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Monthly Archives: July 2011

OPENING RECEPTION: JULY 30, 2011 7-10PM
JULY 30 » SEPT 3, 2011
NEW IMAGE ART GALLERY
7908 Santa Monica Blvd. West Hollywood, CA 90404  |  310.586.6488  

New Image Art is pleased to announce “burn off” opening July 30, 2011 featuring new paintings by New York based artist, Paul Wackers, and Los Angeles artist Owen Schmit.

Paul Wackers’s work is rooted in inventive means of figuration. He uses a multi-method technique to support the subject at large. The formal quality and sincerity of his work walks between the lines of that of a 17th century Dutch still life painter a la Margareta Haverman or Willem Van Aelst, to atmospheric and broken down geometric landscapes, and sometimes to paintings on a single canvas that imitate diptych. Objects placed in the foreground of landscapes resemble hand-made sculptures and viewers may be tempted to wonder if they are not looking at the two-dimensional works of a very accomplished ceramicist! In this latest body of work Paul’s paintings balance amazing confidence in his technique and structure with a spirited gentleness.

Owen Schmit is currently completing her final year of graduate studies at the Art Center in Pasedena, CA. Her work takes much of it’s inspiration from her native California environment. Over the past several months Owen Schmit has been considering the intersection and overlap of the illusionistic space of painting and the objecthood of sculpture as a metaphor; sculptures containing emblematic, recognizable imagery often present themselves alongside environmental ‘backdrops’– images in the form of large-scale paintings– that function as settings that relate to and inform the sculptural works. She utilizes her love of nature with such elements as the ocean and the over lapping shapes of the deep Redwood forests as structural divisions in her abstract paintings. In the two-dimensional, illusionistic space of painting, this work is an examination of light, illumination, concealment, and reveal through what the artist considers to be seductive qualities of color and form (or lack thereof) in abstraction. In examination of past experiences, fantasies and daydreams, Owen’s work centers on a sense of separation between the euphoria and limitlessness of the imagination and the letdown and limits of reality. Evident in her recent sculptures of latex surfboards, she gives them an organic and almost biological appearance yet stripes them away of their functionality.

New Image Art website

Blue Whale presents
TUESDAY JULY 26, 2011 8PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908    

Born in Vancouver and raised in Los Angeles, Ben was educated at the Eastman School of Music in New York. Since graduating he has enjoyed a varied career as a performer, composer and producer. Recent highlights include multiple domestic and international tours with such artists as Cuban drumming legend Ignacio Berroa, Thelonius Monk Piano Competition Winner Tigran Hamasyan, Electronica artist Daedelus and Hip Hop artist Snoop Dogg. Ben is a founding member of the Grammy nominated group Kneebody.

In addition to playing saxophone, Ben also doubles on the bassoon and piano.

A frequent writer of film music, he co-wrote the score for John Krasinski’s 2009 adaptation of David Foster Wallace’s “Brief Interviews With Hideous Men.” Ben also won an ASCAP Jazz Composer Award and recently received the Chamber Music America “New Works Grant.” In the summer of 2007, Ben was honored to work with conductor Kent Nagano in producing a series of concerts for the Festpeil Plus in Munich, Germany. One of the performances (a collaboration between Theo Bleckmann and Kneebody featuring the songs of Charles Ives) was recently signed to Winter & Winter. Ben currently produces a new performing arts series at The Edye in Santa Monica, California.

Ben’s is a recording artist with Sunnyside Records, with plans for his second release in Fall 2011. Ben was a former Adjunct Professor of Jazz Studies at USC.

Ben Wendel website

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photo by Michel Vasset

From a young age, Walter began taking music very seriously. “My first gig was playing at a McDonalds in Houston with another saxophone player. I took a solo on “Blue Bossa.” It was terrible. People clapped, and I figured if I could get away with that and get applause, how could I fail?”

Walter Smith III began playing the saxophone at the age of 7 in his hometown of Houston, TX. At Houston’s High School for the Performing and Visual Arts, in 1998, Smith received a Clifford Brown/Stan Getz Fellowship from IAJE and NFAA; the NFAA Young Talent Award; a full tuition scholarship to attend Berklee College of Music; and a United States Presidential Scholar in the Arts medal. Walter Graduated from Berklee in 2003 with a degree in Music Education.

Walter has performed all over the world participating in numerous national and international festivals as well as famed stages in the U.S. such as Carnegie Hall and the Kennedy Center. Smith has shared the stage and/or appeared on recordings with many jazz notables including Terence Blanchard, Roy Haynes, Christian McBride, Eric Reed, Mulgrew Miller, Joe Sample, Bob Hurst, Myron Walden, Walter Beasley, Lewis Nash, Terri Lynne-Carrington, and a host of others.  To date, Walter has appeared on over 75 recordings that are released worldwide.

