7/15 | Lovely Socialite and Left Field Quartet double release show @ Art In

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DOUBLE RELEASE SHOW

Sat, 7/15  |  @ ART IN   1444 E Washington ST, Madison, WI

730p doors // 800p music

$10 gets you into the show

OR $15 gets you in + both CDs!

1st AND ILLUSIONS

2nd LEFT FIELD QUARTET – Please Take Us Seriously release

3rd LOVELY SOCIALITE – DoubleShark EP release

Lovely Socialite performing at The Shitty Barn in 2016. Photo by Connie Ward (c) In The Rushes Photogaphy

 🔗 Tone Madison Podcast: Lovely Socialite get leaner and louder

Lovely Socialite (lovelysocialitemusic.com) “DoubleShark” ep release
Lovely Socialite, formerly Lovely Socialite Mrs. Thomas W. Phipps, is a Milwaukee/Madison-based six-piece that combines the aesthetics of modern jazz with contemporary classical, driving rock, and hip hop. Lauded for their bold and intricate compositions, the group often draws comparisons to Frank Zappa and the Mothers of Invention. The band’s original music combines strict notation with moments of improvisation and maintains a healthy balance of dark and heavy rock grooves with quirky jazz obscurities.


Left Field Quartet at UW Madison, where they met and cut their teeth together on Jazz.

 🔗 Tone Madison premieres Left Field Track “Straight Ahead F Blues”

Left Field Quartet  “Please Take Us Seriously” album release
Left Field Quartet is a collaborative group of Midwest-raised musicians specializing in eclectic, original music. With a unique and versatile tone, the group has scored plays and politically-charged events in the local community. What makes Left Field work so cohesively together is their adventurous desire for creativity in all of its multifaceted forms. “Please Take Us Seriously” is the band’s first official album release which combines gritty and fiery grooves with a personal touch and a playful sound.

And Illusions
And Illusions is a collaboration of local experimental musicians Emili Earhart and Michael Groome. With a focus on the psychedelic and long patient song structures, And Illusions occupies a wonderful space somewhere between noise music and kraut rock. It is at once meditative and soothing, a balancing act of angular and rounded tones.


 

7/11 | Jonah Parzen-Johnson + BC Grimm @ A+LL

Pre-order the new album!

Tues, 7/11 | 8p $8adv/10do @ Arts + Literature Laboratory

2021 Winnebago St, Madison, WI 53704

JONAH PARZEN-JOHNSON (Brooklyn, NY)

BC GRIMM (Madison, WI)

Brooklyn based saxophonist and composer Jonah Parzen-Johnson performs at Arts + Literature Laboratory on Tuesday, July 11, 2017, with Madison multi-instrumentalist Brian Grimm opening. Tickets are $8 in advance online at http://parzenjohnson.bpt.me/ or $10 at the door. Online sales end one hour before the show.

Jonah plays lofi experimental folk music for solo baritone saxophone and analog synthesizer. Imagine the raw energy of an Appalachian choir, balanced by a fearlessly exposed saxophone voice, resting on a strikingly unique combination of analog synthesizer components sitting on the floor in front of him. It all breathes together, as Jonah uses his feet to weave square and sawtooth waves into a surging base for folk inspired saxophone melodies, overblown multi phonics, vocalizations, and patiently developed circular breathing passages. Every element is performed and recorded at the same time, by one person, without any looping, overdubbing or recorded samples. “I want to make music that has texture, and depth, but most of all I want it to be direct and grounded. Touring and playing solo is all about being connected to the folks listening. I want you to feel like I’m looking you in the eye while I’m playing.”

Click for Tix!


In BC Grimm’s solo set, you may hear dances of the unaccompanied Bach cello suites; ever popular melodies of the Erhu Chinese fiddle adapted for cello; as well as original compositions from his dance/theatre scores & solo albums. Cellist & composer Brian Grimm grew up surrounded by Chinese string instruments of every sort. After initiating lessons in with virtuosos Yang Wei (pipa) & Daxun Zhang (bass) of the Silkroad Ensemble, Brian was lucky to continue his Chinese music studies on guqin (zither), pipa (lute), gaohu (fiddle) & daruan (bass lute) in Hong Kong with members of the 香港中樂團 Hong Kong Chinese Orchestra & Wuji Ensemble 無極樂團. Over the last 15 years Grimm has developed a deep language of Free Improvisation & Composition with groups such as The Brothers Grimm, Lovely Socialite, and Brennan Connors & Stray Passage.

BCG @ Milwaukee Release of “Orbis Obscura”


5/10 | Encore Performance of Schoenberg’s “Pierrot Lunaire” @ Music Hall!

 

Wed, 5/10 | Free, 6:30pm @ Music Hall

925 Bascom Mall Madison, WI

Sound Out Loud’s Encore Performance of

Arnold Schoenberg’s “Pierrot Lunaire”

Featuring Soprano Mimmi Fulmer

Music History Introduction by Lee Blasius

Le Pierrot Lunaire is in music what Picasso’s Les Demoiselles d’Avignon is to painting or James’ Joyce’s Ulyssses is to literature. These three revolutionary works, written in the first decades of the 20th century, have completely redefined the accepted aesthetic standards of their time and opened wide new paths to artistic creation.

Le Pierrot Lunaire is a rarely played piece because of the challenge it presents to the singer. Schoenberg uses a vocal technique, the “Sprechgesang,” that combines spoken and singing voice, a formidable task for a singer.  – Marc Vallon , UW Faculty

American soprano Mimmi Fulmer first performed “Pierrot lunaire” in 1978 at the famed Tanglewood Music Festival. Sound Out Loud is thrilled to be performing this work for the again the guidance of such an experienced & knowledgeable performer of the work. Mimmi and Ric Merritt have crafted a performers’ singing-translation of this work from German to English. Friday, March 17th we will perform it in it’s original German text.

Mimmi Fulmer performs repertoire ranging from early music to premieres of works written for her. Her distinguished career in new music includes premieres of nine roles in eight operas. An expert on Nordic repertoire, she is the editor of a three-volume anthology of songs from Finland, Sweden, Norway and Denmark. Her discography includes six CDs of American music and a CD of songs from Finland, Sweden and Norway, and she has been included in the Fulbright Specialist Roster in American music.


Excerpt from March performance notes:

“Pierrot lunaire” was composed by Arnold Schoenberg (1874 – 1951) in 1912 and is his 21st Opus.  It’s 21 short movements (3 cycles of 7) explore the poetry of Albert Giraud (1860-1929), originally published 1884 in French.

‘Pierrot’ is one of Schoenberg’s last works of “free a-tonality”, before Opus 23 which introduced his 12-tone Serialism approach to composition – forever changing the course of 20th Century music.  In this new dodecaphonic democracy, all notes were equal, and weightless of tonicisms.  It helped form a great schism in the 20thC between two great approaches to composition: Serialism (eg. Schoenberg) vs Neo-Classicism (eg. Stravinsky).  Part of the pre-serialism brilliance of “Pierrot lunaire” is Scheonberg’s invention of sprechstimme.  This new vocal technique was a form of speak-singing, which allows for a beautiful ambiguity in pitch – removing Schoenberg yet one more step from tonality.  In sprechstimme, the singer glides up and down from one note to another – only ever sustaining three “traditional” pitches in the entire 40 minute piece.  All of this results in a dazzling display of colors and orchestrational puissance to tell the tales of this tragic clown.