Sept 20, 2017 — 8pm
$10-20, sliding scale
Fremont Theatre
2393 NE Fremont Portland, OR
May 28, 2017

The Extradition Series 2017 Summer Concert will take place on Saturday, July 22, at Leaven Community Center in NE Portland. The concert will include seven intimate works of mostly 21st-century experimental music, performed by a cast of outstanding regional musicians:

> Samuel Vriezen, “The Weather Riots” (2002): Written for two or more high-pitched instruments, this piece by Dutch composer Vriezen allows each performer to construct his or her own score from the same set of parts, selecting among melodic fragments that can be combined in many ways. The piece will be performed by Lee Elderton (clarinet), Catherine Lee (oboe), and Matt Carlson (piano).

> Giacinto Scelsi, “Ko Tha” (1967): For this solo work, the guitar is treated as a percussion instrument, played with a series of complex rhythms and ringing tones. This performance will feature guitarist Doug Theriault on electric guitars, a break from tradition for this typically acoustic piece.

> Nomi Epstein, “Combine, Juxtapose, Delayed Overlap” (2013): A work for four or more instruments of any variety, each of them limited to three sounds apiece. The title conveys the piece’s entire structure, with musicians playing their sounds either in harmony, following directly one after the other, or overlapping the last seconds of the musician that precedes them. The order of players shifts continually, creating interest from a limited palate. The piece will be performed by Matt Carlson (electronics), Loren Chasse (percussion), Lee Elderton (soprano sax), Matt Hannafin (percussion), Branic Howard (electronics), and Reed Wallsmith (alto sax).

> Taylor Brook, “Alluvium” (2016): A piece for oboe and pre-recorded sound, based on the concept of microtonal drift, which occurs when modulating to different keys in an extended just-intonation context, causing the tonic to gradually drift away from equal temperament. Over the course of the piece, the tape part plays a series of precisely tuned microtonal modulations that gradually drifts the harmony from an E-flat tonal center to a D tonal center, spiraling through unfamiliar harmonic territory all along the way. The piece will be performed by oboist Catherine Lee, for whom it was written.

> Branic Howard, untitled (2017): A work for oboe and electronics, commissioned and performed by Catherine Lee. More details to come.

> Anastassis Philippakopoulos, “Onissia” (2002) and “Song No. 2” from “Two Piano Pieces 2006–2008”: Two simple, spacious solo works by Greek Wandelweiser composer Philippakopoulos, played sequentially by Jonathan Sielaff (bass clarinet) and Matt Carlson (piano).

The Extradition Series is a quarterly concert series presenting composed and improvised New Music and works from the 20th-century experimental tradition. The series is directed by Matt Hannafin and presented by the Creative Music Guild.

Saturday, July 22, 2017
Doors open at 7pm, music starts at 7:30pm
Leaven Community Center, 5431 NE 20th Ave @ Killingsworth, Portland, OR
Admission $5 – $15 sliding scale

http://www.facebook.com/TheExtraditionSeries
https://youtube.com/c/TheExtraditionSeries

June 21st, 2017 — 8pm
5-15, sliding scale
Turn Turn Turn
8 NE KIllingsworth
May 04, 2017

Improvisation Summit of Portland 2017

Featuring: Bobby Previte, Andrea Kleine, Lori Goldston, Sarah Hennies, Jonah Parzen-Johnson, Wobbly, and many, many more…..

Full Schedule and Bios on ISP 2017 site

 

 

 

 

June 7th, 2017 — 8pm (over by 10)
$5-15, sliding scale
Turn! Turn! Turn!
8 NE Killingsworth
May 26, 2017 — 7pm
$7-15 (10 Suggested), sliding scale
Leaven Community Center
May 3rd, 2017
$5-15, sliding scale
Turn! Turn! Turn!
8 NE Killingsworth
May 17, 2017 — 8pm (over by 10)
$5-15
Turn! Turn! Turn!
8 NE Killingsworth
Mar 29, 2017

The Extradition Series 2017 spring concert will take place Saturday, April 22, at Leaven Community Center in NE Portland, featuring six remarkable works of 20th- and 21st-century experimental music, performed by an extraordinary group of regional musicians:

