Vaudeville Park's upcoming event for Bushwick Open Studios was mentioned in Time Out NY! TONY says: "Wander through galleries as part of Bushwick Open Studios. You can check out more than 300 shows during the festival, which celebrates the Brooklyn neighborhood’s art scene; today, hit up a block party outside of Vaudeville Park (26 Bushwick Ave at Devoe St), or the opening party for the exhibit “Stay Gold,” featuring Bushwick artists, at Curbs and Stoops (566 Johnson Ave at Stewart Ave)".http://www.timeout.com/newyork/attractions/bushwick-open-studios
Tune in to WFMU (www.wfmu.org) at 4 PM ET TODAY for a LIVE Jandek performance!The livestream is available via (http://t.co/znpB84ub). If you're more of a traditional radio listener, tune your dial to 91.1 FM.Performers with Jandek for today's show:Ian M. Colletti on Piano, Violin, Mandolin Harp and Auto-Harp Valerie Kuehne on Cello, Voice and Auto-HarpRachelle Lalonde on Vocals, Finger Chimesand guest speaker, author Che EliasMany thanks to Brian Turner for hosting Jandek and the band on today's show! You can catch his show on Tuesdays on WFMU from 3 - 6 PM ET, and his archive is accessible via (http://wfmu.org/playlists/BT).
Vocalist and performer Laurie Amat of San Francisco performed at The Super Coda at Vaudeville Park on April 5, 2012. The show was constructed so that Ms. Amat, along with a standard solo set, improvised with 5 different performers whom she had no previous knowledge of until directly before show.The performance is described below in degrees.Degree 1 “The Spark” : Laurie performs Bernd Klug with Prehistoric HorseThis is a quartet. Cello (Valerie Kuehne), guitar (Lucio Menegon), snare drum (David Grollman), and Laurie on vocals. She is jolly. Dressed in black, petite, with close-cropped hair she organizes the stage to her liking. Drums here, no, there, and performers enclosing here. It is the quintessential fire build. The sticks laid, not to many attendees yet but that will change as the fire grows. The show begins with a vocal pieces, somewhat randomly dedicated to the next performer Bernd Klug (an ideal name no doubt for Laurie’s often nonsensical phrasing) and is quickly developed into the in-depth story of THE BERND KLUG. After a few minutes of soft, warming experimentation’s on guitar, drum, and cello, Grollman strikes the match of BERND KLUG. First Bernd is a superhero with a beautiful cape-the flame jumps-now he is a demon, now a battleship steaming against the ecstatic fusion of guitar and cello. Laurie in the center vocally counterpoints Grollman’s tale. Most of her vocals sound like operatic exercises. Her words, though often simply gibberish, are gripping and always slightly on the edge of breaking from beauty to destruction. Now the fire is caught. Bernd Klug is coming, he’s going, he’s hurling fireballs, he’s sinking us all. BERND KLUG is HERE.Degree 2 “The Flame”: Bernd KlugBernd Klug takes the stage solo. He is as tall as his upright bass, with a swatch of blond, tousled hair scattered over his eyes. Both his design, his name, and his accent betray his Viennese heritage. The bass is amplified. The slightest touch sets it smoking. We all move slightly closer to the edge of our seats, anticipating our first introduction to fire. Like a flame Klug’s tones are varied and not wholly apparent. First, the prominent orange, bright, the traditional “sound” of the bow on strings. Below that the electrified blues, deep, heavy, echoing, almost painful. Finally, the white transparency at the base of the flame. The sound not heard but implied even when the bow lingers inches from the string, live with the electricity of the instrument. It is the hottest, most dangerous part of the flame. Laurie takes the stage at the end of the solo piece. She stands directly across from Klug, breaking taboos in the tradition of facing the audience, looking at Klug fully in the eye. Laurie thrusts back and forth, spurting out vocals, hands waving, choppy, jumping movements. Bernd responds in kind, gyrating his bass, more jazz, no longer amplified, bobbing in response to Laurie. Their symmetry is blazing. Laurie crescendos, sings wildly, removes her sweater due to the heat. No more fuel need for this