Walter’s debut recording as a leader was released in March of 2006 on the Fresh Sound New Talent label and features many of the brightest young jazz talents. His sophomore release, titled “Live in France”, was released in October of 2009 to critical acclaim. His most recent album, “III”, was released in September of 2010 and was the #3 best seller on itunes in the U.S. for it’s first week. It features Ambrose Akinmusire, Jason Moran, Joe Sanders, and Eric Harland.

Over the past few years, besides leading a quintet, Walter is/has been a member of several amazing groups (recording and touring) including the Terence Blanchard group, Eric Harland’s quintet, Ambrose Akinmusire’s band, Christian Scott’s group, the Sean Jones sextet, Jason Moran’s Big Bandwagon (In My Mind:Monk at Town Hall), and the Christian McBride situation band.

Walter Smith III website

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Born into a musical family, Larry has been playing the guitar since he was seven years old. At the age of fifteen he recorded an album with his father, guitarist Dave Koonse, entitled “Dave and Larry Koonse; father and son jazz guitars.” In 1984, Larry was the first recipient of a BM in Jazz Studies at the University of Southern California.

Immediately after graduating from USC Larry toured extensively for six years as a member of the John Dankworth quartet, traveling all across the globe and backing up Cleo Laine. He is currently a member of Billy Child’s landmark chamber sextet which just released a CD entitled “Lyric” featuring Brian Blade and received a grammy nomination for instrumental jazz album of the year. He has also toured and recorded with Mel Torme, Terry Gibbs, Bob Brookmeyer, Billy Childs, John Patitucci, David Friesen, Karrin Allyson, Warne Marsh and was a featured performer with the Percy Faith Orchestra on a tour of Japan. At the invitation of Nelson Mandela and UNICEF, Larry traveled to South Africa to perform for the first annual SAMIX festival with the Steve Houghton quintet. He also performed with Gary Willis in Sao Paulo for a government sponsored concert at SESC Ipiranga. In his travels, he has performed at Carnegie Hall, the Academy of Music, Disney Hall, the Sydney Opera House, and has been a featured soloist with the L.A. Philharmonic, the Philadelphia Orchestra and many other orchestras throughout the world. Larry has recorded with Cleo Laine, Al Hirt, Jimmy Rowles, Lee Konitz, Larry Goldings, Alan Broadbent, Ray Brown, Bill Perkins, Toots Thielemanns, Rod Stewart, Clay Jenkins, Linda Ronstadt, David Friesen, Bob Sheppard, Charlie Haden and many other jazz artists. His solo guitar work was featured throughout “Crazy”, a feature film chronicling the life of the great guitarist Hank Garland.

The founder of the Player’s School, the renown bassist Jeff Berlin, contacted Larry in 1995 to write a guitar curriculum which is currently used for their program. He was co-leader of the L.A. Jazz Quartet which released their fourth CD, “Conversation Piece” (NAXOS Records) in September, 2000. The quartet’s first three CD’s, “Astarte” (GOWI), “Look To The East” (NAXOS), and “Family Song” (NTR), have received critical acclaim for their originality and musical depth. Larry’s most recent recording, “Storybook” is now available through Jazz Compass (www.jazzcompass.com). He has two other releases on the Jazz Compass label: Americana ( a recording featuring Scott Colley on the bass) and Dialogues of the Heart (featuring his father Dave Koonse in a guitar duo setting). Larry has been a faculty member at the California Institute of the Arts since 1990.

Larry Koonse website

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Billy Mohler is an L.A-based songwriter, producer, and multi-instrumentalist. He was raised in South Orange County and is Bill Medley’s (of the Righteous Bros.) godson. He attended and graduated from Berklee College of Music where he studied electric and acoustic bass. After Berklee Billy was awarded a full scholarship to the Thelonious Monk Institute of Jazz at USC where he studied under Barry Harris, Terence Blanchard, Brian Blade, Joshua Redman, Christain McBride, Russel Malone, Cassandra Wilson, and many others.

