Viola da Samba is a project creating a bridge between Renaissance and Brazilian popular music. The pure, light sounds of early music instruments blend with the vivacious rhythms and rich harmonies of samba and bossa nova. The subtle timbres and the versatile sounds of the clavichord together with the viola da gamba match perfectly with the spirit of Brazilian music, revealing the connection between the elements (scales, rhythms and temperaments) of popular and early music. The natural gut strings of the viol create a pure and organic sound. This offers a new experience for the world of jazz and bossa. Altogether, Nadine's Balbeisi's delicate and refined voice, Jean Kleeb's mastery of playing bossa chords on the clavichord and Fernando Marin's skillful bowing of the viola da gamba create a perfect musical symbiosis.
Join us on First Friday, July 6th, for an evening with Radio Slomski!
Radio Slomski is a collaborative project helmed by Mark Slomski, a veteran vaudeville and Americana performer in Richmond. This new endeavor builds on his past performance experience and channels it into an immersive variety show. Expect the unexpected, as you may see a strongman, some card tricks, or hula dancing on any given evening. Ever heard of performance yoga? Well, welcome all and bring your rowdy side to enjoy the show that tips its hat to circus-style fun. (You may also leave a tip in the hat, thankyouverymuch.) We are pleased to announce that Radio Slomski is set to happen monthly at Black Iris!
The Who: RADIO SLOMSKI
The What: INAUGURAL PERFORMANCE
The Where: BLACK IRIS SOCIAL CLUB
The When: FRIDAY, JULY 6th @ 9PM
The Why: BECAUSE WHY NOT?
This performance is FREE & open to the general public. We hope to see you there!
For the past fifteen years, composer/performer Jeremiah Cymerman (pronounced SIMMER-man) has become an increasingly integral part of the New York Downtown scene, charting a colorful career as a clarinetist, improviser, sound artist, recording engineer, archivist and podcaster. Frequently using the recording studio as a primary compositional tool, Cymerman’s work reflects a passionate interest in improvisation, electronic manipulation & production, traditional, studio & graphic composition as well as solo clarinet and ensemble performance practices. As a composer, he has received commissions from the Jerome Foundation and Roulette Intermedium. As a performer, he has worked closely with many of contemporary music’s most important artists, including John Zorn, Toby Driver, Mario Diaz de Leon, Brian Chase, Christopher Hoffman, Evan Parker, Nate Wooley, Joshua Rubin, Anthony Coleman, Matthew Welch and others.
Trombonist Jeb Bishop and violist Dan Ruccia begin a five city tour of the East Coast in support of their new album Scratch Slice Jag (Out & Gone Music) on June 26. Bishop and Ruccia will bring their brand of adventurous and rigorous free improvisation to audiences from Washington DC to South Carolina. For all but one performance Bishop and Ruccia will be joined by a series of special guests, making each night a unique and unforgettable experience.
Drummer and composer, Scott Clark keeps time in the balance. His performances behind the kit are generous and empathetic, establishing his voice immediately upon striking the surface. It is rare to find art that is both formally rigorous and aesthetically vital, but Clark thrives in this project, engineering frameworks for lucid, active songs, drawing on the performances of his collaborators and the weight of his subject matter. A series of jazz suites have emerged from the study of his own Native ancestry, beginning with ury My Heart (2016) written in response to Dee Brown’s book of the same title, and continuing with oNo (2018) written as a contribution to the Standing Rock protests and the unlawful construction of an oil pipeline across Native land. By centering jazz in this historic and ongoing injustice, Clark pulls together a deeply American artform and a deeply American tragedy, yet his project never feels weighed down by its sense of purpose. Protest music that is lucid and nourishing, a rhythmic shape of restless assurance.
What makes EXTENDED so exciting to the jazz community in New Orleans grows out of the way, together, they create, each with an awareness of each other, including plenty of space for improvisation and interpretation. EXTENDED is Brad Webb on drums, Matt Booth on bass, and Oscar Rossignoli on piano. All of them compose for the group, and with the particular musical personalities of the group foremost in mind — an approach that has thrilled locals and will likely soon reach audiences both nationally and internationally.
Their debut LP from the spring of 2017, released on Breakfast-4-Dinner records, has received praise for its distinctive compositions and dynamic group interplay. As stated by Geraldine Wycliffe from Offbeat Magazine, "these three musicians sound as if they were destined to play with each other. Their interactions, improvisations and the seamless way their compositions flow from cut to cut feel instinctive. Extended exemplifies creativity." Anthony Dean-Harris of NextBop writes, "it's not an overcomplicated album because it's composed together as a group with a harmonious sense to it. It's nice having a piano trio album of original compositions from young pros who are of their time who found a configuration that fits."
Following the album's release, Extended has toured within the country and continues to play shows that leave audiences invigorated and fulfilled. As the whole world knows, the city of New Orleans knows no shortage of the highest caliber of players in the world, but in the last year locals have been thrilled to see the development of a new collective - EXTENDED - that has quickly come to find a place among our brightest stars.
Doors 730pm | Show 8pm | $15 | Full Bar
Large Unit is the 13-piece group led by Norwegian drummer Paal Nilssen-Love. Since the band’s incarnation in 2013 it has grown to be Nilssen- Love main venture.
There is also distinction between what parts of the music is improvised and what is composed. Neither is it a 50/50 mix. Often the two are intertwined by carefully constructed systems by Nilssen-Love that brings out both the spontaneity of improvisation and the tightness of a band that knows where it’s going. Add the various changes in line-up, a Large Unit gig is something you don’t want to miss, because the next time you catch it won’t be the same band or music.
