Update on 10/15/08: Do to a conflict at Worksound, the Paul Lytton, Nate Wooley (w/ Pete Swanson), Creative Music Guild show has been moved to October 24th. All other details are the same.

From Portland Eye and Ear Control:

10/25: Wooley, Lytton w/ Swanson
SATURDAY, October 25th 8pm

at Worksound
820 SE Alder

http://www.worksoundpdx.com/

$10 general / $8 members and students

Lytton/Wooley Duo
Paul Lytton drums, percussion, electronics – legendary London improviser
Nate Wooley trumpet – Oregon born, and now an established NYC improviser http://www.natewooley.com/

The duo will be joined in the second set with local guest Pete Swanson electronics/tape – of Portland s acclaimed Yellows Swans http://www.jyrk.com/yellowswans/media.htm

about the Duo:

Two musicians of different backgrounds share passion for improvisation and redefining their instruments.

Genres are meant to be bent. That s what legendary British percussionist, Paul Lytton and New York trumpeter Nate Wooley believe. The two musicians, from seemingly different backgrounds and musical circles met up in 2006 to record their eponymous debut LP for Detroit s Broken Research Records.

Paul Lytton, known primarily in the US as the drummer for the ground breaking Evan Parker Trio, has been forging new ground as a free jazz percussionist, electronicist, and maker of instruments for example, the lyttonophone for almost 40 years. Along with Paul Lovens, Tony Oxley, and John Stevens, he is firmly entrenched in the British tradition of experimental improvisers who have gone beyond the jazz tradition to deal with a new way of improvising. Over the years, he has played with such improvising luminaries as Parker, Barry Guy, Marilyn Crispell, and Ken Vandermark.

Nate Wooley is a relative newcomer to improvised music circles, breaking into that public s consciousness with his solo recording, wrong shape to be a storyteller Creative Sources Recordings two years ago. Growing up in a small fishing town in Oregon, Nate got a solid jazz education from his father in a northwest coast dance band, but eschewed the tradition of jazz trumpet to concentrate on extreme sound, touring and recording with such hard noise and rock groups as Melee, Graveyards, and Akron/Family. He is currently working in New York with everyone from Drag City s David Grubbs to new music composer/bagpiper Matthew Welch.

The two met at a birthday concert for experimental jazz tubist, Carl Ludwig Huebsch in Cologne, Germany last year. Wooley remembers, The whole group was playing very quietly, lots of silence. I love that kind of playing, but really prefer a wide dynamic range. Out of the blue, there was this huge crash in the corner. I think Paul had thrown all his percussion on the ground, just to shake things up. I went nuts. I thought, this is a real improviser.

10/10: Cooper-Moore!
Multi-instrumentalist, composer, storyteller, instrument-builder and educator Cooper-Moore comes to Portland for a solo show at Gallery Homeland, October 10th at 8PM.

This is perhaps a once in a lifetime opportunity to see a founding member of the American jazz avant-garde in Portland.

Date: October 10, 2008
Time: 8PM
Location: Gallery Homeland
2505 SE 11th Ave
Portland, OR 97214
503 819-9656
Price: $10 $8 for students & members – 2 sets Contact: The Creative Music Guild: 503-867-0942
www.creativemusicguild.org

10/8: Portland New Music Society Show
Then, Wednesday 10/8 at Jace Gace,

2045 se belmont
8pm
free

Jeremy Martin: electro-acoustic music
Ben Kates and Reed Wallsmith play Following game, a new song by Adam Reese
and a new piece by Brandon Conway performed by Jonathan Sielaff, Tyler
Wilcox, Ben Kates and Brandon Conway with recitation by John Niekrasz.

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• Paul Lytton and Nate Wooley in Portland
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From Work Sound:

SATURDAY, October 25th 8pm

at Worksound
820 SE Alder

http://www.worksoundpdx.com/

$10 general / $8 members and students

Lytton/Wooley Duo
Paul Lytton (drums, percussion, electronics) – legendary London improviser
Nate Wooley (trumpet) – Oregon born, and now an established NYC improviser http://www.natewooley.com/

The duo will be joined in the second set with local guest Pete Swanson (electronics/tape) – of Portland’s acclaimed Yellows Swans http://www.jyrk.com/yellowswans/media.htm

about the Duo:

Two musicians of different backgrounds share passion for improvisation and redefining their instruments.

Genres are meant to be bent. That’s what legendary British percussionist, Paul Lytton and New York trumpeter Nate Wooley believe. The two musicians, from seemingly different backgrounds and musical circles met up in 2006 to record their eponymous debut LP for Detroit’s Broken Research Records.

Paul Lytton, known primarily in the US as the drummer for the ground breaking Evan Parker Trio, has been forging new ground as a free jazz percussionist, electronicist, and maker of instruments (for example, the lyttonophone) for almost 40 years. Along with Paul Lovens, Tony Oxley, and John Stevens, he is firmly entrenched in the British tradition of experimental improvisers who have gone beyond the jazz tradition to deal with a new way of improvising. Over the years, he has played with such improvising luminaries as Parker, Barry Guy, Marilyn Crispell, and Ken Vandermark.

Nate Wooley is a relative newcomer to improvised music circles, breaking into that public’s consciousness with his solo recording, “wrong shape to be a storyteller” (Creative Sources Recordings) two years ago. Growing up in a small fishing town in Oregon, Nate got a solid jazz education from his father in a northwest coast dance band, but eschewed the tradition of jazz trumpet to concentrate on extreme sound, touring and recording with such hard noise and rock groups as Melee, Graveyards, and Akron/Family. He is currently working in New York with everyone from Drag City’s David Grubbs to new music composer/bagpiper Matthew Welch.

