Issue No. 008

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ISSUE NO. 008 W I N T E R 2 019

R +A U DVENT

5 0 9 AT L A N T I C AV E N U E + B R O O K LY N | R O U L E T T E .O R G 1

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BOARD OF DIRECTORS Sean Buffington Anne Hemenway Mimi Johnson Gordon Knox

James S. Staley, President Ned Rothenberg, Chairman Paul Gertner, Secretary Joseph Walker, Treasurer

George Lewis Gayle Morgan William Parker Catherine Pavlov

Frances Richard Fredrick Sherman, Esq. David Weinstein Brooks Williams

Val Jeanty Darius Jones John King Oliver Lake James Brandon Lewis

Miya Masaoka Tomeka Reid Jen Shyu Nate Wooley

ARTISTIC ADVISORY BOARD David Behrman M.V. Carbon Jennifer Choi Sylvie Courvousier

Mario Diaz de Leon Peter Evans Shelley Hirsch Jason Hwang

STAFF James S. Staley – Artistic Director + Producer Jamie Burns – Managing Director Ian Bjornstad – Assistant Technical Director Emily Bookwalter – Director of Development Wolfgang Daniel – Videographer + Post Production Editor Caitlin Gleason – Director of Communications Mary Griffin – Development Consultant Marandi Hostetter – Special Events Assistant Woramon Jamjod – Technical Director Rachel Lyngholm – Graphic Designer + Communications Assistant Stevie May – Operations Associate Jason McMahon – Facilities Manager Stéphanie Palmer – Director of Special Events + Community Partnerships Cassie Tunick – Bookkeeper David Weinstein – Director of Special Projects

AUDIO ENGINEERS

Andrya Ambro, Stephe Cooper, Ian Douglas-Moore, Teerapat “Gof” Parnmongkol, Jade Payne, Brendan Reilly

EVENT LIASONS

Raha Behnam, Eliza Brennessel, Doug Hertz, Angie Pittman

BOX OFFICE + BAR STAFF

Simon Hanes, Perry Huntoon, s. karabush, Doug LeCours, Christina Lynch, Krystal McRae, Rachika Samarth, Marc Anthony Solangon, Pia Wahlsten

INTERNS

Sarah Beard, Connor Chase, Lee Gilboa, Jenna Snyder, Cassie Weiland

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REFLECTIONS ON A COLLECTION On December 17 1984, Pauline Oliveros—the composer, pioneering electronic sound artist, accordionist, and guru to devotees of her Deep Listening projects—performed at Roulette’s original loft in lower Manhattan.

Afterward, we handed her a check for her artist fee, $400. Oliveros endorsed the check and handed it back saying, “Roulette needs this more than I do.”

34 years later, while examining the contents of the Roulette archives, we found the check tucked safely inside a box containing the tape of the concert. So, thank you again, Pauline.

On December 5, 2014, Henry Threadgill took the Roulette stage with his group Zooid to premiere a series of quintet pieces entitled In for a penny, in for a pound. About the piece, Threadgill said that it is, “to be performed in a chamber space… it wouldn’t come off well in just any kind of space.” Apparently, Roulette was the right kind of space. The piece won the 2016 Pulitzer Prize for Music. Roulette has a beautiful

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behind-the-scenes Roulette TV video of Threadgill and Zooid in the archive. The pleasure is ours, Henry, and congratulations.

We single out these two anecdotes as symbolic bookends to celebrate 40 hears of history at Roulette. And also to announce the launch of a new free Archive feature on our website.

This custom-designed, searchable, and deliciously rich complement to the site is a portal to nearly 4,000 concerts, with hundreds of restored audio recordings, videos, photos, posters, programs, and odd little treasures like Pauline’s check. We are adding dozens more items each week, with thousands more waiting for some love. There is also a curated playlist of Roulette concerts that you can use as your online radio stream!

by David Weinstein

To celebrate the launch of Roulette's archive, we're hosting a party on February 12, 2019. The event is free and features demonstrations, refreshments, and a special performance by Ashcan Orchestra, recipient of a Roulette Jerome commission in 2016.

Roulette will also introduce and celebrate its 2019 cohort of resident and commissioned artists at this event.

Finally, if you remember a Roulette concert that inspired you, or if you performed your music here or played in something special, and you want to see that recording surface, reach out to us at archive@roulette.org and we will fast-track its restoration. We are very interested to respond to artists and audience memories and moments. The complete effort to process, preserve, and post all this material will take a year, or years, depending on public support and funding. If you want to help in any way, please contact us. I know someone who lost an earring at Roulette in 1993‌and we found it!

Film negatives from the archive: choreographer Sally Silvers and dancers, 1980s 5

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CONTRIBUTORS

SPOTLIGHT ON ANAÏS MAVIEL

Gelsey Bell is a New York City-based critically acclaimed singer, songwriter, and scholar. She has released multiple albums, including most recently This is Not a Land of Kings, and Ciphony with John King.

She received a 2017 Music/Sound Award from the Foundation for Contemporary Arts, has had work included in PS1’s Greater New York exhibit, and has had both a residency and a commission from Roulette.

