10 Weeks Away

Sunday, December 20, 12 noon to 3pm ESTTilted Axes: Music for Mobile Electric Guitars presents “A Tilt for Our Time”, a new music procession and socially distanced public action through Lower Manhattan. Post-rock composer Patrick Grant will lead the group in a “tilt” from Greenwich Village to the East Village and back again with a ceremonial stop at the Astor Place Cube (The Alamo). Tilted Axes will present a program of new pieces created for the event along with classics from their catalog. Procession route and performance details TBA. “A Tilt for Our Time” is made possible in part with public funds from Creative Engagement, supported by the New York City Department of Cultural Affairs in partnership with the City Council and administered by Lower Manhattan Cultural Council. This event is part of Make Music Winter NYC. Tilted Axes is powered by Vox Amplification.

“Our Courageous Workers” – a city-wide fanfare April 29th NYC

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For Our Courageous Workers” – a New York City-wide fanfare April 29th at 7:00 pm

#TiltedAxes is honored to be a co-sponsor of a massive, city-wide music performance of “For Our Courageous Workers” to be played on Wednesday, April 29, at the 7pm ‘cheer honoring our front-line workers.’

From Tenth Intervention: “Our goal is to have over a thousand participants — musicians of every level and all the people of New York City — perform the symphonic fanfare “For Our Courageous Workers” across the city. Everyone is welcome to participate. There are parts for all: musicians of any and every level — beginners, young musicians, amateurs, and professionals; on voices, strings, brass, winds, keyboards, drums — as well as all the people of the city making noise, singing, and banging on pots and pans.

Please help us spread the word today! Share this flyer with your mailing list and social media. Together we can realize this grand project as a way of both bringing the city together and honoring those who are risking their health for all of us.

Co-sponsors to date include Make Music New York, City Winery, Kaufman Music Center, The Brooklyn Conservatory of Music, DROM NYC, Greenwich House Music School, Tenth Intervention, HONK NYC, Sing In Solidarity, Galinsky Coaching, Seth Rogovoy Productions, Tilted Axes: Music for Mobile Electric Guitars, GOH Productions, Jazz Promo Services/ Jim Eigo, Slavic Soul Party!, Center for Traditional Music and Dance, Yiddish New York, Arturo O’Farrill & the Afro Latin Jazz Orchestra; and are being updated regularly.”

For more information, detailed instructions, and a downloadable score that does not require the ability to read music, go to http://www.tenthintervention.com/workers

#playbecausewecare

Earth Day Virtual Kick-Off & Detroit Music Awards

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Dear friends and supporters,

We hope that everyone reading this is safe and healthy.

There are two streaming events that are coming up that we wanted to tell you about that can be watched remotely.

EARTH DAY 50 VIRTUAL KICK-OFF

Tilted Axes: Music for Mobile Electric Guitars is proud to be a part of the Earth Day 50 Virtual Kick-off this Sunday April 19, via a new video commissioned by 350NYC. The event is presented by Earth Day Initiative and March for Science NYC from 4pm to 10pm EDT. The line up includes Al Gore, Senator Elizabeth Warren, actors Joseph Gordon-Levitt and Ian Somerhalder, and others with exhibitions by 350NYCClimate Clock, and many more. Together we can build a better world. 

To join the stream, RSVP to the Virtual Stage HEREhttp://www.earthdayinitiative.org/virtual-kick-off

#350nyc #TiltedAxes #TogetherWeCan #ClimateActionNow

THE DETROIT MUSIC AWARDS

Patrick Grant is nominated for Outstanding Classical Composer and Tilted Axes is nominated in the same field for Outstanding Small Ensemble. We are honored to be included with so many talented friends and colleagues. The 29th Annual Detroit Music Awards ceremony will be held online for the first time ever at 8pm EDT, also on Sunday, April 19. Tune in for some fantastic surprise appearances and special, never before seen, performances as Detroit celebrates its music community.

To watch the awards, follow this link: https://bit.ly/2Vv0fpw

TILTED TIMES

In our last update, we announced some upcoming performances and new grant funding. As with so many others, our live performances and site specific events have been put on hold during this current crisis. We will be updating you soon with news of rescheduled performances and new projects. 

On a brighter note, we would like to welcome Nora Elbayoumy to Peppergreen Media in her administrative role. Nora comes to us via Alchemical Studios where she works as the Technical Facilities Manager and we look forward to utilizing her Stage Managing skills for our future productions. 

Thank you, stay safe, be well,

www.peppergreenmedia.com

New Video Premiere for Earth Day 50 Virtual Kick-Off

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Coming to video for Earth Week 2020: a new video from Tilted Axes: Music for Mobile Electric Guitars commissioned by 350 NYC to be premiered as part of the March for Science NYC/Earth Day Initiative’s EARTH DAY 50 Virtual Kick-Off on Sunday, April 19th.

