THIRD EYE ORCHESTRA







“…a thrilling 75-minute display that combined individual virtuosity in a cohesive and fun-filled framework.”


– Irwin Block / Avant Music News













LIVE AT ROULETTE 2017: CLEPSYDRA



Live at Roulette 2017. With Shelley Hirsch (voice), Dafna Naphtali (live sound processing, voice), Sarah Bernstein (vio), David Soldier (vio), Jason Hwang (vla), Tomas Ullrich (cello), Ned Rothenberg (cl, bcl), Michael Lytle (cl, bcl), Briggan Krauss (as, baritone sax), Josh Sinton (contra bass clarinet, baritone sax), Ursel Schlicht (p), Gordon Beeferman (organ), Shoko Nagai (moog), Nick Didkovsky (g), Satoshi Takeishi (perc), Hans Tammen (composition, binary conducting). Video recording by Carlton Bright and Amanda Shaperson, audio recording by Brendan Reilly & Sarah Peterson at Roulette.

Clepsydra was 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.

CLEPSYDRA is a score produced from electronic sample and hold procedures. Read more about the details in “Background on Clepsydra” here.

LIVE AT THE SUGARCUBE 2014: ABIOGENESIS




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!




Photo by Kurt Ralske





On Soundcloud






“...wonderful performance in its exploitation of the wide sound pallet available and in its attention to detail.”


Mike Chamberlain, AllAboutJazz





PRESSTEXT


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, Moog bass, percussion, voice, plus the occasional guest. The ensemble released a CD of a 2006 Roulette performance as “Antecedent / Consequent” (see here) on the Innova label. All About Jazz called the music “nothing short of breathtaking”, and “a masterpiece of musical evocation”.



“Everything about Third Eye Orchestra… indicates mastery and control”

Howard Mandel / CD Liner Notes


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.
Photo Victoriaville by Martin Morrissette

Roulette 2017




All photos from video stills. Video by Carlton Bright and Amanda Shaperson


Third Eye Orchestra? Dark Circuits Orchestra?


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


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

Organ: Gordon Beeferman

Guitar: Nick Didkovsky

Accordion: Andrea Parkins

Electronics: Matthew Ostrowski

Theremin/Gongs: David Simons

Bass: Stomu Takeishi, Jonas Tauber

Moog Bass: Shoko Nagai

Percussion: Satoshi Takeishi, Andrew Drury

MORE INFORMATION