McQuarry, Kleinman & Smith Trio at the Cadillac

"Keyboardist Steve McQuarry, bassist Craig Kleinman and drummer E. “Doc” Smith brought their brand of electric jazz and fusion to the Cadillac Hotel on Friday, September 19th @ 12:30 pm. The MKS Trio performed some of the music of Herbie Hancock, Weather Report, Catalyst, Jaco Pastorius and Billy Cobham. Concerts at the Cadillac is a free concert series open to the public. The purpose is to provide high-quality music for the residents of the Cadillac Hotel and San Francisco’s Tenderloin District. Everyone is welcome. Dedicated to the power of music to uplift and inspire.


The Cadillac Hotel is also home to the Patricia Walkup Memorial Piano, a meticulously restored 1884 Steinway Model D concert grand piano. The case is of Indian Rosewood and the old growth spruce soundboard is the piano’s original. The piano spent its first 70 years or so in a castle in Holyoke, Massachusetts. It was shipped from New Haven, Connecticut, to the Cadillac Hotel in June, 2007. This beautiful instrument is maintained on a regular basis by Shawn Skylark (Registered Piano Technician, Piano Technicians Guild).


McQuarry grew up in a home filled with his Mom’s piano playing, in Denver Colorado. He studied at the Eastman School of Music, University of Colorado at Denver, Berklee School Of Music, University Of California San Diego and Alexander University. He is an active member of the Audio Engineering Society (AES), the performance rights organization, Broadcast Musicians, Inc. (BMI), the Electronic Music Foundation (EMF), the American Society of Music Arrangers and Composers (ASMAC), the Society For Electro-Acoustic Music in the United States (SEAMUS) and Chamber Music America (CMA).


McQuarry has performed with distinguished artists such as the late Dizzy Gillespie, Clare Fischer, Louie Bellson, Red Rodney (Charlie Parker), Tom Scott, the late John Cage, Laurie Anderson, Vinnie Colaiuta (Sting, Herbie Hancock, Frank Zappa), Nathan East (Eric Clapton, Herbie Hancock, Bob James), Bill Rich (Jimi Hendrix, Buddy Miles, Taj Mahal), the Colorado Symphony Orchestra and Billy Cobham.


McQuarry and Kleinman met a dozen years ago, during their days of playing clubs in and around San Diego. After both relocated to the Bay Area, they reunited and sought out a project that would allow each to explore McQuarry’s electric jazz keyboard wizardry, as well as the fusion music of Miles Davis, Jan Hammer, Weather Report’s Joe Zawinul and Jaco Pastorius and Billy Cobham. McQuarry recommended Smith, a like-minded soul from his work with bassist Edo Castro, and after a few sessions, the McQuarry, Kleinman & Smith trio was born.


In addition to this recent project, McQuarry leads several ensembles, including his critically acclaimed Resonance Jazz Octet, (which will make it SF Jazz Center debut on October 18th); the Stephen McQuarry Trio with Resonance alum Ted Burik and Greg German; an all-horn and woodwind ensemble; an electric quartet with Resonance’s Michele Walther on electric violin, Burik and Smith; and is composing and recording on his indie label, Mandala Records as well as working on orchestration projects in the film community. McQuarry explained that someday you might even find him “on a pink sand beach with Sherre eating a conch salad…”


Here's a brief video clip of McQuarry, Kleinman & Smith Trio, featuring Steve McQuarry (keyboards), Craig Kleinman (bass) & E. Doctor Smith (drums) performing an excerpt from the Miles Davis/Marcus Miller tune "Tutu" and Billy Cobham's "Red Baron" at the Cadillac Hotel in San Francisco.

Excerpt from Tutu & Red Baron - McQuarry, Kleinman & Smith Trio from E. Doctor Smith on Vimeo.

