KFJC 89.7FM Co-Presents the 12th Annual Outsound New Music Summit




12th Annual Outsound New Music Summit



http://www.chamber-music.org/

NMUSA


San Francisco Community Music Center
544 Capp Street @ 20th Street, San Francisco, CA click for map

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station

Communications Workshop for Independent Musicians
An Outsound Presents Outspoken Public Event
A crash course in communications strategies for independent musicians
Lisa Mezzacappa
Bay Area bassist/bandleader and arts organizer Lisa Mezzacappa leads a crash course in communications strategies for independent musicians, including how to communicate your work clearly and effectively to the public venues and bookers, and to the press. The workshop will focus on writing bios, band descriptions and project/concert blurbs. Participants should come prepared with a laptop or pencil and notebook, this will be a hands-on session.
In a storied career as an academic, journalist and arts administrator, Lisa Mezzacappa has been communicating about the arts, in different formats, for about fifteen years. She was a critic and arts reporter for a daily newspaper in New York before pursing an academic degree in ethnomusicology at UC Berkeley. She subsequently worked as Communications Director at New Langton Arts, and Campus Programs Manager at Stanford Lively Arts. She curates the annual Jazzpop series at the Hammer Museum at UCLA; is on the curatorial committee at the Center for New Music in San Francisco; and has organized many independent music series throughout the years, including the Monday Makeout and Mission Eye & Ear. She's also been involved in strategic planning and communications strategy at Headlands Center for the Arts, and has been part of the San Francisco Friends of Chamber Music's Artist Forum.

OutSpokenOUTSPOKEN EVENTS


Sunday July 21
Community Music Center
544 Capp Street @ 20th,
San Francisco, CA
click for map
3-5pm admission is free

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station
Touch the Gear Expo
An Outsound Presents Outspoken Public Event
A hands-on experience of sound producing gear and instruments!
-- previous exhibitors Philip Everett, Cheryl Leonard, Mark Soden Jr., Tom Nunn, Tom Duff, Amar Chaudhary, Tim Thompson- Photos by Peter B Kaars --

A hands-on experience of sound producing gear and instruments! Outsound's original public event Touch the Gear is a hands-on, family-friendly event that allows the public to roam among 25-30 musicians and inventors with their various different configurations of “gear”--everything from oscillators and electronics, to planks of wood with strings attached. All attendees get to ask questions, make sound and experience how the instruments work, in an environment that demystifies technology while inspiring creativity.

Exhibitors:
Amar Chaudhary, Bob Marsh, Joe Lasqo, Matt Davignon, Tom Nunn, Bill Hsu, Philip Everett, David Samas, Bryan Day, Lindsey Walker, Doug Lynner aka Synthesizerman, Dr. Martin DeVideo, Ari Lacenski, Cheryl E. Leonard, Nick Wang, Douglas Benner , Andrew Wayne "Chopstick", Johny Radio

Gear:
iPad & iPhone instruments, AirSynths, fx pedals, MAX/MSP, CD DJ and Tape Machines, inventions, processed instruments, Dendrophone, Plant Rattles, Buzz Roarer, Bowed Rocks, "Magnetoselqier Tapewarp 4 Shuffleboard", , and some Cyndustries modules", Electron P-Funk Dynamic Phase Confabulator;Modified Casio SK-5 With patch bay;2MD Transvibrating Symphonic MultiWarble, "Superpeggio! and Firefox Synth", Natural-object instruments, Analog Modular Synthesizers, Homemade Modulation/Control Boes, "atari punk consoles, contact, microphones, circuit bent toys, "The Mystery Serge," a 1975 Serge Modular Synthesizer
Sunday July 21
Community Music Center
544 Capp Street @ 20th,
San Francisco, CA
click for map
7-10pm admission is free

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station
Composers Symposium
Compositional Trace Medium and Traditional Strata

2013 New Music USA Metlife Creative Connections recipient composers Rent Romus, Lewis Jordan, Matt Davignon, Fernando Lopez-Lezcano, and Ilya RostovtKyle Bruckmann


2013 New Music USA Metlife Creative Connections recipient composers Rent Romus, Lewis Jordan, Matt Davignon, Fernando Lopez-Lezcano, and Ilya Rostovtsev, and Chamber Music America New Jazz Works composer Kyle Bruckamnn will discuss the elements of their compositional styles and how they navigate the worlds of modern compositional techniques, combined with individual forms of experimentation. There will be a Q&A segment for attendees of this free public event.
Funded in part through New Music USA's MetLife Creative Connections program.
OutSpokenOUTSPOKEN EVENTS


Monday July 22
Community Music Center
544 Capp Street @ 20th,
San Francisco, CA
click for map
7-9pm admission is free

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station
Drift Flow Swing
Three original perspectives on composition & improvisation
Opera Wolf, KREation, Wiener Kids

Drift Flow Swing
Wednesday July 24
Community Music Center
544 Capp Street @ 20th
San Francisco, CA
click for map
Q&A Sessions 7:30 pm
Music Performance Starts @ 8:15 pm


Buy tickets to the 12th Annual Outsound New Music Summit July 21-27, 2013
At the Door:
$12 General / $10 Student / $45 Festival Pass
Advance with Brown Paper Tickets:
$10 General / $38 Festival Pass

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station




Listen to: The Drift Flow Swing Sampler
music player
Wiener Kids

Brainchild of drummer/composer Jordan Glenn, Wiener Kids began in 2007 as a duo with guitarist, composer, and musical thinker, Steini Gunnarsson. After Steini moved back to his native Iceland, Jordan continued on with the project with the help of reed masters Aram Shelton and Cory Wright. Wiener Kids has been described as whimsical and raucous, blurring the line between the poignant and the humorous. The group continues to evolve, expanding to a 10-piece ensemble on occasion. The Outsound performance will premiere several new pieces, taking advantage of Jordan's recent venture into homemade percussion.


