Monday, September 22, 2014

New Single: Nadjiwan - Only After (September 23, 2014)

From a release:

New Single:
Nadjiwan - Only After (September 23, 2014)

The first commercial release from NADJIWAN since November 2008 comes out Tuesday September 23rd.

Check it out/buy it  online


Heading North Music will be releasing a NEW single  every couple of months from September 2014 to June 2015. June 2015 is the 20th anniversary of the first NADJIWAN release 'Brother'.  Keep an eye open for a cross-Canada summer tour!

'Only After', the new single, is a high-energy tune that is reminiscent of old-school 90's rock you would expect from bands like R.E.M.

NADJIWAN's 'Only After' will be available in Canada & the United States Tuesday September 23rd and world-wide in November.

The man behind the NADJIWAN project and the music is Marc Nadjiwan. Born in northern Manitoba and raised in the untamed beauty of Northwestern Ontario, Marc knew from an early age he would perform music.

In addition to five full-length albums and several singles, Marc has contributed music for theatre. Some productions include: New World Brave, Agokwe, Coyote City and Artifacts. Marc currently lives in Toronto, Ontario and although Marc has left the humble and untamed beauty of Northwestern Ontario, he will never forget his roots. The deepening red skies, flourishing forests and fresh running rivers will always remain in his heart, soul and music.

Friday, September 19, 2014

CD Release: Piers Faccini & Vincent Segal - Songs of Time Lost (October 14, 2014 - Six Degrees Records)

From a media release:

PIERS FACCINI & VINCENT SEGAL ANNOUNCE NEW ALBUM
SONGS OF TIME LOST – US RELEASE DATE: OCTOBER 14, 2014 ON SIX DEGREES RECORDS


Buy the CD

Piers Faccini and Vincent Segal met in Paris in the late 1980s and have been friends ever since. Songs of Time Lost is their first joint album. Using voice, guitar and cello and a variety of languages (including English, Neapolitan dialect and Creole), the album brings together original compositions, traditional songs and some covers. “It feels like a reunion,” says Vincent, “even though we never really lost touch over the years.”

At the time of their original meeting, Piers was a painter and student at the Paris Beaux-Arts and Vincent had just left the Conservatoire. Vincent was immediately taken by Piers’ vocals: “I wanted to find ways to support his voice, to envelop his words.” Piers later went on to launch his first solo album in 2004, Leave No Trace, which Vincent produced. His many subsequent solo releases have drawn rave reviews from critics around the world, including his most recent album, Between Dogs and Wolves, which was released in North America by Six Degrees Records in 2013. Meanwhile, Vincent started to develop his band Bumcello, as well as a myriad of other projects, including the popular album, Chamber Music, recorded with kora master Ballaké Sissoko.

Songs of Time Lost weaves together many musical strands, made up of both artists' diverse influences. There is the blues that Piers first heard from Mississippi John Hurt (“Make Me a Pallet on Your Floor”), a composition by Alain Peters from the island of La Réunion (“Mangé pou le coeur”), a country waltz by Townes Van Zandt (“Quicksilver Daydreams of Maria”) and an instrumental theme by the Berlin composer Friedrich Holländer (“Wenn ich mir, was wünschen dürfte”). There are also the melodies of the traditional Neapolitan repertoire, which are favorites of Piers, who is of Anglo-Italian lineage (“Jesce sole,” “Villanella di cenerentola,” “Dicitencello vuje,” “Cicerenella” and the contemporary “Cammina cammina” by Pino Daniele).

Both musicians also draw from their own repertoires for the album. This includes two songs dating back to 1996, which Piers originally wrote for a film soundtrack (“A Half of Me” and “The Closing of Our Eyes”). There are also two recent compositions by Vincent (“Cradle to the Grave” and “Everyday Away from You”), which Piers added lyrics to. The first has a New Orleans-style riff that would not feel out of place on an old Allen Toussaint record and the latter seems to conjure up the soft refrains of Brazilian guitarist Luiz Bonfá. (L-R: Vincent Segal & Piers Faccini - photo by Payram)

In short, Songs of Time Lost is a fine balance between inspiration and influence. It is the meeting point of the music one inherits from the great masters and the music one writes oneself.

On the Way to Broadway - N The Queen of Paris World Premiere in Toronto September 24, 2015 - Tix on Sale September 24, 2014

From a media release:

MONLOVE ANNOUNCES
N THE QUEEN OF PARIS
TICKETS FOR WORLD PREMIERE IN TORONTO
ON SALE SEPTEMBER 24, 2014

Toronto Run at Elgin Theatre from September 24 through October 11, 2015
Exclusive Moët & Chandon VIP Experiences Available

Get your tix from September 24

Sample the Music

Toronto, September 16, 2014
– Canadian-based Monlove Enterprises today announced that tickets to the world premiere of N THE QUEEN OF PARIS at the Elgin Theatre in Toronto will go on sale on September 24, 2014.  The new musical, which will open exactly one year later, was inspired by the Champagne atmosphere and rags-to-riches romance of Emile Zola’s classic novel Nana with its gaslight glimpses into the backstage world of Parisian theatres, "Joie de vivre" and courtesans’ salons.

“We are excited to bring audiences into the glamorous and chic world of N THE QUEEN OF PARIS,” said co-directors Ella Louise Allaire and Martin Lord Ferguson. “We want those luxurious feelings to extend beyond the stage to every aspect of the viewer’s experience and hope that the audience will feel like they are royalty themselves.” 

N THE QUEEN OF PARIS is a spectacular reimagining of Emile Zola’s beloved novel Nana and brings the romance and color of Paris’s 19th-Century theatre world to the 21st-century stage.  Tickets will start at $59. In coordination with Moët & Chandon, the Official Champagne of N THE QUEEN OF PARIS, two special VIP experiences are also available.

The Möet & Chandon VIP package, available for $249 per ticket, offers a limited number of guests premium seating with access to the Möet VIP Lounge, two glasses of Möet champagne and light refreshments to enjoy during the show, as well as an exclusive surprise souvenir.  

