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It's not a Loopers' Fest but it's definitely an East Coast Festival where you can hear not only looping but a whole universe of strange and wonderful sounds! I know because I was in it last year and the year before...A truly amazing and inspiring event. Best regards, Eric >To: mangkunegaran@hotmail.com >Date: Thu, 14 Jun 2001 04:39:06 -0400 >From: "HIGH ZERO" <high_zero@lycos.com> >X-Sent-Mail: off >Reply-To: high_zero@lycos.com >Subject: Announcing HIGH ZERO 2001, Sept 13-16 >X-Sender-Ip: 207.22.66.52 >Organization: Lycos Mail (http://mail.lycos.com:80) > >HIGH ZERO >3rd Annual Festival of >Experimental Improvised Music >Baltimore, 2001 > >Thursday Sept. 13th-Sunday, Sept. 16th >The Theater Project >45 West Preston Street >Baltimore, Maryland >http://www.highzero.org > >A dazzling mix of innovation, imagination, and integrity now in its >third year, the HIGH ZERO festival is one of the most idealistic and >elevating experimental music ventures in North America. Join us in >September for four exhilarating days of musical exploration! > >Our Mission >A unique festival in North America, HIGH ZERO is focused solely on >new collaborations in freely improvised experimental music. >Internationally famous musicians play side by side with younger >ìunknowns,î united by their commitment to the musical imagination. >For four days in September each year, Baltimore becomes a fertile >meeting-ground for a group of inspired players drawing from an >international subculture. The festival exposes large audiences to >this radical music in its pure form. Each year, dedicated musicians >and sound-artists come as individuals to participate in entirely new >improvised collaborations. > >The festival exposes large audiences to this radical music in its >pure form. Large-scale public concerts, recording sessions, >workshops, and guerilla street performances are all part of the >heady mix. The players are carefully selected by the festival's >organizers for their refined, unique music, whether it is based >around dramatic intensity, humor, specially designed and built >instruments, original approach, raw sound, or nearly superhuman >instrumental technique. The resulting collaborations challenge the >limits of music and delight by their audacity, expressiveness, >immediacy, and innovation. It isn't about stars or bands; it is >about the most uncompromising and stimulating improvised music we >can bring together. > >Why Baltimore? >Now in its third year, HIGH ZERO is a grassroots-organized event and >brainchild of the critically acclaimed (and unfunded) RED ROOM >performance space, an ongoing series which has hosted over 300 >performances of experimental music since it began in 1996. (See >www.redroom.org on the web.) Avant-garde music in North America is >often played in small clubs and art galleries like the RED ROOM, but >HIGH ZERO breaks through to a larger audience. Surprisingly, in >recent years Baltimore has joined Chicago, New York, Seattle, San >Francisco, and Montreal as a center for avant-garde musical activity >in North America. HIGH ZERO, now in its third year, is an outgrowth >of this unique development of Baltimore culture, and also a rare >coming together of artists from Europe and North America. > > >The History of HIGH ZERO > >"Best New Cultural Event, 2000" >- Baltimore City Paper > >"No one walked away disappointed, as this year's first annual HIGH >ZERO Festival of Experimental Improvised Music left the large crowds >at every session enthralled. " >--Steve A. Loewy, Cadence Magazine, 1999 > >ìA striking glimpse into the avant-garde and a creative process >limited only by the imagination. î >--Tim Smith, The Baltimore Sun, 2000 > >Born September of 1999 to the wailing of fire alarms, growling tubas >and home-built electronic instruments, the first HIGH ZERO festival >was a startlingly unusual event, mixing sold-out and capacity crowds >with highly challenging and engaging music. Cadence magazine praised >the event to the heavens and wondered how it could happen in a place >like Baltimore. Indeed, audience members and local musicians alike >were all aware that a fundamental shift had occurred during the >festival in the visibility of this typically underground music. The >festival exposed over 700 audience members to new collaborations >between 30 local, national, and international players over four long >concerts. The music was inspired, outlandish, moving and thought >provoking. In 2000, HIGH ZERO drew even larger crowds than the first >year, added recording sessions and guerilla street performances, >and, most importantly, created a space for some incredible, inspired >music. Two CDs, a documentary video, and an au >dio-visual documentation web site from that festival are in the works. > >This Year's Festival! >September 13th to 16th, HIGH ZERO will bring together 28 amazing >individuals culled from underground experimental music scenes of >Canada, Germany, Italy, the United Kingdom, and the United States. >This year, we will hold all five long concerts (twenty sets!) over >four days at The Theater Project, a beautiful venue with great >acoustics and stadium seating. Through the intense collaborations of >these diverse players, we expect an extraordinary four days. A >schedule of sets will be available made available in August. > > >The musicians of High Zero 2001: >Thomas Ankersmidt (saxophone) Berlin >Jim Baker (Arp synthesizer) Chicago >John Berndt (saxophone, electronics) Baltimore >Dan Breen (bass, drums) Baltimore >Mike Bullock (contrabass) Boston >Charles Cohen (Buchla synthesizer) Philadelphia >Daniel Conrad (flute, voice, self-built instruments) Baltimore >Mike Cooper (guitar, electronics) Rome >Helena Espvall (cello, banjo) Stockholm and Philadelphia >Neil Feather (self-built instruments) Baltimore >Eric Franklin (theremin, self-built instruments) Baltimore >Lafayette Gilchrist (keyboard) Baltimore >David Gross (reeds) Boston >Andy Hayleck (guitar, electronics, self-built instruments) Baltimore >Katt Hernandez (violin) Boston >Peter Kowald (contrabass) Wuppertall [Germany] >Keenan Lawler (guitar, electronics) Louisville >Eric Letourneau (computer, various) Montreal >Lukas Ligeti (drums, electronics) New York City >Kaffe Matthews (violin, electronics) London >Chris Meeder (tuba) New York City >Ian Nagoski (electronics) Baltimore >Catherine Pancake (percussion) Baltimore >Evan Rapport (reeds) Baltimore >Dean Roberts (guitar, electronics) Milan >Leslie Ross (bassoon) New York City >Jason Willett (various) Baltimore >Jack Wright (reeds) Boulder > >More Information >Press information, including downloadable hi-res photos and >biographic material will be available shortly through >www.highzero.org. > >As in the previous two years, HIGH ZERO 2001 is funded through >admission and individual and corporate donations. If you would like >to support the festival and make a tax deductible donation, purchase >a festival pass, or inquire about affordable advertising in the >festival program, call John Berndt at 410 889 5854 or email at >johnb@berndtgroup.net. > > > > >Get 250 color business cards for FREE! >http://businesscards.lycos.com/vp/fastpath/ --------------------- Upcoming Performances, Broadcasts, Etc.: Friday, June 22 at 9:00 pm Solo performance opening for Tiny Hairs <http://www.tinyhairs.com>. 4612 N. Lincoln Avenue (next to the Davis Theater). Phone (773) 728-5010. New on Compact Disc: Winter Construction (dceo003) A compilation of Chicago artists with accompanying zine featuring tracks by MORA, Kyle Bruckmann, Eric Leonardson/Yasuhiro Otani, Rosenberg Skronktet, Fred Lonberg-Holm, the Flying Luttenbachers, Ernst Karel/ Brent Gutzeit/ Jason Soliday, Lozenge, Metallux, TV Pow, and others... available on-line <http://www.deadceo.com/>. Listen to the High Zero 2000 Documentation Site http://www.highzero.org/highzero2000documentation/index.htm More info on the web: <http://pages.ripco.net/~eleon>