- Use the Center
Curators of the Center for New Music are invited by the Center’s Board of Directors to serve two-year terms. Each curator is encouraged to realize their own vision, and to encourage artists to do the same. As a group, their responsibility is to make the best possible use of the Center’s resources to create concerts and special events that embody the values of diversity, inclusion, and excellence. As with member events, 100% of ticket revenue goes to the artists.
THE CENTER IS PLEASED TO WELCOME FOUR NEW CURATORS FOR 2017-2019:
Dan Becker, Jason Thorpe Buchanan, Emma Logan, and Kurt Rohde.
The next call for curator proposals will be posted in Fall 2017.
On one hand I am simply excited and honored to have the opportunity to showcase local Artists — from all generations — whose work moves and inspires me. On the other hand, much of my work for years has leaned towards a desire to shine a light on the unique and rich New Music Community that exists here in SF (though sometimes in latent form). Doing this always depends on the context that we find ourselves in. NOW more than ever one crucial question is how can we be musicians, composers, “musical citizens”, and now CITIZENS in the broader sense, all at the same time? And should we?
View Dan’s C4NM shows
Dan Becker composes music (current commissions include a new work for Kronos), studies music (he received his DMA from Yale), teaches music (most recently at the San Francisco Conservatory), organizes music (as founder of the Common Sense Composers’ Collective), and advocates for new music (he serves on several artistic Boards, including Other Minds.)
Becker’s recent solo CD FADE made several top-ten lists in 2014, including NYC’s BigCityBlog, where it came in as number one. Awards and grants include those from the American Academy of Arts and Letters, Meet the Composer, the Argosy Foundation, the Banff International String Quartet Competition, the American Music Center’s Live Music for Dance, the Zellerbach Family Fund, and the Mary Flagler Cary Charitable Trust, among others.
My curatorial philosophies converge at the intersections of gesture, fragility, theatre, and multimedia that evolve through malleable, collaborative processes. Our medium necessitates exploration that challenges aesthetic and ideological preferences, while encouraging re-evaluation of preconceptions to find beauty in the unfamiliar. As a curator at the C4NM, I hope to contribute to the artistic growth of our diverse community by producing events with both local and international artists who may otherwise be underrepresented, facilitating collaboration and exchange of ideas. I aim to present ambitious new works integrating live-performance and immersive technologies with the [Switch~ Ensemble], local musicians, and guests, including workshops and opportunities to give voice and experience to young Bay Area composers. Given our current sociopolitical landscape, issues of equality and inclusion are more critical than ever to address with sensitivity and compassion. I look forward to a fruitful partnership with everyone at the Center for New Music!
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Jason Thorpe Buchanan is an American composer, Artistic Director of the [Switch~ Ensemble] and Executive Director of the VIPA Festival (Spain). Commissions and international performances include work with Alarm Will Sound, Talea Ensemble, Interface (DE), Nikel (Israel), Linea (FR), Insomnio (NL), EXAUDI (UK), Slagwerk Den Haag (NL), Eklekto Percussion (CH), Mivos Quartet, NY Virtuoso Singers, Royaumont Académie Voix Nouvelles Ensemble (FR), Iktus Percussion, Blue Water Chamber Orchestra, The Industry, FÜNF+FÜNF Contrabass Clarinet & Percussion Festival, Berlin (DE), wild Up, the [Switch~ Ensemble], OSSIA, Mizzou, International Horn Society, Tzlil Meudcan Festival (Tel Aviv), Chamber Music Campania (Italy), the German/American Fulbright-Kommission (DE), Gaudeamus (NL) and the Eastman Musica Nova Ensemble, among others. Scenes from his multimedia opera Hunger have received performances at Darmstadt (2014), The Industry’s FIRST TAKE in L.A. (2015), and the MATA Interval Series in NYC with the [Switch~ Ensemble]. “Hunger is a kind of training session in mental disintegration… An ungodly opera needs ugly music, singers who produce primal sounds, an electric guitar that sounds scraped raw, a wailing orchestra effects, cuts the ear like a knife. Buchanan delivers.” – L.A. Times. Honors and awards include a Fulbright Fellowship (2010-11) in Hamburg (Germany), nomination for the Gaudeamus Prize where three works were presented at Muziekweek (2015), a fellowship and commissions from Royaumont Académie Voix Nouvelles (2016 & 2017), Artist-in-Residence USF Verftet/City Council of Bergen, Norway (2015), American-Scandinavian Foundation Grant, ASCAP Morton Gould Award (2014 & 2015), Howard Hanson Orchestral Prize, Winner of Iron Composer (2014), and Winner of newEar Composer’s Competition. He has served as course instructor in electronic music and composition, as well as assistant conductor for the Musica Nova Ensemble with Brad Lubman, as a Ph.D. candidate at the Eastman School of Music. As a guest composer, curator, technical mentor, and teacher, he has worked with Chamber Music Campania (Italy), VIPA Festival (Spain), SJSU, UNLV, Queens New Music Festival, MATA, Portland State University, University of Richmond, UNCG, Michigan State University, the Bergen Center for Elektronisk Kunst (BEK) in Norway, and at the University of Chicago in a residency with the [Switch~ Ensemble] (2017). More information at: jasonthorpebuchanan.com.