She is a core member of thingNY, Varispeed, and the Chutneys.

Performance highlights include Dave Malloy’s Natasha, Pierre, & the Great Comet of 1812 (on Broadway) and Ghost Quartet, Robert Ashley’s Crash, Matthew Barney and Jonathan Bepler’s River of Fundament, John King’s Micro-Operas, Yasuko Yokoshi’s BELL, Kate Soper’s Here Be Sirens, and Gregory Whitehead’s On the Shore Dimly Seen.

NICK DUNSTON IN CONVERSATION WITH DARIUS JONES

Darius Jones is a critically acclaimed alto saxophonist and composer.

In 2008, Jones was awarded the Van Lier Fellowship by Roulette, which he used to launch his chamber ensemble, the Elizabeth-Caroline Unit, a project dedicated to new works for voice. Roulette continued their support for Jones’s work through a Jerome Foundation Commission, awarding Jones an Artist-in-Residence opportunity for the ElizabethCaroline Unit to premiere his vocal composition, The Oversoul Manual, in spring 2014. Following that performance, Jones made his compositional debut at Carnegie Hall with The Oversoul Manual in October 2014. Jones has collaborated with Gerald Cleaver’s Black Host, Oliver Lake Big Band, Eric Revis Quartet, Nasheet Waits Quartet, Trevor Dunn’s Proof Readers, Matthew Shipp, Branford Marsalis, Jason Moran, and more.

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REFLECTIONS ON A COLLECTION

David Weinstein is a composer, sound designer, audio engineer, curator, and producer. He is host of the music programs, Ridgewood Radio, on WFMU.org radio and Tracking The Odds on Wave Farm’s WGXC-FM. Weinstein also directs historic audio archiving projects, recovering lost and forgotten radio programs on American culture. He was Program Director of the legendary Manhattan alternative space, The Clocktower Gallery from 2009–15. He was MoMA/PS1 Director of Public Programs and Managing Director of its radio station from 2004-2008. Weinstein is one of the co-founders of Roulette, where he currently holds the title Director of Special Projects. He has taught music, sound, and multimedia at The School of the Museum of Fine Arts in Boston, Yale University, and the City University of New York, and has worked as a consultant, panelist, curator and organizer for arts organizations and companies from Morgan Stanley to MTV.

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ROULETTE MEMBERS Save $$ on Tickets Come to Special Events Sit in the Front Row Save $$ at Local Restaurants KEEP ROULETTE ALIVE STARTING AT $75/YEAR.

PURCHASE AT THE BOX OFFICE OR ROULETTE.ORG/MEMBERSHIP

PATRON CIRCLE Our generous Patron Circle enjoys all benefits of membership + free entry to ALL Roulette shows, guest tickets, invitations to private events with Roulette artists, and plays a major role in the vitality of Roulette.

STARTING AT $500/YEAR

VISIT ROULETTE.ORG/SUPPORT/PATRONCIRCLE OR EMAIL EMILY@ROULETTE.ORG 9

NICK DUNSTON IN CONVERSATION WITH DARIUS JONES On January 30 2019, in his first Van Lier Fellow performance, composer/ bassist Nick Dunston presents his quintet, Atlantic Extraction, completed

by Louna Dekker-Vargas on flutes, Ledah Finck on violin, Tal Yahalom on guitar, and Stephen Boegehold on drums, along with the world premiere of The Floor is Lava!—a work written for five double basses featuring the diverse talents of Kanoa Mendenhall, Almog Sharvit, Eva Lawitts, and Lisa Hoppe.

Darius Jones: Who is the Brooklyn-based composer, bassist, and scholar named Nick Dunston?

Nick Dunston: Well, I grew up in New York City—I was born in DC and moved here when I was four. I started off as a cellist. I guess my start in music wasn’t really for any “good reason;” my mom made me play cello, and the first time I switched to electric bass was because I just wanted to be cool. That’s really what it came down to. It took me a while to develop a sense of discipline in working hard at anything, really. My parents stressed the importance of at least working hard in school from an early age. My mom is Puerto Rican, and my dad is African-American, so they really stressed the importance of making sure you represent yourself in the best way possible—fighting the social odds against you. Even still, in music, I wasn’t super disciplined at first, and I had to develop that as I got into high school. As I spent more time actually practicing, motivating myself, and forcing myself to see things that was hard to do when I was younger—that’s really what contributed to my love for music: working harder and seeing that work actually pay off. So yeah, that’s how I got started with the actual discipline of it. I spent a lot of time as a kid not really hanging out with a lot of other kids my age. I really just daydreamed all day. I didn’t do much; I kind of would play ridiculous, fantastical scenarios in my head.

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Photo by Zosha Warpeha

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DJ: Like what?

