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Wednesday, August 6th 2008 - 8pm

- the Coup d’etat music series -

Jawwaad Taylor/Dave Dove
Vic Rawlings
Luke Maldof

Jawwaad Taylor/Dave Dove
As a preteen, Northside Houston’s Jawwaad Taylor had an early exposure to creative music when his uncle played him records by Cecil Taylor and Anthony Braxton. At the same time, Jawwaad was developing his skills as a hip-hop MC. At a young age, Jawwaad became an accomplished freestyle rapper. Later, after meeting David Dove, he joined the group of musicians around Nameless Sound (and the NS Youth Ensemble), and his interest weighed more heavily on trumpet and free improvisation. After a period, Jawwaad returned to rhyming. This return had a goal to bring his musical activities together and form an original approach. He and Dove worked steadily for several years to craft a creative music that kept the authenticity of its sources and maintained the spontaneity of free improvisation. Jawwaad’s broad artistic palette moves the music forward. In addition to his vocals and trumpet playing, Jawwaad brings a producer’s ear to his use of electronics and samplers.

In addition to improvising, Jawwaad is working on a solo hip-hop album. The album will be a follow up to the success of “Craft of the Lost Art” (Lex Records), 2007’s acclaimed release by Shape of Broad Minds,
the Philadelphia based underground hip-hop duo that features Jawwaad.

A trombone player, composer, improvisor, and educator, David Dove has given performances and workshops all over the US and some internationally (Mexico, Canada, Scotland, Vietnam). He has collaborated with many of his favorite local/national/international artists (more and less well known) and has developed an approach to creative music education.

Dove grew up learning the trombone in the public school band program, while at the same time playing bass g
uitar in punk bands. After high school, he spent years studying and playing a wide variety musical styles (including 6 years in the band Sprawl). In the early 1990’s, he became dedicated to free improvisation. This eclectic background and commitment to creativity eventually led him to conceive of a new approach to music education.

In 1997, Dove started working at MECA, an inner-city arts community center, where he began to develop this approach. In 2000, Pauline Oliveros invited him to start a branch of The Deep Listening
Institute (DLI) to further his educational goals and bring contemporary musicians to Houston. In 2006, DLI Houston became Nameless Sound, an independent organization. Nameless Sound reaches over 1500 young people in Houston every year through workshops in public schools, community centers, and homeless shelters.

Vic Rawlings Vic Rawlings is active as an improviser and
instrument builder, specializing in modifications
of existing instruments, creating extensive cello
preparations. He also continually develops an
electronic instrument from extant exposed
circuitry, producing, in effect, a modular analog
synthesizer with a highly unstable interface.
This electronic instrument is paired with a
flexible array of exposed speaker elements,
chosen for their often unpredictable and
idiosyncratic acoustic qualities.

Luke Moldof

Luke Moldof is known primarily for his work in the fields of noise/power electronics and free improvisation. He often seeks to establish a common ground between these two seemingly different aesthetics, moving from visceral to subtle at the drop of a dime. In his solo guitar arsenal he incorporates drones, preparations, and a Derek Bailey-esque harmonic palette. In the noise scene, he is best known for being a founding member of the now defunct Craniopagus as well as his solo project Stillbirth. He also plays regularly in the groups Food and Catholic Skin. Luke runs a noise label called Razors and Medicine.

Sunday, July 13th 2008 - 8pm

Semata & Intransitive Presents:
an evening of electronic music


Neanderthalic four-armed beast discovers there are tools in a dark, damp room. it's hungry, sweaty and frustrated. it wants everyone to hear, empathise and offer their bodies for its feed...brothers from brisbane, australia.

Brown Wing Overdrive
from downtown NYC...Chuck Bettis (formerly of DC no-wave bands Metamatics and All-Scars), Mikey IQ Jones, and Derek Morton (ex-Mikroknytes), are mad jugglers of oddly-shaped musical eggs. Processed banjo, shamanistic chants, and fried electronics set up against lattices of stuttered beatboxing and found-object percussion... their next album will be out on John Zorn's Tzadik label this September!

Fourth-mind drone band of Boston anti-luminaries Brendan Murray, Howard Stelzer & Jay Sullivan... lo-tech electronic murk and drift.

Tuesday, July 8th 2008 - 8pm

- the Coup d’etat music series -

James Coleman / Lou Cohen
The Human Hairs
Max Lord

James Coleman has been develop ing and updating new languages and sonic deployment for the Theremin, arguably the first electronic music instrument, in contemporary and creative musics for the past 10 years. Primarily working in improvisation, he is an active performer and recordist in the United States, and has performed with Jaap Blonk, Axel Doerner, Stephen Drury, Peter Kowald, Chris Mann, Lionel Marchetti, Joe McPhee, Jerome Noetinger, Pauline Oliveros, Eddie Prevost, Steve Roden, and has primary collaborations with Boston area musicians, many of whom are in the BSC. www.zuihitsu.net

Lou Cohen, composer, performer and digital animator, has been writing algorithmic music for over 50 years. He studied with John Cage and others, and his music has been presented in many venues in Boston and beyond. Lou has performed with John Cage, Merce Cunningham, Christian Wolff, Ken Ueno, Tim Feeney, Vic Rawlings, Jack Wright, Katt Hernandez, and many others. Lou improvises live sound and live animation.

The HUMAN HAIRS is a boy-girl duo dedicated to extended vocal techniques and arch art jokes, aided and abetted by noisemakers, karate outfits, rare old sound poetry records, last week’s newspapers, and bad synthesizers. The band began in 2007, but is already making a splash around their native Somerville, Massachusetts by playing in galleries and bars to the ear-plugging befuddlement of locals. Screeching, squealing, purring, yelling, blubbering, snorting, talking like Donald Duck, gargling, whispering, and spitting cough drops across the room are only a few of this band’s finely honed skills. Saul Jacobowitz and Angela Sawyer make a great big mess that’s fun for all.

Max Lord is a percussionist who works with treated instruments and electronic sound. He is one of few musicians to adopt the Buchla Marimba Lumina, an expressive electronic mallet instrument. His drumset is often augmented by boxes of wires, large sheets of metal, and most recently amplified wire brushes. As an improvisor, he is known for restless changes of mood and texture, a sense for the absurd and frequent high-volume excursions. Last year he decided he should have a CD and released Electronic Music 2000-2005, a compilation of moody studio experiments with Marimba Lumina and the kitchen sink of electric tricks. He performs somewhat regularly in the northeast, both solo and in group improv situations.