BEGIN:VCALENDAR PRODID:-//artsboston.org//NONSGML iCalcreator 2.6// VERSION:2.0 X-WR-CALNAME:Calendar of artsboston.org X-WR-CALDESC:In this calendar you will find information about events that y ou did save X-WR-TIMEZONE:US/Pacific BEGIN:VEVENT UID:20130619T204503CEST-4611ZVCujw@artsboston.org DTSTAMP:20130619T184503Z CATEGORIES:Personal CLASS:EVENT DESCRIPTION:Event Name: OPENSOUND: improvised and experimental music \nEven t Url: http://www.artsboston.org/event/detail/441656143/OPENSOUND_improvis ed_and_experimental_music_\nEvent Date Begin: 2013-01-19\nEvent Date End: 2013-01-19\n\n Opensound\, a monthly concert series of improvised and expe rimental music\n\n** Next Concert: Saturday\, Jan 19 2013\n-------------- ----------------------------------------------\nIn memory of Borah Bergman \nBorah's Boston Friends: (quartet)\nMike Bullock\, string bass\, electron ics\nJack Callahan\, drums\nLou Cohen\, wiimote/laptop\nDave Gross\, saxop hone\nMemories of Borah Bergman\nRecordings\, reminiscences\ntrio:\nForbes Graham\, trumpet\, electronics\nSteve Norton\, reeds\nTom Plsek\, trombon e\nCharlie Kohlhase and his band\, including:\nLuther Gray\, drums\nEric H ofbauer\, guitar\nJerry Sabatini\, trumpet\n------------------------------ ------------------------------\nSaturday\, Jan 19\, 2013\nThird Life Studi os\n33 Union Square\nSomerville\, MA\n(Almost at the heart of Union Square \, on the segment of\nSomerville Ave. coming into Union Square from Porter Square)\nFor directions and parking:\nhttp://www.thirdlifestudio.com/dire ctions.html\nDoors open after 7:30. / music at around 8:00 p.m.\n$8 admiss ion\n\n------------------------------------------------------------\nOpens ound is a monthly concert series that explores improvised and experimental music\, bringing artists from disparate backgrounds together for unique e vents in Somerville MA. The process of improvisation combines the distinct ive voices of its individual performers. The music that results is often s urprising\, unconventional and dynamic. It s not uncommon to hear music ma de of electronic crackles\, noisy multi-phonics\, gurgling\, hissing\, qui et vocalized gibberish\, atonal noodling\, bowed metal\, blowing sounds\, post-everything harmony\, and a thousand shades of hullabaloo.\nYou may al so see video and dance cohabitating with buzzes\, clicks\, drones\, wooshe s\, and bleeps in a bizarre galaxy of pitch and spectra!\n\n-------------- ----------------------------------------------\nBio\nBorah Bergman is a on e-of-a-kind pianist\, composer and improviser whose originality lies in hi s entirely unique approach and utilization of left-handed and cross-handed techniques. Influenced by Lennie Tristano's hornlike phrasing and Monk's stride\, Bergman has prolifically released on average one to two CDs a yea r since the early '90s (primarily solos and duos) featuring Thomas Chapin\ , Roscoe Mitchell\, Oliver Lake\, Evan Parker\, Anthony Braxton and Peter Brö\;tzmann.\nMusically inclined as a child\, Bergman first took up th e clarinet. Nevertheless\, a profound interest in the work of pianists\, n otably Lennie Tristano and Bud Powell\, drew him eventually to change inst ruments. By the time that he switched to piano\, he was already in his twe nties. Determined to make an individualistic mark\, Bergman practiced inte nsively\, in particular training rigorously to develop a thoroughly two-ha nded style in which his left hand is as important as his right in developi ng themes and melodic lines. So successful was he at this that in later ye ars liner notes for some of his record albums bore the assurance that his fearsomely complex playing was not the result of overdubbing. Supporting h imself as a teacher\, his performing career\, principally as a soloist\, a scended slowly. Although he eventually found acclaim\, Bergman's rise to i nternational acceptance was hampered by his adamant refusal to meet the pr econceptions of audiences and critics. Instead\, he stuck\nto his intentio n to create a performance style that is dramatic\, compelling\, and essent ially original. Inevitably\, there have not been too many musicians who co uld mesh comfortably with him although as time passed he began to find lik e-minded free spirits with whom he could work in duo and trio formats. Sim ilarly inevitable was the rapport that developed between the pianist and a rtists involved in New York City's Knitting Factory scene and on the Europ ean improvised music circuit. It is with musicians such as these that he c an often be heard at international festivals and with whom\, from the mid- 90s\, he has made several demanding yet ultimately rewarding albums. Aston ishingly accomplished as a technician\, in the early years of the twenty-f irst century Bergman has finally achieved the status he deserves.\n------- -----------------------------------------------------\nUpcoming 2013 Conce rts\nFeb. 16: Cela plays: Sciarrino\, Ferneyhough\, Arnone plays Finnissy\ , Banjo Assault\, Body Drama\nMarch 9: Foam/Rawlings\, Los Condenados\, id m theftable\, Babies of Brazzer\nApril 27: Evans-Weiler septet\, Gentry\, 2lous\, Kirchoff\nMay 11: Jack Wright\, Auddity\, G. Lomon\, Apocalypso \nJune 15: Cage Variations III\, Frennette Trio\, Flunk w/ id m theftable. DTSTART:20130119T000000 DTEND:20130119T000000 LOCATION: SUMMARY:OPENSOUND: improvised and experimental music TRANSP:TRANSPARENT END:VEVENT END:VCALENDAR