ND: I was into superheroes. I would spend time imagining superheroes or fantasy worlds—nerdy stuff like that. I played some video games, but I really just liked imagining creatures or people. And it’s not like I had a bleak childhood, I mean I was living in Brooklyn—it was all cool. But yeah, whenever I was walking around or doing anything, my mind was going-on with ridiculous, otherworldly thoughts and images and scenarios. I think that’s what allowed me to constantly churn out new music as a composer: there’s really no shortage of ideas and stuff that I see as valid. I’m so used to always re-imagining and re-imagining things and going back to things that I imagined years ago and developing those in my head. When I realized that I could be a composer, that mindset manifested into music.

DJ: When did you become aware that you could be a composer?

ND: It started in the beginning of high school. I played in a rock band before that in middle school. The band wrote songs together, and I would make up my own bass lines. I don’t know why, but at the time, I never thought of that as composition; I thought of it as just playing the bass. I think I realized it when I went to high school—I went to an art school. I would be sitting in the library and because I’m constantly playing stuff in my head, I would transcribe it onto manuscript paper.

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I don’t think of it this way now, but back then I was thinking, “oh, because I’m writing this down, that makes me a composer,” in a traditional sense.

So since then, I’ve been working to deconstruct that idea because I was still pretty ingrained with a mainstream, eurocentric idea of what it meant to be a composer at that time.

DJ: So what is your compositional and instrumental process? How do you feel your process as a composer and instrumentalist leak?

ND: So, as a composer, it can start a number of ways, but typically I’ll solidify a really basic idea, whether it’s something as vague as a rhythm or a series of pitches or even just a really general sound. I’ll take between one and three of those and solidify them either by recording it into my iPhone or singing it or writing it on paper— or writing the idea of it. Then I try to work with as few materials as I can to try to see how much I expand each one. Once I’ve sort of developed or brainstormed on a certain idea, I’ll try to make up a large-scale form. I’ve spent a long time doing that and really working out the form and basic order of events. At that point, it’s kind of just filling in blanks and seeing what makes sense. When I’m actually sitting down and composing, I try to take advantage of the one thing that I don’t usually do when I’m improvising and set up a goal and destination. That way I can pace myself and work my way towards those. That’s what I'd say my general

process is as a composer.

As an instrumentalist, I used to start by warming up on the bass, making sure that the physicality of it is already there, but I’m starting to drift away from that.

I’m finding it’s better for me if I start on the bass with a more musical approach, then blend it with the physicality of warming up. I think that the first thing I do on the instrument needs to be something more than just a physical approach.

The physical approach is super demanding and super taxing. There are new things I’m doing like yoga to help me with that. But I think when I actually have the instrument, I need to start with an artistic kind of statement. Oftentimes, I’ll improvise for a stream of five to twenty minutes.

DJ: What are you trying to communicate with your ensemble Atlantic Extraction?

ND: Atlantic Extraction is the first band I'm leading as the sole leader. At first I was thinking about what kind of band I wanted in a general sense—a large or small group—before eventually settling on a quintet. It forced me to be really inventive with the way I compose for improvisers because not everyone in the group comes from the same idiom of improvising. Half the band members are classical musicians who have different ways of approaching improvisation. At first, we didn't really know each other that well, so it has been about developing a personal relationship, as much as a musical one. That was something I did on purpose—I wanted to grow a band instead of finding one. It's easy to find a band in our community, but I really wanted to build something from the ground up. We're never going to escape our models or influences—and I’m not trying to reinvent anything, necessarily—but I find that by growing this band from the ground up, I don’t have a full vision of what we will be, but I’m realizing that it's becoming clearer to me as we progress. There are things that are really surprising me about this band—there are definitely more curveballs than I had originally thought. I think the vision is also changing as the band grows. Whereas, if I started the group knowing what it would sound like or having any really strong expectations, I feel the whole process would be more about fulfilling that expectation rather than allowing for growth and evolution. So far it's going great.

It's felt very trusting, very open, very vulnerable, and I've been surprised so many times with the music that we make. I think that's because I freed myself from expectations.

DJ: Why did you choose the instrumentation for Atlantic Extraction?

ND: Well, some parts were functional, and other parts of it actually didn't have to do with the instruments, at first. For functional reasons, I knew I wanted to do drums [Stephen Boegehold] and guitar [Tal Yahalom]—there are lack of pianos in 13

Atlantic Extraction at The Jazz Gallery, 2018 (left) Louna Dekkar-Vargas, Stephen Boegehold, Nick Dunston, Tal Yahalom, and Ledah Finck.

Photo by Gaya Feldheim Schorr

New York—and really I'm very happy with letting that dictate some of my forms.

I met Louna Dekker-Vargas who plays flute and Ledah Finck, a violinist and violist, a couple of years ago at the Imani Winds Chamber Music Festival. I was there as a composer, and they were there for another project. I knew that I wanted to play music with them in some kind of capacity and Atlantic Extraction made sense because they don't play rhythm section instruments, in the conventional sense. That was the only functional requirement that I was looking for to fill rest the band. I'd always been interested in classical music and chamber music which is where I heard these instruments first, so I think that elevated the idea that it was kind of an unconventional instrumentation. It didn't really register to me as that at first, but now that I look back on it it makes sense where it came from.

