Podcasts about tatsuya nakatani

Join our poetry Salon and Open Mic: https://parallax-media-network.mn.co/share/5hSLvQW7bNszFGEo?utm_source=manual About Chim Nwabueze: Chim Nwabueze is a New York poet currently living in France. He is the author of Experiments and Drafts (usu), Convergences (usu), Fenêtre Dissimulée (L'Harmattan), and Fanfares à couteaux tirées (L'Harmattan) as well as recordings of experimental music around the saw and guitar: Improvisations for saw and piano harp (with Sylvie Menta), Green Report 6 (with Tatsuya Nakatani), Near and Far: live at 7 lézards (with Joëlle Léandre), Duets to Rahsaan Roland Kirk (with Ramon Lopez, Leo Records) and Axis Drift: White Spider Silence.

Plastic Ono Band by Yoko Ono Click here to join our Discord! (https://discord.gg/5vpqXaS) We typically livestream the recordings around 8:30pm Pacific Time on Wednesdays. Learnin' Links: You're Wrong About podcast on Yoko Ono and the Beatles (https://podcasts.apple.com/us/podcast/yoko-ono-broke-up-the-beatles/id1380008439?i=1000465289885) Tatsuya Nakatani (https://www.tatsuyanakatani.com/) Listen along to Plastic Ono Band here! (https://open.spotify.com/album/3zjgk5rbgVWwWkrvWfEoE6?si=xjZyFXSRTIOqPA6qP4MtEw) You can support us in several ways: Kick us a few bux on Patreon! (https://www.patreon.com/boxset) By becoming a supporting member, you'll gain access to special bonus episodes, including a weekly mini-show, What's in the Box Weekly! Buy T-shirts, sweatshirts, and more at our merch page! (https://boxset.threadless.com/)

Sound Ecology is a continuation of our Season 2 theme, Art Meets Science. In this episode we experience the work of sound artists and musicians. We're moving at a meditative pace and providing listeners with a contemplative, relaxing experience. First up will be a six minute sound experience entitled "Shivering Sands," the contemplative ambient music project of singer-songwriter Angela James and multi-instrumentalist Jordan Martins. After "Shivering Sands" is an interview with sound artist, Norman W. Long, followed by his sound piece entitled "Expanded Field." Norman's practice involves walking, listening, improvising, performing, recording and composing to create environments and situations in which he and the audience are engaged in dialogues about memory, place, ecology, culture, race, value, silence and the invisible. Norman Long has performed and exhibited at Experimental Sound Studio, Kavi Gupta Gallery, Links Hall, Elastic Arts,Green Line Performing Arts Center, Chicago Humanities Festival, Chicago Cultural Center and 2021 Chicago Architecture Biennial. Norman has performed with Damon Locks, Tatsuya Nakatani, Cher Jey, Sara Zalek, Cristal Sabbagh, Xris Espinoza, Adam Zanolini, Dan Bitney and Todd Carter and performed and toured with Angel Bat Dawid and the Brothahood. He has released his compositions on Hausu Mountain, Reserve Matinee and Room40 labels. His latest release, BLACK BROWN GRAY GREEN, was released in September 2021 on Hausu Mountain.The Pivot Arts Podcast is created and produced by Julieanne Ehre with sound engineering by Hannah Foerschler and original music composed by Andrew Hansen. Generous support for the podcast is provided by FLATS, a Chicago-based apartment community. For more information on Pivot Arts visit pivotarts.org.

Tatsuya Nakatani is a composer, percussionist and innovator. He returns to northwest Arkansas Friday night for the latest concert in the Trillium Salon Series.

estacamos “Interactivity”, el disco 2020 que unió al percusionista japonés Tatsuya Nakatani con el guitarrista estadounidense Shane Parish (Ahleuchatistas). Editado el 24 de abril por el sello Cuneiform Records, el álbum presenta a Nakatani en su extenso set de percusión compuesto por un gong arqueado adaptado, un Kobo Bow y numerosos tambores, platillos y cuencos; y a Parish en guitarra acústica, muy en la línea de los maestros estadounidenses de la “American Primitive Guitar” John Fahey y Robbie Basho y su famoso finger-style. “Interactivity” es el segundo trabajo del dúo, que ya viene colaborando por cerca de una década, haciendo performances improvisatorias en distintas partes de Estados Unidos. De acuerdo a Cuneiform, el álbum “exhibe a ambos intérpretes en el peak de sus capacidades estéticas, en una telepática comunicación de escucha recíproca profunda, texturas y explosiva energía”. En la segunda parte del programa, viajamos al pasado en la historia de ambos músicos, primero con material de Ahleuchatistas, la banda principal de Parish, que combina de manera única math rock, jazz, progresivo, avant-garde, minimalismo, rock de garaje, etc. Escucharemos material del disco debut del grupo “On the Culture Industry” de 2004 y del último lanzado hasta la fecha, “Arrebato” de 2015. Finalmente, destacamos el trabajo de Nakatani, específicamente en el disco de 2018 que lo unió con el fundamental saxofonista del jazz David Liebman y al multi-instrumentista Adam Rudolph, titulado “The Unknowable”.

