Archive for the ‘NYSWU Presentations’ Category

NYSWU/Ibeam Trombone Festival 2010

IBeam and NYSWU presents the Second Annual Trombone Festival. The festival spans 5 nights throughout April 2010 and features a diverse roster of trombonists leading their original projects and bands in New York City. The trombonists presented here represent a wide range of approaches to the instrument each with a unique voice in both composition and improvisation.

The month of April is now officially (in the least official way possible) Trombone month in Brooklyn, and to celebrate, NYSWU is teaming up with Ibeam Music Studios to present their second annual Trombone Festival throughout the month. Most events will be held at Ibeam Music Studios, 168 7th Street in Brooklyn, but look out for the Alan Ferber Nonet and Ryan Keberle’s Double Quartet at 58 N6th Media Labs.

$10 Suggested Donation at all shows.

Check out the events below for some mind blowing takes on what it means to make music with a slide and a bell:

CURHA- Tilling the Field Between Music and Anti-Music

This past Sunday, NYSWU was proud to present an evening of music as curated by sound farmer extraordinaire Curtis Hasselbring. Curtis can often be found all across the city bringing beautiful music to the people by way of groups like the New Mellow Edwards and the Curharchestra, and this night was no exception when he graced upon an eager audience the sounds of Decoupage featuring Mary Halverson on Guitar, Matt Moran on Vibes and Satoshi Takaishi on percussion. Described by the maestro as music the “tills the field between music and anti-music”, listeners were treated to a cornucopia of mid-winter flavors as the band breathed life into a very intriguing collection of compositions.

Curtis Hasselbring at the NY Slideworkers’ Union, Jan 17th 2010 by NYSWU

Joe Fiedler: Colorwork, difference tones and art of trio

CURHA’s evening curation was completed by a exploration of multi-phonic compositional strategies by the Joe Fiedler Trio with Sean Conley on upright bass and Satoshi Takaishi on dums. Joe and the band’s playing was not only artfully entertaining, but educational as well when he described between song some of the multi-phonic techniques he has been making a part of his compositions as of late. While you are checking out the recording of the show, read more after the break for some information from Joe about his work with multi-phonics.

Joe Fiedler at the NY Slideworkers’ Union, Jan 17th 2010 by NYSWU

When I first began exploring the world of multiphonics for the trombone (the technique of playing one note while singing another note simultaneously) I was totally consumed with the technique of it. What were the different intervallic possibilities? How could I strengthen my voice to achieve more balance with the “played” note? How could I better achieve a resulting overtone, thereby creating a true triad? These were all techniques that had already been mastered by the great German trombonist Albert Mangelsdorff. After many years of studying Mangelsdorff’s work, dealing with these different technical hurdles and assimilating these techniques into my compositions and improvisations, I feel that I have developed my own take on the fundamentals of this genre. As a result, currently I have been looking to expand the role of multiphonics within composition. Up to this point, the majority of compositions incorporating multiphonics have focused on using the “played” note at the root of the chord. Even when there is a departure from this, the intervals tend to be static 5ths or 10ths. Therefore I have taken on a more pianistic approach to multiphonics, using contrary motion, chromaticism and chordal planing. I have also incorporated more typically used intervals (5ths and 10ths) but with both the played note and sung note as chord tones/extensions–instead of one being the tonic. For example in the beginning of the song #11 the first three chords are Eb, G minor, and C7, with the bass playing the root on all three. Over the Eb I am playing G (3rd) and singing D above (7th), and interval of a 5th, over the Gm I am playing F (min 7th), singing C (11th)-also an interval of a 5th, and over the C7 I am playing E (3rd), singing Bb (dom 7th)-an interval of a tritone. After employing multiphonics in my playing for more than 20 years now, I feel that I am beginning to be able use them as a fully functional musical and chordal voice–moving fully away from the idea of multiphonics as a gimmick or parlor trick.

Please contact me with any questions or comments/

Tailgating Holiday Anthems

Roswell Rudd and Steven Bernstein tailgating true holiday anthems this eve, can't say how great it was to have them here.... Que Viva Ros.

Roswell Rudd and Steven Bernstein in Duo, 12/20/2009

midboggling tasty and useful.

NYSWUY event 5, curated by Josh Roseman

Low End Theory

Recently we were blessed to have the impeccable Dan Peck grace our continuing series of creative slidework creations. Before you say a tuba is not a slide instrument, I’m 100% sure there are at least five slides on the beast that Dan was wrangling, so it count pretty solidly in my book! He sent some thoughts on his DoomQuartet that performed, and here they are for your enlightenment:

I’ve recently rediscovered the initial reason that I was attracted to the tuba: the sound of the incredible low notes that come out of it’s bell. I think that, in an effort to improve technical facility and clarity of sound, the tuba playing community has been focused largely on controlling the middle and high registers of the instrument. And while I love any and all sounds that come out of the tuba, it seems to me that the low/pedal register is all but ignored in creative tuba playing today. This attitude has much to do with my interest in Doom metal, which is a very drone and low sonority based music. So, in my compositions as well as in my improvisations, I am curious to expand my limited knowledge of the depths of the tuba’s true range.