The 15th Annual SF Electronic Music Festival

For the past 15 years, the San Francisco Electronic Music Festival (SFEMF) has brought internationally acclaimed musicians to the Bay Area, becoming the premiere festival dedicated to the genre. The festival began last night at the Exploratorium with the Kanbar Forum, David Dunn, Headboggle + Caitlin Denny, and continues from September 12th–14th. SFEMF will present artists working with analog synthesizers, home-brewed electronics, laptop-generated sound, processed live acoustic instruments, amplified found objects, projected video, improvisation, and performance art. This year’s festival opens at the Exploratorium with field recording maverick David Dunn and antic keyboardist Head Boggle with live visuals by Caitlin Denny.


Interested in site-specific interactions and research-oriented activities, David Dunn creates a new view of the environmental world through music. He has received over 35 grants and fellowships for both artistic and scientific research, including the Alpert Award (2005), the Henry Cowell Award from the American Music Center (2007), and, most recently, an Artist Award Grant from the Foundation for Contemporary Arts (2013).


Derek Gedalecia, a.k.a. Head Boggle, creates electronic keyboard-based soundscapes that blend lowbrow and highbrow art, music, and comedy into an ecstatic improvisational style with carefully crafted musical support. For his Opening Night performance, Head Boggle will collaborate with Caitlin Denny, a video artist and curator concentrating on performative technologies and interactive creation.


The San Francisco Electronic Music Festival is an artist-run organization presenting works that span the sonic spectra by participants ranging from emerging artists to respected pioneers of the field.









Friday, September 12th 8pm

BRAVA THEATER CENTER

Aki Onda
, Joker Nies
, Sarah Davachi

Saturday, September 13th 8pm

BRAVA THEATER CENTER

:zoviet*France:
, Christina Stanley
, Xo Xinh

Sunday, September 14th 8pm

BRAVA THEATER CENTER

Nicolas Collins
, Ezra Buchla
, Julia Mazawa

Tickets are available through Brown Paper Tickets

Allan Holdsworth Returns to Yoshi's

Allan Holdsworth, one of the world’s best known guitarists returned to Yoshi’s in San Francisco last Tuesday and Wednesday, before wrapping up his amazing 3 day stint at Yoshi’s in Oakland on Thursday. Holdsworth has been thrilling audiences the world over for several decades; I first saw him with the legendary Tony Williams Lifetime band of the mid-seventies, and months later with his fellow Brits in the celebrated prog-rock super group U.K., featuring Roxy Music’s Eddie Jobson, and King Crimson’s John Wetton and Bill Bruford. Holdsworth would soldier on with his own groups like I.O.U and assorted trios, displaying the genius he has become known throughout the world for. Many critically acclaimed albums would follow; his guitar synth forays with “Atavachron”, “Road Games”, “Metal Fatigue”, “Sand”, “Secrets”, “Wardenclyffe Tower”, “Hardhat Area” and “Sixteen Men of Tain” in 2000.


Fans of the guitarist will no doubt recall his tribute to the late Williams, “Blues for Tony”, culminating in a CD and DVD recorded live at Yoshi’s a few years ago, featuring Lifetime alum, keyboardist Alan Pasqua, drummer Chad Wackerman and bassist Jimmy Haslip. Haslip rejoined Holdsworth for this tour, alongside drummer Virgil Donati and a new keyboardist Dennis Ham. Holdsworth didn’t disappoint this time around either, running through a gamut of some of his best known tunes with poignant soloing and his humble wit; “Red Alert”, “Proto Cosmos”, and “Fred” from the aforementioned tribute album; “Texas” and “Above and Below”, (my personal favorite), from his most recent album, “Sixteen Men of Tain”; as well as a few classics, including “The Things You See When You Haven’t Got Your Gun”, “Madame Vintage”, “Water on the Brain” and “Letters of Marque”.


Each of these tunes were punctuated by the energetic Donati, who performed like a man possessed, and the ever pleasing Haslip; a masterful bassist who thrilled fans worldwide during his tenure with the jazz group, the YellowJackets. Ham, a recent addition had big shoes to fill in Pasqua’s absence, however he was more than up to the task; his Jan Hammer-like guitar/synth samples were so amazing, many in the audience thought they were hearing Holdsworth, until they realized it was Ham playing those parts as Holdsworth stood silently by, waiting to re-enter the fray.