Concert programing across the United States fails to represent a large and powerful creative demographic: women. As a curator for the Center of New Music, I plan to present programs featuring women as the primary creators. I hope to bring my dedication and love for new music to help promote women (and forward thinking men!) by creating a new platform for creative endeavors in the Bay Area.
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San Francisco-based composer Emma Logan strives to write music that is emotionally compelling through the use of gesture, experimentation, and storytelling. Her piece Short Stories for solo guitar received an honorable mention in the 2016 MACRO Composers Competition. Emma’s passion for contemporary music drives her to continue collaborating with fellow composers and performers to bring new music to life.
Emma is co-founder of the Helia Music Collective, an organization dedicated to promoting women in music. Helia is teaming up with Siroko Duo for their first project, set for March 2017, featuring new and recent works by women for flute duo.
Upcoming collaborations include a song cycle commissioned by One Great City Duo, a unique duo formed by guitarist Timothy Sherren and guitarist/soprano Alexandra Iranfar. Past collaborations include a song cycle commissioned by Ensemble for These Times, a piece for Areon Flutes presented by the Guerrilla Composers Guild, and new music for a few of Georges Méliès’ famous short films.
Emma’s work has been performed around the United States, including Eugene, San Francisco, Chicago, Cincinnati, and Syracuse. She has participated in the Oregon Bach Festival Composers Symposium with composer Robert Kyr, the Fresh Inc Music Festival with Fifth House Ensemble, and the Skaneateles Music Festival with composer Paul Moravec. Emma studied with David Garner at the San Francisco Conservatory of Music (MM) and with Andrew Waggoner, Daniel S. Godfrey, and Nicholas Scherzinger at Syracuse University (BM). For more information, visit Emma on her website, emmalogan.com.
I’m honored to join the team at C4NM and deepen my involvement with contemporary music on the West Coast! I wholeheartedly believe in a balance between three types of new music: that which hasn’t been heard, that which hasn’t been heard enough, and that which needs to be heard in a new way. I very much look forward to bringing programs that highlight each of these experiences to the Center in the coming years.
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Praised as an “excellent pianist” with “titanic force” (New York Times), Adam Marks is an active soloist, chamber musician, and educator. He has appeared as soloist with the Mission Chamber Orchestra, Manchester Symphony Orchestra, the National Repertory Orchestra, and at notable venues including Salle Cortot, Carnegie Hall, Miller Theatre, Logan Center for the Arts, Millennium Park, Ravinia, and the New World Symphony Stage. He was a laureate of the 2008 Orleans Competition for contemporary music in Orleans, France. Recent performances include recitals in Brazil, Singapore, and Croatia. Highlights of the 2015-2016 season include a return residency with Yale University composers, a debut on the Gualala Arts Chamber Music Series with Jennifer Beattie and Matt Albert, and multiple performances of Beethoven’s 3rd Piano Concerto on both coasts.
Mr. Marks’ long list of collaborators includes Chicago’s Fifth House Ensemble, where he served as Pianist and Director of Artistic Programming, eighth blackbird, and Pittsburgh New Music Ensemble. In 2015 he made his off-Broadway debut as an actor/musician in Fiasco Theatre’s critically acclaimed revival of Into The Woods at Roundabout Theatre.
