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September 27, 2014 Saturday

special
Maria Chavez 'Sound of Chance' workshop
3:00PM - 6:00PM
Price:  45
***
Participation in the workshop costs either $45 and includes a copy of Maria's book Of Technique: Chance Procedures on Turntable or is $30 without one. Please register by emailing robert@roberthayeskee.com.
***

The Language of Chance
w/ sound artist Maria Chavez

"When I am painting, I'm not aware of what I'm doing. It's only after a sort of get acquainted period that I see what I have been about. I have no fears about making changes, destroying the image, etc., because the painting has a life of it's own."

- Jackson Pollock

Since 2008, sound artist and abstract turntablist Maria Chavez has been hosting workshops and lectures all over the world giving students an inside look at her practice with abstract turntablism, sound art, chance & improvisation.

The Language of Chance workshop focuses on the values and lessons derived from chance encounters, accidents and improvisation in her art practice. Using her book, Of Technique: Chance Procedures on Turntable as the focal point of this workshop, Chavez invites students to discuss serendipity and accidents while engaging in hands-on abstract turntablism techniques. The workshop ends with a group performance, conducted by Maria.

Also On This Day:

music
Bee vs. Moth, 4th Ward Afro Klezmer Orch., Clothes
9:00PM - - -
Price:  $7
BEE VS. MOTH

With surprising instrumentation, innovative songwriting, quirky melodies, and a healthy sense humor, Bee vs. Moth plays music that defies traditional categories. The band has one foot in the world of jazz and creative improvisation, and the other firmly planted on a distortion pedal. Is Bee vs. Moth serious or silly?
Virtuosic or spazzy? We’ll find the answer somewhere between doom metal and a brass band.

Bassist Philip Moody and drummer Sarah Norris started Bee vs. Moth together, and began performing in 2004. The band has since grown into a diverse, rotating cast with
ambitious arrangements featured in film and television scores, original videos, and live shows in Austin and throughout the country.

“I fall in love with maybe two, maybe three jazz records a year. But every once in a while something comes along and
perks me up. I hear the sounds of Ornette Coleman and the band Television. And sometimes in the same song.”
Bob Boilen –
NPR Music: All Songs Considered

4TH WARD AFRO-KLEZMER ORCHESTRA

From Georgia Music Magazine by George DeLoach:
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? Comprising a heady stew of Yoruban tribal music; American jazz, funk and R&B; and West African highlife, Afrobeat was concocted in the late 1960s by Nigerian bandleader and political activist Fela Kuti. And Klezmer music was derived from 19th-century central-European peasant traditions, particularly the Ashkenazic Jewish culture, as well as myriad gypsy bands, which morphed into an urban form containing elements of Yiddish theater and vaudeville tunes, ritual celebratory fanfare and prayer song, and, most importantly, jazz. Klezmer emerged from within the fledgling Jewish immigrant communities in New York in the early decades of the 20th century.

CLOTHES

From Creative Loafing by Bobby Power:
Clothes, a fledgling experimental beat-focused trio based in East Atlanta, has just dropped Language , the group's debut digital EP. Comprised of three fresh-faced and curiously motivated newcomers - Wes Brooks (bass/various other instruments), Will Lackey (drum kit), and John Davenport (production/beats/various other instruments) - the project has been modestly orchestrating sounds for barely more than a year. The earliest proof of these efforts came last October with the "Takacs/Always a Little Bit" digital/video single. The woozy tune pitted shifting bell tones and heavily-processed samples against drums both live and recorded, altogether making a solid entry for the band into the world.

Recorded at Bergamont Lounge, Clothes' EAV home studio, the Language EP highlights the trio's finely honed sound. Released just last week via YouTube and free download via Mediafire, the three tracks nod to some of the great forward-thinkers of electronic music and instrumental hip-hop. Opening track "Cerul Normale" lurches through its duration with a bombastic, alien swagger fit for Flying Lotus while the eponymous tune reserves a complacent and contemplative scene of processed grooves similar to Madlib's crate-digging harem. Closing track "Culture" takes the Stones Throw vibe even deeper, but addles the editing with a meditative but frantic style akin to Four Tet or Dabrye.

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