Karl Fousek (b. 1984) is an electronic musician and composer based in Montreal, Quebec. His works explore the sonorities of modular synthesis and custom audio processing software in a variety of contexts from improvised music, to generative music, to drone and minimalism. As a performer he is committed to the pursuit of a truly “live” electronic music, participating in both concerts for solo synthesizer and in group improvisations alongside electronic and acoustic instrumentation. His music has been published internationally on labels such as Limited Interest (US), Phinery (DK), Spring Break Tapes (US), Adhesive-Sounds (CA), and others; and he has been featured in concert at MUTEK, Cluster New Music + Integrated Arts Festival, The Banff Centre, Sounds Like Audio Arts Festival, Vector Festival, and elsewhere. As a collaborator Karl has worked with Roger Tellier-Craig, Devon Hansen, Yves Charuest, Nicholas Caloia, Dan Browne, and Danny Clay amongst others.

Michael Masaru Flora is a Minneapolis-based sound artist. His interest is in the exploration of sound via research and artistic practice. Working within the intersections of art, science, music, and mathematics, he creates pieces that examine sonic morphology, spatialization, and human perception. Composition is realized through a combination of various digital synthesis methods and processing of recorded sounds. Work is often presented in site-specific multi-channel installations and performances which reveal the unique sonic footprint of the space and allows for the choreography of sound through speaker placement and animation of movement. Flora’s practice has included recording, performance, installation, video, choreography, and curatorial projects. His work has been presented at Stanford University’s Center for Computer Research in Music and Acoustics (CCRMA), St Cloud State University (Minnesota) as well as clubs, galleries, theaters, warehouses, and universities throughout North America. His latest recording “Xi ” was published by Minnesota-based label Sympathy Limited.

Gift Tapes/DRAFT presents Doug Theriault and RM Francis for its third installment of its 2018 program at the Chapel Performance Space, in association with the Wayward Music Series.

Portland-based Doug Theriault makes his first Seattle appearance in five years, performing live cut up guitar improvisations using custom made electronics. Local RM Francis kicks off a string of west coast performances, debuting new work that is sure to convey his innovative approach to computer-generated sound. Join us for this exciting evening of new electronic music.

Presented by Island Consort and Wayward Music Series, From North India to the Northwest celebrates the rich musical connections between artists from diverse musical backgrounds. During one evening, the event will alternate performances by two outstanding ensembles:

From Kolkata, India master sitar player Pandit Debi Prasad Chatterjee will perform alongside Northwest artists Ravi Albright on tabla, and saxophonist Neil Welch (of Bad Luck, King Tears Bat Trip). The artists will explore a fusion of classical and western improvisation.

Whidbey Island-based pianist Sheila Weidendorf leads an ensemble exploring contemporary classical music of Alan Hovhaness, Rebecca Clarke’s Morpheus and more. Weidendorf is joined on stage with Seattle’s James Patterson (french horn) and Roxanna Patterson (viola).

Bounty of the Wayside produces spontaneous song and interludes: lyrical, plaintive and driving, with impromptu-conjured tales of mortals and other beings. There are hints of Ivor Cutler, The Fall, Philip Glass, George Eliot.

Nancy Clarke on violin and backing vocals (Danger Bunny, Honey, Graham Connah)
Jeremy Eaton with words, vocals and snare drum
Kyle Hanson on accordion (The Murkies, Black Cat Orchestra)

There will be snacks during the intermission!

Scrape is a string orchestra with harp and guitar that functions somewhat like a jazz group. There are solo and ensemble improvisations and the compositions are unique to this group. There is no conductor and rehearsals involve a lot of discussion and exchange of ideas.

Scrape began as a conversation between violinist Eyvind Kang and myself. When it was time to activate the concept, Eyvind introduced me to Brianna Atwell who provided valuable assistance in assembling the players. A few years have passed and here we are.

We have a recording available on Origin called Approaching Vyones.

Lea Bertucci is a Brooklyn-based composer and performer whose work describes relationships between acoustic phenomena and biological resonance. In addition to her instrumental practice, (alto saxophone and bass clarinet), her work often incorporates multi-channel speaker arrays, electroacoustic feedback, extended instrumental technique and tape collage. Deeply experimental, her work is unafraid to subvert musical expectation. For this performance she will be playing alto saxophone and tapes, using a mixture of material from her recent album Metal Aether as well as new work inspired by a residency in the extreme acoustic environment of Silo City, a series of cast concrete grain elevators in Buffalo, NY.

Chloe Alexandra Thompson is a Cree, Canadian artist and curator, living and working in Portland, Oregon. Using Pure Data, Arduino, hardware and voice, Thompson creates unique sonic experiences and expressions through the spatialization of isolated frequencies. Thompson’s work has been shown at Unity Gain: High Density Loudspeaker Array, Corridor (Seattle), Littman and White Galleries, Compliance Division, Bronco Gallery, and Variform Gallery. She has also presented in collaborations for Converge45, Disjecta, Out of Sight (Seattle), PICA T:BA:17, SIX for Subharmonic: A Music and Sonic Arts Symposium (PICA), and Nationale.