DJ: It's a cool front line—flute and violin—it’s really cool. Essentially, as you said, you have this conventional rhythm section that we’ve seen before, but then this front line that is really unique.

ND: Yeah, I know a ton of saxophonists who double on flute and who play really good flute, but it’s not the same. It’s also interesting writing something where flute is the only possible option. It gives me puzzles to work on.

DJ: I can hear that in the music. The fact that you are saying, "I have to write for flute; I have to write for violin," seems to be influencing the whole compositional process.

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ND: Very much so. I really like puzzles and so in some ways it's a balance of being really strategic and a game-maker.

But another part of me is really into the idea of giving myself a slab of work and then working my way through it and treating everything like puzzle.

DJ: What’s the compositional approach to the ensemble?

ND: There isn't any single approach, but as of recently, a bit for this ensemble and for another new group, I'm dealing with some timer, stopwatch, and gestural stuff. I'm experimenting with this notational approach where I'll have between one to three simple themes.

I'll have those kind of off to the side— theme-one, theme-two, theme-three.

The rest of the notation is gestural— giving just information that is needed to execute the general realm of what I'm hearing while making room for the improvisers. It'll look like bass-one and bass-two play theme-one, and then there will be another part that says go down, then they'll go on. Then it'll say sax-one play long tones against this, and I'll be as specific as that. It’s this unfolding of people doing really basic tasks, but they to commit it and as they hear what's going on against it, they’ll naturally gravitate towards playing together.

DJ: How much do your personal aesthetics inform your decisions at this point in your career?

ND: I'm finding that it seems like my

decisions are informing my aesthetics.

I'm recently finding that I’m more into quirky, fucked-up stuff than I thought I was, but I only came across that by composing what felt right. I don't really feel like my aesthetics, when it comes to composition, is predetermined. It feels more like I compose and then I'm like oh, okay.

DJ: Do you feel like the things you are aesthetically attracted in your work are being reflected in your choices and in the decisions that you're making at this point?

ND: In terms of my life around music, yes. Over the past year I've been particularly introspective and doing weekly therapy sessions to kind of figure out myself and work through stuff that I haven't really worked through in my life. I'm finding that by putting my work at the center of my life and focusing on that, everything else falls into place around it, particularly as it relates to my direct community and really investing in those relationships with people whether it relates to music or not. I’m working on finding a marriage between my personal life and musical life. Recently, I've been placing a lot of importance on my relationships with people, and that approach has heightened my understanding of who they are as musicians and, I think, has refined and increased my own awareness of who I am as a musician, whether it be as a composer, as a leader, or as side person.

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DJ: What are a few things that influence your work besides music?

ND: I really like movement-based activities. That could be dance but even stuff that's found more in everyday life, like looking at the way people walk. My mom would always tell me to make sure I sway my arms when I walk. When she saw me walking with my arms straight down, she would always say, "walk with your arms in movement." She was always nagging me about that, and my posture, and generally the way I present myself. She was teaching me about body awareness.

Now body alignment is always on my mind—I'm fascinated by it. Whether it be in dance, the way people walk, the people's posture, or body language really interests me.

DJ: Do you have a code that you live by?

ND: I never thought of it in that specific word, code, but I would say that yes— always believing in myself with one hundred percent conviction and commitment and really doing things on my own terms. I’m still learning about other traditions and other systems, but ultimately not letting any hierarchies or ways of making music dictate my work or who I am as a person. I’m creating my own standards, and my own terms, and how I present myself as a person.

DJ: Now that we've reached the end, are there any questions you wished I would have asked?

ND: I mean, I still have, you know, tons of anxiety about the way I declare myself as an artist and the person getting solidified. I thought you would ask more questions, but I'm glad you didn't, haha.

DJ: No no, it’s because—well, how old are you?

ND: Twenty-two.

DJ: Yeah, man, I didn't know what the hell I was trying do at twenty-two. I had an idea, for sure, but you know—at forty thinking about the kid at twenty-two, man. It’s light years. I would say, you are in a very different place than I was, but it's great that you’re letting it flow, and I think that’s the right way to be at twentytwo.

ND: Yeah, I’m trying to work hard and be kind to myself and follow my interests.

DJ: One question I would like to ask you end it—there seems to be a large 16

group of young, really interested, really talented players with vast perspectives on making work coming up right now. I mean, you guys are kind of the early twenties crew of cats that are in the interesting position of not being bogged down to any type of style or path. It seems you can do whatever really truly interests you. How do you feel about that?

ND: It’s exciting, but more so, a huge responsibility. I think it’s partially because of the huge open lines of communication and, arguably, lack of privacy. There’s just so much communication, such fast communication—and tons of people in the generation or two above us who are generous with their time and their thoughts, like yourself. We have so many resources, so it’s exciting to see what people are doing with these things, but it's also a huge responsiblity because it's like, Okay you have all this stuff. We're laying out all these ideas and influences here for you—here you go. Get to work. What are you going to do with them?

DJ: Exactly. Get to work. I like that.

