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Grand Star Jazz Club + Cafemode present
AUGUST 27, 2014  9:30pm – midnight
the velvet frequencies + .5mnk
943 N. Broadway [Chinatown]  Los Angeles, CA 90012

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the velvet frequencies


karrie benoit – vocals
g.e. stinson – beats, electronics, guitar

.5mnk
g.e. stinson – beats, electronics and guitar
steuart liebig – bass, electronics

special guests may appear…

[9:30pm] will start promptly

curated by Kio Griffith

$5-10 sliding donation | first come first serve | arrive early

GRAND STAR JAZZ CLUB
943 N. Broadway [CHINATOWN] Los Angeles, CA 90012

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https://soundcloud.com/the-velvet-frequencies

https://soundcloud.com/5mnk-1

http://halfmonk.bandcamp.com/

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Grand Star Jazz Club website

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Grand Star Jazz Club + Cafemode present
APRIL 23, 2014  8pm – midnight
LAK//PENSADO//GELINEAU
943 N. Broadway [Chinatown]  Los Angeles, CA 90012

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STEPHANIE LAK voice/electronics/tape/video
ANDREA PENSADO voice/programming/electronics
JENIFER GELINEAU violin

curated by Kio Griffith

$5-$10 donation | first come first serve | arrive early

GRAND STAR JAZZ CLUB
943 N. Broadway [CHINATOWN] Los Angeles, CA 90012

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STEPHANIE LAK

Stephanie Lak resides in San Francisco, Ca. and is originally from Massachusetts. Her current performances are centered around sound collage, field recordings, restless electronics, tapes, objects, voice and video. She is a repeat collaborator, improvisational performer and multi-instramentalist who is an active multidisciplinary visual artist. As an artist, Stephanie is influenced by the natural world, a digital one and through video, paintings, sketchings and photos she captures, creates and designs interactions between the two.

http://stephanielak.bandcamp.com/ http://stephanielak.wordpress.com/

ANDREA PENSADO

Andrea Pensado works with sound as a performer, programer and teacher.She has been using digital media and live interactive musical systems since 1995. She studied in Argentina and Poland. At first, she composed mainly for acoustic instruments. However, she felt gradually more attracted by different sound realms. Today, the abrasive digital noise of her improvisations is far away from her earlier pieces. Harsh dense layers of sounds, often interwoven with her voice, combine hybrid synthesis techniques to create a highly personal sound language, which reflects an intuitive, emotional and paradoxically also logical approach to music making. She currently lives in the US.

http://www.andreapensado.com/Andrea_Pensado/Sound_Gallery.html

JENIFER GELINEAU

Jenifer Gelineau is a Western Massachusetts arts advocate, teacher, violinist and performer.

http://jenifergelineau.wordpress.com/about/

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Grand Star Jazz Club website

FILM MOIRE
an improvideologue

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木村由/KIMURA YU dance
小林豊美/KOBAYASHI TOYOMI flute
MARCOS FERNANDES percussion, phonography
KIO GRIFFITH visuals

Sakura WORKSさくらWORKS<関内>
Taisei Bldg. 2F, 3-61 Aioi-cho, Naka-ku, Yokohama
横浜市中区相生町3-61 泰生ビル2階 • 045-664-9009
http://sakuraworks.org/
18:30 open / 19:00 start • ¥2000 (w/drink)
FACEBOOK EVENT PAGE

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Sakura Works website

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

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TATSUYA NAKATANI  [drums / percussion]
GE STINSON  [guitar  / electronics]
OGURI  [dance]
SCOTT CAZAN  [electronics]

curated by Kio Griffith

$10 cover for both sets  |  21+

BLUEWHALE
123 Astronaut E S Onizuka St. Suite 301, Los Angeles, CA 90012

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TATSUYA NAKATANI

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.

http://www.hhproduction.org/TATSUYA_NAKATANI_WORKS.html

G.E. STINSON

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.

https://soundcloud.com/halfmonk

OGURI

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.

http://arcanecollective.com/artists/oguri/

SCOTT CAZAN

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.

http://www.scottcazan.com/

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BlueWhale website

ARTRA Curatorial + Campbell Works present
Multiple Reception Schedule – see below
PROJECT LALO

Gallery exchange between Los Angeles + London

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Artra Curatorial [USA] + Campbell Works [UK] present:

Project LALO 
Openings:
■London, UK » March 5-8, 2014
■Los Angeles, US » April 3-5, 2014

Project LALO is an international exchange between dynamic emerging contemporary art spaces in London and Los Angeles. ARTRA Curatorial has partnered with Campbell Works, in London, to bring this 10 venue event to both cities – March in London and April in Los Angeles.

London UK
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TRANSITION GALLERY
CAMPBELL WORKS
THE INSTITUTE OF JAMAIS VU
studio 1:1
PROJECT NUMBER

Los Angeles, US
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JAUS
WEEKEND
SHORT HOUSE at OTIS
MONTE VISTA PROJECTS
AUTONOMIE

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Artists make art, and galleries exhibit art, but what of the Artist-run-space? Spanning two cities and a large body of water, Project LALO explores the worlds of 10 artist run spaces in London and Los Angeles.

