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Coleman's, Steve Natal Eclipse: Morphogenesis (Pi Recordings)

Steve Coleman's Natal Eclipse brings together 9 musicians in a chamber jazz setting without a drum set--Jonathan Finlayson (trumpet), Jen Shyu (vocals), Matt Mitchell (piano), Mara Grand (tenor sax), Rane Moore (clarinet), Kristin Lee (violin), Greg Chudzik (bass), and Neeraj Mehta (percussion)--performing 9 of Coleman's sophisticated original compositions.
 

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UPC: 808713006926

Label: Pi Recordings
Catalog ID: PI 69
Squidco Product Code: 26255

Format: CD
Condition: New
Released: 2017
Country: USA
Packaging: Digipack
Recorded at Systems Two Recording Studios, in Brooklyn, New York, on September 23rd, 24th and 25th, 2016, by Joe Marciano and Max Ross.


Personnel:

Jonathan Finlayson-trumpet

Steve Coleman-alto saxophone, composer

Jen Shyu-vocals

Matt Mitchell-piano

Mara Grand-tenor saxophone

Rane Moore-clarinet

Kristin Lee-violin

Greg Chudzik-bass

Neeraj Mehta-Percussion

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Artist Biographies:

"Jonathan Finlayson has been recognized by the New York Times as "...an incisive and often surprising trumpeter," who is "...fascinated with composition." Born in 1982 in Berkeley, CA, Finlayson began playing the trumpet at the age of ten in the Oakland public school system. He came under the tutelage of Bay Area legend Robert Porter, a veteran trumpeter from the bebop era who took Finlayson under his wing; he was often seen accompanying Porter on his gigs about town and sitting in on the popular Sunday nights jam session at the Bird Cage. He subsequently attended the New School for Jazz and Contemporary Music where he studied with Eddie Henderson, Jimmy Owens and Cecil Bridgewater.

Finlayson is a disciple of the saxophonist/composer/conceptualist Steve Coleman, having joined his band Five Elements in 2000 at the age of 18. He is widely admired for his ability to tackle cutting-edge musical concepts with aplomb. Finlayson has performed and recorded in groups led by Steve Lehman, Mary Halvorson, Craig Taborn, Henry Threadgill and played alongside notables such as Von Freeman, Jason Moran, Dafnis Prieto and Vijay Iyer."

-Jonathan Finlayson Website (http://jonathanfinlayson.com/biography.html)
11/14/2018

Have a better biography or biography source? Please Contact Us so that we can update this biography.

"Steve began playing music just days before his 14th birthday as a freshman at South Shore High School on the south side of Chicago. His first instrument was violin but later that year he switched to the alto saxophone. For three years Steve studied the basics of music and saxophone technique, then he decided that he wanted to learn how to improvise. Looking for the best improvising musicians to listen to is what brought Steve to the music of Charlie Parker, although it helped that his father listened to Parker all the time. After spending two years at Illinois Wesleyan University Steve transferred to Roosevelt University (Chicago Music College) in downtown Chicago in order to concentrate on Chicago's musical nightlife. Specifically Coleman had been introduced to the improvisations of Chicago premier saxophonists Von Freeman, Bunky Green, Gido Sinclair, Sonny Greer and others and he wanted to hang out and learn from these veterans. By the time he left Chicago in May 1978, he was holding down a decent gig leading a band at the New Apartment Lounge, writing music, playing Parker classics, and getting increasingly dissatisfied with what he felt was a creative dead end in the Chicago scene.

After hearing groups from New York led by masters like Max Roach, Art Blakey, Woody Shaw, The Thad Jones-Mel Lewis Orchestra, Sonny Rollins, etc. come through Chicago with bands that featured great players with advanced musical conceptions, Steve knew where he wanted to go next. He felt he needed to be around this kind of atmosphere in order to grow musically.

Hitchhiking to New York and staying at a YMCA in Manhattan for a few months, he scuffled until he picked up a gig with the Thad Jones-Mel Lewis Big Band, which led to stints with the Sam Rivers Big Band, Cecil Taylor's Big Band and others. Soon he began cutting records as a sideman with those leaders as well as pivotal figures like David Murray, Doug Hammond, Dave Holland, Mike Brecker and Abbey Lincoln. However it was really the influence of Von Freeman and Bunky Green in Chicago, Thad Jones, Sam Rivers, Doug Hammond in New York and listening to recordings of past improvising masters and music from West Africa that got Coleman turned around musically. . The most important influences on his music during this time were listening to tenor saxophonist Von Freeman (who primarily influenced Coleman as an improviser), saxophonist Sam Rivers (who influenced Steve compositionally) and drummer/composer Doug Hammond (who was especially important in Steve's conceptual thinking).

Even playing with these masters only went part of the way toward paying the rent, and so for the next four years Coleman spent a good deal of time playing in New York City's streets for small amounts of money with a street band that he put together with trumpeter Graham Haynes, the group that would evolve into the ensemble Steve Coleman and Five Elements. It is this group that would serve as the flagship ensemble for most of Steve's activities.

Within a short time the group began finding a niche in tiny, out-of-the-way clubs in Harlem and Brooklyn where they continued to hone their developing concept of improvisation within nested looping structures. These were ideas based on how to create music from one's experiences, which became the foundation which Coleman and friends call the M-Base concept. However, unlike what most critics wrote this concept was philosophical, Coleman did not call the music itself M-Base.

After reaching an agreement with the West German JMT label in 1985, Steve and his colleagues got their chance to document their emergent ideas on three early Coleman-led recordings like Motherland Pulse, On The Edge Of Tomorrow, and World Expansion. The late 1980s found Coleman working to codify his early ideas using the group Steve Coleman and Five Elements and working with a collective of musicians called the M-Base Collective. As his ideas grew Steve also learned to incorporate various forms of research to expand his awareness, these techniques included learning to program computers to be used as tools to further develop his conception. He developed computer software that he referred to as The Improviser, which was able to spontaneously develop improvisations, harmonic structures and drum rhythms using artificial intelligence based on certain musical theories that Steve had developed over the years. It was also during this time that Coleman came into contact with the study of the philosophy of ancient cultures. This began in the late 1970s with his listening to music from West Africa and studying about he African Diaspora, but in the 1980s Steve began to study and read about the ideas behind the music. He began to see that there was a sensibility that connected what he was interested in today with the ancient cultures of the past. All of these ideas are documented on his recordings in the form of a sonic symbolic language.