Jordan Glenn
was born and raised in the Pacific Northwest. His early years involved drawing cartoons and taking dance classes from his aunt. At the age of 12, music and movies took over and he studied classical percussion, jazz, and made short movies with his friends during high school. During college he played a lot of dinner jazz gigs and recorded and toured in various rock bands In 2006, he relocated to the Bay Area and since then have been lucky enough to cross paths and work with Fred Frith, William Winant, Zeena Parkins, Roscoe Mitchell, Anantha Krishnan, Ben Goldberg, John Schott, Cory Wright, Aram Shelton, Steini Gunnarsson, Dominique Leone, Darren Johnston, Graham Connah, and the bands Jack O’ the Clock, Host Family, Efft, 20 Minute Loop, The Monolith, Beep!, tUnE-yArDs,Science Fiction, Evon, Arts & Sciences, and the Oakland Active Orchestra.

Aram Shelton is an avant-jazz saxophonist, clarinetist, improviser and composer. Originally from southeast Florida, Shelton lived in Chicago from 1999 to 2005, and currently lives in Oakland, California, where the groups Stratic, Ton Trio, These Are Our Hours, and Marches represent his music. He stays connected to Chicago through his Quartet, the Fast Citizens (Delmark), and Jason Adasiewicz's Rolldown (Cuneiform). His writing and playing is grounded in and influenced by the rich history of avant-jazz and free improvisation in America and Europe since the 1950s and has been documented through more than a dozen albums since 2003.

Reeds player Cory Wright, educated at Oberlin Conservatory and the University of Southern California, has been involved in both the jazz and creative music worlds for the past 20 years, including time in New York, Los Angeles, and his current home, the San Francisco Bay Area. His recent projects reflect his interest in blurring the distinction between composed and improvised material and combining the harmonious with the atonal, and groove with the arrhythmic. Cory has played in ensembles lead by Anthony Braxton, Vinny Golia, Eddie Gale, Adam Rudolph and Yusef Lateef. He is currently a member of Bay Area groups Marches, Bristle, Wiener Kids, Daniel Popsicle, the Oakland Active Orchestra, and leads his own projects Green Mitchell and the Cory Wright Quintet.


Performing Artists
Aram Shelton - small instruments, percussion, alto saxophone
Cory Wright
- small instruments, percussion, tenor saxophone
Jordan Glenn
- small instruments, percussion, drums

Artists websites
wienerkidsmusic.com

 
KREation

Steeped in the study of the powers of vibration, California based
KREation (Kevin Robinson Ensemble) is lead by Baltimore native saxophonist/composer Kevin Robinson. Formed in 2003, KREation has set itself on a course to explore genuine express through various musical/artistic approaches. The group performs in a variety of instrumentation and configurations. The group ranges from a twelve piece band to a, duets. Over the years the group has performed at various festivals, jazz clubs, concert venues and art galleries throughout the US. The group has long standing performance collaborations with visual artist David Cunningham and Kenyatta A.C. Hinkle and poets Mo' Optic and Jonathan Gordan.
KREation Ensemble

Performing Artists
Kevin Robinson - woodwinds
Christin Hablewitz - bass clarinet
Tony Gennaro - vibes
John Schwerbel - piano
Caroline Cirone - bass
Tony Gennaro - percussion
Evan Jiroudek - drums

Artists websites
kreationensemble.com
 
 
Opera Wolf

Opera WolfOpera Wolf
is a trio of musicians performing free improvisation and improvised-based works. The cello/sax/percussion ensemble performs graphic scores, text-based scores, partially-notated pieces, and conducted works. Drawing on influences from contemporary classical music, free jazz, and electro-acoustic experimentation, they work with atmospheric timbres, modulating rhythms and extended technique to mold sound in a way that challenges compositional organization and performance practice. Influences range from John Zorn to Edgard Varèse, and include Debussy and Sun Ra.

Crystal Pascucci has recently relocated to the Bay Area from Hartford, Conn. A classically-trained musician, she has been concentrating on the art of free improvisation, composition of graphic scores, and chamber music for the past two years. As a cellist, she explores non-traditional playing techniques in an effort to develop musical ideas beyond pitch and rhythm. In Connecticut, her work has been featured at the Uncertainly Series in New Haven and the New Music Cabaret and the Hartford Phase Shift music series in Hartford. Notable teachers include Joan Jeanrenaud, Robert Black, Anthony Braxton, and Marion Feldman.

Joshua Marshall is a performer, composer, and improviser living in Oakland, Calif. His work involves abstract narrativity in musical form, systematic extensions of improvisatory practice, advanced studies in saxophone technique, and interactive performance with digital media. He has studied with Roscoe Mitchell, Fred Frith, Pauline Oliveros, Evan Parker, Zeena Parkins, Butch Rovan, I.M. Harjito, and Steve Adams of the ROVA Saxophone Quartet. In addition to performing solo saxophone sets, Joshua has played with Opera Wolf, Ikue Mori, Poles of Interest, the Andrew Weathers Ensemble, Modest Machine, and MDK. His playing has been featured at festivals and conferences nationwide, including Providence Pixilerations events and the 2010 International Computer Music Conference. Joshua graduated from Brown University, earning a B.A. through the nationally renowned MEME program, and is currently pursuing an MFA in Music at Mills College.

Robert Lopez is a percussionist trying to make sense of being wrapped up in a world of performing and studying several types of music. Although he has been surrounded by music his entire life, he became serious about it when he began studying with drummer and composer Steve Moshier. Continuous studies with the percussion faculty of Cal State Long Beach led to recitals and concerts with various wind ensembles, the university orchestra, jazz combos, traditional music of Trinidad, Brazil, Cuba, and Ghana, as well as exploring the canon of 20th and 21st century music. Ventures into the music community of Long Beach led to collaborations with Wild Pack of Canaries, New Lights by Dead Vines, Homesteader, Jesse Carzello (a.k.a. Bobby Blunders), and The Vespertines. Currently, he’s studying percussion at Mills College with William Winant and improvisation with Fred Frith, Roscoe Mitchell, and Zeena Parkins. He performs regularly with the Willie Winant Percussion Group and Jordan Glenn’s Mindless Thing, and is active in the Bay Area improv scene.


