Showing posts with label Red Room. Show all posts
Showing posts with label Red Room. Show all posts

Tuesday, December 28, 2010

The Annual Red Room Holiday Show

Red Room
Thursday, December 30th, $5

John Dierker, Will Redman, Mark Miller, Stewart Mostofsky, Jeff Carey, Alex Weber, and Adam Hopkins 
A Red Room holiday tradition for nearly 15 years, John Dierker will lead a diverse group of musicians in improvised music sets ranging from duos to large ensemble

425 E. 31ST STREET BALTIMORE, MD. 21218, USA

Saturday, November 27, 2010

Keenan Lawler & Susan Alcorn // Marc Miller & Shelly Blake-Plock - Nov 27 at Red Room

Tonight at Red Room!
Saturday, November 27th, $6

Keenan Lawler & Susan Alcorn // Marc Miller & Shelly Blake-Plock
A Night of Improvised Strings

Prepare yourselves for a night of radical 'string theory' from some first-string free improvisers this evening at Red Room. Lawler and Alcorn bring steel guitar and pedal steel explorations, while Miller and Blake-Plock destroy it on acoustic steel string guitar and double bass.

at The Red Room
c/o Normals Books and Records
425 E. 31st Street
Baltimore

http://www.redroom.org/
Twitter: @highzero

Wednesday, July 28, 2010

VOLUNTEERS' COLLECTIVE: NEW WORKSHOP SERIES AT RED ROOM: 6-8PM, 1ST SUNDAY OF THE MONTH

VOLUNTEERS' COLLECTIVE: NEW WORKSHOP SERIES AT RED ROOM: 6-8PM, 1ST SUNDAY OF THE MONTH

After much preparation, The Red Room and High Zero Foundation are excitedly relaunching their monthly workshop for freely improvised experimental music (previously "The Crap Shoot") at a new time, with a new name, and a new attitude. 

Now called VOLUNTEERS' COLLECTIVE, it will be running the first Sunday of each month, at 6PM at The Red Room (Normals Books and Records). Although the Crap Shoot workshop (which had approximately 140 sessions since it began in 1996) had been an integral part of the growth of the experimental improvised music scene in Baltimore, for some time we have been feeling it needed revitalization on a deep level.

Essentially, we want this event to be a more powerful tool for the community of improvisers in Baltimore to hone their art, network and form collaborations, and stretch themselves musically in unfamiliar and inspiring situations.

This means a new approach, and frankly, a more critical attitude.

First, the new VOLUNTEERS' COLLECTIVE workshop will be structured featuring well-known local improvisers who will attend sessions to provide a backbone of seasoned players to "seed" each workshop. This will create a more attractive and stimulating workshop situation for newcomers and seasoned players alike. 

Second, the workshop will also involve more critical cross-discussion about the music actually played. Conversation, debate, and reflection are vital components on the way to honing skills in improvisation and the VOLUNTEERS' COLLECTIVE will provide that forum. 

Third, the workshop will be open to anyone of any level of skill with a strong interest in getting into improvisation and experimentation in an open-ended but thoughtful and disciplined way. This is about reaching beyond and using improvisation collaboratively to guide us into new areas of music and thinking. We are particularly interested in players who want to develop new, unique, but flexible approaches to playing.

There is a catch.

In this new approach, we are asking that only those players who have a strong intention to develop their music and their free improvisation skills attend the workshop.  We would like to focus on active musicians who are interested in pushing their playing to a higher level in a specifically experimental, non-idiomatic direction.

Although the workshop will be open to all, we will request that ongoing participation be paralleled by a serious interest in one's own artistic development.

We hope that folks will respect this, and that, as a result of these changes, the overall experience will be substantially more stimulating and thought-provoking than ever. 

And, of course, if these changes don't suit some players, we encourage them to create their own collective contexts for improvised music that are more aligned with their interests.

The first VOLUNTEERS' COLLECTIVE will be Sunday, August 1st 6-8PM and will include "seed" improvisers John Berndt, John Dierker, Liz Meredith, and Will Redman. We hope to see you there!

Monday, April 19, 2010

Jack Wright, Pascal Batus, Michael Johnsen, Tyler Wilcox, Andy Hayleck, and Paul Neidhardt: Live at Red Room 4/21

Wednesday, April 21st, $6 

The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30 


Improvised music with Jack Wright (saxophones), Pascal Batus (objects, pickup), Michael Johnsen (saw, electronics), Tyler Wilcox (saxophones), Andy Hayleck (electronics, amplified Gong) and Paul Neidhardt (percussion). 

The Red Room is overjoyed to present these improvisers of super-human sensitivity and creativity on its humble stage. Jack Wright is a legend of North American improvisation. Pascal Batus is an amazing sound-oriented guitarist from France who utilizes an unusual method of "stringless guitar". This is his first visit to Baltimore. Michael Johnsen is a singular mind, a contemporary improvement on both David Tudor's electronics and Paul Loven's saw playing. His visits to Bmore from Pittsburg are rare.


Opening the night is the (semi) local trio of Paul Niedhardt, Andy Hayleck and Tyler Wilcox. Paul and Andy are amongst the finest members of the local inprovised music scene. Both members of Trockeneis, they share some like-minded goals of psychically transporting, disorienting electronacoutic timbres. They are both masters of subtle, shifting sound fields full of odd colors and dark, metallic friction. Tyler Wilcox is a one-time resident of Baltimore and returns throughout the year to play with Paul, Andy and others. He is a multiple reeds player. Together, the music they make is likely to be really transcendent. You'd be a fool to miss this one.