Also in demand as an educator, he specializes in teaching public speaking and creative presentation for musicians along with traditional instrumental instruction. Adam previously served as the Artistic Director of Chamber Music Programs at the Third Street Music School Settlement in New York, and has held faculty positions at Carthage College, NYU, the fresh inc festival and New Music On The Point. He has also given guest lectures and masterclasses at Yale, Juilliard, Manhattan School of Music, Northwestern, Mannes, SMU, CU Boulder, The Colburn School, and many other prestigious institutions. He holds an undergraduate degree from Brandeis University, a Masters from Manhattan School of Music, and a Ph.D. in Piano Performance from New York University with research in works for vocalizing pianist. His teachers include Sara Davis Buechner, Anthony de Mare, Donn-Alexandre Feder, Evan Hirsch, and Lois Banke. Adam proudly plays Yamaha pianos and Schoenhut toy pianos.
I’m honored to be one of C4NM’s next wave of curators. I believe we are at a turning point in classical music. It’s spilling out of hallowed halls and finding its way as a modern art form. Authentic live performance is integral to this evolution. Placing us face to face with the unexpected, the mundane, the profound.
My interests lie in the between spaces: new music with art, science and technology. Live performance augmented with technology to enhance the human element. The twists and turns of the collaborative creative process. And my own exploration into the concept of Sanctuary. Drawing from global examples of sanctuary spaces to understand what makes them healing places of transformation. In my series I will explore how different artists define that journey.
It’s an age of interdisciplinary exploration, and I’m excited to see where it leads.
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Julia’s work draws from architecture, art, video, electronic music, science, and indie music to create experiential performances and media pieces. As a violinist, she has performed worldwide, from the Schleswig Holstein Musik Festival to Tanglewood to Lincoln Center. Her more unusual performances include a full-length immersive show at the Chabot Planetarium, improvisations in an aircraft hangar, and accompanying dancers hanging from trees in Tahoe.
A vocal proponent of new music, she has worked with composers such as Evan Ziporyn, Steve Reich, John Harbison, Hans Tutschku and Tod Machover. Over the past ten years, she has collaborated with San Francisco dance group, Capacitor, writing and performing numerous pieces for violin and electronics. Their most recent collaboration, FLOCK, is a piece for violin and electronics by Andrew May, shot as a music video with SF Ballet dancers and directed by RJ Muna. As a K-Bow Artist, Julia represented the world’s first bluetooth bow.
When not playing the violin, Julia runs a digital product studio, Blacksquare. Her clients range from VC-funded startups to Fortune 500 companies, including Intel, Bank of America, News Corp, Fox, GAP, and Microsoft. She is also a co-founder of media companies Rentometer, Moovee, and Yarn, and her work has been featured in Techcrunch, The Wall Street Journal, CNN Money, Reuters, US News & World Report, Fox Business, Washington Post, LifeHacker, and MOMA. She has won over 30 awards, including 4 Webbys and she serves as a member of the International Academy of Digital Arts and Sciences, the FWAs, and the Interactive Media Council. Julia studied violin in Paris with Maryvonne Le Dizes, at NEC with Masuko Ushioda, and the San Francisco Conservatory of Music with Isadore Tinkleman. She recently won the SFCM Prep Alumni of the Year Award. She holds Physics and Music degrees from MIT, winning the AMITA award for outstanding woman graduate, and was a researcher in the Media Lab Hyperinstruments Group. She was recently back at MIT for a CAST Residency. She received her Master’s of Design with Distinction from Harvard. Julia is an advisor at SFCM and WAM, and serves on the board for Capacitor.
Photo by RJ Muna
Jim Santi Owen is an American percussionist, composer, educator, and producer based in the San Francisco Bay Area. Drumming since the age of eight, he specializes in the classical percussion traditions of North and South India. He is a senior disciple of Indian tablamaestro, Pandit Swapan Chaudhuri, and South Indian percussion masters, T.H. Subash Chandran and K. Sekar and also trained under the great Maestro Ali Akbar Khan and Kathak dance master, Pandit Chitresh Das. Owen served for five years as the Music Director of SF World Music Festival and was a founding member and co-director of the Indian percussion ensemble, Tabla Rasa, producers of the Festival of Sacred Drumming, Dance and Song. He has worked with Pharaoh Sanders, Hamza el Din, Alonzo King, Terry Riley, Myra Melford, Swapan Chaudhuri, Chitresh Das, SF Ballet, LINES Ballet, George Brooks, Steve Smith, and Selva Ganesh, among others. He is on faculty at the Ali Akbar College of Music, Dominican University, the California Jazz Conservatory, LINES Ballet, and Park Day School. Owen served for three years as a panelist for the Zellerbach Family Foundation’s Community Arts Program and is currently co-chair of the Funding Advisory Committee for the Cultural Affairs Department of the City of Oakland.