Performing Artists
Joshua Marshall - tenor saxophone
Crystal Pascucci - cello
Robert Lopez - drums

Artists websites
operawolf.com

Vibration Hackers
Featuring tricksters & masters of digital synthesis , structures/environments/and digital programs for improvisation
#Max, Fernando Lopez-Lezcano, Ritwik Banerji (ঋত্বিক ব্যানার্জী) with Joe Lasqo & Warren Stringer, Ilya Rostovtsev, CCRMA Ensemble

#Max, Fernando Lopez-Lezcano, Ritwik Banerji (ঋত্বিক ব্যানার্জী) with Joe Lasqo & Warren Stringer, Ilya Rostovtsev, CCRMA Ensemble
Thursday July 25
Community Music Center
544 Capp Street @ 20th
San Francisco, CA
click for map
Q&A Sessions 7:30 pm
Music Performance Starts @ 8:15 pm


Buy tickets to the 12th Annual Outsound New Music Summit July 21-27, 2013
At the Door:
$12 General / $10 Student / $45 Festival Pass
Advance with Brown Paper Tickets:
$10 General / $38 Festival Pass

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station




Listen to: The Vibration Hackers Sampler
music player
CCRMA Ensemble

The Stanford Center for Computer Research in Music and Acoustics (CCRMA) is a multi-disciplinary facility where composers and researchers work together using computer-based technology both as an artistic medium and as a research tool. The CCRMA Ensemble will perform an improvisation featuring TBA"Escamol" interactive systems, Chris Chafe's multi-channel celletto, the Berdahl Resonance Guitar, and daxophones built by John Granzow.

Chris Chafe is a composer, improviser and cellist, developing much of his music alongside computer-based research. He is Director of Stanford University's Center for Computer Research in Music and Acoustics (CCRMA). At IRCAM (Paris) and the Banff Centre (Alberta, Canada), he pursued methods for digital synthesis, music performance and real-time internet collaboration. CCRMA's SoundWIRE project involves live concertizing with musicians around the world. Online collaboration software including jacktrip and research into latency factors continue to evolve. An active performer either on the net or physically present, his music reaches audiences in dozens of countries and sometimes at novel venues, including a simultaneous five-country concert that was hosted at the United Nations in 2009. Chafe's works are available from Centaur Records and various online media.

John Granzow is a Canadian artist, instrument designer and music researcher. He studied classical guitar with Dale Ketcheson and constructed his first instrument (a flamenco guitar) under the instruction of luthier George Rizsany in Nova Scotia. In 2006 he took an interest in auditory perception, and completed a Masters of Science in Psychoacoustics at the University of Lethbridge in the lab of Dr. John Vokey. At the Analogous Fields: Arts and Science residency at the Banff Centre in 2009 John explored instrumentation in artistic and scientific practice with artist Denton Fredrickson. A generative construction process was devised to produce a series of daxophones from a single plank of cherry, each instrument undergoing an imposed mutation with timbral consequences. These daxophones were played in networked performances in Portugal and Italy as well as at the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University, where John now pursues his Ph.D in Computer Based Music Theory and Acoustics. In recent research, he investigates applications of computer aided design and digital fabrication to new organologies. Rapid prototyping techniques are leveraged to produce performance-specific musical instruments. Outcomes from this research have been presented at concerts and sound installations in Canada, France, and the United States.

Composer and researcher Rob Hamilton is actively engaged in the composition of contemporary electro-acoustic musics, as well as the development of interactive musical systems for performance and composition. He is currently pursuing his Ph.D. in computer-based Music Theory and Acoustics at Stanford University's CCRMA working with Chris Chafe. His research interests include novel platforms for electro-acoustic composition and performance, mixed-reality performance and procedural game music and audio.

Performing Artists
Roberto Morales - flute, voice and ""Escamol"" interactive systems
Chris Chafe
- celletto
John Granzow
- daxophone
Rob Hamilton
- resonance guitar

Artists websites
Robert Hamilton

Chris Chafe
John Granzow
 
 
Ilya Rostovtsev

Ilya Rostovtsev will present "Understatements (2009-2010)" for two-channel fixed media, a four-movement study of the sonic potential of acoustic instruments within the practice of electro-acoustic studio composition as part of the 12th Annual Outsound New Music Summit. The musical identity of the work is achieved through consistent approaches to disparate sonic materials and a focused investigation of the relationships between the various instrumental timbres and their electro-acoustic treatments. The reconciliation of the illusory electronic textures and the acoustic sources that parented them may be considered the ultimate goal of the piece.

Ilya Y. Rostovtsev (b. 1983) is focused on interdisciplinary approaches to the theoretical and practical considerations in sound art, music, and design. His electro-acoustic works have been performed across the United States (including SFTMF 2011, SEAMUS 2011, and Pixilerations 2010) as well as abroad (New Adventures in Sound Art Series in Toronto, Canada). He is currently pursuing his Ph.D in music composition at the University of California, Berkeley. His teachers include David Bithell, Edmund Campion, Cindy Cox, Jon Christopher Nelson, and Ken Ueno.


Performing Artists
Ilya Rostovtsev - two-channel fixed media

Artists websites
Ilya Rostovtsev

 

 
Ritwik Banerji w/ Joe Lasqo & Warren Stringer
Ritwik Banerji (ঋত্বিক ব্যানার্জী) , and Joe Lasqo have worked with artificial intelligence concepts of "Improvising Agents" (i.e. improvising software musicbots). Ritwik has used insights from learning theory and his practice as an educator to decolonize musician-computer interaction on the basis of openness "to the possibilities that a computer is already intelligent (not merely in the process of becoming intelligent)," resulting in the creation of his software musical collaborator, Maxine.

Joe Lasqo has applied experience from prior AI work in expert systems and natural language/speech processing to the development of Maxxareddu, a musical software entity using blackboard architectures, NLP algorithms and grammars for the purposes of musical improvisation.

They’ll join the improvising agents’ conversation on acoustic instruments (Banerji on saxophone, and Lasqo on piano) in the improvisational dance of decisions taken by humans and decisions taken by software.