This week at Philly’s Ars Nova Workshop:

Saturday, October 6 | 8pm
Crispell / Helias / Cyrille Trio
with
Marilyn Crispell, piano
Mark Helias, double-bass
Andrew Cyrille, drums

Lytton / Wooley Duo
with
Paul Lytton, percussion
Nate Wooley, trumpet

Rose Recital Hall
Fisher-Bennett Hall
4th Floor
University of Pennsylvania
34th and Walnut streets (southeast corner)

$20 General Admission

Event Description:
Marilyn Crispell is a graduate of the New England Conservatory of Music where she studied classical piano and composition, and has been a resident of Woodstock, New York since 1977 when she came to study and teach at the Creative Music Studio. She discovered jazz through the music of John Coltrane, Cecil Taylor and other contemporary jazz players and composers. For ten years she was a member of the Anthony Braxton Quartet and the Reggie Workman Ensemble and has been a member of the Barry Guy New Orchestra and guest with his London Jazz Composers Orchestra, as well as a member of the Henry Grimes Trio, Quartet Noir (with Urs Leimgruber, Fritz Hauser and Joelle Leandre), and Anders Jormin’s Bortom Quintet. In 2005 she performed and recorded with the NOW Orchestra in Vancouver, Canada and in 2006 she was co-director of the Vancouver Creative Music Institute and a faculty member at the Banff Centre International Workshop in Jazz.

Aside from her work as a soloist and leader, Crispell has performed and recorded extensively with well-known players in the American and international jazz world. She has performed and recorded music by contemporary composers Robert Cogan, Pozzi Escot, John Cage, Pauline Oliveros, Manfred Niehaus and Anthony Davis (including four performances of his opera “X” with the New York City Opera). She has taught improvisation workshops and is a guest lecturer at universities throughout the U.S., Europe, Canada and New Zealand, and has collaborated with videographers, filmmakers, dancers and poets. Crispell has been the recipient of three New York Foundation for the Arts fellowship grants (1988-1989, 1994-1995 and 2006-2007), a Mary Flagler Cary Charitable Trust composition commission (1988-1989), and a Guggenheim Fellowship (2005-2006). In 1996 she was given an Outstanding Alumni Award by the New England Conservatory, and in 2004, was cited as being one of their 100 most outstanding alumni of the past 100 years.

Genres are meant to be bent. That’s what ground breaking British percussionist, Paul Lytton and New York trumpeter Nate Wooley believe. The two musicians, from seemingly different backgrounds and musical circles met up earlier this year to record their eponymous debut lp for Detroit’s Broken Research Records.

Paul Lytton, known primarily in the US as the drummer for the long running Evan Parker trio, has been forging new ground as a free jazz percussionist, electronicist, and maker of instruments for almost 40 years. Along with Paul Lovens, Tony Oxley, and John Stevens, he is firmly entrenched in the British tradition of experimental improvisers who have gone beyond the jazz tradition to deal with a new way of improvising, and a new language that has now become a jumping off point for the generations of experimental musicians to come. Over the years, he has played with such improvising luminaries as Parker, Barry Guy, Marilyn Crispell, George Lewis, and Ken Vandermark.

Nate Wooley is a relative newcomer to improvised music circles, breaking into that public’s consciousness with his solo recording, “wrong shape to be a storyteller” (Creative Sources Recordings) two years ago. Growing up in a small fishing town in Oregon, Nate got a solid jazz education from his father in a northwest coast dance band, but eschewed the tradition of jazz trumpet to concentrate on extreme sound, touring and recording with such hard noise and rock groups as Melee, Graveyards, and Akron/Family. He is currently working in New York with everyone from post-rocker David Grubbs to new music composer/bagpiper Matthew Welch to free jazz guitarist Joe Morris.

The performance of the Marilyn Crispell Trio is made possible by a grant form the Philadelphia Music Project, a program of the Philadelphia Center for Arts and Heritage, funded by The Pew Charitable Trusts and administered by The University of the Arts. This event is made possible with the collaboration of University of Pennsylvania’s Department of Music.

Thursday, October 11 | 8pm
Claudia Quintet
With
John Hollenbeck, drums/composition
Gary Versace, organ bass
Matt Moran, vibraphone/percussion
Chris Speed, clarinet/tenor saxophone
Ted Reichman, accordion

Philadelphia Art Alliance
251 S. 18th Street

$12 General Admission

Event Description:
Please join us for the record release celebration for “For” (Cuneiform), the new CD by the Claudia Quintet, the genre-defying band led by Grammy-nominated composer John Hollenbeck. “For” is a positive message. “For” is driving rhythms, beautiful melodies, and passionate virtuosity. “For” is for all music lovers. “For” is also their fourth CD.

Since Hollenbeck first presented the band in an internet cafe on Avenue A in Manhattan in 1997, the Claudia Quintet has amazed audiences from Alabamato the Amazon. Their unique sound has inspired dancing hippie girls at a New Mexico noise festival, the avant-garde cognoscenti in the concert halls of Vienna and Sao Paolo, and a generation of young musicians worldwide. In the course of the thousands of miles they have travelled together and hundreds of concerts they’ve played, the Claudia Quintet has evolved and grown, developing a dynamic live sound based on trust and spontaneity. They bring this powerful energy into the studio, where they record the old-fashioned way, live, playing as a band. The legions of people who have been won over by the music of the Claudia Quintet live and on CD attest to the fact that genre-defying new music need not be “inaccessible.” “For” is for everyone.