Pluralism is here to stay – finally! More than ever, I believe that art needs to “step-up” to critically and honestly assess our society. I would like the opportunity to find those who are making important work, be it in the current mainstream or in the unacknowledged, darkened alleys of marginalization, so that fewer artists feel “left behind.”
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Kurt Rohde plays viola and composes. His newest works are for the Lyris Quartet, tenor Joe Dan Harper, cellist Rhonda Rider, pianist Genevieve Lee, and the Borromeo String Quartet. He plays with the Left Coast Chamber Ensemble, where he serves as Artistic Advisor. Kurt teaches composition at UC Davis, has received Rome Prize, Berlin Prize, Radcliffe-Harvard Institute, and Guggenheim fellowships, and awards from American Academy of Arts and Letters, Barlow, Fromm, Hanson, and Koussevitzky Foundations. He lives in SF with his husband Tim and their dog Ripley.
Photo by Jeanette Yu
Composer-performer Zachary James Watkins will engage a wide range of creative artists whose rich works deserve greater attention and support, and challenge our community with events and writing on difficult sociopolitical realities we face.
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Zachary James Watkins studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from Cornish College of The Arts, The Microscores Project, the Beam Foundation, sfsound and the Seattle Chamber Players among others. His 2006 composition Suite for String Quartet was awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe and his band Black Spirituals opened for pionering Drone Metal band Earth during their 2015 European tour. In 2008, Zachary premiered a new multi-media work entitled Country Western as part of the Meridian Gallery’s Composers in Performance Series that received grants from the The American Music Center and The Foundation for Contemporary Arts. An excerpt of this piece is published on a compilation album entitled ”The Harmonic Series‚” along side Pauline Oliveros, Ellen Fullman, Theresa Wong Charles Curtis and Duane Pitre among others. Zachary recently completed Documentado / Undocumentado a multi media interactive book in collaboration with Guillermo Gómez Peña, Gustavo Vasquez, Jennifer Gonzalez and Felicia Rice. His sound art work entitled Third Floor::Designed Obsolescence, “spoke as a metaphor for the breakdown of the dream of technology and the myth of our society’s permanence,” review by Susan Noyes Platt in the Summer 05 issue of ARTLIES. Zachary releases music on the labels Sige, Cassauna, Confront (UK), The Tapeworm and Touch (UK). Novembre Magazine (DE), ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in residence at the Espy Foundation, Djerassi and the Headlands Center for The Arts.
Linda Bouchard is active as a composer, conductor and producer. Her works are heard regularly on both side of the Atlantic and is recorded by the CBC, Analekta, Marquis Classics and CMC in Canada; ECM in Germany and CRI in the US. Bouchard has won four SOCAN awards in Canada and first Prize as composer of the year in 1997 from the Conseil Québecois de la Culture, her honors in the US include first prizes in the Princeton Composition Contest, the Indiana State Competition, the National Association of Composers USA Contest, a Fromm Foundation Award from Harvard University and a SF Foundation for the Arts Commission Grant. She was a fellow at the Rockfeller Foundation Bellagio Center and the Civitella Ranieri in Italy. Linda lived in New York City through the 80s where she composed, led contemporary music groups and opera and made orchestral arrangements for Churches and Ballet companies. She has composed over 90 works from orchestral and chamber works to dance scores, concerti, and vocal pieces and multimedia theatrical works. From 1992 to 1995 she was composer-in-residence with the National Arts Center Orchestra. In June 2001, she was invited to participate at IRCAM’s “Stage d’Informatique Musicale” in Paris. In the fall 2005, she founded NEXMAP, a non-for-profit arts organization dedicated to the presentation of international artistic events. Since 1997, Linda has made San Francisco her home.