Long time fans are hopeful for new music from the maestro; his last album was quite a few years ago; however Holdsworth appears rejuvenated and his catalogue reborn under the watchful eyes of Leonardo Pavkovic and his MoonJune Record label; we may yet see something new indeed. In the meantime, enjoy the brilliant Allan Holdsworth whenever and wherever you can. There is no one else like him, and there never will be. He is truly, inimitable.

Chingari’s “Bombay Makossa”

One of the world’s best percussionists, Ranjit Barot has joined forces with bassist Etienne Mbappe and U. Shrinivas on mandolin, to create a fabulous new album, due to be released on September 10th. “The word chingari literally means ‘a spark’ in Hindi,” explains Barot. The internationally renowned, Mumbai-based composer and drummer has taken the word as the name for a new trio featuring himself, Southern Indian mandolin virtuoso Shrinivas, and Cameroonian bassist and vocalist Mbappe. “My thought behind the name was a spark, yes,” he adds, “but one which lights a big fire.”


“On their debut album Bombay Makossa – available September 16, 2014 on the Abstract Logix imprint – the three musicians mine their richly divergent experiences to create a dynamic, fluid hybrid sound that fuses the rhythmic intricacy and improvisational fervor of South Indian Carnatic music with the infectious buoyancy of Cameroonian sounds, bridged by a shared love of jazz, second-line funk, and the shimmering textures and grooves of modern pop.


“I’ve always been fascinated by the meeting points in our different cultures,” Barot explains. Chingari began as his vision, the lineup drawing upon connections he had made within both western jazz- and rock-influenced settings and Indian classical music. “I’ve had the pleasure of performing with Mandolin U.Shrinivas, and Etienne and I have toured extensively with John McLaughlin’s 4th Dimension,” he continues. “So I understood and was familiar with how the rhythm section would sound and feel like. It was only when I heard Etienne sing with his band Su La Také that I felt that the worlds of India and Africa could collide in the most beautiful if ways. And who better to compliment this idea but one of India’s most cherished sons, Mandolin U. Shrinivas.”


“After few months of playing together with 4th Dimension,” Mbappe recalls, “Ranjit told me about this project. I was really excited by the idea and to play with U. Shrinivas, whose playing I knew from his work with John’s Remember Shakti band. And, from hearing Ranjit’s first album Bada Boom, I knew he was a great writer.”


“Despite our different styles of playing,” Shrinivas says, “I feel we share the enthusiasm to bring about some great music. Ranjit is a great musician whom I adore. We’ve known each other for many years, and when he asked me if I could play in this album I immediately said yes. As for Etienne, I first heard him play with John McLaughlin, and could tell he was also an incredible musician.”


Indeed, Mbappe’s nimble, flexible baselines and hauntingly soulful vocals form the focal point of Bombay Makossa. Barot, the album’s primary composer, explains, “All the melodies I wrote were keeping Etienne in mind as the medium through which they would be expressed. His voice, his timbre, these were things I was familiar with by now and the songs were specifically written to address those aspects of his personality.”


“I just embraced Ranjit’s compositions naturally,” Mbappe explains. “He gave me the liberty to develop and sometimes suggest alternate basslines and grooves. Same for the vocal melodies. Some were already written and I just wrote lyrics in Douala, my mother tongue. I also created some new melodies and lyrics where needed. Sometimes, for the lyrics, Ranjit gave me a title of a song or told me a story, and I let my mind go. The music talked to me, and the inspiration was there.”


