About This Event
Minimum Age:All Ages
Doors Open:7:00 PM
Show Time:8:00 PM
Cross-genre composers Sxip Shirey and Danielle Eva Schwob were deep in their preparations to bring something completely different to the Lower Manhattan music scene. Then, something completely different happened to New York. With critical rehearsals and planning for their ambitious chamber orchestra project stalled in the aftermath of Hurricane Sandy, the duo acted quickly to create yet another completely different kind of event: Danielle and Sxip’s Hour of Charm: Hurricane Relief. A star-studded special edition of Shirey’s famed Joe’s Pub variety show series of the same name, the evening boasts an impressive line-up of performances from the pair’s talented and spectacularly eclectic cadre of friends. This one-off event will take place on November 30 at Le Poisson Rouge, with all proceeds going to benefit local storm relief efforts. Performers will include:
- Sxip Shirey, USA Simon Fellow and father of the exploding circus organ
- 2012 American Composers Forum JFund winner Danielle Eva Schwob and her rock band (feat. Rick Ippolito, Rick Martinez, Andrew Bailie, Frank Tyl and Nick Semrad)
- Celebrated violinist for Bang on a Can and Yo Yo Ma’s Silk Road Ensemble, Todd Reynolds
- Dub-step Mongolian throat singer and percussionist, Liron Peled.
- America’s premier post-classical string quartet, ETHEL
- Beatboxer extraordinaire, Adam Matta
- Acclaimed composer and “woodwinds innovator” Ned Rothenberg
- Classical harp virtuoso, Bridget Kibbey
- SYZYGY, playing 1 bit electronic percussion music by Tristan Perich plus other selections (feat. Nathalie Joachim, Arielle, Sean Statser, Erin Wight and Frank Tyl)
- Genre-defying artist, Corn Mo (think Freddie Mercury at the circus singing Jewish hair metal)
- Accordion virtuoso and former sideman for Tom Waits, Bill Schimmel
$12 student ticket available at the door
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
SXIP SHIREY is a 2012 United States Artists Simon Fellowship winner. He just returned from London where he recorded “What Dreams May Come” for a project with The English National Opera. Shirey has played exploding circus organ for the pyro-technic clowns of the Daredevil Opera Company at the Sydney Opera House and the Kennedy Center, industrial flutes for acrobats on mechanical jumping boots at The New Victory Theater on Broadway, Appalachian music for gypsies in Transylvania and gypsy music for Appalachians in West Virginia and has had audiences dancing at underground parties in NYC to mutant harmonica for 15 years.
Shirey composed the music for “Statuesque” a short silent film directed by Neil Gaiman (Sandman, American Gods) and staring Bill Nighy, which premiered on Sky TV in the UK. His composition “Melody for Lizzie” was premiered by The Boston Pops. His live accompaniment to 5 George Melies films was part of a celebration of the reopening The Museum of the Moving Image in NYC. The music for his upcoming album “Shadow Land” is a collaboration with Rachelle Garniez and was developed for a program at MoMA. His songs “Brooklyn Bridge Song” from his latest album “Sonic New York” and “Knockin” from a Nonesuch release featuring the Luminescent Orchestrii and Carolina Chocolate from were both featured as NPR’s Song of the Day.
The music of London-born but New York-based musical polymath Danielle Eva Schwob is as “hard-edged” (New York Times) as it is “catchy, thoughtful” (Flavorpill) and “honest” (Joonbug). An intense blend of confessional lyrics, intricate yet unpredictable melodies and thick arrangements, her sound fuses elements of rock, pop, electronica and classical music. Her songwriting is an exercise in contradictions, taking small, personal experiences and making them seem enormous and overwhelming in their emotional arc. Characterized by expansive sound-scapes, glittering synthesizers, cinematic string arrangements and jangling electric guitars, her sound is an eclectic one.
Having grown up playing in rock and jazz bands before studying classical composition and honing her chops as a guitarist and arranger in the New York music scene, it’s not surprising that she developed an extensive musical vocabulary. While developing her own songwriting and performing with her band, she also worked on projects with artists including Philip Glass and Tara Hugo, Ben Folds, The Pogues, Dar Williams, Sxip Shirey, Corn Mo and members of The Polyphonic Spree, New York Philharmonic, Red Hot Chili Peppers, The Roots, Boston Symphony and International Contemporary Ensemble as well as Shakespeare in the Park and several Hollywood film soundtracks. She also continued composing symphonic works and chamber music, receiving numerous commissions and accolades for these classical compositions.
Her unique and eclectic approach to songwriting has not gone unnoticed by critics. The New Yorker described her as a “notable cross-genre composer” while TimeOut NY dubbed her a “worldly musical chameleon [and] genre-bending composer” as well as a two-time ‘Critic’s Pick.’ Other features have come from NPR, NY1, MNN and numerous other blogs.