These emerging concepts were documented on Steve's subsequent albums Sine Die (recorded 1987-88 on the Pangaea Label), Rhythm People (1990), Black Science (1990), Drop Kick (1992), The Tao of Mad Phat (1993), and the first album of the entire M-Base Collective called Anatomy of a Groove (1991-1992); all except Sine Die on BMG Records. These recordings were the beginning of what Steve considers to be the transition to his mature period (1987-1990).

However, not being satisfied with reading and listening to recordings, Coleman embarked on the first of many research trips, first going to Ghana in December 1993 to January 1994 to study the relationship of language to music. One of the places that he traveled to was a small village called Yendi to check out the Dagbon people who have a tradition of speaking through their music using a drum language that still survives today. Steve had certain ideas about the role of music and the transmission of information in ancient times and he wanted to verify his speculations. This trip had a profound effect on Coleman's music and philosophy. Upon returning to the United States Steve recorded Def Trance Beat and A Tale of 3 Cities on BMG Records, however the impact of the ideas that he was introduced to in Ghana would not be fully expressed in his work until late in 1994 after meeting the Kemetic (i.e. related to ancient Egypt) philosopher Thomas Goodwin, whose influence on Steve's work was profound and far reaching.

In June 1994 Steve formed the group Renegade Way, at that time consisting of Steve Coleman and Greg Osby on alto saxophones, Joe Lovano and Craig Handy on tenor saxophones, Kenny Davis on bass and Yoron Israel on drums. This group also did its first tour of Europe in late august 1995 (with Bunky Green on alto taking Greg's place and Ralph Peterson on drums instead of Yoron). A later version of this group consisted of Steve Coleman and Greg Osby on alto saxophones, Gary Thomas and Ravi Coltrane on tenor saxophones, Anthony Tidd on Bass and Sean Rickman on drums, however this group has never recorded a commercially released CD.

Representing both a summation of the previous period and the beginning of another phase is the three CD box set entitled Steve Coleman's Music - Live at the Hot Brass released by BMG France. Each CD in the box set was recorded live in March 1995 in Paris and features one of Coleman's groups, Curves of Life by Steve Coleman and Five Elements, The Way of the Cipher by Steve Coleman and Metrics and Myths, Modes and Means by Steve Coleman and The Mystic Rhythm Society. This last CD was directly influenced by the trip to Ghana, which together with philosophical studies with Thomas Goodwin, occupied Steve's investigations for the remainder of the 1990s. Together with an experimental ensemble put together called Steve Coleman and The Secret Doctrine, that brought the total number of group projects that Steve was involved in to five.

The year 1995 was an important year for Steve. He began by organizing a trip that would make a profound impact on his music. While pursuing his philosophical studies and learning more about the transmission of these ideas through music, Steve began to plan to investigate an idea that he had been thinking about for at least 7 years. In an effort to follow the development of certain philosophical and spiritual ideas obtained by studying ancient cultures (primarily ancient Egypt) and following up on the 1993-94 research trip to Ghana, Africa, Steve wanted to meet and collaborate in a creative way with musicians who were involved in certain ancient philosophical/musical traditions which come out of West Africa. One of his main interests was the Yoruba tradition (predominantly out of western Nigeria), which is one of the Ancient African Religions underlying Santeria (Cuba and Puerto Rico), Candomblé (Bahia, Brazil) and Vodun (Haiti). Steve decided to go to these places and investigate the method by which the ideas of these traditions were transmitted through music. First stop, Cuba!

In Cuba Steve found that the situation was more complex than he had imagined for the people had preserved more than one African culture and these were mixed together under the general title of Santeria. There are the Abakua societies (Ngbe), the various Arara cults (Dahomey), the Congo traditions such as nganga, mayombe and palo monte as well as the Yoruba traditions. But he did find one group called AfroCuba de Matanzas who specialized in preserving all of the above traditions as well as various styles of Rumba.

It was to the town of Matanzas that Steve headed in January of 1996 in order to study the music and also contact AfroCuba de Matanzas and arrange a meeting with the leader of this group, Francisco Zamora Chirino (otherwise known as Minini). Minini was also excited about the project and so it was arranged that the collaboration would take place in February during the time of the Havana Jazz Festival in order to give the expanded group a chance to perform before the Cuban public.

In February of 1996 Steve rented a large house in Havana and along with a group of 10 musicians and dancers, a three-person film crew and the group AfroCuba de Matanzas (who had been bused in from Matanzas) the collaboration was started. For 12 days the two groups hung out together, worked, practiced and conceptualized in order to realize their goal. After their performance at the Havana Jazz Festival the musicians went into a Egrem Studios in Havana and recorded the collaboration. The results of this effort are preserved on a recording made for the BMG France recording company called The Sign and The Seal by Steve Coleman and The Mystic Rhythm Society in collaboration with AfroCuba de Matanzas.

Although this project went well, Coleman viewed the results as he did every other project he has been involved in, as a step along a certain path. It did demonstrate another step in the evolution of his music, but it is being on the path that is important to Steve. It also shows that there is a more obvious connection than is generally thought between the creative music of today and the dynamic musical traditions of African peoples living in various parts of the earth. The combined group of Steve Coleman and The Mystic Rhythm Society in collaboration with AfroCuba de Matanzas did a major tour of Europe in June-July of 1997. This year also saw Steve form a large group (big band) called Steve Coleman and The Council of Balance. This group recorded a CD called Genesis which was released as part of the two CD set released by BMG France called Genesis and The Opening of The Way (the second CD in the set featuring Steve Coleman and Five Elements).

