9th Annual 2010 Outsound New Music Summit **Sound in a Blink**
a night of free improvisational music with
Alex Cline - drums & percussion with
G.E. Stinson - guitar
Emily Hay - flute & voice with
Motoko Honda - piano
Hunt/Allen/Orr featuring
Joshua Allen tenor saxophone,
Timothy Orr drums & percussion, &
Randy Hunt bass
Advance Tickets and Festival Passes @
inTicketingJosh Allen has created his own personal language on the tenor saxophone, with an emphasis on polytonal and asymmetrical phrasing, as well as extending the range and sonic ability of the instrument. He does this with constant emphasis and study of the overtone series, and the generation of multiphonics from the application of this process. He is currently teaching Fellowship students at the Brubeck Institute at the University of Pacific.
He was born in Berkeley, California in 1972. Like many of today’s prominent musicians, Mr. Allen was a product of the Berkeley public school system, studying saxophone starting at the age of nine under Phil Hardymon. He went on to study with such prominent Bay Area musicians as Bill Aron, Joe Henderson, and Rory Snyder. With his focus squarely on jazz composition and performance, Mr. Allen moved to Southern California in the early nineties to study with Rick Helzer at San Diego State. He became active in the Latin Jazz community, and worked with various musicians such as Dennis Chambers, and Eddie Palmieri. Mr. Allen’s return to the Bay Area in the mid 90s to finish his Bachelors degree at Sonoma State. His association with saxophonist Marco Eneidi led to working relationships with musicians such as Glen Spearmann, Matthew Goodheart, Damon Smith, and eventually Cecil Taylor.
Timothy Orr was born in Hartford, Connecticut in 1967 and began playing the drums 1976. After playing in several rock bands in the early 80s, he studied with Edward Blackwell from 1985-89 at Wesleyan University where he earned a BA in English, with a concentration in Medieval and Renaissance literature. During this period, Tim played in several rock, punk and grunge bands, warming up for emerging talents like Helmet, Fugazi, and Soul Asylum. Upon graduation Tim performed in several roots music bands in the New England region, performing Cajun, zydeco, bluegrass, Chicago blues. Tim has played with a number local and international artists such as Josh Roseman, Shoko Hitage, Stephen Schwartz, Damon Smith, Josh Allen, Marco Eneidi, Richard Hell, Randy Hunt, Adam Lane, Ike Levin, Tony Malaby and many more. He recently recorded the soundtrack to The Tale of Three Mohammeds, a film by Nasri Zacharia.
Randy Hunt's performance background includes work with Sonny Simmons, Donald “Duck” Bailey Ricky Ford, Joel Futterman, Royal Hartigan, Fred Houn, Eddie Gale, Tony Malaby, Reggie Workman, and Henry Kaiser.
He was born in Los Angeles and raised in a musical environment. His mother taught piano and voice, as well as performances in local musicals. Developing as a bassist in the San Francisco bay area music scene of the early ‘90’s, Randy performed in a variety original rock, funk, jazz, blues bands, symphonic orchestras and big bands. In 1993 Randy was accepted to the renowned Mannes / New School jazz and contemporary music program at New York City’s New School for Social Research. During his time in New York he studied bass with Reggie Workman, Andy McKee, and Steve Neil. As an active educator he has conducted lectures, enrichment classes and clinics for the San Francisco public school system, presented classes on improvisation and jazz theory, as well as privately teaching bass, guitar, and piano. Randy has been involved in composing music for jazz ensembles, pieces for strings, piano, and solo bass.
"Emily Hay vocalizes through her flute and blows a mighty mean streak that picks up emotion along the way. She carries each melodic fragment on high and packs it with energy. She inspires." - Jim Santella
She extends traditional roles and capabilities of her instruments by incorporating the complexity of contemporary classical technique with the spontaneity and experimentation of free improvisation. The result is startling interpretations of sound and intense ensemble interaction. Her explorations on the flute and alto flute embody unusual tone colors and soaring rhythmic structures, augmented by electronically generated effects and often overlapped by unusual vocalizations ranging from primal to operatic with lyrics and sounds from the stream of consciousness.
Motoko Honda is a pianist, keyboardist, improviser, composer, and sound architect living in Los Angeles. Graduated from California Institute of the Arts. She is an Electro-Acoustic-Prepared piano soloist, sound artist collaborating with visual artists and dancers, and recording artist for films covering wide range of music from classical, avant-garde, jazz, punk, contemporary, world and new music. Being a frequent "pick of the week" by Los Angeles Times and Los Angeles Weekly, also documented as a featured musician in documentary film "Good Ear", she has performed at major venues such as Ford Theater, Barnsdall Gallery Theater, REDCAT/Disney Hall/MOCA, and many festivals. Continuing to pursue the boundaries of different kind of music, Motoko is known to weave through genres of music and create something unique and personal every time.
Pianist Motoko Honda is the walking definition of the phrase “sound sculpturist.” She stands as much as she sits during her performances: either to direct her ensembles with a sweep of the hand or stabbing point of a finger, or to just lean into her open piano to perform some sort of bewitching skullduggery on its prepared strings—all the while working her (bare) foot pedals to create loops of electronic squiggles and sighs. Not content to simply compose and make music, Honda, in the sage words of Greg Burk, “colors the air.”
Alex Cline and electric guitarist G.E. Stinson have played together in a number of contexts over the last couple of decades including in one another's bands and in collaborative ensemble projects focusing on free improvisation. In more recent years they have been performing as an improvising duo. Their set at the Outsound New Music Summit will delve into explorations of the common ground they share as musicians and as human beings. This means a great deal of attention to subtle sonic color, a very wide dynamic range, varied textures, and alternately tonal and atonal musical content delivered somewhat paradoxically (for a duo) in a very orchestral manner, all often presented as a very gradually evolving, slowly developing whole. The result is beyond genre or idiom, but a shared musical vocabulary activated in the moment in the interest of manifesting pure sound and spontaneous music.
Percussionist-composer Alex Cline has been a mainstay on the jazz and new music scenes of Los Angeles for over thirty-five years, his endeavors having established for him a career international in scope. Combining colorful and sensitive percussion sounds with a drumming foundation based in the jazz tradition, Cline is recognized for his contributions to the music of such artists as Vinny Golia, Julius Hemphill, Bobby Bradford, Tim Berne, Richard Grossman, John Carter, Don Preston, Horace Tapscott, Gregg Bendian, Joseph Jarman, Wadada Leo Smith, Charlie Haden, and countless others. He has toured extensively in North America and Europe and appeared on almost a hundred recordings. His work as a composer and bandleader has been documented on four recordings with his group, the Alex Cline Ensemble. Cline has spearheaded some notable improvisational group collaborations as well, such as the trio Cline-Gauthier-Stinson and the quartet Cloud Plate (with Kaoru, Miya Masaoka, and G.E. Stinson), both of which have released CDs. He has also been heard on numerous film soundtracks and in collaboration with many dancers and visual artists.
G. E. Stinson (born in Kingfisher, Oklahoma) is an American guitarist and founding member of new age / electronic musical group Shadowfax. Inspired by blues masters such as Bo Diddley and Muddy Waters, Stinson experimented with blues, jazz and other musical genres before co-founding Shadowfax in 1974. He remained with the band for six albums. He departed Shadowfax after recording "The Odd Get Even" (1989), entering the Los Angeles underground music community to refine his 'extended technique' and 'frequency manipulation'. Since then he has worked with a number of musicians on various projects, including Alex Cline, Napalm Quartet, Splinter Group, Stinkbug, Metalworkers, and others.
Cost: $12/8