Thursday, December 31, 2009

no idea festival @ phoenix project in dallas 1.17.2010

Inner Realms Outer Realms
Seeds and Systems
No Idea Festival 2010-Dallas edition

Chris Cogburn/Jesse Kudler Duo
(Austin/Philadelphia-percussion and tabletop guitar)

Screwed Anthologies
A free improv tribute to DJ Screw
Dave Dove/Lucas Gorham Duo
(Houston-trombone/electronics and pedal steel guitar/samples)

Remi Alvares Trio
featuring Aaron and Stefan Gonzalez
(Mexico City/Dallas-saxophone, bass and drums)

January 17th, 2010
8:00 p.m.
@ The Phoenix Project
406 S. Haskell Ave.
Dallas, Texas 75226
$8 or $5 for members
All ages

The following are bios of the artists playing at No Idea 2010. More will follow soon:

Jesse Kudler:

Jesse Kudler, born 1979, improvises on cheap consumer devices: a no-name electric guitar, hand-held cassette recorders, radios and transmitters, various small junk, and pedals/electronics. He uses a computer to assemble his recorded music. Kudler's work often operates on the extremes of volume, demonstrating an interest in the subtleties that can arise from intense softness or loudness, and it is marked by special attention to the stereo field. Recent interest has focused on both internal (electronic/radio) and external (microphone/speaker) feedback. Beyond simply exploring non-pitched sounds, Kudler investigates their use in creating improvised structure.

Kudler attended public school until Wesleyan University, where he studied music with Ron Kuivila, Alvin Lucier, and a little bit with Anthony Braxton, among others. He eventually became active as an organizer and performer in improvised, experimental, and electronic music, forming a regular duo with fellow student Jonathan Zorn and leading the large electronic improvising ensemble Phil Collins. Kudler has also worked as a recording engineer for various projects.

In his various travels, Kudler has performed with Matt Bauder, Kyle Bruckmann, Chris Cogburn, James Coleman, Tim Feeney, Marcos Fernandes, Brent Gutzeit, Horse Sinister, Bonnie Jones, Jason Kahn, Mazen Kerbaj, Pauline Oliveros, Bhob Rainey, Vic Rawlings, Christine Sehnaoui, Mike Shiflet, Jason Soliday, Howard Stelzer, Christian Weber, Matt Weston, Jack Wright, Jason Zeh, and many others. He has toured the United States several times.

Jesse Kudler lives in Philadelphia. Current and recent projects include: HZL, an environmental electronics duo with Tim Albro; a duo with Ian Fraser; Tweeter, a treble-intensive noise trio with Alex Nagle and Eli Litwin; Benito Cereno (with Dustin Hurt, Chandan Narayan, Tim Albro, and Ian Fraser); duos with Chris Cogburn and Christian Weber; solo performance and recording; and various ad hoc groupings.

NB: His last name rhymes with “muddler.”

Web presence:

Chris Cogburn:

Chris Cogburn (b. 1973) is an active composer, performer, educator and organizer based in Austin, Texas. In performance, Cogburn approaches the physical nature of his chosen instrument with attention to the drum’s subtle and overlooked timbres/textures and an interest in its ability to resonate and transform. Moving across, atop, below and around a single drum with a variety of percussive objects and implements, Cogburn’s unique approach and unconventional conception of the acoustic drum, its function and capabilities, gives rise to unexpected sound worlds suffused with meanings and forms, acute yet infinite.

Primarily working in the field of creative improvised music, Cogburn has collaborated with many of the premiere international artists in contemporary music, including: John Butcher, Pauline Oliveros, Stuart Dempster, Tetuzi Akiyama, Joelle Leandre, Bhob Rainey, Sean Meehan, Joe McPhee and avant-rock outsider Jandek (his first appearance in the US). Current projects include Cogburn’s inter-media trio with visual artist Antonio Domínguez and guitarist Fernando Vigueras (both from Mexico City); NINA with avant-vocalist Liz Tonne and Baltimore electronic musician Bonnie Jones; and SLIP Watershed with dancer/choreographer Jennifer Monson.