I want to thank Josh for starting this great series. I especially appreciate the open forum aspect of it; I appreciate the opportunity to discuss my ideas almost as much as I do playing them. It’s arguable to what degree creative music necessitates a closed-circle type of atmosphere in order to prosper; but as always, the creative spirit is universal, and comes from a place of collective curiosity. I hope that this series serves as a constant reminder to musicians/non-musicians alike that this curiosity is what keeps everything happening, and is vital to the survival of creative music.


Brian Drye’s Scopa trio, 12.6.09

Brian Drye's trio, hitting hard

Team Scopa, realtime tonecrunch

brian drye 12.06.09 by scrootablelabs

Brian Drye’s Scopa Trio

Brian Drye – Trombone/Compositions

Vinnie Sperrazza – Drums

Geoff Kraly – Electric Bass

Having a chance to curate an evening for the NYSWU was an interesting challenge. My first thought was to bring a new trio I formed this year as an opportunity to perform live. I also thought it would be interesting to pair that with a larger group and I thought of Max Siegel who told me a year ago that he had been writing music for 6 bass trombones and 6 bari saxes. I realized that this would also be a good opportunity to introduce a lot of musicians and trombonists to the series. I’m not sure when I’ll have another opportunity to perform in front of at least 20 other trombonists, many of whom I knew personally but many I was meeting for the first time. This was a sort of unexpected outcome of the event and it was sort of freeing to have so many ears sympathetic to the nuances of trombone. I figured I would be supremely nervous but actually, quite the opposite happened.

Max’s music came across beautifully even for a first reading. Max has a great sense of humor which comes across in his writing. I encourage everyone to check it out. From Max “Thanks again for this great opportunity to get my music read in a great space. We all had a blast and are hoping to do it again soon.” Check back here for more postings and info on upcoming shows.

Brian Drye

Audio recording by Josh Roseman
Reference mix by Wil Farr

Jacob Garchik / Jacob Sacks duo

Mission statement from Jacob, with media shortly to follow-

amazing set that they performed, stay tuned..!!

When I was in my teens and early twenties, I studied jazz by listening to records, learning tunes, transcribing solos, and going to jam sessions. As I grew older I became more involved in contemporary classical music, improvisation, and music from other cultures. My engagement with jazz was less frequent.
Recently I returned to playing jazz on a regular basis, mostly in the form of weekly jam sessions. I was struck by how much I missed it, and how much it lingered in underused parts of my brain. Over the course of a few months I began to remember and sometimes relearn hundreds of jazz standards. I was captivated by this repertoire, an ever-changing list of tunes which is agreed on by unspoken consensus and common practice. Each one is relatively simple but has something that makes it both satisfying to improvise over, time and time again, and satisfying to play the melody at least twice, intro and outro. Some of them have hardly anything to them, like a theme from a Beethoven symphony: Milestones, C Jam Blues, Nutty, Summertime.
I set out to write some music in tribute to compositions like these. I was aiming for brevity, simplicity, repeatability, and transparency, but of course I strove to do it all in my own compositional style. I enjoyed the process and I plan on writing more of these.

Max Seigel, Maximum Slideworking

Max Seigel presented works for 6 bass trombones and 6 baritone saxophones.

Max Seigel presented works for 6 bass trombones and 6 baritone saxophones.

Tonight’s NYSWU meeting at 58N6th Media labs was curated by Brian Drye and was billed as the biggest and most bombastic event yet to be presented as part of our ongoing bi-monthly series of trombone-centric episodes. After a killing set by Brian’s Scopa Trio featuring Geoff Kraly on bass and Vinnie Sperrazza on drums, Max Seigel delivered into the world a most spectacular sound by way of his twelve person unit featuring six bass trombone and six baritone saxophones. Then, as if that wasn’t enough, Max’s “A Dozen Low-Pitched Roses” was interpreted by fourteen trombonist with the help of Kraly and Sperrazza was presented with featured soloist Josh Roseman and and guest bass clarinetist Don Slatoff. This was by far one of the most mind blowing experiences I’ve ever witnessed, and am glad to have shared in the experience with the packed house that was curious to see exactly what’s been going on in the world of New York slide players.

From Drye-the-curator:

Max’s music came across beautifully even for a first reading. Max has a great sense of humor which comes across in his writing. I encourage everyone to check it out. From Max “Thanks again for this great opportunity to get my music read in a great space. We all had a blast and are hoping to do it again soon.” Check back here for more postings and info on upcoming shows.

Brian Drye

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