FIRE MUSEUM EVENTS





Fire Museum Presents:

Nakatani Gong Orchestra

Tatsuya Nakatani (solo)

Tuesday, April 4th 8:00 PM
Icebox Project Space at Crane Arts
1400 N American St
Philadelphia
$7-10 sliding scale

SUPPORT PROVIDED BY PENN TREATY SPECIAL SERVICES DISTRICT


N.G.O. - Nakatani Gong Orchestra:

A contemporary live art sound project, N.G.O. has toured all over North and Central America. This is an ongoing, growing community engagement project and the only bowed-Gong orchestra in existence in the world today. The rich harmonies produced from multiple layers of bowed gongs are simply magic to anyone, engaging and inspiring the spirits of both the player and all who attend.

For each performance in a given city, gong players are selected by a local curator. Most are new to N.G.O. Nakatani gives a specialized training workshop to selected players in preparation for the performance. Players will also experience Nakatani's own unique point of view regarding Gong techniques, and will experience undiscovered dimensions while immersed in the vibrations and sounds during a training workshop. Nakatani is the composer and conductor for the performance.

Nakatani began germinating ideas for N.G.O. in early 2002, and finally took the project to on the road in April 2011. He had performed 87 concerts with N.G.O. all over the USA and Mexico by December 2015. Notable venues include John F. Kennedy Center for the Performing Arts in Washington D.C., MOCA Cleveland, OH, Tigertail productions presented at Miami Dade County Auditorium in FL, Bemis Contemporary Art Center in Omaha NE, Columbia Museum of Art in SC, and The Issue Project Room in New York City.

At colleges, N.G.O. was a kind of Artist in Residence at Allen Hall/Unit One at University of Illinois at Urbana /Champaign. Smith College in Northampton MA, Ohio State University at Bowling Green and Wesleyan University in CT.

In 2012, an LP entitled "Nakatani Gong Orchestra" was published by Taiga records of Minneapolis MN.

Many listener have said "I have never experienced anything like this before!", along with describing a feeling of cleansing a sort of purification after the event. Today, sound based therapy practices use singing bowls and gongs, which result in similar euphonious waves and energies. The primary purpose of N.G.O. is not for spiritual ceremonial purposes or "gong bathing", but the fact is that with over 14 various gong sizes, ranging in diameters from 10 to 50 inches, one can't avoid some of these amazing secondary results.

Tatsuya Nakatani is originally from Osaka-Japan. He has been residing in the USA for 20 years. He is now based in Easton, PA and performs in New York city, but he is best known as a traveling artist for two decades. He crafts the specialized, has made bows and mallets for use in his N.G.O. - bio

Tatsuya Nakatani:

Percussionist Tatsuya Nakatani was born and raised in Osaka-Japan. He currently resides in Easton, PA. He is a renowned recognized Percussionist/Drummer creating his own sound. Nakatani performs and tours all over the world for international Creative Music festivals and New Music festivals. He has taught master artist classes, workshops and given lectures, revolving around his unique sound, at a number of universities. His music has been published over sixty CD recordings in the USA and Europe. He has performed SOLO percussion for the majority of his musical career since the late 1990s at a countless number of venues of many sizes.






Fire Museum Presents :

Alan Sondheim/Azure Carter

Bad Jazz

Isolde Touch


Monday, February 20th 8:00 PM
Da Vinci Art Alliance
704 Catherine Street
Philadelphia
$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."





UPCOMING EVENTS

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Fire Museum Presents
Philadelphia, PA 19125
USA