Monthly Archives: December 2011

Blue Whale presents
THURSDAY  DECEMBER 29, 2011 9:15 – 11PM
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908 

Grammy winner Luciana Souza is one of Jazz’s leading singers and interpreters. Hailing from São Paulo, Brazil, she grew up in a family of Bossa Nova innovators. Her work as a performer transcends traditional boundaries around musical styles, offering solid roots in jazz, sophisticated lineage in world music, and an enlightened approach to classical repertoire and new music. As a leader, Luciana Souza has eight acclaimed releases including her four Grammy nominated records “Brazilian Duos,” 2002, “North and South,” 2003, and “Duos II,” 2005, and “Tide,” 2009.

Her debut recording for Universal/Verve (produced by her husband, Larry Klein), “The New Bossa Nova, ” (2007) was met with critical acclaim (Bilboard Latin Jazz Album of the Year) and on “Tide,” Luciana “continued her captivating journey as a uniquely talented vocalist who organically crosses genre borders. Her music soulfully reflects, wistfully regrets, romantically woos, joyfully celebrates…”(Billboard).

Ms. Souza has performed and recorded with greats like Herbie Hancock (on his Grammy winning record, River – The Joni Letters), Paul Simon, Bobby McFerrin, Maria Schneider, Danilo Perez, and many others. Her longstanding duo work with Brazilian guitarist Romero Lubambo has earned her accolades across the globe. Her complete discography contains more than 50 records as a side singer. Luciana Souza’s singing has been called “transcendental, “perfect, ” and of “unparalleled beauty. ” Entertainment Weekly said, “Her voice traces a landscape of emotion that knows no boundaries. ”

Luciana Souza has been a prominent soloist in two important works by composer Osvaldo Golijov – La Pasion According to St. Mark, and Oceana. She has performed with the Bach Akademie Stuttgart, the Boston Symphony Orchestra, and the Brooklyn Philharmonic. Other orchestral appearances include de Falla’s “El Amor Brujo” with the New York Philharmonic, the Atlanta Symphony, and the Los Angeles Philharmonic. Her work in chamber music includes a fruitful collaboration with the Los Angeles Guitar Quartet.

Ms. Souza began her recording career at age three with a radio commercial, and recorded more than 200 jingles and soundtracks, becoming a first-call studio veteran at age 16. She spent four years on faculty at Berklee College of Music in Boston, where she received a Bachelor’s in Jazz Composition. Ms. Souza earned a Master’s degree in Jazz Studies from New England Conservatory of Music and taught for four years at the prestigious Manhattan School of Music, in New York City. In 2005, Luciana was awarded Female Jazz Singer of the Year, by the Jazz Journalists Association. From 2005 to 2010, Luciana was the Jazz Artist in Residence with the prestigious San Francisco Performances. Ms. Souza will be a featured soloist with the Los Angeles.

Luciana Souza 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 ( 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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David was born January 29, 1960, the youngest of three children. His older brother Robert, one of Canada’s finest guitarists, can be credited as David’s first music teacher. Susan, the eldest, is also a fine musician and plays flute and piano. She can be heard performing with the flute/guitar duo, LaBrash/Piltch, originating from the beautiful Caledon, Ontario area, or featured on their two CD’s, NATURE’S PLAY and THE MOON AND FLOWERS. Hurray for sibling rivalry!

David was born January 29, 1960, the youngest of three children. His older brother Robert, one of Canada’s finest guitarists, can be credited as David’s first music teacher. Susan, the eldest, is also a fine musician and plays flute and piano. She can be heard performing with the flute/guitar duo, LaBrash/Piltch, originating from the beautiful Caledon, Ontario area, or featured on their two CD’s, NATURE’S PLAY and THE MOON AND FLOWERS. Hurray for sibling rivalry!

Both of David’s parents provided the perfect environment for a creative musical family. Bernie, a “musician’s musician,” was a role model not only for his children, but also for two generations of woodwind and reed players, from the late forties to the early eighties in Toronto’s diverse music scene. Bernie can be heard on a classic recording featuring Duke Ellington, entitled, NORTH OF THE BORDER.