Ritwik Banerji (ঋত্বিক ব্যানার্জী) is an improvising saxophonist and designer/mentor/student of Maxine, an autonomous software-based musical agent. He is currently a graduate student at the University of California at Berkeley in ethnomusicology. His research interests focus on the development of artificial improvising agents which would “pass for” human improvisers of post-jazz styles. In this project, Maxine serves as co-ethnographer, allowing for the explicitation of an improviser’s values, expectations, and aesthetics of real-time musical interaction. Maxine appeared in early 2009 as a being, deeply inspired by Banerji’s work with children in Chicago. Like one would hope of a child, this project focuses on the creation of a social agent, finding ways through sound to make its presence known, while respecting and enhancing the presence of others. Recently this project has more strongly engaged the issue of astromusicology, or the real-time musical diplomacy between human sound makers and the spectral bodies of Maxine.

Joe Lasqo studied classical music in India, computer music at MIT, Columbia and at UC Berkeley’s CNMAT as well as being a long-time performing jazz musician who has lived (and listened) in several East Asian countries, and now lives in San Francisco. He plays piano and keyboards, percussion, and Max/MSP as a solo performer and in collaborations with musicians and instrument-inventors. Besides loving and playing the traditional musics of Asia and elsewhere with some very non-traditional instrumentation, he also uses Asian tools to build music with the compositional advances and new concepts of jazz and 20th-century music--Stockhausen-type tone or timbre rows developed in Indian composition/improvisation structures, atonal and/or non-octave ragas, stochastic tala structures, ragam-tanam-pallavi leadsheets, and shakuhachi and gagaku pieces transmigrated into 21st-century bodies. He is also a software engineer working in systems development, systems for natural language processing, speech processing, and multilingual computing.

Performing Artists
Ritwik Banerji - saxophone & Maxine
Joe Lasqo - piano & Maxxareddu
Warren Stringer - live interactive video


Artists websites
ritwikbanerji.bandcamp.com
joelasqo.com

 
Fernando Lopez-Lezcano
Fernando Lopez-Lezcano will present “Knock, Knock…anybody there?” as part of the 12th Annual Outsound New Music Summit. This set of compositions explores altered states of consciousness -- and in particular, insanity -- in a journey through a 3D soundscape where voices and sounds evoke multiple and conflicting states of mind. The processing includes dynamic spatialization of multiple moving sources. The listener moves through the soundscape while voices and sounds tell several overlapping stories that might occur in the hazy border between sanity and insanity.

Fernando Lopez-Lezcano, born in Buenos Aires, Argentina in 1956, received a Master in Electronic Engineering (Faculty of Engineering, University of Buenos Aires) and a Master in Music (Carlos Lopez Buchardo National Conservatory, Buenos Aires). He began working with electro-acoustic music by building his own analog studio and synthesizers around 1976. After graduating, he worked for nine years in industry as microprocessor hardware and software Design Engineer for embedded real-time systems (telephone exchanges) while simultaneously pursuing his interests in electro-acoustic music composition. His 1986 piece "Quest" won a mention in the 1990 Bourges Competition. Starting in October 1990 he spent one year at the CCRMA at Stanford University, as and Invited Composer, as part of an exchange program between LIPM in Argentina, CCRMA and CRCA at UCSD sponsored by the Rockefeller Foundation. He later did research in dynamic sound localization and taught an Introduction to Electronic Music course for one year at the Shonan Fujisawa Campus of Keio University, Japan. Since 1993 he has been working at CCRMA as Lecturer, Composer, Performer and Systems Administrator of CCRMA's computer resources. In 2008 he completed a fine-month residency in Berlin thanks to the DAAD as the Edgar Varese Guest Professor at TU-Berlin. His music has been released on CDs and played in the Americas, Europe and East Asia.

Performing Artists
Fernando Lopez-Lezcano - fixed media multichannel piece realized by computer sound synthesis

Artists websites
Fernando Lopez-Lezcano

 
#Max
#MAX invokes an unspecific, yet present ritual using net-based, digital and analog technologies and the mind and body. The viewer is asked to participate in targeting and joining #HASHTAGS for humans and computers to interpret, enact, and reanalyze. Our real world net condition drives #MAX to create orbs of the daily social media landscape through audio/visual senses. The electronic gives way to a new undertaking of the physical in this participatory action. #MAX is Nicole Ginelli, #audio; Caitlin Denny, #visuals; and Dmitri Svistula, #programming. This Twitter-fed performance creates an arena for indiscriminate group genius through the hyper-fusion of electronic mediums.

Nicole Ginelli is a vocalist, electronic musician, and visual/interface designer working at the intersection of web and subculture communities. Performing solo regularly as Head/Head, she utilizes vocal experimentation, sound collage and pedal disintegration to create observational narratives. MAX continues a fascination with doomsday cyber fiction and cross media serendipity.

Caitlin Denny is a curator, performer and video artist. She founded the website JstChillin.org in 2009, an online gallery highlighting the artworks of many notable net artists across the globe. JstChillin.org was included in the Xth Lyon Biennale and Rhizome's ArtBase, a subsidiary of The New Museum. She has curated several group exhibitions and events involving new technologies and performance in San Francisco, New York, Sweden and France. Denny was a guest panelist at The Creator's Project in 2012 where she discussed the future of digital museums. She performs regularly as visualist for house and noise shows at venues like Public Works and The Lab in San Francisco. Her work with #MAX continues her fascination with occult technology rituals and analog fetishism.

Dmitri Svistula is a software developer, researcher, and sound enthusiast working in the area of interactive technology, science, and entertainment. His main focus is creating interactive visceral experiences for public spaces utilizing emerging sensing technologies and displays. Dmitri developed the software to drive the #MAX experience, dynamic digitally controlled sound composition, and reactive visualization.

