Monthly Archives: July 2012

[AUGUST 1 – AUGUST 5, 2012]
11301 Olympic Blvd. #124, Los Angeles, CA, 90064

Cafemode proudly presents “fifteen” solo show by MAYUMI TANAKA

Mayumi Tanaka’s last solo show “fifteen” is a collection of odd pieces from the many series of works that she has explored during her temporary residence in the U.S. of A.

Although this will not be her final show, she will be awaiting response for her artist visa status in her native Japan. The short length of this exhibit reflects the sudden change in one’s life and decisions made upon them. Come by and bid a temporary farewell to this great artist.

“I was born and raised in Tokyo Japan, graduated from Art College in 2004.With a new drive to create, I traded my Tokyo city for that of New York then once more to Los Angeles where I now reside. I paint, sew, and make arts and crafts accessories. I also perform with my dancing group “Spobra” founded in 2002”.  – Mayumi Tanaka

Mayumi Tanaka’s autobiograhical work is a snapshot of her life within and without her soul existence. That may sound philosophically high brow but her way of tuning into reality sets off the undulating bizarreness of the human condition (hers) relating to others and having fun with it. The abundance of color drawn into these creatures makes the darkness and ennui, fashionable.

Mayumi’s daily activities range from serving as a french maid at a high concept art gallery cafe space in Culver CIty to bizarre synch dancing in a dead pan Japanese girl trio group, named “Spobra” (athletic sport bra). Her partially auto biographical art need not much explanation as life speaks for itself. >:)

Mayumi Tanaka website

Balconi Coffee Company website


Newtown presents
JULY 27+28 2012
4414 E. York Blvd. [near Eagle Rock Blvd]

Resonance In Peace

an experimental session of
sound performance therapy
by appointment mostly


part of “Knock Knock…Sonic Surprise”

Friday, July 27, Noon to 7:00PM
Saturday, July 28, 3:30PM to 9:00PM

please RSVP for an appointment to:


6 dressing-room trailer parked on
4414 E. York Blvd. (near Eagle Rock Blvd)


Resonance in Peace

Remaining parts of an instrument discovered by Bud Wirpu, which he claims originated on the San Santos Islands created by the now extinct Xemi Indians, give the performer an overwhelming sense of peace and tranquility. We wish to share this experience with others and literally test these claims.

Today for the very first time we will have on display parts of this instrument and attempt to teach performance techniques. We will conduct a sound ceremony and then test Wirpu’s claims of peace and tranquility.


For Research Involving Resonating Peace

You will be asked to wear an eye-mask for the 10-15 minute session.

During this procedure, we will help facilitate your sensitivity arousal of the subject instrument. These exercises will include building models with wooden blocks and  interpreting and performing a score designed specifically for this event.

After we complete our tests, we would like to save any sound produced for future research and evaluation. Your soundbytes will be frozen. They will be catalogued by number. A fictitious name will also be assigned to each. The fictitious name will be generated from the telekinetic energy that the instrument emits. Results from your study samples will be used for research purposes only. You will not receive any test result information, nor will you benefit in any way from the resulting research.

*A certificate of completion will be awarded to each visitor who participates in this 10-minute session.


Research on the evolutionary origins of music mostly started in the second half of the 19th century, and was much discussed within Music Archaeology in the 20th Century. After the appearance of the collection of articles “The Origins of Music” (Wallin, Merker, Brown, 2000) the subject was a debated topic of human evolutionary history. There are currently many hypotheses (not necessarily conflicting) about the origins of music.

Some suggest that the origin of music likely stems from naturally occurring sounds and rhythms. Human music may echo these phenomena using patterns, repetition and tonality. Even today, some cultures have certain instances of their music intending to imitate natural sounds. In some instances, this feature is related to shamanistic beliefs or practice.[1][2] It may also serve entertainment (game)[3][4] or practical (luring animals in hunt)[3] functions.
Even aside from the bird song, monkeys have been witnessed to beat on hollow logs. Although this might serve some purpose of territorialism, it suggests a degree of creativity and seems to incorporate a call and response dialogue.

Explanations of the origin of music depend on how music is defined. If we assume that music is a form of intentional emotional manipulation, music as we know it was not possible until the onset of intentionality – the ability to reflect about the past and the future. Between 60,000 and 30,000 years ago humans started creating art in the form of paintings on cave walls, jewellery and so on (the “cultural explosion”). They also started to bury their dead ceremonially. If we assume that these new forms of behavior reflect the emergence of intentionality, then music as we know it must also have emerged during that period.

