Tilted Axes Return Is Detroit Metro Times’ Staff Pick


Read it on the Metro Times web site HERE

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PRESS RELEASE: Four Weeks Away… Tilted Axes Detroit: New Again

Download the Press Release HERE

POST-ROCK COMPOSER PATRICK GRANT RETURNS TO DETROIT WITH HIS TILTED AXES: MUSIC FOR MOBILE ELECTRIC GUITARS PROJECT IN A TRIO OF PERFORMANCES COLLECTIVELY BILLED AS “TILTED AXES DETROIT: NEW AGAIN” AT THIRD MAN RECORDS CASS CORRIDOR, THE HENRY FORD, AND THE MARCHE DU NAIN ROUGE.

“New Again” is comprised of the following three events and more details are available at http://tiltedaxes.com/tiltedaxes.html:

On Wednesday, March 20th (The Full Moon Equinox) The 18-plus musicians of Tilted Axes Detroit will assemble at 5:30pm at Third Man Records Cass Corridor at 441 W. Canfield, Detroit, MI to mark the project’s return to the city. Third Man Records was founded by Jack White in 2001 with locations in Nashville (2009) and in the Cass Corridor (2015). At this event, Tilted Axes director Patrick Grant will welcome visitors at 5:58pm, the minute the season transitions from winter to spring. A short in-store performance by Tilted Axes will follow. Then, during the 6 o’clock hour, Tilted Axes Detroit will perform a musical procession around the neighborhood to celebrate and promote their upcoming appearances at The Henry Ford (3/23) and the Marche Du Nain Rouge (3/24). The group will reconvene at Third Man Records Cass Corridor to complete the performance. This event is free and open to the public.

On Saturday, March 23rd at 1:00pm, Tilted Axes Detroit will appear at The Henry Ford as part of Make Something: Saturdays. The Henry Ford (also known as the Henry Ford Museum of American Innovation and Greenfield Village, and as the Edison Institute) is a sprawling history museum complex located in the Detroit suburb of Dearborn, Michigan, and was named a National Historic Landmark in 1981. The museum’s Model I Theme for March is “Collaborate”. In honor of that theme, Patrick Grant will premiere new compositions that emulate an assembly line in full swing during a Tilted Axes procession throughout the museum. The event is open to museum visitors, no extra tickets required. The Henry Ford, 20900 Oakwood Boulevard, Dearborn, MI, (313) 982-6001.

On Sunday, March 24th at 1:00pm, Tilted Axes Detroit will participate in the 10th Annual March Du Nain Rouge. Every March around the Equinox, thousands of revelers gather for a parade through Midtown Detroit to celebrate their city. At 12:00 noon, the crowd gathers at the corner of Canfield and Second, right next to Traffic Jam & Snug, for a celebration of Detroit with live entertainment. At 1:00pm the Tilted Axes procession will join the parade down Second to the Masonic Temple. This event is free and open to the public.

More about Tilted Axes: Music for Mobile Electric Guitars: Tilted Axes was created in 2011 by Detroit-born, NYC-based composer/performer Patrick Grant. Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into their own sonic narratives. Since its inception, Grant has produced a number of Tilted Axes processions in various cities upon three continents. In 2013 Grant brought Tilted Axes to his hometown of Detroit and created a version of the project with a core of local musicians. They have performed in partnership with the DIA, WDET, the Charles H. Wright Museum, The Detroit Historical Society, the 2015 Concert of Colors, and other area sponsors.

Since Tilted Axes Detroit’s last area appearance in 2015, Grant released an award-winning album of Tilted Axes music as well as other works, one of which was nominated for a Detroit Music Award in 2018.

TILTED AXES DETROIT is a project of Peppergreen Media, sponsored by Vox Amps/Korg USA and local partnerships with Third Man Records Cass Corridor, The Henry Ford Museum of American Innovation, and The Marche Du Nain Rouge, with additional support from the DIME Detroit Institute of Music Education, Third Wave Music, and generous private co-producers and tax deductible donations made through our fiscal sponsor Fractured Atlas. 