The Möet & Chandon 1880 Ultimate VIP package, available for $1,880 for two tickets, with extremely limited availability, features premium seating in a private section with access to the Möet VIP Lounge.  Möet Ultimate VIP package holders will receive a bottle of Grand Vintage Möet champagne, which is unavailable for purchase in North America and has been reserved specifically for N THE QUEEN OF PARIS and imported from France.  Möet Ultimate VIP guests will have the option to enjoy the champagne during the show, with private butler service and light refreshments, or have it packaged to take-away.     

Canadians Ella Louise Allaire and Martin Lord Ferguson, the creative force behind some of the most recent successful touring shows, are co-directing N THE QUEEN OF PARIS and have developed the show’s book, music and lyrics. They have created the Original Concept, Book, Music and Lyrics for 20th Century Fox's billion dollar franchise Ice Age Live! A Mammoth Adventure, which broke attendance records and is touring worldwide; produced, composed music for and contributed to the scores for large-scale projects such as Cirque du Soleil's KÀ in Las Vegas, Zed in Tokyo Disney and the film Cirque du Soleil Worlds Away co-produced by James Cameron; and their music has appeared in multiple  blockbuster films, including Avatar.

Joining them on the creative team are choreographer Jean-Jacques Pillet, who was artistic director for the Cirque du Soleil tour of Varekai and has worked on the Hollywood feature film Warm Bodies, as well as for the Paris Opéra Ballet, La Scala in Milan, Stuttgart Ballet, Munich Opéra Ballet, National Ballet of Canada, Bayerische Staatsballet and Les Grands Ballets Canadiens de Montréal; costume designer Edda Gudmunsdottir, whose clients include Bjork, Christina Aguilera, Lady Gaga, Alicia Keys, Taylor Swift, Oprah Winfrey and Diane Sawyer, along with international brands Diane Von Furstenberg, Philosophy, L’Oréal and Converse; Michael Curry, whose spectacular visions have been integral to shows from The Lion King on Broadway to productions at La Scala and the Paris Opéra, will develop painting and designs for the production; and lighting designer Nick Whitehouse, whose credits range from work with West-End theatre to Grammy superstars including Coldplay, Justin Timberlake, Kylie Minogue, Rihanna, Beyonce, Kanye West, Alicia Keys, Britney Spears and Jay Z.

Three initial concert workshops of N THE QUEEN OF PARIS, with approximately 20 Canadian performers, will be held in Montreal at the Gesù Theatre from Sunday, September 21 to Tuesday, September 23, 2014. The cast for the Montreal workshops will include Canadian singers and actors Elise Cormier, Lulu Hughes, baritone Gino Quilico and Yvan Pedneault.
Following its world premiere in Toronto N THE QUEEN OF PARIS will have its US premiere in Chicago at Broadway In Chicago’s Bank of America Theatre, a Nederlander Company, starting in November 2015 and will then open on Broadway in March 2016.

• For information about the making of N THE QUEEN OF PARIS, please visit www.nthemusical.com and follow N on Twitter: @NtheMusical, Facebook: N The Musical and YouTube: NtheMusical.

Solotech is the official technical partner of N THE QUEEN OF PARIS.

THE STORY OF N THE QUEEN OF PARIS:
N THE QUEEN OF PARIS is based on Emile Zola’s Nana, the ninth installment of the famous and controversial series Les Rougon-Macquart, which portrayed life in France during 1852 to 1870 when the boulevards, cafés and nightlife of modern Paris were just being born. Nana, the main character, is a young, single mother and an aspiring actress, working hard to provide for her child and striving to achieve a successful career. As Nana rises to stardom and becomes an icon known as “the Queen of Paris,” two men—one young bourgeois and the other a middle-aged, wealthy nobleman, fall in love with her. Although she attains more success and wealth than she could have ever dreamed, she does not feel fulfilled and struggles with her desire to love and be loved. Lighthearted but also poignant, N THE QUEEN OF PARIS is a timeless love story that joins the past and the present to bring Zola’s classic story into the 21st century, sharing Nana, who was already a very modern woman for her time, with today’s audiences.

N THE QUEEN OF PARIS
World Premiere
Performances begin September 24, 2015 at the Elgin Theatre, 189 Yonge Street, Toronto

Ticket prices start at $59 and include two different VIP packages for $249/ticket or $1880 for two Ultimate VIP tickets, and can be purchased in person at the Elgin Theatre Box Office, by calling 1.855.622.2787 (ARTS), online at www.ticketmaster.ca. Discounts are available for Groups of 10 or more and can be purchased by calling 647-438-5559 or online at http://thegrouptixcompany.com/

Tickets for the concert workshops in Montreal  are $33 ($29 for students) plus service fees, available online at www.legesu.com, by phone at the Gesu at (514) 861-4036 and at the box office (located at 1200 Rue de Bleury, Montréal), or by calling admission (Ticketmaster) at 1-855-790-1245.

About Monlove (Production Company)
Monlove is a Montréal-based entertainment company founded in 2005 by Ella Louise Allaire with Martin Lord Ferguson as partner. It began by providing music production and composition services for large-scale shows such as Cirque du Soleil’s KÀ in Las Vegas and Zed at Tokyo Disney. More recently, it has expanded its activities by creating a division in Europe, Fidelio Entertainment, which provides concepts and services for large-arena shows such as Ice Age Live! A Mammoth Adventure.  Monlove also produces shows and develops creative content.  Monlove’s clients have included Cirque du Soleil, Stage Entertainment, Twentieth Century Fox, and APM Music Hollywood.

Dance: MAI (Montréal, arts interculturels) presents Daina Ashbee’s Unrelated - October 3 & 4 2014

From a media release:

MAI (Montréal, arts interculturels) presents
Daina Ashbee’s
Unrelated
Choreographed by Daina Ashbee
Performed by Paige Culley and Areli Moran
Part of the MAI’s new Série Création bourgeonne
Friday, October 3 and Saturday, October 4, 2014

Get Tickets


World Premiere!
With a disconcerting lucidity, Unrelated boils with feelings of emptiness, and erupts with violence suggesting the loss of culture, identity and community.

