Music Program
 


Thursday, June 15, 2006

Co-sponsored/co-presented by:
Resurrection Music

CINC

Presented at:
Hallwalls


Ken Vandermark (saxophones, clarinets)
Paul Lytton (drums, percussion)
Phillip Wachsmann (violin, viola, electronics)

CINC sets out on a short North American jaunt to the east coast and Canada, beginning mid-June 2006 and concluding with the Suoni Per Il Popolo Music Festival in Montreal. These rare appearances are a 'must-see' for anyone who truly appreciates the raw-spirit, element of surprise and subtlety in the art of improvisational music. For this tour, Okkadisk is releasing a limited edition of CINC's self-titled cd comprised of live recordings from a European tour, which took place in the Fall of 2004.

The CINC trio is one that puts forth beauty, sorrow, mystique and dissonance. Haunting and alarming in equal measure, this group effortlessly creates otherworldly strains of improvisation with a rarely utilized line-up of percussion, violin, reed and electronics. Simultaneously recalling the efforts of early Leroy Jenkins recordings and the occasional solitude of post-WWII classicism, CINC takes us to an undiscovered musical terrain, a place of studied introspection and stunning percussive-melodic interplay.

Ken Vandermark:
Ken works tirelessly within a variety of contexts with nationally and internationally renowned improving musicians. Recently, the majority of his work has been directed toward the Atomic/School Days ensemble (a joint-effort comprised of Scandinavia's Atomic, with Chicago-based School Days). This unstoppable union just recorded two nights of performances at Chicago's Greenmill Cocktail Lounge last month, which will be released on Okkadisk next year. In addition to Vandermark 5, Ken's been working on Powerhouse Sound, a new project featuring Jeff Parker, John Herndon, Ingebrigt Haaker Flaten and Nate McBride, with both bassists playing electrified. Their debut album and tour will be announced this fall.

Paul Lytton:
London-based percussionist, Paul Lytton studied drums from the age of 16 and later became interested in European improvised music through contact with musicians such as Evan Parker, Tony Oxley and Derek Bailey. He started constructing his own instrumentation including drums, amplified instruments and other objects by the early '70s. Paul was a founding member of the London Musician's Co-op and performed within the London Improvisers' scene until 1975. That next year, he became a founding member of the Aachen Musicians' Co-op.

Philipp Wachsmann:
Philipp Wachsmann, performer, violinist and improviser since 1969, has particular interest in freeing and expanding what music can do and say, a focus on colour, acoustic and emotional space, and in creating an imaginary world of interaction. His starting point is with the natural sound of the violin, which is then extended with electronics of various kinds. Often performing solo, he has worked with painters, dance, architecture, his own and other's films, mixed media and electro acoustic recording.

Recent work includes compositions for large ensembles, one with conductors, another with film and work using more conventional resources for Chamber Orchestra. Ensembles include the London Jazz Composers' Orchestra, The Evan Parker Electro Acoustic Ensemble*, King Ubu Orchestru, LIO, Iskra 1903, Duo with Paul Lytton*, Quintet Moderne, Lines, Xaxa, Pistri, Duo with the bassist Teppo Hauta-aho and his own new string trio.

He has made over seventy recordings (on Incus, Bead, Emanem, ECM, Ogun, FMP, Sofa, Po Torch, Intakt, For 4 Ears, Nato, Leo, Hat Art, Maya, Soul Note, Random Acoustics, Splasch) of which two are solos Writing in Water and Chathuna, and most recently Refractions in Air with the electronics expert Michael Bunce and Apparitions on Leo Records.


Some publications related to this event:
June, 2006 - 2006

 
 
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David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...