A Very Moving Symphony with Strings and Bells

Originally printed in THE VILLAGER – December, 2018

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Angela Babin and other members of the “Tilted Axes” performance group jammed on electric guitars on “Cold Moon Consort” in Sasaki Garden at N.Y.U.’s Washington Square Village, between Bleecker and W. Third Sts. and Mercer St. and LaGuardia Place, before making their way to “The Cube” at Astor Place. Photos by Bob Krasner (L to R: Sean Satin, Angela Babin, Chad Ossman)

BY BOB KRASNER | If you feel the need to simplify composer Patrick Grant’s long-running “Tilted Axes” project, you could call it a marching band for electric guitars. But given the complexity of the compositions and the dedication of the musicians, that description falls way short.

The latest performance of Grant’s “Music for Mobile Electric Guitars” was realized by 24 musicians, including Grant, on the winter solstice, in the Sasaki Garden at Washington Square Village, “The Alamo” at Astor Place a.k.a. “The Cube” and the streets between.

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Tilted Axes: Music for Mobile Electric Guitars – Cold Moon Consort (Patrick Grant center with, L to R, Chad Ossman, Michael Fisher, Sam Weisberg, Sean Satin, Dan Cooper, Howie Kenty).

The event was commissioned by Faculty Housing Happenings at New York University — where Grant is a professor — as part of “Make Music New York.” The confab featured music evenly divided between older pieces, structured improvisations and premieres written specifically for Friday night.

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Getting ready to move out from Sasaki Garden. (L to R: John Halo, Howie Kenty, Dylan Sparrow)

One of the new pieces, “Tiltinnabulation,” was written to include another Make Music group, “Bell By Bell.” According to Tom Peyton, the leader of that multigenerational group of bell ringers, they were notified that their path might cross with “Tilted Axes” and they were given the choice of avoiding each other or playing together.

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“Tilted Axes” performers playing their “axes” (blues lingo for guitars) while crossing Broadway on their way to “The Alamo” at Astor Place. (L to R: Gene Ardor, John Lovaas, Aileen Bunch, Jason Napier, Angela Babin)

Happily, they chose to do two numbers together at “The Cube” and the result was a perfect combo of chiming guitars and bells. Guitarist Angela Babin, a “Tilted Axes” veteran, called the collaboration “fabulous!”

“It was like a ‘West Side Story’ gang meet-up, with music and camaraderie and solstice celebration love,” she said.

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Composer Patrick Grant at “The Alamo” with his “Tilted Axes” performance group.

Carrying an electric guitar and an amp through the streets while playing somewhat complex music is a daunting task, but the participants found it more than worthwhile.

“The universal joy of the people we encountered on our parade route caused me to transcend the discomfort I felt at not being fully in command of the music, the weight on my back and shoulders,” David Demnitz said.

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Tilted Axes: Music for Mobile Electric Guitars – Cold Moon Consort (front row seated L to R: Howie Kenty, Sarah Metivier Schadt, Jocelyn Gonzales, Jason Napier, Chad Ossman, Harry Scott, Sean Satin; middle row seated L to R: Sky Matthews, John Lovaas, Leslie Stevens, Patrick Grant, Robert Morton, Gene Ardor, Kevin Pfeiffer; back row standing L to R: Caitlin Cawley, Dan Cooper, Aileen Bunch, Sam Weisberg, Dylan Sparrow, Michael Fisher, John Halo, Angela Babin, David Demnitz, Reinaldo Perez, Jeremy Nesse, Jon Clancy)

Sam Weisberg voiced a similar sentiment, noting, “It’s a rush like no other. It was so worth the chronic right-shoulder pain!”

Grant made it through the balmy evening with a case of laryngitis that forced him to hoarsely whisper directions to bassist Sarah Metivier Schadt, who amply conveyed his instructions to the crew.