fire, time to let it burn.Degree 3: “The Bonfire” Taka KigawaBefore sitting down at the piano Kigawa removes the top, opens the lid, lets the fire breathe. Now it will be a robust bonfire. The NYT called Kigawa’s playing ”quietly poetic and considerate,” and their synopsis is accurate, save for the deep reservoir of personal feeling that Taka (though briefly) showcases in his music. Like a good fire, he knows his job is to give the people what they want: strong flame, a little Chopin, some Beethoven. But like all fires, were he a bit more deviant, he might break free. On some level he does, riffing off the masters, swelling from one expertly played piece to the next, breaking it down, burning up the musical construction after all its traditional use is gone. He is well-tended, keeps us warm, flickers beautifully. Laurie quietly takes the stage to partake in vocalizations. Now we are by the sea, the fire burning strong. Like the waves, Laurie’s notes bend and turn with Kigawa’s scales. The bonfire is the centre of this whole and Laurie stands close, places her hand on the piano, and with Kigawa’s aid flawlessly creates the uncanny moment of flame reflected on the sea.Degree 4: “Primitives Dancing with Torches” FAHEYNow come the primitives. The duo composed of Jeremy Gustin and William Graefe called FAHEY takes the stage. Graefe with an aqua blue guitar, and Gustin with an amber-colored drum set. The stage is rearranged once more so Gustin and Graefe can clearly hear. Laurie stands slightly off the side, her tools set on a stack of full beer cases being used as a table. FAHEY is dedicated to a spectrum of Fahey covers and as the room becomes the fullest it’s been all night, it’s clear that this is what most people are here for. The primitives tell Laurie to join in anytime, and with little intro dive into familiar avant-garde progressions. The spirit of Fahey is being summoned. Surprisingly, this is the least amount of dancing from Laurie we’ve seen all night, but her minimalistic approach is perfectly in tune with the toe-tapping of Graefe and Gustin, who armed brushes, beats an off kilter rhythm so forcefully he has to pause every couple of beats to salvage his rouge bass drum. The spirit of Fahey has arrived. None of the musicians play the same thing, and they are all perfectly in harmony. Laurie suggests everyone get spiritualized and join in! She is using bird calls, everyone is stomping. Nobody is tending the fire. Nobody cares to. The speakers start to crackle and pop with the noise, we wait for one of them to blow out with the sound of breaking, burned limbs nullifying down the spaces between the flames until it is 90 percent flame and 10 percent fuel, hottest at its core.Degree 5: “The Slow Burn” Natura MortaThe final performers Natura Morta take the stage. The fire has burned down to a pile of smoldering embers. Many people are clearing out for the night but to assume the slow burn is not the one of the most dynamic portions of the evening would be a mistake. Made up of Sean Ali on viola, Carlo Costa on bass, and Frantz Loriot on drums, Natura Morta utilizes all that is left of burning mound and their self-professed “heated silences” are as compelling as their undefinable sounds, made from prepared instruments and unprepared musical structures. Ali taps on his viola, while Costa rubs his hands on the bass, caressing and patting its curves. Laurie takes center stage and her cues brilliantly from the clockwork construction-squeaks, bumps, meows, wind gushes with the combination of mouth, glass tubes, wood objects and hands. The beasts are coming out after the fire has burned down, sniffing out the meaning of scorched earth left behind.http://the22magazine.wordpress.com/2012/04/09/review-the-5-degrees-of-laurie-amat/