Having released her debut EP, Overloaded, in 2011, she is currently working on her debut album alongside three-time Grammy Award-winner David Bottrill (Tool, Muse, Peter Gabriel, Sinead O’Connor).
Photos courtesy of Krys Fox and Adrian Buckmaster
TODD REYNOLDS, composer, conductor, arranger and violinist, is a longtime member of Bang On A Can, Steve Reich and Musicians and Yo-Yo Ma’s Silk Road Project. His commitment to genre-bending and technology-driven innovation in music has produced innumerable collaborations with artists that regularly cross musical and disciplinary boundaries, regularly placing him in venues from clubs to concert halls around the world.
A forerunner in the expansion of the violin beyond its classical and ‘wood-bound’ tradition, Reynolds electrifies in concert, weaves together composed and improvised segments, and makes use of computer technology and digital loops to sculpt his sounds in real time, seamlessly integrating minimalist, pop, Jazz, Indian, African, Celtic and indigenous folk musics into his own sonic blend. As a cross-genre improviser and collaborator, he has appeared and/or recorded with such artists as Anthony Braxton, Uri Caine, John Cale, Steve Coleman, Joe Jackson, Dave Liebman, Yo-Yo Ma, Graham Nash, Greg Osby, Steve Reich, Marcus Roberts and Todd Rundgren, and has commissioned and premiered countless numbers of new works by America’s most compelling composers, including John King, Phil Kline, Michael Gordon, Neil Rolnick, Julia Wolfe, David Lang, Evan Ziporyn and Randall Wolff. His interdisciplinary work includes ongoing collaborations with SoundPainter Walter Thompson as well as media artists Bill Morrison and Luke DuBois and sound artist Jody Elff.
Reynolds is a founder of the band known as Ethel, a critically acclaimed amplified string quartet (represented by ICM Artists), with whom he wrote and toured internationally. He has also produced Still Life With Microphone, an ongoing theater piece which incorporates his own written and improvised music, compositions written for him, and elements of video and theatrical arts. Nuove Uova [new eggs], new works for violin and electricity, another Todd Reynolds production is a ‘new-music cabaret’ of sorts, having as its home Joe’s Pub in Manhattan. He is the recipient of ASCAP awards, an American Composers Forum Grant for Still Life with Mic and a 2003 Meet-the-Composer Commissioning Music/USA award.
Photo Credit: Peter Gannushkin
Described as “indefatigable and eclectic” (The New York Times) and “vital and brilliant” (New Yorker), the string quartet ETHEL continues to be a pacesetter of post-classical music. Formed in 1998, the New York City-based ETHEL comprises Ralph Farris (viola), Dorothy Lawson (cello), Kip Jones (violin) and Tema Watstein (violin). ETHEL performs adventurous music by celebrated contemporary composers such as Julia Wolfe, Phil Kline, David Lang, John King, Raz Mesinai, John Zorn, Steve Reich, Kenji Bunch, JacobTV, Don Byron, Marcelo Zarvos, Evan Ziporyn and Mary Ellen Childs.
Upcoming highlights for the 2012-13 season include: a concert tour of the Netherlands; a week-long workshop/performance of “ETHEL’s Documerica” at New York City’s Park Avenue Armory; and nationwide tours of “Tell Me Something Good” with rock icon Todd Rundgren, of “Music of the Sun” with Native American flutist Robert Mirabal, and of “And Other Stories…” with guitarist Kaki King. ETHEL currently serves as the Ensemble-in-Residence at the Grand Canyon Music Festival as part of the Native American Composers Apprenticeship Project, the official house band of TEDxManhattan, and the Resident Ensemble at The Metropolitan Museum of Art’s Balcony Bar.
ETHEL’s most recent recording is Heavy.
ADAM MATTA is a human beatboxer and vocal performance artist from New York City. His style fuses elements of hip-hop, rock electronic, jazz, contemporary and Middle Eastern music, sometimes all in the same composition. He has had solo shows at Joe’s Pub, the New Museum for Contemporary Art, Galapagos, PS 122, La Mama and Here Arts Center. He has performed at Carnegie Hall with Bobby McFerrin and collaborated with numerous artists in New York, appearing at venues as diverse as Madison Square Garden, Apollo Theater, Town Hall, Blender Theater, Jazz at Lincoln Center and The Stone.