As teenagers during the late seventies, David and brother, Rob, could often be heard performing with their father and with the many Jazz groups playing around the Toronto scene. David became a “regular” at Bourbon Street (a Toronto Jazz club) and played with famous musicians such as Chet Baker, Art Pepper, Zoot Sims, Mose Allison, George Coleman. and many others. In 1979, David did a stint with Blood, Sweat and Tears, which included recording the album, NUCLEAR BLUES. In 1981, the road led David to Japan for the first time and six months on tour with Chuck Mangione. In 1983, David formed the group, Strangeness Beauty. This instrumental trio was an innovative ensemble employing conceptual writing and improvisation, and was comprised of Ron Allen, saxophone and lyracon (wind synthesiser), and Michael Sloski, drums.

Entering the world of singers, David began recording and performing with Mary Margaret O’Hara, then later k.d. lang and Holly Cole (Trio)

Presently, David lives in California and can be heard on upcoming recordings with Holly Cole, k.d. lang, Eddi Reader, Paul Young and Kenny Loggins.

David Piltch website

BlueWhale website


GIANT ROBOT presents
[DECEMBER 10 – DECEMBER 29, 2011]
2062 Sawtelle Blvd. Los Angeles CA 90025

Giant Robot is proud to present Post-It Show 7 at Giant Robot 2. Curated by artists Mark Todd and Esther Pearl Watson in conjunction with Giant Robot, the show is slated to feature roughly 2,000 works by noted contributors for only $20. These pieces will be on standard-sized 3″ x 3″ Post-It notes. (Larger sizes of 4″ x 4″ and 6″ x 6″ will cost a bit more.) The pieces will be cash-and-carry, making it a great chance to find one-of-a-kind yet affordable holiday gifts.

Thus far, the ever-expanding list of contributors includes the following:

Trevor Alixopolous, Erin Althea, Esao Andrews, APAK!, Nick Arciaga, Andrice Arp, T. Edward Bak, Scott Bakal, Dan Barry, Gary Baseman, Michelle Borok, Aaron Brown, Calef Brown, You Jung Byun, Lilli Carre, Christine Castro, Martin Cendreda, Helen Chau, Ching Ching Cheng, James Chong, Joey Chou, Chris Cilla, Angie Clayton, Tim Cochran, Allison Cole, Eleanor Davis, Bob Dob, Seth Drenner, Theo Ellsworth, Ines Estrada, Edie Fake, Evah Fan, Korin Faught, Jesse Fillingham, Michael Fleming, Cam Floyd, Renee French, Nina Frenkel, Shannon Freshwater, Future Colors of America, Nicholas Gazin, Susie Ghahremani, Gabe Gonzales, Kio Griffith, Katherine Guillen, Peter Hamlin, Pam Henderson, John Hendrix, Tim Hensley, Jaime Hernandez, Ryan Heshka, Len Higa, Andrew Holder, Jason Holley, David Horvath, Mina Horvath, Patrick Hruby, Rama Hughes, Ryan Hungerford, Tony Huynh, Mark Ingram, Mari Inukai, Jordin Isip, Rich Jacobs, Yellena James, Levon Jihanian, Hellen Jo, JUURI, Jared Konopitski, Allison Krumwiede, Maple Lam, Travis Lampe, Jeremiah LaTorre, Mashanda Lazarus, Daniel Lim, Christopher Lyles, Liz Mamont, Jed McGowan, Jeff McMillan, James McShane, Monkmus, Brendan Monroe, Rick Morris, Jesse Moynihan, Munkao, Mark Murphy, Gary Musgrave, Eric Nakamura, Shihori Nakayama, Kiyoshi Nakazawa, Tom Neely, Tru Nguyen, Anders Nilsen, Mare Odomo, Saejean Oh, Saelee Oh, Ming Ong, Martin Ontiveros, Pacolli, John Pham, Dave Plunkert, Jason Polan, Mimi Pond, Carlos Ramos, Jesse Reklaw, Martha Rich, Andy Ristaino, Julie Robertson, Edward Robin Coronel, Ron Russell, Johnny Ryan, Matthew Salata, Souther Salazar, Brooks Salzwadel, Emilio Santoyo, Scrappers, Ann Shen, David Smith, Owen Smith, Jeff Soto, Dave Stolte, Scott Teplin, Jeremy Tinder, Jesse Tise, Mark Todd, Jen Tong, Shark Toof, Anna Topuriya, Edwin Ushiro, Sara Varon, Jon Vermilyea, Chris Von Szombathy, Liz Walsh, Pen Ward, Esther Pearl Watson, Steven Weissman, Megan Whitmarsh, Kent Williams, Christine Wu, Jeni Yang, Jamie Zollars

