Today Lampo announces its WS20 season, which begins in late February with new work from Chicago artist Whitney Johnson (aka Matchess) and concludes in June with a special performance by the Jessica Pavone String Ensemble, as we also celebrate 10 years of Lampo at the Graham Foundation. In between, we bring you new projects from … Continued
Lampo director Andrew Fenchel and musician Steve Hauschildt will talk about experimental music and conduct a hands-on workshop at Apple Michigan Avenue on Saturday, January 25 at 2:00 p.m. Steve also will perform a short set. Music Lab: Sonic Landscapes with Lampo and Steve Hauschildt. Details here.
Lampo is very pleased to announce its FW19 season of programs—with special new projects from artists Sarah Davachi, Laura Steenberge, Roc Jiménez de Cisneros, Caterina Barbieri, Catherine Lamb and Rebecca Lane. On October 5, Sarah Davachi premieres a new long-form composition for pipe organ and two French horns, in the soaring interior of Rockefeller Chapel. … Continued
Lampo director Andrew Fenchel looks back at Resonance: A Sound Art Marathon at the Walker Art Center, in this review for the Walker Reader. The May 2019 festival, organized by Pavel Pyś and Doug Benidt, included artists Philip Blackburn, Christine Sun Kim, Walter Kitundu, … Continued
Today Lampo announces its WS19 season, featuring projects by artists Florian Hecker, Peter Rehberg, James Hoff, Jon Davies and DeForrest Brown Jr., and Anthony Pateras—with five special performances across Chicago, at the Poetry Foundation, the Graham Foundation, and the new Green Line Performing Arts Center in the city’s Washington Park neighborhood. Lampo WS19 begins in … Continued
In his Chicago debut, Milford Graves uses his own, hand-painted, hand-carved instruments, brought here by Lampo especially for this concert.
From John Corbett:
It’s not too often that you say someone single-handedly changed music. Of course, with Milford Graves that would be a lie—he used both hands both feet to do it!
In the mid-60s, Graves sprung on the scene, replete with a background in various Latin and jazz contexts (he’s on some killing Mongo Santamaria records), having played on Hugh Masekela and Miriam Mekeba sessions. What he introduced was not only the concept of non-metrical drumming, which Rashied Ali and Sunny Murray were also working on, but a whole range of startling new techniques and a basic sensibility toward sound and energy that catalyzed a generation of percussionists, particularly European ones. Working with the New York Art Quartet, in duets with Don Pullen, and in contexts with Albert Ayler, Graves helped transform the role of the drummer in jazz, and in the process he created a vivid, absolutely unique musical persona that touched anyone who let it get near them.
His solo performances have been the stuff of legend for decades, and it’s a great testament to John Zorn that he issued Graves’ first ever solo recording on Tzadik last year; that disc, Grand Unification, shows that far from being a historical figure, Graves is continuing to push the envelope.
We are beside ourselves that Milford Graves will be playing for us. He’s never been in Chicago before. He’s one of the all-time greats. Anyone with an ounce of sense will be there.
Presented in conjunction with the Empty Bottle Jazz Series