June Days //
a new music festival
june 12 -17
$12 in advance $15 at the door

TICKETS

Featuring Paula Matthusen, Tom Hamilton, Chris McIntyre's Ullu (w/ Dave Shively), No Collective, John Zorn's Book of Heads (complete) performed by James Moore, Transient Series.

Tuesday 6/12 - Paula Matthusen / Tom Hamilton+Peter Zummo

Paula Matthusen premieres her new piece "Pendulum Studies" for extracted piano frame. Performed by Kathleen Supové and Wil Smith.
Slybersonic Tromosome (Tom Hamilton - electronics Peter Zummo - trombone, electronics). The 19th anniversary of this band, with a few years off for good behavior. This duo's trajectory - chronicled at midpoint by both the so-named 2000 Zummo/Hamilton Conference at Logos (Ghent) and their eponymous CD on Penumbra Records - has made a gradual descent into the later endnotes of New York's creative life. Their previous 12th anniversary concert suggested more than it revealed while discovering paths never to be taken, trends to be refuted, unidirectional wires lost. And as always: Free reverb.

Thursday 6/14 - Chris McIntyre's UllU

Composer and multi-instrumentalist Chris McIntyre presents the debut performance of his new band project, UllU. This "preview" of the group is a collaborative duo iteration with the extraordinary percussionist David Shively (Either/Or). Also featured for part of the performance is special guest Eli Keszler also on percussion.
The music of UllU is a percussive, "harmonic", and textural mix of ideas; a dialectic investigation of pure and damaged symmetry, unified and polyvalent sonic images. Strategic and notated compositional material is used to create audible yet illusive formal structures. Rhythmic and linear content moves in and out of entrainment kaleidoscopically. The use of on-stage multi-channel amplification (outputting acoustic, synthesizer, sampler, and drum machine material) modulates the shifting dimensionality of UllU's ensemble sound.

Friday 6/15 - No Collective

No Collective premiers the third installment in their Concertos series, which will explore the notion of “density” in music performance. As with the previous two pieces, Concertos No.3 again requires the presence of an audience. You can be of any race, gender, age, or political inclination, but please be ready to perform as an audience: to sit silently and perceive attentively the events unrolling before your eyes and ears for an hour or so. If you're interested in taking part in this unique experience, simply come to the venue on the instructed date/time. An entrance fee of 15 dollars is required, but any number of people (between 1 and 15) can be admitted for the same total price. If more than 105 people show up, audience members will be selected via an audition.

Saturday 6/16 - John Zorn's Book of Heads, performed by James Moore

James Moore will perform the entirety of “The Book of Heads” by John Zorn, a collection of solo guitar music written for Eugene Chadbourne in 1978. Utilizing an arsenal of acoustic and electronic effects involving balloons, children’s toys and common household items, the Book of Heads is a virtual treatise on extended guitar techniques. Of Moore’s recent CA performance, The San Diego Reader describes “A knockout success … Like Muddy Waters having a seizure … Tonality was generally abused like a CEO at an S&M Convention.”

Sunday 6/17 - Transient Series I.5 (for Two) featuring String Noise

Transient Series I.5 (for Two) features violin duo String Noise (Conrad Harris & Pauline Kim Harris) performing Jürg Frey's "Ohne Titel (2 Violinen)," and premieres by Andrew C. Smith and Jason Brogan. The evening also includes James Tenney's "Harmonium #2" (for two guitars) and KCM Walker's "2 guitars, 4 ebows."

BIOS

PAULA MATTHUSEN is a composer who writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as run-on sentence of the pavement for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being "entrancing". Her work often considers discrepancies in musical space—real, imagined, and remembered.
Her music has been performed by Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, Ballett Frankfurt, noranewdanceco, Kathryn Woodard, Diesel Lounge Boys, and Jody Redhage. Her work has been performed at numerous venues and festivals in America and Europe, including Merkin Concert Hall, WAX, Judson Dance, Joyce SoHo, the Construction Company, Das TAT, the Aspen Music Festival, Bang on a Can Summer Institute of Music at MassMoCA, Aural Tick Festival, the Gaudeamus New Music Week, SEAMUS, NWEAMO, and the Florida Electroacoustic Music Festival. She performs frequently with the electroacoustic duo ouisaudei, Groundwave New Music Collective, Object Collection, and recently winter company. Awards include a Fulbright Grant, ASCAP Morton Gould Young Composers' Award, First Prize in the Young Composers' Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship. Matthusen has also held residencies at create@iEar at Rensselaer Polytechnic Institute, STEIM, and the Atlantic Center for the Arts. Matthusen completed her Ph.D. at New York University - GSAS. She taught Florida International University for four years, where she founded the FLEA Laptop Ensemble. Matthusen is currently Assistant Professor of Music at Wesleyan University, where she teaches experimental music, composition, and technology.
paulamatthusen.com