1997-1999 saw a continuation of the projects involving cultural exchange with musicians around the world. Partially funded by a grant from Arts International (1997), Steve took a group of musicians from America and Cuba to Senegal to collaborate and participate in musical and cultural exchanges with the musicians of the local Senegalese group Sing Sing Rhythm. Using his own funds he also led his group Five Elements to the south of India in January-February of 1998 to participate in a cultural exchange with different musicians in the Carnatic music tradition. Steve and his group also gave workshops in the Brahavadhi Center headed by the renowned musicologist Dr. K. Subramanian. What Steve learned on the trip to India (along with a research trip to Egypt the preceding month) helped to substantiate the knowledge of the ancient systems that Steve had been studying. These trips were helpful in supplying the additional information necessary for Steve to continue his studies, which he hopes to express through his own music. Two of Steve's Five Elements recordings released by BMG France, The Sonic Language of Myth (1999) and The Ascension to Light (2000) are a direct result of these studies.

This work came to the attention of IRCAM (the world renown computer-music research center in Paris France) leading to Coleman receiving a major commission from IRCAM to further develop his ideas, in the form of interactive computer software, at the IRCAM facilities in Paris with the aid of programmers Sukandar Kartadinata, Takahiko Suzuki, Gilbert Nouno and IRCAM technology. A premier concert in June 1999 featuring Steve Coleman and Five Elements interacting with what Steve calls his Rameses 2000 computer software program was the public result of this commission. In 2000-2001 Steve withdrew from performing/recording and began study sabbatical. During this time he traveled extensively to India, Indonesia, Cuba and Brazil and continued much of his research as a music professor at the University of California at Berkeley and at CNMAT (the Center for New Music and Technology). He also overhauled his business organization and signed with another record company from France called Label Bleu. After returning to the world of performing Coleman recorded a live double-CD set called Resistance Is Futile (2001) on Label Bleu records.

In 2002 Steve Coleman and Five Elements recorded a CD that is available free of charge on Steve's website (www.m-base.com) called Alternate Dimension Series I. Also recorded in this year is the On The Rising Of The 64 Paths on Label Bleu records.

Lucidarium was recorded in 2003 (also on Label Bleu records). For this CD Steve and his group explore the dimensions of an alternate tonal and rhythmic system, continuing the spirit of research and experimentation that marks all of his projects. Weaving Symbolics, recorded in 2005, similarly explores the world of form.

Much of the important segments of this activity from January 1996 on have been preserved in the form of a documentary film shot by Eve-Marie Breglia based on Steve's music and the theme of cultural transference tentatively entitled Elements on One scheduled for release in 2004-05.

2006-2007 saw a flurry of activity, with Steve releasing his first solo saxophone recording called Invisible Paths (on the Tzadik label). Also recorded during this time were Harvesting Semblances and Affinities and The Mancy of Sound, but these recordings were not released until 2010 and 2011 respectively, after Steve had made a distribution deal with Pi Recordings. All three of these recordings are connected conceptually in that they deal with both an expanded tonal and orchestration conception. This also coincided with Steve's 2006 meeting with the great Danish composer Per Nørgård, who has had some influence on Steve's orchestration concepts.

In 2012 Steve altered his approach to being creating completely spontaneous compositions, and later orchestrating them. Functional Arrhythmias was the first recording to use this approach, which involved spontaneously composing in a near-trance state. This was also first recording to be based on the cyclical movements within the human body, a idea that was influenced by Steve's meeting and conversations with percussionist, polymath and modern shaman Milford Graves in 2011.

While on a study sabbatical in 2013, Steve received a vision in a half-waking state, and began work on a 2-year project that culminated in the 2014 large ensemble recording entitled Synovial Joints (released April 28 2015). This was a continuation of the spontaneous composition approach, but further developed with much more orchestration of musical colors involved. A further development of this approach resulted in the 2017 recording Morphogenesis, by Steve's latest ensemble; Steve Coleman's Natal Eclipse. Scheduled for a release in the near future is an upcoming recording of Steve Coleman and Five Elements, recorded live at the Village Vanguard in May of 2017. Steve does not think of these concepts, groups, projects and recordings as separate events, but as one connected learning experience.

Since 1994 Steve has done a series of performance and educational residencies around the United States and in many other countries (Cuba, India, Ivory Coast, Senegal, Brazil, France) through his non-profit, M-Base Concepts, Inc. This non-profit also has a an online music community website; m-base.net, which promotes educational activities through various multimedia formats and interactive media events."

-M-Base (https://m-base.com/biography/)
11/14/2018

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"Jen Shyu ("Shyu" pronounced "Shoe" in English, Chinese name: 徐秋雁, Pinyin: Xúqiūyàn) is a groundbreaking, multilingual vocalist, composer, producer, multi-instrumentalist, dancer, 2016 Doris Duke Artist, and was voted 2017 Downbeat Critics Poll Rising Star Female Vocalist. Born in Peoria, Illinois, to Taiwanese and East Timorese immigrant parents, Shyu is widely regarded for her virtuosic singing and riveting stage presence, carving out her own beyond-category space in the art world. She has performed with saxophonist and 2014 MacArthur Fellow Steve Coleman since 2003 and has collaborated with such musical innovators as Nicole Mitchell, Anthony Braxton, Wadada Leo Smith, Vijay Iyer, Bobby Previte, Chris Potter, Michael Formanek and David Binney. Shyu has performed her own music on prestigious world stages such as Carnegie Hall, Lincoln Center, Brooklyn Academy of Music, the Metropolitan Museum of Art, Rubin Museum of Art, Ringling International Arts Festival, Asia Society, Roulette, Blue Note, Bimhuis, Salihara Theater, National Gugak Center, National Theater of Korea and at festivals worldwide.