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Oboist and composer/performer Kyle Bruckmann’s creative work extends from a traditional Western classical foundation into gray areas encompassing free jazz, electronic music and post-punk rock. He has worked with the San Francisco Symphony and most of the Bay Area’s regional orchestras while remaining active within an international community of improvisers and sound artists, appearing on more the 60 recordings. His local ensemble affiliations include the San Francisco Contemporary Music Players, Eco Ensemble, Splinter Reeds, Addleds, Quinteto Latino, and acclaimed new music collective sfSound. From 1996-2003, he was a fixture in Chicago’s thriving underground music scene; long-term projects include Wrack (winner of a 2012 Chamber Music America New Jazz Works award), the electro-acoustic duo EKG, and the avant-punk monstrosity Lozenge. Bruckmann earned undergraduate degrees in music and psychology at Rice University in Houston, studying oboe with Robert Atherholt, serving as music director of campus radio station KTRU, and achieving academic distinction as a member of Phi Beta Kappa. He completed his Masters degree in 1996 at the University of Michigan, Ann Arbor, where he studied oboe performance with Harry Sargous and contemporary improvisation with Ed Sarath.
Photo by Peter Gannushkin
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Tania Chen performs on pianos, keyboards, found objects, cheap small toys and vintage and lo-fi electronics. She studied piano with John Tilbury of AMM as a Music Performance Masters degree student at Goldsmiths College, University of London.
She is a free improviser, sound artist, composer and interpreter of contemporary piano music, focusing on the music of American, European and British experimentalists such as John Cage, Earle Brown, Morton Feldman, Michael Parsons, Cornelius Cardew, Schoenberg, Webern, Satie and Scriabin. Other influences are Kraftwerk, Gary Numan, Ornette Coleman, Eric Dolphy, The Bohman Brothers and the experimental films of Chris Marker. Tania has composed for solo and ensembles, exploring sonority and texture through text pieces, graphic scores, free notation and images.
Even more frequently, she performs experimental avant jazz and free improvisation. In the UK she has regularly worked with musicians including Steve Beresford, John Edwards, Lol Coxhill, Alan Tomlinson, Roger Turner, John Butcher, Adam Bohman, Rhodri Davies and Terry Day.
She has curated, performed and toured innovative and thought-provoking performances in venues such as the Southbank Centre, the Battersea Arts Centre, Cafe Oto, Tate Modern in London, Hamburger Bahnhof Museum of Contemporary Art in Berlin and Fukuoka Asian Art museum, Japan and played in festivals like BBC Radio 3 Jazz Festival, Spitalfields festival in East London and the Machynlleth Comedy festival in Wales. Most recently both the tour and recording of John Cage’s “Indeterminacy” with Steve Beresford and comedian Stewart Lee achieved notable critical acclaim and was reviewed by The FT, The Times, Gramophone magazine and The Wire.
Her recent move to the Bay area in 2014 has brought many musical collaborations: TENDER BUTTONS is a trio collaboration with Tom Djll and Gino Robair, her duo with violinist Benjamin Kreith combines both improvisation and works of the contemporary repertoire and she performs with Michael Mersereau and Aaron Oppenheim in the band THE PUZZLE. She has recently performed with Kyle Bruckmann, Teddy Rankin-Parker, Aram Shelton, Bruce Ackley and Jon Raskin in San Francisco, Oakland and Berkeley. Her first Californian West Coast tour took place in early 2015 with BAD JAZZ, a trio with instrument inventors Bryan Day and Ben Salomon. They tour Japan in the latter part of 2015. She performs toy piano and various keyboards with the band LES TROIS CHAPEAUX with percussionist Kevin Corcoran and saxophonist James Jaroba.
She releases several recordings each year. These include “Ointment” – improvisations with Steve Beresford, a recording of solo piano pieces by Cornelius Cardew and Michael Parsons, John Cage’s “Music of Changes” and “Indeterminacy by John Cage”. Two of the Californian based bands she plays in: BAD JAZZ and TENDER BUTTONS release their first recordings in 2015. These are/will be available on Amazon, iTunes or via Tania’s website www.taniachen.com, where she also writes a blog.