Large Unit has in its first five years toured Europe, North America, Brazil, Ethiopia and Japan. Now in June the band will embark on a full tour of the USA, to be followed by summer festival shows at Roskilde (Denmark), Moldejazz (Norway, where they played their rst gig) and Alarm (Germany). Later there are plans for Canada, Mexico, and more European gigs.
Spend some time in Louisville, Kentucky and you will find it is one of the most unassumingly strange places in America. The ratio of grown folks to millennials in attendance at any rock gig seems roughly 3:1. Such events take place in places like caves and chicken coops, among other nontraditional venues. Hip, transgressive people don't seem to outgrow hip, transgressive things here; no one seems very eager to settle for a life less weird.
Singer and head honcho Ryan Davis is a sharp, astute lyricist, the kind of songwriter who probably gets tired of people asking him why he doesn't try his hand at short story writing. Indeed, Fantasy Error's depictions of postmasters and county coroners, Dickensian drinkers and "teardrop pushers" are as vivid as they are familiar, sung with the conviction of a Drag City-damaged Chris Knight.
~ James Toth
English acoustic guitarist C Joynes, a resident of Cambridge, heavy thumb-led finger-picking technique that harks back to traditional country-blues and early ragtime, however, he uses this technique to explore alternative melodic traditions: the English folk-tune; North and West African music; elements of classical Indian music; proto-minimalist and impressionist musics from the European classical tradition. His approach to the recording and compositional process contains a subtle and unassuming experimentation, at times including collaged fragments, field recordings, processing, en-plein-air recordings, and cut-and-paste.
Mike Gangloff is a fiddle player and member of both Pelt and the Black Twig Pickers. His outfit Eight Point Star plays droned-out twang music, with fiddle, guitar and upright bass. Says Paste Magazine of Gangloff: "Hes forever an inbetweener, refusing to reside within any traditional role musically...Hes a newspaperman. A fiddler. A percussionist. And perhaps a musical visionary, the likes of which only a select few happen upon. Find him, though, and its almost impossible that Gangloff wont play a bit of something enjoyable or at least vaguely familiar."
Bhutanese guitarist Tashi Dorji has been searching for new ways of squeezing abstract tones from his instrument since first laying ears on the likes of Derek Bailey and other free improvisers. Originally an acoustic player, he has since dipped his fingers in electricity, widening his tonal range and spewing flames in the process. Now based in North Carolina, Manas is his duo project with drummer Thom Nguyen, who has been involved in a few free-rock outfits in the area. The electric guitar-drums combination is a template for greatness, especially with a pair of tornado-conjuring players such as these fine gentlemen.
Dorji, whose playing is decidedly "normal" sounding on the duo's self-titled debut LP (in comparison to his Bailey-like acoustic workouts), takes a variety of directions aided and abetted by Nguyen's energetic skin pounding. There is layering and a few moments of slow-burning tension, but most of the exciting moments arise when the players plough full steam ahead in a seemingly hydra-headed fashion. Those who enjoy unbridled freedom and energy in their music should certainly take note of these two monsters of sound.
When the Sun is Rising is a performance installation where four bodies participate in scored meditative movement cycles while transitioning into choreographed interludes at predetermined times. It is an investigation of how movement can be broken down to its deriving gestural movements, making it accessible to many bodies while simultaneously comparing movement to external forms of nourishment, in this case sunlight. In addition, the performers utilize objects as a tool in assisting the movement, as a the movement itself is the coping mechanism, the revitalization of the body and the allowance for an introspective experience.
Lindsay Parnell (b. Pennsylvania 1995) is a performance, sculpture, and installation artist who currently lives and works in Richmond, VA. She graduated from the Sculpture + Extended Media Department at Virginia Commonwealth University, School of the Arts in 2017 and was recently an artist in residence at the Saari Residency in Mynämäki, Finland with her collaborator Kevin Schwenkler. In the summer of 2017, she attended Atlantic Center for the Arts in New Smyrna Beach, FL. She has exhibited her work in many spaces including Little Berlin in Philadelphia, PA; Present Co. in Brooklyn, NY; and various spaces in Richmond such as Gallery5, Black Iris, The Anderson and Yellow Zone Artspace.
Doors Open after Tatsuya Nakatani | Tickets $10 | Full Bar
Institute for Contemporary Art presents Declaration artist Paul Rucker in a duo concert with Seattle-based saxophonist Hans Teuber. Rucker will perform the cello and Teuber will perform the alto saxophone as part of the Festival of the River Concert Saturday, June 9. Hear them tonight at midnight in the Tiny Bar!
Tatsuya Nakatani (1970, Osaka) is a Japanese avant-garde sound artist and master percussionist. He has released over 80 recordings and tours internationally. Performing solo, in collaboration, and with his Nakatani Gong Orchestra (NGO) project he plays over 100 concerts a year.
With his adapted Gong and handcrafted Kobo bow, Nakatani has developed his own unique instrumentation. A master of new sounds and extended technique; he sculpts a transformative, intense, expressive sound that engages improvised and experimental music while resisting genre. Central to his philosophy of sound is the concept of MA 間, which can be understood as the space or interval between perceptual events.
When Tommy is not taking out the trash in Oregon Hill, he can be found manipulating sounds with homemade instruments, discarded technology, and electronic toys. His solo and group output can be witnessed live or heard via recordings from fine labels such as Winds Measure, Wifflefist, and Generator.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
Jaimie Branch - trumpet
Fred Lonberg-Holm - cello & electronics
Stoli L. Sozzleberg - drums & percussion
Described by The Wire as " . . . mischievous gremlins at play . . . ," Party Knüllers (Stoli L. Sozzleberg, drums, and Fred Lonberg-Holm, cello and electronics) was formed in 2013. The duo has recorded and performed around the US and Europe both on their own and with a variety of guests including synth wiz Jim Baker.