Billy’s credits are as diverse. He has worked with The Smashing Pumpkins, Jimmy Chamberlin and Billy Corgan, Kelly Clarkson, Macy Gray, Lee Scratch Perry, Terence Blanchard, Bill Medley ( Righteous Brothers), Herbie Hancock, Wayne Shorter, Clark Terry, Jimmy Heath, Billy Childs, The Calling, Lifehouse, Lenka, Rob Dickenson ( Catherine Wheel) Musical Director for Tony Hawks Boom Boom Huck Jam, Gustavo Galindo, Scored the Charles Kaufman film Synecdoche New York

Bill Mohler website

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“It’s all there with Steve,” Scofield says. “He has the mindset to play real R+B, not just ‘funky jazz’, and we can do straight ahead tunes too. That’s something I’ve always wanted but haven’t really done until now. I was lucky to find him. Scofield praising Hass’s professionalism and solid groove, says, “I’m sure if this was twenty years ago Steve wouldn’t even be on the road.”  -John Scofield, Modern Drummer June 2006

After attending Boston’s prestigious Berklee College Of Music on full scholarship, Steve Hass moved to New York City joining the Ravi Coltrane Group. Along side Lonnie Plaxico, Michael Cain, and Ralph Alessi, Steve was playing a mixture of hard bop, funky odd meter grooves and free improvisation in Ravi’s band. During his five years with the group, Hass was also freelancing and recording with several local singer/songwriters and working at jingle houses in New York City including Fluid Post Music, Three Tree Productions, Ian London Productions, and Red House to name a few. He had local weekly gigs with The Bitter End house band, The Blue Note house band and Monday nights at Zinc Bar with The Ron Affif Trio. He also had touring stints with artists such as, Richard Bona, Christian McBride, Suzanne Vega, Miri Ben Ari and many more. The Ravi Coltrane group gave Steve his first major label album credit for the critically acclaimed Mad 6, released on Sony Music, as well numerous european tours. At 24 years of age, Hass was touring and recording with some of the world’s most influential artists and making a name for himself as an in demand session musician.

In April of 2003, Hass heard of an audition for Atlantic recording artists The Manhattan Transfer. The band held auditions in New York City and Los Angeles. Hass was asked to join the eight-time Grammy winners and immediately went on the road. After numerous world tours, four albums and a live Christmas concert DVD, Hass continues to work with the group as his schedule permits. In October 2003 Hass released his debut solo “Traveler” featuring some of New York City’s top players. Traveler received critical acclaim and Hass’ version of “Skylark” featuring vocalist Janis Seigel was included on a special C.D. release from the Hoagy Carmichael foundation.

Exactly two years later, in April of 2005, Hass received a call from guitarist and Miles Davis alumnus, John Scofield. Scofield was releasing a Ray Charles Tribute album called That’s What I Say, and needed a drummer to cover traditional R+B, funk, jazz and latin. Scofield asked Hass to be his touring drummer for the “Ray Charles project.” The band had several tours in 2005 through the end of 2006. Their last tour featured legendary gospel singer, Mavis Staples and was a great success.

In 2008, Hass decided to settle down in Los Angeles, performing locally with such greats as Bob Sheppard, Bob Mintzer, Alan Pasqua, John Beasley, Bill Cunliffe, Jimmy Haslip, Mitch Forman, David Garfield, Dennis Hamm, Jeff Babko and more. In 2010 he teamed up with “The Difference”. “The Difference” is the production team of Adam Gurr and Carlton Douglas. Together they created Hassbeat Production Studios, a full service production company and recording studio where Steve is able to produce music and record drum tracks for artists around the world.

Whether it’s playing a 12/8 ballad behind Art Garfunkel , flowing through a funk groove in 13 with the Ravi Coltrane Group, or playing a variety of styles with The John Scofield Band, the ability to speak and communicate through music is what matters to Steve Hass.

Steve Hass website

BlueWhale website

Blue Whale presents
FRIDAY JULY 22, 2011 8PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908    

Austin Peralta, a pianist and composer based out of Los Angeles, works as a musician in a diversity of contexts both locally and internationally.

Trained as a classical pianist beginning at age 5, Peralta went on to include the litany of contemporary music genres from jazz onward in his palette as an artist. In addition to his work as a pianist, he composes, collaborates on, and produces music in a variety of different veins such as modern acoustic jazz, experimental hip-hop / electronica, world music, and multi-media audio/visual pieces among others. To date Peralta has recorded two albums as the leader of groups that include jazz luminaries Ron Carter, Billy Kilson, Buster Williams, Steve Nelson, and Marcus Strickland for 88’s, a Japanese subsidiary label of Sony Music. Notable collaborations have included The Cinematic Orchestra, Flying Lotus, Erykah Badu, Thundercat, Shafiq Husayn of Sa-Ra, Jaga Jazzist, Miguel Atwood-Ferguson, Adam Rudolph’s Go: Organic Orchestra, & Horace Tapscott’s Pan Afrikan People’s Arkestra among many others.  At the 2007 Tokyo Jazz Festival, Peralta was part of a “dream team” piano quartet that included the legendary Chick Corea, Hank Jones, and Hiromi Uehara. He has studied with noted mentors Bruce Sutherland, Alan Pasqua, Buddy Collette, & Reggie Workman.