“I heard Shrinivas,” Barot continues, “as narrative vessel from India who would ‘answer’ Etienne, so to speak, through his own unique mode of expression.” Before his tenth birthday, U. Shrinivas was already impressing audiences with his uncanny ability to adapt the mandolin to the demanding rigors of traditional South Indian music. While keeping his roots in the Carnatic tradition, Shrinivas has sought a wide range of outlets for the ecstatic, almost vocal quality of his playing. George Harrison numbered among his fans, and he has been featured as a member of Remember Shakti, alongside guitarist John McLaughlin and Zakkir Hussain. Wielding a six-string electric instrument, his performances on Bombay Makossa make full use of his formidable technique, resourcefulness, and willingness to probe boundaries and explore new territory.


“Most of the pieces were tricky to perform,” Shrinivas says of Barot’s intricate, multi-part compositions, “and yet, Ranjit gave me a lot of freedom to play in my own style without disturbing the structure of the tracks. Each one was different, and I felt that I had to do justice to every one of them.”


Bassist Mbappe is no stranger to complexity, having played a pivotal role in legendary fusion guitarist John McLaughin’s kaleidoscopic 4th Dimension quartet since 2009. Mbappe’s gift for tackling the most challenging rhythmic structures with ease and fluency first won the Cameroon-born and Paris-based musician membership in the bands of Salif Keita and Manu Dibango. Now, in addition to performing with the 4th Dimension, he can be heard in the all-star fusion group the Ringers with Jimmy Herring and Wayne Krantz, as a solo artist, and with the multi-faceted Su La Také.


As producer and composer, Barot faced the daunting task of reconciling each member’s respective musical style and forging a coherent, compelling new sonic identity. Such eclectic undertakings are not unfamiliar to Barot however, as his distinguished career has found him excelling in as a composer Bollywood’s competitive film scene and as a distinctive drummer more western-influenced contexts. The son of Sitara Devi, India’s famous traditional Indian dancer, Barot is also steeped in Indian traditions, as demonstrated by his mastery of konnakol– the Carnatic tradition of spoken percussion syllables, which he demonstrates on Bombay Makossa.


“My time spent working in films has given me a cinematic approach to viewing certain aspects of my music,” Barot explains, lending insight into his writing process. “Not in a grandiose way, but more in the storytelling aspects of composition that I learned while scoring films. Then there’s the rock angle which is a large part of my vocabulary. I grew up playing in local rock bands in Bombay, both progressive and completely visceral. And of course, jazz and the blues.”


And the result is Bombay Makossa: an unprecedented synthesis of international traditions that reflects the vast legacies involved while still emerging as wholly organic, uniquely personal, and even conversational its musical exchanges. “This music brings Africa really close to India,” Mbappe concludes. “Even though these are two major places with their own huge musical culture and so many different rhythms and dances, a project like this doesn’t exist as far as I know. U. Shrinivas, Ranjit, and myself grew up in very musical neighborhoods, surrounded by a lot of different rhythms. We share the same love of celebrating life, and music is a huge part of our lives. It is all soul food and love, and with this album, we’re just warming up.”

Wil Blades, Skerik, Mike Clark and Jeff Parker Come to the Boom Boom Room

Organist Wil Blades returns to the Boom Boom Room at Fillmore & Geary this Friday and Saturday night, with a stellar band in tow. On the heels of his wonderful album “Shimmy” with Medeski, Martin and Wood drummer Billy Martin, and his newest release “Field Notes”, Blades rolls in with the amazing saxophonist Skerik, (fresh from a reunion in Austin with Seattle’s Critters Buggin’); Mike Clark, (Herbie Hancock’s drummer from his original Headhunters band), and guitarist Jeff Parker. Parker joined Blades and drummer Simon Lott on the aforementioned Field Notes. If you saw and enjoyed the Shimmy show last year with Martin, (and with a horn section to boot), you will love this line-up.


Blades’ Field Notes


Released on the Royal Potato Family label, his latest effort as described on the their website, states, “When Wil Blades sits down at the Hammond B3, count on inspired music to follow. The 34-year old, Chicago-native, Berkeley-based artist is a cornerstone organist of his generation—a modern voice in a lineage that includes giants like Richard “Groove” Holmes, Charles Earland and Brother Jack McDuff.