His music has appeared on NPR’s Morning Edition, Weekend Edition and All Things Considered, in Benson Lee’s documentary “Planet B-Boy” and in “The L Word.” He was featured as “Boxman” in “In Transit,” an a cappella musical developed at the Eugene O’Neill Theater Festival in 2008. He was featured in “Beatbox Bard,” a 2007 play directed by Bruce Levitt at Cornell University mixing beatboxing and Shakespeare. He has appeared on Damon Wayans’ The Underground, CUNY-TV’s Art or Something Like It, WNYE’s Afterschool and in Storycorps/Soundportraits, improvising with Arabic music. In 2009, he will appear on PBS’s The Electric Company.
He has been an Artist in Residence at Cornell University, Here Arts Center, Gertrude Stein Repertory Theater’s Digital Performance Institute and LEMUR (League of Electronic Musical Urban Robots). With LEMUR, a mic was connected to a fleet of robotic instruments, through a digital interface, and an interactive demonstration was performed in Brooklyn and at Trondheim Matchmaking, in Norway. He collaborates with numerous artists, including tabla master and producer Karsh Kale, circus composer Sxip Shirey, avante-garde guitarist Eyal Maoz, poet/playwright Reg E Gaines, cellist Noah Hoffeld, new music composer Bora Yoon and multi-instrumentalist Michael Leonhart of Steely Dan.
Composer/Performer NED ROTHENBERG has been internationally acclaimed for both his solo and ensemble music, presented for the past 30 years in North and South America, Europe and Asia. He performs primarily on the alto saxophone, clarinet , bass clarinet, and the shakuhachi – an endblown Japanese bamboo flute. He leads the trio Sync, with Jerome Harris, guitars and Samir Chatterjee, tabla. Recent recordings include Quintet for Clarinet and Strings, Ryu Nashi (new music for shakuhachi), Inner Diaspora, The Lumina Recordings and Ghost Stories, all on Tzadik, as well as Live at Roulette with Evan Parker, Are You Be and The Fell Clutch, on Rothenberg’s Animul label.
Lauded for her virtuosity and artistry that broadens the scope of the harp, BRIDGET KIBBEY “makes it seem as thought her instrument had been waiting all its life to explode with the gorgeous colors and energetic figures she was getting from it (New York Times).”
She is a recipient of the Avery Fisher Career Grant, the Classical Recording Foundation’s 2012 Young Artist Award, and winner of Concert Artist Guild’s International Competition and Astral Artist Auditions. Bridget’s debut album, Love is Come Again,was named one of 2007′s Top Ten Releases by Time Out New York. She may also be heard on Deutsche Grammaphon with Dawn Upshaw, on a recording of Osvaldo Golijov’s Ayre and Luciano Berio’s Folk Songs. Bridget recently completed her newest solo album, The Bridge Project, a celebration of solo harp works that celebrate the rich cultural fabric that makes up the United States, with Dawn Upshaw as special guest. This season Bridget records on Placido Domingo’s next solo album, with producer Robert Sadin. Ms. Kibbey’s solo performances have been broadcast on NPR’s Performance Today, on New York’s WQXR, WNYC’s Soundcheck, WETA’s Front Row Washington, WRTI’sCrossover, WXII’s Backstage Pass, and on television in A&E’s Breakfast with the Arts.
Highlights of the season include a five-orchestra consortium world premiere of a harp concerto by Juno-Award winning composer Vivian Fung alongside Debussy’s Danses Sacreé et Profane and Tailleferre’s Concertino with the Alabama Symphony, Karlsruhe Baatische Symphoniker, The Phillips Collection with the Phillips Camerata, San José Chamber Orchestra, and the Metropolis Ensemble. She returns to the Savannah Music Festival as soloist with members of the Atlanta Symphony, makes her debut at the Pelotas Festival in Brazil, will be featured in French Masterworks with the Chamber Music Society on tour and at Lincoln Center, and with Ian Bostridge in duo at Carnegie Hall.
Ms. Kibbey is a graduate of The Juilliard School, where she studied with Nancy Allen. She is on the harp faculties of Bard Conservatory, New York University, and the Juilliard Pre-College program.
Founded in 2009 and overseen by critically acclaimed composer Danielle Eva Schwob and percussionist Frank Tyl, SYZYGY NEW MUSIC is an award-winning ensemble and concert series dedicated to presenting innovative work by living composers. Operating primarily within the contemporary concert music scene but with a penchant for programming cross-genre work, SYZYGY consists of a flexible roster of New York City’s top young instrumentalists and composers. The group aspires to create opportunities for contemporary musicians, many of whom are emerging artists, while delivering progres- sive and relevant programming.