Over 1,200 Aboriginal women have gone missing or been murdered in Canada over the past 30 years


MONTREAL, September 2014 – Unrelated is a personal creation that expresses the struggle of Aboriginal women through a reconstruction of their identities. Choreographer Daina Ashbee communicates the cruelty and vulnerability these women are confronted with, while exploring cultural devastation, violence and self-destruction. Presented at the MAI (Montréal, arts interculturels) on October 3 and 4.

One of today’s burning issues is the disappearance of Aboriginal women in Canada. According to new police figures, over 1,200 native women and girls have disappeared or been murdered in Canada over the last three decades. The level of violence is striking. While they are only 4 per cent of the population, native women and girls represent 16 per cent of female murder victims and 12 per cent of the country’s missing women and girls. The recent ‘Am I Next’ online campaign was started by Holly Jarrett, a cousin of Loretta Saunders. Jarrett says she hopes those three chilling words will frighten the nation into action: www.cbc.ca/news/aboriginal/indigenous-women-ask-am-i-next-to-raise-awareness-about-missing-and-murdered-1.2757295.

Unrelated is a dark, intense and disturbing work about this heinous reality. With a disconcerting lucidity, the piece unveils the feeling of emptiness; the loss of Aboriginal language and rituals. Ashbee’s dance draws on both the contemporary and traditional- her creations are deliberately vulnerable and often sensual. A study of the subconscious in its corporeality, the choreographer deconstructs and transforms the frames of reference that conditioned her own self-image, incorporating repetition, resistance and falling.

For Ashbee, the art of dance brings her closer to her own body and to the awareness of her own thoughts and processes, “Articulating this awareness through choreography helps to uncover my connection to the environment, the earth and to my ancestors.” She continues, “In a society full of traps to confuse, numb and desensitize, my work uses and acknowledges the density and complexity of the human structure by exploring its innards, its thought processes, its energy and its capacity for life. Blood, water, organs, bones, energy and thought all figure in the creation. I project shapes from within.” Ashbee’s choreography is an investigation of the body in order to address the subconscious. She explains, “My work is a deepening of my own consciousness. My hope is to destroy frameworks that have warped my body and self-image as a way to repair and prepare for a new beginning.”

Choreographer/dancer Daina Ashbee began working on Unrelated in 2012; a compilation of movement and choreography manifested through the research of First Nations women’s issues in Canada. This research leads Ashbee to create a movement score which delves into the bodies of the performers and addresses sexuality and self-identity. Here, struggle and disconnection are common themes that can be seen physically in the performers’ bodies. Unrelated is stunningly interpreted by dancers Areli Moran and Paige Culley. Lighting design is by Timothy Rodrigues, dramaturgy by Su Feh Lee and Lara Kramer.

Unrelated will tour to four Mexican cities in 2015 after its world premiere at the MAI.

To learn more about Daina Ashbee and her projects: www.dainaashbee.com

New this season at the MAI is the Série Création bourgeonne. This latest component of their program presents works from emerging Montreal artists. These interdisciplinary creations offer ex­traordinary art within the reach of every budget.

Unrelated (2 shows only) October 3 and 4 at 8pm
Daina Ashbee at the MAI
3680 rue Jeanne-Mance


A discussion with dance critic Philip Szporer will follow Friday night’s performance.
Tickets: $18 regular, $15 group (10 or more)
October 3 special: two tickets for $25, available only up to 24 hours prior to the show
Reservations: (514) 982-3386 or online- http://m-a-i.qc.ca/en/index.php?id=418 (+ service charge) www.facebook.com/events/1504375353144692/


UNRELATED (Teaser) from Daina Ashbee on Vimeo.

Tuesday, September 16, 2014

Art Toronto International Art Fair to Present Major Works by BGL, Marman & Borins, Amalie Atkins, VSVSVS (Oct 24 to 27 2014)

From a media release:

ART TORONTO TO PRESENT MAJOR WORKS BY BGL, MARMAN & BORINS, AMALIE ATKINS, VSVSVS
October 24 to 27, 2014

• For more information and tickets please visit: ArtToronto.ca

Toronto, ON (September 16, 2014) -
Art Toronto is celebrating its 15th anniversary this October 24 – 27 at the Metro Toronto Convention Centre, with a refreshed fair design featuring more than 100 select galleries, and an ambitious curatorial series that includes large-scale installations by prominent Canadian artists including BGL, Marman & Borins, Amalie Atkins, VSVSVS, and Thrush Holmes. This will be the first time several of these pieces will be shown in Toronto, and in Canada, thanks to the combined efforts of Art Toronto, artists, galleries, and sponsors.
 
BGL, Canada de Fantaisie/Canada Fancy
Art Toronto is proud to announce the inclusion of a major work by the Québec-based collective BGL, titled Canada de Fantaisie/Canada Fancy, an urban carousel made from steel security fences suspended from a lamp post at this year’s fair. Canada de Fantaisie/Canada Fancy explores the concepts of control and freedom, and invites viewers to break down barriers as they climb on and enjoy the ride. Usually a tool for crowd control, in the hands of the artists the security barrier becomes a symbol of transcendence and creativity. Speaking about the piece, the artists said, “We will transform this object that was intended to reduce delinquency into something that inspires delirium.”

The piece continues BGL’s ongoing investigation of crowd barriers and their relationship with collective values and cultural patterns. With its appearance at Art Toronto, Canada de Fantaisie/Canada Fancy is making a return visit to this city. First conceived for the huge survey exhibition Oh, Canada, held at MASS MoCA in North Adams, Massachusetts in 2012-2013, the work was assembled at York University, where BGL was the sculptor-in-residence. A team of ten fine arts students helped to finish it.

Canada de Fantaisie/Canada Fancy is sponsored by RBC Wealth Management, and presented by Art Toronto and the National Gallery of Canada, Ottawa. BGL is represented by Diaz Contemporary, Toronto (Booth #720), and Parisian Laundry, Montreal (Booth #902).

Jasmin Bilodeau, Sébastien Giguère and Nicolas Laverdière, whose names lend their initials to BGL, have been collaborating for almost twenty years to create ambitious and often humorous works of art. Their elaborate sculptures, installations, and performance works offer an original take on social and political issues, including consumer culture, contemporary values, the art establishment and the environment. Reacting to the increasingly digital age, BGL takes a distinctly DIY approach, tinkering, playing and enjoying the “poetry of materials.”