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Danny Clay is a composer / teaching artist / general noise-maker from Ohio, now based in San Francisco. His work draws upon elements of unusual musical traditions, found objects, archival media, toy instruments, digital errata, local history, graphic notation, children’s theater, and the everything-in-between. Recent collaborators include Kronos Quartet, Sarah Cahill, Thingamajigs, Phyllis Chen, Mobius Trio, Areon Flutes, the Living Earth Show, Friction Quartet, Nonsemble 6, Anne Rainwater, Musa, the International Low Brass Trio, Elevate Ensemble, Americana Orchestra, Greg Gorlen, and others. His work has been released on Hibernate Recordings, Unknown Tone Records, Eilean Records, Rural Colours, Heat Death Records, and more. As a teaching artist specializing in composition with elementary schoolers, he has worked with Little Opera, the San Francisco Opera, 826 Valencia, Thingamajigs, the International Contemporary Ensemble (ICE), Composers and Schools in Concert (CSIC), and currently curates Project Object, a net-label of experimental music by kids.
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Reviled for his “shapeless sonic tinkering” by the Los Angeles Times, oakland musician matt ingalls is a composer, clarinetist, concert producer, and computer music programmer. Often incorporating elements of improvisation, his music is heavily influenced by his long involvement in computer music. His composerly solo improvisations explore extended clarinet techniques that interact with the acoustic space, often as combination tones. Matt is the founder and co-director of sfSound, a new music series, ensemble, and internet radio station devoted to new ideas and traditions of experimental music, performance art, live electronic music, Bay Area composition, and the various facets of contemporary improvisation.
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Lisa Mezzacappa is a San Francisco Bay Area-based musician, composer and musical instigator. An active collaborator and curator in the Bay Area music community for the past eleven years, she leads many of her own groups in jazz, improvised and chamber music, and performs in groups led by many others. For the past seven years she has programmed the annual “JazzPOP” concert series at the UCLA Hammer Museum in Los Angeles; and also programs the monthly “Monday Makeout” creative music series in the Mission District of San Francisco; and the live cinema series “Mission Eye & Ear,” at Artists’ Television Access, SF. She has programmed many many concerts and collaborative events in Bay Area venues small and large, as well as in spaces in New York, Berlin, Germany and Naples, Italy. For five years, she managed artist residencies and curated public programs at Stanford Lively Arts, working with artists in music, theater, dance, film and multidisciplinary realms. Before that, she worked as Communications Director at New Langton Arts, a beloved San Francisco cross-disciplinary experimental arts space. Mezzacappa has served as a member of the Headlands Center for the Arts’ strategic planning committee, and is a member of the San Francisco Friends of Chamber Music’s Forum advisory group. As part of Neighborhood Public Radio’s residency at the Whitney Biennial in 2008, she curated a week of free performances by outer-borough experimental musicians, broadcast live from a Madison Avenue storefront. For her curatorial work, she has received support from Southern Exposure Gallery/the Andy Warhol Foundation; American Composers Forum and the City of Oakland.
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Larry Ochs has been performing with San Francisco-based Rova Saxophone Quartet since February, 1978, and with them has traveled throughout USA, Canada and Europe as well making two tours in Japan. He also has served as the acting executive director of the non-profit umbrella “Rova:Arts” since its inception in 1986, and in that capacity has produced many large collaborative concerts in San Francisco and beyond. Ochs has composed over 3 dozen works for sax quartet, many with added musicians. Most recent Rova CD: A Short History (2012). Other bands Ochs leads: KIHNOUA (2007 to present) with Dohee Lee, vocals, Scott Amendola and guest string players… The Sybil’s Whisper released 2012 /// LARRY OCHS SAX & DRUMMING CORE (2000 – present; 2 trio CDs w/Scott Amendola and Don Robinson on drums (best: Up from Under on Atavistic; new quintet CD with Satoko Fujii and Natsuki Tamura added – Stone Shift – on Rogue Arts) /// TRIO OCHS, MASAOKA, JEANRENAUD (2000-2004) Peggy Lee replaced Joan Jeanrenaud on cello in 2002…CDs on Intakt and Rogue Art labels /// Collective bands: Frith, Masaoka, and Ochs aka MAYBE MONDAY (1997– present) /// JONES JONES with Vladimir Tarasov and Mark Dresser (begun 2008)…We All Live the Same Way (2009) on SoLyd /// ROOM with Chris Brown, William Winant (1986 – 1995; 2 recordings)… pioneering band; one of the first coupling computers and acoustic instruments /// WHAT WE LIVE with Lisle Ellis and Don Robinson (1994 – 2002) … many recordings. Recommended: Trumpets with Leo Smith and Dave Douglas, or What We Live on DIW. /// GLENN SPEARMAN DOUBLE TRIO (1991 – 1998)… four recordings. Recommended: Smokehouse) /// Sideman with: JOHN LINDBERG ENSEMBLE w/Andrew Cyrille and Wadada Leo Smith (1998 – 2002)… 2 beautiful CDs available /// Ochs has composed many works for large ensembles. Most recent large ensemble CD release: The Mirror World (for Stan Brakhage) featuring an all star cast of Bay Area improvisers and Rova, voted best large ensemble CD of 2008 by All About Jazz.com /// Ochs has also performed and/or recorded with Kronos Quartet, John Zorn, Steve Lacy, Anthony Braxton, Nels Cline, Butch Morris, George Lewis, Barry Guy, Marilyn Crispell, Carla Kihlstedt, Ikue Mori, Alvin Curran, India Cooke, Henry Kaiser.
