Bluewhale + Cafemode present
MARCH 31, 2014 9pm – midnight
NAKATANI : STINSON : OGURI : CAZAN
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012 | 213.620.0908
curated by Kio Griffith
$10 cover for both sets | 21+
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012
Nakatani’s approach to music is visceral, non-linear and intuitively primitive, expressing an unusually strong spirit while avoiding any categorization. He creates sound via both traditional and extended percussion techniques, utilizing drums, bowed gongs, cymbals, singing bowls, metal objects and bells, as well as various sticks, kitchen tools and homemade bows, all of which manifest in anintense and organic music that represents a very personal sonic world. His approach is steeped in the sensibilities of free improvisation, experimental music, jazz, rock, and noise, and yet retains the sense of space and quiet beauty found in traditional Japanese folk music. His percussion instruments can imitate the sounds of a trumpet, a stringed instrumentor an electronic device to the extent that it becomes difficult to recognize the source of the sound. He has devoted himself to a musical aesthetic where rhythm gives way to pulse, often in a way that is not always audible or visible, in currents that incorporate silence and texture.Nakatani’s primary music activities include
solo percussion performance, N.G.O. (Nakatani Gong Orchestra) and collaborations with musicians and dancers both in live performance and recordings.
Birthplace: Kingfisher, Oklahoma.
Early life: migratory nomadic. Chicago at 13, hears Bo Diddley on car radio, purchases guitar. Learns to play blues listening to Muddy Waters, Sonny Boy Williamson, etc. Works/hangs out with Cash Mccall, Willie Dixon, etc. ’60s erupt. Flirts with success as blues rock guitarist. Experiments with other music forms. Starts learning Charlie Parker tunes. Miles Davis’ “Bitches Brew” alters direction. Starts improvising.
1974: co-founds Shadowfax. Relocates to Los Angeles. Success and eventual dissatisfaction.
1989: jettisons into Los Angeles underground music community. Still refining extended technique, frequency manipulation and laptop pulse programming.
A native of Japan, Oguri is an internationally acclaimed dancer who has been described as a master at redirecting the way one sees and encounters the physical environment, his choreography emphasizing the unpredictable. A resident of Southern California since 1990, Oguriteaches and performs worldwide, including site-specific work in nature and urban landscapes – plazas, architectures, and streets – as an improviser and with musicians. He develops multi-media productions using literature, daily life imagery and simple materials to transform space and time with dance.
An artist-in-residence at the Electric Lodge in Venice CA, he conducts Body Weather Laboratory in Los Angeles, a forum for investigating the body and dance (founded by Min Tanaka in Japan, 1978), along with Roxanne Steinberg. Oguri has received support from the California Arts Council, The Annenberg Foundation, the New England Foundation for the Arts National Dance Project, the Rockefeller Foundation, The Center for Cultural Innovation, The City of Los Angeles Department of Cultural Affairs, The Lila Wallace Reader’s Digest Arts Partners Program, The Getty Center, and the Irvine Fellowship which supported his 5-year project, Height of Sky, a dance exploration of the California deserts that inspired the documentary, Height of Sky, by director Morleigh Steinberg.
The production of his evening length work “Caddy! Caddy! Caddy!, William Faulkner Dance Project” was made possible by the Irvine ‘Dance: Creation to Performance’ grant and later toured with a grant from the National Endowment for the Arts.
Scott Cazan is a Los Angeles based composer, performer, creative coder, and sound artist working in fields such as experimental electronic music, sound installation, chamber music, and software art where he explores cybernetics, aesthetic computing, and emergent forms resulting from human interactions with technology. His work often involves the use of feedback networks where misunderstanding and chaotic elements act as a catalyst for emergent forms in art and music.Scott has performed and received numerous commissions with international organizations such as The LA County Museum of Art, MOCA (Los Angeles), Issue Project Room (NY), Feldstarke International (with CENTQUATRE, PACT Zollverein, and Calarts), Ausland (Berlin), Art Cologne, Ensemble Zwischentöne, The University of Art in Berlin, Toomai String Quintet, Southern Exposure (San Francisco), Guapamacátaro (MX), the BEAM Festival (UK), REDCAT (Los Angeles), Machine Project and many others. He has collaborated and performed alongside a variety of artists such as Jason Kahn, Ulrich Krieger, Mark Trayle, Michael Pisaro, Carmina Escobar, Carole Kim, Jana Papenbroock, and many others.As an active educator he has taught at institutions such as the University of California, Santa Barbara and the California Institute of the Arts and frequently gives lectures and workshops on the intersections between art and electronics.
His music is can be heard on Khalija Records and CareOf Editions.