BGL has participated in numerous solo exhibitions in Canada and around the world. They will be representing Canada at the prestigious 56th International Art Exhibition La Biennale di Venezia in 2015 in a presentation organized by the National Gallery of Canada. Marie Fraser, of the Université du Québec à Montréal, is the guest curator. The Venice Biennale is among the most important contemporary art events in the world, and the only international visual arts exhibition to which Canada sends official representation. The Presenting Sponsor of the Canada Pavilion in 2015 is RBC Wealth Management, with major support provided by Aimia.

BGL’s works are included in the collections of the National Gallery of Canada, the Montreal Museum of Fine Arts, the Musée national des beaux-arts du Québec, the Musée d’art contemporain de Montréal, and in many private and corporate collections including RBC, Aimia, and The Granite Club.

Jennifer Marman and Daniel Borins' Pavilion of the Blind (2013)
Pavilion of the Blind (2013) is a large-scale kinetic installation, featuring a colourful array of window blinds, panels and shades. Pavilion of the Blind arranges and rearranges itself into a series of constantly hanging abstract compositions. Movement is triggered by a motion detector and controlled by a microcomputer housed within the structure. The title of this work is both a visual pun and a reference to H.G. Wells' 1939 text The Country of the Blind, a parable that reflects upon the nature of vision, and how we communicate our visual experience with others. The Pavilion functions as a window into the mind of the artist, running through a seemingly endless series of pictorial themes and variations. The piece is at times opaque and contained, yet the transitions in the position of the components allow for transparency. Pavilion of the Blind plays with the concepts of opacity and transparency, raising questions about changeable reality, barriers to perception, the filtering of information and the mediated experience. Pavilion of the Blind allows for a thoughtful and somewhat paradoxical commentary on artistic practice and the nature of abstraction. This is first time Pavilion of the Blind will be exhibited in Toronto.

Jennifer Marman and Daniel Borins (Marman & Borins) have been creating large-format sculpture, installation, mixed media, and electronic art since 2000. They have exhibited nationally and internationally, including exhibitions at the National Gallery of Canada, the Art Gallery of Ontario, Cristin Tierney Gallery, New York and most recently, the Nicaragua Biennial. Currently, they are producing several large-scale public art projects, including commissions for the Toronto Transit Commission and Waterfront Toronto's Pan Am Village. Marman + Borins are represented by Cristin Tierney, New York.

Amalie Atkins, Three Minute Miracle
Three Minute Miracle (2008) is a significant installation work previously featured in the Oh, Canada exhibition of contemporary Canadian art at Mass MoCA. The piece is comprised of a 10-foot diameter tent within which a 13-minute looped video is projected. Wrapped with thick felt, the darkened tent allows viewers to escape into the story, momentarily pulling the viewer away from the cacophony of the fair. Telling a story of cakes, wolves and rotten teeth with a simple soundtrack of piano accompaniment enhanced by two short vocal choruses, the video has a humorously dreamy yet ominous feel. The tent is handmade by Atkins from cream-coloured felt, ringed at its ceiling by red pendant flags. Visitors will be invited to don felt boots or simply stride into the tent as they enter to view the film.

Amalie Atkins is a Saskatoon-based artist working in film, installation, photography, and fibers. Atkins’ work ranges from filmmaking, to fabric-based sculpture, to performance. Atkins currently lives and works in Canada. Amalie Atkins is represented by dc3 Art Projects, Edmonton (Booth #1212).

VSVSVS, Nap Station
Nap Station is an on-site lounge created specifically for Art Toronto by Toronto artist collective VSVSVS (Booth # 917).  The space is both a functional rest area for guests, and a cheeky response to the physical and social environment of the art fair.    

“We know what it’s like out there under the bright lights, shoes pattering against the carpeted floor, people everywhere and a million paintings. Come to VSVSVS’ nap station to enjoy a much-needed respite from the stress of art. Lay your weary head to rest and let the buzzing of the crowds become a gentle, soothing white noise. We can’t turn day to night but we will have curtains. Schedule an appointment; drop-ins welcome.”

VSVSVS (pronounced “versus versus versus”) is a seven-person collective and artist-run centre based in the Toronto Portlands. Formed in 2010, the group’s activities encompass collective art making, residency programs, a formal exhibition space, and individual studio practices. Collective members include Stephen McLeod, Laura Simon, James Gardner, Miles Stemp, Wallis Cheung, Ryan Clayton and Anthony Cooper. VSVSVS’s collective work focuses on the collaborative production of multiples, drawings, video works, sculpture, installations, and performance. An open framework allows each member to play to different interests, while contributing to a common goal. Working with seven heads is an experiment in being together too much and making things constantly.

VSVSVS recently participated in Mercer Union’s Taking [A] Part and Platforms Projects at Art Athina in Greece, and Yan Wu’s This Area is Under 23 Hour Video and Audio Surveillance, currently on view at Jackman Humanities Institute, University of Toronto. Upcoming projects include an exhibition with Niagara Artists Centre and a residency at Centre Bang in Chicoutimi, Quebec. VSVSVS would like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.

Two VSVSVS members, James Gardner and Wallis Cheung, are 2014 RBC Painting Competition finalists. Paintings by Gardner and Cheung will be on display at Art Toronto alongside fellow finalists in the RBC Wealth Management VIP Lounge.

