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Buffalo Infringement Festival presents Jessica Pavone / Mary Halvorson Duo $12 general, $8 members/students/seniors with Baczkowski/Padmanabha Duo and Scott Valkwitch solo guitar. Jessica Pavone (viola, voice) Mary Halvorson (electric guitar, voice)  Mary Halvorson and Jessica Pavone are a Brooklyn-based collaborative duo that have been working together for over four years composing and performing a unique body of music, drawing from classical, jazz and folk traditions while experimenting with new forms. Their music explores improvisation and composition while utilizing amplification and electronic effects as well as acoustic presentation. The compositions in their current repertoire generally range in length from two to six minutes, with each of them composing separate pieces for the project. Prairies, their debut album, was released in November of 2005 on the Lucky Kitchen label in Spain. Their second album, On and Off, was released on Skirl Records (www.skirlrecords.com) in August 2007. They have been performing regularly in New York City since 2002, at venues such as Roulette, Tonic, Barbes and the Stone. Additionally, they have appeared at several music festivals, including the Wels Unlimited Festival in Austria; The Other Half—a festival featuring emerging female improvisers in New York; the Improvised and Otherwise Festival in Brooklyn; and The Vision Festival. Since 2006 they have toured bi-annually throughout the East Coast, West Coast and Southern United States. They have recently received press in publications such as the New York Times, Time Out New York, Time Out Chicago, Signal to Noise, The Wire, and All About Jazz.  "The guitarist Mary Halvorson and the violist Jessica Pavone have worked together in ensembles led by the avant-garde eminence Anthony Braxton, and separately in a wide array of upstart new-music groups. As an acoustic duo they produce something distinct and beguiling: an amalgam of experimental folk, rock and chamber music that feels both meticulous and raw. Their debut, On and Off (Skirl), presents a dozen pieces of modest scale but impressive metabolism. There's a disarming openness to their interaction, never more pronounced than when the two are blending their voices in something like a campfire harmony. But this music isn't clever or cute. Its core is steely, and its execution clear." —Nate Chinen, The New York Times, August 2007 |