Jaimie Branch (trumpet) first played with Sozzleberg in 2015 and they immediately felt a connection. One reason they hit it off so quickly may have been their mutual long term friendship and collaborations with Lonberg-Holm. Branch has collaborated with Lonberg-Holm over many years on various projects, including the trio Sherpa, her rock band Free Coffee at the Banks, and his ongoing Lightbox Orchestra. In addition to the Party Knüllers, Sozzleberg and Lonberg-Holm have worked together on the quartet VCDC and a number of odd projects throughout the years including the trio GAP (Gorilla Ass Piano).
This tour is the first time that Branch has played with the Party Knüllers. Adding her unique sound to the Party Knüllers’ «garage-jazz» brew will surely blow wide open the musical possibilities. Expect to hear tight interplay on the noisy side of free jazz.
About the players:
Jaimie Branch is a Brooklyn-based trumpeter working in the areas of improvisation and composition. In her practice, Branch is particularly interested in extending and expanding the technical limitations of the trumpet and the musical language of free jazz and improvised music. Before moving to the Red Hook part of Brooklyn in 2015, Branch was an active member in the Chicago creative music scene as a performer. presenter, and recording engineer. In May 2017, she made her debut recording as a leader entitled "Fly or Die” (IARC 011), which has been met with critical acclaim by The New York Times, The Wire, Jazz Times, The Observer and more.
Fred Lonberg-Holm is a cellist/composer currently living in upstate NY. His long history includes extended periods in Chicago where he was active in the free improvisation, experimental, noise, and pop scenes including the Vandermark 5, Wilco, and Peter Brotzmann's Chicago Tentet as well as in NY where he played in numerous "downtown" projects including Anthony Coleman's "Self Haters Orchestra" and "God is My Co-Pilot".
Current projects include Ballister (w/ Dave Rempis and Paal Nilssen Love), Survival Unit III (w/Joe McPhee and Michael Zerang) and the Sync (w/ Eve Risser, Mike Reed and Sylvaine Helary).
Stoli L. Sozzleberg (born 1979) is a Norwegian drummer, percussionist and improviser. His main focus is improvised music and that includes groups and projects with John Russell, Steve Beresford, Frode Gjerstad, Paal Nilssen-Love, Fred Lonberg-Holm, John Butcher, Lotte Anker, Joe McPhee, Ryley Walker and many more. He has a BA in Jazz from University of Stavanger (2007) and MA in improvisation from the Norwegian Academy of Music (2011). Sozzleberg tours extensively and he has played at festivals and clubs like All Ears, Blow Out!, Copenhagen Jazz Festival, DOM, End of the road, Fete Quaqua, Jazzaldia San Sebastian, Mopomoso, Okka Fest, Cafe Oto, Constellation and more.
When Stoli L. Sozzleberg isn’t touring he spends time teaching drums and also programming and organizing the Blow Out! series and festival as well as Kongsberg Jazzfestival.
Crystal Penalosa // (solo) : voice, electronics, objects (they/them) is an American artist & interdisciplinary designer based in New York. Their work focuses on queer identity, utilizing modular electronics and voice. Penalosa has performed collaboratively and solo in New York at Issue Project Room, Roulette Intermedium, Sediment Gallery, MoMA PS1, Experimental Intermedia, and at Spektrum in Berlin. They currently work with the veteran underground record label Generations Unlimited.
Anastasia Clarke // (solo): dance, electronics (b. 1987, New York) is an American artist working in music, dance, theater, performance, and performing systems design. She lives variably in New York City and Oakland, CA; and is a current 2018 MFA candidate in Electronic Music and Recording Media at Mills College. She has recorded and released music with the projects Silent Isle, Middle Grey, and Clarke/Gordon duo, and designed sound for Boom Bat Gesture, Mechanism Dance Theater, and Jennifer Gerry. Recent projects take the form of multimedia performances that forge active relationships between custom electronics and the body.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
Detroit-based art-rock quartet saajtakpresents a distinct perspective and eclectic sound, fitting together like sonic jigsaw puzzle. A haunting drone-rock-opera performance that contemplates aging and living. Saajtak offers a taste of experimental glitchy future-funk that floats in and out of ambient reflections. Hybridizing prog-rock, trip-hop, free-jazz, and groove oriented polyrhythm, saajtak frenetically moves with high energy flashes of organized chaos and textural complexity.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
If, Bwana (Al Margolis) // (solo) : alto clarinet, violin, contact microphones, objects.
Al Margolis is a composer/performer, improvisor and painter. Since 1984, often under his project name If, Bwana, he has worked in the feld of nonncommercial, nonnpopular music and sound.
Jason Kahn // (solo): Voice, resonator guitar.
Born 1960 in New York. Moved to Europe in 1990 and is currently based in Zurich, where he is active as a musician, artist and writer.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
Led by composer and bassist Christopher Dammann, Restroy is a frisson of transformation that dives into the intersection of improvised and contemporary American music. Restroy connects, dissects and evolves musical traditions to find a shared tongue, forge space for communication and provoke metamorphosis in both participant and listener.
Restroy’s 2018 self-titled release on 1980 Records wields patterns and textures as forms for improvisation. On each track, acoustic instruments are augmented and juxtaposed against electronic textures and noise. The result is an exuberant, lyrical series of inflection points and layered sonic spaces anchored by the great Avreeayl Ra.
The sextet is comprised of leading musicians from diverse musical traditions: Avreeayl Ra , drums; James Davis , trumpet + electronics; Paul Giallorenzo , synthesizers + keyboards; Mabel Kwan , piano + synthesizers ; Christopher Dammann , bass and compositions; and Kevin Davis , cello + electronics. Scott Clark will be filling in for Avreeayl for Restroy’s May 17th, performance at Black Iris .
