Music Program
 

Friday, January 6, 2012 at 8:00 p.m.

$12 general, $10 students/seniors, $8 members

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Herculaneum

 

Herculaneum Dylan Ryan (drums, vibraphone)
Nick Broste (trombone)
David McDonnell (alto saxophone)
Nate Lepine (tenor saxophone)
Patrick Newbery (trumpet)
Greg Danek (contrabass)

with special guests Bear Flames (previously known as "Bare Flames")
Jim Abramson (drums)
T. Andrew Trump (bass, guitar)
Scott Valkwitch (guitar, effects)

What began as drummer Dylan Ryan's side project between Icy Demons and Michael Columbia has, over four recordings, evolved into something of a Chicago mainstay. The Beefheartian angularity of the early records has given way to post-fusion Wayne Shorter style soloing over heavier Afro rhythms. The stripped down rhythm section of bass and drums allows plenty of space for the four-horn frontline to paint fluidly over the grooves. Over the past three years, these gentlemen have been seen jamming with the likes of everyone from indie big dogs Wilco, TV On The Radio, Cursive and Broken Social Scene, to east coast free-form fire-breathers Daniel Carter and Paul Flaherty. Somehow, six of the busiest players in Chicago found the time to record their fourth record, Olives & Orchids.

www.herculaneumsound.com

 
 
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GALLERY HOURS:
Tues.—Fri. 11-6
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IN THE GALLERY
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.