Jazz: The Second Century brings the progression of jazz into creative motion on the concert stage, presenting Seattle artists selected by a peer panel, performing original work in a concert setting. The series is a continuation of the very first programming initiative of the Earshot Jazz organization, and embodies one of our core values. It offers a current, subtle, perhaps refreshing, un-sentimental look at our city’s engagement with this diffuse, vibrant art form.

Piano and drum duo Dialectical Imagination integrate the creative spirit of free-improvisation with the emotional expressionism of chamber music, which they call “ecstatic music.” After playing together in a number of other groups, Eli Wallace (piano) and Rob Pumpelly (drums) formed a tight musical partnership that explores the full spectrum of expression. Nothing is off limits to these two, from cathartic swells to iconoclastic breaks to resplendent waves. Their ecstatic expressionism does not fit squarely into a musical box, but rather embraces and celebrates the great paradoxes inherent to all art forms.

Jeremy’s Pyramid Scheme, composed by woodwinds performer Jeremy Shaskus is, in his words, “another pebble dropped in the stream of what is classified as music.” Featuring two-time Grammy nominee Nathan Breedlove (trumpet), Joel Bean (organ), and improvising artist Will Lone (drums), Jeremy’s Pyramid Scheme is comprised of established Seattle musicians who can seriously play. While the project shows deference to the music, it also injects it with humor, igniting a sense of playfulness á la John Cage. The group embraces all musical influences, drawing heavily from the American Improvised Genre.

Watch video of the sets by Dialectical Imagination and Jeremy’s Pyramid Scheme, thanks to elhotrod32.

Project Metamorphosis is the creative vehicle for Seattle-based guitarist Daniel McManus. Each performance is unique, incorporating improvisation and collaborations with other musicians or visual artists. This performance will feature San Francisco guitarist Sameer Matta. Both guitarists will be performing compositions for extended range guitar in alternating, interweaving sets.

Sameer’s solo guitar set explores various themes and styles, while always focusing on melody and movement. The set involves frequent use of percussive elements, finger picking and jazzy chords, leading to an overall progressive sound.

Daniel’s performance features meditative reflections on solo guitar, developing narrative themes through the use of loops and structured improvisation. Described as “a series of guitar explorations that form a cosmic emotionalism not quite ambient music and not quite progressive rock,” the music flows between minimalist drone to richly layered melodies.

Jazz: The Second Century brings the progression of jazz into creative motion on the concert stage, presenting Seattle artists selected by a peer panel, performing original work in a concert setting. The series is a continuation of the very first programming initiative of the Earshot Jazz organization, and embodies one of our core values. It offers a current, subtle, perhaps refreshing, un-sentimental look at our city’s engagement with this diffuse, vibrant art form.

New Series One takes their name from a reference on Charles Mingus’ record, Mingus Presents Mingus. The trio – Simon Henneman (guitar), Troy Schefelbein (acoustic bass), Mike Gebhart (hand drums & percussion) – plays in an uninterrupted flow, comfortably moving between melodies, rhythms, and chord changes. The result harkens to the roots of jazz as a very intimate folk music. Henneman sees New Series One as a space for each performer to interact on a shared platform, to interact and listen deeply, finding new places to explore. In an ever-expanding world with multiplying distractions, the group’s search for commonplace and closeness offers a refreshing antidote.

Trombonist and composer Christian Pincock describes his Scrambler project as a “musical mash” that combines large quantities of jazz, several cups of classical music, a tablespoon of folk and a dash of sound effects, whisked together with Soundpainting, a conducted improvisation sign language created by performance artist Walter Thompson. In his Scrambler project, Pincock calls upon some of Seattle’s most innovative improvisers using physical gestures to communicate to them in real time to create a unique feedback loop. Each performance becomes an experiment for the performers and the spectators, who are invited to reconsider traditional roles and hierarchies between the conductor, musician, and audience relationships. The ensemble tonight is Christian Pincock (soundpainting) with Heather Bentley (viola), Greg Campbell (French horn and percussion), Haley Freedlund (trombone), Ryan Kotler (bass), Carol Levin (harp), Kelsey Mines (bass), Remy Morritt (drums), Evan Smith (saxophones), Geoff Traeger (electronics), Evan Woodle (drums), and Jacob Zimmerman (woodwinds).

Watch video of sets by New Series One and Scrambler, thanks to elhotrod32.

The Gratitude Trio, comprised of pianist Dawn Clement, bassist Chuck Deardorf, and drummer Matt Wilson formed in the summer of 2017 and were featured on the Earshot Jazz Festival concert series in Bainbridge Island last Fall. In this special concert, they will be presenting music from Clement’s latest release Tandem, Wilson’s Honey and Salt, and Deardorf’s upcoming CD release. You can hear them live on KNKX on Tuesday, July 16th in support of their Chapel performance.