$8 members/students/
seniors, $10 general admission

Gregory S. Tate - conduction/guitar/laptop
Lisala - vocals
Justice Dilla-X - vocals
Mikel Banks - vocals/freak-a-phone
Mazz Swift - vocals/violin
Lewis "Flip" Barnes Jr. - trumpet
Micah Gaugh - alto sax
Dave Smith - trombone
Paula Henderson - baritone sax
Bruce Mack - keyboards
Rene Akan - guitar
Jared Michael Nickerson - electric bass
Trevor Holder - drums


"A multiracial jam army that freestyles with cool telekinesis between the lustrous menace of Miles Davis' On The Corner, the slash-and-om of 1970s King Crimson, and Jimi Hendrix' moonwalk across side three of Electric Ladyland."- David Fricke, Rolling Stone.

Burnt Sugar the Arkestra Chamber began as a grand and noble idea that begat an ostensibly foolhardy enterprise, an updated Miles Davis Bitches Brew for the 21st century with players who were conversant in a plethora of post-modern musical tongues. What it has become since then is one of the few modern music groups to freely mash-up any and all forms of vocal and instrumental music like it ain't nobody's business if they do. Burnt Sugar got the nerve to claim Morton Feldman, Brian Eno and Steve Reich as progenitors alongside Billie Holiday, Jimi Hendrix and Vladislav Delay. Their player-ranks have been known to include devotees of Steve Lacy and Steve Coleman, Irish fiddlers, AACM refugees, Afropunk rockers, staunch beboppers, feminist hiphoppers, doowoppers, funkateers and rodeo stars of the digital divide.

Just as Bitches Brew combined acoustic and electric improvisers with electronic manipulation, Burnt Sugar bridges the gap between digital music making and live, orchestral performance. From the outset, the concept was to combine the Bitches Brew approach with an adaptation of Butch Morris' groundbreaking Conduction System for Improvisers which utilizes over 25 hand and baton gestures to rearrange and compose symphonic, trans-genre suites of music in real time. The band's cheeky motto quickly became 'We Never Play Anything The Same Way Once' and for the next 7 years of recording and performing they never tried to live that artistic ideal down.

In late August 1999 the band's founding members gathered in a Hell's Kitchen rehearsal studio to explore the possibilities of this conceit at Greg Tate's behest. After a few weeks of jamming the band made its debut at the legendary CBGBs. The band at that time consisted of Vijay Iyer and Bruce Mack on keyboards, Rene Akan, Morgan Craft and Kirk Douglas (now with The Roots) on guitars, Jared Nickerson and Jason Di Matteo on electric and acoustic bass, Swiss Chris and Qasim Naqvi on drums, vocalist Eisa Davis and violinist Simi. In December of that year the nascent band recorded the groups first, and some say, best, album, Blood On The Leaf - first of many on their own truGROID imprint.

About that recording The Village Voice's Robert Christgau wrote: "Its electric Miles with soul, Maggot Brain with a Ph.D., the Hendrix Evans band of dreams, the underwater funk some hear in A.R. Kane."

In 2000 the group began sessions for their epic three-disc sophomore release That Depends On What You Know made up of the discs Fubractive Since Antiquity, The Crepescalarium and The Sirens Return. By that time, the band had come to include trumpeter Lewis Flip Barnes, percussionist Tia Nicole Leak, saxophonist Micah Gaugh, flautist Satch Hoyt, cellist Julia Kent, vocalists Lisala Beatty and Justice Dilla-X. Upon the triple albums release in late 2001 they were once again showered with kudos from the press and showed their versatility with compelling and inventive renditions of material originally recorded by Thelonious Monk, Chaka Khan, Jimi Hendrix and Curtis Mayfield.

In 2002 they were invited to collaborate with choreographer Gabri Christa on a dance-adaptation of Stravinsky's The Rites of Spring which would have its premiere at Central Park Summerstage that summer. That occasion also marked Butch Morris first appearance with the band that had been making informal use of his conduction system for improvisers.

Burnt Sugar's next studio recording, the double CD, Black Sex Yall Liberation And Bloody Random Violets dropped in 2004. It featured the band debut of the brilliant alto saxophonist Matana Roberts and virtuoso tenorman Petre Radu-Scafaru. It was quickly followed in 2005 by Not April In Paris, their first live album, taken from a completely improvised 80 minute concert they did at the Banlieues Bleues Festival in France the year before.

At the beginning of 2006 they put out another live set, If You Can't Dazzle Them With Your Brilliance Then Baffle Them With Your Blisluth from shows in Bordeaux, San Sebastien Spain and at New York's Tonic and at the legendary Vision Festival.

Hot on its heels in the spring came the double CD set, More Than Posthuman - Rise Of The Mojosexual Cotillion, a more vocal, lyric and dance-oriented album than their previous ones. The band closed out its 2006 recording glut with Chopped And Screwed Volume2 - Rarities, Remixes, Out Takes And Conductions, a strange brew of material culled from remanipulations of More Than Posthuman, newly minted collabs with Butch Morris and laptop music Tate scored for his sci-fi film project Black Body Radiation (a 40 minute narrative feature about a future New York populated by various Muslim sects and mystic - extraterrestials.)