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“Tilted Axes cuts musical pathways through the urban landscape, turning neighborhoods into their own sonic narratives. Since its inception, Grant has produced a number of Tilted Axes processions in various cities upon three continents.”

“There are many unforeseen elements that we could never have predicted,” Grant reflected. “We’re thinking on our feet, we’re performing live, we’re adjusting to the public in real time. Being there, mobile, right up against the public, brings out musical choices that we’d never come up with in rehearsal. There’s nothing like it.”

Onlookers concurred.

“The public went nuts, in a good way!” Grant enthused. “We couldn’t be happier.”

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FIELDS AMAZE (& other sTRANGE Music) 20th anniversary edition

FA-2018-cover-721-800

remixed + remastered + bonus tracks
coming soon

Press Release 7/21 update

Recorded at Philip Glass’ Looking Glass Studios and at sTUDIO 41 NYC.
Originally released on the sTRANGE Music label.

1. Keeping Still
extended percussion quintet

2. Fields Amaze
homemade gamelan and microtonal keyboard

3. A Visible Track of Turbulence 1
flute, clarinet, and piano 4-hands

4. Everything Distinct: Everything the Same
three keyboards in Gb just intonation and three percussion

5. A Visible Track of Turbulence 2
flute, clarinet, and piano 4-hands

6. Imaginary Horror Film 1
chamber prog ensemble

7. The Weights of Numbers
aka Fractured Fictions 
three keyboards and drums

8. Imaginary Horror Film 2
chamber prog ensemble

9. If One Should Happen to Fall
six words vs. thesaurus

“…a driving and rather harsh energy redolent of rock, as well as a clean sense of melodicism … the music’s momentum and intricate cross-rhythms rarely let up, making the occasional infectious tunes that emerge all the more beautiful for surprise.” – The Village Voice

Patrick Grant: piano, keyboards, electric guitars, gamelan, percussion – Kathleen Supove & Marija Ilic: keyboards – John Ferrari: drums & percussion – Barbara Benary: additional gamelan – David Simons: Balinese percussion & theremin – Keith Bonner: flute – Thomas P. Oberle: clarinet – Darryl Gregory: trombone – Martha Mooke: viola – Maxine Neumann: cello – Mark Steven Brooks: electric bass – Alexandra Montano: vocalise – Lisa Karrer: lead vocal on If One Should Happen to Fall.

Tracks 2, 3, 4, 5 recorded and edited at The Looking Glass Studios, NYC, 1997 – Garry Rindfuss: recording engineer – Dante DeSole: asst. engineer and editor – Ryoji Hata: asst. editor – Amanda Riesman: administration – gamelan instruments provided by Barbara Benary and Gamelan Son of Lion – large kendang drum and additional gongs provided by Skip LaPlante and Music for Homemade Instruments – originally released on the album Attack Decay Sustain Release by sTRANGE Music Records 1998 – Tracks 1, 6, 7, 8, 9 recorded at sTUDIO 41, NYC, 1998-2000 – Patrick Grant: recording engineer and editor – originally released as a Special Edition EP for the Brooklyn Academy of Music (BAMcafé Live) by sTRANGE Music Records, 2000.

All 2018 production, overdubs, revisions, and new stems recorded at Peppergreen Media, NYC and The Ferrari Factory, NJ. Mixed at Mercy Sound Studios, NYC – Garry Rindfuss: mixing engineer – Sheldon Steiger: album mastering – Patrick Grant: producer

All music © 1997-2018 Patrick Grant and published by Peppergreen Media (ASCAP). This album ℗ 2018. All rights reserved.

Cover photo Cuming Co. Supercell, June 14, 2013 taken by Dave Rebot and used with permission. Album artwork, layout, and design by Eric Iverson. Peppergreen Media logo by Steve Ball. CD image collage created from Elément bleu XII, 1967 by Jean Dubuffet, photo credit: sTRANGE Music Inc.