Giant Robot was born as a Los Angeles-based magazine about Asian, Asian-American, and new hybrid culture in 1994, but has evolved into a full-service pop culture provider with shops and galleries in Los Angeles and San Francisco, as well as an online equivalent.

Giant Robot website

Angel City Arts presents
8910 Washington Blvd. Culver City, CA, 90232  |  310.559.6300  


“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,

“[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,

“One of LA’s most compelling jazz groups” –

“[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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“Rosenboom is a phenomenon…His speed and singing high notes are amazing. He is a cool customer onstage, but what comes out of the mouthpiece is red hot.” – Mark Swed – Los Angeles Times

“Spectacular trumpet soloing…mesmerizing…” – BLG – Downtown Music Gallery

“Daniel Rosenboom’s trumpet and electronics tour de force Evolution caputres all the gravity of ’70s prog rock with a dramatic flair of Freddy Mercury -proportions…Rosenboom goes for the jugular both rhythmically and melodically, running through time signatures like a box of Kleenex at an AA meeting.” – Randy Nordschow – New Music Box

Daniel Aaron Rosenboom  is a creative trumpet artist, improviser, composer, and record producer who seeks break musical boundaries by fusing styles in new and inventive ways. By combining the sounds of creative improvised, contemporary classical music, rock, metal, hip-hop, jazz, experimental electronic, and traditional folk music from the Balkans, North India, and Middle East, he has created a brand of indefinable and hair-raising music.  For his compositions, he has been recognized with grants and awards from ASCAP, the Yvar Mikhashoff Trust for New Music, the American Composers Forum, and the Meet the Composer foundation.

In 2006, Rosenboom released his debut solo CD, Bloodier, Mean Son, which features world-premiere recordings of new works for solo trumpet and electronics, on Nine Winds Records.  In 2007, his gypsy-jazz-metal band, PLOTZ!, released their debut CD, Extraordinary Renditions, and in early 2008, his improvising experimental-jazz-metal band DR. MiNT released their debut album, Visions and Nightmares, on the pfMENTUM label.  In early 2009, Rosenboom released his own Book of Riddles, as well as PLOTZ!’s Live 2008, and DR. MiNT’s A New Symphony on SNP Records.  In 2009, Rosenboom was featured on his father’s album, How Much Better If Plymouth Rock Had Landed on the Pilgrims, both as a performer and co-producer.  In 2010, PLOTZ! released their highly anticipated 3rd album, The Kid, and Rosenboom was featured on Vinny Golia’s Octet album, Low and Inside: Music for Baritone Saxophones, and in 2011 The Daniel Rosenboom Septet released its debut album Fallen Angeles, featuring Daniel’s original compositions on Nine Winds Records.

He has appeared as a soloist and collaborator on festivals and in recitals at the International Trumpet Guild’s annual conference, University of York, England, the Royal Scottish Academy of Music and Drama, the La Mama Theater in New York City, at REDCAT (Roy and Edna Disney CalArts Theater), the Walt Disney Concert Hall in Los Angeles, the Bimhuis in Amsterdam, California Institute of the Arts, the Eastman School of Music, the Hague Jazz Festival, the Midpoint Music Festival, Sounds Like Now: Interpretations at 15, the Aspen Music Festival, Music Academy of the West, the Chosen Vale and Lake Placid Trumpet Seminars, Idyllwild Arts and Interlochen Arts Academy.  With orchestras and chamber ensembles, he has appeared on such stages as Walt Disney Concert Hall, the Berlin Philharmonie, Opera City in Tokyo, the Hollywood Bowl, and in music festivals all over the United States.