Since 1998, Cogburn has led workshops on creative music making around the US, Canada and Mexico, working in contexts as diverse as inner city community centers, homeless shelters, battered women's shelters, public and private high schools, Pauline Oliveros' Deep Listening Space and the Universidad Autónoma de Nuevo León, Mexico. He has recently received performance and teaching grants through Meet The Composer, Mid-Atlantic Arts Foundation's USArtists International, The Yellow Fox Foundation and The City of Austin; held residencies through Casa Vecina-Espacio Cultural, Seattle Improvised Music, Nameless Sound, Gallery 1412 and Earth Dance; and has performed at the No Idea Festival, Cha’ak’ab Paaxil Festival, the Seattle Improvised Music Festival, FuseBox Festival and the No West Festival. In October 2006 Cogburn was fortunate enough to travel on the Wave Books Poetry Bus, performing solo and with poet/Wave Books editor Joshua Beckman, with a final performance at James Turrell’s Roden Crater.

Beginning in the summer of 2003, Cogburn has hosted/curated an annual festival of improvised music - the No Idea Festival - showcasing a handful of the U.S.'s premiere creative musicians in collaboration with improvisors from across Europe, Japan, Mexico, Canada and the world. Regarded as “one of the finest creative improvised music festivals in the world” (Paris Transatlantic) No Idea aspires to connect creative musicians, providing the space and time where artistic relationships can flourish, leading towards new areas and approaches in the music. No Idea has been held in Austin, Houston, Fort Worth, San Antonio and New Orleans.

For more information:

Remi Alvares:

Remi was born in Mexico City, Mexico. He studied transversal flute at the Conservatorio Nacional de Música from 1975 to 1979 with Rubén Islas.
Self-study formation in saxophone, his professional debut was with Cuarteto Mexicano de Jazz in 1984. Later, he moved to New York City and continues his studies of composition and improvisation at the Creative Music Studio with Anthony Braxton, George Lewis, Roscoe Mitchell and Don Cherry. He studied a bachelor in jazz at the Escuela Superior de Música (ESM - INBA) from 1982 to 1987. In 1988, he traveled to Paris where his musical development was strengthened by taking classes with the composer-sax player Steve Lacy.

Since 1991, he has been a professor of saxophone and jazz at the Escuela Nacional de Música from Universidad Autónoma de México (ENM - UNAM).

In February 2004, he traveled to Europe, invited by Georg Hoffman, Swiss drummer, and Tobias Delius, British saxophonist, touring several cities in Switzerland and Holland with them.

In 2005, he took a course in advanced improvisation at the Vancouver Creative Music Institute with George Lewis and Evan Parker, among others.

In June 2006, he was invited to play in the Vision Festival, the most important free jazz festival in New York by Dennis González, Texan trumpet player.

Foundator of Cráneo de Jade, with whom he has co-produced and recorded three CD's. Invited to the Festival Internacional de Jazz Plaza in La Habana, Cuba, in 1997. In October 2005, Cráneo de Jade performed at the Palacio de Bellas Artes as a part of the “Los Diez Grandes del Jazz”, a tribute to the pioneers of jazz in México. In April 2007, Cráneo de Jade atended the VII Festival Internacional de San Luis Potosí.

He has been a member of Astillero ensemble since 2000, performing in France in 2001 and 2004. In October 2006, Astillero joined the 34th edition of the Festival Internacional Cervantino.

Currently, he is a member of Antimateria, Cráneo de Jade & FAS Trio ensembles; he plays a duet with Gabriel Lauber and runs his own trio: Remi Álvarez Trio. He has performed live with musicians like Sabir Mateen, William Parker, Hamid Drake, Joe Morris, Mark Dresser, Cooper-Moore, Elliott Levin, Rodrigo Amado, Dennis, Stefan and Aaron González, Ernest Dawkins, Vinz Vonlanthen, Michael Vatcher, Tayeb Laoufi and the Gnawa Spirit from Morocco. He has performed live and recorded with the Camerata de las Américas.

Stefan Gonzalez:

Stefan Gonzalez - drums - Dallas

Born into the tradition of jazz and creative music, Stefan Gonzalez enjoyed a rigorous and diverse musical education under the tutelage of his father, iconic trumpeter Dennis Gonzalez. After mastering his instrument at an early age, Stefan has worked to push the creative envelope beyond the perceived limits of style, genre and form. Stefan's diverse influences allow him to move seamlessly between Mariachi, iterations of rock and hardcore, jazz and creative improvisation.