TOM HAMILTON has composed and performed electronic music for over 40 years, and his work with electronic music originated in the late-60s era of analog synthesis. Rather than addressing traditional modes of expression, presentation and observation, Hamilton often explores the interaction of many simultaneous layers of activity, prompting the use of “present-time listening” on the part of both performer and listener. Hamilton was a 2005 Fellow of the Civitella Ranieri Foundation, participating in a residency at the foundation’s center in Umbria. Hamilton’s performing and recording colleagues have included Peter Zummo, Bruce Gremo, Karlheinz Essl, Bruce Arnold, Rich O’Donnell, Jonathan Haas, Jacqueline Martelle, Thomas Buckner, Al Margolis, id m theft able, and Richard Lerman. This season he began performing with Composers Inside Electronics, with John Driscoll and Phil Edelstein. Hamilton has released 15 CDs of his music: His CD London Fix received an award in the 2004 Prix Ars Electronica, and a 2 CD set of his electronic music of the 1970s was named one of The Wire’s Top 50 Reissues of 2010. Since 1990, Hamilton has been a member of composer Robert Ashley’s touring opera ensemble, performing sound processing and mixing in both recordings and concerts. His audio production can be found in over 60 CD releases of new and experimental music, and his work for Alvin Lucier received a Golden Ear award from The Absolute Sound.

An exponent of the American contemporary-classical tradition as well as more vernacular genres, trombonist PETER ZUMMO pursues the evolving boundary of music-making and brass culture and in so doing creates compositions for interactive ensemble. His musical pieces and his solo and ensemble performances - in his own works and in those of theater, dance, poetry, film, television, and new-media artists = evoke the influences and methodologies of the minimalist, rock, jazz, and world music styles. His professional studies were with Carmine Caruso, Stuart Dempster, James Fulkerson, Dick Griffin, Makanda Ken McIntyre, Sam Rivers, and Roswell Rudd. His production credits include Indian Ocean’s Treehouse/School Bell, with Arthur Russell, on Sleeping Bag; H*E*R, by Yvette Perez, on Persian Cardinal; Zummo With an X, on Loris Records, New World and Optimo; Experimenting With Household Chemicals, on XI; Downtown Only, on Lovely; Arthur’s Landing, on Strut; and Slybersonic Tromosome, with Tom Hamilton, on Penumbra.

CHRISTOPHER MCINTYRE leads a multi-faceted career in the contemporary arts as a solo and ensemble performer, composer, and curator/producer. The diversity of his activities led Time Out New York to note that "...with every passing week, trombonist-composer Chris McIntyre becomes more central to the new-music experience in New York." (Nov. '09) He performs on trombone and synthesizer in a variety of settings, from chamber music to open improvisation. Current projects include leading TILT Brass and 7X7 Trombone Band, and collaborative efforts such as Ne(x)tworks. His playing is heard on recordings released by the Tzadik, New World, Mode, and Non-Site labels. In his composing, McIntyre has experimented with conceptual elements such as spatialization, recontextualized notated material, and improvisative strategy, along with ideas of scale, symmetrical pitch constructions, and self-similarity. He has contributed work to the repertoire of TILT, Ne(x)tworks, 7X7 Trombone Band (for choreographer Yoshiko Chuma), Flexible Orchestra, and B3+ brass trio. Beyond performing and creating music, McIntyre is also active as a curator and concert producer, with independent projects at venues including The Kitchen, Issue Project Room, and The Stone (June 2007), and as Artistic Director of the MATA Festival (07-10). cmcintyre.com

David Shively - www.resonantobjects.com
Eli Keszler -www.elikeszler.com

NO COLLECTIVE (You Nakai, Travis Just, Masami Tomihisa, Alex Ness, Nikita Sharymov, Jessie Marino, Vadim Pevzner, et al.) makes music performances which explore and problematize both the conceptual and material infrastructures of music and performance. Recent works include the publication Concertos (Ugly Duckling Presse, 2011), which describes and prescribes the rehearsal, performance and documentation of a music concert (Concertos No.1) in the form of a playscript. On May 24, we will present The Music of Ellen C. Covito at Vaudeville Park. On August 26, we will present another full-scale work at the National Museum of Modern Art in Tokyo. (nocollective.com)

JAMES MOORE is a versatile guitarist who performs on a variety of acoustic and electric guitars, banjos, and home-made instruments. He is a founding member of the electric guitar quartet Dither, and performs internationally as a soloist and ensemble player. Recent performances include The Wulf (LA), the Fringe Theater (Hong Kong), The Pompidou Center (Paris), The Kunsten Festival (Brussels),The Performa Festival (NY), the Barbican Center (London),  Northwestern University (IL) and the Whitney Museum (NY).  Upcoming  shows include performances of playwright Richard Maxwell's Neutral Hero in New York and Ireland, and the premiere of a new collaborative project at BAM with composer David Lang and choreographer Susan Marshall. jamesmooreguitar.com

Drawing on his experience in a variety of genres including jazz, rock, hardcore punk, classical, klezmer, film, cartoon, popular and improvised music, JOHN ZORN has created an influential body of work that defies academic categories. A native of New York City, he has been a central figure in the downtown scene since 1975, incorporating a wide range of musicians in various compositional formats. He learned alchemical synthesis from Harry Smith, structural ontology with Richard Foreman, how to make art out of garbage with Jack Smith, cathartic expression at Sluggs and hermetic intuition from Joseph Cornell. Early inspirations include American innovators Ives, Varese, Cage, Carter and Partch, the European tradition of Berg, Stravinsky, Boulez and Kagel, soundtrack composers Herrmann, Morricone and Stalling as well as avant-garde theater, film, art and literature.