Restroy’s 2016 release, Saturn Return (Milk Factory Productions), is considered “unusual yet accessible” ( classicalite.com ), “consistently inventive” (Bruce Lee Gallanter, DMG) and as “a new sound that needs to be followed closely” (AXS.com). Saturn Return received national press and radio play, including on New York Public Radio's New Sound's podcast.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
A Dance That Empties is Travis Laplante's latest album-length composition, written for Subtle Degrees, a new two-musician ensemble consisting of Laplante (tenor saxophone) and Gerald Cleaver (drums). The duo's uncategorizable sound evokes everything from contemporary classical music, avant-garde jazz, minimalism, technical metal, and sacred world music. Laplante is also the founder/composer of saxophone quartet Battle Trance and the ensemble Little Women.
A Dance That Empties is an extremely demanding composition that pushes the players to the limit both technically and physically, while the raw, vulnerable instrumentation makes for an intimately emotional experience for both performers and listeners.
The album is out now on, co-released by New Amsterdam Records and NNA Tapes. New Amsterdam Records will distribute the album in CD and digital formats, and NNA Tapes will issue vinyl.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
The shape of jazz is too calm. Scott Clark is a time-keeper, pattern-maker, dance leader, historian, organizer and disruptor. From college stadium drum lines, to the quietest listening rooms, and all the avant-garde dive bars and crowded rock clubs in between, he takes his own spirited and idiosyncratic path. Born in El Paso, Texas, Clark currently keeps the faith in Richmond, Virginia, in a slew of groups, duos, and solo performances around that remarkable, close-knit musical town. His voice rises clear and distinct, an intuitive and visionary presence, perfectly calm and perfectly wild. For the greater part of 2015, Clark has toured with Natalie Prass, keeping step with her effortless musicality and sense of adventure, through the European festival circuit and well-known venues like Radio City Music Hall. In this rock and roll context, his contributions are immediate and elevating. Matthew E. White described his skill as, “a unique combination of imagination, courage, technical mastery, and rhythmic sensibility to another set of strikeable instruments.” The ScottClark4tet debut on Clean Feed Records, Bury My Heart, is a significant compositional achievement, a heartfelt suite of protest music addressing one of the darkest periods of America’s history filtered through study of his own native ancestry. Jazz music made for living, jazz music made from life. Clark runs the game with deep rhythm, keen melodic intuition, and a welcoming smile.
Scott is a proud endorser of C&C Custom Drums.
“He has this really interesting way of swinging…it sometimes morphs into rock-ish straight eighths or fractures into free improv freakouts. But it always feels totally in control; I sense that his ride cymbal will never let you down. It feels personal to him, and I like that.”
– NPR, a blog Supreme
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
Adam Goodwin (1986, USA) is a double bassist, composer and visual artist currently based in Berlin, Germany. After completing degrees in classical and contemporary double bass performance, he has expanded his musical output to include a wide variety of genres, approach and techniques, ranging from doom metal to abstract acoustic free improvisation, precisely composed “new music” scores to traditional Turkish, Greek and Arabic music.
He has performed throughout Europe, Asia and North America, and is currently involved in a number of projects including Elmer Kussiac, Purgis, Reverse Mode, Nawa Ensemble, the Murmur Collective, the Berlin Soundpainting Orchestra and Orture.
Gardener is Dashiell Lewis - synthesist, field recorder, tape loop enthusiast and former employee of Make Noise Synthesisers.
Having released a slew of trance like releases on such labels as Metaphysical Circuits, lillerne Tapes and most recently the excellent Moss Archive, A PLACE WHERE NOTHING WAS sees Dashiell continuing on his trajectory of reaching higher planes, with two side-long pieces of sublime heady work for Modular Synthesiser and Voice. Recorded in his Richmond, Virginia home, these two 15-minute tracks build, drone, pulse and morph into an organic miasma of heady loops, at once both alien and organic, machine yet human, fuzzing in a haze like fragments of fading memory and warm nostalgia.
Doors 7:30pm | Show 8pm | $6 - $10 | Full Bar
A master on a self-built 23 string banjo, Paul Metzger's Idiosyncratic & deeply original long form improvisations can bring to mind American primitive guitar, the sarod of Hindustani music, or the Chinese Erhu. But fundamentally his music grows from a deep commitment to exploring every possible expressive sound that can be extracted from his instrument. His 'home-made' aesthetic has drawn comparisons to DIY mavericks like Charlie Nothing or Eugene Chadbourne with his electric rake, but the depth of Metzger's explorations led David Keenan to assert in The Wire magazine that Metzger "reveal(s) the true meaning of virtuosity." A key voice in the world of avant-garde & experimental folk, he creates a music evocative of some magical forgotten age, but is simultaneously deeply rooted in the eternal present when fingers touch strings.
“…Metzger’s banjo and guitar contain multitudes. Suspended between past and future, honouring the tradition while hijacking it, listening for its voice while revelling in its inarticulacies; this is how the thing sings. And the song, in the obsessive extensions of Metzger’s instruments, truly has no ending.” - The Wire
Guitarist, thereminist, singer, and player of some species of dismantled electrified folk, John Saint Pelvyn is a musical enigma of the best kind. At the root of his playing is something akin to traditional stride, but rich with quivering whammy bar wobble and shimmering feedback. He often plays the tailfin strings of his archtop like one would play harmonics, or retunes seamlessly mid-stream to create a shifting temperament across the length of a piece. An affinity for the likes of John Fahey and Loren Mazzacane-Connors can be heard here, but the comparisons quickly fall away as one takes in this ambidextrous musical sensibility. He will sing otherworldly vocal duets with his theremin while simultaneously accompanying himself fingerpicking, or will throw modulated feedback tones across otherwise inviting harmonic landscapes based on blues & folk motifs, overshadowing them with clouds of squelch that loom like an approaching post-noise squall, but that ultimately swell and punctuate more like the tone clusters of Henry Cowell or the lyrical saxophone of Frank Lowe.