Winter 2019 appearances at Roulette: [January 30th] NICK DUNSTON: ATLANTIC EXTRACTION/THE FLOOR IS LAVA! Van Lier Fellow Nick Dunston presents a set of original work with his quintet Atlantic Extraction, followed by the world premiere of The Floor is Lava!

[February 27th] JOSIAH CUNEO: THE SCREEN ABOVE The Screen Above is a new multimedia performance featuring original choreography, music, and live video created and led by Josiah Cuneo.

And stay tuned for his next Van Lier performance in the Spring.

Photo by Zosha Warpeha 17

JANUARY [5th] BILL FRISELL & THOMAS MORGAN Guitarist Bill Frisell and bassist Thomas Morgan return to Roulette for a program of duets from their albums Small Town and Epistrophy.

8pm / $35 [8th] PROTOTYPE FESTIVAL: THE LITTLE DEATH: VOL. 1 One night tribute to Matt Marks featuring his music-theatre work, The Little Death: Vol. 1 8:30pm / $30 [14th] FACE THE MUSIC Face the Music is the country’s first youth ensemble dedicated to studying and performing music by living composers.

7pm / $10 [24th] LISA NELSON: END PLAYS Improvisational dance artist Lisa Nelson premieres End Plays in collaboration with the dynamic duo HIJACK—Kristin Van Loon and Arwen Wilder.

8pm / $18 presale | $25 doors [25th] THE MUSIC OF ANTHONY BRAXTON: SYNTACTICAL GHOST TRANCE // ECHO ECHO MIRROR HOUSE Album release event for Anthony Braxton’s GTM (Syntax) 2017 performed by the TriCentric Vocal Ensemble, followed by Carl Testa/Cory Smythe.

8pm / $18 presale | $25 doors

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[30th] NICK DUNSTON: ATLANTIC EXTRACTION/THE FLOOR IS LAVA! Van Lier Fellow bassist Nick Dunston presents a set of original work with his quintet, Atlantic Extraction, followed by the world premiere of The Floor is Lava!

8pm / $18 presale | $25 doors

FEBRUARY [1st] FRESH SQUEEZED OPERA: THE FEMALE GAZE Fresh Squeezed Opera presents the world premieres of works by Whitney George, Gabrielle Herbst, and Gemma Peacocke for voice and electronics.

8pm / $18 presale | $25 doors [5th] ANAÏS MAVIEL: WHO IS THIS RITUAL FOR AND FROM? Van Lier Fellow Anaïs Maviel presents: who is this ritual for and from?—an ending and a beginning, from self to other and vise versa.

8pm / $18 presale | $25 doors ROBERT DICK & RINDE ECKERT: ROBERT: SERIOUSLY AMUSED Developed with the alchemical performer Rinde Eckert, acclaimed flutist/composer Robert Dick‘s first foray into the world of performance art, Seriously Amused, is part biographical, part philosophical, and more than a bit strange and weird.

8pm / $18 presale | $25 doors

[7th] STEPHAN CRUMP’S ELEMENTAL Performed alongside Ches Smith, Eric McPherson, Ryan Ferreira, and Michaël Attias, bassist/composer Stephan Crump’s Elemental inhabits a magnified realm where communion grows in fields of texture.

8pm / $18 presale | $25 doors [8th] ARGENTO NEW MUSIC PROJECT: THE VOICES OF ERIN GEE In the first composer portrait for Erin Gee, Argento New Music Project presents selections of Gee’s vocal works performed by the composer herself alongside the stellar musicians of Argento’s ensemble.

8pm / $18 presale | $25 doors [12th] ROULETTE’S ARCHIVE LAUNCH PARTY After two years of research, planning, and design, Roulette is unveiling its historic archive of nearly 4,000 concerts dating back to its first concert in 1978, all available for free online at roulette.org/archive Featuring demonstrations, refreshments, and special performances, on this day we’re also excited to introduce our 2019 resident and commissioned artists—a recognition of the continuity across our history with our commitment to a future of innovation.

FREE with RSVP | 7–9pm [17th] CHRIS FERRIS & DANCERS: UNQUANTIFIABLE Developed with composer Loren Kiyoshi Dempster, Chris Ferris & Dancers’s newest work Unquantifiable is a dance celebrating our uniqueness coexisting in harmony.

8pm / $18 presale | $25 doors

MIXOLOGY FESTIVAL 2019: SIGNALING 2/19 – 2/22 [19th] SHELLEY HIRSCH & THE MERCURIUS WAGON // CRYSTAL PENALOSA: SOURCES OF POWER Shelley Hirsch performs with Horst Rickels’s magical instrument constructed from cannibalized organ pipes, toilet plungers, and bicycle pumps: The Mercurius Wagon— built for and performed by Hirsch 30 years ago, restored specially for this event.

Utilizing electronics, voice, and movement, Crystal Penalosa‘s new piece Sources of Power explores the vulnerability, power, and potential for safety voice work can present for people who are transgender.