Peralta is member of the Brainfeeder artist roster along with Flying Lotus, Daedelus, The Gaslamp Killer, Strangeloop and many others.  His third album, a self-produced project entitled “Endless Planets,” was recently released via the Brainfeeder label worldwide.

Austin Peralta website

BlueWhale website

RESBOX presents
THURSDAY JULY 21, 2011 8-11PM
RESBOX
4773 Hollywood Blvd. Hollywood, CA, 90027 |  323.666.4268

 

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SLUMGUM

“After hearing them in Aspen this past summer, NJMH Directors Loren
Schoenberg and Christian McBride agreed that Slumgum was a brilliant
band … we were both knocked out by their originality and artistry. We
decided right then and there to bring them to NYC as soon as we
could.” –Christian McBride and Loren Schoenberg, National Jazz Museum in Harlem

“[An] energized crowd is expected to be on hand for this weekend’s
performance at ArtSpace 404 by Slumgum, an outstanding risk-taking
jazz quartet from Los Angeles which calls to mind Wayne Shorter circa
Speak No Evil fronting the Art Ensemble of Chicago … A sense of
constant discovery runs through the quartet’s songs; their soloing is
masterful, their veneer metropolitan and their technical prowess
top-notch.” –Gabe Meline, North Bay Bohemian

“Try standing on top of your desk. the new perspective will make
things you’ve seen a million times seem fresh.  L.A.’s Slumgum has the
same effect, creating expressive compositions you thought you knew
well, but then taking it somewhere else.  Of course, experimental jazz
is largely about the talent behind each outrageous noise, and, here,
the drums and bass can barely tether Jon Armstrong on the tenor sax or
Rory Cowal on the piano.  Listless wandering leads to a blazing
overflow of sound, as if the whole band is playing harmoniously to a
wild and atmospheric solo, and each measure can feel a world apart.
With elements of Miles Davis and world music, like Russian polka, try
to hold on for the ride.” –Jonathan Lopez, Good Times Santa Cruz

“Slumgum is a jazz quartet from L.A. with a name that only a beekeeper
could love.  The young group’s sophisticated, elegant blend of modern
classical music and avant-garde jazz belies its icky moniker.  The
members formed Slumgum when they met as students at the Herb Alpert
School of Music at CalArts.  However, expect the band to sound more
like the Art Ensemble of Chicago than the trumpeter who gave us
Whipped Cream (and Other Delights). “Minuet in G” is an example of the
group playing with contemporary classical conventions; the short song
quickly unravels into dissonance before the band members reel it back
in with restraint and a hint of melody.  Slumgum isn’t afraid to
embark on a free form jazz odyssey, as evidenced by the monumental
“Long Shadows” that’s just shy of 20 minutes.  The song’s length
allows each of the members of Slumgum to make some bold moves—in
particular, finishing the song with a harmonized vocal chant.” –David Dunlap, Washington City Paper

“The California quartet Slumgum has a unique approach to genre and
technique: they blend jazz and contemporary classical music in a way
that beautifully muddies the boundaries between composition and
improvisation … Slumgum’s daring ‘a little bit of this, a little bit
of that’ technique results in a sound that’s rich, compelling and,
most of all, pure.” –Sophie Gandler, http://www.beaconpass.com

“[Slumgum] produced a vital and exciting mix of jazz, improv and
contemporary classical music. As I watched and listened to these four
young men (they appear to be in their mid-to-late twenties), I grew
more and more mesmerized not only by their music but by the process of
their collaboration and the immersion it required, all of which was
evident on the stage. A subtle interplay of signals they’ve worked out
over their three years together brought a wild freshness to the sound
and a sense of courtesy to their presentation. Their faces and bodies
were rapt in the music. Crescendos and solos were vivid, creative and
emotional. Transitions were seamless and quietly serene, a languid and
long drawn-out note on the sax or bowed on the bass bringing time and
attention to a change, without a beat lost. Hearing this gave me a
sense of the scope of their improvisation and the flexibility, skill,
talent and trust it took to create serious music that didn’t feel a
bit improvised. I am stunned again now remembering their solo riffs
and the incredible vitality of their skill and talent—seeing fingers
flying over keys, strings and stops, and the unusual and empowering
drumming—jazz that made something lurch spontaneously inside me and
spurred the plainly feeble response of applause. It is the mix of
practiced skill and the confidence they showed in their music, the
trust they had in their process that impressed me as a writer. I saw
the confidence and trust on that stage and how it allowed the
musicians to leap at the subtlest of hints toward the next
direction—the confidence in their skill brought on by years of
practice, the trust born of playing together for three years and
paying attention to one another’s signals. I haven’t three other
musicians to challenge me into the unknown at my keyboard, but I would
do well to apply the same principles to my work. Thank you Slumgum,
for the inspiration.” –Eugenia Kim, http://www.redroom.com