Time Out New York selected Time Byrnes’ performance as Hazel-Rah here at Vaudeville Park, on Wednesday April 11 as a Critics’ Pick! TONY says: “Composer and multi-instrumentalist Tim Byrnes (formerly of Friendly Bears and currently of Kayo Dot and PAK) steps out with his Hazel-Rah project, in support of a new ten-inch on the French label Africantape.”Also on the evening’s ticket are Mario Diaz de Leon and Jeremiah Cymerman, respectively described by TONY as a “sinister soundscapist” and an “experimental clarinet luminary”. Positively intriguing!Doors open at 7 PM ET with a $7 cover. And as always, delicious Brooklyn Lager is available with donation at the bar! See you at the show!Check out the TONY piece here: http://www.timeout.com/newyork/en_US/occurrences/1316091All event info and advance ticketing info: http://vaudevillepark.org/events/tim-byrnes-vaudeville-park-music-collective-presents-0photo by Jack Frey
Photos by Edwina Hay. Outsider Musician Jandek (born Sterling Richard Smith) performed two sold out shows in Brooklyn, NY's Vaudeville Park on Friday, March 23rd and Monday, March 26th. Photogrpaher Edwina Hay attended the Monday night show which featured Rachelle Lalonde on vocals, Alan Lewandoski on guitar, Michael Hafftka on godin glissanter, and Ian M. Colletti, founder of Vaudeville Park, on various instruments. http://www.imposemagazine.com/photos/jandek-at-vaudeville-park
JandekVaudeville ParkMonday, March 26Better than: I don't know, a seance probably?Jandek played marimba stiffly, percussively, as if trying to repair the instrument musically. His face seemed in a muscular freeze, half-absorbed by beard. Vaudeville Park, an apartment-sized performance space in Williamsburg, was lit in such a way that it maximized the shadows of the performers, doubling and tripling them—Jandek's hunched migrations across the marimba, moving into the small jumps of guitarist Alan Lewandoski, flickering, one shadow deepening the next, grading darknesses. Bassist Michael Hafftka grinned every few minutes, widening pearl, finding joy in the deep tangles. Two cameras, set on each side of the band, filmed the show on Panasonic Omnivision VHS.Jandek started playing shows in 2004, after 26 years of strange, untuned recordings. His 68 records feature an expression that seems to have passed through a few layers; you hear a voice and amusical strumming, and the whole affair sounds as if haunted into the record. A band plays on some of the recordings, but the aloneness of the sparer Jandek records is so intimate that the albums seem less recorded and pressed than pulled directly from the person. There's an anti-intimacy to it, though. There's no available Jandek narrative, no imaginative way to think of it as the sound of a person unlocking themselves from sanity. There's just dissonance, arranged slightly, distantly. There's a man, his songs and his photos, floating just beyond context.Jandek, on record and in past live performances, only sort of sings. More accurately he moans, or he shouts in a curt way. He reads his lyrics from a stand but they still seem to spontaneously emerge. They briefly travel from his mouth to the air and amplifier, a face that sheds lyrics. At Vaudeville Park, Rachelle Lalonde assumed this role, delivering what seemed Jandek lyrics in Jandek ways. There's a theater to Lalonde's voice, though, an opera to it, wavering tones that summon drama from an overwrought place. It was revealing. Lyrics about "looking for a boy in the trees" obtained an air of Flannery O'Connor, a sort of frail terror that also contains a veiled comedy. Maybe the key to Jandek is that his songs should be understood as goth songs.For the last two songs, Jandek moved from the marimba to Hafftka's bass. He laid the instrument across his lap, treating it as if it were a slide guitar. For a show that had mostly been brutally insistent, his playing was suddenly mood-based, a calm travel. He seemed to have entered a fretless peace. Ian M Colletti pulled from a theremin the sound of a peripheral whale. For the first time, it seemed, there was gentleness.To stay engaged with a pernicious, noisy performance can take considerable effort and strain. If you break from it, reanchoring happens in a harsh, unhealed way. When Lewandowski bent his guitar strings, the whole physiology of the band and crowd bent as well. Near the end of one song, someone in the audience dropped a coin. It made sense. It felt natural.Critical bias: I like staring at something weird until it makes sense.Overheard: "I wish I'd gone to a better college." "Me too."http://blogs.villagevoice.com/music/2012/03/jandek_vaudeville_park_march_26_review.php
