Roulette
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New in The New York Times Sunday Arts & Leisure section: my exit interview with the great trombonist and composer Jim Staley, who co-founded the essential new-music institution Roulette in 1978, and replanted it in his NYC loft in 1980, as he prepares to step away from leadership in June after 45 years.
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I find the implication that there are “ears” everywhere, at every point in a world, a fascinating concept, even if it is rather hard to imagine. It implies that position might be more important than time in hearing; and that the sounding configuration of a world can be understood (differently) from an infinite number of
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Last night at Roulette, Jeremiah Cymerman, Mario Diaz de León and Toby Driver shook the walls with arcane music and occasionally lacerating volume as BloodMist, a new project that had its debut after several days of workshops. More thoughts to come; for now, more poor iPhone photographs.
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"Avant-Garde Dancing Feet, Tickling Composers' Minds"The New York Times, March 18, 2011 An article about the making of Music for Merce, a newish 10-CD box set issued by the invaluable New World record label. The box is devoted to a well-chosen cross-section of the myriad musical scores that came into being through the auspices of
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Missy Mazzoli and Friends! at Roulette and Korean Symphony Orchestra at Carnegie HallThe New York Times, June 3, 2010 I'm not positive, but the Missy Mazzoli review might have been a web-only exclusive.
Night After Night 