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November 14, 2013 Thursday

art
SOMATIC - Gallery Hours
10:00AM - 5:00PM
Price:  FREE
New Figurative Expressions:
Asia Matos, Lynn Thompson, J. Morgan Booker, and Emma Ball

Works by four women who paint the human figure.

Also On This Day:

music
Eugene Chadborne & Tatsuya Nakatani
8:00PM - - -
Price:  10

Eugene Chadbourne


Eugene Chadbourne (born January 4, 1954 in Mount Vernon, New York) is an American improvisor, guitarist and banjoist. Highly eclectic and unconventional, Chadbourne's most formative influence is free jazz. He has also been a reviewer for Allmusic and a contributor to Maximum RocknRoll.

Chadbourne started out playing rock and roll guitar, but quickly grew bored[citation needed] with the form's conventions. He then studied other genres, including blues, country, bluegrass, free jazz, and noise—eventually synthesizing all those heterogeneous influences into a unique style of his own.[citation needed] He was also influenced early on by the experimental stylings of Captain Beefheart and the Mothers of Invention. A notable solo album, Songs (Intakt 026: 1993), features politically oriented originals, such as "Knock on the Door" and "Hello Ceausescu", and covers, such as Nick Drake's "Thoughts of Mary Jane", and Floyd Tillman's "This Cold War With You".

Chadbourne invented an instrument known as the electric rake, made by attaching an electric guitar pickup to an ordinary lawn rake.[2] He plays a duet of electric rake and classical piano with Bob Wiseman on Wiseman's 1991 Presented By Lake Michigan Soda.

Chadbourne has worked with numerous artists including John Zorn, Fred Frith, Derek Bailey, Han Bennink, Carla Bley Band, Paul Lovens, René Lussier, Toshinori Kondo, Kommissar Hjuler und Frau, Camper Van Beethoven, Jello Biafra, Turbonegro, They Might Be Giants, Sun City Girls, Violent Femmes, Aki Takase, Walter Daniels, Kevin Blechdom, Biff Blumfumgagnge, Zu and Jimmy Carl Black.

Tatsuya Nakatani


Tatsuya Nakatani is a creative percussionist originally from Osaka, Japan.

He has been residing in the USA since 1994 and is currently based in Easton, PA.Since the late 1990s, Mr. Nakatani has released over sixty recordings in the USA and Europe and has performed countless solo percussion concerts through intensive touring. He has also collaborated with hundreds of other artists internationally and presented masterclasses, workshops and lectures across the USA and around the world.

Nakatani's approach to music is visceral, non-linear and intuitively primitive, expressing an unusually strong spirit while avoiding any categorization. He creates sound via both traditional and extended percussion techniques, utilizing drums, bowed gongs, cymbals, singing bowls, metal objects and bells, as well as various sticks, kitchen tools and homemade bows, all of which manifest in anintense and organic music that represents a very personal sonic world. His approach is steeped in the sensibilities of free improvisation, experimental music, jazz, rock, and noise, and yet retains the sense of space and quiet beauty found in traditional Japanese folk music. His percussion instruments can imitate the sounds of a trumpet, a stringed instrumentor an electronic device to the extent that it becomes difficult to recognize the source of the sound. He has devoted himself to a musical aesthetic where rhythm gives way to pulse, often in a way that is not always audible or visible, in currents that incorporate silence and texture.Nakatani’s primary music activities include
solo percussion performance, N.G.O. (Nakatani Gong Orchestra) and collaborations with musicians and dancers both in live performance and recordings.

Tatsuya Nakatani has spent the past several years traveling and performing extensively throughout the United States and beyond. His constant touring fosters the raw and fresh quality in his music, which can only survive through an open willingness to share energy, culture, music and self on a global human scale. He has toured and performed in Japan, China, Canada, Mexico, France, Germany, England, Scotland, Belgium, Netherlands, Portugal, Poland,Ukraine, Denmark, Sweden, Norway, Argentina, Chile, Israel and across the USA, coast to coast. While touring, he also conducts master classes and workshops at schools and universities, emphasizing his unique musical approach and philosophy.

Tatsuya collaborates and performs with a wide range of artists, from internationally renowned musicians to students of all ages, occupations and musical skill levels.

Nakatani has performed in all sorts of venues worldwide, from international musicfestivals to local community centers, artist lofts to university concert halls, including a recent performance at the Kennedy Center in Washington, D.C. He values and appreciatesgrass-roots organized shows set up and promoted by local musicians and promoters in all types of settings - independent artist organizations, clubs and bars, private lofts, squat houses, coffee shops and even packed houseshows run by enthusiastic college kids.

Nakatani also works as a sound designer for film and television and heads his own H&H Production, an independent record label and recording studio based in Easton, Pennsylvania.
He was selected as a performing artist for the Pennsylvania Performing Artist on Tour (PennPat) roster and was also awarded a Bronx Arts Council Individual Artist grant.

4th Ward Afro Klezmer Orchestra


Like almost every other wacky idea that eventually alters the cultural trajectory of the human species, the origin of the 4th Ward Afro-Klezmer Orchestra can be traced back to a sketch on a cocktail napkin. Five years ago, trumpeter and composer Roger Ruzow was sitting at a table in the basement bar at the Highland Inn, drinking a beer and mulling over an idea that had been whirling around his head for several months.
“I was thinking about an ensemble that would play music in an Afrobeat style, influenced by western African melodies and rhythms, especially the music of Ghana and Nigeria,” Ruzow said in a 2009 interview. “Then I thought about how much I liked klezmer music. I’m Jewish, so maybe it’s genetics, but using those scales and modes comes naturally to me.”
Klezmer and Afrobeat?...“I don’t hear a huge disparity between styles, between Afropop and klezmer, between klezmer and jazz, between rai and rock, or funk and rock, or rock and klezmer, and on into chamber music,” Ruzow says. “To me, it’s all just music.”
- Doug DeLoach, Stomp & Stammer

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