Having studied at the feet of the legendary Dr. Lonnie Smith and played alongside the likes of John Lee Hooker, Melvin Sparks and Idris Muhammad, Blades has absorbed the spirit of the masters. His extensive collaborations also reflect the high regard in which he’s held by contemporaries, including Stanton Moore, Anders Osborne and Nicholas Payton.


Having released a critically acclaimed co-led duo album Shimmy with Medeski Martin & Wood drummer Billy Martin in 2012, Blades returns with a deeply soulful and sinuous nine-track effort,Field Notes, on which he’s found fronting his own trio featuring Tortoise guitarist Jeff Parker and New Orleans’ drummer Simon Lott.


From the recording’s outset, it’s easy to picture Blades fingers free-flowing across the keys, feet gliding along the bass pedals in a continuous dance. Syncopation drives songs like “Miller’s Time” and “Addis” as the trio locks in tight to a relentless groove. But there’s also a refined harmonic vision and deep affection for melody on tracks like “(I Can’t Stand) The Whole Lott of You” and “Dewey” where Blades’ Clavinet adds a fresh sonic dimension to the proceedings. Shades of psychedelia are weaved within “Parks ‘N’ Wreck,” while a tip of the hat to vintage soul jazz balladry informs “Forgetful” and classic pop swing is at the heart of “I Get The Blues When It Rains.”


In its sum, Field Notes is a masterful statement from an artist who’s poised to keep the timeless sound of the Hammond B3 organ as vital and compelling today as it’s ever been in the history of modern jazz and rock…”


Being a huge fan of great organ trios and duos like those of the late Larry Young, Brian Auger, Joey DeFrancesco and more recently Jared Gold, I loved Blades’ Shimmy album and from what I’ve heard of Field Notes, you won’t be disappointed with this latest effort either. As for the rest of the group; Skerik was one of the driving forces behind Critters Buggin’, a group I saw many times in Seattle, with bassist Brad Hauser and drummer Matt Chamberlain, (known also as the rhythm section of the New Bohemians); Having seen the Headhunters back in ’74, Mike Clark is one of the funkiest drummers to ever grace the kit, and his grooves on Herbie Hancock’s “Palm Grease” and “Actual Proof” are still the stuff of legend; Parker’s guitar work with Tortoise was always tasty and it’s a treat to hear him alongside Blades. This is going to be a good one folks.


Boom Boom Room Presents presents


Mike Clark (Headhunters),Skerik (Les Claypool),


Wil Blades (Stanton Moore), Jeff Parker (Tortoise)


Friday, August 15th and Saturday August 16th @ 9:00


Tickets $18

Dave Weckl’s Acoustic Band Comes to Yoshi’s

One of the most prolific drummers to ever grace the skins, Dave Weckl has played with a veritable who’s who of musical greats; alongside bassist Victor Wooten in Chick Corea’s Elektric Band, the late, great saxophonist, Michael Brecker, or Contra-bass master Anthony Jackson, guitarists George Benson and Mike Stern to name but a few. Weckl returns to Yoshi’s in Oakland, this time leading his own, all-acoustic quartet in support of his newest album.


Dave Weckl, Modern Drummer’s Hall of Fame-er and among the top 25 drummers of all time, launches his first band, tour and recording in over a decade. With Makoto Ozone on piano and keys, Tom Kennedy/bass and Gary Meek/saxes the Dave Weckl Acoustic Band is charged with riveting chemistry, ebullient communication and rare telepathy that engages audiences to their rapt delight.


Early on, it was Peter Erskine who recommended Dave for French Toast, a Michel Camilo band. Next legendary bassist Anthony Jackson suggested Dave for the Simon and Garfunkel Reunion Tour in 1983. Following this, Dave was regularly being called for recording dates with among others George Benson, Diana Ross and Robert Plant.