A Stanford University graduate in opera with classical violin and ballet training, Shyu had already won many piano competitions and performed the Tchaikovsky Piano Concerto (3rd mvmt.) with the Peoria Symphony Orchestra by the age of 13. She has studied traditional music and dance in Cuba, Taiwan, Brazil, China, South Korea, East Timor and Indonesia, conducting extensive research which culminated in her 2014 stage production Solo Rites: Seven Breaths, directed by renowned Indonesian filmmaker Garin Nugroho. Shyu has won commissions and support from Doris Duke Performing Artist Awards, MAP Fund, Jerome Foundation, Chamber Music America's New Jazz Works, New Music USA, Jazz Gallery, and Roulette, as well as fellowships from the Fulbright Scholar Program, Civitella Ranieri Foundation, Asian Cultural Council, Hermitage Artist Retreat, Yaddo, MacDowell Colony, Korean Ministry of Foreign Affairs and Korean Ministry of Sports, Culture, and Tourism.

Shyu has produced seven albums as a leader, including the first female-led and vocalist-led album Pi Recordings has released, Synastry (Pi 2011), with co-bandleader and bassist Mark Dresser. Her critically acclaimed Sounds and Cries of the World (Pi 2015) landed on many best-of-2015 lists, including those of The New York Times, The Nation, and NPR. Her latest album Song of Silver Geese (Pi 2017) is receiving rave reviews and was also included on The New York Times' Best Albums of 2017.

Even with the acclaim she has received for her recordings, Shyu is just as renowned for her dynamic performances. Ben Ratliff wrote in The New York Times that her concerts are "the most arresting performances I've seen over the past five years. It's not just the meticulous preparation of the work and the range of its reference, but its flexibility: She seems open, instinctual, almost fearless." Her duo performance with Tyshawn Sorey was among The New York Times' Best Live Jazz Performances of 2017. Larry Blumenfeld wrote in the Wall Street Journal that "her voice, a wonder of technical control and unrestrained emotion, tells a story dotted with well-researched facts and wild poetic allusions. She claims both as her truths."

Currently based in New York City, Shyu premiered her latest solo work Nine Doors at National Sawdust June 29, 2017, kicking off a 50-state U.S. tour of "Songs of Our World Now / Songs Everyone Writes Now (SOWN/SEWN)," planting seeds of creativity and threading communities together through art."

-Jen Shyu Website (http://www.jenshyu.com/bio.html)
11/14/2018

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"Matt Mitchell is a pianist and composer interested in the intersections of various strains of acoustic, electric, composed, and improvised new music. He currently composes for and leads several ensembles featuring many of the current foremost musicians and improvisers, including Tim Berne, Kim Cass, Caroline Davis, Kate Gentile, Ben Gerstein, Sylvaine Hélary, Jon Irabagon, Travis Laplante, Ava Mendoza, Miles Okazaki, Ches Smith, Chris Speed, Tyshawn Sorey, Chris Tordini, Anna Webber, Dan Weiss, and Katie Young.

He is an anchor member of several significant creative music ensembles which integrate composed and improvised music, including Tim Berne's Snakeoil, the Dave Douglas Quintet, John Hollenbeck's Large Ensemble, Rudresh Mahanthappa's Bird Calls, Jonathan Finlayson's Sicilian Defense, Dan Weiss's Large Ensemble, Steve Coleman's Natal Eclipse, the Darius Jones Quartet, Kate Gentile's Mannequins, Mario Pavone's Blue Dialect Trio, Anna Webber's Simple Trio, Ches Smith's We All Break, Michael Attias' Spun Tree, Ohad Talmor's Grand Ensemble, and Quinsin Nachoff's Flux. He is also among the core performers of John Zorn's Bagatelles.

Musicians with whom he performs and has performed include Jon Irabagon, Chris Lightcap's Bigmouth, John Hollenbeck's Claudia Quintet + 1, JD Allen, Rudresh Mahanthappa and Bunky Green's Apex, Rez Abbasi's Invocation, Lee Konitz, Kenny Wheeler, Ralph Alessi's Baida Quartet, Dave King's Indelicate duo, Amir ElSaffar, Marc Ducret, David Torn, Vernon Reid, Clarence Penn and Penn Station, Linda Oh, Rudy Royston, Allison Miller, Donny McCaslin, Brad Shepik, and Darcy James Argue's Secret Society.

He has taught extensively with the Brooklyn-based School for Improvisational Music, as well as at the New School, NYU, and the Siena Jazz Workshop. He is also a 2015 receipient of a Doris Duke Impact Award and a 2012 recipient of a Pew Fellowship from the Pew Center for Arts and Heritage."

-Matt Mitchell Website (http://www.mattmitchell.us/bio/)
11/14/2018

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"Mara Grand was born in Geneva, Switzerland, in 1992, to a Swiss mother and an Argentinian father. She grew up in a musical family and started playing saxophone at the age of 10. She moved to New York to pursue music at age 18 in 2011.

She started studying with Steve Coleman, Ohad Talmor and Antoine Roney shortly after her arrival in the US.

Upon obtaining her Artist Visa in 2012, Mara toured Europe with the Antoine Roney Quartet, performing in venues in France, Switzerland, Italy, and Greece.Mara is currently a regular member of the Doug Hammond Quintet, with which she has appeared at the Northsea Jazz Festival (Netherlands), Porgy and Bess (Austria), Bird's Eyes (CH) and Dornstetten (DE). She performed duo with Doug Hammond in March 2014 at the Conservatory of Geneva, Switzerland.Mara also performed with Steve Coleman and the Talea Ensemble at the Newport Jazz Festival in 2013 and at Roulette (Brooklyn, New York) in 2014, as well as playing with Steve Coleman and his group at the Stone in 2013 and in 2014. She also performed and worked as a copyist on his recording Synovial Joints in 2014.

Mara has performed with Roman Filiu's Quintet, the Valery Ponomarev Big Band, the Howard Williams Big Band, Mridangam Artist Rajna Swaminathan, Skah Shah, Darwin Noguera, among others. She was one of the young musicians picked to participate in a homage to NEA Jazz Master Von Freeman in 2012, playing alongside Julian Priester, Art Hoyle, and other musicians.

Her academic credentials include credits from the Professional Conservatory of Music in Geneva and the City College of New York."

