With a 15 year history of collaboration, Bug Incision label leader Chris Dadge joins with fellow Calgary free improviser Jonathon Wilcke on saxophone for an album of live performances in their home city, two performances from Parlour and one at Local 510, showing strong rapport in their duo of uniquely unconventional percussion and lyrically quirky sax.
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Label: Bug Incision Records
Catalog ID: bim-78
Squidco Product Code: 26188
Packaging: Plastic Sleeve
Tracks 1 and 2 recorded live at Parlour, in Calgary, Alberta, on October 20th, 2016.
Track 3 recorded at Local 510, Calgary, Alberta, on August 21st, 2016.
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• Show Bio for Jonathon Wilcke
"Jonathon Wilcke is a writer, saxophonist, composer, and scholar who has lived in Calgary, Anpachi-cho (Gifu, Japan) Vancouver, and Claresholm. He has published two books of poetry, Pornograph (Red Deer Press 2004) and Dupe! (Linebooks 2010) and the online collection Sonnets from *Some* Portuguese (Papertrail Press 2010). His poetry appears in journals and magazines including filling Station, Fiddlehead, dANDelion, W, Ampersand, and Poetry is Dead. He considers his writing as an exponent of the Oppen-Zukofsky-Stein-Tish-L=A=N=G=U=A=G=E-MacLow-KSW trajectory of poetics.
As a saxophonist, Wilcke's music ranges through strict compositions, free and structured improvisation, text-sound, and vocal accompaniment, in both solo and group situations. He plays regularly throughout Western Canada as a solo performer and in groups including Robots on Fire, ffffffft!, Mechanics Who Can Drive, and The Real Featuring the Unreal. His first solo recording, All Errors Included, will appear from UnCanadian Activities in the Spring of 2013.
Wilcke's compositional practice includes creating improvisational strategies and music for small ensembles as well as song/performance settings of contemporary and Modernist poetry by writers such as George Oppen, Louis Zukofsky, Harryette Mullen, William Carlos Williams, Dorothy Trujillo Lusk, Bernadette Meyer, and Jacqueline Turner for trios, quartets, and solo situations.
In Calgary between 1996-1998, Wilcke was a member of the filling Station collective as a fiction and poetry editor who also contributed reviews and poetry to the magazine. He co-hosted the CJSW radio literary interview program Audible Mutterings from 1996-1999. In Vancouver between 2004-2012, Wilcke was active as a collective member of the Kootenay School of Writing while being a regular performer at 1067 Granville, The Cellar, Fake Jazz at the Cobalt, Kozmic Zoo, and other music venues for improvised and outside music. During this period, he directed "The Pppoetry Band," a group consisting of Wilcke, Dave Chokroun (bass and vocals), Darren Williams (saxophone and vocals), and Nikki Reimer (vocals), which played Wilcke's settings of poetry, improvisational strategies generated out of poetic forms, and sound poetry scores by Jackson MacLow and The Four Horsemen."-Filling Station (http://www.fillingstation.ca/archive/contributor/jonathon-wilcke-272)
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• Show Bio for Chris Dadge
"Chris Dadge lives in Calgary, Alberta, where he works as a percussionist, producer, composer, multi-instrumentalist, record label operator, and concert organizer.
As an improvising musician, Dadge has spent the bulk of his years playing percussion, developing a voice based on an increasingly open-ended variety of sound-generating objects, integrating found items, extreme tunings, and re-purposed strings. Massimo Ricci writes, "the almost perfect balance between skin, wood and metal-derived timbres is definitely cherished," and a review from Volcanic Tongue noted, "Dadge has a fleet, needling style that would transpose Milford Grave's multi-pulse work to a looser, more thought-paced setting, working in bursts of propulsion and single emphatic sound events." This underlying quest for a personalized vocabulary led to the broadening of the instrumental palette, adding violin, broken electronics, crude sampling, and various other small instruments to the list. The current realization of this approach can be heard in Dadge's solo work (on albums such as A Bird Is A Light Thing and What Comes After Dust) as well as with Scott Munro in the Bent Spoon Duo. The duo, which has been active for over a decade, "approach[es] improvisation from an anti-classicist stance, instead opting for a scrape and drape sound that finds the two moving between instruments and mood in rapid fire succession," (Ear-Conditioned Nightmare) and The Wire's Byron Coley calls it "splendid, low-bore Improv racket in the classic pots-and-pans style." Dadge plays regularly with guitarist Cody Oliver (as The MIdnighties) and saxophonist Jonathon Wilcke, and has worked with Peter Evans, Joe Morris, Eugene Chadbourne, Jack Wright, Chris Riggs, Eric Chenaux, Mats Gustafsson, Christian Munthe, Ellwood Epps, Chad van Gaalen, Bill Horist, Fossils/David Payne, John Oswald, and Colin Fisher.
The activities in improvised music were umbrella'd over a decade ago, under the name Bug Incision (www.bugincision.com), which is a concert series and record label run by Dadge. Over 50 critically acclaimed recordings and over 10 years' worth of near-monthly concerts have occurred.