Legendary “outsider” musician, Jandek (aka Sterling Richard Smith), will be returning to NYC for two shows this month. The reclusive and enigmatic musician will be performing on March 23rd and March 26th at Brooklyn’s Vaudeville Park with a cast of well-pedigreed Brooklyn musicians including Ian M. Coletti, Valerie Kuehne, Rachelle Lalonde, and Alan Lewandoski. The Facebook invite indicates the ad-hoc group will be plucking classical guitars, harps, violin, and lending additional vocals to whatever Mr. Smith chooses to play on those evenings.The Jandek discography stretches back 34 years and numbers at over 60 releases (all released through the single-minded imprint, Corwood Industries), and it was only in 2005 that the first Jandek performance took place in Glasgow, Scotland. Since then, “typical” performances consist of Smith playing a variety of instruments backed by an array of musicians usually sourced from whatever town the show takes place. Jandek conspirators have included a who’s who of modern experimental music including Tom Carter, C. Spencer Yeh, Nautical Almanac’s Twig Harper, Richard Youngs, David Keenan, and Loren Connors, just to name a few.Tickets for the Brooklyn performances are on sale now and can be purchased here. Here are a few clips of recent Jandek performances, including one with bassistMike Watt (Minutemen/fIREHOSE), another with modern noise-master Aaron Dilloway, and one with a killer Texas funk band. See more at:http://www.eastvillageradio.com/content/content.php?id=3324
Jandek is featured in Brooklyn Vegan. BV predicts Vaudeville Park shows will sell out!Prolific outsider musician Jandek (aka Sterling Richard Smith) is playing a few rare shows this year including two in Brooklyn this month. He plays Vaudeville Park onMarch 23 and March 26. He'll be joined at both shows by Rachelle Lalonde (vocals),Ian M. Colletti (classical guitar, harp, violin, vocals), and Valerie Kuehne (cello, vocals). The 3/23 show will be filmed for ESP TV. Advance tickets for both shows are on sale now. They'll probably sell out, but if they don't, you can buy them with cash only at the door. Jandek's most recent release is the live double album, Indianapolis Saturday. Ordering info for this album and many of his others at Corwood Industries.See the full article here:http://www.brooklynvegan.com/archives/2012/03/jandek_schedule.html
-The new Ian M Colletti composer/ performer site!www.ianmcolletti.comUpcoming "Vaudeville" "On The Hudson" teasers (Spring 2012), upcoming art& music showcases, full listening catalog, soundcloud, tumblr blog and film/ video reel. *Also, the official Itunes launch of "Auto-Matic Vaudeville"'s 2nd record, "Method of Survival"(2007), never released until now. Auto-Matic Vaudeville's first record (2004/5), the single "Support" and "You Care (about you)" also available on Itunes.It is with my sincere hope you find some magic in your day, and spend a few minutes on this composer site. Nose around, and allow yourself to get lost in the world of sounds, cognitive imagery, sweet delights and the harmony and horror that is the music of my world.Warmest Regards,Ian M Collettiwww.ianm.colletti.comwww.vaudevillepark.org
Keeping You Cool
You've seen us grow over the years and we all know it - our old air conditioner can no longer keep up with the crowds and summer heat! A new unit will keep you cool during yoga classes, concerts, youth performing arts seminars, art shows, screenings, and fundraisers, as well as cut down on the humidity, adding life to the many vintage instruments that call Vaudeville Park home.
Make a Tax-deductible Contribution Today. Enjoy Free Concerts All Summer!
In return for your generous contributions, we're offering free tickets, limited edition prints, and CDs!
We've set our sights on a 28,000 BTU wall air conditioner. Costs for a unit like this average $700. Our old storefront windows require special installation that will cost around $300.
Please visit our campaign at IndieGoGo to make a donation today! Vaudeville Park is a non-profit organization sponsored by the New York Foundation for the Arts and all of your contributions are tax-deductible.
Read more about the air conditioner we need.