Tapped by the Black Rock Coalition to organize a tribute concert to progressive Black popular composers for Lincoln Center's Out of Door's 2006 summer festival, Burnt Sugar staged a concert that featured over 30 singers and musicians performing provocative live remixes of songs by Grace Jones, Miles Davis, Jimi Hendrix, Aretha Franklin, Parliament-Funkadelic, Arthur Lee and Love, Prince, Slave, Living Colour and the Wu Tang Clan.

The fall of 2006 found Burnt Sugar getting busy all over - a week-long residency at the University of Dayton in Ohio, a show at The Arab American Institute in Detroit, a throwdown at Washington DC's Kennedy Center (for the 3rd time!) capped off by an appearance New York's fabled City College for the First Annual Upsouth Black Literary Festival. Late 2006 was also when Burnt Sugar made their debut at Finland's Tampere Jazz Festival and received some of the most effusive critical raves of its 7 year career:

"Surprisingly, the most interesting visitor from the other side of the Atlantic turned out to be the 15-membered Burnt Sugar which, with its two vocalist virtuosos, is not easy to describe. This post-everything fusion orchestra offered depth and surprises, and luckily most of the notions did not get lost in the big mass of sound." - Mikko Majander / Uutispäivä Demari

"The 15-membered Burnt Sugar The Arkestra Chamber from New York, founded by the young Greg Tate, must be elevated to the big band elite. The sparkling sounds, with a strong, dark rhythm, crowned the concert of the Sunday afternoon." - Jouko Huru / Kansan Uutiset

In true Burnt Sugar style the release of More Than Posthuman, their most vocal-centric studio project, occurred as the live band began to mutate into a horn-riddled beast. The group now features a full-on brass and wind section that includes 2 bari, 2 alto, and 2 tenor saxophones, trumpet, trombone, bass clarinet, flute and occasionally even tuba and didgeridoo.

2007 has already seen the release of a Best-Of collections by Burnt Sugar comprised of material from all 12 of their discs and another live album from a stellar show at Minneapolis' Walker Arts Center in 2005 is in the works to be released by the end of the year.

On and on the Sugar flows....

www.burntsugarindex.com/
Burnt Sugar the Arkestra Chamber on MySpace

Michael Meldrum's Buffalo Song Project presents 26-year-old singer/songwriter and Righteous Babe Records recording artist Anaïs Mitchell in the intimate setting of Hallwalls' Cinema.

Mitchell started writing songs at age 17 and eventually started performing them live during her school days, which were punctuated by a remarkable amount of traveling. In a short period of time, Anaïs made several trips to the Middle East, and also spent time in Europe and Latin America, studying languages and world politics. This stunning, troubadour-like experience seeped into her music, and she became adept at fusing her passion for literature and journalism in her lyrics.

With a clutch of quiet, ambitious songs in her arsenal, Mitchell recorded her now out-of-print debut, The Song They Sang When Rome Fell (2002), in a single afternoon in Austin, Texas. It was in Texas that Anaïs discovered the Kerrville Folk Festival, which honored her with the prestigious New Folk award in 2003. Soon thereafter, with the help of Michael Chorney and Chicago-based Waterbug Records, Anaïs released her second album, Hymns For The Exiled, in 2004. The stirring collection of guitar and voice cemented Mitchell's status as a folksinger to watch, and the record eventually reached the ears of Ani DiFranco, whose fusion of personal and political themes was a formative influence on a teenaged Mitchell. After seeing a few of Anaïs's captivating concerts, DiFranco signed the artist to her own independent label, Righteous Babe Records.

"If you knew what Ani DiFranco meant to me as a young woman and a young songwriter ... well, I was simultaneously elated and in total disbelief," Mitchell told a Vermont reporter after joining the RBRrrmy. "It seemed too good to be true."

The same can be said about Mitchell's Righteous Babe debut, The Brightness, released February 13, 2007. During the recording process, Anaïs lived above the studio, which was built into an old Vermont gristmill. She could wake up, shake the sleep out of her eyes and record tracks in her pajamas, resulting in a decidedly intimate listening experience. Spilling over with worldly metaphors, intense emotions and unshakeable reverence to the art of song, The Brightness shimmers with creative spark.

$8 members/students/seniors, $10 general admission

Tomchess (oud, ney)
Ravi Padmanabha (tabla, percussion)

Tomchess is a multi-instrumentalist/improviser/composer. He plays reeds, western flute, Arabic/Turkish ney flute, oud, and guitar. He also has a history of using electronics / sampling / live-sampling / loops / fx. He has performed with drummer Ronald Shannon Jackson's Decoding Society, Butch Morris's Sheng Skyscraper, recorded with tenor players Dewey Redman and Pharoah Sanders, Morrocan sintarist Hassan Hakmoun and Butch Morris. He has also led a guitar trio with Drummer Phil Haynes and bassist Drew Gress called Seven Times a Year. He has studied Middle/Near Eastern and West African musics, spending time in West Africa playing and performing. He has studied with Bassam Saba, Tidiani Bangoura, Abdul Aziz Tourè and Mohammad Camarra. He currently lives in NYC where he performs with his different ensembles and works as a freelance musician. He has performed at the Turkish Embassy, the Pakastani Embassy and the Asian Society among countless other venues in NYC and the United States. He has also performed in Africa, Canada, Holland, and Italy.