Building on the popular and critical success of their previous CD’s, “The Claudia Quintet” (CRI, 2001), “I, Claudia” (Cuneiform, 2004), and “Semi-Formal” (Cuneiform, 2005), “For” continues Hollenbeck’s startling development as a composer. John Hollenbeck is a leader of a new generation of musicians who have brought together many disparate threads of contemporary music to create a new sound. They embrace the textural freedom of electronic sounds and improvisation, the structural ambition of contemporary classical music, and most importantly, the joy of bodacious grooves and unapologetically gorgeous melodies. In the Claudia Quintet, Hollenbeck has assembled a group of the foremost innovators in this new sound to create a powerhouse band. They are: Drew Gress, bass (Tim Berne, Uri Caine, Ravi Coltrane), Matt Moran, vibraphone (Slavic Soul Party, Mat Maneri, Theo Bleckmann), Ted Reichman, accordion (Anthony Braxton, Marc Ribot, Paul Simon), and Chris Speed, clarinet and tenor saxophone (Human Feel, Bloodcount, Alas No Axis).

Using acoustic instruments – accordion, clarinet, tenor saxophone, upright bass, vibraphone, and drums – the Claudia Quintet’s sound on “For” ranges from the outer reaches of electronic ambient music, as in “For You,” to the subtle interaction of chamber music (“August 5th,” “Pass”), to the cathartic expression of free jazz (“Rug Boy”), and of course the mind-bogglingly grooving combinations of all of the above (plus much more) that is their trademark (“Cool,” “Be Happy”). And in a nod to contemporary sampling culture and his youthful musical obsessions Hollenbeck has included “Rainy Days/Peanut Vendor Mashup,” a combination of the Carpenters hit “Rainy Days and Mondays” and Stan Kenton’s arrangement of “The Peanut Vendor.”

But despite its mercurial versatility, this music is not just technical sophistication and post-modern genre-hopping. In “For,” Hollenbeck has created a “musical offering” in tribute to those who have touched his life, some in unusual ways. Teachers, fellow musicians, friends, and family are among the dedicatees, but so are S.N. Goenka (Vipassana meditation founder) and Mary Cheney (Dick’s daughter). These connections reflect the emotional and spiritual expression at the core of Hollenbeck’s aesthetic. The music of the Claudia Quintet is heartfelt, joyous and thought-provoking.

Sunday, October 14 | 8pm
Kidd Jordan Trio
with
Kidd Jordan, saxophones
Joel Futterman, piano/saxophone/Indian flute
Alvin Fielder, drums/percussion

Philadelphia Art Alliance
251 S. 18th Street

$12 General Admission

Event Description:
Edward ‘Kidd’ Jordan is probably the single most under-documented jazz musician of his generation, a fact that is even more remarkable when you consider that he is also one of the busiest musicians in the world. The list of bands and artists Jordan has performed with reads like a 40-year Grammy program, from Ray Charles and Stevie Wonder to Aretha Franklin and the Supremes. Aside from his early affiliation with the AACM, Kidd has played with Ornette Coleman, Sun Ra, Cecil Taylor, Ellis Marsalis, Cannonball Adderley, Ed Blackwell, Julius Hemphill, Alvin Batiste and many others. He is a featured performer every year at The New Orleans Jazz and Heritage Festival and plays concerts in the USA and abroad.

The French Ministry of Culture recognized Jordan as a Knight (Chevalier) of the Ordre des Arts et des Lettres in 1985. The French government bestowed him with their highest artistic award for his impetus as a visionary educator and performer. In fact, his imaginative sense of listening first brought together four outstanding saxophonists: Julius Hemphill, Hamiet Bluiett, Oliver Lake, and David Murray, who as the World Saxophone Quartet would be one of the most outstanding jazz ensembles throughout the 1980s. In addition to his live performances, Kidd Jordan has long been associated with music education due to his position at Southern University at New Orleans, his work with children, documented by 60 Minutes, and his educational programs in Sierra Leone, Senegal and Mali.

A quiet genteel man, Kidd has always remained faithful to the sounds in his soul. The honesty in Kidd Jordan’s playing is only matched by a tone that has rarely been heard in the history of his instrument. When audiences talk about Kidd Jordan, sometimes it is necessary to stop and think for a moment…are they referring to Kidd the prophet, the artist, or the teacher? Fortunately for all those that are privileged to know and hear him, they are all the same, all one.

Joel Futterman is recognized internationally as one of the foremost innovators and adventurous artists shaping the improvised music scene. He is known for his spirited, highly imaginative, and radical technique that pushes the limits of the piano. This technique is based on autonomous playing between the hands and is the result of an intense practice regiment he has maintained for the past 40 years. Yet for Joel, technique is invisible. It is only a means for full creative expression unencumbered by physical limitations. Fifteen years ago, he added the curved soprano saxophone to his repertory. He has performed across North America and Europe including such noted music festivals as The Tampere Jazz Festival in Finland, the Visions Festival in New York, The New Orleans Jazz & Heritage Festival, and the North Sea Festival in Denmark. He has compiled a discography of 45 recordings including work with such notable jazz innovators as Jimmy Lyons, Rahsaan Roland Kirk, Joseph Jarman, Richard Davis, William Parker, Hal Russell as well as ‘Kidd’ Jordan and Alvin Fielder with whom he has had a highly productive association since 1994. Also, Joel is the author of two books. One a mystery, The Design and Creative Patterns.

Alvin Fielder and other jazz musicians founded the Association for the Advancement of Creative Music (AACM) in 1963. “The purpose of this was for groups to market the music, set up the concerts, and have a forum to play, owning the music, without relying on the music of others. We wanted it to be free.” The Roscoe Mitchell Sextet’s landmark album, Sound (1967) was the first recording that Al was on and it was also the first album release from the AACM.