8pm / $18 presale | $25 doors [20th] JON SATROM: PREPARED DESKTOP // ALI SANTANA: BOOMBAYE Satrom’s Prepared Desktop leverages the digital defaults and mundane functions of the computer. Scripts, presets, and glitches collide as he tickles the edges of his OS. 8pm / $18 presale | $25 doors [21st] LILY JUE SHENG // MATT ROMEIN Sheng tells stories about the world around us. Romein tells stories about the world inside him. Two mirrors reflecting themselves.

8pm / $18 presale | $25 doors [22nd] MICHELE MERCURE Roulette, with RVNG Intl. and Freedom To Spend, is proud to present minimal synthesist and experimental composer Michele Mercure, performing live for the first time in 30 years.

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NED ROTHENBERG: BEYOND C Composed by Ned Rothenberg, Beyond C is a concerto for improvising woodwind soloist and an ensemble of variable instruments— Contemporaneous. Inspired by seminal minimalist composer Terry Riley’s landmark composition In C (1964).

8pm / $18 presale | $25 doors

CONTEMPORANEOUS IMAGINATION PRESENTS In a snapshot of the endlessly varied forms of musical expression throughout our community, Contemporaneous hosts a nongenre musical gathering with sets by some of the most powerful artists working today.

7:30pm / $18 presale | $25 doors

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JOSIAH CUNEO: THE SCREEN ABOVE The Screen Above is a new multimedia performance featuring original choreography, music, and live video created and led by Josiah Cuneo.

8pm / $18 presale | $25 doors

SHAYNA DULBERGER: BITTER SKY Resident artist and bassist Shayna Dulberger joined by Fay Victor, Ava Mendoza, and Juan Pablo Carletti present an exploration of sound dimensions inspired by minimalist Anthony Caro’s steel sculpture Bitter Sky (1983) 8pm / $18 presale | $25 doors

[28th] INBAL SEGEV: 21ST CENTURY WOMEN Cellist Inbal Segev performs works by modern female composers: Missy Mazzoli, Reena Esmail, Anna Clyne, Gity Razaz, and Kaija Saariaho.

8pm / $18 presale | $25 doors

MARCH [3rd] GELSEY BELL, AMIRTHA KIDAMBI, ANAÏS MAVIEL, MEGAN SCHUBERT: QUARTET Vocalist-composers Gelsey Bell, Amirtha Kidambi, Anaïs Maviel, and Megan Schubert come together to write new pieces for each other in QUARTET. 8pm / $18 presale | $25 doors [5th] SHIPP/LOWE/CLEAVER/RAY A cooperative quartet specializing in free improv—pianist Matthew Shipp, saxophonist Allen Lowe, drummer Gerald Cleaver, and bassist Kevin Ray—bring their exciting chemistry to Roulette.

8pm / $18 presale | $25 doors 20

[12th] VIJAY IYER AND CRAIG TABORN: THE TRANSITORY POEMS Two of jazz and contemporary music’s premier pianists and composers perform together.

8pm / $18 presale | $25 doors [14th] INTERPRETATIONS: JOAN LA BARBARA // TOM CHIU’S ENSEMBLE METRIX The innovative composer Joan La Barbara presents new material from her ongoing opera-in-progress.

Tom Chiu’s Ensemble Metrix is a mixedinstrumentation group dedicated to recontextualizing adventurous music.

8pm / $20 [18th] CECILIA LOPEZ: BIFURCATIONS/DOS (TRES) For the first concert of her 2019 Roulette residency, artist/composer Cecilia Lopez will present a two-part program exploring different scales of sound spatiality in Roulette’s theater alongside Aki Onda.

8pm / $18 presale | $25 doors

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[27th]

TALKING GONG AND BURMESE DRUM: ALEX PEH WITH KYAW KYAW NAING, SUSIE IBARRA, AND CLAIRE CHASE Pianist Alex Peh collaborates with percussionists Susie Ibarra, Kyaw Kyaw Naing, and flutist Claire Chase to perform new works.

8pm / $18 presale | $25 doors

KATHERINE LIBEROVSKAYA: 4-WAY ADLIB Katherine Liberovskaya‘s figurative live-video improvisations draw from a vast database of diverse footage, beginning with her first video camera in the 1990s, processed through feedback and dreamy effects, and activated by spontaneous abstract word/voice and sound events by Shelley Hirsch and Anthony Coleman, and extended into space by Yoshiko Chuma‘s dancing.

8pm / $18 presale | $25 doors

[21st] MARÍA GRAND: MUSIC AS A USER’S MANUAL Resident artist María Grand’s Music as a User’s Manual seeks to functionalize the ritualized nature of the concert. It asks what is there to take home after one goes to a concert. Is there any real change that happens, and are there any actual tools offered to listeners that they can implement in their lives?

8pm / $18 presale | $25 doors [23rd]

[28th] ZEENA PARKINS: CAPTIVA Multi-instrumentalist, composer, improviser, and harp pioneer Zeena Parkins releases her new record Captiva with special guest, trombonist Jim Staley.

8pm / $18 presale | $25 doors [30th]

RBA: DEREK GRIPPER: HYPNOTIC STRINGS OF AFRICA As part of the 5th Annual A World in Trance Festival, Derek Gripper, a master guitarist from South Africa, magically conjures anew a centuries-old ancient African musical heritage, interpreting kora (21-string harplute) compositions on solo guitar.

