About This Event
Doors Open:6:30 PM
Show Time:7:30 PM
NYU Faculty Against the Sexton Plan is a group of over 400 of NYU’s own faculty members who are working together to fight NYU’s outrageous multi-billion-dollar expansion in Greenwich Village. The Sexton Plan, we believe, is financially reckless (and will certainly result in rising tuition at a school where the students are the most heavily indebted in nation), disregards faculty input and governance, will further erode the rich cultural history of the Village, and will bring more than 10,000 more people in foot traffic per day to an already over-developed area with little green space, amongst other harmful effects. We urge NYU’s administration to focus on education, not real estate.
All donations go to pay the law firm that is working with the community against the Plan; our small group of staff and consultants; and to create materials to spread information about our struggle.
This is a general admission, standing event.
John Zorn (born September 2, 1953 in New York City) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn’s recorded output is prolific with hundreds of album credits as a performer, composer, or producer. His work has touched on a wide range of musical genres, often within a single composition, but he is best-known for his avant-garde, jazz, improvised and contemporary classical music. Zorn has led the punk jazz band Naked City, the klezmer-influenced quartet Masada and composed the associated ‘Masada Songbooks’, written concert music for classical ensembles, and produced music for film and documentary. Zorn has stated that “I’ve got an incredibly short attention span. My music is jam-packed with information that is changing very fast… All the various styles are organically connected to one another. I’m an additive person – the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.”
After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and attracted wide acclaim in 1985 when he released The Big Gundown with his interpretations of music composed by Ennio Morricone. This was followed by the album Spillane in 1987, and the first album by Naked City in 1989 which all attracted further worldwide attention. Zorn then recorded on the Japanese DIW label and curated the Avant subsidiary label before forming Tzadik in 1995, where he has been prolific, issuing several new recordings each year and releasing works by many other musicians.
Zorn established himself within the New York City downtown music movement in the early 1980s but has since composed and performed with a wide range of musicians working in diverse musical areas. By the early 1990s Zorn was working extensively in Japan, attracted by that culture’s openness about borrowing and remixing ingredients from elsewhere, where he performed and recorded under the name Dekoboko Hajime, before returning to New York as a permanent base in the mid 1990′s. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with varying ensembles to display his diverse output.
Originally from New York City, Jesse Harris is a singer, songwriter, guitarist and producer of artists from all over the world. He has been making records since the mid 90s, when he started in the group Once Blue on EMI Records. As a solo artist since then he has released 12 albums, including the forthcoming Borne Away. In 2003 he received the Grammy Award for Song Of The Year for Norah Jones’ breakout hit “Don’t Know Why” (on which he also appeared as guitarist). His songs have been recorded by Smokey Robinson, Willie Nelson, Cat Power, Solomon Burke, The Black Keys, and many others. Collaborations have included Melody Gardot, Madeleine Peyroux, Lizz Wright, and Maria Gadu. Recently he joined John Zorn’s The Song Project, along with Mike Patton, Sofia Rei, and Sean Lennon, writing lyrics for various Zorn compositions and performing them at festivals worldwide.
A few years ago two American nomads began exploring a music without rules or regard to borders. The glue was simply their mutual enthusiasm for uncharted sounds, unusual instruments, and the diverse musicians that inspired them. Now, with the release of their third album, New Deli, TriBeCaStan has matured into a large tight-knit ensemble, complete with power horns, rocking bass lines, catchy vocal riffs, and wickedly ingenious solos. With cover art by Zappa’s favorite artist Cal Schenkel, the group—led by co-founders John Kruth and Jeff Greene—has concocted their most dance-friendly record to date, a heady brew of gritty, funky new grooves from the world’s deepest musical roots, thanks to an all-star “FolkLorkeStra” of globally-inspired jazz and rock music veterans.
Photo credit: Doran Gild, 2010
A world class guitar hero, a Grammy-nominated songwriter and composer, an international recording artist with over 20 acclaimed solo albums to date, and a soundtrack composer for film and television, GARY LUCAS is on the move in 2012.
Photo by Bram Belloni
Photo credit: Scott Friedlander
It’s a sound so powerful it has left the band in its own utterly unique and enviable class. These days you are as likely to ﬁnd Red Baraat throwing down at an overheated and unannounced warehouse party in their Brooklyn neighborhood as you are at the Barbican or the Montreal Jazz Festival, or Lincoln Center. It’s a band unquestionably on the ascent playing some of the most prestigious festivals and theatres worldwide, and keeping their chops razor sharp in basements and sweaty sold out clubs across New York City. Leading an audience as diverse and joyful as the band itself, Red Baraat has subsumed a plateful of global inﬂuence, fused it, and is now exporting it Brooklyn-style to the world.