Event Information:

Opening Night Preview – A benefit for the Art Gallery of Ontario
Thursday, October 23
Special Collectors’ Preview 4:30pm to 6:30pm
Opening Night Preview 6:30pm to 10:00pm
Public Hours
Friday October 24 to Monday October 27, Friday & Saturday – Noon to 8:00pm Sunday & Monday – Noon to 6:00pm
Metro Toronto Convention Centre
North Building, Exhibit Hall A & B
255 Front Street West

For more information and tickets please visit: ArtToronto.ca
#ArtToronto14

Chile’s Rebellious Roots Innovator Nano Stern in Debut North American Tour November 2014

From a media release:

Respectful Irreverence: Chile’s Rebellious Roots Innovator Nano Stern Speaks Volumes Live
Acclaimed young songwriter and multi-instrumentalist on first North American solo tour November 2014


11/01, Raleigh, NC, Titmus Theatre, NCSU, 5PM & 8PM
11/08, Austin, TX, Cactus Café / KUTX , 8:30 PM
11/09, Albuquerque, NM, Bank of America Theatre
11/13, Williamsburg, VA, Regional Library
11/14, Norfolk, VA, Robin Hixon Theatre
11/16, New York, NY, City Winery, 12:00 PM
11/19, Toronto, ON, Harbourfront Centre
11/22, Wilmington, NC, Thalian Hall, 7:30 PM

Some performers connect with audiences. Chilean singer-songwriter, multi-instrumentalist, and musical activist Nano Stern has a history of getting audiences to leap to their feet and dance. Of making them laugh or cry, with nothing but a guitar and his voice. All while singing in a different language.

“I’m generally working to create a language of my own,” Stern notes. “The vast majority of words I’m trying to find already exist and have been spoken by many before in amazing ways. To separate the cream from the milk, you need calm. You need to listen to what’s inside of you.”

When Stern was fifteen, he joined his first major band, Matorral. The clean-cut kid would show up in his trim school uniform, guitar in hand, and stroll into a battered practice space to jam with some of Chile’s quirkiest rock icons. The band became a cult favorite.

His bandmates had a decade or more on him, but they had plenty to teach. They had all cut their teeth in the underground scene, where Chilean musicians had struggled to come to terms with their country’s politically complex history, the fascinating musical roots of their culture, and the addicting drive of rock and punk.

The sound Stern has discovered inside has become a touchstone for an entire Chilean generation. The grandson of Jewish refugees fleeing tragedy, Stern has found this language by incorporating rock attitude, the midcentury folk reverberations of his homeland (like Violet Parra and Victor Jara), and classical and jazz technique to explore the complexities of the personal and political, and to find new ways to play with Chile’s long-repressed roots music.

It’s a mix that captures the age-old mix of indigenous, African, and European elements that defines Latin music, and it’s a reflection of the fresh and passionate young voices emerging on the South American scene. It’s a balance of respect and irreverence, of emotion and activism.

“I am extremely respectful of the tradition,” explains Stern, who has traveled extensively at home in search of elder musicians. “I try to learn from or study with the people who know this music. It’s an enormous gift we received from the people of the past, from the tradition itself. Yet I’m disrespectful. I think it should be open to all kinds promiscuity, to every sound getting together with everything else. That’s when things get truly beautiful.”

American audiences will get a chance to experience this beauty firsthand, as Stern performs live this autumn in a series of intimate shows. Here's a taste of his live act -

Arthouse Jazz: Outhead to Release 'Send This Sound to the King' (October 14, 2014 - Chahatatadra Music)

From a media release:

To be released October 14, 2014, via Chahatatadra Music:
Outhead - an Arthouse Quartet Blending the Free-Minded Jazz of Ornette Coleman, Archie Shepp and Roland Kirk with the Post-Beat Sounds of the Lounge Lizards and Morphine - Presents Its Second Album: Send This Sound to the King

Pre-order from Amazon.com 


Featuring saxophonists Alex Weiss and Charlie Gurke, bassist Rob Woodcock, drummer Dillon Westbrook and special guests on guitar and vocals

Outhead - the quartet of alto/tenor saxophonist Alex Weiss and baritone saxophonist Charlie Gurke with double-bassist Rob Woodcock and drummer Dillon Westbrook - pursues a low-slung, roughhewn aesthetic that's equal parts free-jazz and art-punk, brimming over with vim and vigor. Outhead's second album - Send This Sound to the King, to be released October 14, 2014 via Chahatatadra Music - juxtaposes catchy melody and swinging grooves, headlong caterwaul and dreamy spoken word. Guest guitarist Peter Galub provides spiky six-string atmosphere to several tracks, and multiple voices are heard, male and female.Send This Sound to the King is the sound of both edge and allure.

Outhead's new album is the follow-up to the band's 2008 release, Quiet Sounds for Comfortable People, which was a favorite of Downtown Music Gallery's Bruce Gallanter for its "inventive dynamics" and "fabulous groove." He heard a kinship with Ornette Coleman's two-sax band with Dewey Redman, while Weiss lists Archie Shepp and Roland Kirk as further references, for both their stentorian roar and the theatricality of their '60s work. The sly humor and sheer accessibility of Send This Sound to the King makes Outhead akin to John Lurie's iconic downtown New York band the Lounge Lizards, while rock fans may even hear echoes of the baritone-driven, post-Beat stylings of vintage indie-rock trio Morphine at times. Yet for all its hip influences and antecedents, Outhead is above all an individualist outfit, playing music that isn't quite like anything else out there.

Send This Sound to the King: Track by Track

Outhead's second album kicks off beautifully with the majestic, melody-rich"Ode to John Denver, or How I Learned to Stop Worrying About Death," a woozy rubato spiritual by Weiss in a classic Albert Ayler mode, with a droning foundation of harmonium and arco bass for an East-meets-West feel. Next comes "The Chairman," a laconically catchy tune by Gurke that's blessed by Woodcock's grooving, textured bass playing and guest electric guitar by Peter Galub, who lends a rock'n'roll feel to the track - particularly with his fantastically wild, wailing solo near the end. Weiss' "The Palimpsest" makes a nod to John Zorn's Masada songbook; the composer's alto leads with the faintly Middle Eastern melody and a cry in his tone, though Gurke's baritone soon entwines serpentine around it for their characteristic sax blend.