Cellist Charles Curtis, plus "Deacon at Bernie's" (Dan Deacon and Andrew Bernstein) Live at the Red Room 4/20

Tuesday, April 20th, $6 

The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:30 


Cellist Charles Curtis, plus "Deacon at Bernie's" 

Charles Curtis is one of the most important 'cellists in new music. He has had works written for him by La Monte Young (Curtis being his foremost interpreter), Eliane Radigue and Alvin Lucier and is likewise experienced in more traditional classical music, having served as first solo 'cellist of the Symphony Orchestra of the North German Radio for over 10 years. That's not all! He's performed at all the cool weirdo clubs in New York (Tonic, Knitting Factory, CBGB's etc.) and collaborated with people like Elliott Sharp, David First, Bongwater and Borbetomagus.

Deacon at Bernie's is a collaboration between Baltimore musicians Dan Deacon (electronics) and Andrew Bernstein (saxophone, Teeth Mountain). Deacon is best-known for his more pop-oriented solo work, the subtle experimentalism of which comes full flower in this collaborative context with Bernie's nurturing saxophone. The two will be accompanying, modulating or overtaking three short films by Lillian Schwartz and Stan Van Der Beek, lovingly chosen by local experimental film maven Mary Helena Clark.

Tuesday, March 30, 2010

PHILOSOPHERS UNION EDITION #1

Friday, April 9th, 8:30 PM, Free
The Red Room
425 E. 31st Street, Baltimore

*PHILOSOPHERS UNION EDITION #1: Alphonso Lingis!*

The Red Room has a new series: PHILOSOPHER'S UNION ("Keep thinking live!").* For the first installment, we are extraordinarily happy to have Alphonso Lingis, one of the most interesting philosophers of the present age. Lingis has created a unique synthesis of the concerns of academic philosophy, with a highly creative and risk-taking existential endeavor. A description of his talk is included below.

*The Outsiders--A Talk by Alphonso Lingis.*
In 1922 Dr. Hans Prinzhorn published Artistry of the Mentally Ill--in which he reproduced and analyzed 187 from the more than 5000 paintings, drawings, and carvings he had collected from insane asylums in and around Heidelberg, mostly from patients diagnosed as schizophrenic. Professional artists were astouned by what they saw in this book; Paul Elouard called it "the most beautiful book of images there is." Jean Dubuffet argued that the mentally ill had access to the fundamental sources of human creativity, and launched a far-reaching criticism of the professional "art world" and the taste of the cultivated elite. The paper examines the new conceptions of art, of creativity, and of authenticity that were advanced by the champions of this art. It also examines the subsequent production of the art of the self-taught, and the ideas about all this work that have been elaborated since.

*About Alphonso Lingis*
Alphonso Lingis (born November 23, 1933 in Crete, Illinois) is an American philosopher, writer and translator, and was Professor Emeritus of Philosophy at Pennsylvania State University. His areas of specialization include phenomenology, existentialism, modern philosophy, and ethics.

Lingis has had wide success as a public lecturer due both to his captivating style of writing and also the performance art atmosphere of his lectures. During public talks he generally appears in costume or speaks amidst strange background music or recorded screams, often in total darkness. Throughout his years at Penn State, he was also well known as a classic college town cult celebrity, welcoming students to a strange home filled with rare birds, dangerous fish and insects, and numerous third world artifacts. In this period his travels shifted increasingly from Europe to the developing world, with especial bases in Bangkok and Rio de Janeiro, and most recently Africa. In recent years he has also renewed contact with his ancestral heritage, reaching a certain degree of prominence in Lithuania. Now retired from Penn State, Lingis lives near Baltimore, where he continues to write books similar to his earlier works. His books have been translated into French and Turkish, among other languages. In the spring of 2004 the first college course on Lingis was offered at Towson University in Towson, Maryland, taught by Wolfgang W. Fuchs co-editor of "Encounters with Lingis" (2003).

* in the 90's, The Philosophers Union was an ill-defined collective project involving Stephen Schzelkun, tENTATIVELY, a cONVENINECE, and many others. We have resurrected it at the Red Room for this new free lecture series.

Wednesday, September 16, 2009

Elliott Sharp at the Red Room: September 23rd


Elliott Sharp is coming to the Red Room.


Wednesday, September 23rd, $6

Elliott Sharp (composer/multi-instrumentalist/producer). Jorge Martins will be opening.

"Having worked in the avant-garde and experimental music scene in New York City since the late 1970s, Sharp has released over eighty-five recordings ranging from blues, jazz, and orchestral music to noise, no wave rock, and techno music. He pioneered the use of a lap top computer in live performance with his Virtual Stance project of the 1980s and more recently has used algorithm and fibonacci numbers in experimental composition. He has cited literature as an inspiration for his music and often favors improvisation. He is an inveterate performer, playing mainly guitar, saxophone and bass clarinet. Sharp has led many ensembles over the years, including the blues-oriented Terraplane and Orchestra Carbon. - courtesy of the democratizing force of Wikipedia.

The Red Room
at Normals Books and Records
425 E. 31st Street Baltimore
Doors open at 8:00 (for this show)