with Ethan Iverson, Chris Tordini, John Hollenbeck & The Westerlies
Sat September 10th, 2016
Minimum Age: 18+
Doors Open: 6:00PM
Show Time: 7:00PM
Event Ticket: $12
Day of Show: $15
The Patrick Zimmerli Quartet with John Hollenbeck, Chris Tordini and Ethan Iverson performs at LPR on Saturday September 10. The repertoire is an hour-long Zimmerli suite called Clockworks, a commission from Chamber Music America’s 2015 New Jazz Works Program. Clockworks is a kind of musical response to Shores Against Silence, a CD due out in November from Songlines Recordings, which is the first-time release of some of Zimmerli’s earliest pieces for jazz quartet, with Kevin Hays, Larry Grenadier, and Tom Rainey. The CD will finally make his award-winning piece The Paw and others available to the public.
Read the full interview on Ethan Iverson’s blog before the show!
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.
New York- and Paris-based composer/saxophonist Patrick Zimmerli writes a sophisticated yet approachable hybrid of contemporary classical and jazz music. Recent collaborators include Joshua Redman, Brad Mehldau, Brooklyn Rider String Quartet, Brian Blade, Luciana Souza, the Knights Orchestraand the Escher String Quartet. His music has been performed atCarnegie Hall and Town Hall in New York, Wigmore Hall in London, Salle Pleyel in Paris, Sala São Paolo in Brazil, theVienna Konzerthaus Grosser Saal and the new SF Jazz Center.
Zimmerli has written numerous orchestral, chamber and choral works, including two four-movement Piano Trios for the Seattle Chamber Music Festival and two four-movement Piano Concertos with jazz percussion, written for the Metamorphosen Chamber Orchestra and pianists Ethan Iversonand Sonia Rubinsky.
Zimmerli’s Aspects of Darkness and Light, an evening-length work commissioned by the Seattle Commissioning Club, was recently recorded by Joshua Redman, Brooklyn Rider, bassist Scott Colley and percussionist Satoshi Takeishi for Nonesuch Recordings (Warner) and is slated for early 2016 release. Upcoming projects include a large-scale oratorio for male choir, operatic tenor, jazz percussion and piano on the work of Alan Seeger, to be premiered at the storied Invalides in Paris in 2016; and a collaboration with the Paris Percussion Group and choreographer Bruno Bouché to premiere at the 2017 Cannes International Festival of Dance.
Zimmerli was just awarded the 2015 Chamber Music America New Jazz Works Grant, supported by the Doris Duke Charitable Foundation. He was also the winner of the CLICK People’s Orchestral Commission from theColorado Music Festival. Other commissions have come from the Saint Paul Chamber Orchestra, the Colorado College Summer Music Festival, the Ying String Quartet, Brown University, violinist Timothy Fain, and theArizona Friends of Chamber Music. From 2002-05, Zimmerli served as Composer in Residence with theMetamorphosen Chamber Orchestra. Awards include first prize in the first annual BMI/Thelonious Monk Institute Composers’ Competition.
Zimmerli music has been featured in MoMA’s Summergarden series, at the Guggenheim Museum, on NPR and at the Jazz Composers’ Collective. His work has been recorded on the Naxos, Nonesuch (Warner), Blue Note, Arabesque, Antilles, Songlines, Jazz City and Naïve labels.
Ethan Iverson is best known as one-third of The Bad Plus, a game-changing collective with Reid Anderson and David King. The New York Times called TBP “…Better than anyone at melding the sensibilities of post-60’s jazz and indie rock.” TBP has performed in venues as diverse as the Village Vanguard, Carnegie Hall, and Bonnaroo; collaborated with Joshua Redman, Bill Frisell, and the Mark Morris Dance Group; and created a faithful arrangement of Stravinky’s The Rite of Spring and a radical reinvention of Ornette Coleman’s Science Fiction (the latter with Tim Berne, Ron Miles, and Sam Newsome).
In addition to TBP, Iverson participates in the critically-acclaimed Billy Hart quartet with Mark Turner and Ben Street and occasionally performs with an elder statesman like Albert “Tootie” Heath or Ron Carter. For a decade Iverson’s blog Do the Math has been a repository of musician-to-musician interviews and analysis, which is surely one reason Time Out New York selected Iverson as one of 25 essential New York jazz icons: “Perhaps NYC’s most thoughtful and passionate student of jazz tradition—the most admirable sort of artist-scholar.”