In 1985, Michael Brecker suggested Dave to Chick Corea for Chick’s Elektric Band. That began a seven year relationship with Chick Corea touring internationally and famously with both the Elektric and Akoustic Bands.


As a solo artist, Dave recorded and produced nine recordings including GRP/MCA solo releases Masterplan, Heads Up, and Hardwired. In 1998, Dave realized his long-time goal of forming a world-touring band. The Dave Weckl Band who released five studio records, including Rhythm Of The Soul, Synergy, Transition, Perpetual Motion, and Multiplicity as well as a live album, LIVE (And Very Plugged In) and a compilation of DWB and instructional videos entitled The Zone.


Along with his own projects Dave continues sideman work with Mike Stern, Chuck Loeb, Oz Noy, and Chris Minh Doky and the Nomads among others. When off the road, Dave does session and production work, teaches annually at Drum Fantasy Camp and continues to produce many popular instructional video/DVDs and play-along packages.


–


MAKOTO OZONE/piano & keys

Makoto Ozoneigned with CBS Columbia right after the graduation from Berklee College of Music and released the first self-titled album “Makoto Ozone” in 1983 along with his debut Solo Recital at Carnegie Hall in NYC. Makoto has recorded over 20 albums for Verve/Universal since 1994. A duet album with Gary Burton “Virtuosi” was nominated for a the 45th Grammy in 2003 for “The Best Classical Crossover” category. Makoto also has been performing classical repertoire including Mozart, Beethoven, Shostakovich, Bernstein, Gershwin, Rachmaninov since 2003′ with world’s major orchestra such as New York Philharmonic, Orchestre de chambre de Paris, NDR symphony orchestra, NHK symphony orchestra, Sinfonia Varsovia and more.


GARY MEEK/sax

As a sideman Gary has a longstanding relationship with keyboardist Jeff Lorber and is featured prominently on his last several recordings. Gary has also toured with many others including Herb Alpert and Al Jarreau and frequently teams up with long standing friends Flora Purim & Airto. Since 2011 Gary Has been working for the Monterey Jazz Festival as a “Traveling Clinician.”


TOM KENNEDY/bass

These reviews say it all! Bass Musician Magazine “It would be hard to overstate Tom Kennedy’s mastery of jazz bass, with a resume that runs as deep as his groove and feel.” LA Weekly “Tom Kennedy’s playing is nothing short of inspiring.”

The 13th Annual Outsound New Music Summit

One of the Bay area’s best music festivals, The 13th Annual Outsound New Music Summit, July 27–August 2, 2014, returns to the Community Music Center at 544 Capp Street in San Francisco. The New Music Summit is co-presented by KFJC 89.7 FM.


Featured during the annual festival will be poets collaborating with unique electro-acoustic settings; a night of experimental guitar solos and duos; a cue-led improvising orchestra, vocal and student workshops, the “Touch the Gear” Expo and acoustic/electric ensembles pushing the edge of sound.


Sixteen performances will take place throughout the week, and will include the first poet to experiment with jazz, Ruth Weiss. Dubbed by writer Herb Caen as “the goddess of the beat generation,” Ruth will collaborate with buchla synthesis pioneer Doug Lynner. The Summit will also feature world premieres by the Emergency String (X)tet, the Deconstruction Orchestra; Pitta of the Mind; the world-renowned Henry Kaiser; and the Teddy Rankin-Parker/Daniel Pearce Duo performing new works by Renee Baker.


“The New Music Summit is a beacon for some of the most creative of the San Francisco Bay Area music scene,” said Outsound Presents founder, Executive Director and curator, Rent Romus. “We feature rare and intriguing world premieres, amazing unknown young artists, and seasoned unsung masters deserving of more credit across the music and performance spectrum. The Summit is important on the West Coast because it supports the local community in a fun and engaging festival environment.”