From a psychological viewpoint, the question of the origin of music is difficult to answer. Music evokes strong emotions and changed states of awareness. Generally, strong emotions are associated with evolution (sex and survival). But there is no clear link between music and sex, or between music and survival. Regarding sex, musicians often may use music to attract mates (as for example male birds may use their plumage to attract females), but that is just one of many functions of music and one of many ways to attract mates. Regarding survival, societies with a musical culture may be better able to survive because the music coordinates their emotions, helps important messages to be communicated within the group (in ritual), motivates them to identify with the group, and motivates them to support other group members. However it is difficult to demonstrate that effects of this kind can enhance the survival of one group in competition with other groups. Once music exists, effects of this kind may promote its development but it is unclear whether effects of this kind can explain music’s ultimate origin…

This piece is dedicated to Dorothea Grossman



Newtown website

Sabina Lee Gallery presents
JULY  21, 2012  8-9pm
N » Z » N [Hans Fjellestad + Oguri]
971 Chung King Rd  Los Angeles, CA 90012

XQZT [edition two]

N » Z » N
improvisation from time to space and back
whilst sidestepping matter

HANS FJELLESTAD  synthesizer
OGURI  dance

curated by Kio Griffith

in conjunction with Perform Chinatown

SATURDAY, JULY 21, 2012 between the hours of 8 and 9pm
971 Chung King Road Los Angeles, CA 90012


N » Z » N is the second edition of XQZT, a non-structural performance series presented by Kio Griffith  currently at Sabina Lee Gallery on Chung King Road / Chinatown. Each performance is an improvised collaboration between a musician and a dancer with no rehearsals and in some situations a first time meeting in the spirit of ichigo-ichie, (literally “one time, one meeting”), the japanese term that describes a cultural concept of transience, and the contemplation of a singular and decisive event.



Los Angeles musician and filmmaker Hans Fjellestad has presented his music, film, and video art throughout the U.S., Canada, Europe, Japan, Taiwan, Australia, New Zealand, Mexico, Argentina, and Brazil. He performs and records as a solo artist as well as past collaborations with Muhal Richard Abrams, George Lewis, Peter Kowald, Lé Quan Ninh, Lisle Ellis, Haco, Miya Masaoka, Money Mark, G.E. Stinson, Yoshimi P-We, Thomas Dimuzio, David Scott Stone, Baiyon, Kazuhisa Uchihashi, Raymond MacDonald, Jakob Riis, P.O. Jørgens, Aiyun Huang, Mike Keneally, Nortec Collective, among others. An “innovative musician” (All About Jazz) and “master of analogue synthesis” (The Wire), Hans’ music has been described as “unbridled sonic freedom… raw, almost shamanic energy that embodies the true essence of unrestricted music” (XLR8R). Hans was artist-in-residence at the Steve Allen Theater in Hollywood 2008-2011, where he curated and hosted the monthly music series ResBox.

Hans Fjellestad website



Oguri a native of Japan, In 1985, he joined the Mai-Juku dance group founded by the internationally noted dancer/choreographer Min Tanaka. For the following five years, Oguri toured internationally and was a founding member of Body Weather Farm where the group lived and hosted annual international arts/dance festivals. Described by Victoria Looseleaf of the Los Angeles Times as a “treasure,” Oguri has lived in Southern California for the past twenty years and is a recognized force in the community. He has been producing and creating dance with his partner Roxanne Steinberg who founded Body Weather Laboratory in Los Angeles.  He has danced extensively in California, nationally and internationally in Europe, South Africa, Australia, Middle East and Japan. Oguri has been an artist-in-residence at the Electric Lodge in Venice since 1996 where he conducts on-going Body Weather Laboratory dance workshop – a rigorous muscle-bone, mind-body training. In 2001-2005, his Height of Sky dance project, which took place in the California desert, investigated the relationship between dancer and environment. It was the subject of the documentary Height of Sky directed by Morleigh Steinberg, and was featured on the Sundance Channel. Oguri’s  choreography for Hirokazu Kosaka’s Kalpa was a commissioned featured PST event at the Getty Museum in January 2012. His collaboration with Morleigh Steinberg (former ISO/MOMIX choreographer), Cold Dream Colour – an Homage to Le Brocquy (painter and Irish National Treasure) premiered in Dublin in 2010 and will premiere at REDCAT in May 2012. Oguri maintains relationships with the Japanese American Cultural and Community Center, Grand Performances, Highways Performance Space, the REDCAT, the Metabolic Studio, and dancers, artists and musicians including Min Tanaka, Anna Halprin, Hirokazu Kosaka, Adam Rudolph, Wadada Leo Smith, and many more.  Oguri received grants and awards from the New England Foundation for the Arts, the Annenberg Foundation, the Rockefeller Foundation, California Arts Council, Lester Horton Dance Award, Choreography Media Honors, The James Irvine Foundation & Dance/USA, The Japan Foundation, The Durfee Foundation, City of Los Angeles, Department of Cultural Affairs, Los Angeles County Arts Commission, The Center for Cultural Innovation and the National Endowment for the Arts among others.