estacamos “Interactivity”, el disco 2020 que unió al percusionista japonés Tatsuya Nakatani con el guitarrista estadounidense Shane Parish (Ahleuchatistas). Editado el 24 de abril por el sello Cuneiform Records, el álbum presenta a Nakatani en su extenso set de percusión compuesto por un gong arqueado adaptado, un Kobo Bow y numerosos tambores, platillos y cuencos; y a Parish en guitarra acústica, muy en la línea de los maestros estadounidenses de la “American Primitive Guitar” John Fahey y Robbie Basho y su famoso finger-style. “Interactivity” es el segundo trabajo del dúo, que ya viene colaborando por cerca de una década, haciendo performances improvisatorias en distintas partes de Estados Unidos. De acuerdo a Cuneiform, el álbum “exhibe a ambos intérpretes en el peak de sus capacidades estéticas, en una telepática comunicación de escucha recíproca profunda, texturas y explosiva energía”. En la segunda parte del programa, viajamos al pasado en la historia de ambos músicos, primero con material de Ahleuchatistas, la banda principal de Parish, que combina de manera única math rock, jazz, progresivo, avant-garde, minimalismo, rock de garaje, etc. Escucharemos material del disco debut del grupo “On the Culture Industry” de 2004 y del último lanzado hasta la fecha, “Arrebato” de 2015. Finalmente, destacamos el trabajo de Nakatani, específicamente en el disco de 2018 que lo unió con el fundamental saxofonista del jazz David Liebman y al multi-instrumentista Adam Rudolph, titulado “The Unknowable”.

Reminiscing on an evening watching Tatsuya Nakatani perform paired with a grant proposal for the city of LA, a plan to instill a sense of pronoia in the multi-million person populace. Originally broadcast and recorded 9/28/2016 

For the second portion (and main event) of the evening, Darin & Tatsuya were joined by butoh dancer Vanessa Skantze, who gave a truly beautiful, haunting, and mesmerizing performance (other adjectives used that evening also included "gut-wrenching," "grotesque," and "horrifying").  Butoh, if you didn't know, is a subversive, confrontational, and often painfully awkward style of dance that emerged in post-WWII Japan after a series of student riots.  Tom Hill's video of the performance is well worth watching: http://www.youtube.com/watch?v=M1rolN6ZnsMAs before, this recording was made at Lemp Neighborhood Arts center on 10/4/2012 by Dingus with his Zoom recording thingus, and lovingly presented in 320 kbps.  See you kids at the gong show.

It physically pained Dingus to sit on this snacktime so long, but we were saving it for a special occasion.  Legendary St. Louis bassist Darin Gray (Dazzling Killmen, Grand Ulena, On Fillmore, etc) and NYC-based percussionist Tatsuya Nakatani (as shining an example of a man living his dream as you are likely to ever meet) unleashed this rumbling, shuddering, improvisational maelstrom a little over a year ago (10/4/2012) at Lemp Neighborhood Arts Center.  Darin is currently on tour with the live production of the acclaimed public radio show Radiolab, and Tatsuya has a new record out and will be back at LNAC on 12/20 with his gong orchestra in tow.  Yes, GONG ORCHESTRA.  Put that shit on your calendar.Recorded by Dingus, with his Zoom recording thingus.  Someone (Tom Hill, I think?) also posted video of this performance at: http://www.youtube.com/watch?v=LfNa3FR_sBI

Peter Evans (el trompetista extraterrestre) regresa en su sello discográfico con su Zebulon Trio junto a John Hébert (contrabajo) y Kassa Overall (batería). En esta edición de "Club de Jazz" del 28 de marzo de 2013 escuchamos también "The Noguchi Sessions", el debut en piano solo de Arturo O´Farrill. Después de su disco sobre música de (y con) Lee Konitz, el saxofonista Marcel·lí Bayer regresa con "Les narrations" en cuarteto junto a Marco Mezquida (piano), Martín Leiton (contrabajo) y Ramón Prats (batería). Al maestro Lee Konitz lo escuchamos "Live at the Village Vanguard" con el trío Minsarah (Florian Weber, piano; Jeff Denson, contrabajo; Ziv Ravitz, batería). Y además, el dúo entre el saxofonista Assif Tsahar y el percusionista Tatsuya Nakatani en "I got it bad". Toda la información y derechos: http://www.elclubdejazz.com

Peter Evans (el trompetista extraterrestre) regresa en su sello discográfico con su Zebulon Trio junto a John Hébert (contrabajo) y Kassa Overall (batería). En esta edición de "Club de Jazz" del 28 de marzo de 2013 escuchamos también "The Noguchi Sessions", el debut en piano solo de Arturo O´Farrill. Después de su disco sobre música de (y con) Lee Konitz, el saxofonista Marcel·lí Bayer regresa con "Les narrations" en cuarteto junto a Marco Mezquida (piano), Martín Leiton (contrabajo) y Ramón Prats (batería). Al maestro Lee Konitz lo escuchamos "Live at the Village Vanguard" con el trío Minsarah (Florian Weber, piano; Jeff Denson, contrabajo; Ziv Ravitz, batería). Y además, el dúo entre el saxofonista Assif Tsahar y el percusionista Tatsuya Nakatani en "I got it bad". Toda la información y derechos: http://www.elclubdejazz.com

Tatsuya Nakatani mesmerized the audience at Zeitgeist Gallery with his visceral experimental percussion. Following this is Pulse: the improv he did with Bluff Duo, Lylas, and Forrest Bride.

Calligraphy artist Koji Kakinuma began studying traditional Japanese monochrome brushwork at the age of five. In 1989, Kakinuma arrived on the national stage when he became the youngest person to win the coveted Dokuritsu Shojindan Foundation prize. His rise through the Japanese art world has since been meteoric. For the festival, Kakinuma presented one of his trademark innovations, Trancework, in which he paints countless repetitions of a simple, powerful phrase, producing a giant calligraphic work. Japanese fue player Kaoru Watanabe and contemporary percussionist Tatsuya Nakatani accompanied the performance. ARTSEDGE, the Kennedy Center's arts education network, supports the creative use of technology to enhance teaching and learning in, through, and about the arts, offering free, standards-based teaching materials for use in and out of the classroom, media-rich interactive experiences, professional development resources, and guidelines for arts-based instruction and assessment. Visit ARTSEDGE at artsedge.kennedy-center.org.