June 6: Third Eye Orchestra at Roulette
“…a thrilling 75-minute display that combined individual virtuosity in a cohesive and fun-filled framework.”
– Irwin Block / Avant Music News
Tuesday, June 6th, 7pm, at Roulette Intermedium
509 Atlantic Ave, Brooklyn, NY 11217
With Shelley Hirsch (voice), Dafna Naphtali (live sound processing, voice), Sarah Bernstein (vio), Jason Hwang (vio), Stephanie Griffin (vla), Tomas Ullrich (cello), Ned Rothenberg (cl, bcl), Michael Lytle (cl, bcl, contra bass clarinet), Briggan Krauss (as, baritone sax), Josh Sinton (contra bass clarinet, baritone sax), Ursel Schlicht (p/kb), Shoko Nagai (kb/moog), Nick Didkovsky (g), Satoshi Takeishi (perc), Hans Tammen (composition, binary conducting).
The orchestra will perform Clepsydra, which is supported by New Music USA, made possible by annual program support and/or endowment gifts from New York City Department of Cultural Affairs, Mary Flagler Cary Charitable Trust, Helen F. Whitaker Fund, Aaron Copland Fund for Music, Carl Jacobs Foundation, and New York State Council on the Arts.
“Everything about Third Eye Orchestra… indicates mastery and control”
Howard Mandel / CD Liner Notes
Hans Tammen likes to set sounds in motion, and then sitting back to watch the movements unfold. Borrowing from Charles Ives’ polytonality, Steve Coleman’s rhythmic complexity, Karlheinz Stockhausen’s organization of sounds and Earle Brown’s approach to form, the music of the Third Eye Orchestra is continuously shifting, with different layers floating into the foreground while others disappear.
He received composer commissions for the Third Eye Orchestra from New Music USA, the American Composers Forum, underwritten by the Jerome Fondation, and the New York State Council On The Arts (NYSCA). The CD was produced with funds from the New York State Music Funds, travel support for the orchestra’s performance at 2015’s FIMAV/Victoriaville Festival provided by Foundation for Contemporary Arts Emergency Grant.
The core ensemble in New York City consists of live sound processing of string quartet, wind/brass quartet, two pianos/keyboards, guitar, bass, percussion, voice, and the occasional guest. The ensemble released a CD of a 2006 Roulette performance as “Antecedent / Consequent” on the Innova label. All About Jazz called the music “nothing short of breathtaking”, and “a masterpiece of musical evocation”.
Innova 225, recorded 2006 at Roulette, New York, released 2008 on Innova, the label of the American Composers Forum. Total Time: 79:34 Minutes. With Mari Kimura (vio), Mark Feldman (vio), Stephanie Griffin (vla), Tomas Ulrich (cel), Briggan Kraus (as, bari), Marty Ehrlich (bcl, fl), Robert Dick (fl, cbfl), Detlef Landeck (tb), Dafna Naphtali (voice, live sound processing), Ursel Schlicht (p/kb), Deman Maroney (p/kb), Stomu Takeishi (b), Satoshi Takeishi (perc), Hans Tammen – concept, realtime arrangement.
Open form compositions have also been written for and performed with minimal music or jazz ensembles. I currently try to combine the numerous smaller versions (some from different countries) under the umbrella “Third Eye Electric Band”. The all-electronic version is now called the “Dark Circuits Orchestra. More information below.
Live at the SugarCube 2014
Live at the SUGARCUBE, South Street Seaport District, curated by 100mRecords. With Shelley Hirsch (voice), Matthew Ostrowski (electronics), Mari Kimura (vio), Sarah Bernstein (vio), Jason Hwang (vla), Tomas Ullrich (cello), Ned Rothenberg (cl, bcl), Michael Lytle (cl, bcl, contra bass clarinet), Briggan Krauss (as, baritone sax), Chris McIntyre (trombone), Shoko Nagai (kb/moog), Josh Sinton (baritone sax, bassclarinet, contrabassclarinet), Satoshi Takeishi (perc), Hans Tammen (composition, conducting, concept). Special thanks to Django Voris and PJ Norman / 100mRecords!
“...wonderful performance in its exploitation of the wide sound pallet available and in its attention to detail.”
Mike Chamberlain, AllAboutJazz
Irwin Block / Avant Music News
VICTORIAVILLE, Que. – With its first gig outside of New York City, Hans Tammen’s Third Eye Orchestra on Saturday took this town’s annual Festival de Musique Actuelle to that higher creative level. After an evening that featured three rock-oriented shows – from surf, to quasi subversive to mini metal – the cream of New York avant scene delivered the musical goods in a thrilling 75-minute display that combined individual virtuosity in a cohesive and fun-filled framework.
Celebrating his 10th year as the group’s conceptual father, composer, and director, Tammen flashed lettered cue cards, leaping, Zorn-style, into sections of the 15-member band and gesticulating enthusiastically to charge up his crew. From sections that resembled classical contemporary, to avant jazz, blues, rock and electronica, this ensemble swung with life-affirming collective energy and solo contributions that served the director’s overall objective – creating a unique, immediate, visceral and engaging musical experience. Most impressive were Shelley Hirsch, injecting an operatic element with avant vocalizing, a mesmerizing string section, Denman Maroney with his Cecil-Tayloresque pianism, Robert Dick’s brilliant flute microtones, and the powerful rhythm team of drummer Satoshi Takeishi and electric bassist Stomu Takeishi, central to driving the ensemble forward.
Original review here.
NYC Third Eye Orchestra Performers since 2006:
Live Sound Processing & Voice: Dafna Naphtali
Voice: Shelley Hirsch
Violins: Mari Kimura, Jason Hwang, David Soldier, Sarah Bernstein, Mark Feldman, Rebecca Cherry
Viola: Stephanie Griffin, Jason Hwang
Cello: Tomas Ullrich, Ha-Yang Kim, Alex Waterman
Reeds: Briggan Kraus, Ned Rothenberg, Michael Lytle, Josh Sinton, Marty Ehrlich, Ferdinand Rexforth, Eddy Rollin
Flutes: Robert Dick, Marty Ehrlich
Trombone: Detlef Landeck, Chris McIntyre
Trumpet: Herb Robertson
Piano/Keyboard: Ursel Schlicht, Denman Maroney, Shoko Nagai
Guitar: Nick Didkovsky
Accordion: Andrea Parkins
Electronics: Matthew Ostrowski
Theremin/Gongs: David Simons
Bass: Stomu Takeishi, Jonas Tauber
Percussion: Satoshi Takeishi, Andrew Drury
Third Eye Orchestra Offshoots
Third Eye Electric Band
Dark, sometimes brooding ensemble passages mix and mingle with tightly woven drum-loops, and extended solo cadenzas build up to a mighty hymn to machine work, music of a metallic nightmare. We sometimes revisit Miles Davis’ Bitches Brew period, because that’s where we’re coming from.
Dark Circuits Orchestra
Large multi-movement pieces performed by an ensemble of contemporary electronic instrument practices such as circuit bending, no-input mixers, laptops, turntablism, analogue circuitry, network sniffers, live coding and soldering, and more.
Third Eye Workshops
Festival performances with professional musicians or workshops with students. Participants explore phase techniques and open form approaches. Depending on the occasion the workshop leans either towards contemporary classical or jazz forms. Or both.