-Pi Recordings (https://pirecordings.com/artists/maria-grand/)
11/14/2018

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"Clarinetist Rane Moore is well-regarded for her thoughtful, provocative interpretations of standard and cutting-edge contemporary repertoire. Fiercely devoted to the new music communities of the East Coast and beyond, Moore is a founding member of the New York based Talea Ensemble which regularly gives premieres of new works at major venues and festivals around the world. Ms. Moore has recently joined the award winning wind quintet, The City of Tomorrow, and is also a member of Boston's Callithumpian Consort and Sound Icon.

Recent projects with legendary saxophonist Steve Coleman have yielded recordings and performances at The Village Vanguard, Newport Jazz Festival, Saalfelden Jazz Festival, and Jazz à la Villette in Paris. Moore is also a regularly invited collaborator with the International Contemporary Ensemble (ICE), Bang on a Can All-Stars, New York New Music Ensemble, Boston Musica Viva, Emmanuel Music, A Far Cry, Boston Modern Orchestra Project , Boston Landmarks Orchestra, Boston Ballet Orchestra and is the principal clarinetist for the Boston Philharmonic.

Ms. Moore's latest festival and series performances include high profile events at the Tanglewood Music Festival, Lincoln Center Festival, Wien Modern, Warsaw in Autumn, ECLAT in Stuttgart, Darmstadt International Music Festival, Monday Evening Concerts in Los Angeles, Ojai Music Festival, Cervantino Festival in Mexico, Time of Music in Finland, Bludenzer Tage Zeitgemäßer Musik, Transit Festival in Belgium, Time Spans in Colorado and New York, Contempuls 5 in Prauge, Sacrum Profanum in Krakow, June in Buffalo, as well as local and emerging series such as Monadnock Music, Rockport Music, Kingston Chamber Music Festival, Town Hall Concerts in Seattle, and Trinity Wall Street in New York.

In addition to her very active performing schedule, Ms. Moore is on the faculty of the Summer Institute for Contemporary Performance Practice at New England Conservatory and has served in the ensemble-in-residence and guest teacher for advanced students in composition and clarinet at many universities and conservatories around the world.

Ms. Moore is the co-artistic director of Winsor Music, a much beloved chamber music series and musical outreach organization in the Boston area.

Ms. Moore has recordings on over a dozen labels including Tzadik, Pi, Wergo, and ECM records. Critics have praised her "enthralling," "tour-de-force," and "phenomenal" performances."

-Rane Moore Website (http://ranemoore.com/bio/)
11/14/2018

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"A recipient of the 2015 Avery Fisher Career Grant, as well as a top prizewinner of the 2012 Walter W. Naumburg Competition and the Astral Artists' 2010 National Auditions, Kristin Lee is a violinist of remarkable versatility and impeccable technique who enjoys a vibrant career as a soloist, recitalist, chamber musician, and educator. "Her technique is flawless, and she has a sense of melodic shaping that reflects an artistic maturity," writes the St. Louis Post-Dispatch, and The Strad reports, "She seems entirely comfortable with stylistic diversity, which is one criterion that separates the run-of-the-mill instrumentalists from true artists."

Kristin Lee has appeared as soloist with leading orchestras including The Philadelphia Orchestra, St. Louis Symphony, New Jersey Symphony, Rochester Philharmonic, New Mexico Symphony, West Virginia Symphony, the Ural Philharmonic of Russia, the Korean Broadcasting Symphony, the Milwaukee Symphony, the Guiyang Symphony Orchestra of China, the St. Paul Chamber Orchestra, and many others. She has performed on the world's finest concert stages, including Carnegie Hall, Avery Fisher Hall, the Kennedy Center, Philadelphia's Kimmel Center, the Metropolitan Museum of Art, Steinway Hall's Salon de Virtuosi, the Louvre Museum in Paris, Washington, D.C.'s Phillips Collection, and Korea's Kumho Art Gallery. She has been featured on the Ravinia Festival's Rising Stars Series and has toured throughout northern Italy. She has curated programs that premiered at Philadelphia's World Cafe Live and New York's (le) Poisson Rouge in which she commissioned five new works for the violin and various instruments. Lee has given recitals in New York's Merkin Concert Hall and Florida's Kravis Center, and presented concerts around the United States with the Chamber Music Society of Lincoln Center.

Her recent engagements include debuts with the Tacoma Symphony, Hong Kong Philharmonic, Nordic Chamber Orchestra of Sweden, a return performance with the Orquesta Sinfonica Nacional of Dominican Republic, and concerts around the United States with the Chamber Music Society of Lincoln Center. Highlights of her 2017-18 season include the Moab Music Festival, Utsey Chamber Music Series, Philadelphia Chamber Music Society, and the Highlands Chapel Series. Lee will also continue to perform and tour with the Chamber Music Society of Lincoln Center.

An accomplished chamber musician, Lee is a member of the Chamber Music Society of Lincoln Center following her completion of a three-year residency as a CMS Two artist. She has appeared the Ravinia Festival, Music@Menlo, La Jolla Festival, Medellín Festicámara of Colombia, the El Sistema Chamber Music festival of Venezuela, the Sarasota Music Festival, Festspiele Mecklenburg-Vorpommern of Germany, the Hong Kong Chamber Music Festival and the Bridgehampton Chamber Music Festival, among many others. Lee is a principal artist with Camerata Pacifica, sitting as The Bernard Gondos Chair. She is also the concertmaster of the groundbreaking Metropolis Ensemble, with whom she premiered Vivian Fung's Violin Concerto, written for her, which appears on Fung's CD Dreamscapes, released on Naxos. Fung's Violin Concerto won the 2013 Juno Award. She is also a member of Steve Coleman's Natal Eclipse, a new hybrid chamber-jazz ensemble that explores the very foundations of group improvisation and spontaneous composition.

Lee's performances have been broadcast on PBS's "Live from Lincoln Center," the Kennedy Center Honors, WFMT Chicago's "Rising Stars" series, and on WQXR in New York. She also appeared on Perlman in Shanghai, a nationally broadcast PBS documentary that chronicled a historic cross-cultural exchange between the Perlman Music Program and Shanghai Conservatory.