Performing Artists
Caitlin Denny - visuals
Nicole Ginelli - audio
Dmitri Svistula- programming


Emanation & Artifacts
an evening of objects, electronics, tapes, & found sound
David Molina's Transient, Pmocatat Ensemble, Fuzzybunny

an evening of objects, electronics, tapes, & found sound DAVID MOLINA'S TRANSIENT, PMOCATAT ENSEMBLE, FUZZYBUNNY

Friday July 26
Community Music Center
544 Capp Street @ 20th
San Francisco, CA
click for map
Q&A Sessions 7:30 pm
Music Performance Starts @ 8:15 pm


Buy tickets to the 12th Annual Outsound New Music Summit July 21-27, 2013
At the Door:
$15 General / $10 Student /$45 Festival Pass
Advance with Brown Paper Tickets:
$12 General / $38 Festival Pass

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station




Listen to: The Emanation & Artifacts Sampler
music player
Fuzzybunny

Fuzzybunny is a high-powered electronic improvisation and composition trio consisting of Chris Brown, Scot Gresham-Lancaster and Tim Perkis. All-out "carnallectual" electronic improv, rocky-roaded with pop-music fragments and sonic gags define some kind of new style, difficult to describe. Edwin Pouncey in The Wire called them "a total meltdown of the senses...a trio of smartarses with nothing to say."

Chris BrownScot Gresham-LancasterTim Perkis

Chris Brown, composer, pianist, and electronic musician, creates music for acoustic instruments with interactive electronics, for computer networks, and for improvising ensembles. Collaboration and improvisation are consistent themes in his work, as well as the invention and performance of new electronic instruments. These range from electro-acoustic instruments ("Gazamba," 1982), to acoustic instrument transformation systems ("Lava," 1992), and audience interactive FM radio installations ("Transmissions," 2004, with Guillermo Galindo). As a performer, he has recorded music by Henry Cowell, Luc Ferrari, José Maceda, John Zorn, David Rosenboom, Larry Ochs, Glenn Spearman, and Wadada Leo Smith; as an improviser, he has recorded with Anthony Braxton, Pauline Oliveros, Fred Frith, ROVA Saxophone Quartet, Ikue Mori, Alvin Curran, William Winant, Biggi Vinkeloe, Don Robinson, Frank Gratkowski, and many others. Recent recordings of his music include Rogue Wave (Tzadik); Talking Drum (Pogus); Cutter Heads with Fred Frith (Intakt); and Suspension with the CBD Trio (Rastascan). He is also a member of the pioneering computer network band The Hub, which has just released Boundary Layer, a box set recording celebrating over 20 years of music on Tzadik. He is also a Professor of Music and Co-Director of the Center for Contemporary Music (CCM) at Mills College in Oakland, Calif.

Scot Gresham-Lancaster (b. Redwood City, Calif. 1954) is a composer, performer, instrument builder and educator with over three decades of professional experience. Since fall of 2012 a professor of sound art with ATEC at the University of Texas at Dallas, his most recent research has been on the boundary between science and art specifically developing advanced techniques in sonification. He is also dedicated to research and performance using the expanding capabilities of computer networks to create new environments for musical and cross discipline expression. As a member of The Hub, he is one of the early pioneers of "computer network" music which uses the behavior of interconnected music machines to create innovative ways for performers and computers to interact. He has recently performed in a series of "co-located" performances collaborating in real time with live and distant dancers, video artists and musicians in network based performances. For over two decades, he has worked with multimedia prototyping and user interface theory and its relationship to new markets as an independent consultant and at Interval Research, SEGA-USA, and Muse Communications. He has toured and recorded as a member of The Hub and Room, Alvin Curran, ROVA Saxophone Quartet, the Club Foot Orchestra, and the Dutch ambient group NYX. He has performed the music of Alvin Curran, Pauline Oliveros, John Zorn, and John Cage under their direction, and worked as a technical assistant to Lou Harrison, Iannis Xenakis, and David Tudor, among many others.

Tim Perkis has worked in the medium of live electronic and computer sound for many years, and has performed, exhibited installation works, and recorded in North America, Europe, and Japan. His work has largely been concerned with exploring the emergence of life-like properties in complex systems of interaction. In addition, he is a well-known performer in the world of improvised music, having performed on his electronic improvisation instruments with hundreds of artists and groups, including Chris Brown, John Butcher, Eugene Chadbourne, Fred Frith, Gianni Gebbia, Frank Gratkowski, Luc Houtkamp, Yoshi Ichiraku, Matt Ingalls, Joelle Leandre, Gino Robair, ROVA Saxophone Quartet, Elliott Sharp, Leo Wadada Smith and John Zorn. Ongoing groups he has founded or played in include the League of Automatic Music Composers and The Hub -- pioneering live computer network bands -- and Rotodoti, the Natto Quartet, Fuzzybunny, All Tomorrow's Zombies and Wobbly/Perkis/Antimatter. His occasional critical writings have been published in the Computer Music Journal, Leonardo and Electronic Musician magazine. He has been composer-in-residence at Mills College in Oakland California, artist-in-residence at Xerox Corporation's Palo Alto Research Center, and has designed musical tools and toys at Paul Allen's legendary think tank, Interval Research. His checkered career as a researcher and engineer has brought him a variety of interesting projects, including designing museum displays for science and music museums in San Francisco, Toronto, and Seattle; creating artificial intelligence-based auction tools for business; building scientific experimental apparati; consulting on multimedia art presentation networks for the SF Art Commission and SF Airport; writing software embedded in toys and other consumer products; and creating new tools for sound and video production, research, and analysis. Recordings of his work are available on several labels: Artifact, Limited Sedition, 482, Lucky Garage, Praemedia, Rastascan and Tzadik (USA); Emanem (UK); Sonore and Meniscus (France); Curva Minore and Snowdonia (Italy); XOR (Netherlands); and Creative Sources (Portugal). He is also producer and director of the 2007 feature-length documentary Noisy People, about musicians and sound artists in the San Francisco Bay Area.

Performing Artists
Chris Brown - electronics
Scot Gresham-Lancaster - electronics
Tim Perkis - electronics

Artists websites
cbmuse.com
scot.greshamlancaster.com
perkis.com
 
 
Pmocatat Ensemble

As part of the 12th Annual Outsound New Music Summit, Matt Davignon will present the Pmocatat Ensemble (Pre-recorded Music on CDs and Tapes and Things) performing his original graphic and textural scores. Each member of the ensemble records the sounds of their instruments in advance of the concert using the composition as their guide to a tape-based medium. During the concert, the music is then performed by playing and manipulating these recordings according to the composition. Performers frequently record the instruments they are most accustomed with, but it's also common for them to play other instruments that are available to them, as defined by the score. The second part of each score provides instructions on how to interact with the recordings, and the other performers on stage. Special attention is usually given to the abilities and limitations of the playback devices.