Improvisational music is what describes the type of music Al enjoys playing. Reflecting on his preparation activities, Alvin indicated that when a show is coming up he trains like a boxer. He undergoes intense practices. “I get to my drum set and I practice the rudiments of getting around the drum. I don’t practice the music. I am open minded, and improvise on the spot. Music is like painting a portrait or creative writing. Drumming is not beating on something. I think in terms of actual music and rhythm. Like writing there is form to it. There has to be a vocabulary to have good music.” Alvin has performed with Sun Ra, Eddie Harris, Muhal Richard Abrams, Roscoe Mitchell, Fred Anderson and many others. Alvin has been playing with Kidd Jordan for over 25 years. His association with Joel Futterman began in 1994.

New York’s Roulette has a busy 10 days at the end of the month:

ROULETTE presents
20 Greene St (between Canal and Grand St)
8:30 PM Admission $15 Students $10 MEMBERS FREE
TICKETS/RSVP: 212.219.8242
Roulette 228 West Broadway New York, NY 10013
contact: press@roulette.org http://www.roulette.org/

ROULETTE IS THRILLED TO ANNOUNCE OUR MOVE INTO OUR NEW HOME: 20 GREENE
STREET in SOHO. With this new space, Roulette will be expanding activities
to include over 100 concerts, sound installations, longer runs of music
theater and other large productions such as the ³Avant Jazz ­ Still Moving²
festival and the annual ³Festival of Mixology.² For our expanded events
calendar go to: http://www.roulette.org/

Also! Please check out our new ROULETTE BLOG for excerpts of our artists¹
music, podcasts featuring interviews with the artists and Roulette TV clips,
and musical discussion: http://www.roulette.org/blog/index.php
www.roulette.org/blog/index.php>

THURS SEPT 21: MARK DRESSER & RAZ MESINAI
FRI SEPT 22: PEEESSEYE
SAT SEPT 23: WALLY SHOUP
WED SEPT 27: LILY MAASE
THURS SEPT 28: THE ULLMANN/SWELL 4
FRI SEPT 29: SHELLEY HIRSH & SIMON HO
SAT SEPT 30: KENNY WOLLESEN’S WOLLESONIC

Thursday, September 21st
*Mark Dresser & Raz Mesinai*
Bassist/composer Mark Dresser & composer/electronicist Raz Mesinai team up
to tear wide open the first night of Roulette¹s season. Mesinai’s music
combines modern composition, freeform electronics and ancient shamanic and
trance traditions, drawing on his background in the hip-hop and dub scenes
and in traditional Middle Eastern musics. Of Dresser¹s playing, The New
Yorker writes, ³You’ve got to pity Dresser’s poor bass — you wouldn’t treat
a dog the way he manhandles his instrument. But the gnarled tones and
vicious swing he tortures out of it are worth the abuse. In Dresser’s
slanted compositions, the jazz tradition is only so much grist for the
millÅ ” Tonight Dresser and Mesinai perform new compositions for double bass
and electronics using everything from processed overtones, layered harmonics
and artificial room tones to vibrating goatskinsÅ 

Mark Dresser has performed and recorded over one hundred CDs with some of
the strongest personalities in contemporary music and jazz including Ray
Anderson, Tim Berne, Jane Ira Bloom, Tom Cora, Marilyn Crispell, Diamanda
Galas and John Zorn. He was nominated for a 2003 Grammy for the performance
of Osvaldo Golijov’s CD, Yiddishbbuk (EMI). He has given lecture
demonstrations at the Julliard School, Princeton, New England Conservatory,
National Superior Conservatory of Paris, Conservatory of Amsterdam, UCSD and
many others. He has been on faculty at New School University, Hampshire
College, and was a 2004 Lecturer in the Council of Humanities and Department
of Music at Princeton University. He is professor of music at UCSD.

Raz Mesinai was born in Jerusalem in 1973. His first two decades were spent
in frequent transit between Jerusalem and New York City, where he became
immersed both in the worlds of traditional Middle Eastern music and the dub
and hip-hop scenes of the eighties and early nineties in New York City. He
became involved in the avant-garde, downtown music scene of New York City,
performing, improvising, and leading his own ensembles on percussion, piano
and sampler. Mesinai’s electronic and electro-acoustic music exists at the
crossroads of composition, sound design and modern studio production. His
acclaimed recordings under the moniker Badawi, and as one half of the
seminal duo Sub Dub (with John Ward), are difficult to classify, but have
been called hybrid electronica/dub/percussion/avant-garde compositions.
Since 1999, Mesinai has been releasing music under his own name as well,
including three releases on John Zorn’s Tzadik label.

Friday, September 22nd
*Peeesseye: Jaime Fennelly, Chris Forsyth & Fritz Welch*
Peeesseye is a collaborative project developed in 2002 in Brooklyn by Jamie
Fennelly, Chris Forsyth and Fritz Welch that performs music/noise/sound
work. Peeesseye explores the boundaries of instruments and the acoustical
space they inhabit. The group¹s collective compositions and improvisations
use analogue electronics, oscillators, vocals, guitars, and percussion
instruments. Since 2002, Peeesseye has toured the U.S. four times and Europe
once and has released four CDs. Recent venues include Tonic, Harvestworks
and the Improvised and Otherwise Festival.

