Music Program

Tuesday, April 21, 2009 at 8:00 p.m.

$15 general admission, $12 members/students/seniors

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Resurrection Music presents

Ab Baars Trio w/ Ken Vandermark


Ab Baars Trio w/ Ken Vandermark Ab Baars (tenor sax, clarinet, shakuhachi)
Ken Vandermark (tenor sax, clarinet)
Wilbert de Joode (contrabass)
Martin van Duynhoven (drums)

The meeting of Dutch reedist Ab Baars and his American counterpart Ken Vandermark offers the uproar you'd expect when acknowledged tenor heavyweights join forces. But there's plenty more to enjoy than displays of heroic strength. This band, with the phenomenal rhythm team of bassist Wilbert de Joode and drummer Martin van Duynhoven, shows open forms, varied improvisational strategies, wacky use of juxtaposition, and an unwillingness to treat jazz—or any music—as a fixed art form.

Renowned Dutch saxophonist Ab Baars has adopted a very distinct and personal style—'Ab Music' as Misha Mengelberg calls it. At the age of 15, Ab Baars began playing the saxophone in the Philips Marching Band and other local bands in the city of Eindhoven in the Netherlands. From 1976 to 1981, he studied saxophone with Leo van Oostrom at the Rotterdam Conservatory of Music. He was granted a scholarship from the Dutch Ministry of Culture in 1989 to study with clarinetist-composer John Carter in Los Angeles. That same year Baars was presented with the prestigious Boy Edgar Award. In 2005, Baars set out playing the shakuhachi (a Japanese end-blown bamboo flute) and took lessons with Kees Kort, Christopher Blasdel and Takeo Yamashiro.

One of the celebrated players on the Dutch jazz scene, saxophonist Ab Baars is a member of the famed ICP Orchestra. He has also worked with Ig Henneman, George Lewis, and Anthony Braxton. Baars' trio, with bassist Wilbert de Joode and drummer Martin van Duynhoven, has released numerous acclaimed CDs including Goofy June Bug (Wig) featuring his new collaboration with Ken Vandermark. To this day, Baars has worked with improvisers such as Han Bennink, Jaap Blonk, Alberto Braida, John Carter, The Ex, Cor Fuhler, Ben Goldberg, Tristan Honsinger, François Houle, Michael Moore, Sunny Murray, Sonic Youth, Cecil Taylor, Wolter Wierbos, Michiyo Yagi, poets H.C. ten Berge and Diane Régimbald, dancers Beppie Blankert, Hisako Horikawa, Masako Noguchi and Katie Duck's Magpie Company.

For the past 20 years, Ken Vandermark has been exploring and working to expand the possibilities of improvised and composed music in North America and Europe. Since moving to Chicago from Boston in 1989, he's performed and recorded in a variety of contexts, and with many internationally renowned musicians. Past groups of significance include the NRG Ensemble, the DKV Trio, AALY, FME, the Vandermark Quartet, Spaceways Inc., School Days, Cinghiale, Witches & Devils, Steam, and Caffeine. Currently, the majority of his work as a composer and improviser has been directed toward the Vandermark 5, Powerhouse Sound, the Frame Quartet, the Peter Brötzmann Chicago Tentet, Sonore, and separate duos with the percussionists Tim Daisy and Paal Nilssen-Love, the Territory Band, CINC, and Free Fall. Upcoming projects include iTi (with Johannes Bauer, Thomas Lehn, Paal Nilssen-Love), Lean Left (with Terrie Ex, Andy Moor, Paal Nilssen Love), collaboration with the group ZU, and the Resonance Ensemble. Vandermark is a recipient of a MacArthur "genius" Award.

Some publications related to this event:
April, 2009 - 2009

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Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.