“One of LA’s most compelling jazz groups” – http://www.socalcreativemusic.blogspot.com

“[Slumgum’s music] rolled over the now-packed club like a menu of ever-
changing clouds … the result ebbed and flowed like fog coming in from the
beach, then dissipating to reveal a fresh layer of cloud cover above. Whether
meshing in ensemble play or laying back to give someone space to solo,
Slumgum was superb—and quite magical. What came to mind was that their
approach referenced the deep coolness of West Coast jazz sounds from the
’50s—Dave Brubeck, Chet Baker—while adding a lot more fire and flair. If jazz
improv is a group of people collaboratively levitating an object above the
audience’s heads, Slumgum managed to fly a saucer into the room. The group
will return next month for the In the Flow Festival, a don’t-miss event.” –Jackson Griffith, Sacramento News & Review

“Nice players … solid compositions, concepts, and solos” –Brick Wahl, LA Weekly

Slumgum website 

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TED BYRNES

Ted Byrnes is a drummer/percussionist living in Los Angeles. An alumni of the Berklee College of Music in Boston, MA, he comes from a jazz background and has since made his home in the worlds of free improvisation, new music, electro-acoustic music, and noise.

With musical interests ranging from funk to gamelan to the singular beauty of everyday ambient sounds, Ted’s playing is often viewed as more textural or even melodic than rhythmic per se, and generally uses a ‘prepared’ drum kit – placing bowls, blocks, cymbals, shells, and chains on the the drum heads. This expanded array of sounds – much more than what a traditional drum kit would contain – forces the listener into hearing, and viewing, drumset playing in a different way. The inspiration came not only from other drummers and musicians, but also from seeing artists in other mediums expanding their palettes.

Ted currently divides his playing time between two trios and a variety of ad hoc free improvisation situations. The trios include “Still Life with Bomb” with Gregory Lenczycki (electronics) and Ari Desano (accordion) and a trio with Anna Homler (vocals, toys) and Spastic Colon’s Jorge Martin (electronics). Additionally, Ted has performed with the legendary Charlemagne Palestine, and provided percussion for a projector/light installation by legendary original Fluxus artist Jeff Perkins and has also performed in ensembles and solo at a variety of Los Angeles galleries and museums, including the Los Angeles County Museum of Art (LACMA). Ted also performed at the SASSAS 10th anniversary concert in September 2009.

Ted Byrnes website

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HAN-EARL PARK

Improviser, guitarist and constructor Han-Earl Park has been working within/from/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics for over fifteen years, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Austria, Denmark, Germany, England, Ireland, The Netherlands, Scotland and the USA.

A constructor of low- and mid-tech electronic and software devices, and an occasional score-maker, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies, and, in some instances, objects that obscure the location of the author.

He is part of Mathilde 253 with Charles Hayward and Ian Smith, is involved in collaborations with Bruce Coates, Franziska Schroeder, Alex Fiennes and Murray Campbell. Recent performances include Mathilde 253 with Ishmael Wadada Leo Smith; duo concerts with Paul Dunmall, and with Richard Barrett; trios with Matana Robers and Mark Sanders, with Catherine Sikora and Ian Smith, and with Jin Sangtae and Jeffrey Weeter; as part of the Evan Parker-led 20-piece improvising ensemble; and the performance of Pauline Oliveros’ ‘Droniphonia’ alongside the composer. Park has also recently performed with Lol Coxhill, Pat Thomas, Corey Mwamba, Mark Trayle, Pedro Rebelo, Alexander Hawkins, Mike Hurley, Chick Lyall, Thomas Buckner and Kato Hideki. Festival appearances include Sonorities (Belfast), Sonic Acts (Amsterdam), dialogues festival (Edinburgh), VAIN Live Art (Oxford), and the Center for Experiments in Art, Information and Technology Festival (California). His recordings have been released by labels including Slam Productions and DUNS Limited.

http://allaboutjazz.com/hanearlpark

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G.E. STINSON

G.E. Stinson is an American guitarist and founding member of new age / electronic musical group Shadowfax. Inspired by blues masters such as Bo Diddley and Muddy Waters, Stinson experimented with blues, jazz and other musical genres before co-founding Shadowfax in 1974. He remained with the band for six albums. He departed Shadowfax after recording “The Odd Get Even” (1989), entering the Los Angeles underground music community to refine his ‘extended technique’ and ‘frequency manipulation’. Since then he has worked with a number of musicians on various projects, including Napalm Quartet, Splinter Group, Stinkbug, Metalworkers, and others.

