Monday, October 6, 2014

Mazen Kerbaj's ARIHA Trumpet Ensemble at Donaueschinger Musiktage, Saturday 10/18/14

Live in SWR2

06 SWR2 NOWJazz Session

the same (not) the same

Gewerbliche Schulen, Sporthalle
Samstag, 18. Oktober 2014
20.00 Uhr
Mazen Kerbaj's ARIHA Trumpet Ensemble (Premiere)
Mazen Kerbaj, tp + comp
Liz Allbee, tp
Axel Dörner, tp
Peter Evans, tp
Franz Hautzinger, tp
Greg Kelley, tp
Nate Wooley, tp
Dauer: ca. 45 Minuten
25 Minuten Pause
Jaap Blonk, voc
Joachim Montessuis, voc
Julien Ottavi, voc
Jörg Piringer, voc
Dauer: ca. 45 Minuten
Individualism and interaction – it is the tension between these two poles that turns encounters between improvisers (time and again) into a challenging affair. While ensemble duties were clearly assigned in the classic band line-ups of jazz history, such fixed patterns of roles have meanwhile become a rarity. Hierarchical structures like leader – soloist – sideman have likewise become obsolete. Thus Mazen Kerbaj’s Trumpet Ensemble, appearing in Donaueschingen for the first time this year, does not pursue the idea of a trumpet battle with seven lone fighters, instead using this superb constellation to explore the possibility of simultaneous individual multilinguality. JJJJ present themselves both polyphonically and monophonically at this NOWJazz Session, with improvisations in solo and quartet form. “New Sound Poetry and Vocal Improvisations” is the title chosen by the four vocal performers for their programme with experimental sound poetry.

Friday, 10/10/14, Boston

Parking Garage Solo, Fremont 9/26/14

Levi Berner
Contact Mike
Eric Ostrowski
Greg Kelley

"Guerrilla Jammer" Friday September 26th at a parking garage in the Fremont neighborhood of Seattle.

Photos courtesy of Levi Berner & Esther Hollowearth respectively.

Tuesday, July 22, 2014

Saturday, 7/26/14 in Port Townsend, WA

Atypical Sounds from Typical Instruments: 
A Weekend of Experimental Music and Dance at Studio 36  / Friday and Saturday, July 25–26

Studio 36 presents two nights of experimental performance beginning Friday night with a program of two solo dances by Katrina Wolfe and David Noble with live music by Dmitry Artamonov. 
Wolfe’s solo, “Insatiable” was choreographed by Joan Laage and debuted earlier this summer at the Seattle Butoh Festival. Noble will perform a new work titled “Skull Cup.”  

On Saturday night, Studio 36 will host a program of three solo artists who work with sound in its elemental, abstract sense. Whether using traditional instruments or unique assemblages of non-musical devices, all three artists create compelling sound narratives which owe little, if anything, to traditional musical forms.

Greg Kelley and Chris Cooper both start from traditional instruments (trumpet and guitar respectively). By way of unorthodox playing techniques and external modifications (scraps of metal, handheld motors, springs, remote controls, and electronic processing), entirely unexpected sounds are produced. Jessica Goddard uses an amplified sewing machine as a primary sound source, accompanied by a rudimentary analog synthesizer and home-made magnetic tapes.

Greg Kelley - solo trumpet
Angst Hase Pfeffer Nase (Chris Cooper) - prepared guitar
Schurt Kwitters (Jessica Goddard) - sewing machine, synthesizer, reel-to-reel tape

Door opens both nights at 7:30 for performances beginning at 8:00 pm. There is a $5 suggested donation; everyone welcome.  

Studio 36 is located on the third floor of the Mount Baker Block Building, 211 Taylor Street. For further information, contact David Noble (

Thursday, July 3, 2014

Duo with Bill Horist 6/19/14

vine from my first show in Seattle as a local.

And the details a day late and a dollar short... 
Zero-G Concerts presentsed...
Wally Shoup
Bill Horist and Greg Kelley
Headless Quartet (Barber/Rees/Seman/Zgonc)

Thursday, June 19, 2014

Good Shepherd Chapel
4649 Sunnyside Ave. N, 4th floor, Seattle
8pm, all ages, $5-15 donation

Monday, June 2, 2014

Wednesday, June 4, 2014: Trio with Seijiro Murayama & Vic Rawlings, WSAC, Somerville MA

Non-Event and the Washington Street Art Center present

LINDA + MIKE BULLOCK (electroacoustic intermedia diffusion)

Washington Street Art Center
321 Washington Street
Somerville, MA
8:30 pm/$10

Born in Nagasaki, Japan in 1957, percussionist SEIJIRO MURAYAMA has lived and worked France since 1999. Over the last 20+ years he has performed with such musicians as Fred Frith, Lionel Marchetti, Tom Cora, Keiji Haino , Jean-Luc Guionnet, and KK Null. Murayama has also collaborated with the philosopher Jean-Luc Nancy, the video artist Olivier Gallon, the choreographer Catherine Diverrès, the painter François Bidault, and the writer, Nicolas Vatimbella.
His approach is based on a lot of attention to the space and the place, to the energy of the audience and the quality of silence in various ways.He is interested in making continuum, microscopic sounds and in how we can ‘vitalize delicately’ the space with sound.

GREG KELLEY began studying the trumpet at age 10. He attended the Peabody Conservatory of Music in Baltimore, where in addition to studying the Conservatory curriculum, he also immersed himself in a deep study of avant-garde and experimental music, eventually coming to the conclusion that his musical focus fell outside of the academic sphere. After his studies, Kelley moved back to his native Massachusetts, quickly insinuated himself into the local avant-garde circles and soon commenced a period of intense travel and collaboration, bringing him across the United States, throughout Europe, Japan and South America.

He has appeared on over 60 albums and despite a more limited travel schedule, he still manages to play in a number of groups including Nmperign, Heathen Shame, the undr quartet and the BSC, among others. Other collaborators have included Jandek, Keiji Haino, Donald Miller (Borbetomagus), Anthony Braxton, Kevin Drumm, Christian Wolff, Pauline Oliveros, Joe McPhee and Lionel Marchetti. In addition to playing the trumpet, Kelley has also recorded music using electronics and musique concrete elements, sometimes utilizing trumpet based sound sources, other times not.

VIC RAWLINGS (cello/ electronics) employs a still, unstable sound language that features visceral excess and extreme austerity. He uses an amplified cello augmented with extensive and invasive preparations of his design, based on Baroque-era instruments. He uses a vocabulary of extended techniques, approaching near-total abstraction from the cello. He also uses and continually develops a modular electronic instrument with a highly unstable interface, acoustically realized by arrays of exposed speaker elements. His writings on instrumentation and contemporary music education appear in Leonardo Music Journal and Intransitive Magazine. His curricula focus on listening, sound, and electroacoustic phenomena. He presents in settings ranging from Ivy-League Universities to juvenile detention facilities, including a village in Yucatan, Mexico. Visiting artist/ teaching residencies have included Oberlin, MIT, Harvard, UC Berkeley, UC Davis, Princeton, Dartmouth, Wesleyan, among many others.

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