By pairing galleries and creating the opportunity to exchange both their artists and their spaces, Project LALO will present five exhibitions in London (March 20104) and five exhibitions in Los Angeles (April 2014) showcasing a deep cross section of current practice from the two cities.

Each space will present a curated exhibition comprising both visiting artists and their ‘local’ or represented artists, with an emphasis to include work by those who run the spaces.
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LONDON

Wednesday, March 5th, [6-9pm]
studio 1:1 • “P/N/16.”
March 5 > March 23

Thursday, March 6th, [6-9pm]
Transition Gallery • “Head Grammar”
March 6 > March 30

Friday, March 7th, [8-11pm]
Campbell Works • “To Klingon Or Not To Klingon: Artists From Los Angeles, London and Other Parts of the Universe”
March 7 > March 26
and
Project Number
[6-9pm]

Saturday, March 8th, (6-10pm)
Institute of Jamais Vu and Black Dogs • “Tip The Wink”
March 8 > March 23

LOS ANGELES

Thursday, April 3rd, (7-10pm)
Short House @ OTIS 
Project LALO presents Short House (Los Angeles) in exchange with The Institute of Jamais Vu and The Black Dogs (London)
March 30 > April 5

Friday, April 4th,
Monte Vista Projects (6-9pm)
and
WEEKEND (7-10pm)
“Stowaway”
April 4 > April 27

Saturday, April 5th
JAUS (6.30-9.30pm)
“Land Skipe”
and
Autonomie (5-8pm)
“Mind The Gap”
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Facebook Event page

more about ARTRA Curatorial

more about Campbell Works

Grand Star Jazz Club + Cafemode present
NOVEMBER 6, 2013  9pm – midnight
TERRENCE MCMANUS + CONCRETE BEDLAM
943 N. Broadway [Chinatown]  Los Angeles, CA 90012

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SET 1
CONCRETE BEDLAM  [9:30pm]

MATT PIPER guitar
ANDREW CAMPBELL bass guitar
FABIO POIAN drums

SET 2
TERRENCE MCMANUS 
 [10:30pm]

solo guitar

 

curated by Kio Griffith

$10 general cover | first come first serve | arrive early
***$5 (half-price for people who have played the series)

GRAND STAR JAZZ CLUB
943 N. Broadway [Chinatown] Los Angeles, CA 90012

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TERRENCE MCMANUS

“McManus is one of New York’s latest guitar heroes” -All About Jazz

“I am convinced he represents a new voice on the instrument.” -Gerry Hemingway

“…rich, unconscious empathy……language that takes in everything from free and Noise to the cheery alt rock” -The Wire (UK)

“…subtle, highly textural…” -Time Out New York

“…an improvisational guitarist who’s constantly looking for new, unexpected ways to
make music…He comes off like a 21st century extension of Brian Eno…” -The Trenton Times

“exploring a sonic vocabulary that amalgamates the cool minimalism of a sonic cloud chamber with bursts of the impassioned poetry of a seasoned flamenco or blues practitioner and raw, fascinating sounds drawn from light industry and scientific inquiry or inspired by deep nature. “ -The New York City Jazz Record

“…this performance was hot with its own life force.” -The New York Times

“…really in a great direction! Great to hear.” -John Abercrombie

“McManus is a product of the free-formish improvisational jazz scene and he is able to run with the best of that pack…this kind of freewheeling, minimalist improvisational style is a potent mix of jazz, classical and rock. Drawing equally from Jimi Hendrix, Steve Reich and Derek Bailey, McManus and company seem hell-bent on not only creating a unique group sound, but also redefining the role and accepted notions of their respective instruments.” -All About Jazz New York

http://terrence-mcmanus.com/

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CONCRETE BEDLAM 
is a post-rock texture and groove exploration by three guys listening to each other while you listen to them.

Andrew Campbell – bass guitar
Andrew Campbell is a study in contrasts. While currently a professional musician and composer in the Los Angeles area, he has also worked “in a previous life” at a couple of the world’s top marketing agencies in New York City. In addition to vibrating the low frequencies, Andrew has studied guitar with jazz great Steve Khan and has produced and played on numerous recordings in film and television in the US and around the world.
http://www.beyondorangemusic.com/

Fabio Poian – drums
A native of Trieste, Italy, drummer Fabio Poian has toured across the US, Mexico, Italy, Germany, Austria, Slovenia, Croatia, and the Czech Republic. In 2007 Fabio won the Under-18 final in the “Drummer of Tomorrow” competition in Bologna, Italy, organized by Mapex Drums. In 2009, he moved to the United States to study at the Los Angeles Music Academy, where he currently works as an ensemble workshop player, in addition to his nearly constant gigging all around Los Angeles.
http://www.reverbnation.com/fabiopoian