He plays regularly with The Daniel Rosenboom Septet, PLOTZ!, DR. MiNT, and the Vinny Golia Sextet, and is a member of the Industrial Jazz Group, Killsonic, Orkestar Mezé, Robby Marshall’s RootSystem, and GG’s Concert NineNet.  As a free-lance artist in Los Angeles, he has recorded for and been heard on ABC, ESPN, BMG, Killer Tracks, Paramount, Poobah Records, Nine Winds Records, 105.1 KMZT, and has played with such groups as the Los Angeles Philharmonic, Rochester Philharmonic Orchestra, Syracuse Symphony Orchestra, Philharmonie der Nationen, the New Century Players, the Los Angeles Valley Master Chorale, the Asia America Symphony Association, the Peninsula, Westchester, and Carson Symphony Orchestras. Other projects and collaborations include the Heidi Duckler and Collage Dance Theatre, Wadada Leo Smith’s Silver Orchestra, Vinny Golia Large Ensemble, the Los Angeles Trumpet Quartet (with John Fumo, Jeff Kaiser, and Kris Tiner), VR with guitarist David Veslocki, Irmin Schmidt from CAN, the Grande Mothers of Invention, Kai Kurosawa, Brad Dutz, Harris Eisenstadt, Markus Stockhausen, Sandeep Bagwhati, Pavel Novak, Matt Mayhall, Antony DiGennaro, Björkestra, and many others.

Daniel studied at the Eastman School of Music with master pedagogue James Thompson for his Bachelor of Music Degree. He also holds a Master of Music degree from UCLA where he studied with international trumpet virtuoso, Jens Lindemann, and a Master of Fine Arts degree from the California Institute of the Arts where he studied with Edward Carroll, Vinny Golia, John Fumo, Wadada Leo Smith, Miroslav Tadic, and Larry Koonse.  Other mentors have included Rosalina Sackstein, Roy Poper, Mark Gould, Markus Stockhausen, Thomas Sevens, Stephen Burns, and Gabrielle Cassone.

Daniel Rosenboom website

Royal/T website

_ _ ORNAMENTS: keepsakes, relics, socks, magic
11301 Olympic Blvd. #124, Los Angeles, CA, 90064

curated by Kio Griffith

_ _ ORNAM_NTS: keepsakes, relics, socks, magic is a group show of artists’ non-traditional ornaments.  All ornaments will be available cash-and-carry in time for the uncommon holiday gift seekers. Small sized ornaments will be priced at $30 and larger works at $50.


Balconi Coffee Company website

The Smell presents
247 South Main Street  Los Angeles, CA 90013

By now John Wiese is a kind of well-known, I think, due to his involvement with Sunn O))) and Bastard Noise, and so the vaults are open for re-issue. Sissy Spacek is the oldest band that Wiese was involved in, before moving to Los Angeles. Back in the days, Sissy Spacek was Corydon Ronnau on guitar, Danny McClain on drums and Wiese on guitar and electronics (these days the band is still Wiese, Ronnau and Jesse Jackson). Today the band uses the old recordings which are heavily put in collage mode and set against newly recorded material.

Drums are in an absolutely free spirit, while the sound is picked up by Wiese’s electronics. Both guitars are in similar free noise mood. This is not what these boys were taught in music school, and that’s great. These days I have my reservations against noise, because much of it is made without imagination and all too easily, but in this case sweat comes bursting out of your speakers. No easy way is chosen, tension is all the way present, balancing the live noise act versus the studio manipulation. One could wish there is more like this.

Sissy Spacek website

The Smell website

The Little Temple presents
4519 Santa Monica Boulevard, Los Angeles, CA 90029

ADAM BENJAMIN   keyboards

General Admission: $15   |  21+

Tickets available here:

“Cohesion is the truest constant in the music of Kneebody, a band that inhabits the borderland abutted by post-bop, indie-rock and hip-hop, without seeming to give much thought to the borders”  NY Times, 2010

By combining sophisticated compositions and virtuosic improvising, the Grammy nominated group Kneebody has created a diverse, loyal fan base in the United States and Europe. Founded in 2001, Kneebody has built upon an impressive array of individual resumes and conservatory training to create a truly singular voice within the instrumental world.