SYZYGY has been described as “astronomical” (Tribeca Film Festival), “impressive [and] solid” (Sequenza21), “exciting and dynamic” (Encore Music Forum) “interesting and beautiful” (Classical Music Is Dead), “truly terrific” (WRIU 90.3FM) and “imagi- native, mind-blowing and progressive” (Unveiled Arts). It has also been noted for its “business savvy” and ability to “attract an impressively large audience” (Sequenza21). To date the group has received honors/support from the American Composers Fo- rum, the Aaron Copland Fund for Music and Con Edison/Exploring the Metropolis and has also participated as a finalist at the Make Music Winter Panel at Philip Glass’s MATA Festival. The ensemble has performed at venues including Le Poisson Rouge, Galapagos Art Space, Roulette, RedBull Space, Chambers Fine Art, the Nabi Gallery, The Flea Theater and the Juilliard School in conjunction with companies including RedBull, Ableton Live and Novation. The group has also received airplay on numerous radio stations and has both performed and been interviewed extensively on the Manhattan Neighborhood Network’s Minding Your Business. To date SYZYGY has collaborated with numerous acclaimed artists and has presented over a dozen world premiere commissions.
LIRON PELED grew up as a metalhead with a jew-fro in the Middle East (by the Israeli-Syrian border). His journey through life took him from internationally-touring metal band EMOK, to concert-hall packing world music group Raquy and the Cavemen. And he continues to eat and breath metal music and Middle Eastern music as his core influences, which led him to develop the Dümset – the Middle Eastern Drum Set.
One day he discovered the transcendental power of Tuvan throat singing. As a long time dubstep fan, Liron’s world was rocked to know he could make his favorite synth sounds using just his voice. In an instant, it was clear to Liron his music MUST contain a transcendental element, with the sick drops and danceable beats of dubstep (reminiscent of similar elements in metal music).
As a performer, songwriter and composer, Liron has worked with artists such as Balkan Beat Box and Omar Faruk Tekbilek. His music has been featured in movie soundtracks and dance performances. He is actively touring in hope to inspire audiences by helping them reach altered states of consciousness naturally through music, combining sufi trance elements from the Middle East with Meditative Tuvan throat singing and the powerful and rich bass sound of dubstep and metal. A full solo album by Liron will be released in 2013.
After high school, Corn Mo joined a juggling troupe and provided a soundtrack for the jugglers. When that ended, he started a duo with another fellow named Mauve Oed. They opened for Tiny Tim. And then, Mauve Oed left. Then, he used his OR400 synth for an art rock band called The Dooms UK. And then, they faded. And then, he started .357 Lover which became the band of what he tried to convey as solo artist. He decided to do both. Then, he joined a sideshow circus called The Bindlestiff Family Cirkus. He began touring and having adventures. He went to Alaska and played accordion for his aerialist girlfriend. He went to Europe with a circus cabaret and played on the streets. He opened for The Polyphonic Spree. They had an extra bunk. In order to ride on the bus he had to join the band. So, he opened for them and then put on a robe after his set. He enjoyed that band. Then, he left the Polyphonic Spree. After that, he toured with a burlesque group. And then, he did some shows with David Cross, Nick Offerman, Ben Folds, Wheatus and They Might Be Giants. It has been an excellent time for him. And it keeps getting better.
BILL SCHIMMEL is a virtuoso accordionist, author, philosopher and composer. He is one of the principle architects in the tango revival in America, the resurgence of the accordion and the philosophy of Musical Reality (composition with pre-existing music). He received his diploma from the Neupauer Conservatory of Music and his BM, MS and DMA degrees from the Juilliard School. He has taught at the Juilliard School , Brooklyn College CUNY, Upsala College, New School University, Neupauer Conservatory (dean) and has lectured on accordion related subjects at Princeton , Columbia , Brandeis, University of Missouri , Duke University, Manhattan School of Music, the Graduate Center CUNY, Santa Clara University, The Janacek Conservatory in Ostrava, Czech Republic and at Microsoft.
Regarded as the world’s greatest accordionist by National Public Radio, he has performed with virtually every major symphony orchestra in America (and the Kirov ) including a longstanding relationship with the Minnesota Orchestra, as well as virtually every chamber music group in New York including Ensemble Sospeso and the Odeon Jazz Ensemble. Pop star colleagues range from Sting to Tom Waits, who has made the legendary statement: “Bill Schimmel doesn’t play the accordion, he is the accordion”. He is founder of the Tango Project, which, in addition to his hit recordings with them, has appeared with Al Pacino in the film: Scent of a Woman, for which Pacino won an Oscar. The Tango Project also won the Stereo Review Album of the Year Award, received a Grammy nomination and rose to number I on the Billboard Classical Charts. He can be heard in other films including True Lies, Kun Dun and many others including films that he both scored and performed and a series of films for the Nature Conservancy which have won numerous prizes in documentary categories.