Originally born in Agawam, Massachusetts, Matt Davignon has been developing his own unique form of improvisation and composition since 1993. After moving to California as a teenager, he spent his musically formative years tinkering with tools such as lo-fi samplers, cassette tapes, contact microphones, household objects, 4-track compositions, extensive chains of guitar effects, prepared instruments, turntables, and field recordings. These explorations fuel and inform his current work, which most frequently involves processing the sounds of a drum machine in real-time with various electronic devices. Characteristics of his music include a focus on textures, arrhythmic patterns and musical imperfections, with a focus on evoking biological systems. Matt continues to organize inclusive music events such as Droneshift, the Pmocatat Ensemble (which stands for Pre-recorded Music on CDs and Tapes and Things) and Conduct Your Own Orchestra. He's a member of Larnie Fox's Crank Ensemble, and the vaguely krautrock band, Tiny Owl.
 
Performing Artists
Matt Davignon - conductor; CD DJ unit and multispeed tape player, percussion, acoustic guitar, voice, accordion, melodica and glockenspiel
Amar Chaudhary - iPod with traditional Indian instruments
Tom Djll - tape player with trumpet David Douglas, tape player with percussion
Gretchen Jude - tape player with concertina, guitar, voice, melodica, koto, shamison
Daniel McAnulty - tape player with guitar
Rent Romus - 4-track and tape player with saxophone, flute, accordion, zitherod
Daniel Steffey - tape & CD with percussion
Benjamin Tinker - cassettes with organ, harmonica and chanter with Echoplex tape delay
Nick Wang - cassettes with guitar, saxophone, ukelele
Michael Zelner - iPod with saxophone, clarinet, flute


Artists websites
Matt Davignon
 
David Molina's Transient

Transient is David Molina’s electro-acoustic, ambient, experimental project. He combines traditional acoustic, home-made and found object instruments with field recordings and electronics to create meditative soundscapes which can either be light, beautiful and haunting, or dark and disturbing. Transient has collaborated and performed with musicians such as John Ingle, Chris Webb, Polar, Garret La Fever, Miguel Hernandez, Kyron, Marco Eneidi, and George Cremachi; video artist Mickey T; and filmmaker Anna Geyer. He has performed at 2005 and 2007 International Loop Festival, the Chapel of Chimes winter 2005, The Lab, Noise Pancakes, the Drum Machine Museum, Galeria De La Raza, Noh Space, SOMARTS, the Performance Art Institute, and at various noise shows in San Francisco. He collaborates with performance artists Violeta Luna and Secos Y Mojados.

David MolinaDavid Molina has composed, performed, recorded, mixed, and designed sound for theatre, video, film, dance, performance art, radio, and multimedia productions for the past 17 years. He has collaborated with numerous theatre companies, performing arts venues, and educational institutes throughout the Bay Area, and has presented his work outside the Bay at Cal Arts, ASU, and throughout Peru and Argentina. Molina recently presented his first solo gallery exhibit Transience: The Work of David Molina, at Asterisk Gallery in San Francisco. It featured several instruments built by Molina, including Rusting Souls, a restored and modified Cimbalom, as well as A Dividing Line: American Ashes, a 14-channel speaker installation about immigration, xenophobia, the Mexican/U.S.A. border, and the lives that cross it, claim to protect it, or are separated by it. He was curator and producer of Color + Form + Frequency = Memory and Dreams, a multimedia concert at the Performance Art Institute in San Francisco, featuring electronic musician and video artist Mickey Tachibana; experimental filmmaker Anna Geyer; instrument builder Garrett La Fever; and Molina as composer and live musician. He collaborated with La Fever and Tachibana on Memory Web, an original instrument and interactive sound/video installation presented at SOMARTS, SF Fine Arts Fair, PAI, and Vessel Gallery.

Anna Geyer
is an award winning experimental filmmaker and writer. Her films have screened in many festivals internationally. A fascination with non-traditional methods of both production and presentation is apparent in her work. Cameraless, non-representational work has been the emphasis of much her recent effort, although she frequently describes her work as, “experimental with a narrative bent”. Live three projector loop sets performed in collaboration with local musician David Molina encompass the technology of the past and present and include abstract imagery, live action work and degraded imagery of the digital age. She teaches cinema classes at both City College of San Francisco and Solano Community College.


Performing Artists
David Molina - cello, electric guitar with pedals, broken autoharp and dulcimer, flute, some small homemade instruments and found objects, CDjs and DJ mixer
Anna Geyer - 16mm Film



Artists websites
David Molina

 
   
 
The Axiom
World premiers of fiery jazz composition, improvisation, and new music for the 2013 Summit Finale
Rent Romus' Lords of Outland with guests Hasan Razzaq & L.A. Jenkins
Lewis Jordan's Music at Large with India Cooke
Kyle Bruckmann's Wrack with guests Darren Johnston & Jeb Bishop


Saturday July 27
Community Music Center
544 Capp Street @ 20th
San Francisco, CA
click for map
Q&A Sessions 7:30 pm
Music Performance Starts @ 8:15 pm


Buy tickets to the 12th Annual Outsound New Music Summit July 21-27, 2013
At the Door:
$15 General / $10 Student /$45 Festival Pass
Advance with Brown Paper Tickets:
$12 General / $38 Festival Pass

Parking: New Mission Bartlett Garage (21st Street, between Mission and Valencia Streets)
Public Transportation: MUNI lines 14, 33 & 49, BART 16th or 24th Street Station




Listen to: The Axiom Sampler
music player
Kyle Bruckmann's Wrack

Wrack is both a chamber ensemble with a highly unusual instrumentation and a book of compositions tailor-made for the musical personalities of its members. While the compositions’ melodic and contrapuntal content is reminiscent of European classical modernism, the open structures, improvisational procedures and energetic performances are heavily indebted to the innovations of the African-American Creative Music tradition.

