Out and Gone Record Release Show in Greensboro

It is happening again! The second record release show for two of the three new albums on Out and Gone Music with a special performance from Microkingdom, our friends from Baltimore who are also on the road in support of their new album.

Polyorchard will be Aaron Bachelder, Jil Christensen, Laurent Estoppey, David Menestres, Chris Robinson, and Michael Thomas Jackson.

Exsufflation Series #8

Polyorchard will be performing Jacques Demierre’s 17 on October 10th at The Carrack. 17 is a text score for quartet comprised entirely of words from Christian Wolff’s score for Exercise #12. Polyorchard will be Jil Christensen, Laurent Estoppey, Steve Landis, and David Menestres.

Jacob Wick (from Mexico City) will also be performing a solo set.

Music at 8pm. Suggested donation of $5.

The Carrack is located at 947 E. Main St, Durham, NC.

 

Exsufflation Series #7

POLYORCHARD + GHOST TREES
TUESDAY September 12
The Carrack
947 E. Main St, Durham, NC 27701
8pm
$5 suggested donation

Jil Christensen, Laurent Estoppey, Bill McConaghy, David Menestres, Charles Phaneuf

Part of the ongoing Exsufflation Series. Premiering new works written for Polyorchard by D. Edward Davis and Laurent Estoppey.

Followed by a set from Ghost Trees, Seth Nanaa and Brent Bagwell,
our friends from Charlotte.

Red October

available October 15, 2017 from Out and Gone Music
Red October is the new live album from Polyorchard, featuring the quartet of

Jeb Bishop – trombone

Laurent Estoppey – saxophones

Shawn Galvin – percussion

David Menestres – double bass

Recorded live in concert in the basement at Neptune’s Parlour (barely more than a week after the studio sessions that resulted in the previous album Color Theory in Black and White), the quartet spins ideas with the tensile strength and malicious beauty of a spider working alone in the dark. Polyorchard is a flexible fighting unit, expanding and contracting as needed to face the battle of the day. The Red October quartet features players who have been the foundations for several strains of Polyorchard since its inception in December of 2012.

Red October is available from Out and Gone Music as a limited edition cassette or download. polyorchard.bandcamp.com/album/red-october

Liner Notes by Emily Leon desertsuprematism.com

Within seconds of listening to Red October, I felt as though I was the steel ball in a pinball game – the subject being manipulated inside of a glass box. I’m not suggesting cheap entertainment, but rather implying that, like the steel ball, this album propels you into the playfield: targets, holes and saucers, spinners and rollovers, gates. The gate motif often represents an entrance and an exit, a passage to a new beginning, and there are clear moments of a sounding procession throughout this album. Red October produces infinite possibilities of sound, and can be heard and experienced in infinite ways. There is an energy that consumes your consciousness, traps you in your own mind, and releases you as a means to undergo a transformative experience.

Perhaps Gaston Bachelard’s question featured in The Poetics of Space applies here, “In this drama of intimate geometry, where should one live?”

 

Matthew Wutherich, writing in Dusted:

…the group displays a bold commitment to the practice, not the genre, of improvisation. The distinction is a subtle but crucial one.

Where many free improvisation performances can fall into a predictable dynamic pattern of peaks and valleys, Polyorchard crafts intricate forms with clear but idiosyncratic arcs. Each extempore arrangement is packed with surprise. Just when they seem to be building in intensity and volume, they might cut it off before it boils over, as they do in the middle of “Montana.” They also avoid the exploratory feeling-out stage that improvised settings often produce. At the opening of “Seen” Menestres throws down a challenge in the form of a tense, rapid-fire phrase, which in turn sets the tone for the entire piece.

Throughout these performances, dialogues quickly emerge within the turbulent flow then just as quickly dissipate and reform somewhere else. “Have” starts as a slow duo between bass and trombone on a melodic theme, but gradually disintegrates into particles of rough-hewn, pointillist sound, only to coalesce for a brief instant in a stomping groove. Even the intense conclusion of “Like” finds Bishop and Estoppey crafting tart melodic phrases around the scabrous interplay of Menestres and Galvin.