"Glass Houses and Gift Horses" is a headlong rocker by Weiss, with a deceptively sophisticated form. The composer plays tenor, while Gurke's solo takes advantage of multiphonic effects and the overtones possible on the baritone. Westbrook, who has a Masters in Fine Arts degree in poetry, wrote the music and verses for the artfully produced soundscape "A Made Truth," with the sexual subtext of the words made plain in the initial sly recitation by Sarah Horashek and then undercut oddly and humorously by Eunjin Park's less-native way with the same lyrics."Trotsky" is a groovy free-bop number by Charlie in the early Ornette Coleman manner, the harmolodic icon being a prime influence on every member of the band. The album's offbeat closer,"Uncle Ho," features music by Charlie and words by Alex, with a chorus of women's voices taking a key role. Roland Kirk'sVolunteered Slavery is a key influence here, though with more demented humor in the words than political fire. The sound of Alex and Charlie's twinned saxophones is a textural highlight, as on the entire album.

Just Released: Wadada Leo Smith - The Great Lakes Suites (TUM CD 041-2 - September 16, 2014)

From a media release:

Just Released:
WADADA LEO SMITH
The Great Lakes Suites
TUM CD 041-2 - September 16, 2014
CD–1:     01 Lake Michigan / 02 Lake Ontario / 03 Lake Superior
CD–2:     04 Lake Huron / 05 Lake Erie / 06 Lake St. Clair

Buy the CD


Featuring:
Wadada Leo Smith - trumpet
Henry Threadgill - alto saxophone, flute and bass flute
John Lindberg - double bass
Jack DeJohnette - drums


With The Great Lakes Suites, composer and trumpeter Wadada Leo Smith brings to us another classic recording of extended works: six compositions that are each dedicated to and inspired by the Great Lakes located between the Province of Ontario in Canada and six states in the United States.

For the Great Lakes Suites, Smith composed an extended new work for each of the five lakes that traditionally are considered to comprise the Great Lakes, and also added a sixth composition, “Lake St. Clair,” which is dedicated not only to that smaller lake in the same region wishing to be considered a Great Lake, but also to saxophonist Oliver Lake, undoubtedly another Great Lake.

“My inspiration for composing the music on The Great Lakes Suites is centered around the idea of the Great Lakes being located in the uppermost part of the Northern hemisphere and the fact that it took a long time for them to develop and form as a large body of water. My score reflects the idea of the flatness of the lakes´ surfaces. The lakes´ flatness does not, however, imply for me stasis or inactivity. What I wish to express compositionally is the simultaneous notions of the lakes being flat and their volatility as the fundamental characteristics of the Great Lakes. Restrained, yet explosive,” says Wadada Leo Smith. “The other quality I wanted to express in the compositions was multiple sectional forms, ideally, thinking of each composition as being a suite or set of multiple pieces.”

Wadada Leo Smith (b. 1941), whose roots are in the Delta blues and who was part of the first generation of musicians to come out of Chicago’s AACM, has established himself as one of the leading composers and performers of creative contemporary music. In the late 1960s, Smith formed the Creative Construction Company together with saxophonist Anthony Braxton and violinist Leroy Jenkins and, since the early 1970s, he has mostly performed and recorded with his own groups. He currently leads four principal ensembles: the Golden Quartet, Mbira, Organic and the Silver Orchestra. In May 2012, Smith released his most extensive recording to date: Ten Freedom Summers, a four-CD collection of 19 compositions inspired by the civil rights movement in the United States, which was recently a Finalist for the Pulitzer Prize in Music and has garnered wide praise and accolades. In 2013, Smith released another important recording of larger works, Occupy The World (TUM CD 037-2), comprised of six extended compositions performed by TUMO, a 22-member improvising orchestra.

The Great Lakes Suites features composer and trumpeter Wadada Leo Smith’s latest small ensemble: The Great Lakes Quartet, a true super group in creative music. Three musicians in this quartet were born and spent their youths in cities near the Great Lakes, saxophonist/flutist Henry Threadgill and drummer Jack DeJohnette in Chicago and bassist John Lindberg in the greater Detroit area, whereas Wadada Leo Smith himself lived in Chicago for several personally crucial years in the late 1960s. Wadada Leo Smith already played with Threadgill and DeJohnette in Chicago in the late 1960s during the early days of the Association for the Advancement of Creative Musicians (AACM) whereas John Lindberg has been a frequent collaborator of Smith in various ensembles particularly in the past decade.

From one of the Ten Freedom Summers concerts last year:

Thursday, September 11, 2014

Broadway News: Dexter's Michael C. Hall to Take Over Lead in Hedwig and the Angry Inch October 16 2014

From a media release:

Dexter's Michael C. Hall to Take Over Lead in
HEDWIG AND THE ANGRY INCH

GOLDEN GLOBE & DRAMA DESK AWARD WINNER
TO JOIN TONY AWARD WINNER LENA HALL
BEGINNING THURSDAY, OCTOBER 16, 2014 AT THE BELASCO THEATRE

Get Hedwig and the Angry Inch Tickets

NEW YORK CITY
- Golden Globe and Drama Desk Award winner Michael C. Hall will star in HEDWIG AND THE ANGRY INCH, the Tony Award winning Best Musical Revival, starting Thursday, October 16 at the Belasco Theatre (111 West 44th Street). HEDWIG will mark Hall’s first musical theatre role in over a decade having previously made acclaimed runs in the Broadway productions ofCabaret and Chicago.

Michael C. Hall’s limited engagement in HEDWIG is through Sunday, January 4, 2015. Andrew Rannells, who is currently playing the role of Hedwig, will play the final performance of his limited engagement on Sunday, October 12.

HEDWIG AND THE ANGRY INCH, with book by John Cameron Mitchell and music and lyrics by Stephen Trask, directed by Michael Mayer, also stars Tony Award winner Lena Hall as Yitzhak. The production has received rave reviews and is winner of four Tony Awards and won Best Musical Revival by the Tony Awards, the Drama Desk Awards, Drama League Awards, and Outer Critics Circle Awards.

“Internationally ignored song stylist” Hedwig Robinson (Michael C. Hall) brings her fourth-wall-smashing rock and roll saga to New York to set the recordstraight about her life, her loves, and the botched operation that left her with that “angry inch.”

HEDWIG has inspired a generation of young theatre writers and audiences. This wickedly funny and heartbreaking show was called “the Best Rock Musical Ever” by Rolling Stone and “the most exciting rock score written for the theatre since, oh, ever,” by Time Magazine.

