MUSIC

Covers (three groups performing improvisations and familiar tunes)

Covers set 1: OK Chorale
Matt Samolis - flute
Forbes Graham - trumpet
Tom Plsek - trombone
Steve Norton - bass clarinet
Vic Rawlings - prepared cello

Covers set 2: Duck That
Angela Sawyer - voice, electronics, game calls
Josh Jefferson - reeds, game calls
Steve Norton - reeds, percussion, celesta, game calls

Covers set 3: De-votion
Vic Rawlings - electronics, guitar
Brendan Murray - synths, guitar
Steve Norton - percussion, saxophone, elec. bass
Chris Strunk - percussion, drums, vocals

duo:
D. Greenwood - handmade electronics
J. Starpoli - amplified trombone

trio:
Michael Rosenstein, electronics
Vic Rawlings, exposed electronics, speakers
Angela Sawyer, electronics

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Saturday, May 19, 2012

Third Life Studios
33 Union Square
Somerville, MA
(Almost at the heart of Union Square, on the segment of
Somerville Ave. coming into Union Square from Porter Square)

For directions and parking:
http://www.thirdlifestudio.com/directions.html

Doors open at 7:30. / music at 8:00 p.m.
$8 admission

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Opensound is a monthly concert series that explores improvised and
experimental music, bringing artists from disparate backgrounds
together for unique events in Somerville MA. The process of
improvisation combines the distinctive voices of its individual
performers. The music that results is often surprising, unconventional
and dynamic. It s not uncommon to hear music made of electronic
crackles, noisy multi-phonics, gurgling, hissing, quiet
vocalized gibberish, atonal noodling, bowed metal, blowing sounds,
post-everything harmony, and a thousand shades of hullabaloo.

You may also see video and dance cohabitating with buzzes, clicks,
drones, wooshes, and bleeps in a bizarre galaxy of pitch and spectra!

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Some Performer Bios

Multi-reedist Steve Norton is best known for his work with the 1990s
Boston-based band Debris. Debris was an ambitious, exuberant, puzzling
band that puzzled together serialism, free jazz and funk. Their music
is in equal measure exhilarating and exhausting. It was the
combination, in part, that burned Norton out about ten years ago, as
well as a need to attend to his job and family. Back in full force now,
at fighting weight, with drive and direction and reinvigorated sound,
he's steaming. Recent projects include the duck-call trio, Duck That,
with Joshua Jefferson and Angela Sawyer; Matt Samolis' Metal and Glass
Ensemble; a trio-without-name performing a stunning rendition of Steve
Lacy's "Tips," with Noell Dorsey on voice and Samolis on flute; and a
duo with Vic Rawlings, Symptomatic.

Composer / performer Jeremy Starpoli has been developing his unique
musical interests in the northeast United States for over two decades.
His original music explores our perception of the fundamental
parameters of musical sound (pitch, rhythm, dynamics and tone color) as
a basis for creating detailed worlds of sound in a variety of styles.
As a composer, Starpoli's interest in sound as a perceptual substance
motivates endless variations of musical material. As an performer,
Starpoli has over fifteen years experience performing on slide trombone
as well as a variety of bass strings and percussion instruments. Based
in Western Massachusetts, Starpoli has collaborated with many regional
and internationally-known musicians such as Joe McPhee, Jessica Pavone,
Dan Greenwood (a.k.a. Diagram A), Ben Karetnick, Cliff White, and many
others. He has performed with groups such his own RICEnsemble, the
Middletown (CT) Creative Orchestra, power-noise-core band Squidlaunch,
etc. His approach to the trombone utilizes a wide variety of
conventional and extended techniques, allowing for diverse sound-types
and moods. The music of J Starpoli is noisy and passionate at times,
at others it is textural or rhythmic or melodic, crossing many styles
and sounds in a constant exploration. Follow the sound.

Vic Rawlings (Boston- amplifier/ prepared cello, speaker elements/
exposed circuitry) employs a still and unstable sound language that
traverses from the visceral excess of the Laurence Cook Disaster Unit
to the extreme austerity of undr quartet. He has designed and built 2
separate instruments to realize this aesthetic, including extensive and
invasive cello preparations- some directly based on obscure baroque
instrumentation. The amplified cello is used as a resonant wooden
microphone. He also continually develops an electronic instrument from
the exposed circuit boards of sound processors, effectively producing
an analog synthesizer with a highly unstable interface. This
electronic instrument is realized by a flexible array of exposed
speaker elements, chosen for their often unpredictable and
idiosyncratic acoustic qualities. His solo performances deny
conventional assumptions about the use of time and refuse alliance with
dominant trends in improvised music.

More information available on the web: www.opensound.org