The group also resists the enormous gravity of the horns–bass–drums format, rejecting all easy solutions to spontaneous group from. There are no drones, no genre/historical references (at least explicitly), and no resorting to high-intensity, free-jazz style blow-outs. This lack of shortcuts makes for a prickly, armored music but also a robust one. Even the more subdued passages, such as as the near-dirges that open “Montana” or close “I Would,” burn with a special intensity. Though their interaction might at times echo some earlier group (I hear the volatile, near-vocal dynamics of Charles Mingus’ classic Candid quartet in the middle of “Like”), they still retain their own voice, the specturm of improvised traditions deeply internalized.

One key to the group’s sound is how they reject any hierarchy of instruments. Trombone, sax, bass, drums are, simply put, just devices for sound production, there to create a complex weave of interaction in which the traditional capabilities of the instruments are honored as well as extended. On the conclusion of “Like” the group creates a mix of proto-electronic textures, while on the opening of “To” they turn to vocal timbres and, in Bishop’s case, even some slow legato melodies. On the outro of “Montana” they take this even further, emitting all manner of wheezing, hissing and moaning in a secret, sublingual ritual.

It should be noted here that Red October contains, in Menestres’s own words, “no previously agreed upon material.” Since this performance was recorded, Polyorchard has expanded its repertoire to include performances of text scores and compositions for field recordings and improvising ensemble, a move that can only enrich their already extensive improvisational lexicon. Yet Menestres’s statement is still somewhat jaw-dropping. After a good two months of visiting and revisiting this record, new aspects emerge on every listen, the band’s ability to create spontaneous structure consistently fascinating, and more than a little befuddling.

Crossing the Blue Hour

On view by appointment from July 6 to July 21, 201.

Opening Reception, Thursday, July 6
6:00-9:00 pm
with music performance at 8:00 pm by Polyorchard.

Polyorchard will be Bill McConaghy, David Menestres, Charles Phaneuf, and Christopher Robinson.

Crossing The Blue Hour, by Peter Francis Barnett and Shane C. Smith

it’s a moment (?)…

It occurs over the course of a few seconds… a vivid recollection of a night in a room… she’s on the foot of the bed talking, her hands clasped together in front of her.  In the window behind her, a red neon sign.

Guest Room is pleased to present a new photographic series by Peter Francis Barnett and new mixed-media sculptures and paintings by Shane C. Smith.

The Blue Hour is a series of six photographs inspired by the visual aesthetic of David Lynch’s 1986 drama Blue Velvet and specifically by the character Dorothy Vallens.
-Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett

The Blue Hour (Blue Lady No. 2), Peter Francis Barnett

 

1983.jpg

1983, Shane C. Smith

Crossing, is a real noir, the ghost of Sarah Fox, whose body was found in Inwood Hill Park, the woods I walk in daily. Born in 1983, she is my age, now gone; I walk the same paths through the yellow tulip trees.
-Shane C. Smith

 

 

Peter Francis Barnett is a photographer and multimedia artist exploring the “constructed image” and its function in contemporary culture.  He has shown work in New York, Los Angeles and Prague.

Shane C. Smith’s venues circle between unsanctioned performance spaces and curated museum exhibitions. Exhibitions and performance venues include the Institute of Contemporary Art, Maine College of Art, Portland Maine; the John and June Allcott Gallery, UNC; Ackland Museum, UNC; DAC Gallery, Los Angeles; and the American Museum of Natural History, NYC.

 

All images are subject to copyright. Gallery approval must be granted prior to reproduction.

Please join the conversation with Guest Room on Facebook (link), and Instagram (link), via the hashtags #ShaneCSmith #PeterFrancisBarnett and #Guestroom

The Exsufflation Series #4

The Polyorchard Exsufflation Series at The Carrack with special guest Andrew Weathers. Andrew and David will play a duo set followed by a group set from Polyorchard. Polyorchard will be performing a new work written by Andrew, the first work on Polyorchard’s ongoing Outside Series of commissions. The Outside Series features works from composers outside the core group of Polyorchard.

Polyorchard will be Jason Bivins (guitar), Laurent Estoppey (saxophones), Bill McConaghy (trumpet), David Menestres (bass), Christopher Robinson (saxophones), Dan Ruccia (viola).

Music starts at 8pm. Donations accepted. BYOB.