The Festival begins on Sunday, July 27 at 2 pm with a music improvisation workshop for all levels led bypianist, composer, and educator, Thollem McDonas, followed in the early evening by the popular and free Touch the Gear Expo from 7-10 pm. A hands-on experience with sound-producing gear and instruments, Touch the Gear is an interactive, family-friendly event that allows the public to roam among 25-30 musicians and instrument inventors with their various different configurations of “gear”—everything from oscillators and electronics, to planks of wood with strings attached. An avant-garde “Maker’s Faire,” all attendees get to make sound and experience how the instruments work, in an environment that demystifies technology, while inspiring creativity. This event is free to the public.


Monday, July 28 at 8 pm, Thollem McDonas and participants from the Sunday improvisation workshop will perform a set of structured and free improvisation. This event is free to the public.


On Wednesday, July 30 beginning at 8:15 pm, the New Music Summit presents a night of spoken word and poetry with electro-acoustic music, dubbed PoetryFreqs, featuring Pitta of the Mind (Maw Shein Win and Amanda Chaudhary); one of the first American jazz beat poets ruth weiss with electronic pioneer Doug Lynner; the debut of Watkins/Trammel/McZeal (Zachary James Watkins, and Marshall Trammell) with award winning poet Amber McZeal which will run the gamut from bebop to soundscapes.


Thursday, July 31 at 8:15 pm will showcase six talented and provocative guitarists in a program simple entitled Guitars. The four sets, presented by Henry Kaiser, Amy Reed & Ross Hammond, Noah Phillips & John Finkbeiner, and Sandy Ewen & Jakob Pek, will stretch the limits of the instrument crossing the borders of electronics to found objects and everything in between. 

Friday, August 1 at 8:15 pm will bring two extremes together in a program entitled Constructions, with the Teddy Rankin-Parker/Daniel Pearce Duo, premiering new works by renowned composer Renee Baker, commissioned by RPPD specifically for the Outsound Summit. The Deconstruction Orchestra, a mass ensemble of 25 leading Bay Area improvising musicians led by tenor saxophonist and composer Joshua Allen, who will perform the debut of The Structure of Sound and Space, an original deconstructivist-inspired suite of cell structure game compositions, melding together post-modern, free jazz and non-idiomatic improvisation.


The final day of the Outsound New Music Summit, Saturday, August 2, will present an afternoon vocal workshop with bodywork/energywork master Jill Burton entitled Transformational Voiceat 1 pm. Later that evening, beginning at 8:15 pm will be the program Improvisations, featuring three different groups of improvisers exploring the language of the unknown—Obstreperous Doves (Karl Evangelista, Bill Noertker, Nava Dunkelman, Christina Stanley, and Jordan Glenn); Emergency String (X)tet (Mia Bella D’Augelli, Jeff Hobbs, Christina Stanley, David Michalak, Doug Carroll, Kanoko Nishi-Smith, and Bob Marsh), who will premiere a new work in celebration of Bob Marsh’s 70th birthday; and the Jill Burton Trio (Jill Burton, Tim Perkis, and Doug Carroll) who will be collaborating for the first time.


For event details including the list of performers, biographies and information about the 2014 Outsound New Music Summit, visit www.outsound.org/summit. Artists and schedule subject to change.


Who: Outsound Presents, a nonprofit arts organization

What: 13th Annual Outsound New Music Summit, Presented by Outsound Presents and KFJC 89.7FM

When: July 27–August 2, 2014

Where: Community Music Center, 544 Capp Street, San Francisco, CA, 94110. All Ages, Wheelchair Accessible

Prices: All tickets are available for sale in advance on brownpapertickets.com

Four-Night Festival Pass: $50; $45 in advance

July 27: Thollem McDonas Improvisation Workshop: $15

July 27: Touch the Gear Expo: FREE

July 28: Improvisation Workshop Performance: FREE

July 30: PoetryFreqs: $15 general, and $12 students/seniors.

July 31: Guitars: $15 general, and $12 students/seniors.

August 1: Constructions$15 general, and $12 students/seniors.

August 2: Jill Burton Transformational Voice Workshop $15

August 2: Improvisations: $15 general, and $12 students/seniors.