be send to you giving you the address to attend the in-studio performance.

Bassist, composer, vagabond, CJ Boyd uses low-end loops and voices in order to try and stop time. On perpetual tour since March 2008, movement and stasis are both at the center of his music. Though solo performance takes up the bulk of his time and effort, he also plays in the bands Desert Center, Kurva Choir, Rhonya, and Move. His non-stop travels between North America and Europe have been propelled by vans, cars, trains, buses, planes, and boats, but most of all a commitment to ceaseless discovery and re-invention. His oceanic sounds provide a home for the homeless and journeys to the homebound. more at http://www.cjboyd.com/ and https://www.joyfulnoiserecordings.com/cj-boyd/

David Menestres – new transplant from North Carolina, making his Santa Fe debut – more at davidmenestres.com

“The Uninvited Guest”- Carlos Santistevan High Mayhem co-founder, director, and audio engineer making a rare solo performance. A diverse and eclectic musician from groups such as iNK oN pAPER, The Late Severa Wires, The Uninvited Guests, Out of Context, A. Barnhouse and more!

 

 

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