Lee's many honors include awards from the 2015 Trondheim Chamber Music Competition, 2011 Trio di Trieste Premio International Competition, the SYLFF Fellowship, Dorothy DeLay Scholarship, the Aspen Music Festival's Violin Competition, the New Jersey Young Artists' Competition, and the Salon de Virtuosi Scholarship Foundation. She is also the unprecedented First Prize winner of three concerto competitions at The Juilliard School - in the Pre-College Division in 1997 and 1999, and in the College Division in 2007.

Lee is the co-founder and artistic director of Emerald City Music, a chamber music series that aims to present authentically unique concert experiences and bridge the divide between the highest caliber classical music and the many diverse communities that reside in the Puget Sound region of Washington State. The inaugural 2016-17 season presented fourteen performances, twenty-five outreach events, and over forty-five lauded musicians visiting Seattle and Olympia from twelve global cities. The 2017-18 season features the world premiere of 2014 Pulitzer Prize-winner John Luther Adams' ...there is no one, not even the wind, co-commissioned by Emerald City Music and five other national arts organizations.

Born in Seoul, Korea, Lee began studying the violin at the age of five, and within one year won First Prize at the prestigious Korea Times Violin Competition. In 1995, she moved to the United States and continued her musical studies under Sonja Foster. Two years later, she became a student of Catherine Cho and Dorothy DeLay in The Juilliard School's Pre-College Division. In January 2000, she was chosen to study with Itzhak Perlman after he heard her perform Mendelssohn's Violin Concerto with Juilliard's Pre-College Symphony Orchestra. Lee holds a Master's degree from The Juilliard School, where she studied with Itzhak Perlman and Donald Weilerstein, and served as an assistant teacher for Perlman's studio as a Starling Fellow. She is a member of the faculty of the Aaron Copland School of Music at Queens College and has served on the faculties of the LG Chamber Music School in Seoul, Korea, El Sistema's chamber music festival in Caracas, Venezuela, and the Music@Menlo Chamber Music Festival."

-Kristin Lee Website (http://www.violinistkristinlee.com/about/)
11/14/2018

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"Greg Chudzik is an active performer across numerous genres on the double bass and electric bass. Currently, he can be seen performing regularly with several new music groups, including Signal Ensemble, Wet Ink Ensemble, and Talea Ensemble. Greg is also a member of several bands, including Empyrean Atlas, Bing and Ruth, and The Briars of North America. He has worked with numerous influential figures in contemporary music, including Steve Coleman, Steve Reich, Pierre Boulez, George Benjamin, Helmut Lachenmann, Charles Wuorinen, Alex Mincek and Tristan Perich. Last January, Greg completed a tour opening for Jeff Mangum, formerly of Neutral Milk Hotel. Greg's recording credits include playing on the Grammy-nominated "Barcelonaza" by Jorge Leiderman, "Synovial Joints" by Steve Coleman on Pi Recordings, "Tomorrow Was the Golden Age" by Bing and Ruth on RVNG records, the album "Americans" by Scott Johnson (Tzadik records), multiple recordings with Signal Ensemble on New Amsterdam and Mode Records, the album "Grown Unknown" by Lia Ices (Secretly Canadian records), the album "Inner Circle" by Empyrean Atlas, and the album "High Violet" by The National on 4AD records. Greg's new album "Solo Works, Vol. 1" features original pieces of music written for bass guitar and electronics, and will be released this July on Panoramic Records."

-Greg Chudzik Website (http://www.gregchudzik.com/bio/)
11/14/2018

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"Neeraj Mehta is an active performer and educator, having presented concerts, clinics and master classes in North America and Europe. With interests in a wide variety of percussive styles, Dr. Mehta has performed and recorded with numerous artists and ensembles including: Michael Udow, the Michigan Chamber Players, Alan Abel and Anthony Orlando of the Philadelphia Orchestra, New Music Detroit, Linda Maxey, Michael Spiro, John Santos, and Clyde Stubblefield of the James Brown Band.

In 2008 Dr. Mehta was awarded a Fulbright Fellowship to study in Copenhagen, Denmark with solo-percussionist Gert Mortensen at Det Kongelige Dansk Musikkonservatorium (DKDM). While in Copenhagen, he premiered and recorded "En Lys Timer" (A Light Hour) by famous Danish composer Per Nørgård with Percurama. He also collaborated with composer Ole Buck on his percussion solo Rejang, and performed with the New Jungle Orchestra. At DKDM, Dr. Mehta also studied with timpanist of the Berlin Philharmonic Weiland Welzel and Swedish marimbist Johan Bridger. In addition to his contemporary percussion work in Denmark, he studied and performed with retired percussionist of Conjunto Folklorico Nacional de Cuba, Ignacio Guerra Acosta, and performed clinics in Afro-Cuban percussion with conguero of the Carlos Santana Band, Raul Rekow. As Guest Artist, Dr. Mehta performed and presented lectures on Danish percussion music at numerous American institutions including: Ohio University, Eastern Michigan University, University of Wisconsin, Lawrence University and Northern Illinois University.

Formerly the principal percussionist of the Wyoming Symphony Orchestra, Dr. Mehta's orchestral work has included performances with the Detroit Symphony Orchestra, the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and other regional orchestras. He is also deeply committed to the performance of new works for solo and contemporary chamber ensembles, and has worked with many internationally recognized composers including: Bright Sheng, Michael Daugherty, Virgil Moorefield, Steven Dembski, Michael Udow, Russel Hartenberger, Bob Becker and Dave Hollinden. He most recently commissioned "Frantic, Gnarly, Still" by Opera Company of Philadelphia Composer in Residence Lembit Beecher for violin and multiple-percussion.