– Toshi Ichiyanagi, “The Field” (1966): A large ensemble will tackle the extreme subtlety of Ichiyanagi’s graphic score, which asks interpreters to assign musical meaning to 17 shapes and patterns spread across a blank field, taking into account considerations of distance, area, and density. The piece will be presented by Matt Carlson (piano), Loren Chasse (percussion), Christi Denton (electronics), John Gross (tenor sax), Matt Hannafin (percussion), Branic Howard (electronics and percussion), Jesse Mejía (electronics), Andre St. James (double bass), Evan Spacht (trombone), and Reed Wallsmith (alto sax).

– John Cage, “Song No. 85” (1970) and “Branches” (1976): Masterful vocalist Michael Stirling will perform the microtonal “Song No. 85” from Cage’s “Songbooks” in simultaneous performance with “Branches,” realized by Loren Chasse, Matt Hannafin, and Branic Howard on seeds, grasses, pine cones, bamboo, amplified cacti, and other natural materials.

– Takehisa Kosugi, “Plus/Minus” (1987): Kosugi’s score consists of 120 plus signs, minus signs, and vertical lines, all arranged in a grid and presented without instructions of any kind. The work will be realized by electronics players Matt Carlson, Christi Denton, Branic Howard, and Jesse Mejía.

– Alvin Lucier, “Wind Shadows” (1994): In this work, two pure wave oscillators play a continuous drone, their close tuning producing a slow pattern of acoustical beats that spin across the performance space. Against this drone, the trombonist sweeps unison and near-unison tones slowly across the spinning waves, alternately calming and agitating the oscillators’ beating patterns. The work will be performed by trombonist Evan Spacht.

– G. Douglas Barrett, “Two Voices” (2008): This graphic score consists of 27 pairs of horizontal lines, some of equal length and some of different lengths. Two performers are instructed to perform “a sustained tone, sound, action, or noise” that corresponds to the length of their individual lines. The music is to be “soft, concentrated, for its own sake.” The work will be performed by John Gross (tenor sax) and Reed Wallsmith (alto sax).

The Extradition Series is a quarterly concert series presenting composed and improvised New Music and works from the 20th-century experimental tradition. The series is directed by Matt Hannafin and presented by the Creative Music Guild.

Doors open at 7pm, music starts at 7:30pm

Check out more on the Facebook event page:
https://www.facebook.com/events/402250876834466/

Mar 23, 2017

The Portland chapter of the Native Plant Society of Oregon & Creative Music Guild present an evening of music based on different native plant communities of Oregon. Pieces will conjure different plant communities while photos or footage of the plants are projected. This event is part of Native Plant Appreciation Week. More information about the weeks’ events can be found at https://npawpdx.org/.

Performers ::

MARISA ANDERSON with SAM COOMES
marisaanderson.bandcamp.com
www.samcoomes.com

SECRET DRUM BAND
www.secretdrumband.com

MIKE GAMBLE, JOHN NIEKRASZ + SAGE FISHER
mikegamble.tumblr.com/
johnniekrasz.wordpress.com
Sage Fisher

DARIO LAPOMA

The Creative Music Guild is a Portland, Oregon all-volunteer, non-profit organization whose mission is to promote experimental, improvised music by presenting concerts, workshops and other events that bring together internationally recognized musicians with local performers, audiences and music students of all ages. For over twenty years, the CMG has been a leader in cultivating Portland’s experimental and improvised music.www.creativemusicguild.org

Native Plant Appreciation Week is put on by the Native Plant Society of Oregon, which has been working tirelessly since 1961 for plant and habitat restoration. NPAW PDX is supported by the Portland chapter of NPSO, which works to protect and conserve threatened and endangered species, carrying out rare plant surveys and monitoring programs, developing guidelines and policy regarding native plant gardening, ethics, grazing, mining, and forest management, and working on plant salvage and re-introduction. The Chapter also sponsors field trips and work parties, involving members in conservation of Oregon’s diverse plant heritage.
https://npawpdx.org/