Thanks and acknowledgements: The Braunschweig Family, Coudert Brothers, Bank Julius Baer, Matthews Panariello P.C., Chris LaBarbiera, Patricia McKenna, Context Studios, Music Under Construction, Philip Glass, Kurt Munkacsi, Jed Distler & Composers Collaborative Inc., Music for Homemade Instruments, Erik Satie, Kyle Gann & The Village Voice, The Bang on a Can Marathon, Stéphane Martin and the musée du Quai Branly – Jacques Chirac, The Ross Institute, The Knitting Factory, Patrick Grant Group, I Wayan Lantir, STSI/ISI Denpasar, Gamelan Son of Lion, Celebrate Brooklyn!, Johnny Reinhard & The American Festival of Microtonal Music, The Fractal Music Lab, James Gleick author of Chaos: Making a New Science, The Margaret Jenkins Dance Company, The Brooklyn Academy of Music, Harvey Lichtenstein, The Mark Morris Dance Group, The Prix de Lausanne, Exploding Music, The Living Theatre, Kalvos & Damien’s New Music Bazaar, Annina Nosei Gallery, John Schaefer, WNYC’s New Sounds, Ralph Valdez, WDET Radio, James Moore & Independent Music Promotions Inc., Jocelyn Gonzales, The NYU Tisch School of the Arts, Roget’s Thesaurus.

Exploring the Metropolis – 2012-2013 Con Edison Composers-in-Residence

Announcing the 2012-13 Con Edison Composers-in-Residence

(New York City – July 26, 2012) Exploring the Metropolis is pleased to announce the eight composers chosen for the 2012-13 Con Edison Musicians’ Residency: Composition Program.  These eight composers will begin their residencies in September.

In its fourth year, this residency program will provide composers with a stipend and three months of free workspace in cultural and community facilities. All composers must complete one free public program in cooperation with the host facility. The four host cultural facilities are Bloomingdale School of Music, Brooklyn Youth Chorus Academy, Flushing Town Hall, and Turtle Bay Music School.

The eight composers are: Guy Barash, Jeff Fairbanks, Patrick Grant, Gabrielle Herbst, Molly Herron, Elizabeth Lim, Theodore Metz and Jeff Myers. The 2012-13 Composers-in-Residence are active in the New York music community, and have had works performed in diverse and innovative venues, such as The Stone, Galapagos Art Space, Roulette, HERE Arts Center, New York City Opera, and Issue Project Room.  Their work spans classical, musical theater, pop, opera, jazz and electronic.

Composers were chosen by a jury of professional musicians, composers, curators and administrators.  Composers were chosen based on artistic merit and suitability of their proposed project for the host organization.  Panelists will be announced in the coming days. For the second year, the New York Foundation for the Arts generously donated space for panel deliberations.

The Con Edison Musicians’ Residency: Composition Program is funded by Consolidated Edison, Credit Suisse, the George L. Shields Foundation, the Christian A. Johnson Endeavor Foundation, AOH Foundation, DJ McManus Foundation and individuals. The Con Edison Musicians’ Residency: Composition Program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council and Office of Council Speaker Christine C. Quinn. This program is made possible by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.

More information on the 2012-13 Con Edison Composers-in-Residence can be found on the Exploring the Metropolis website.

Will You Be Performing Sitting Up or Standing Down?

Patrick Grant’s “Lucid Intervals,” an ostinato for (virtual) violin solo, hammer dulcimer, string quartet, vibraphone, electric bass, timpani, congas, and prepared piano.

Performing “Lucid Intervals” on the Nano Rig at the Composers Concordance “Composers Play Composers” Marathon at DROM NYC, Jan. 31, 2010.

Korg Nanos in rehearsal. 

Created for the Composers Concordance “Composers Play Composers” Marathon, Jan. 31, NYC. Original music & video editing by Patrick Grant. Prepared piano samples used courtesy of David Borden. © MMX strangemusic

Patrick Grant