HEDWIG AND THE ANGRY INCH  was originally produced by David Binder off off Broadway at Westbeth and then, under the direction of Peter Askin, ran over two years at the Jane Street Theatre beginning in February 1998. The musical won the Outer Critics Circle Award for Best Off-Broadway Musical and both John Cameron Mitchell and Stephen Trask won Obies in 2001. It won a 1998 New York Magazine Award and Entertainment Weekly’s “Soundtrack of the Year” Award. Time Magazine named HEDWIG the Top Musical of 1998.

The film of HEDWIG AND THE ANGRY INCH, directed by John Cameron Mitchell, won the Audience Award and Best Director Awards at Sundance. Mitchell won the Best New Director from the National Board of Review, the Gotham Awards, and the LA Critics Society. Stage productions have played for many years in Japan and in 2008, Korea hosted a popular televised reality show about the search for a new star to play Hedwig.

The creative team for HEDWIG AND THE ANGRY INCH features Emmy Award nominee Spencer Liff (musical staging), Tony Award nominee and Drama Desk Award winner Julian Crouch(scenic design), Tony Award and two-time Oscar nominee Arianne Phillips (costume design), four-time Tony Award winner Kevin Adams (lighting design), Mike Potter (hair and makeup design), Tony Award nominee and platinum-selling record producer Tim O’Heir (sound design), Benjamin Pearcy for 59 Productions (projection design), John Bair/Phosphene(animation), James Calleri (casting), Tony and Grammy Award nominee Ethan Popp (music supervisor & music coordinator), Justin Craig (music director), Liz Caplan (vocal supervision),Stephen Gabis (dialect coach), and Johanna McKeon (associate director).

The members of “The Angry Inch,” Hedwig’s band, are music director Justin Craig (guitar and keyboards), Matt Duncan (bass), Tim Mislock (guitar), and Peter Yanowitz (drums).

David Binder, who first produced HEDWIG in 1997, is producing the musical on Broadway with Jayne Baron Sherman, Barbara Whitman, Latitude Link, Patrick Catullo, Raise The Roof,Paula Marie Black, Colin Callender, Ruth Hendel, Sharon Karmazin, Martian Entertainment, Stacey Mindich, Eric Schnall, and The Shubert Organization. 101 Productions, Ltd are the executive producers.

TICKETING INFORMATION
Tickets for HEDWIG AND THE ANGRY INCH are available now by calling 212-239-6200 or visiting Telecharge.com, or via the Belasco Theatre Box Office (111 West 44th Street). Ticket prices range from $142 – $47.

The Broadway production with current star Andrew Rannells

EstroGenius 2014 Theater Festival October 2nd through November 2nd in New York City

From a media release:

EstroGenius 2014
October 2nd through November 2nd

a Celebration of Womens' Voices in New York City
 

Join us October 2 – November 1 at Stage Left Studios and The 4th Street Theatre for the 15th anniversary of EstroGenius!

Tickets
•  Check the website for more details


NEW YORK CITY - Can you believe EstroGenius is 15? As you can imagine, plans are in the works for a suitably special festival this fall.

We are thrilled to announce the 15 short plays and 11 one woman warrior performances for Sola Voce for this season. The 15 plays will run in rep over three weeks starting October 16th through November 1st with our Estro Encores on November 2nd.

Sola Voce is our showcase of powerful solo performances by women. This program will run from October 2nd through October 11th. Please visit www.estrogenius.org/2014-sola-voce for the complete schedule.

Manhattan Theatre Source’s EstroGenius Festival, an annual celebration of female voices, is one of New York City’s largest women’s arts festivals.

Founded by Fiona Jones in 2000, the festival debuted with a program of 10 short plays and music. Since then, it has grown into a multi-week event including short plays, solo shows, teen performances, visual art, and dance. In past years, we’ve also had stand-up comedy, live music, fundraisers for African girls’ education, and full-day networking events with panels and workshops.

Almost completely volunteer run, the EstroGenius Festival has provided thousands of artists the chance to shine; showcased award-winning playwrights Sheila Callaghan, Quiara Alegria Hudes, T.D. Mitchell and Melissa Maxwell; presented Bessie Award-winning choreographers Marta Renzi and Jennifer Nugent; and provided scholarships for girls to attend school in Niger, ranked the poorest country in the world by the United Nations.

We are committed to providing opportunities to female artists – in a variety of disciplines – ranging from the emerging to the seasoned professional.

Many thanks!
Fondly, Jen, Melissa, Vinnie, Cheryl, Heidi, Kia, Sandy, Andi, Deb, Sarah and the rest of the Estro team.

Wednesday, September 10, 2014

Richard III, The Pleasures of Violence - A New Interpretation - September 10 to 28 2014 in Toronto

From a media release:

Kadozuke Kollektif Celebrates 10th Anniversary with
Richard III, The Pleasures of Violence
- a visually seductive new interpretation
directed by Tatiana Jennings -
September 10 to 28, 2014


Thursday-Sunday at 7:30pm
Zuke Studios, 1581 Dupont Street, Toronto ON, M6P 3S5
Tickets: $35


• Tickets available by calling 647-705-9117 or online at http://www.eventbee.com/v/kadozuke10/boxoffice

Toronto -
Celebrating its 10th anniversary, Toronto experimental theatre company Kadozuke Kollektif, in partnership with Bad New Days, presents the world premiere of Richard III, The Pleasures of Violence, Artistic Director Tatiana Jennings' provocative and innovative multimedia reimagining of the William Shakespeare classic. Richard III previews September 9, opens Wednesday September 10 and runs through to September 28 at Zuke Studios, the company's storefront home in the Junction.

Kadozuke Kollektif's most ambitious and complex work to date,Richard III, The Pleasures of Violence puts a humanistic spin on Shakespeare's political propaganda play. Intensely visual and highly choreographed, Jennings' Richard III explores the passion, violence and disaster that erupted in the family of three York brothers - Edward, Clarence and Richard - following the impulsive and secret love and marriage of Edward IV, King of England to Elizabeth Woodville.