“When wandering the stage singing into the F-holes of his electric arch top bringing forth arpeggios of feedback, or waving the neck of his guitar in the vicinity of a howling theremin, indeed, he seems to be playing the very air itself.” - Electro Motive Records
Saturday, April 28, 2018 | 7:30 PM 10:30 PM | $6 - $10
Anteloper is the electric brain child of Jaimie Branch (fly or die, high life) and Jason Nazary (little women, helado negro, bear in heaven). Branch and Nazary have been playing together as trumpeter and drummer for years, since meeting at the New England Conservatory of Music in 2002, but in this duo both musicians include synthesizers to push further into the spectral space ship ether. With deep rhythmic passages, telepathic improvisations and effortless melodic negotiations, Anteloper pushes forward, swinging its horns all the while.
Jono Stewart, will play his bass.
Monday, April 23, 2018 | 7:30 PM 10:30 PM | $6 - $10
Mia Zabelka is an Austrian contemporary classical composer and sound artist as well as an amazing improvising musician and vocalist. She has collaborated with a string of exciting artists from around the world and works with acoustic and electric violin, voice, electronic devices, contact mics and laptop. Her electric groups include Mia Zabelka / Gavino Canu, Medusa’s Bed with Lydia Lunch & Zahra Mani, ASTMA, Zabelka /Petit and Redshift Orchestra. Acoustically she works as a soloist and with Trio Blurb (w.Maggie Nicols/ John Russell) duos Gino Robair, Sofia Härdig and Nicola L. Hein and groups Carlos Zingaro/ Jean-Marc Foussat/ Mia Zabelka and the ZZM Trio. She also curates KlangHaus Untergreith andPhonofemme in Austria. After completing her training with a very strong classical emphasis, she began to develop her own highly individual technique over a period of years, in which she succeeded in making her violin “sing” as a result of which she has become the focus of intense audience interest in all of her performances. She has lived and worked in Vienna, Berlin, New York, Cologne and South Styria. Mia Zabelka’s first solo album „M“, released on Monotype Records (Poland), received many enthusiastic reviews from all over the world. Her new solo album “M2” will be released in winter 2017. “M is above all a particularly vibrant masterpiece of experimental music”, The Milkman (UK); “Highly inventive work from the Austrian violinist Mia Zabelka on her M” , The SoundProjector Magazine (UK); “Mia has an outstanding ability to make her instrument(s) speak to the audience, telling beautiful, fascinating and thrilling stories that won’t leave us unmoved. If you achieve this, apart from virtuosity, you are a great artist indeed. The letter M stands for masterful, magical, mesmerizing.“ Caleidoscoop (NL).
Katherine Liberovskaya is an intermedia artist based in New York City and Montreal, Canada. Involved in experimental video since the 80s, she has produced many single-channel videos, video installation works and video and music performances which have been presented at a wide variety of events and venues around the world. Among these: MOMA PS1 PrintShop NYC; The Duolun Museum and The Aurora Museum, Shanghai, China; The Museum of Arts and Design, NYC; The Bitola Museum, Macedonia (FYROM); The Musée des Beaux-Arts de Besançon, France; The Tito Museum, Belgrade, Serbia; The Kyoto University Museum, Japan; The Serralves Contemporary Art Museum, Porto, Portugal; The Roskilde Museum of Contemporary Art, Denmark; The National Center for Contemporary Art, Moscow, Russia; The Beirut Art Center, Lebanon; The Contemporary Art Center Bunkier Sztuki, Krakow, Poland... Since 2001 her work predominantly focuses on the intersection of image and sound, in solo video-audio installation/environments and often in collaborations with composers and sound artists notably in live video+sound performance. Frequent collaborators include Phill Niblock, Al Margolis/If,Bwana, Keiko Uenishi, Mia Zabelka, David Watson, Shelley Hirsch, Guy de Bievre... among many others. Since 2003 she has been exploring improvised video in live video+sound performance situations where her live visuals seek to create improvisatory "music" for the eyes. Over the years she has performed in concert with numerous artists including: Monique Buzzarte, Anne Wellmer, Tom Hamilton, Margarida Garcia, Manuel Mota, Anthony Coleman, Barry Weisblat, Mazen Kerbaj, murmer, Andre Gonçalves, Giuseppe Ielasi, Alessandro Bossetti, Andre Eric Letourneau, Jason Khan, Jim Bell, David Grollman, Doug Van Nort, among many others. Recent projects have involved: Anna Homler, Leslie Ross, Chantal Dumas, Richard Garet, Mia Zabelka, Dorit Chrysler, Emilie Mouchous, Erin Sexton, Corinne Rene and Philippe Lauzier, Magali Babin, Sonoa Paço-Rocchia, Nao Nishihara. Recent solo projects include: the audiovisual installations "Insular Air-Play" (2017), "Mise-en-Abyme Cu29" (2016), "Rake" (2015-16), "sonimaginations tissulaires" (2014-16), "NoizeBreeze" (2014-17), "Air-Play" (2013), "Amplifontana" (2012-16) and "Shines" (2008-16) and the intermedia installation "Muidebrugge Wave (Matisse/Haacke Blues)" (2015). Since the late 1980s she has received over 30 grants and arts awards in Canada, U.S.A. and France. Concurrently she curates and organizes the Screen Compositions evenings at Experimental Intermedia, NYC, since 2005 and, since 2006, the OptoSonic Tea salons with Ursula Scherrer at Diapason, NYC, and in various nomadic locations, in New York, North America and Europe, with OptoSonic Tea On the Road. In 2014 she completed a PhD in art practice entitled "Improvisatory Live Visuals: Playing Images Like a Musical Instrument" at the Universite du Quebec in Montreal (UQAM).