Stefan's list of musical influences give voice to the power and immediacy of his furious, blistering and graceful musicianship of his knock-your-fucking-head-off music: "Grindcore movement late 1980's-now, Anarcho Punk Movement of the early 1980's and early 1990's, Avant Garde Jazz movement of the 1960's and 1970's, Noise, Punk Jazz, Harmolodic Theory, World Percussion, Thrash, Speed Metal, Ancestral Beckonings, Hopefulness/Hopelessness, Optomistic Nihilism, Downfall of Morality, Torturous Mortality, Life, Marijuana, and most importantly the disgust I feel for my immediate environment and the legions of idiots spawned from it."

Still in his early 20's, Stefan has collaborated with musicians from around the world in concerts and recording sessions in several countries and continents. Collaborations include: Yells at Eels, Luis Lopes' Humanization 4tet, German Bringas, Famoudou Don Moye, Remi Alvarez, Alvin Fielder, Sabir Mateen, Chris Parker, Oliver Lake, Tatsuya Nakatani, Curtis Clark, Daniel Carter, Faruq Z. Bey and the list goes on..

Stefan's music is a rare blend of maturity, dynamism and sheer power not to be missed.

“Screwed Anthologies”
Improvised music under the influence of DJ Screw:

David Dove (Houston) – trombone, amplified trombone with effects, PA/Screw tracks
Lucas Gorham (Houston) – guitar, lap steel guitar, effects, loops

“Screwed Anthologies” was originally commissioned by labotanica for the exhibit “Screwed Anthologies”:

About DJ Screw:
DJ Screw interview:
Screwed Up Records and Tapes:

Trombonist, improvisor, composer, and educator David Dove grew up learning his horn in the public school band program, while at the same time playing electric-bass in punk rock groups. Before he was out of high school, he began a period exploring a wide variety of musical styles (including 6 years in the band Sprawl). In the early 1990’s, he became dedicated to free improvisation, intensively experimenting with a small group of like-minded Houston musicians (including New Zealander Paul Winstanley and the then-trio Charalambides). A degree of isolation, an eclectic musical background, and a commitment to creativity eventually led him to conceive of a new approach to music education. In 1997, Dove started working at MECA, an inner-city arts community center, where he began to develop this approach. In 2000, Pauline Oliveros (an important mentor) invited him to start a branch of The Deep Listening Institute (DLI) to further his education goals and bring contemporary musicians to Houston. In 2006, DLI Houston became Nameless Sound, an independent, Houston-based organization. Nameless Sound reaches over 1500 young people in Houston every year through creative music workshops in public schools, community centers, homeless shelters, and refugee communities. Dove has given performances and workshops all over the US and some internationally (Mexico, Canada, Scotland, Vietnam, Germany). He has collaborated with many of his favorite local/national/international artists (some very well known, some less known).

Guitarist, lap steel guitarist, multi-instrumentalist, singer, and songwriter Lucas Gorham first met Dove when he was a teenager in 1999. Lucas was playing guitar in a local ‘rock-en-español’ band. Nurtured on his parents’ record collection and turned on to Cecil Taylor by a hip math teacher, Gorham fit right in with Nameless Sound’s Youth Ensemble. By the time he was 19, Gorham was not only a fine improvisor, he’d gained (through Nameless Sound) experience in workshops with some of the premiere names in creative music (including Pauline Oliveros, Joe McPhee, Eugene Chadbourne, Sam Rivers, Leroy Jenkins, and William Parker). Gorham went on to be a key player in Houston’s music scene (both ‘underground’ and ‘above ground’). He fronts (and writes for) for Grandfather Child, an energetic and hard-rocking band with a soul/gospel influence, performing Gorham’s heart-felt songs. Heavily influenced from his time playing in a charismatic church, Gorham calls his music “church music without the religion”. Gorham’s ecstatic tendencies are even stronger in his “Sad Gorilla” solo sets, where three guitars (two lap steels), his voice, and some looping pedals weave a raw-but-soulful web of grooves (and deconstructed grooves), soul, boogie, drone, noise, and improvisation (sometimes done in ‘guerilla’ style public performance). Gorham isn’t chained to his vision. His wide range and open spirit has made him one of the most active collaborators in Houston’s busy improvisation scene.


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