Peeesseye and its many offshoots (ŒPhantom Limb & Bison¹ and ŒPee in My Face
With Surgery¹) have been slinging mud and clawing at the foundations of the
experimental noise underground for a number of years now. The group has been
busy in collaborations with Tetuzi Akiyama and Stephen O¹Malley and has
releases on Evolving Ear, ArchiveCD, Utech and Chocolate Monk.

Peeesseye¹s unclassifiable music has been variously characterized by certain
sage voices as ³coming off like a punk rock AMM² (Edwin Pouncey, The Wire),
³a deep black/bleak folk ritual, with the good sense to not call itself by
some Œadjective folk¹ genre name,² (Blastitude) and like ³a slightly more
western canon focused Sun City Girls² (Volcanic Tongue).

Their newest CD, Commuting Between the Surface & the Underworld (Evolving
Ear) continues Peeesseye¹s pattern of ignoring virtually all patterns but
those that spring forth from the swarm of earthquakes in their collective
brain. Recorded following an unamplified tour of US noise venues, this
record brings vocals, a more pronounced rhythmic pulse and a wide array of
acoustic instruments to the foreground alongside the waves of electronic
density that have characterized past releases. The resulting record is a
perverse twist on spaced rock and post-noise ritual — mayhem in the
mansion, shivers in the shack.

More at www.evolvingear.com

Saturday, September 23rd
*Wally Shoup*
with Reuben Radding, Brent Arnold & Toshi Makihara
³One of the alto saxophone¹s harshest poets,² (The Boston Phoenix) Wally
Shoup plays unfettered, emotion-laden alto sax and has been involved in
freely improvised music since the 70s. He has maintained a life-long
allegiance to the beauty and demands of uncompromising free playing.

His work combines the grit of free jazz and blues with an ear towards
lyrical abstraction, all at the service of creating coherent music in the
moment. Since 1985, he has been a central member of the Seattle improvised
music scene and has been involved in organizing the Seattle Improvised Music
Festival since 1987. He has worked with a wide array of musicians, including
Thurston Moore, Davey Williams, La Donna Smith and Paul Flaherty.

Tonight his quartet presents music that is a lively, often intense blend of
free jazz, contemporary string music, and zen-like percussion. Albert
Ayler’s ghost, particularly his forays with string players, will hover in
the air. Wally has worked and recorded with each of tonight¹s musicians.
Releases include Confluxus (with Brent Arnold and Toshi Makihara, on Leo
Records) and Fusillades and Lamentations (with Reuben Radding on Leo
Records.) As a collective, the quartet creates a high degree of cohesion and
uncanny telepathic interplay, resulting in the type of free-wheeling
improvisation that sounds composed, almost idiomatic, yet remains very fluid
and unpredictable.

Wednesday, September 27th
*Lily Maase*
re:Disconnect
Guitarist, composer, and mixed media artist Lily Maase teams up with laptop
artist extraordinaire Christian Pincock to present re:Disconnect, her latest
experiment in sonic architecture. re:Disconnect is part chamber performance,
part multimedia installation, part long-form work for improvising musicians
in double quintet. Listeners will find themselves immersed in music from all
directions as Maase and Pincock use a room-wide laptop installation to blur
the line between performer and audience, form and improvisation, texture and
the indistinct.

The performance will feature Maase on guitar, Pincock on laptop and
trombone, Shane Endsley on trumpet, Mike Maher on trumpet and voice, Evan
Smith and Montreal-based Adam Kinner on saxophones, Zach Brock on amplified
five-string violin, Matt Wigton and Jay Foote on bass, and Fred Kennedy and
Jason Nazary on drums.

Maase¹s music is a fusion of rock and the avant-garde. All About Jazz
describes her work as being ³as much about artistic vision as about a groove
you can feel. At times soft and plaintive, the music can change gears and
grow into a powerful wall of soundÅ extremely emotionally and cerebrally
rewarding.” The Weekly Alibi has praised her ³killer technique² and
³fearless sense of fun.²

Check out: www.lilymaase.com.

Thursday, September 28th
*The Ullmann/Swell 4*
The Ullmann/Swell 4 is Gebhard Ullmann (winds,) trombonist Steve Swell,
bassist Hill Greene & legendary drummer Barry Altschul. This emotional and
intense quartet has toured the U.S. and Canada and recorded their first CD,
Desert Songs and Other Landscapes, for the CIMP label in 2004.
In October and November of 2006 The Ullmann/Swell 4 will be performing in
Europe for the first time. The road-tested results that define their
absorbing compositions verify the group¹s deep commitment to the idea that a
music based on earnest communication proves most compelling.

Trombonist Steve Swell makes music in the avant tradition, using composition
as a jumping off point for free wheeling, intelligent improvisations. Swell
has played with everyone from Lionel Hampton to William Parker to Elliot
Sharp to Anthony Braxton. Jay Collins of OneFinalNote.com calls him ³a major
talent who is finally gaining recognition for his no-nonsense playing and
compositional approaches.² Swell has 20 recordings as a leader or co-leader
and is a featured artist on more than seventy other releases. Strongly
identified with the “downtown scene”, Swell also has a developed style in
the more so-called “traditional avant-garde” arena. He currently is
co-leading projects such as ³Space, Time, Swing” with Perry Robinson, and
plays with William Parker’s “Little Huey Creative Music Orchestra.” His CD,
Suite For Players, Listeners and Other Dreamers was ranked number 2 in the
2004 Cadence Readers Poll. Steve also is a Teaching Artist in the NYC public
school system working with special-ed kids.