Saturday, April 21, 2018 | 7:30 PM 10:30 PM | $6 - $10
Since 2010, this Signal Problems has been Danny Gouker’s main outlet as a composer/bandleader. For its entire history, this group has had the same lineup: Danny on trumpet, Eric Trudel on Tenor Saxophone, Adam Hopkins on Bass, Nathan Ellman-Bell on Drums. The four have a long history playing together in various configurations going back to 2006 as members of a community of young improvisers centered around Baltimore, Maryland. This group had its first rehearsal one week before Danny moved to NYC. A year later, the rest of the band moved and shared an apartment in Bushwick for several years, rehearsing in the basement. Performances by this band draw on the long history the members share, pitting their improvisational telepathy against various structures or concepts proposed by Danny.
Wednesday, April 18, 2018 | 7:30 PM 10:30 PM | $6 - $10
Sarah Louise composes, improvises and writes songs for multiple instruments. Known primarily for her work with solo 12-string guitar, she has been praised by Pitchfork as “one of the most exciting figures in solo guitar music” and by NPR as a creator of “new languages” for the guitar. She has released records on Scissor Tail and VDSQ as a solo artist and has released an album on Thrill Jockey as part of the critically acclaimed avant-Appalachian duo House and Land. Her solo debut for Thrill Jockey, Deeper Woods (May 2018), is a meditation on her home in the Appalachian mountains through lushly arranged songs that she recorded and produced herself. Louise plays regularly in duo form with free guitar master Tashi Dorji and just completed an improvised electric guitar tour with Kryssi Battalene and Rosali. Sarah Louise’s work with music extends beyond her own music-making as co-founder of S P I N S T E R, an intersectional feminist record label devoted to the connections between traditional, radical and experimental music. Look for their first release in summer 2018 in collaboration with Scissor Tail Records.
Multi-Instrumentalist Luke Stewart is a DC-based musician and organizer of important musical presentations. He also has a presence in the national and international professional music community. He was profiled in the Washington Post in early 2017 as “holding down the jazz scene,” selected as “Best Musical Omnivore” in the Washington City Paper’s 2017 “Best of DC,” and in the 2014 People Issue of the Washington City Paper as a “Jazz Revolutionary,” citing his multi-faceted cultural activities throughout DC. In DC his regular ensembles include Trio OOO with legendary DC Free Jazz saxophonist Aaron Martin, Six-Six, a duo with guitarist Anthony Pirog, experimental jazz trio Heart of the Ghost, and experimental electronic group MOM^2 (Mind Over Matter, Music Over Mind). As a solo artist, his recent interests are in compiling a series of improvisational sound structures for Upright Bass and Amplifier, utilizing the resonant qualities of the instrument to explore real-time harmonic and melodic possibilities. He has performed at many of Washington’s high-profile venues including the Kennedy Center, the Atlas Performing Arts Center, Smithsonian Portrait Gallery, 9:30 Club, Black Cat, and many others throughout DC’s storied DIY community. Luke is also a presence in the greater community of Creative Musicians, with regular multi-city ensembles including Ancestral Duo, Irreversible Entanglements featuring Moor Mother, James Brandon Lewis Trio, Heroes are Gang Leaders, and has performed in a myriad of other notable collaborations. He has been a featured artist at the Vision Festival, Sonic Circuits Festival of Experimental Music, High Zero Festival of Experimental Improvised Music, Fields Festival, Philadelphia Free Form Festival, Forward Festival, Furious Flower Poetry Festival, and has toured abroad at North Sea Jazz Festival, Toulouse Jazz Festival, Vitoria Jazz Festival, Belgrade Jazz Festival, and Rotterdam Jazz Festival. As a scholar/performer, he has performed and lectured at Harvard University, Johns Hopkins University, Medgar Evers College, George Mason University, Wayne State University, University of Montana, New Mexico State University, and the University of South Carolina. https://www.washingtonpost.com/entertainment/music/the-districts-jazz-scene-is-all-over-the-place-is-luke-stewart-holding-it-together/2017/02/03/6cebe7a8-e0d0-11e6-a547-5fb9411d332c_story.html?utm_term=.c18973e14782
Dylan Aycock’s recordings weave ambient, experimental, and classical influences into the fabric of traditional American musical styles. Flecks of country and blues appear, but they’re mutated into enveloping soundscapes that go far beyond those genres’ tropes.” -Decoder https://dylangoldenaycock.com
Friday, April 13th, 2018 | 7:30 PM 10:30 PM | $6 - $10
Aram Shelton and Hakon Berre are a saxophone and drum duo based in Copenhagen, Denmark. An evolving experiment in real time music creation, they explore the outer capabilities of their instruments via extended techniques and non-traditional sounds alongside fragmented melodies and internally shared rhythms. Their music takes divergent paths to meet in unexpected places and is guided by a sophisticated aesthetic which strives to avoid preconceived strategies and notions.