In just three short years, the pioneering Brooklyn dhol ‘n’ brass party juggernaut Red Baraat have made a name for themselves as one of the best live bands playing anywhere in the world. Led by dhol player Sunny Jain, the nine piece comprised of dhol (double-sided barrel shaped North Indian drum slung over one shoulder) drumset, percussion, sousaphone and five horns, melds the infectious North Indian rhythm Bhangra with a host of sounds, namely funk, go-go, latin, and jazz. Simply put, Sunny Jain and Red Baraat have created and deﬁned a sound entirely their own.
The group’s most recent release, Bootleg Bhangra, is the band’s incredibly powerful live show captured at Brooklyn’s Southpaw on the band’s second anniversary. With songs pulled primarily from their debut album, Chaal Baby the group was mindful of the challenge to capture a rapturous live sound on record. Well, it happened on this night, and the resulting document places you squarely in that small Brooklyn club jammed from front to back with hip shaking beauties – hands raised to a ceiling dripping with condensation. The band is currently at work on their 2nd studio date, Shruggy Ji, which should see release in early 2012.
Most recently, the title track, Chaal Baby, is being used as the background music for the promo ads for the hit FX TV show, It’s Always Sunny In Philadelphia. After the group’s performance at the 2011 globalFEST, Red Baraat was a top pick favorite and featured on PRI’s The World, NPR’s All Songs Considered, New York Times, The Village Voice and Mother Jones magazine. The group’s debut CD, Chaal Baby (Sinj Records) was voted by several music critics as a top world and jazz release of 2010.
Since their inception in October 2008, Red Baraat has delivered blistering performances at globalFEST, Montreal Jazz Festival, Sunfest, Festival De Louisiane, Quebec City Summer Festival, Chicago World Music Festival, Lincoln Center, The Kennedy Center, Madison World Music Festival, New Orleans Jazz Festival, Pori Jazz Festival (Finland), Molde Jazz Festival (Norway) and Chicago Folks & Roots Festival, among many others.
Red Baraat appeared on John Schaefer’s Soundcheck WNYC-FM 93.9, an NPR affiliate, in which they were picked as a top live radio performance of 2009. They also recorded the credit roll theme song for the movie, The Yes Men Fix the World and performed for the 2009 Mercedes-Benz Fashion Week (NYC) for Ports 1961 runway models. Red Baraat has been featured in National Geographic, Wall Street Journal, The New Yorker, Relix and Songlines, among many others.
Photo Credit (live photo): James Bartolozzi
David Amram has composed more than 100 orchestral and chamber music works, written many scores for Broadway theater and film, including the classic scores for the films Splendor in The Grass and The Manchurian Candidate; two operas, including the groundbreaking Holocaust opera The Final Ingredient, a comic opera Twelfth Night with a libretto by Joseph Papp; and the score for the landmark 1959 cult
classic Pull My Daisy, narrated by novelist Jack Kerouac. He is also the author of three books, Vibrations, an autobiography, Offbeat: Collaborating With Kerouac, a memoir, and Upbeat: Nine Lives of a Musical Cat, all published by Paradigm Publishers.
Ayelet Rose Gottlieb: Voice
Sofia Rei Koutsovitis: Voice
Basya Schecter: Voice
Malika Zarra: Voice
“Mycale utterly dazzled with their precision harmonies and flute-like intonations” said Downbeat Magazine about Mycale’s performance at the Montreal Jazz Festival. Commissioned by composer John Zorn to arrange, perform and record selections from his “Book of Angels: Masada Book II”, vocalists Basya Schechter (Brooklyn), Ayelet Rose Gottlieb (Israel), Sofia Rei (Argentina) and Malika Zarra (Morocco) use words, sounds and vocal beats to bring a unique interpretation to Zorn’s compositions. They sing in Hebrew, Spanish, Yiddish, Arabic, Ladino and French, presenting their diverse cultural backgrounds and passionate vocals.
Since the release of their first album, “Mycale: Book of Angels, Vol 13″, Mycale have been touring internationally including performances at Teatro Manzoni (Milano), The Jewish Museum (Berlin), Middleheim Jazz Festival (Antwerp), Ashkenaz Festival (Toronto), Beit Avi-Chai (Jerusalem) and Le Poisson Rouge (New York). Their performances have been hailed by the press as “Transcendent” and “astonishing”. As The Examiner put it after recently hearing them in the John Zorn Masada Marathon at the New York City Opera: “for a moment, people may have been able to imagine the magical lure of the sirens”