The Ensemble will premiere the entirety of
"…Awaits Silent Tristero's Empire", a 2012 CMA New Jazz Works commission still in progress. The core quintet will be augmented by two guest musicians: trombonist Jeb Bishop (reinstating a founding member of the ensemble) and trumpeter Darren Johnston. This addition of a brass section will not only dramatically expand Bruckmann's compositional palette, but also strengthen the Chicago-Bay Area axis (Johnston is a key figure in San Francisco jazz with strong ties to Chicago--including a working group with Bishop) and Bruckmann's role within the music community he now calls home. The composer anticipates a set-length piece of 45-60 minutes in duration.

“The score will take the form of an over-arching modular framework featuring many hallmarks of my compositions–parallel and tangential layers of polymetric riffs, intricate atonal counterpoint, and improvising subgroups of the ensemble–but on a larger scale than anything I’ve achieved to date,” says Bruckmann. “The work is inspired by the fiction of Thomas Pynchon–specifically V. (1963), The Crying of Lot 49 (1966), and Gravity's Rainbow (1973). These novels are peppered throughout with the rollicking, ribald, sardonic lyrics to imaginary songs. They come accompanied by evocative suggestions of style: sea shanties, drinking songs, marches, blues, Tin Pan Alley. I’ve come to find it amusing and provocative to think of them as a nonexistent but deeply resonant Great American Songbook, refracted through the shattered lenses of postmodernism.”

“A selection of these ‘songs’ will be set instrumentally; not just as melodic material, but embedded structurally in ways that abstractly reference the real Great American Songbook’s relationship with the jazz tradition,” continues Bruckmann. “I’m really not a ‘changes’ player (my most significant models are drawn from the post-free and AACM continuum), so I’m intrigued by this opportunity to obliquely engage with that aspect of the music’s history. Pynchon’s books are rife with references to and pulse with the energy of much contemporaneous New Thing jazz (for example, there’s a character named McClintic Sphere who plays a white saxophone), which I will also enjoy using as a stylistic grounding and jumping-off point.”

Oboist and composer Kyle Bruckmann founded Wrack in Chicago in 2002 as a vehicle for his compositions in the Creative Music tradition, drawing together inspirations from free jazz, European free improvisation, classical modernism, and particularly the legacy of the AACM. The original incarnation included four multi-faceted improvisers from that vibrant city's busy scene: Jeb Bishop (trombone), Tim Daisy (percussion), Kurt Johnson (bass), and Jen Clare Paulson (viola).

The debut record was released on Red Toucan in 2003. Bruckmann moved to San Francisco later that year, but has maintained the ensemble long distance. When he returned to Chicago for a 2005 homecoming visit, Bishop was unavailable and Johnson had moved out of town. Bass clarinetist Jason Stein and bassist Anton Hatwich stepped in for a regional tour and recording session that resulted in a 2006 release on 482 Music. This lineup has remained constant ever since, with periodic Midwestern performances and a 2010 West Coast tour.

While
Wrack's cross-country personnel has made more frequent outings difficult, 2012 was marked by key developments propelling them towards 'mid-career' status. Their first European tour was anchored by an April appearance at the Ulrichsberg Kaleidophon festival in Austria. Their third album, Cracked Refraction (Porter Records) was followed quickly by On Procedural Grounds (New World), a collection of Bruckmann's compositions for varied ensembles, with the half-hour title piece uniting Wrack with the venerable Rova Saxophone Quartet, and live electronics pioneers Tim Perkis and Gino Robair. In July, Wrack was awarded Chamber Music America's New Jazz Works: Commissioning and Ensemble Development grant.

Outsound Presents' presentation of Kyle Bruckmann's Wrack is supported by Presenting Jazz, a program of Chamber Music America funded through the generosity of the Doris Duke Charitable Foundation.


Performing Artists
Kyle Bruckmann - oboe
Jen Clare Paulson - viola
Jason Stein - bass clarinet
Anton Hatwich - bass
Tim Daisy - drums
Jeb Bishop - trombone
Darren Johnston - trumpet

Artists websites
kylebruckmann.com
 
 
Lewis Jordan's Music at Large
Lewis Jordan will debut a suite of new works entitled Only Children at the Outsound New Music Summit. The work is developed for quartet (saxophone, guitar, bass, and violin), and will incorporate scored and improvised sections in parallel and include text. The structure of the piece will create a context for group improvisation to nurture and grow the thematic material.

India CookeKarl EvangelistaJohn-Carlos Perea

Lewis Jordan
was born in San Francisco, raised in Chicago with the blues, all while learning to associate creative musicians with the advancement of society as we know it. An international touring and recording musician, composer, and poet since 1971, Jordan was a founding member of United Front, a seminal San Francisco Bay Area ensemble known for its originality, aggressive imagination, and cultural synthesis. As a solo artist and in collaboration, he has performed his work in musical and theatrical settings. With his independent productions of Music at Large, he has he has focused on creative compositional structures for improvisation, and has presented artists from a range of disciplines—dance, theater, and poetry, along with music. He seeks out performers who strive for modes of expression that honor their own unique traditions while speaking to the urgency of the present that binds us together. In his tenure, he has performed with such luminaries as Charles Tyler, Wilbur Morris, Jackie Prentice, Mark Izu, Carl Hoffman, Anthony Brown, Sachiko Nakamura, Brenda Wong Aok, Danny Glover, and Nobuko Miyamoto.

India Cooke
, violinist, composer and educator, plays a wide range of music - from classical to jazz. India has performed in San Francisco Bay Area symphony and opera orchestras, chamber ensembles, and Broadway shows. As one of California's most respected contract artists, she has performed as featured soloist with Joe Williams and the Louie Bellson Orchestra, and has played with Sarah Vaughn, Ray Charles, Frank Sinatra and many others. Her continuing jazz and improvisation experiences include performances with Pharoah Sanders, Sun Ra, Cecil Tayor, Pauline Oliveros and many others. As an educator, Ms. Cooke was an Artist-in Residence at the San Francisco School of the Arts, and currently teaches at the San Francisco Community Music Center, Mills College, Santa Clara Children's Shelter and at her private studio. She has conducted lecture/performances in Bay Area public schools, colleges, and other educational programs.