8pm / $26 presale | $30 doors

RBA: JAKOUKA MEETS NEW YORK: BACHIR & MUSTAPHA ATTAR with Ned Rothenberg, Arrington De Dionysio and Ben Bennett Inspired by the intoxicating sounds of the legendary Master Musicians of Jakouka explore the potential for sound to trigger a state of ecstasy as part of the 5th Annual A World in Trance Festival.

8pm / $26 presale | $30 doors

[25th]

[31st]

THE SCHLIPPENBACH TRIO Evan Parker, Alexander von Schlippenbach, and Paul Lytton, known as The Schlippenbach Trio have worked as a unit for around forty-five years and is arguably the best-known group playing free jazz in Europe.

8pm / $18 presale | $25 doors

BROOKLYN MAQAM 1ST ANNIVERSARY CONCERT Brooklyn Maqam, a new community organization devoted to the middle-eastern music scene in New York, will cap their first year of programming with a full night of music featuring three of the top Arabic musical groups from in and around NYC. 8pm / $25 presale | $30 doors

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by Gelsey Bell For her first Van Lier Fellowship concert at Roulette, vocalist and composer Anaïs Maviel premieres who is this ritual for and from? featuring collaborations with pianist and composer Sam Yulsman and choreographer Daria Faïn on February 5th.

The first time I heard Anaïs Maviel sing still echoes in my memory, infused with a June breeze, her drum beat, and sunshine spilling into a Brooklyn backyard.

We were playing on a bill together for one of Mara Mayer’s Home Audio concerts (along with another Roulette favorite Gabrielle Herbst) that Mara had smilingly named Three Sirens. This was back in 2013 before Anaïs moved to New York from France, and her music wrapped into me like a fishing line, a siren song that continues to delight and inspire me. Now after five years in New York City, Anaïs has become an integral part of music and interdisciplinary art-making in the city.

Tell us about what you’re planning for your shows in the spring at Roulette.

I’ve been thinking about a way I could take the February 5th show as a passage ritual for my solo practice, wrapping together my inside and outside, earthly and cosmic, past and future processes—an occasion for me to assess how my language and ability to relate have developed hand in hand, and to share cohesively intimate and common Photo by Dar Es Salaam Riser

finds, blurring lines between self and other. What has come up so far is a fluid spiritual and bodily relation with acoustic and vibratory phenomenons I’ve come to approach as healing, as oneness.

Some ways to access “otherness,” digging inward, seem to reveal collective stakes in performance, and its function in society. I’m interested in the witnessing experience being performative and the performing experience being meditative. I’m exploring gaps between

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meditative and cathartic practices, and the mediation of articulate language between these realms, in order to transform shared reality with continued intent through vibration. I’ll try to touch on some of this, as well as the collaborative processes that nurtured these inquiries: With choreographer Daria Faïn—who, alongside Robert Kocik (the Prosodic Body), has helped me realize every sounding body is already moving, that every moving sound contains language—and with pianist and composer Sam Yulsman, whose understanding of the symbolic undercurrents of my music has helped me unfold a compositional language.

The piece I'm performing at Roulette in Summer 2019 will be a continuation of my recent collaboration with Swedish visual artist, activist, and instrumentmaker Jonatan Malm, with whom I've explored the resonances between ancient (trans-generational, diasporic wisdom) and future (immediate, urban cyborg) spaces of sound and their politics. Between music that comes from Northern forest lakes entities and Southern mangrove spirits, there are many conversations to have to address our current globalized ideological crises.

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We’re looking at this critical human dependency on the environment, and the sacredness of the realm of so-called nature, informing every step of human emancipation and collapse. From there, I dreamed a piece involving several synthesizers and wooden percussion instruments, played by vocalists and multi-instrumentalists—mediators between ancient and future relations to sound in space. This will be a toe-dip into some kind of an opera pointing at different layers of current reality and including my recent work around subconscious song-writing, micro-tonal and multi-modal harmonic systems.

Anaïs and Sam Yulsman performing at Arts for Arts's Not a Police State series on January 20, 2016.

Photo by Don Mount

We’re also doing a show together!

Joined by Amirtha Kidambi and Megan Schubert, we will have a night where each vocalist-composer makes a piece for vocal quartet.

Can you tell us a little bit about what you’re planning for that and what you get out of collaborating with other vocalist-composers?

It is very exciting for me to get to write for such powerhouses. I’ve been feeling strongly about writing for voice, and I am absolutely thrilled to be involved in such an endeavor. Being part of each of your process as an interpret, at the same time as I write for each of you – what a dream way to be creative with other voices! I feel like it opens up possibilities, in terms of texture, range, and language.

I hope I can honor each specific talent of yours and hopefully contribute to a collective expansion.