Jennings transforms the work into a sensual exploration of the humanity of the characters, partly by making unseen events of the traditional story visible for the first time. While faithful to Shakespeare's original text, Jennings subverts its overtly propagandistic content through the unexpected and extremely detailed behaviour of the performers onstage. A more real, human picture of the characters - including that of Richard III himself - emerges.

Shakespeare's text is combined with 3D projection mapping, dynamic sets manipulated by actors and a poetic, physical style of acting that the company has developed over the last decade. The piece is performed by the ensemble with each of the performers  playing multiple parts, seamlessly switching genders and ages: Barbara Amponsah (Elizabeth), Lacey Creighton (Lady Anne), Scott Edwards (Duke of Buckingham), David Fish (King Edward IV), Sefton Jackson (Earl Rivers), Shawn Lall (Lord Hastings), Lee McDonald (King Richard III), Caitlin Morris-Cornfield (Margaret, and Stage Manager) and Tyler Winn (Duke of Clarence).

Jennings' fusion of striking organic stage sets with elaborate movement choreography and the detailed, almost filmic, acting style of the company creates a highly engaging audience experience. The long development periods, and unique style of collaboration, provides for an unmatched level of experimentation and accomplishment. See a teaser for the production here: http://zuke.ca/projects/richard-iii/

During the play's two-year development, the body of the real Richard III was discovered under a parking lot in Leicester, England; his identity confirmed by decoding the mitochondrial DNA of a Canadian man descended from the slain monarch's older sister. England's favourite villain king, the last of the Plantagenet dynasty, has become a more sympathetic figure as historians re-evaluate the role of this much maligned royal whose death marked the dawn of the modern era.

In addition, Kadozuke Kollektif has expanded its reach into the community to create a series of outdoor performance installations that will be presented in the ten days leading up to the event. Members of the community, and the public in general, are invited to work with Jennings and her artists in a workshop setting to present these theatrical interventions. To get involved, or for more information, contact Jenny-Anne McCowan: jenny.mccowan@gmail.com.

Tatiana Jennings is a multimedia visual artist, director and choreographer. Born and raised in Moscow, she studied theatre, film and dance. She appeared as a leading actor at the Meyerhold Centre for Experimental Theatre and her solo performance piece Madame Marguerite played to sold-out Moscow audiences for three years. In 1989 she received an award for the best performance at the International Moscow Festival of Theatre Arts. She has been teaching theatre at Humber College since 1999 where she created and directed more than a dozen original productions. Kadozuke Kollektif was founded in 2004 by Jennings and 11 Humber College graduates to develop large-scale, highly visual, original work.  http://www.zuke.ca

Bad New Days was created in 2008 by Adam Paolozza, a Dora award-winning performer, director, writer and producer. Since its inception, Bad New Days has created, developed and co-produced over 10 original productions, including Spent and The Double, exploring Paolozza's vision of a poetic theatre of gesture. www.badnewdays.com

"Kadozuke" literally means "players at the gate" and comes from an ancient Japanese tradition: since the Japanese performers were not allowed to enter the premises, they staged their art at the periphery, in-between two worlds. Drawing on this tradition, Kadozuke creates an artistic interlude, a place in between two worlds where one can pause to contemplate.

Kadozuke Kollektif in partnership with Bad New Days presents
Richard III, The Pleasures of Violence

A visually seductive new interpretation of a Shakespearean classic
Directed by Tatiana Jennings
Performed by Barbara Amponsah, Lacey Creighton, Scott Edwards, David Fish, Sefton Jackson, Shawn Lall,
Lee McDonald, Caitlin Morris-Cornfield, Tyler Winn
Set design by Vladimir Kovalchuk and Tatiana Jennings, Costume design byTatiana Jennings - Video projections design by Montgomery C Martin

Images - colour by Tatiana Jennings; b/w by Dmitri Levanov
- Shawn Lall, Caitlin Morris-Cornfield
- Caitlin Morris-Cornfield, Shawn Lall
- Foreground: David Fish



Recently Released: Billy Roberts and the Rough Riders - The Last of the Originals (Independent - August 19 2014)

Recently Released:
Billy Roberts and the Rough Riders
CD: The Last of the Originals
Independent - August 19, 2014

Buy the CD


The Last of the Originals is the first album from Australian country-rockers Billy Roberts and the Rough Riders.

Billy may be from Down Under but his music has a distinctly American flavour - something he's actually found a bit of an issue. In his native Australia, he's something of an anomaly; mainstream country music isn't the sensation it in North America. It means he's had trouble finding musicians to play with and ended up recording his debut albumm in a studio in Nashville with producer Billy Anderson at Cumberland Studios.

He lists - no surprise - American artists like Bruce Springsteen and the E Street Band, Pearl Jam, Neil Young and Crazy Horse as his inspirations, along with more modern acts like Arcade Fire and the Black Keys. Billy is a songwriter in the storytelling folk/country tradition with a post-modern kind of sensibility to the lyricss. An understated sense of humour shines through here and there in tales about real people at or near the bottom end of the scale.

The first track, with its refrain

Mrs. Jones your baby ain't a lady anymore...

has a nice, loose energy - an organic swing that's typical of the whole album. It's an approach that enlivens uncomplicated arrangements. There's an appealing, straight-ahead kind of energy to the arrangements with a solid drummer to add rhythmic interest.

In My Baby Gone Cold, he delivers the vocals with a kind of neo-country gravity - but you could get much more melodramatic with this kind of material. Stylistically the tracks display his range of influences from elements of traditional acoustic country roots to country rock and a contemporary pop edge.

Never Know has a nice sense of melancholy; a minor chord progression set against a swingy rhythm section that works really well. No More Mr Nice Guy is not an Alice Cooper cover; here it's an uptempo two-step with a nice fat harmonica line. Again his voice is perfect in tone but could snarl with just a little more emotion.

Some songs, like Not That Special with its singing slide guitar or the twangy old school I Was Young definitely fall into the country category but others could easily cross into contemporary rock or even alt rock territory. Davey Crocket and the Alamo has a trippy, psychadelic edge and the last track, Red Head Baby is a bluesy rocker.

There's nothing terribly new here but it's well done with a variety of modes and nice production quality that puts the emphasis on guitar.