Body Weather Laboratory website


Sabina Lee Gallery website

Body Weather Laboratory presents
JULY 27/28/29 2012
1416 Electric Ave, Venice, CA, 90291



In its seventh year, Flower of the Season continues be a venue for emerging Los Angeles dancers who have been training with Body Weather Laboratory. This year, Rosemary Candelario, Eric Losoya, Joyce Lu, and Kim Nakakura will present solo dances that were inspired by the theme of opening, release, and transformation, or “Ecdysis.”

Dancer/choreographer Oguri began Body Weather Laboratory (BWL) in Los Angeles in 1991. In 1997, Oguri and his partner Roxanne Steinberg were invited to make BWL a resident project of the Electric Lodge in Venice. Here, performing artists train twice weekly, exploring and breaking preconceived ideas of physical expression and investigating the boundaries of the body and the body’s relationship to space. The Flower of the Season program supports visiting artists from abroad, the collaboration between local and foreign dancers, and showcases the talents of our local community, as well.

The dancers in this year’s Flower of the Season: Ecdysis have all studied with Oguri and Steinberg between five to eleven years. They have all been invited annually for the past several years to offer solo dances that explore and express their current challenges, obsessions, understandings and questions about how their bodies move in the present moment. By challenging themselves to find new ways of expression, they create together an evening of innovative dance that invites the body of the community to also transcend and transform.

Body Weather Laboratory website

Electric Lodge website

GIANT ROBOT presents
[JUNE 30 – JULY 25, 2012]
Yukinori Dehara “Satoshi – The Last Salaryman”
2062 Sawtelle Blvd. Los Angeles CA 90025

Giant Robot is proud to host Satoshi – The Last Salaryman – clay sculptures by Yukinori Dehara.

The Salaryman in Japan, is an underpaid and understated workforce who work long hours and have forged a lifestyle that is strongly responsible for the economic miracle of post World War 2 Japan. Today they wander the streets after their long day, drinking and frolicking until they head home to their family, only to face the same thing the following day. Satoshi is this person but has a friend, a beast named Morlin.

We’ll be sure to feature clay sculptures and more from Yukinori Dehara.

We’ve featured Japanese artist, Yukinori Dehara annually and his exhibitions range from being touching to grotesque. Yet like most artists, he has a deep ideology behind his pieces although to the casual observer, they look like fun.

Giant Robot website

Blue Whale + Cafemode present
2 x 4 : :: duos + quartets
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012  |  213.620.0908 

$10 cover for both sets, 21+

set one [9pm]
DAN CLUCAS  trumpet
TED BYRNES  drums, percussion

set two [10:30pm]
BETH SCHENCK  saxophone
COREY FOGEL  drums, percussion
VINNY GOLIA  woodwinds

art of improvisational music in the configurations of duos and quartets.
non-structured series : volume 1


set one

Dan Clucas is a trumpet player and composer living and working in Los Angeles. Born in Anaheim, California in 1966, he began playing trumpet at age ten, soon thereafter discovering the music of Dizzy Gillespie, which in turn led to a lifelong study of and respect for the African American music known as jazz. While he strives for individual statement in his music, Clucas also strives to acknowledge the imprint of past masters, from Louis Armstrong and Duke Ellington to Ornette Coleman and Sun Ra. He has studied with Bobby Bradford and Wadada Leo Smith, and has performed and recorded over the last two decades with such L.A. luminaries as Nels Cline, Alex Cline, Steuart Liebig, Vinny Golia, Joe Baiza, Rich West, and Michael Vlatkovich, to name a few.

Dan Clucas website


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.