Photo credit: Jimmy Katz
Christopher Tordini is a bassist on the New York music scene, where he performs with established jazz icons as well as a diverse range of emerging musicians. He has toured and recorded with Andy Milne’s Dapp Theory and has also played and recorded in bands led by artists such as Greg Osby, Jeremy Pelt, Ari Hoening, Steve Lehman, Jim Black, Andrew D’Angelo, and the Becca Stevens Band. Tordini is also a collaborator in projects led by drummer/composer Tyshawn Sorey and trombonist/composer Michael Dessen.
Composer/percussionist and four-time Grammy nominee John Hollenbeck is renowned in both jazz and new-music worlds. He has gained widespread recognition as the driving force behind the unclassifiable Claudia Quintet and the ambitious John Hollenbeck Large Ensemble, groups with roots in jazz, world music, and contemporary composition. He is well known in new-music circles for his longtime collaboration with Meredith Monk and has worked with many of the world’s leading musicians in jazz including Bob Brookmeyer, Fred Hersch, and Tony Malaby. John is the recipient of a Guggenheim Fellowship, the ASCAP Jazz Vanguard Award, and a Doris Duke Performing Artist Award. His most notable works include commissions by Bang on a Can All- Stars, Ethos Percussion Group, Melbourne Jazz Festival, University of Rochester, Ensemble Cairn, Orchestre National de Jazz, and Frankfurt Radio Big Band. He joined McGill University Schulich School of Music’s faculty as professor of Jazz Drums and Improvisation in 2015.
The Westerlies are a New York based brass quartet comprised of four childhood friends from Seattle, Washington: Riley Mulherkar and Zubin Hensler on trumpet, and Andy Clausen and Willem de Kochon trombone.
Formed in 2011, the self-described “accidental brass quartet” take their name from the prevailing winds from the West to the East. “Skilled interpreters who are also adept improvisers” (NPR’s Fresh Air), The Westerlies explore jazz, roots, and chamber music influences to create the rarest of hybrids: music that is both “folk-like and composerly, lovely and intellectually rigorous” (NPR Music). Equally at home in concert halls and living rooms, The Westerlies navigate a wide array of venues with the precision of a string quartet, the audacity of a rock band, and the charm of a family sing-along.
The Westerlies’ four members were childhood friends and sometime musical rivals in their hometown of Seattle – they regularly competed against each other in regional competitions. Each member independently moved to New York City, which led to the old friends reconnecting and performing together. Since their inception, The Westerlies have shared the stage with such diverse acts as Radiolab, Bill Frisell, Vieux Farka Toure, and Juilliard Dance.
The Westerlies are currently performing in support of their self-titled sophomore album, which features original music by each member of the ensemble captured in vivid detail by GRAMMY-winning producer Jesse Lewis (Roomful of Teeth, Brooklyn Rider, Silk Road Ensemble with Yo-Yo Ma, LA Phil). The group discovered Jesse through his discography, but as luck would have it, he attended the same Seattle high school as three of The Westerlies’ members. The connection between the five of them was immediate and deep, and the collaborative recording process reflects the democratic nature of The Westerlies and pushes the sonic limits of the brass quartet instrumentation.
Much of the music was composed over the course of two residencies in the summer of 2015, then recorded at The Farm Studio (a painting of which is on the album’s cover) in West Chester, PA. Following their critically acclaimed debut album Wish the Children Would Come On Home: The Music of Wayne Horvitz, this is a boldly personal set of music that is equally virtuosic and vulnerable.
The Westerlies perform without sheet music, allowing a direct connection to the audience that is all too rare in the chamber music world. This is no homogenous chamber group, unified in its allegiance to the wishes of a composer. Every piece of music touched by The Westerlies reflects the unique sensibilities and personalities of these four individuals, in all their strengths and quirks. Their music exudes the warmth of their longstanding friendships and reflects the broad interests of the band members.
Recent engagements include The Newport Jazz Festival, Celebrate Brooklyn, New Music Bryant Park, The Clarice Smith Performing Arts Center at University of Maryland, NYU Skirball Center, Cooper Hewitt Museum, The New School, The Juilliard School, Seattle Symphony, The Festival of New Trumpet Music, Juilliard in Aiken Festival, Music in the Mountains (Durango, CO), Vancouver Jazz Festival, Roulette, Constellation Chicago, Seattle Art Museum and Earshot Jazz Festival. Active collaborators, The Westerlies have worked with artists in a variety of disciplines, including Vieux Farke Toure, Dave Douglas, Wayne Horvitz, Bill Frisell, Julia Easterlin, visual artist David Foarde, Cocoon Central Dance Team, Choreographer Garth Johnson, and Juilliard Dance.
Photo Credit: Sasha Arutyunova