Gebhard Ullman has recorded more than 20 CDs as a leader/co-leader. He has
received several awards for his work including the Julius Hemphill
Composition Award, the Deutsche Phonoakademie Award, one of the first SWF
(German radio) jazz awards and several awards from the city of Berlin. He
and his music have toured Europe, Africa, Australia, New Zealand, the US,
Southeast Asia, Canada and Mexico. Since 1993, Ullmann is a recording artist
for Soul Note and commutes between New York and Berlin. His releases for
Soul Note, Leo Records, Songlines and Between the Lines have been widely
critically acclaimed on both sides of the Atlantic ocean.

Hill Greene has performed and/or recorded with Jimmy Scott, serving as his
Musical Director and with Cecil Taylor where he was Concert Master for his
group Phtongos. He has also worked with Gloria Lynne, The Inkspots, Rashied
Ali, Leroy Jenkins, Greg Osby, Kenny Barron, Village Vanguard Orchestra,
Oscar Brown Jr. and The Jazz Expressions.

Barry Altschul is widely regarded as one of the most prominent
percussionists in improvised music. In the early 70s, Altschul was the
drummer for Circle. Altschul’s drumming with that band was stylistically
all-encompassing — in his own words, “from ragtime to no time” — thanks to
his background in traditional jazz styles, which gave him a solid grounding
on which to build his free playing. From his days with Circle to his more
recent work as a leader of his own ensembles, Altschul has demonstrated a
notable consistency, especially in the way he inevitably manages to generate
an enormous momentum without overpowering the ensemble. Altschul was a
member of the Jazz Composer’s Guild and the Jazz Composer’s Orchestra
Association from 1964-68. In Å’72, Altschul recorded the classic album,
Conference of the Birds, with Anthony Braxton and saxophonist Sam Rivers.
Around this time, he also made records with Paul Bley, bassist Alan Silva,
and pianist Andrew Hill, among others. In the 80s, Altschul made records of
his own for Soul Note and continued his sideman work. Altschul’s 1985 album,
That’s Nice, shows him to be an exciting and good-humored bandleader in a
more modern vein.

Friday, September 29th
*Shelley Hirsch & Simon Ho*
Shelley Hirsch (voice) and Simon Ho (keyboards) have composed an evocative &
playful suite of pieces, filled with sonic pictures, kooky autobiographical
tales & beautiful orchestrations. Their collaborative work will be performed
by an extraordinary ensemble of musicians, who bring the written music to
life Å  and augment it with their unique talents as improvisers. With
Stephanie Griffin (viola), David Hofstra (bass, tuba), David Simons
(percussion, Theremin) & Tomas Ulrich (cello.)

*Name the group after you hear the music and win 2 CDS!!!*

Shelley Hirsch has been called ³enormously inventive, scathingly satiric and
virtuosic…a brilliant overwhelming presence on stage² by the New York
Times. She is a vocalist, composer and performance artist whose work for
stage, concert, record, film, television and radio incorporates extended
vocal techniques, real and imaginary language, international music styles,
stream of consciousness, electronics, characterizations, movement and mixed
media. Her work has been presented on 5 continents and at music venues
throughout the U.S. Hirsch is the recipient of a NYFA Fellowship for
Emergent Forms, an NEA New Forms Interarts grant and of commissions from the
Mary Flagler Cary Charitable Trust (music for theater), NYSCA (electronic
music) and New Radio and Performing Arts.

Composer Simon Hostettler (a.k.a. Simon Ho) is a musician who defies all
stylistic restrictions, experimenting over many years with a wide variety of
styles. He has made a name for himself in Switzerland and abroad as a
freelance composer for the stage, free theatre groups and contemporary
compositions.

Saturday, September 30th
*Kenny Wollesen*
WOLLESONIC
WOLLESONIC is an acousto-electro multi-instrumental vibrational outfit of
skilled musicians adept at spontaneity and sonics, featuring Kenny Wollesen
(percussion), On Davis (guitar) and many special guests. Their performance
tonight will be accompanied by multiple super 8 projections and rotorific
projections. Wollesen is renowned as an artist of astonishing versatility,
skill and ingenuity. During the 90s he performed on over 30 recordings. He
has recorded and toured with all kinds of musicians, from Tom Waits
(w/William S. Burroughs,) to Sean Lennon, to Ron Sexsmith. A founding member
of the New Klezmer Trio, Wollesen is all over NYC’s downtown jazz and
avant-garde scene, touring with Bill Frisell & Myra Melford, recording for
Tzadik and improvising at major venues throughout the city.

The Roulette is offering a hot September schedule.

Thursday, September 21st
MARK DRESSER & RAZ MESINAI
Bassist/composer Mark Dresser & composer/electronicist Raz Mesinai team up
to tear wide open the first night of Roulette¹s season. Mesinai’s music
combines modern composition, freeform electronics and ancient shamanic and
trance traditions, drawing on his background in the hip-hop and dub scenes
and in traditional Middle Eastern musics. Of Dresser¹s playing, The New
Yorker writes, ³You’ve got to pity Dresser’s poor bass — you wouldn’t treat
a dog the way he manhandles his instrument. But the gnarled tones and
vicious swing he tortures out of it are worth the abuse. In Dresser’s
slanted compositions, the jazz tradition is only so much grist for the
millÅ ”

Friday, September 22nd
PEEESSEYE: Jaime Fennelly, Chris Forsyth & Fritz Welch
Peeesseye and its many offshoots (ŒPhantom Limb & Bison¹ and ŒPee in My Face
With Surgery¹) have been slinging mud and clawing at the foundations of the
experimental noise underground for years, exploring the boundaries of their
instruments (analogue electronics, oscillators, vocals, guitars and
percussion) and the acoustical space they inhabit. Their unclassifiable
music has been variously characterized by certain sage voices as ³coming off
like a punk rock AMM² (The Wire), ³a deep black/bleak folk ritual, with the
good sense to not call itself by some Œadjective folk¹ genre name,²
(Blastitude) and like ³a slightly more western canon focused Sun City Girls²
(Volcanic Tongue). More at www.evolvingear.com.