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Highlights of Rova founding member Jon Raskin‘s early career include his ’70s participation in new music ensembles directed by John Adams (San Francisco Conservatory of Music) and Dr. Barney Childs (University of Redlands). Before Rova, Raskin served as music director of the Tumbleweed Dance Company (1974-77), was a founding member of the Blue Dolphin Alternative Music Space and participated in the creation of the Farm- an art project that included a city farm, a community garden, Ecology Center, Dance and Theater companies and organized the creation of a city park. Highlights as a member of Rova include composing a collaborative work for SF Taiko Dojo/Rova, working with Howard Martin on the installation work “Occupancy”, composing music for Mr. Bungle/ Rova, organizing the 30 year Anniversary Concert of John Coltrane’s Ascension, performing the music of Miles Davis at the Fillmore with Yo Miles! , the Glass Head Project with Inkboat and the ongoing Electric Ascension Project.
Raskin has received numerous grants and commissions to work on a variety of creative projects: NEA composer grant for Poison Hotel, a theater production by Soon 3 (1988); Reader’s Digest/Meet the Composer (1992 & 2000); Berkeley Symphony commission (1995) and Headland Center for the Arts Residency 2009.
Besides over 30 recordings with Rova, Raskin’s recording experience include Anthony Braxton, Eight (+3) Tristano Compositions 1989 For Warne Marsh (1989) and The Bass & the Bird Pond with Tim Berne (1996), Wavelength Infinity- A Sun Ra Tribute, Between Spaces with Phillip Gelb, Dana Reason & Pauline Oliveros, Terry Riley’s In C 25th Anniversary, and solo work on the Art Ship Series. His currents CD’s include Let’s go Juke Box Suite (Not Two) with the Rova Saxophone Quartet , JR Quartet (Rastascan) with Liz Allbee, George Cremaschi and Gino Robair, Music + One (Rastascan) a Improvisation compendium for improvisers to play along with and Kaolithic Music, Jaw Harp Music recorded in a 587 Gallon Vase (Evander Music) He is working on several new recordings, one with a JR Quartet for release in 2009, a Rova project of Graphic scores composed by Steve Adams and Jon Raskin, a compilation from the 2 + 2 series that Phillip Greenlief and Jon Raskin presented at the 21 Grand Performance Gallery in Oakland and a poetry and music project with Carla Harryman called “Open Box.”
Other groups: The Jon Raskin Trio, Vijay Anderson – drums, Lisa Mezzacappa – bass and Jon Raskin – alto sax. The Long Table Project, Phillip Greenlief – alto sax, John Hanes – drums, Jon Raskin – bari sax, Dan Seamans – electric bass, John Shiurba – electric guitar.
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Milky Way or Galaxy are translations of the traditional Korean word that is also the first name of flutist Meerenai Shim. Pronounced “me-ren-ay,” the unusual name befits this unique performer.
Meerenai founded the flute and percussion group, A/B Duo, with percussionist Chris Jones in 2012. She is also a member of The Mineral Kingdom, a chiptune/folk/doom/jazz band led by Matthew Joseph Payne. She has performed all over the United States as a soloist and chamber musician, including a residency at MASS MoCA as a Fellow at the Bang on a Can Summer Festival. In addition to regular broadcast of her recordings on classical radio stations, Meerenai’s recordings and performances have been featured on Music from Other Minds, Live from WFMT, and New Music Box.
