The Marshall Allen 95th Birthday Celebration

Ars Nova Workshop Presents

The Marshall Allen 95th Birthday Celebration

The Sun Ra Arkestra, Sounds Of Liberation, Eli Keszler

Thu, June 13, 2019

Doors: 7:00 pm / Show: 8:00 pm

UnionTransfer

Philadelphia, PA

$20.00

This event is all ages

Facebook comments:

The Sun Ra Arkestra
The Sun Ra Arkestra
U.S. free-jazz ensemble that emerged during the mid-'50s. Initially centered around Sun Ra for almost 40 years, the Arkestra went through various incarnations and is still active currently under the leadership of Marshall Allen.

Note: Please use The Sun Ra Arkestra as PAN for only the releases that are a variation of Arkestra.
These few exceptions are not ANVs of the Arkestra and are PANs in their own right: The Sun Ra All Stars, Sun Ra Sextet, Sun Ra Quartet, Sun Ra Trio.

Current lineup:
Marshall Allen - alto saxophone, flute, EVI - joined in 1958
Michael Ray - trumpet, vocals - joined in 1978
Fred Adams - trumpet - joined in 1982
Knoel Scott - alto saxophone - joined in 1979
Vincent Chancey - french horn - joined in 1976
Cecil Brooks - trumpet
Danny Ray Thompson - flute, baritone sax, alto sax, bassoon - joined in 1967
Abshalom Ben Shlomo - alto sax, clarinet - joined in 1970
Rey Scott - baritone saxophone - joined in 1988
Dave Davis - trombone - joined in 1997
Elson Nascimento - percussion - joined in 1988
Craig Holiday Haynes - drums - joined in 1980
D. Hotep - guitar - joined in 2000
Yahya Abdul-Majid - tenor saxophone - joined in 1980
Kash Killion - cello - joined in 1989
Bill Davis - bass - joined in 1962
Tyler Mitchell - bass - joined in 1985
Juini Booth - bass - joined in 1967
Farid Abdul-Bari Barron - piano
James Stewart - tenor - joined in 2011
Craig Harris - trombone
Wayne Anthony Smith Jr. - drums
Tara Middleton - voice, percussion, violin
Atakatune (Stanley Morgan) - conga, timbal - joined in 1972
George Burton - piano - joined in 2015
Eli Keszler
Eli Keszler
New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”
Venue Information:
UnionTransfer
1026 Spring Garden St
Philadelphia, PA, 19123