Aram Shelton is an improviser and composer who performs on saxophone, clarinets, and live electronics. He plays with a distinct, harmonically rich sound and develops musical thoughts through constant motion, tonal shifts and complex sounds alongside clear melodic and rhythmic constructs. His vocabulary utilizes the range of extended techniques including multiphonics, harmonics, circular breathing, wind sounds and an exploration of the outer ranges of the instrument. He is known for his contributions to the creative music scenes in Chicago and San Francisco and now lives in Copenhagen. His writing and playing has been documented through more than two dozen albums to date through labels including Delmark, Clean Feed, Not Two and Singlespeed Music. He has worked closely with the likes of Larry Ochs, Kyle Bruckmann, Kjell Nordeson, Jason Adasiewicz, Frank Rosaly, Weasel Walter, Tim Daisy, Jason Ajemian and Fred Lonberg-Holm.
Hakon Berre is a Norwegian drummer and composer who currently lives in Copenhagen, where he works as a freelance musician and educator. His playing is characterized by an inventive and energetic drumming, using a rich palette of sounds from a wide diversity of trash and objects, and sometimes also incorporating real-time electronics into his playing. This has brought him to numerous clubs and venues in countries like Norway, Sweden, Denmark, Finland, Germany, United Kingdom, France, USA, and Russia with musicians like Peter Brötzmann, Phil Minton, Axel Dörner, John Tchicai, Petter Wettre, Peter Friis-Nielsen, Kasper Tranberg, Simon Spang-Hanssen, and Liudas Mockunas. Berg is a co-founder and active member of the record label & musicians collective Barefoot Records, where he has contributed on over 20 recordings. He has degrees in music science & music technology from Oslo University, and a rhythmical diploma exam from the Academy of Music in Esbjerg, Denmark. He is also an active part of the Danish Arts Council's "house artist" system, with numerous concerts and workshops in Danish schools and educational institutes. In addition, Håkon has composed and arranged music for theater performances and art exhibitions, and has exhibited several interactive sound installations at art museums in both Denmark and Germany.
MORE INFO ON ARAM & HAKON:
Thursday, April 12, 2018 | 7:30 PM 10:30 PM | $6 - $10
GRID is the new trio of Matt Nelson (Battle Trance) on saxophone, Tim Dahl (Child Abuse) on bass, and Nick Podgurski (New Firmament; Feast of the Epiphany) on drums. Despite the trio formation and the individual players’ backgrounds with jazz, the GRID sound takes the plunge toward the darker, heavier, and more psychedelic realms of improvised music. While undoubtedly harnessing the clamorous spirit of free jazz, the trio ventures beyond its acoustic borders, cleverly implementing electronic processing as well as dirge-like tempos that draw upon the slow-burning qualities of Doom and Sludge for inspiration.
The four pieces that make up the album cover plenty of sonic territory and are ripe with expressive gesture, but are unified by the resulting singularity of atmosphere they conjure. Dahl’s extra-heavy bass guitar often marinates in the lower registers, creating a thick undergrowth of growling low end frequencies that anchor the pieces in a doom-like ambiance. Sliding up and down the fret from note to note creates a swaying imbalance that only amplifies the queasy, slow-motion tempos. Nelson’s saxophone, in conjunction with electronic effects processing, unleashes a multitude of refreshingly twisted new sounds, dynamics, and textures from the horn. Overdriven feedback is used to add a deeply fried sustain to the notes, giving them a Hendrix-like soulfulness and urgency. Squeals and squelches occasionally emerge from the web of filtering, reminding the listener that they are in fact hearing saxophone, not guitar. Podgurski’s loose, collapsing drumming style fills the nooks and crevices left behind by Dahl and Nelson’s destructive dissonance, stirring the pot and propelling the music forward. His painterly attack hits in all the right places, reinforcing tempos but also dancing around them, while adding an acoustic juxtaposition that gives dimension to each piece.
Upon listening, there’s no denying that these musicians are deeply rooted in the craft of improvisation - they bring not only experience, but a high level of understanding to their work as well. What makes GRID unique however, is their ability to play with dirtier, noisier, and heavier textures, but with the sensitivity of a seasoned improviser. There is an undeniable physicality to GRID’s sound, as all of the sounds are related to the actual touch of the instrument. Although electronics are utilized, they embellish this physical playing, rather than dictate it. Nelson, Dahl, and Podgurski place individual expression in the back seat in favor of a cohesive vision that relies as much on mood and aura as it does technical chops. Recorded live to two inch tape at Seizures Palace in Brooklyn, the cavernous quality of the recording and signature mastering from Weasel Walter augment an undercurrent of grit and dread. Overall, the album has an essence of eternal void, as if the music exists in a vacuum of space that could go on infinitely in either direction. GRID’s debut is merely four glimpses into this alternate dimension of sound.
Ryan Easter sought to move to Boston to attend The Berklee College of Music, studying trumpet performance (also playing piano, composing, arranging, etc.). Currently involved in two bands (Tiger Speak & The.Street.Apparatus) as well as his solo efforts, he's joined the Boston artist collective, Good Karma. Other than the Tiger Speak album that was released in March and a small project called "Side A" in April, Ryan has, recently, joined with Philadelphia producer Sketcho to bring "Iconoclast", produced by both of them and featuring other Richmond native rapper, Chance Fischer. Upcoming projects include an EP for The.Street.Apparatus, a duo album between Tiger Speak and The Love Experiment, and another solo project.
Monday, April 9, 2018 | 7:30 PM 10:30 PM | $6 - $10
Heart of the Ghost is an improvisational unit from the Baltimore/Washington area. Comprised of Jarrett Gilgore (Alto Saxophone), Luke Stewart (Double Bass) and Ian McColm (Drums), this group is the culmination of years of encircling orbits. Collectively encompassing a massive variety of interests and collaborators including James Brandon Lewis, Jaimie Branch, Tashi Dorji, and Dave Rempis. Themselves known players in the circles of improvised music; these three find common ground within their individual vocabularies: an aim to deconstruct and reshape canonized creative tropes into a new & stunning language.