Filipino-American guitarist/composer
Karl Evangelista (b.1986) ranks among a new wave of creative musicians grounded in jazz, 20th century experimentalism, and popular song, exploring the place of multiculturalism and ethnic co-existence in an increasingly post-cultural, trans-idiomatic cultural space. As the creative force behind boundary breaking group Grex, Evangelista has been called “essential current-and-future listening, his music "a near-seamless blend of modern jazz, contemporary structuralist composition, indie rock, and blues rock” (Tiny Mix Tapes). This complex, powerful aesthetic fosters an “otherworldly experience” that is “completely original” (Eugene Weekly).

John-Carlos Perea (Mescalero Apache, Irish, German, Chicano) has maintained an active career as a performer and recording artist in San Francisco’s Jazz and World music scenes since 1997. First Dance (Aerep Music, 2001), his debut recording as a leader, featured John-Carlos’ original musical compositions and performances on electric bass, cedar flute, and pow-wow singing. Reviewer Thom Jurek noted that First Dance “feels like the late Jim Pepper’s Comin’ and Goin’”
John-Carlos has recorded on over a dozen albums as a sideman and, in 2007, he won a GRAMMY® (Best New Age Album [Vocal or Instrumental]) as a member of the Paul Winter Consort for pow-wow and cedar flute songs contributed to Crestone (Living Music, 2007). Canyon Records released Waking from the Roots by Coyote Jump, a new collaborative ensemble featuring John-Carlos on cedar flute with composer Colin Farish, in Spring 2012. The album was nominated for Best New Age Recording in the 14th Annual Native American Music Awards (NAMMYS).

Performing Artists
Lewis Jordan - alto saxophone
India Cooke - violin
Karl Evangelista - guitar
John-Carlos Perea - electric bass
Jimmy Biala - drums/percussion

Artists websites
lewisjordan.com

karlevangelista.com
johncarlosperea.com

 
 
Rent Romus' Lords of Outland
Rent Romus' Lords of Outland will present The Proceedings of Dr. Ke, a suite of original compositions inspired by the essays of experimental psychologist Dr. Charles Ponce on what he termed “Blade Runner Psychology.” This suite of original compositions will be performed by the Lords of Outland consisting of Rent Romus on saxophones, CJ Borosque on trumpet and electronics, Ray Scheaffer on bass, and Philip Everett on drums, electronics and autoharp, with guest artists L.A. Jenkins on guitar and Hasan Abdur Razzaq on saxophone and cello, both from Columbus, Ohio.
Romus' works utilize jazz traditions, and avant-garde sensibilities. Much of his compositions are inspired by literary works of contemporary science fiction or science fact writings. The writings of Dr Ponce straddle the fence between science and science fiction expanding Jungian psychology into the modern world by introducing futurist elements. It’s these elements that define the parameters of Romus' Compositions, which are meant to be invoking of both the futurist theme of Charles Ponce’s work and also his mystic interpretations of the words set to music.

Rent RomusHasan Abdur-RazzaqL.A. JenkinsLords of Outland

Rent Romus
is a saxophonist and multi-instrumentalist, bandleader, music and performing arts producer, and community leader living in the San Francisco Bay Area. He is heavily involved in exploring outside the confines of standard music forms of composition and improvisations in a wide variety of musical settings. He is also focused in presenting and supporting the local experimental and avant-garde community. From his very beginnings as a student of jazz while being exposed to the twilight tutelage of Stan Getz, he found himself drawn to the outer realms of music. From 1986 to present day, Rent Romus has recorded and released 22 recordings as a leader featuring a cross section of new up and coming musicians, as well as seasoned veterans of the improvised arts, including Chico Freeman, John Tchiai, Vinny Golia, Thollem McDonas, Steve Rossi, Stefan Pasborg, and Ernesto Diaz-Infante, to name a few. As a producer and artist business activist he runs Edgetone Records, a label for all forms of improvisation and experimentation. He is the founder and Executive Director of Outsound Presents, under which he curates the SIMM Music Series at the Musicians Union Hall on alternate Sundays, as well as the long-standing Luggage Store Gallery New Music Series every Thursday both in San Francisco. The Outsound New Music Summit, now in its 12th year, is a national experimental music festival held in the greater San Francisco Bay Area every July.

Hasan Abdur-Razzaq, musician and painter (Montgomery, Alabama- b.1949), and based in Columbus Ohio, is both a prolific visual artist, and a lifelong devotee and practitioner of free jazz. Musically, Razzaq comes from the Cleveland scene of the late 1960’s that produced the Ayler Brothers, and cellist Abdul Wadud, amongst others. His work combines elements of ecstatic free jazz with periods of more reflective sounds. Travel to Egypt, Jordan and Saudi Arabia, and study of African rhythms through hand drumming, has contributed to his sound through a consciousness of global musical culture.

L.A. Jenkins is a modern jazz guitarist and composer. His relaxed approach to his art is always about the music and the collaboration he forges with other like minded musicians. Originally a self-taught guitarist, he eventually studied music composition–specifically the harmolodic approach to song composition ala Ornette Coleman. His compositional work follows in the legacy of Anthony Braxton, Bill Frisell, Bill Laswell, Leroy Jenkins, Ornette Coleman and David Torn. He wishes “to advance the ideal of artistic freedom being unhindered by cultural assumptions about the individual and enforced as limiting expectations as it relates to categories and genre.” Thus he dips his “toe” (so to speak) into many styles of creative music. L. A’s, current interest is playing in the genre of modern jazz/free improvisation, ambient/ experimental, avant-garde, and film compositions. L.A. has collaborated with percussionist Tatsuya Nakatani, bassist Tom Abbs, and saxophonist Michael Cary/to name a few.

Performing Artists
CJ Borosque - trumpet, analog electronics
Ray Schaeffer - 6-string electric bass
Philip Everett - drums, autoharp, electronics
Rent Romus - alto, soprano, C-melody saxophones w/ special guests
Hasan Razzaq - saxophones
L.A. Jenkins - electric guitar

Artists websites
Lords of Outland

Rent Romus
CJ Borosque