“Our aim is to convince the media to carry more climate science in their content!”
Stay tuned for more information: https://www.marchforsciencenyc.com

#EarthDay50 @earthdaynewyork @sciencemarchnyc @marchforscience #ClimateAction #ClimateStrike #DigitalStrike

March for Science NYC to Announce a Change of Plans for April 19th

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As most of you know, NYC is banning gatherings of above 10 people in response to COVID-19. The March for Science NYC is currently putting together contingency plans for a virtual Day of Action on April 19th.

Details to come from the M4S organizers when they are formed. If it is possible and practical, I look forward to making a musical contribution of some sort in support of the event and the fine organizations involved. For now, the priority is everyone’s health.

#TiltedAxes

Tilted Axes Creator Receives Creative Engagement Award

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February 10 – “On behalf of Lower Manhattan Cultural Council (LMCC) and New York City Department of Cultural Affairs, we are pleased to notify you that you have been awarded a Creative Engagement grant for your proposed project in 2020.

Congratulations!  

Your work helps to bring projects of tremendous artistry to Manhattan’s diverse communities and ensures our borough’s vibrancy. We are proud to play a role in its support.”

More iNFO TBA at http://tiltedaxes.com/

Don Gillespie R.I.P. – A True Champion of New Music

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photo by Sabine Matthes

Don Gillespie R.I.P. (1936-2019) ~ I’m very saddened to learn of the passing of new music champion Don Gillespie. He was a friend. Don was Vice President of C.F. Peters music publishers when a very young me got a job there in the late 80s. He taught me so much about music, especially John Cage, Lou Harrison (he was good friends of both and introduced me to them), an expert on Delius, and my gateway to lesser known (to me at the time) composers like Nancarrow, John J. Becker, and Ruth Crawford Seeger.

I remember drunken music nights at his apartment where we’d have Busoni sight-reading contests (The Piano Concerto), debate the non-narrative structure of Robert Ashley‘s “Now Eleanor’s Idea“, and then he’d turn around and make us listen to a 1920s recording by The Skillet Lickers. The week that Lou Reed’s “New York” album came out, we listened to it at his place while eating the freshly smoked mozzarella he’d pick up for us from Joe’s Dairy on Sullivan Street. Let’s not even get started on his fascination with Sorabji!

Don and C.F. Peters’ Evelyn Hinrichsen were amongst the first supporters of my Silent Treatment concert series, my first productions, in the East Village back in 1989-90. He supported all kinds of new music up-and-comers, he connected many of us, young and old, near and far.

I would continue to see Don over the years either at concerts or get togethers at Margaret Leng Tan‘s house in Brooklyn for a performance of Lucier‘s Strawberry Fields Forever-inspiredNothing is Real.” I remember Don and his then wife Sabine coming over to gorge ourselves on caviar that I had just smuggled back from Russia and playing “Cage’s “Ophelia (1946)” on the piano for him on the 41st floor looking out over Central Park.

Don got really mad at me one time when, on the newly invented internet, I spoke for him (incorrectly) in an argument with Howard Stokar. He had every right to be really mad because I did something dumb. Something good came out of it. When asking him for forgiveness I was able to tell him how much he meant to me and everything I learned from him. We got back on track, but I wish I could tell him all over again.

The last time I saw Don I was playing a piece of music of mine on Cornelia Street in an ensemble that was celebrating Terry Riley’s “In C”‘s 50th anniversary. I saw him in the audience, he lived around the corner, and we just smiled. I haven’t seen him since, though I thought of him often. It was fitting.

When I think of all the hell he caught at C.F. Peters (it was an ugly scene back then for non-serialists; Don called it Fort Dodecaphonic) for supporting tonal, rhythmically innovative, non-European-inspired forms of new music, I’m glad he held his ground, and even put his job on the line a few times (truth), for the music he believed in.

So, seeing him there that sunny afternoon, with new compositions playing in the air inspired by “In C” to a diverse and interested crowd of New Yorkers, it felt like a victory for all of us who followed the musical pathways he showed to so many of us.

That fight’s over.

You won, Don.

Thank you.

Rest in Peace.

“John Cage at 100” by Don Gillespie
http://www.johncage2012.com/speakers/gillespie.html
“Don Gillespie New Music Box Profile”
https://nmbx.newmusicusa.org/new-music-advocate-don-gillespie-steps-down-at-c-f-peters/

Don’s middle name was Chance

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 new recording

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new recordings + bonus tracks

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.

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.