Ted primarily works in ad hoc improvisational settings, but has standing improvisational groups including: a duo with Han-Earl Park, trio with Jeff Kaiser and Tom McNalley (External Logic Machine), a duo with Gregory Lenczycki, a duo with Jorge Martin, a duo/trio with Paul Stapleton and Caroline Pugh, a trio with Jorge Martin and Anna Homler, among others. Additionally, Ted has played in duo/trio/or ensemble settings with: David Watson, Charlemagne Palestine, Jaap Blonk, the LAFMS (including Airway, Ace Farren Ford’s Artificial Art Ensemble, Rick and Joe Potts, Fredrik Nilsen, Tom Recchion, Vetza, etc), and accompanied FLUXUS artist Jeff Perkins on multiple occasions for his projector/light installations.

Select performances include: granted performance / composition of ‘5×5’, piece commissioned by the City of West Hollywood (6/26/10), and granted by SASSAS and Meet the Composer; ensemble percussion performance at the SASSAS 10th Anniversary concert (9/12/09); Pilgrimage from Scattered Points / Cornelius Cardew Scratch Orchestra (with Steve Roden, Rick Potts, Greg Lenczycki, Dave Muller, Joseph Hammer, Glenn Bach, etc – 3/20/10); in trio with Jaap Blonk and Brian Walsh (3/1/12); large ensemble with David Watson presenting a piece composed for Beacon Arts (2/26/11).

Ted Byrnes website


set two

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 Schenck website


Devin Hoff works the double bass, the bass guitar, and writes songs. He grew up in Colorado, where he did not learn to fish, hunt, ski, or camp, and he did not go to college. 

He is a member of The Nels Cline Singers, Good For Cows, Plays Monk, and the Devin Hoff Platform. In addition, he regularly works with other great musicians, such as Carla Bozulich, Ben Goldberg, Odessa Chen, John Dieterich, Jewlia Eisenberg, Howard Wiley, Steven Bernstein, Carla Kihlstedt, Tony Malaby, Julian Lage, Ron Miles, Mary Halvorson, Jessica Pavone, and many others.

Devin has played on hundreds of recordings and thousands of shows throughout the world. In his spare time he collects (and reads) anarchist books, threatens to become a writer, and volunteers with worthy independent organizations such as the Prisoners Literature Project, the Kate Sharpley Library, and AK Press. He is not now, nor has he ever been, a retired hockey player.

Devin Hoff website


Corey Marc Fogel (b. 1977) is a drummer and performance artist currently living in Los Angeles, CA. Corey performs and composes in many rock, jazz, noise, folk, and chamber music capacities. His solo work is based around spontaneous encounters with sounds, objects, personalities, textiles, foods, spanning the disciplines of video, dance, and installation.

Corey has been a member of groups like: Missincinatti, The Mae Shi, Gowns, Cryptacize, Barbez, Monstro, The Curtains, Learning Music, Nowcloud, Dominique Leone, 18 Squared. In addition to touring and recording nationally and abroad, Corey has presented his own work with Machine Project, LACMA, Human Resources, The Wulf, The Hammer Museum, and REDCAT.

Corey Fogel website


As a composer  Vinny Golia fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. Also a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from The National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer,Clausen Foundation of the Arts, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 50 piece Vinny Golia Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles.

A multi-woodwind performer, Vinny’s recordings have been consistently picked by critics and readers of music journals for their yearly “ten best” lists. In 1990 he was the winner of the Jazz Times TDWR award for Bass Saxophone. In 1998 he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Downbeat Critic’s Poll for Baritone  & Soprano Saxophone. In 1999 Vinny won the LA Weekly’s Award for “Best Jazz Musician”. Jazziz Magazine has also named him as one of the 100 people who have influenced the course of Jazz in our Century. In 2006 The Jazz Journalists Association honored him with a Lifetime Achievement  Award.

Golia has also contributed original compositions and scores to Ballet and Modern Dance works, video, theatrical productions, and film. As an educator Vinny has lectured on music & painting composition, improvisation, Jazz History, The History of Music in Film, CD & record manufacturing and self-production throughout the  United States, Europe, Mexico, New Zealand and Canada. He currently teaches at California Institute of the Arts. In 1998 Golia was appointed Regent’s Lecturer  at the University of California at San Diego. In 2009 Vinny Golia was appointed the first holder of the Michel Colombier Performer Composer Chair at Cal Arts.

Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry “the Hipster”  Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz Concert Jazz Band, Misha Mengelberg, Han Bennick, Lydia Lunch, Harry Sparrney and the Los Angeles Philharmonic Orchestra amongst many others.

Vinny Golia website


BlueWhale website