Hear a live recording here: Heart of the Ghost/Pidgeon Records
We're always happy to have CGI Jesus back to Black Iris. Richmond, Va's favorite Thrash-jazz/Chamber-Punk outfit. Composer Kevin Eichenberger uses a unique mix of songwriting, counterpoint, and improvisation to create a distinct listening experience. They're high energy, ambitious and a whole lot of fun!
Hear their recordings here via Bandcamp: Live at Black Iris
Saturday, March 31, 2018 | 7:30 PM 10:30 PM | $6 - $10
Advance tickets $15 available at Steady Sounds, Door tickets $20
Black Iris is excited to be welcoming back the legendary Marc Ribot, this time with his band Ceramic Dog, in lieu of their upcoming record release. Look out for band's much awaited third album and first in five years to be released on April 27, 2018 in US (Northern Spy), Europe (Yellowbird), Japan (P-Vine). Rumput (Richmond) will be opening the night and DJ Maria Chavez will be spinning an afterparty!
“I got a right to say FUCK YOU!!!” is how the new album from veteran guitarist Marc Ribot’s trio Ceramic Dog starts off, with Ribot howling in anger at corruption, tyranny, life in general, and nothing in particular. Ribot certainly isn’t the only one piling-on, but if you’ve got a serious case of outrage fatigue, Ceramic Dog’s explosive cocktail of balls-to-the-wall abandon, chameleonic disregard for style constraints, political commentary, and absurdist humor is just the shot in the ass you might need. In fact, Ceramic Dog’s new album -- titled YRU Still Here?— directed in equal parts at themselves, the commander in chief, and the listening public -- arrives just in time to remind us that now is a moment when anger is not only necessary, and unavoidable, but also good for house plants .
Rumput (www.rumputband.com) plays keroncong (“kron-tjong”), the string-band music of Indonesia that evolved from the Portuguese’ introduction of Western string instruments to the archipelago beginning in the early sixteenth century. By the mid twentieth century the genre had absorbed influences from a wide range of genres: Indonesian folk traditions, European art song, jazz, Hawaiian music, Bossa nova, Japanese popular music, Central Javanese gamelan, and other forms. In Indonesia, keroncong is typically performed in cafes, on streets, and in homes, but only occasionally on the proscenium stage. It is an informal social music, culturally analogous to old-time bands in the states. You learn it not by taking lessons, but by hanging out. Rumput—which means “grass”—was founded in 2015 by members of Richmond’s Gamelan Raga Kusuma, established in 2007 by Andy McGraw and I Gusti Putu Sudarta. www.ragakusuma.org.
Born in Lima, Peru, Maria Chavez is known as an abstract turntablist, sound artist and DJ. Accidents, coincidence and failures are themes that unite her sound sculptures, installations and other works with her solo turntable performance practice. You can catch her abstract turntablism set at the University of Richmond on March 28th, 6pm (before the Marc Ribot show)
Black Iris invites you to join us in an evening of music, dance, two steps and missteps with DJ Accidents! Maria Chavez is coming to our space to present a night of revelry to the Richmond community. We will be accepting $5 donations at the door towards the artist. Come out, feel it and have fun on a Tuesday!
Born in Lima, Peru, Maria Chávez is known as an abstract turntablist, sound artist and DJ. Accidents, coincidence and failures are themes that unite her sound sculptures, installations and other works with her solo turntable performance practice. You can catch her abstract turntablism set at the University of Richmond on March 28th, 6pm (before the Marc Ribot show)
All ages welcome! UofR students enter free | ID's at the door | 830pm Door| Full Bar
The Evolution of the Arm performs (mostly) acoustic composed, improvised, and semi-composed/semi-improvised chamber music. The group first convened in November 2017 for a concert at Villa Maria College; their individual and collective musical explorations continue to evolve. Watch a live performance here.
Megan Kyle: oboe
Evan Courtin: violin
Katie Weissman: cello
Michael McNeill: piano
Maria Faust (born in 1979 in Kuressaare) is an Estonian saxophone player and composer living in Copenhagen, Denmark. Maria is best known in the fields of third stream jazz, modern big band music, improvised music and other more alternative music styles. She is a member and co-founder of Barefoot Records.
Maria Faust is a multiple winner of Danish Music Awards 2014 in categories “Jazz Composer of the Year” and “Cross-over Record of the Year”. She has been nominated to Estonian Music Awards several times. Listen to her music here.
Ned Ferm (saxophone and harmonizer) and James Gilmore (guitar and pedals) grew up playing in big bands and small jazz ensembles on an island in Maine in the 90s – now Ned is an award-winning multi-instrumentalist and composer living in Copenhagen, Denmark, and James is based out of Greensboro, NC, where he leads several of his own groups (including the James Gilmore FreeTet), performs with Eugene Chadbourne, and organizes an annual Free Improvised Music series. Ned has worked with such legends as Roswell Rudd and Airto Moreira, as well as stars from his own generation in the States and Europe, including Tyshawn Sorey, Jakob Bro, Mark Guiliana, Jacob Anderskov, Maria Faust, and pop sensation MØ.
For their duo performances, Ned and James will be exploring new material Ned has written for the occasion, emphasizing both primitive and futuristic soundscapes and rhythms.
Maria Faust (born in 1979 in Kuressaare) is an Estonian saxophone player and composer living in Copenhagen, Denmark. Maria is best known in the fields of third stream jazz, modern big band music, improvised music and other more alternative music styles. She is a member and co-founder of Barefoot Records. Hear her music here.
Maria Faust is a multiple winner of Danish Music Awards 2014 in categories “Jazz Composer of the Year” and “Cross-over Record of the Year”. She has been nominated to Estonian Music Awards several times.