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HANS FJELLESTAD 

Hans Fjellestad is a musician and filmmaker based in Los Angeles. He studied music composition and improvisation with George Lewis at University of California San Diego (UCSD), and classical piano with Krzysztof Brzuza. Fjellestad has composed for film, video, theater, dance and has presented his music, film and video art throughout the U.S., Canada, Europe, Japan, Taiwan, Australia, New Zealand, Mexico, Argentina and Brazil.

He has an extensive discography both as a solo artist and in collaboration with many legendary players on the international experimental music scene. An “innovative musician” (All About Jazz) and “mad scientist improviser” (International DJ Magazine), his music has been described as “unbridled sonic freedom… raw, almost shamanic energy that embodies the true essence of unrestricted music” (XLR8R) and a “spicy concoction… refusing to behave itself, it screams, throws things and makes a mess” (The Wire).

Fjellestad has performed and/or recorded with Muhal Richard Abrams, George Lewis, Peter Kowald, Lé Quan Ninh, Lisle Ellis, Haco, Miya Masaoka, Money Mark, G.E. Stinson, Donkey, Yoshimi P-We, Takayuki Kato, Saga Yuki, Kojima Takashi, Arai Minako, Susan Rawcliffe, Trummerflora Collective, Thomas Dimuzio, Tetsu Saitoh, David Scott Stone, Marcos Fernandes, Audrey Chen, David Slusser, Baiyon, Kazuhisa Uchihashi, Raymond MacDonald, Jakob Riis, P.O. Jørgens, Carl Bergstrøm-Nielsen, Aiyun Huang, Sean Griffin, Eamonn Doyle, Mike Keneally, Nortec Collective, among many others. His recordings are released on Hollywood Records, Accretions, Circumvention Music, Brain Escape Sandwich, Barely Auditable Records, Pan Handler, and Vinyl Communications.

Fjellestad (or his alter-ego, “33”) has appeared with Tino Corp., The Album Leaf, Lee Ranaldo, Nels Cline, Jello Biafra, Pauline Oliveros, Pamelia Kurstin, KK Null, Carl Stone, Pamela Z, performing in such far-flung venues as The Stone (NYC), The Roxy (Prague), Shinjuku Pit Inn (Tokyo), Super Deluxe (Tokyo), UPLINK Factory (Tokyo), Urbanguild (Kyoto), Big Apple (Kobe), Centre for Contemporary Arts (Glasgow), Taipei Zhong-Shan Hall (Taiwan), Red Room (Baltimore), ABC No Rio (NYC), Bimbo’s 365 Club (San Francisco), Steve Allen Theater (Hollywood), Velvet Jones (Santa Barbara), Jazzorca (Mexico City), Don Loope (Tijuana), SIGGRAPH (Los Angeles), Den Anden Opera (Copenhagen), Yokohama Jazz Promenade, Festival Beyond Innocence (Osaka), REDCAT NOW Festival (Los Angeles), Points In A Circle Festival (Brooklyn), San Francisco Electronic Music Festival, Big Sur Experimental Music Festival, Outsound New Music Summit (San Francisco), Spring Reverb Festival (San Diego/Tijuana), San Diego Repertory Theatre, and the Northwest Electroacoustic Music Festival (Portland).

His film and video work has shown at the London Institute of Contemporary Arts, Queen Elizabeth Hall, Tokyo’s Shibuya Cinema Society, Los Angeles Grand Performances Series, BorDocs Foro Documental Tijuana, Museum of Contemporary Art San Diego, Point Loma Wastewater Plant, Cleveland Museum of Art, Chicago’s Gene Siskel Film Center, Oklahoma City Museum of Art, Miami Art Central, Salina Art Center, IAF Videoart Festival Tijuana, and the São Paulo International Short Film Festival.