Saturday, September 23rd
WALLY SHOUP
with Reuben Radding, Brent Arnold & Toshi Makihara
³One of the alto saxophone¹s harshest poets,² (The Boston Phoenix) Wally
Shoup plays unfettered, emotion-laden alto sax. His work combines the grit
of free jazz and blues with an ear towards lyrical abstraction, all at the
service of creating coherent music in the moment. Tonight with Radding
(bass), Arnold (cello) and Makihara (drums,) his quartet presents music that
is a lively, often intense blend of free jazz, contemporary string music &
zen-like percussion. As a collective, they create a high degree of cohesion
and uncanny telepathic interplay, resulting in the type of free-wheeling
improvisation that sounds composed, yet remains fluid and unpredictable.

Sunday, September 24th
AKI ONDA, ALAN LICHT & MICHAEL SNOW
Aki Onda (electronics), Alan Licht (guitar) & Michael Snow (video/piano)
perform in their new trio project. Snow, an internationally acclaimed visual
artist, also is an accomplished free improviser, performing with the likes
of Derek Bailey and Tony Conrad and founding the CCMC (with Paul Dutton &
John Oswald.) Onda performs with multiple cassette walkmans and electronics,
using sounds he has field-recorded himself as a diary. Licht is a guitarist
and improviser who has played with legends of underground rock (Tom
Verlaine, Arto Lindsay, Jandek) and some of the foremost jazz and
experimental musicians (Rashied Ali, Keith Rowe, Christian Marclay.) A
long-time fan of Snow’s, Licht has been performing duos with Onda for the
past five years, and was reminded of Snow’s filmmaking by Onda¹s music.
Thus, a trio was formed which achieves the all-too-rare alchemy of strong
separate identities and shared aesthetics into a holistic unit.

Wednesday, September 27th
LILY MAASE
with Paul Baker & Caitlin B. Kirby
hall.of.mirrors
Guitarist, composer and mixed media artist Lily Maase presents her most
recent project, hall.of.mirrors, for double quintet and improvised film,
with Paul Baker (film composition/mix translation) and Caitlin B. Kirby
(still imagery.) Maase¹s music is a fusion of rock and the avant-garde. All
About Jazz describes her work as being ³as much about artistic vision as
about a groove you can feel. At times soft and plaintive, the music can
change gears and grow into a powerful wall of soundÅ extremely emotionally
and cerebrally rewarding.” The Weekly Alibi has praised her ³killer
technique² and ³fearless sense of fun.² Maase writes: hall.of.mirrors is a
soundscape for improvising musicians, a sonic pictograph, an exploration in
electric folklore. hall.of.mirrors is not music set to film.
hall.of.mirrors is film set to music. Check out: www.lilymaase.com &
www.freeformfilm.org.

Thursday, September 28th
THE ULLMANN/SWELL 4
The Ullmann/Swell 4 is Gebhard Ullmann (winds,) trombonist Steve Swell,
bassist Hill Greene & legendary drummer Barry Altschul. This emotional and
intense quartet has toured the U.S. and Canada and recorded their first CD,
Desert Songs and Other Landscapes, for the CIMP label in 2004.
In October and November of 2006 The Ullmann/Swell 4 will be performing in
Europe for the first time. The road-tested results that define their
absorbing compositions verify the group¹s deep commitment to the idea that a
music based on earnest communication proves most compelling.

Friday, September 29th
SHELLEY HIRSCH & SIMON HOSTETTLER
Shelley Hirsch (voice) and Simon Hostettler (keyboards) have composed an
evocative & playful suite of pieces, filled with sonic pictures, kooky
autobiographical tales & beautiful orchestrations. Their collaborative work
will be performed by an extraordinary ensemble of musicians, who bring the
written music to life Å  and augment it with their unique talents as
improvisers. With Stephanie Griffin (viola), David Hofstra (bass, tuba),
David Simons (percussion, Theremin) & Tomas Ulrich (cello.) *Name the group
after you hear the music and win 2 CDS!!!*

Saturday, September 30th
KENNY WOLLESEN
Percussionist Kenny Wollesen is renowned as an artist of astonishing
versatility, skill, and ingenuity. He has recorded and toured with all kinds
of musicians, from Tom Waits (w/William S. Burroughs), to Sean Lennon, to
Ron Sexsmith. A founding member of the New Klezmer Trio, Wollesen is all
over NYC’s downtown jazz and avant-garde scene, touring with Bill Frisell &
Myra Melford, recording for Tzadik and improvising at major venues
throughout the city.

The 3030 place in Chicago is offering a series of improvised music events:

Thursday 4/7/05 – 9:30PM sharp

Improvised Music Series:
Mike Allemana Quartet
Mike Allemana-guitar, Geof Bradfield-saxophones, Matt Ferguson-bass, Ted Sirota-drums

Paxselin Quartet (Portland, OR)
Mary-Sue Tobin-alto/soprano saxophones, Chad Hensel-clarinets, composition, Bill Athens-bass, Ken Ollis-drums
Friday 4/8/05 – 9:00PM

Improvised Music Series
Caffeine
Ken Vandermark-reeds, Jim Baker-piano, Steve Hunt-drums
Friday 4/15/05 – 9:00PM

Improvised Music Series
Sharks vs. Seals
Dream Weapon
Saturday 4/16/05 – 9:00PM

Elastro Electronic Music Series
C.I.P. presents curious audio featuring
Caleb Johnston (Baltimore, MD)
Sejayno (Baltimore, MD)
Eric Leonardson (Chicago)

Caleb Johnston: He’s aiming to bring a home-built pipe organ. think about that for a minute–a home-built pipe organ. will it sound like a pipe organ? no, not at all. how about look like a pipe organ? depends on your imagination. clearly, you owe it to yourself.