In 2005 Kneebody released their debut album “Kneebody” on Dave Douglas’ Greenleaf Music Label. In 2007 they followed up with “Low Electrical Worker” on the Colortone Label.  A collection of 13 original songs, “Low Electrical Worker” was hailed by saxophonist Joshua Redman as one of his “favorite albums of 2007”.  In the spring of 2009, Kneebody and vocalist Theo Bleckmann released “12 Songs of Charles Ives” on the Winter & Winter label and received a Grammy nomination in the “classical crossover” category.  Kneebody is presently touring in support of their third studio album, “You Can Have Your Moment,” also on the Winter & Winter label.

Among the ways to pin down Kneebody, a resolutely unpin-downable band, a few come rooted in plain fact. The group uses a common jazz instrumentation — trumpet, saxophone, rhythm section — to make a somewhat less common amalgam of urban-signifying genres, from electro-pop to punk-rock to hip-hop. Four of its five members met in the late 1990s at the Eastman School of Music. Its most recent album, “Twelve Songs by Charles Ives” (Winter & Winter), featuring the vocalist Theo Bleckmann, was nominated for a Grammy this year, in the category of best classical crossover album.

The applicable word there is crossover, which Kneebody has claimed as a directive, more for aesthetic than commercial reasons. This week, during a four-night run in a black box at the Theaters at 45 Bleecker, the band is playing two shows nightly, with featured guests including Mr. Bleckmann and the indie-rapper Busdriver. (Only one of them will be singing Ives.) The run began on Wednesday with the trombonist Josh Roseman and the guitarist Ben Monder: jazz musicians both, though that was only a common dialect.

Mr. Monder fashioned a prelude to the first set: a slow cycle of arpeggios, each note rippling soft and reflective. The bassist Kaveh Rastegar, composer of the piece, eventually joined him, creating a faint pulse with the drummer Nate Wood. Then came a calmly drifting melody, played by the trumpeter Shane Endsley, and the rounded chime of Adam Benjamin’s Fender Rhodes piano. It was all dreamlike and vague, emotionally muted even during a solo by Mr. Endsley, who played in a pacifying murmur.

The set proceeded from this baseline, with an enveloping atmosphere and an arid, soft-hued tonal spectrum, like a sonic equivalent to the painterly abstractions of Georgia O’Keeffe. There was one song by Mr. Roseman, a warmly poplike ballad called “Fortunato,” and two by Mr. Endsley, including one that resembled a warm-up exercise, with his long tones soberly set against a kind of Morse-code syncopation.

A lot was happening on the level of texture, but the music felt pregnant with stasis. An exception came in the other of Mr. Endsley’s tunes, courtesy of the tenor saxophonist Ben Wendel, spewing ribbons of notes, and Mr. Monder, who coarsened his output with distortion. Their heat drew out the band’s wilder side. Or maybe they had warmed up to meet some unspoken need in the music. Typically for Kneebody, it was hard to tell.

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Possessing a hyper-literate, intellectual style of rapping augmented with dizzying elocution that would tongue-tie even the fiercest auctioneer, Busdriver is eclectic and eccentric enough to cite vocalese jazz singer Jon Hendricks as a primary influence. Born Regan Farquhar, the Los Angeles MC was introduced to hip-hop culture early — his father wrote the screenplay to one of the earliest films focusing on hip-hop, Krush Groove. He began rapping at age nine, releasing his first record at age 13 with his group, 4/29, named after the 1992 L.A. riots. By the mid-’90s, Busdriver was a regular at the Project Blowed open mic, where he would meet future collaborators and underground luminaries like Aceyalone, Abstract Rude, and Freestyle Fellowship. And shortly after, the vinyl did flow.

Busdriver guested on upward of 20 singles, and by 2001 he could no longer be contained by guest spots, releasing his first full-length, Memoirs of the Elephant Man. There were just as many detractors as supporters for his singular style, which was so densely packed it made his chosen name seem a reference for multiple-personality disorder, and the lo-fi production also left more listeners scratching heads than nodding them. His next album, This Machine Kills Fashion Tips (2002), continued in a similar manner before being trumped by better production and more focused rhymes on Temporary Forever the same year. Joined by another West Coast avant-garde MC, Radioinactive, and the breezy, fractured pop of electronic producer Daedelus, Busdriver released yet another odd puzzle piece in 2003, The Weather. Fear of a Black Tangent followed on Mush in 2005. After moving to Anti-/Epitaph, the rapper issued RoadKillOvercoat, which featured production from Nobody and Boom Bip. His second Anti- release, Jhelli Beam, appeared in 2009. In 2010 he put out a full-length mix tape of unreleased gems and illegal remixes called Computer Cooties. It was released as a free album.

