About This Event
Doors Open:10:00 PM
Show Time:10:30 PM
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All tickets sales are final. No refund or credits.
“The evolution of Ken Vandermark continues with his new quartet Made To Break, an electric/acoustic ensemble that bridges his musical strengths of composition, organization, and improvisation. Founded in 2011, the saxophonist drew together bassist Devin Hoff (The Resonance Ensemble), drummer Timothy Daisy (Vandermark 5, The Frame Quartet, Sound In Action Trio, Bridge 61), and a new contributor, Christof Kurzmann (electronics).
In the early 2000s, Vandermark’s interest in non-jazz elements like funk and reggae developed with his Spaceways Inc. trio and electronics with Frame Quartet and Powerhouse Sound, the latter featured Scandinavian noise artist Lasse Marhaug. His improvising, both solo and in duo (with Daisy) also became an important path for him. As he retired these young projects (including the most successful V5), the seeds for Made To Break were planted.”—Mark Corroto, All About Jazz
Born in Warwick, Rhode Island on September 22nd, 1964, Ken Vandermark began studying the tenor saxophone at the age of 16. Since graduating with a degree in Film and Communications from McGill University during the spring of 1986, his primary creative emphasis has been the exploration of contemporary music that deals directly with advanced methods of improvisation. In 1989, he moved to Chicago from Boston, and has worked continuously from the early 1990’s onward, both as a performer and organizer in North America and Europe, recording in a large array of contexts, with many internationally renowned musicians (such as Fred Anderson, Ab Baars, Peter Brötzmann, Tim Daisy, Hamid Drake, Terrie Ex, Mats Gustafsson, Devin Hoff, Christof Kurzmann, Fred Lonberg-Holm, Joe McPhee, Paal Nilssen-Love, Paul Lytton, Andy Moor, Joe Morris, and Nate Wooley). His current activity includes work with Made To Break, The Resonance Ensemble, Side A, Lean Left, Fire Room, the DKV Trio, and duos with Paal Nilssen-Love and Tim Daisy. More than half of each year is spent touring in Europe, North America, and Japan, and his concerts and numerous recordings have been critically acclaimed both at home and abroad. In addition to the tenor sax, he also plays the bass and Bb clarinet, and baritone saxophone.
Ken Vandermark official site
Ken Vandermark on Twitter
Tim Daisy is a Chicago based percussionist, composer and educator working in the fields of improvised and composed music. Born and raised in northeastern Illinois, he moved to Chicago in 1997 and has since performed, recorded, and toured with many acclaimed musicians and ensembles from both the USA and abroad. Tim also maintains an active touring schedule, working with a number of musicians and ensembles and has traveled extensively throughout North America and Europe. Working in a number of different environments, he has composed for solo percussion, chamber groups, jazz ensembles, dance, theater, and film.
Tim has had the fortunate experience to work with many of the most cutting edge musicians currently working in the filed of improvised music including: Ken Vandermark, Jeb Bishop , Fred Lonberg-Holm, James Falzone, Dave Rempis, Steve Swell, John Tchicai, Mars Williams, Joe McPhee, Matt Bauder, Michael Zerang, and Frank Rosaly, and Aram Shelton.
Tim Daisy official site
Devin Hoff was born and raised in Fort Collins, Colorado. He began playing music seriously at age 15, and has continued to do so ever since, foregoing college as he was already working at his chosen craft. Torn between the visceral energies of punk and metal, the spiritual freedom of avant-garde jazz, and the deep emotional pull of folk music in his youth, he has spent the last 20-plus years exploring the resonances and dissonances of these musical tendencies. He has performed on hundreds of recordings and thousands of shows throughout the Americas, Europe, and Asia, with numerous musicians and bands. Some of those with whom he has collaborated include: Nels Cline, Vijay Iyer, Ken Vandermark, Matt Chamberlain, Carla Bozulich, Yoko Ono, Ben Goldberg, Joshua Redman, Mary Halvorson, Ron Miles, John Dieterich, Greg Saunier, Xiu Xiu, Kira Roessler, Mike Watt, Seven Year Rabbit Cycle, and Good For Cows (his long-standing duo with drummer Ches Smith).
As a song writer/”composer” he has written music for solo double bass, punk and metal bands (Teko Saso; The Gods Hate Kansas) avant-garde jazz ensembles (The Bastet; Ansible), chamber groups (Lost Songs of Lemuria; Redressers) and pop bands (Xiu Xiu; Love is the Law). He has composed and recorded material for several films and stage productions, including the award winning Wholphin-produced short film ‘Look at the Sun’, and the Anna Deveare-Smith play ‘Let Me Down Easy’ (in collaboration with Joshua Redman). He appears in the Farallon Productions film Approximately Nels Cline.
Devin Hoff on Tumblr
Devin Hoff on Bandcamp
Nate Wooley was born in 1974 in Clatskanie, Oregon, a town of 2,000 people in the timber country of the Pacific Northwestern corner of the U.S. He began playing trumpet professionally with his father, a big band saxophonist, at the age of 13. His time in Oregon, a place of relative quiet and slow time reference, instilled in Nate a musical aesthetic that has informed all of his music making for the past 20 years, but in no situation more than his solo trumpet performances.
Nate moved to New York in 2001, and has since become one of the most in-demand trumpet players in the burgeoning Brooklyn jazz, improv, noise, and new music scenes. He has performed regularly with such icons as John Zorn, Anthony Braxton, Eliane Radigue, Ken Vandermark, Fred Frith, Evan Parker, and Yoshi Wada, as well as being a collaborator with some of the brightest lights of his generation like Chris Corsano, C. Spencer Yeh, Peter Evans, and Mary Halvorson.
Wooley’s solo playing has often been cited as being a part of an international revolution in improvised trumpet. Along with Peter Evans and Greg Kelley, Wooley is considered one of the leading lights of the American movement to redefine the physical boundaries of the horn, as well as demolishing the way trumpet is perceived in a historical context still overshadowed by Louis Armstrong. A combination of vocalization, extreme extended technique, noise and drone aesthetics, amplification and feedback, and compositional rigor has led one reviewer to call his solo recordings “exquisitely hostile”.
In the past three years, Wooley has been gathering international acclaim for his idiosyncratic trumpet language. Time Out New York has called him “an iconoclastic trumpeter”, and Downbeat’s Jazz Musician of the Year, Dave Douglas has said, “Nate Wooley is one of the most interesting and unusual trumpet players living today, and that is without hyperbole”. His work has been featured at the SWR JazzNow stage at Donaueschingen, the WRO Media Arts Biennial in Poland, Kongsberg, North Sea, Music Unlimited, and Copenhagen Jazz Festivals, and the New York New Darmstadt Festivals. In 2011 he was an artist in residence at Issue Project Room in Brooklyn, NY and Cafe Oto in London, England. In 2013 he performed at the Walker Art Center as a featured solo artist.
Nate is the curator of the Database of Recorded American Music (www.dramonline.org) and the editor-in-chief of their online quarterly journal Sound American (www.soundamerican.org) both of which are dedicated to broadening the definition of American music through their online presence and the physical distribution of music through Sound American Records. He also runs Pleasure of the Text which releases music by composers of experimental music at the beginnings of their careers in rough and ready mediums.
Photo credit: Peter Gannushkin