Concurrent activities in the world of pop music have resulted in appearances on over 50 albums and recordings, and countless shows and tours with acts such as Lab Coast, Alvvays, Chad VanGaalen, Un Blonde, Samantha Savage Smith, Crystal Eyes, Pre Nup, Jon Mckiel, Gold, Chairs, Jay Crocker, Monty & The Beasts of Monty, Lorrie Matheson, Sandy Cassels, Jon Gant, Extra Happy Ghost, Faux Fur, You Are Minez, Laura Leif, Snailhouse, Thighs, Crests/A Relative Distance, Dolly Sillito, Woodpigeon, Embassy Lights, John Rutherford, Ryan Bourne, Kenna Burima, Mama Safari, Tariq, Aaron Booth, Clinton St. John, Vail Halen/Key To The City, and Chris Vail. He has also spent two years as a support musician for the Banff Centre Indie Band Residency, where he worked alongside the likes of Brendan Canning, Charles Spearin, Kathleen Edwards, Shaun Everett, and Nyles Spencer. With Scott Munro and Jay Crocker, in 2009, he also recorded a solo album, which is available online. He is currently playing drums with Samantha Savage Smith and Chad VanGaalen and bass in Pre Nup.
Dadge co-leads Lab Coast along with David Laing. The two write and record the as a duo, while the live band features Samantha Savage Smith, Darrell Hartsook (Pre Nup, The Gooeys, Sissys), and Henry Hsieh (Crack Cloud, Cold Water). Lab Coast has released two short albums, Wilding and Pictures on the Wall, three split EPs - with Extra Happy Ghost (a 7" on Saved By Vinyl), Friendo (a 7" on UK label Faux Discx), and Diamond Mind (a tape on Tranist) - and an EP, Editioned Houses, on Night People. Walking On Ayr, their third album, was released on CD in 2013 and LP in 2014. FFWD Weekly praised their "effortlessly appealing pop songs" and Exclaim! refers to the music as "short, deceptively simple drops of catchy-as-hell indie rock". Their fourth full-length, Remember The Moon, was released on April 29, 2016, and the Toronto Star said of it, "Lab Coast has grown so good at making a certain species of scuffed-up, small-scale psych-pop that the rest of Canada really no longer has any excuse not to pay attention." In May of 2017, Faux Discx issued a compilation LP of the band's firstg four albums, called Lab Coast, which AllMusicGuide calls "catchy lo-fi pop gems ... solid from start to finish".
Over the last few years, Dadge has developed a reputation as a recording engineer and producer in his home studio, 606, where he specializes in "mid-fi" productions, hybrid analong/digital recordings incorporating unorthodox recording techinques and diverse instrumentation. To date, his recordings of Calgary acts such as Empty Heads, Hex Ray, Ashley Soft, Crystal Eyes, Pre Nup, Dream Whip, Sunglaciers, and Samantha Savage Smith have been released.
From 2010-2013 Dadge was a member of Theatre Junction's Resident Company of Artists, composing and performing music for original creations Lucy Lost Her Heart and Sometime Between Now and When The Sun Goes Supernova, and a production of Martin Crimp's Attempts On Her Life. He composed two scores - POLKA(dots) (2015) and We All Need To Say GOODBYE/ADIOS (2013) - to the dance/multimedia performances of flamenco artist Rosanna Terraciano, and accompanied Montreal-based dancer/choreographer Katie Ward on theremin for her piece Reality 1."-Bug Incision (http://www.bugincision.com/chrisdadge/biography.html)
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sample the album:
"Chris Dadge and Jonathon Wilcke played together for the first time around 15 years ago, both summoned by saxophonist/presenter Darren Williams for a performance of Ornette Coleman's Free Jazz. (Williams, now located in Kelowna, was living in Calgary at the time and presenting a seminal series called nach Hause.) That performance, rousing as it was, was predictably free of intimate moments of small-group interaction, so no great revelations were made for the two that evening. Fast forward a bit to the latter half of 2006, when the first six months of Bug Incision shows were taking playing at the Soda. During the "trios" month, Wilcke joined Dadge and bassist Scott Munro (who was also present at the Free Jazz gig) for a set where things really clicked. But, by that time, Wilcke was living in Vancouver and deep into the 1067 scene there, playing with Williams, Dave Chokroun, and Shane Krause, among others.
Fast forward again to 2012: Wilcke has moved back to Calgary and he quickly dives into the city's ever-bubbling Bug Incision scene, playing his first duo show with Dadge in early 2013. They quickly established a solid rapport, both sporting large, quick-moving vocabularies on their instruments, and a keenness to subvert their own trajectories within a given improvisation, ideally in the pursuit of avoiding glibness. It is this latter quality that accounts for the at-times very open & airy feel to some of these pieces, and the sometimes awkward-sounding moments of interaction between the two players.
This album is comprised of two different recorded performances, and the different locales provide alternative glimpses of the duo's sonic spectrum. The first two pieces present a quite stark portrait, possibly attributable to the forgotten bass drum pedal, which serendipitously opened up the sound of the group for the their set during the one and only Bug Incision show at the now-defunct Parlour in Kensington. The mics were placed closer to the instruments than usual, happily picking up much of the smaller, quieter passages from these improvisations. The third piece on the album takes place at another shuttered venue, Local 510, and was recorded at Bug Incision's 10th anniversary shows in 2016. This piece is perhaps more representative of a "regular" set from the two; the higher density and volume levels paired with the rather drastic shifts in mood and pacing point towards the duo's basic unspoken modus operandi."-notes by Jonathon Ronler
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