Meerenai’s third solo recording project (Fall 2015 release) will include commissioned works by Isaac Schankler, Emma O’Halloran, Tina Tallon, Gregory C. Brown, and Douglas Laustsen.
Meerenai has premiered and commissioned numerous works on her own and as part of the A/B Duo. Some of the composers she has commissioned are: Daniel Felsenfeld, Janice Misurell-Mitchell, Ken Ueno, Brendon Randall-Myers, Carolyn O’Brien, Francisco Castillo Trigueros, Drew Baker, Matthew Joseph Payne, Ivan Trevino, Zack Browning, Andrea La Rose, and Noah Luna.
Since 2005, Meerenai has been studying the Alexander Technique, Feldenkrais Method and Body Mapping. As a Licensed Andover Educator® she teaches the course What Every Musician Needs to Know About the Body® in private lessons as well as in masterclasses and workshops. Her experience with observing and studying movement helps her students play well and avoid injury. Meerenai’s book, Scale Studies for Beginner and Intermediate Flutists, has been praised by flute pedagogues worldwide.
Meerenai counts among her most influential flute teachers: Linda Lukas, Mary Stolper, Liisa Ruoho and Alexa Still. She also studied orchestral conducting at the Aspen Music Festival and Eastern Music Festival, with teachers such as Paul Vermel, Murry Sidlin, and Sheldon Morgenstern. Meerenai earned the Bachelor of Music degree in Flute Performance from DePaul University in Chicago and the Master of Music degree in Flute Performance from San Francisco State University. She resides in Campbell, California with her husband Dave and dog Lucy.
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A recipient of the Rome Prize and the Berlin Prize, Ken Ueno, is a composer/vocalist who is currently an Associate Professor at UC Berkeley. Ensembles and performers who have played Ken’s music include Kim Kashkashian and Robyn Schulkowsky, Mayumi Miyata, Teodoro Anzellotti, Wendy Richman, Greg Oakes, BMOP, Alarm Will Sound, SFCMP, the Nieuw Ensemble, and Frances-Marie Uitti. His music has been performed at such venues as Lincoln Center, the Kennedy Center, the Metropolitan Museum of Art, MusikTriennale Köln Festival, the Muziekgebouw, Ars Musica, Warsaw Autumn, Other Minds, the Hopkins Center, Spoleto USA, Steim, and at the Norfolk Music Festival. Ken’s piece for the Hilliard Ensemble, Shiroi Ishi, has been featured in their repertoire for over ten years, with performances at such venues as Queen Elizabeth Hall in England, the Vienna Konzerthaus, and was aired on Italian national radio, RAI 3. Another work, Pharmakon, was performed dozens of times nationally by Eighth Blackbird during their 2001-2003 seasons. A portrait concert of Ken’s was featured on MaerzMusik in Berlin in 2011. As a vocalist, he specializes in extended techniques and has collaborated in improvisations with Ryuichi Sakamoto, Joey Baron, Ikue Mori,Robyn Schulkowsky, Joan Jeanrenaud, Tim Feeney, and David Wessel amongst others. Recently, he performed his vocal concerto with the Warsaw Philharmonic. Ken holds a Ph.D. from Harvard University. A monograph CD of three orchestral concertos was released on the Bmop/sound label.
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Jen Wang is a recent winner of a Staubach Honorarium at Internationale Ferienkurse für Neue Musik, and she has held residencies at the MacDowell Colony and the Millay Colony of the Arts. Her work has been performed by Talea, Left Coast Chamber Ensemble, Rootstock, the California EAR Unit, Onix Ensamble, Lucy Shelton, and Gloria Cheng; and she has participated in the Wellesley Composers Conference, the Bang On A Can Summer Institute, the Other Minds Composer Fellowship, the California EAR Unit Residency at Arcosanti, and the International Computer Music Conference. She is founder and co-director of Wild Rumpus, a San Francisco music collective dedicated to the collaborative development of new work by emerging composers. A graduate of the University of Cincinnati College-Conservatory of Music (M.M.) and Carleton College (B.A.), she is currently a doctoral candidate at the University of California, Berkeley.
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