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JIE MA


From a long line of traditional Chinese musicians, Jie Ma began studying music and playing the pipa at age 5. She became a professional musician at age 14. Jie received her Bachelor of Music degree from one of China’s top music schools, the Tianjin Conservatory of Music, in 2001. Jie also studied in China under celebrated pipa masters Wang Fendi, Liu Dehai, and Kuang Yuzhong, and ruan master Jilian Liu. Jie was also an adjunct professor in the music department at Liao Ning Normal University, and she has taught Pipa to a wide range of students in China and the United States.After coming to the United States, in 2004, Jie began exploring the possibilities of blending traditional pipa technique with Western and other sounds. In addition to working with classical musicians and composers, Jie has worked extensively with jazz and rock musicians on experimental and improvisational projects. Jie enjoys playing traditional Chinese arrangements, creating her own works, and fusing Chinese and other styles to create a unique sound that is all hers.In pursuit of her passion for music and the pipa, Jie has performed in China, Japan, and throughout the United States, as a soloist, in ensembles, and as a featured performer. In 2009, Jie was referred in the U.K. newspaper, the Guardian, as one of the “notable” pipa players in the West.In 2008, Jie was invited to perform at the Los Angeles Center for the Arts at Eagle Rock where she shared the stage with avant-garde musicians such as Vinny Golia on clarinet and Alex Cline on percussion. In 2008, Jie was invited to perform Zhou Long’s “Farewell for Pipa, Erhu, and Ensemble” with the Seattle Chamber Players at Town Hall, Seattle. In 2007, Jie performed with the San Francisco Girls Chorus in its season premiere themed “Magic Strings.” In 2006, Jie was invited to perform in an avant-garde project entitled “Sound for Picture” with the San Francisco Composers Chamber Orchestra, in which the sound of pipa narrated the history of San Francisco through the eyes of early Chinese experience during the Gold Rush. Jie also performed in the New York Winter Jazz Festival in 2006 where she gave a duet performance with percussionist Satoshi Takeishi. In 2005, and again in 2007, Jie performed at the Pan-Asian Musical Festival at Stanford University. In 2005, she also played with the Citywinds Woodwind Quintet in San Francisco in a concert that combined modern chamber music with Chinese traditional ensemble.In San Francisco, where she lives, Jie frequently collaborates with avant-garde musicians such as Philip Gelb on shakuhachi, jazz musicians such as Jeffrey Chin on piano, and jazz fusion musician Gary Schwantes on saxophone and Chinese bamboo flute. In her continuing effort to push the boundaries of the pipa in many different contexts, Jie has played with a wide variety of musicians from a number of different genres, including jazz, country, blues, and rock.

http://majiepipa.com/

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with guest host KIM FOWLEY

Kim Fowley is an American record producer, impresario, songwriter, musician, film maker, and radio actor. He is best known for his role behind a string of novelty and cult rock pop singles in the 1960s, and for managing The Runaways in the 1970s. He has been described as “one of the most colorful characters in the annals of rock & roll” and as “a shadowy cult figure well outside the margins of the mainstream.”

Kim Fowley website

RESBOX Facebook Group page

Angel City Arts presents
THURSDAY JULY 21, 2011 8PM
ROYAL/T
8910 Washington Blvd. Culver City, CA, 90232  |  310.559.6300  

General Admission: $10 | Students: $5 (available at the door)

 

Cathlene Pineda

Award-winning pianist and composer Cathlene Pineda has carved out a significant career in creative, improvised music, both as a composer, and as a performer. Her extensive classical background combined with a unique approach to harmony makes her a fresh and innovative contribution to the Los Angeles jazz scene. Cathlene has worked with puppeteers, actors, visual artists, writers, and dancers and has performed group and solo work widely across the US and Europe. Her original music is rooted in jazz with a focus on contemporary classical composition, techniques, form, and texture, and she continues to perform both as a sideman and band leader throughout the west coast and Canada.

Cathlene Pineda website

 

 

Beth Schenck

Beth Schenck was born in Manhattan, Kansas (aka: The Little Apple). She now resides in New York City (aka: The Big Apple) where she is active as a musician and composer. She is lucky to have traveled all over the world playing music, and even more lucky to have been able to perform and work with great musicians like Jim Black, Andrew D’Angelo, Henry Threadgill, Bill McHenry and many others. Her recent debut recording “What Shock Heard,” has been described by critics as “frank, beautiful, and, in the end, strangely peaceful.” One might argue that the result is the sound of a soul in crisis and, ultimately, redemption.

Beth Scheck website

Royal/T website

Blue Whale presents
WEDNESDAY JULY 20, 2011 8PM
BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908 

Using his keen talent for musical invention, Wolfgang Schalk has garnered international acclaim as a gifted guitarist and composer.

A guitarist with not only impeccable chops but one who plays with deep soulfulness and feeling, Wolfgang Schalk delivers his freshest recording to date with Wanted, further proving his artistic abilities while providing music that is relevant and thoroughly engaging. This artful blend of hard swinging and cool vibes is articulated through an outstanding new quartet.

Wolfgang Schalk’s distinct tone conveys tender warmth whether in high speeds in bebop, funky pieces, or tender ballads. Recalling the sounds of esteemed fret-board masters Wes Montgomery, George Benson, Pat Martino and Pat Metheny, Schalk expands on the tradition by playing dynamic music and exposes consummate skill and thoughtfulness as one of today’s authentic jazz guitarists.

AllAboutJazz writes: “Schalk creates impressive structures for improvisation, and he fits each and every structure with a hip, catchy melody. If other musicians pick up on these tunes, every single one of them has the potential to become a jazz standard.”

