[hat and beard]

Since there seems to be quite a few Texas boardies I thought I would post this information for anyone who may be interested. If you're not familiar with the artists these should by all means be incredible concerts. I'm definitely going to the one in San Antonio and probably the one in Houston too.


Nameless Sound
presents ...

legendary Dutch percussionist
and Houston Favorite
Han Bennink

performing a special solo concert in a raw loft space


Han Bennink (Holland) – drums, percussion
Wednesday, January 24 2007
8pm
at The Audley Society
3231 Audley (at the corner of Audley and W Main)
$10 general admission
$8 students
everyone under 18 gets in for free

For information and directions
call 713-928-5653
or go to www.namelesssound.org

High resolution photos available by request.


Han Bennink will be in Houston on a residency that will bring him to work with children in two different homeless shelters. This residency is a collaboration bewteen Nameless Sound and ArtBridge Houston.

One of the hard swinging drummers in jazz and improvised music, Han Bennink has a reputation as an unpredictable, anarchic, and electrifying performer. Well known for his physicality and his strange sense of humor, Bennink's solo concerts lie somewhere in the realm of virtuosic percussion performance, vaudeville theater, and dadaist performance. He is famous for coaxing the most unusual sounds from his drums, for augmenting his kit with found debris, and for drumming on any surface available (walls, floors, chairs, his own body).

In Holland in the 1960s, Bennink was quickly recognized as an uncommonly versatile drummer. He accompanied touring American jazz stars, including Sonny Rollins, Ben Webster, Wes Montgomery, Johnny Griffin, Eric Dolphy and Dexter Gordon. At the same time, Bennink participated in the creation of a European improvised music that began to evolve a new identity, apart from its jazz roots.

His collaborators in worlds of free jazz and free improvisation include most of the important artists in the music: Don Cherry, Eric Dolphy, Misha Mengelberg, Willem Breuker, John Tchicai, Peter Brötzmann, Evan Parker, Derek Bailey, Steve Lacy, Roswell Rudd, George Lewis, Eugene Chadbourne, Dave Douglas, and many others. Han has also performed with the punk rock band the Ex, with whom he has done two tours of Ethiopia.

For more information on Han Bennink, go to:
http://www.hanbennink.com
http://www.shef.ac.uk/misc/rec/ps/efi/
http://www.allaboutjazz.com/php/article.php?id=208

.:. san antonio .:.
On Thursday, January 25th, KRTU 91.7 FM and heavy Denim are proud to present a performance by legendary jazz musicians Han Bennink and Arthur Doyle at the Ruth Taylor Recital Hall at Trinity University in San Antonio, Texas. Admission price is $10 at the door. Doors open at 7:00 pm.

Bios below, more press materials available at http://heavydenim.org/press/

Han Bennink became known as a drummer in the 1960s accompanying such American jazz luminaries as Sonny Rollins, Eric Dolphy, Dexter Gordon, and others during their tours of the Netherlands. In 1964 he appeared on Eric Dolphy's classic Last Date album along with his longtime collaborator, Misha Mengelberg. Over the next few years, he was featured on albums with Wes Montgomery, Marion Brown, and Peter Brotzmann. Bennink's contribution to Brotzmann's Machine Gun yielded an album which the All Music Guide describes as "a high-water mark for free jazz... the years have not managed to temper this fiery furnace blast from hell." However much Bennink contributed to and reveled in the emergence of European free jazz, he never lost his taste for the more traditional styles of music he learned to play while accompanying his father, a classical percussionist, to studio sessions. At the same time, he has collaborated extensively with musicians outside the milieu of jazz per se, most notably Eugene Chadbourne, Fred Frith, and The Ex. The range of styles that he seamlessly incorporates into his playing has led Chris Kelsey of the All Music Guide to declare that "Bennink plays the continuum of jazz as an instrument unto itself."


Despite the fact that his "stick work is so precise that it defies examination" (Lyn Horton, Jazz Review), Bennink's credentials as a serious musician are tempered somewhat by his legendary spontaneity, which lends an unpredictable theatricality to his performances. Lee Prosser of Jazz Review described him as "a brilliant madman, full of zany, unpredictable antics." He is well known for leaving the drum-set altogether during performances to play on the floor, objects that happen to be on the stage, or even his own body. Taken together, his remarkable virtuosity, boundless freedom, and unconventional performance style make Bennink's playing "truly inspirational and emotionally fulfilling" (Scott Verrastro, Jazz Times).


--


Arthur Doyle has worked on the edges of jazz since he moved to New York and began playing with Pharoah Sanders and Sun Ra in the late sixties. The earliest recording of his music comes from this period, when he joined Noah Howard on The Black Ark, an important free jazz document. It was not until the late seventies that another recording of his music was made, this time on the Milford Graves album Babi Music. Soon thereafter, he released Alabama Feeling as a band leader, which is now a highly sought-after release among record collectors. In the early eighties he was a member of The Blue Humans, along with Rudolph Grey and Beaver Harris. This group bridged jazz with the then-burgeoning No Wave movement, which spawned a wave of post-punk bands such as Sonic Youth. More recently, his European tour with Sunny Murray produced the duo album Dawn of a New Vibration, and several of his solo albums have been released on Thurston Moore's Ecstatic Peace label.


Doyle's playing is both free and expressive, raw and tender. He is often compared to Joe McPhee and Albert Ayler for both his energetic power and his expressive range. As Leonard Feather, author of the Encyclopedia of Jazz wrote, "Arthur Doyle has the roughest, bawlin'est sound of any artist currently working in the milieu of so-called 'jazz.' His work has all the air-rendering/leather-lunged urgency of Albert Ayler's albums for ESP or Joe McPhee's CJR recordings. His horn forces his way into your head with an evasive power that's both beautiful and brutal. And his time is NOW."


Apart from his reputation as a hard-driving free jazz saxophonist, Doyle is known for evoking the "the gritty, gut-wrenching emotion of gospel and R&B" (Nathan Bush, All Music Guide). He is unique in his ability to bring these two worlds together in a way that is both musically challenging and emotionally rewarding.