In addition to his work in western art music, Dr. Mehta is an active jazz and Latin percussionist, having led the Mehta Jazz Group from the drum kit and performed regularly with Latin bands in the areas where he has lived. He has appeared at numerous venues and festivals including the University of Toledo Jazz Faculty Concert Series, the Isthmus Jazz Festival, and the Jazz at Five Summer Music Series. As conguero and percussionist with the Afro-Cuban jazz quartet Nuevo Rumbon, he has been featured at Jazzloop 2007 and the Art Tatum Heritage Jazz Festival. At the University of Michigan, Dr. Mehta served as director of the University of Michigan World Percussion Ensemble, as well as the UM Vencedores Samba Band. He was also a 2007-2008 graduate fellow of the University of Michigan Center for World Performance Studies, receiving a grant of $10,000 to conduct fieldwork in Afro-Cuban folkloric drumming.

Neeraj Mehta is Assistant Professor of Music at City University of New York, Queensborough Community College. He received his Doctor of Musical Arts and master's degrees at the University of Michigan and holds a bachelor of music degree from the University of Wisconsin-Madison. Dr. Mehta is an artist/endorser of Innovative Percussion, Inc. sticks and mallets and Remo Drumheads."

-Neeraj Mehta Website (http://neerajmehta.com/)
11/14/2018

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track listing:


1. Inside Game 9:35

2. Pull Counter 5:18

3. Roll Under and Angles 4:31

4. NOH 4:39

5. Morphing 14:08

6. Shoulder Roll 5:10

7. SPAN 3:45

8. Dancing and Jabbing 6:58

9. Horda 6:30
sample the album:








descriptions, reviews, &c.

"Morphogenesis is the highly-anticipated follow-up to alto saxophonist/ composer Steve Coleman's Synovial Joints, which was named the #1 jazz release of 2015 by the New York Times, as well as the top ten at NPR, Downbeat, Popmatters, Slate, and The Nation. Like on that release, Morphogenesis expands Coleman's compositional scope to incorporate musicians more associated with classical music: In addition to Jonathan Finlayson, his sparring partner in his long-running band Five Elements, he has added vocals, violin, clarinet, piano and percussion to the mix. Partially due to the instrumentation, his use of complex rhythmic cycles - hallmark of his work during his career - are less overt. In particular, the absence of a trap drum set de-emphasizes the roiling, surging momentum that is typical of his work, resulting in performances with more air and transparency without sacrificing one bit of the profound swing and groove that is part of all of Coleman's output.

Coleman is widely considered to be among the most influential artists in contemporary music. In 2014 he was the recipient of three prestigious awards: a MacArthur Fellowship, Guggenheim Fellowship and Doris Duke Performing Artist Award. His influence has been so fully-integrated such that it is now impossible to extricate it from modern jazz lexicon. That is perhaps why Morphogenesis feels like such a major step forward: Coleman fills the forward motion that is usually provided by a drum kit by utilizing more harmonic material, greater instrumental color palette, and wider timbral range. Instead of the staccato feel of many of his pieces for Five Elements, Morphogenesis is filled with long lines and slippery solos. The work has the feel of chamber music, with a delicate balance between classical and jazz/improvisation disciplines. It establishes a major expansion in Coleman's compositional approach.

Coleman often draws inspiration from physical movement found outside of musical contexts. In this case, most of the compositions ("Inside Game," "Pull Counter," "Roll Under and Angles," "Shoulder Roll," "Dancing and Jabbing") are sonic interpretations of a variety of motions " the feints, jabs, bobbing and weaving - found in boxing, one of his personal passions outside of music. As is his practice in recent years, the initial compositional forms are derived spontaneously while visualizing the motions he is trying to portray, and subsequently layered with voicings and orchestration. The lengthy melody of the centerpiece of the album, "Morphing," was created in one such moment from an impulsive rush of improvisation germinating from a single idea. "Horda," an archaic term for horde, is named for the rushing vibe of the initial improvisation, which was then orchestrated to accentuate that feeling. "NOH" and "SPAN" stand out from the others in that they were spontaneously improvised in the studio among the gathered musicians.

Morphogenesis is the process that causes an organism to develop its form, which Coleman believes aptly describes both the music and the development of the band. Natal Eclipse, assembled specifically for the project, includes Coleman (alto saxophone) and musicians who have long been in his circle: Jonathan Finlayson (trumpet), whose 2015 Pi release Moving Still, was named among the top albums of the year by the New York Times; Jen Shyu (voice), whose Sounds and Cries of the World was praised on the same list; and Maria Grand (tenor saxophone), who recently released Tetra Wind, her debut as a leader. They are joined by pianist Matt Mitchell, who has released two highly-regarded recordings of his own on Pi, the most recent being Vista Accumulation, in addition to playing in the bands of Tim Berne, Rudresh Mahanthappa and Dave Douglas, among many others; and musicians who typically perform in a classical music context: Rane Moore (clarinet), Kristin Lee (violin), Greg Chudzik (double bass), and Neeraj Mehta (percussion). The group is also somewhat unusual in that it is equally balanced between male and female, which exerts its own profound effect on the music.

For Jen Shyu, who has played with Coleman since 2003, "Nothing is more inspiring to me than to be able to watch your mentor continue to develop and create new challenges for himself. This new music is sophisticated and complex; ethereal and beautiful; at once, precise, intuitive, and flowing. It completely blurs the line between improvised and pre-composed, which is probably exactly what Steve was trying to accomplish." Rane Moore, the clarinetist, who is a founding member of the acclaimed Talea Ensemble, says: "What strikes me every time I play with Steve, other than his obvious virtuosity, indefatigable spirit and curiosity, is his rhythmic 'wisdom.' It goes beyond a great feel, style, or intuition - it's a deep understanding that's completely remarkable." Violinist Kristin Lee, who was the recent winner of a prestigiou Avery Fisher Career Grant, credits working with Coleman for opening up new musical possibilities for her: "Playing with Steve has helped develop my feel for rhythm and listening exponentially. Unlike classical music, where you strive for perfection through countless hours of preparation and repetition, I feel like he spends his hours working to acquire more tools that are always at his disposal. This allows him to magically take all this harmonically-rich material anywhere at any time."