The main characteristics of Wolfgang Schalk’s music is his drive to formal control on one hand and his melodic talent and skills as a composer on the other. His compositions are pleasantly complex, rich in contrasts, nevertheless resolutely intended in a narrative cantability that creates fertile room for expression with his musicians.

Leading his own bands, Schalk has recorded five CDs as a leader with all original music. His previous recordings: Rainbows in the Night (2002, West & East) and Space Messengers (2005, Universal / Emarcy) received enthusiastic praise from journalists, musical peers and fans alike. In 2005 Wolfgang Schalk signed a recording deal with Universal Music and in 2008 Schalk founded his own record label Frame Up Music.

Wolfgang Schalk has worked with an impressive lineup of notable musicians, including 11-time Grammy award-winning Michael Brecker, Dave Kikoski, Andy McKee, Ian Froman, Rick Margitza, Dave Carpenter, Marvin “Smitty” Smith, Geoffrey Keezer and John Beasley to name a few. Michael Brecker delivered some of his finest blowing on Wolfgang’s NY debut “The Second Third Man“, cutting loose on tracks like the album’s title cut. Jazz.com writes: “The Second Third Man is indicative of the whole album. It is improvised music of originality and high performance. Schalk and Brecker are perfect foils…This is a high-caliber chops fest in the best tradition of the jazz-rock idiom.”

Wolfgang Schalk traveled a typically uncompromising path from the cities of Graz and Vienna Austria to New York. Schalk further developed his style audibly in the cosmopolitan urban pulse of New York City and succeeded in establishing himself in its stimulating yet hard-to-survive environment. Schalk most recently lives in Los Angeles and swings between the coasts.

From an artistic family, Schalk started straddling visual art and music early in his childhood. When he was six years old, he built a drum set out of stuff he found around his home and jammed with his brother in his parent’s stable. At the age of 15, Schalk switched from playing the accordion to classical guitar. He got into jazz in art school. Schalk’s story is not the typical “I started listening to my parents’ jazz records” tale. “I brought jazz into our house,” he remembers. “I grew up in a village where people did not get jazz at the time.”

After a year of art school in Graz, Schalk realized he wanted to make music more than his desire to create visual art, so he dropped out of school to pursue a career in music. He studied jazz guitar with Franz Posch in Graz, who turned him on to guitarist Harry Pepl. Schalk says, “A lot of what I listened to at that time was the modern stuff. Wes Montgomery is still my hero. I see him as the father of contemporary jazz guitar.”

Schalk moved to Vienna from Graz in 1987, where he pursued studio work to perform with a wide variety of bands. Not content to play other people’s music, Schalk began to compose as soon as he picked up his guitar and quickly developed his own voice. In 1992, he formed his own bands with musicians the likes of Wolfgang Puschnig, Harry Sokal, Bumi Fian, Uli Rennert, Werner Feldgrill, Thomas Kugi, Paul Urbanek, Florian Bramboeck, Peter Herbert and many others. Schalk’s debut album, “The Be Hop Hip Bop,” was released in 1993 for the Austrian BMG distributed label West East Music.

Schalk recognizes that he is still a work in progress, and continues to seek the edge of the envelope, the area that just itches to be pushed. Mostly, though, he wants to make his own music on his own terms. “I don’t know if there’s anything really unique anymore, but I want to develop my language.”

Wolfgang Schalk endorses handmade Strings by Thomastik-Infeld.

Wolfgang Schalk website

BlueWhale website

Angel City Arts presents
WEDNESDAY JULY 20, 2011 8PM
ROYAL/T
8910 Washington Blvd. Culver City, CA, 90232  |  310.559.6300 

STEVEN LUGERNER  alto / soprano sax, bass + Bb clarinet
LUCAS PINO  tenor saxophone + Bb clarinet
STEPHANIE RICHARDS   trumpet + flugelhorn
ANGELO SPAGNOLO  guitar
GLENN ZALESKI   piano
MATTHEW WOHL  acoustic bass
MAX JAFFE  drums

General Admission: $10 | Students: $5 (available at the door)

“Multi-Reedist Steven Lugerner leads his septet featured on one half of his recent double-CD release (the half titled Narratives, to be exact), showing off his songful, cinematic midsize-ensemble works.” – Time Out New York

“There’s something to be said for making an auspicious debut. A Bay Area-born musician who recently moved to New York City and has collaborated with Fred Hersch, Jason Moran and Miguel Zenón, young multi-reedist Steven Lugerner released a double-album in his first recording as a bandleader, the sprawling and unpredictable These Are the Words/Narratives. Lugerner will be at Royal T on July 20th with his septet to celebrate the release of Narratives.” – Chris Barton (Los Angeles Times)

Steven Lugerner website

Royal/T website