This event will take place in Floorspace, the movement arts studio right next door to ATHICA.
Thank you to Floorspace for co-hosting this event!
Thank You Jittery Joe's Coffee!
(but no one turned away
for lack of funds)
|Friday, November 19th, 2010
Dan Nettles, Jacob Wick & Katherine Young
Innovative Solo works for Bassoon, Trumpet & Guitar
Come on out for an evening of innovative solo works from Brooklyn-based composer/improvisers Katherine Young and Jacob Wick, and Athens' own Dan Nettles, best known as the bandleader, composer, and guitarist for Kenosha Kid.
Wick will be performing swarm for solo trumpet, a piece structured by a graphic score he wrote in 2009 at the Harold Arts residency, its details changing and evolving each time it is performed. Young's solo work carefully employs specific amplification and pedals to enhance the overtones, interior sounds, and power of the instrument, and was described in Downbeat as making "seriously bold leaps for the bassoon."
Jacob Wick was born near Chicago, IL in 1985. An "edgy, fiercely smart improviser" (Philadelphia Weekly), who Downbeat calls "exciting and curious," his playing has been described as everything from "inhuman" (Chicago Reader) to "a Shakespeare soliloquy" (allaboutjazz.com). He has so far released two CDs: the first, an entirely improvised duo CD with drummer Andrew Greenwald (37:55 – Creative Sources); the second, with a collaborative trio White Rocket (White Rocket – on Diatribe).
As a composer, performer, and improviser, his goal is not necessarily to cross boundaries, but rather to inhabit and exploit them. To this end, he leads or co-leads several groups, all exploring the soft tissue that binds genres, forms, and practices: A Mown Lawn, a chamber group exploring non-narrative song; even though you’re only 9, locating the intersection of folk forms and loosely composed improvisation; White Rocket, a cross-Atlantic trio wading through the mud between jazz, Karnatak music, and contemporary classical composition; and a duo with percussionist Andrew Greenwald, using textural improvisation to reduce the two instruments into one.
His sound sculptures mistletoe and rain, clouds have been shown in Chicago (Heaven Gallery) and New York (Issue Project Room). He has performed with dancer/choreographer Christine Elmo and performance artists Amir Mogharabi and Eagle Ager, as well as musicians such as Andrew D'Angelo, Fred Lonberg-Holm, Mark Turner, and Han Bennink.
Composer and bassoonist Katherine Young creates acoustic and electro-acoustic music that uses curious timbres, expressive noises, and kinetic structures to explore suspended time, genre fiction, the communication of ensemble energies, and the tension between the familiar and the strange. Anthony Tommasini in the New York Times described Katherine's Inside UFO 53-32, as performed by the Flux Quartet, as a "raw, wailing, coloristic piece" with an "organic sweep."
In 2010 Katherine composed music for choreographer Daria Fain's piece TARGET: Furnace, which premiered at Dance New Amsterdam, and she received the Emerging Artists Commission from Issue Project Room, premiering a new work for mixed ensemble and TimeTable percussion trio. A commission for the String Orchestra of Brooklyn will be performed in March 2011.
Katherine's debut bassoon record, Further Secret Origins, was released in 2009 by Porter Records, garnishing praise in The Wire and Downbeat. She performs solo with amplified bassoon and pedals, and her band Pretty Monsters, which adds violin, electric guitar, and percussion, offers a chance to work in a dynamic ensemble setting.
Katherine has toured and recorded with Anthony Braxton and is a member of his Falling River Quartet. She is a founding member of chamber collective Till by Turning, which has toured in Europe promoting emerging composers; she performs regularly in the improvising duo Architeuthis Walks on Land, whose 2010 release Natura Naturans (Carrier Records) has received positive attention; and she is a core member of the chamber-pop quartet the Fancy.
Other projects past and present include: British rockers the Nightingales; Jason Ajemian's Who Cares How Long You Sink; the trio Civil War; Jacob Wick's A Mown Lawn; Leah Paul's Bike Lane; Chicago-based pop band Roommate; and in collaborations with musicians such as Tim Daisy, Peter Evans, Jonathan Zorn, Guillermo Gregorio, Mary Halvorson, Fred Lonberg-Holm, Jeff Parker, Jessica Pavone, Tomeka Reid, Dan Peck, and Mike Pride. At Oberlin College and Conservatory, Katherine studied bassoon performance and comparative literature; she completed her masters in composition at Wesleyan University, working with Anthony Braxton, Ron Kuivila, and Alvin Lucier.
Dan Nettles, bandleader, composer, and guitarist for Kenosha Kid, makes music that has been described as "some kind of as yet unlabeled jazz" (All About Jazz), "something very different... beautiful, thick, atmospheric landscapes" (Die Welt), and "jazz as if Kenny G and Wynton Marsalis never came along to ruin the genre's mainstream" (Flagpole Magazine).
Nettles grew up in Athens, "a musical crossroads between older roots-music and uber-hip indie rock stars," playing guitar with his father and taking band class "to its small-town limit." He recalls, "I had trouble playing a song the same way twice, and was always making up riffs with friends... repeating phrases I’d hear in my head, then improvising off them. Somewhere along the way, I heard Wes Montgomery, Pat Metheny, and John Scofield, and I thought this was what I wanted to try. At 18, I packed myself up to Boston, dived into some serious research, and emerged 4 years later… armed with a carload of tools, but with no small spiritual loss."
Returning to Georgia, he spent the next several years getting all the performing experience that Boston never provided. "I still was struggling with musical identity. There seemed to be so many jazz "do-s and don’t-s", and no way to fulfill them. I began to enjoy the rock scene more and more: there were fewer rules, everyone was a novice, and everyone was doing "their thing" regardless." Then, at the Banff International Jazz Workshop, Nettles was "thrilled to find a world of musicians in the same boat. Trumpeter Dave Douglas urged me to return to my home, make a scene happen, and write for people I know: I did just this, and came up with my first body of work, documented on the CD Projector. It was a relief to explore unusual instrumentation, work with strong improvisers regardless of idiom, and in general let the musical past be the past."
More material followed: commissions for an all new score for Buster Keaton’s silent film Steamboat Bill, Jr, music for the theatrical piece I, Marlena, and ten selections inspired by Ray Bradbury’s sci-fi classic called Fahrenheit. He began adding other elements: vocalists, films, or dancers, and they each served to disarm the expectations of the audience and the band members. The music propelled several tours of Europe, engagements in Canada and along the west coast, playing in jazz clubs, rock clubs, and independent film houses.
His prime directive still stands: “Create new worlds. In a week, I am willing to wear many hats… performer, composer, teacher, booker, promoter, designer… to fulfill a vision. Whatever I involve myself in, I make it a point to know the rules but never crucify myself to them, and above all listen to my ears and trust my instincts."