Sejayno: This trio do it up with home-built synthesizer-esque devices, voices, some vaguely traditional instruments, and some completely fabricated instruments.

Eric Leonardson: Our local representative of home-built equipment, Eric generates diverse percussive sounds and harmonic whiplash from his “springboard device.”
Thursday 4/21/05 – 9:30PM sharp

Improvised Music Series
John Butcher/Fred Lonberg-Holm
Solos and Duos
John Butcher-saxophones (UK), Fred Lonberg-Holm-cello

** DOUBLE RECORD RELEASE PARTY **
for Fred’s new solo record “Dialogs” (Emanem) and John’s new duo record “Cavern With Nightlife” (Weight of Wax)
Friday 4/22/05 – 9:00PM

DJ Numinous Radio LIVE a live P.A.
An evening of trip hop, break beat, and mash-ups with DJ Numinous Radio featuring live musicians : Alison Chesley (cello, guitar), Rick Gehrenbeck (keys, production), Fred Lonberg-Holm (cello), Davis Krieg (vibes, guitar, keyboards, percussion), Ryan Murphy (drum kit, percussion), Paul Giallorenzo (keys), Stefan Grace (bass)

DJ Numinous Radio aka Carolynn Travis’ background as a DJ begins roughly around the turn of this century when she began parlaying the lush down-tempo grooves of her trip hop record collection into a full-time stint at some of Chicago’s most posh watering holes and societal hotspots like the MCA and The Museum of Natural History. Numinous Radio is 1/3 of the live PA, Deep Blue Field (featuring a violinist, cellist and herself as DJ) and spent the last four years establishing her role as the Queen DJ of Deep Ambient orchestrated live shows. Truth be told, in a House town such as Chicago, she filled a void for sophisticates who’d hung up their dancing shoes. For her new gig, aptly titled, Sugarflywithme, Miss
Numinous will be playing records on vinyl and grooves from her laptop while joined by a variety of musicians on cello, vibes, keys, percussion and guitar. To fill the space, if there’s any left at all, visual projections will be on hand as well. (Darlene Jackson)

Thursday 4/28/05 – 9:30PM sharp

Improvised Music Series
Carrie Shull Group (Chapel Hill, N.C.)
Carrie Shull-oboe, Amy Cimini-viola, Katie Young-bassoon, Jason Stein-bass clarinet, Tim Daisy-drums
Wednesday 4/29/05 – 9:00PM

Elastro Electronic Music Series
Koura presents Japanese electronicists:
Kazumoto Endo
Kazuya Ishigami
Tetsuya Miyazaki

performing in mixed groupings w/ your favorite Chicago electronicists!
Saturday 4/30/05 – 9:30PM sharp

Improvised Music Series **special Saturday performance
Gebbia/Ligeti/Pupillo Trio
Gianni Gebbia-saxophones (ITALY); Massimo Pupillo-electric bass (ITALY); Lukas Ligeti-percussion (NY)

Gianni Gebbia (alto saxophone) is one of most innovative improvisers in Europe today. His collaborations include work with Pina Bausch and the Japanese butoh dancer Tadashi Endo as well Fred Frith, Jim O’Rourke, Lee Renaldo, Instabile Orchestra, Noel Akchote, and Evan Parker. His playing is
as much reminiscent of th e music of the Mediterranean islands (such as his native Sicily) as it is of European free jazz. The New York Times review of his appearance at the Victoriaville Festival described him as “a nimble, melodic player, and his set was equivalent to the thrill of seeing excellent draftsmanship in a post-modern painting.”

Massimo Pupillo (el. bass) is best know as a member of Italian experimental trio ZU. He has collaborated with Dogon, Damo Suzuki Network, and International Silence with Terrie Ex, Guy Picciotto (Fugazi), Mats Gustafsson, Han Bennick and DJ Olive.

Lukas Ligeti (drums), son of 20th century composer György Ligeti, studied composition with Erich Urbanner, jazz drumming with Fritz Ozmec at Vienna University, and computer music at Stanford University. Arriving in San Francisco in 1994, he became increasingly active as an improviser, forging
an ongoing musical relationship with guitarist Henry Kaiser and other California musicians, documented, among others, on ‘Heavy Meta’ with the Goodman-Kaiser-Ligeti trio (Ecstatic Yod e#76) and on Henry Kaiser and Wadada Leo Smith’s ‘Yo Miles!’ (Shanachie 5046). After moving to New York, he worked with Elliott Sharp, Ned Rothenberg, Daniel Carter, and others; he has also played with Gianni Gebbia, Benoît Delbecq, John Tchicai, Michael Manring and Chis Cutler, with electronic musicians Rupert Huber and Pyrolator Kurt Dahlke and with many others. Still, his main focus as a performer throughout the late 1990s was probably on solo concerts using electronic percussion. Since 2003, he co-curates Freezone New York’, a weekly series for improvised music, with guitarist Ty Cumbie. Recordings
featuring Ligeti as a composer or improviser can also be found on Staubgold, Starkland, Naïve, Lotus Records, ORF Zeit-Ton, Ocho and a number of other labels.