Matt Piper – guitar
Multi-instrumentalist Matt Piper became known to many musicians in Los Angeles while presenting music with Rocco Somazzi at Rocco’s first self-named club. As a member of the band World Ambient Symphony, Matt appeared with percussionist Koorosh Daryaie and bassist Daren Burns on their album Random Walk Out of the Sun, playing laptop-computer-mangled guitar and keyboards. This summer he completed his first solo album, a continuous set of original psychedelic electronic dance music called Calibration Tones.

http://www.mattpipermusic.com/
http://mattpiper.bandcamp.com/album/calibration-tones

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Grand Star Jazz Club website

Grand Star Jazz Club + Cafemode present
SEPTEMBER 25, 2013  8:30pm – midnight
ROSS HAMMOND + DWIGHT TRIBLE + TREVOR ANDERIES ENSEMBLE +
STEUART LIEBIG + KAORU MANSOUR

943 N. Broadway [Chinatown]  Los Angeles, CA 90012

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SET 1
STEUART LIEBIG + KAORU MANSOUR  [8:30pm]

STEUART LIEBIG  bass / electronics
KAORU MANSOUR  vocals / electronics

SET 2
TREVOR ANDERIES ENSEMBLE 
 [9:30pm]

ALINA ROITSTEIN vocals
GREG UHLMAN guitar
JON ARMSTRONG saxophone
COLIN BURGESS bass
TREVOR ANDERIES drums/ compositions

SET 3
ROSS HAMMOND + DWIGHT TRIBLE  [10:30pm]

ROSS HAMMOND  guitar
DWIGHT TRIBLE  vocals

curated by Kio Griffith

$10 cover  |  21+  |  first come first serve |  arrive early

GRAND STAR JAZZ CLUB
943 N. Broadway [Chinatown] Los Angeles, CA 90012

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STEUART LIEBIG

A major concern of Steuart Liebig’s is space; acknowledging it, defining it, dividing it
up. If anyone can be funky without necessarily grooving, it’s bassist Liebig, a master of
the unexpected cosmic event.

http://stigsite.com/

KAORU MANSOUR

Kaoru Mansour is a native of Japan working as a painter, musician and designer in Los Angeles. She moved to California in 1986 and studied at Otis Art Institute in Los Angeles 1987-1989.

http://www.kaorumansour.com/

TREVOR ANDERIES

Resolve, innovation and passion define Trevor Anderies’s musical direction. Based in Los Angeles, he performs locally and on the national scene with many groups including Slumgum, the Walsh Set Trio and the Nigerian Talking Drum ensemble. He received his Bachelor’s degree in Jazz Studies at the California Institute of the Arts where he studied drum set with Joe LaBarbera and Ewe music from Ghanaian master drummer Alfred Ladzekpo.

http://www.trevoranderies.com/

DWIGHT TRIBLE

Many jazz musicians will tell you that they prefer not to work with singers, because most jazz singers lack the ability to improvise, have no understanding of musicianship, nor any of the other traits associated with making jazz music – one of the most interesting and exciting musical genres today.
Dwight Trible is a singer who combines the best of vocal virtuosity with musicianship and improvisational skills to the delight of audiences and musicians alike. In addition to performing with his own group, the Dwight Trible Ensemble, Dwight is the vocalist with the Pharaoh Sanders Quartet and is also the vocal director for the Horace Tapscott Pan Afrikan Peoples’ Arkestra.

Like his mentors, Dwight is not content to use his music just to entertain people, although he is quite a dynamic performer. He uses his music to bring people together, to bridge the gap between the races, and to heal the human heart. He has received numerous awards for his humanitarian efforts.

http://dwighttrible.com/

ROSS HAMMOND

…Free-jazz improvisation with something that’s thematic, a larger thematic idea that’s the undercurrent of the piece. If I’m improvising, I try to play melodies against what’s happening.”

Hammond’s own listening tastes suggest the eclecticism of his compositions. On any given day his house will be filled with the sounds of Joni Mitchell or Iron & Wine or Tarbaby or Iron Maiden. He also stays current with the jazz scene. “I’m constantly hearing music that’s flooring me and I’m trying to stay up on it. I feel like if you don’t stay up on the new music you’re living in a bubble and I don’t want to do that. ”

Hammond’s next project is a suite for sextet called The Humanity Suite, based on silhouettes by artist Karen Walker.
“She’s giving an exhibition in Sacramento and I got a commission to compose music based on her work. It’s a suite of different compositions that are linked together with improv sections and solos and duos. That’ll be at the Crocker Museum in Sacramento in October. I’m going to try to record it, too. So we’re going to perform it in October and hopefully release it next year. ”

For Ross Hammond, it’s the variety of experience that he finds most attractive about being a musician, and an improvising musician in particular.

http://www.rosshammond.com/

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Grand Star Jazz Club website