My piece starts from formlessness, soundscapes that fill our ears as we live our lives, that give flavor to each moment we experience, the light buzz and the cat’s walk, the blowing wind and the plane growl. Time shifts that move a sound shape to another, the extraordinary alignment of poly-rhythms between street work, breeze, pedestrian paths, crickets and bird jams, and their amazing harmony. Sometimes these epiphanies happen in long cycles, sometimes they are immediate, and they all speak to me as a language of interdependency between realms. Although some sounds have a certain opacity to my ear because I don’t understand their function, 25

they still have a certain transparency as they intertwine with my reality and impact my way to be present to it. And ultimately, my body forms around these sounds to create language.

As far as content, I’m invoking the symbolics of a divine feminine shifting paradigm, the intuitive and practical Pallas-Athena—as other than the old-school sassy Venus. I experience womanhood as a critical point of view on current societal shifts. While these transformations impact society and human evolution as a whole at different paces, I experience their correspondences with interest. Like rivers whose streams are slow and take years to reach the ocean, while other streams are almost ubiquitous. I’m wondering about the role of femininity in this transformation, as I am concerned by the state of our species, our relation to each other across genre, age and culture, and to all forms of life in a strange race to destruction.

Your music often involves a mix of singing and drumming. How do those two activities interact in your work and compositional / improvisational process? Do they feed each other?

To sing and drum is at the root of my experience as a musician. I believe music, as a form of communication prior to articulate language, is fundamental to human experience. Pre-language in music is really interesting to me, a lot of my research focuses on the gestation process of expression, the alignment of pre-language with post-language music somehow. Music interests me to the extent that it carries the potential to 26

(re)-organize our brains, as a prelude to the way we imprint our imagination onto reality.

Voice and drum offer direct access to the intuitive perception of vibration, as a laboratory for sonic alchemy. As a teen, I was lucky to be involved with sacred Shona music (from Zimbabwe); Realizing then that the entrancing function of rhythm in relationship to singing was key for transcendental experiences really hooked me on music for good. In Shona music, when you’ve sung for hours and the air is thick with woven vibrations, the magic of overtones takes hold, and the durational interaction of metallic buzzes and whirling calabash seeds sound like divine voices. Trance is key to bliss, accessing various states of consciousness, and collective transformation—voice and rhythm being its prime triggers. These principles are found in most traditional music which I find fascinating because it comes down to human coexistence transcending cultural differences, through the shared experience of hearing and sonic interaction.

Since connecting these dots, I’ve been obsessed with dimensional shifts, when repetition becomes a canvas for more harmonics and polyrhythms to reveal themselves, the ones that are already present on our surroundings and that, as musicians, we excavate or allow to appear—depending on the method.

Also, percussion instruments, as well as voices, challenge dominant ideas of pitch. I love the whole percussive tonal world, how it refines the ear to over and undertones and how it impacts the way I sing. One would think a percussion

instrument has only a couple notes, but the surdo, singing bowls, bells, and gongs have been for me infinite wells multiplying melodic paths I can explore vocally. Tuning my ear to percussionimpulsed shifting and bending intervals has impacted my harmonic perception, and how I approach rhythm and harmony together. As a composer, I’ve been exploring minimal, cyclical possibilities of drumming as a trigger to multi-modal, polyrhythmic explorations and odd textures combining voice and percussion. Personality splits have also been interesting finds, as the drum has this very conversational quality to it. I experience language shifts when I express myself with drums, or voice, or when both communicate under their own physical terms. All these are related to shamanism, which is inherent to such practice.

In what way do you see the place of politics in your work?

Winter 2019 appearances at Roulette: [February 5th]

It is core and shell, although I want to be very careful about my work proving any point. Politics are ethics and aesthetics combined. I believe that as an artist, my function is to catalyze new political thoughts. As a utopian, I mean to open up possibilities for realities ahead. As a love warrior, I intend to deconstruct ideologies and to liberate hearts, minds, and bodies. • Look for Anaïs Maviel in her upcoming

ANAÏS MAVIEL: WHO IS THIS RITUAL FOR AND FROM? Van Lier Fellow Anaïs Maviel presents: who is this ritual for and from?—an ending and a beginning, from self to other and vise versa.

[March 3rd] GELSEY BELL, AMIRTHA KIDAMBI, ANAÏS MAVIEL, MEGAN SCHUBERT: QUARTET Vocalist-composers Gelsey Bell, Amirtha Kidambi, Anaïs Maviel, and Megan Schubert come together to write new pieces for each other in QUARTET. And stay tuned for her next Van Lier performance in the Spring.

Photo by Dar Es Salaam Riser 27

ARTISTS WHOSE WORK IN SOUND AND MEDIA CONTAINS EMBEDDED TRUTHS, BOTH HEARTENING AND STARTLING. Active for over 25 years, Roulette’s Mixology Festival celebrates new and unusual uses of technology in music and the media arts. Primarily a snapshot of current activity, the festival strives to reflect both the history and trends of innovation that impact the Zeitgeist.

Curated by David Weinstein.

Deep has to do with complexities, boundaries or edges beyond ordinary or habitual understanding. A deep thinker defies stereotypical knowing and it may take either a long time or never to understand her.

— Pauline Oliveros If there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signaling through the flames.

— Antonin Artaud

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