Critic David Hajdu summed it up well in his review in The Nation of the premier performance by Natal Eclipse, which took place at the Village Vanguard in November, 2015: "With strains of Parker and Coltrane, Bartok, and the musics of the Middle East and China, Natal Eclipse produced the sound of the world in which cultural differences stir inspiration instead of fear, distrust, and violence. It was something beautiful-indeed, essential."

"-Pi Recordings

Related Categories of Interest:


Improvised Music
Jazz
Free Improvisation
NY Downtown & Jazz/Improv
Large Ensembles
New in Improvised Music
Recent Releases and Best Sellers


Other Releases With These Artists:
Finlayson, Jonathan
3 Times Round
(Pi Recordings)
Coleman, Steve and Five Elements
Live at the Village Vanguard, Vol. I (The Embedded Sets) [2 CDs]
(Pi Recordings)
Threadgill, Henry 14 or 15 Kestra: Agg
Dirt... And More Dirt
(Pi Recordings)
Berne, Tim / Matt Mitchell Duo
Angel Dusk
(Screwgun)
Lumpert, Igor / Innertextures (Ward / Tordini / Grohowski)
Eleven
(Clean Feed)
Halvorson, Mary
Away With You [VINYL 2 LPs]
(Firehouse 12 Records)
Mincek, Alex
Torrent
(Sound American/Pleasure of the Text Records)
Zorn, John
There Is No More Firmament
(Tzadik)
Mitchell, Matt plays Tim Berne
Forage
(Screwgun)
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Weiss, Dan Large Ensemble
Sixteen: Drummers Suite
(Pi Recordings)
Mitchell, Matt Quartet
Vista Accumulation [2 CDs]
(Pi Recordings)
Shyu, Jen & Jade Tongue
Sounds and Cries of the World
(Pi Recordings)
Sonderegger's, Sean Magically Inclined (feat Areni Agbabian)
Eat The Air
(Skirl)
Ellman, Liberty Sextet
Radiate
(Pi Recordings)
Jones, Darius Quartet Feat. Emile Lesbros
Le bebe de Brigitte (Lost in Translation)
(Aum Fidelity)
Iannotta, Clara
A Failed Entertainment. Works 2009-2014
(Edition Rz)
Pavone, Mario
Blue Dialect
(Clean Feed)
Lehman, Steve Octet
Mise En Abime
(Pi Recordings)
Weiss, Dan
Fourteen
(Pi Recordings)
Mitchell, Matt
Fiction
(Pi Recordings)
Halvorson, Mary Septet
Illusionary Sea
(Firehouse 12 Records)
Finlayson, Jonathan & Sicilian Defense
Moment and the Message
(Pi Recordings)
Halvorson, Mary
Bending Bridges [2 VINYL LPs]
(Firehouse 12 Records)
Coleman, Steve & Five Elements
Functional Arrhythmias
(Pi Recordings)
Virelles, David
Continuum
(Pi Recordings)
Attias, Michael
Spun Tree
(Clean Feed)
Halvorson, Mary Quintet
Bending Bridges
(Firehouse 12 Records)
Braxton, Anthony
Trillium E
(New Braxton House)
Shyu, Jen + Mark Dresser
Synastry
(Pi Recordings)
Coleman, Steve and Five Elements
The Mancy of Sound
(Pi Recordings)
Halvorson, Mary Quintet
Saturn Sings
(Firehouse 12 Records)
Coleman, Steve and Five Elements
Harvesting Semblances and Affinities
(Pi Recordings)
Lehman, Steve
Travail, Transformation and Flow
(Pi Recordings)
Lehman, Steve Quintet
On Meaning
(Pi Recordings)
Recommended & Related Releases:
Mincek, Alex
Torrent
(Sound American/Pleasure of the Text Records)
Zorn, John
There Is No More Firmament
(Tzadik)
Sonderegger's, Sean Magically Inclined (feat Areni Agbabian)
Eat The Air
(Skirl)
Ellman, Liberty Sextet
Radiate
(Pi Recordings)
Jones, Darius Quartet Feat. Emile Lesbros
Le bebe de Brigitte (Lost in Translation)
(Aum Fidelity)
Iannotta, Clara
A Failed Entertainment. Works 2009-2014
(Edition Rz)
Pavone, Mario
Blue Dialect
(Clean Feed)
Finlayson, Jonathan & Sicilian Defense
Moment and the Message
(Pi Recordings)
Coleman, Steve & Five Elements
Functional Arrhythmias
(Pi Recordings)
Attias, Michael
Spun Tree
(Clean Feed)
Braxton, Anthony
Trillium E
(New Braxton House)
Coleman, Steve and Five Elements
Harvesting Semblances and Affinities
(Pi Recordings)
Lehman, Steve
Travail, Transformation and Flow
(Pi Recordings)
Lehman, Steve Quintet
On Meaning
(Pi Recordings)
Other Recommended Releases:
Finlayson, Jonathan
3 Times Round
(Pi Recordings)
Coleman, Steve and Five Elements
Live at the Village Vanguard, Vol. I (The Embedded Sets) [2 CDs]
(Pi Recordings)
Threadgill, Henry 14 or 15 Kestra: Agg
Dirt... And More Dirt
(Pi Recordings)
Berne, Tim / Matt Mitchell Duo
Angel Dusk
(Screwgun)
Lumpert, Igor / Innertextures (Ward / Tordini / Grohowski)
Eleven
(Clean Feed)
Halvorson, Mary
Away With You [VINYL 2 LPs]
(Firehouse 12 Records)
Mitchell, Matt plays Tim Berne
Forage
(Screwgun)
Braxton, Anthony
Trillium J [4 CDs + Blu Ray]
(Braxton House/Firehouse 12 Records)
Weiss, Dan Large Ensemble
Sixteen: Drummers Suite
(Pi Recordings)
Mitchell, Matt Quartet
Vista Accumulation [2 CDs]
(Pi Recordings)
Shyu, Jen & Jade Tongue
Sounds and Cries of the World
(Pi Recordings)
Lehman, Steve Octet
Mise En Abime
(Pi Recordings)

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