Asked what performances from the Uncertainty Music Series’ 10-year run came most memorably to mind, musician Anne Rhodes recalled one by Canadian duo Not The Wind Not The Flag. “They’re such flexible, unpredictable musicians. I think Brandon [Valdivia] can do five different beats with four different limbs, and as a duo they play off each other really well,” she said. “And for me this comes up over and over again with improvised music, but they’re people I’m really happy to see.”
But she also remembered a performance by composer Brian Parks. “He did a 40-minute improvisation on virginal,” an instrument in the harpsichord family. “It was all overlapping polyrhythms … and most of the people there, because they were coming from Yale and used to a little bit more of a concert music setting, and a contemporary classical idiom, were super uncomfortable and some of them were actually really mad.” She chuckled. “And it was so good.”
Shortly after taking the stage Friday and introducing bandmates Mary Halvorson on guitar and Ingrid Laubrock on soprano and tenor saxophones, drummer and bandleader Tom Rainey cut right to the chase.
“I hope you enjoy it,” he said. “Well, I hope we enjoy it, too.”
From that, Rainey launched the group into their first set, with distant but thunderous tom work amidst probing lines from tremolo guitars and tenor saxophones that danced around a harmonic center before jumping tracks completely, comfortably demonstrating the vitality and necessity of improvised music — and of good places in which to listen.
Until Sunday, viewers approaching the glassy facade of Creative Arts Workshop (CAW) on Audubon Street will immediately notice the large-scale, exuberant paintings in the window. They were created through an interesting collaboration between students and teachers of CAW’s Young People’s Department participating in CAW’s Adventures in Summer Programs.
There were maybe two dozen people in Cafe Nine on Tuesday evening when Jeffrey Broussard and the Creole Cowboys took the stage. Couples sat around the club’s high tables. Broussard, standing in the center of the stage, tested his equipment for a second. Then, without introduction, the band launched into its first song, and three couples sprang to their feet and danced across the floor.
For the next two hours, the dancing wouldn’t stop.
Sarah Borges — opening for Marshall Crenshaw y Los Straitjackets on Saturday at Cafe Nine — reminisced about her many experiences and adventures at the club over the past 15 years that she has been playing there, including the time she knocked her front teeth out.
While Amoy Kong-Brown was busy helping small businesses and contractors in the city get their start, she was dreaming up her own small business. And on Wednesday, she officially cut the ribbon on a restaurant that bears her name.
Nude except for a pair of white pumps, Nona Faustine climbs the steps of the Tweed Courthouse in her 2013 photograph “Over My Dead Body.” The courthouse was built over the site of the African Burial Ground in Lower Manhattan, and as Faustine ascends its mountainous stairs, she holds a pair of shackles. The courthouse’s columns and three shut doors at the top wait for her. From her stance, though, it seems that the hostility of the architecture is not going to prevent her from accomplishing what she needs to accomplish.
After discovering a collection of his father’s dramatic World War ll letters at his home, artist Robert Reynolds set off on a physical and emotional journey to stand on the ground where his father fought and bled while serving in the South Pacific nearly 75 years ago.