2010 saw Bus toiling over a new album that will shock fans and confuse the unconverted into unwilling servitude. It is called Beaus$Eros and will be released in January 2012 on Fake Four. Download preview song “No Blacks No Jews No Asians” here.

Other upcoming projects include a full-length release from Bus’ new experimental punk band, Physical Forms and a hip hop superduo with rapper Nocando called Flash Bang Grenada.

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 Alfred Darlington is a musical magpie, hoarding the shiniest elements of his contemporaries’ output, skipping from label to label, appropriating and assimilating sounds to spin cluttered nests of agreeable electronica. Despite his most obvious attempts to build himself a persona — a faintly Steampunk dress sense and well-trimmed set of chops, prominent use of the Monome — Daedelus lacks a sonic signature. At its worst, his work feels both stultifyingly basic and overstuffed. 2008’s Love To Make Music To wears at the listener like a tenacious little sibling with its cartoonish sense of romanticism and ‘fun,’ piling on tawdry samples with an inconceivable lack of guile.

Producer/instrumentalist Daedelus wanted to be an inventor from an early age, a sentiment that led to him choosing an artistic moniker (in Greek mythology, Daedelus was known as an inventor, although Weisberg-Roberts also cites the character Stephan Dedalus in James Joyce’s A Portrait of the Artist as a Young Man — as well as the ship in the Japanese cartoon Robotech — as equally valid reasons for his selection) when he began releasing his own work. Despite the fact that he was formally trained on double bass and bass clarinet, had studied jazz at USC, and could play additional instruments such as the guitar and accordion, Daedelus chose to go the electronica route, often incorporating samples from the ’30s and ’40s into his IDM and left-field hip-hop.

Though Daedelus’ first single appeared 2001, it wasn’t until the following year that his debut full-length, Invention, was released by the Plug Research label. Daedelus proved to be a prolific composer, and the following four years brought four new albums (released via Plug Research and Mush): 2003’s Rethinking the Weather, 2004’s Of Snowdonia, 2005’s Exquisite Corpse, and 2006’s Denies the Day’s Demise. He also worked on countless singles and side projects, including a stint as a producer for his Mush labelmates. The musician’s engaging live set was finally made available for fans, albeit in limited numbers, with Live at Low End Theory, which was recorded during a July 2007 performance at Los Angeles’ The Airliner and released in early 2008. Love to Make Music To followed in July. Righteous Fists of Harmony, issued in 2010, was released on Flying Lotus’ Brainfeeder label. In 2011, Ninja Tune released the ambitious Bespoke, which found Daedelus working with a long list of guest vocalists, including Will Wiesenfeld (Baths), Inara George of The Bird and the Bee, and Busdriver.

The Little Temple website

Richard Heller Gallery presents
[OCTOBER 29, 2011 – DECEMBER  17, 2011]

2525 Michigan Ave. B-5A, Santa Monica, CA 90404 | 310.453.9191

Granada-born artist Paco Pomet bases his paintings on old archival photographs, interjecting silly, surreal, and absurd elements — skewed and stretched features, scale shifts, extra or missing limbs, or goofy pop imagery — commenting on the distorting nature of memory.

Akin to the literary style of ‘magical realism’ in which surreal or magical elements manifest as normal occurrences within familiar settings, artist Paco Pomet’s intriguing work explores these unexpected notions in his richly rendered paintings. Imbued with the nostalgia of a time past, the work often appears in a monochromatic color palette, a choice that echoes the sepia toned photography of the early 1900’s. This choice enhances the realistic yet haunting landscapes in which the artist tinkers with the ‘real’ world by creating odd characters with abnormal deformities, unlikely pairings of anthropomorphic creatures and humans, and shrunken figures living in relative harmony with their ‘normal’ counterparts. While the surreal elements add a sense of narrative, the paint application shows off an interesting optical texture creating work that is both visually and thematically stunning. – HiFructose

Richard Heller Gallery website