Fire Museum & The Rotunda Present:
A presentation & performance of Azerbaijani mugham
Friday, February 3rd 7:00 PM
4014 Walnut Street
Jeffrey Werbock will present a program of instrumental solo improvisations based on traditional Azerbaijani mugham, played on oud - fretless wood face short neck lute; tar - fretted skin face long neck lute; and kamancha - skin face spike fiddle.
Azerbaijani mugham is monophonic modal music, highly microtonal, meter free, densely ornamented, composed of complex melodic lines that are somewhat improvised according to the eastern tradition of theme and variation, and convey a mix of sorrow and joy, exhaltation and lament, and an overall sense of both antiquity and otherworldiness.
Mr. Werbock has been giving presentations for well over three decades and has performed often at Lincoln Center, the Metropolitan Museum of Art, the American Museum of Natural History, Asia Society, World Music Institute, and presents lecture demonstrations at colleges and universities all over the English speaking world. He has been awarded an honorary degree by the National Music Conservatory of Azerbaijan, in Baku, and was recently sponsored by the Ministry of Culture of Azerbaijan to perform a solo concert.
Fire Museum & The Rotunda Present:
Grant Calvin Weston
The Out sider/Improv Messenger solo project debut
Thursday, February 16th 8:00 PM
4014 Walnut Street
Grant Calvin Weston:
"Legendary drummer Calvin Weston joined Ornette Coleman's Prime Time at age seventeen and appeared on multiple recordings with the innovative fusion band, including the classic Virgin Beauty with Grateful Dead guitarist Jerry Garcia. For over thirty years, Calvin's progressive and driving approach to drumming has powered recordings with George Adams, Derek Bailey, Samm Bennett, Jean-Paul Bourelly, James Carter, Trevor Dunn, Melvin Gibbs, Eyvind Kang, Billy Martin, Marc Ribot, James "Blood" Ulmer and The Lounge Lizards." - Imaginary Chicago
Grant Calvin Weston has blazed a harmolodic, funkadelic trail through modern jazz. This record is a culmination of recordings made on the West Coast and his hometown of Philadelphia. Weston puts his Midas touch on electronics and acoustic instruments that blow the socks off any jazz-rock poser out there. Listen to the man who funked-up Ornette Coleman in the 1980s.
"Weston lays down a ferocious groove with ecstatic shouts … tugging rhythmic displacements that tease like thunder and lightning throughout." - All About Jazz
Sun Ra Arkestra guitarist D.Hotep uses his Akimbo Research Project to explore differing genres of music -- from composed to improvised to experimental. With Sun Ra Arkestra vocalist/lyricist/violinist Tara Middleton he forms the duo Jupiter Blue, developing lyrical grooves & jazz-sourced vocal soundscapes. This performance will bring the duo together with Sonic Liberation 8 founder Kevin Diehl, providing electronic rhythms & atmospheres, for an exploration of original song, spoken word, and improvisation.
Fire Museum Presents :
Monday, February 20th 8:00 PM
Da Vinci Art alliance
704 Catherine Street
$7-10 sliding scale
Alan Sondheim & Azure Carter (Providence):
"As Disaster Amnesiac listens to Azure Carter and Alan Sondheim's great new CD, Avatar Woman, I keep reflecting on the concept of American Folk Music and its relevance within our culture, currently and in the past. I am also thinking of Pop, but in a way that juxtaposes the more subtle and accomplished blending of styles and influences of Pop from long ago against the more linear and ridiculous form that Pop has morphed into as time has gone on and people have seemingly stopped caring about anything but the most easily comprehended bites.
It strikes this listener that Avatar Woman is a very subtle and beautiful blending of those two elements (among many others, of course). The more overtly Pop feel of the music comes from the clearly intoned alto vocals of Azure Carter. Disaster Amnesiac hears many different influencers within her fantastic delivery: Billie Holiday, Anita O'Day, and Ella Fitzgerald, from that Golden Age of Female Vocalizing, all seem to emerge from her singing. I hear the American Pop reflections of Harry Partch and the Beats from her lyrics, ones that describe and detail the observances of the smaller, but often so much more poignant, aspects of our lives as we live them. In the perfect utopian visionary state that exists in the mind of Disaster Amnesiac, Carter would be as big a figure in the Pop vocal landscape (and the ones of Jazz and Rock, for that matter). Her incantations are mesmerizing in their subtle simplicity, so much more powerful, in their restraint, than those of whichever divas are currently being foisted upon the American public by the Big Money Music Machines of New York and Hollywood. Avatar Woman's Folk element comes not only from Carter's "humble" vision, but also from the Alan Sondheim's artful expression on any number of stringed instruments from all over the globe. He coaxes micro-tones from violin, dan moi, suraz, sarangi, electric guitar, oud, etc. The listener is treated to his subtle backing of Carter's vocals; if one chooses to focus deeper into his playing while the singing is happening, one hears his freaked out aspect. That is to say, the man has such control, he essentially sounds as he is playing completely Free (as in Jazz), even while being an accompanist. Of course, he gets plenty of time to wail and solo, and when those spaces are approached, just be prepared to listen to universes growing and collapsing within their sound worlds. Saxophonists Christopher Diasparra and Edward Schneider give earthy, inward, and rooted contributions to several tunes. The entire ensemble sound is one of controlled, focused torsion; the sounds are close, warm, intimate, even at their furthest ranges. Their control is the control of Folk musicians, working within their own worlds and owning them.
Avatar Woman is fine example of the kind of subtle blends that can so easily happen in America, if only its citizenry cared about such things en masse. Come on, my fellow country men and women, let your Freak Flags fly again!" - Mark Pinto/Disaster Amnesiac
Bad Jazz (San Francisco):
Formed in late 2014, experimental improvisation trio, Bad Jazz, has been taking audiences on improvised auditory journeys that defy the normal explanations of musical theory. Their music is a stream of consciousness, ebbing and flowing from one texture to the next. Although the personnel of the group is variable, key members include Bryan Day, Tania Chen and Ben Salomon. The three met in San Francisco, California but come from a diverse geographic background. Tania is from London, England, Bryan hails from Omaha, Nebraska and Ben originates from Littleton, New Hampshire. Many of the noises emanating from the group come from hand made instruments designed and built by the performers. Other sounds are more traditional, such as piano, random percussion and analog synthesizers. No sound discrimination allowed, whether loud, soft, scratchy or melodic. The only rule is that there are no rules. This makes for new and fresh performances with performance. Bad Jazz's second release, Tincture, is available on Oakland's Friends and Relatives records.
Isolde Touch (Philadelphia):
"The music Asha Sheshadri makes as Isolde Touch is boldly literal.
Perhaps literal is inexact; concrete is closer, as her sounds have
a clarity that ties them directly to their origins (a piano is exactly
a piano). Conceptually she deals in abstraction, but sonically she’s
unafraid to let her sources shine through like light beams where
they could easily be buried in fog... This is organized music whose
physical effects come with a creative agenda, even if that agenda
can be interpreted in many ways."
up is down
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Fire Museum Presents
Philadelphia, PA 19125