News

33rd Seattle Improvised Music Festival, Feb. 10-17, 2018

Nonsequitur has long been a sponsor of what is believed to be the longest running festival of freely improvised music in North America. This year, we take on more of an organizational role. We have been awarded a generous grant from 4Culture to help fund an expanded version of the festival, which will take place over eight days in seven different venues: Gallery 1412, Hollow Earth Radio, the Royal Room, Spite House, Vermillion, Cornish, and the Good Shepherd Center Chapel.

Likewise, we’ve grown our organizing team this year from three to five people, representing multiple generations and segments of the improvised music community: along with myself (Steve Peters), the team includes Amy Denio (long-time Seattle multi-instrumentalist, veteran of many past SIMFs), James Falzone (clarinetist, recent Chicago transplant, and head of Cornish Music Dept.), Haley Freedlund (trombonist and Racer Sessions curator), and Chris Icasiano (drummer in Bad Luck and Table & Chairs co-founder).

This year’s visiting guest artists include saxophonist Logan Hone (LA), bassist Evan Lipson (Philadelphia), cellist Tomeka Reid (Chicago/NYC), flutist Jane Rigler (LA/Colorado Springs), bassist Carmen Rothwell (Seattle/NYC), and two icons of American free improvisation – guitarist Davey Williams (Birmingham, AL) and saxophonist Jack Wright (Philadelphia). They will be joined by a stellar line-up of local musicians and dancers, most of whom have never performed at SIMF before.

Please check the full festival schedule for details and updates, and follow us on Facebook, Tumblr, and Instagram.

10 Years of Wayward Music!

It hardly seems possible, but January 2017 marks ten years since our first show here at the Good Shepherd Center Chapel, thus initiating the Wayward Music Series. Since then there have been roughly 1200 concerts here, presented by local producers and independent artists specializing in an astonishing range of adventurous music and sound art.

Our goals remain primarily artist-driven: to provide a hospitable well-equipped home for musics that are outside of the mainstream and lacking other venues. As Seattle becomes less and less affordable and increasingly hostile to non-commercial artists, alternative venues that aren’t about making money are endangered. The current real estate crisis only makes our mission more vital. Every time an artist moves away or can’t find a place to present their work because of prohibitively high rents, the cultural life of our city suffers.

These artists, who take risks making creative, challenging music, who typically play for small audiences and are rarely covered in the local press or heard on local radio, are who we strive to support and serve. They literally make the Wayward Series happen; without this creative community, Wayward would have no reason to exist. So if you appreciate that this project continues, thank the artists and continue to support them by coming to shows.

We are always open to new artists who have never played a Wayward show, so if you think what you do fits with what we do – contemporary classical, free improvisation, out jazz, abstract electronic and electro-acoustic music, sound art, invented instruments, etc. – please read this and drop us a note. Onward into the future!

Pauline Oliveros (5/30/32 – 11/24/16)

pauline1Pauline Oliveros – composer, improviser, electronic music pioneer, accordionist, Deep Listener, teacher, mentor, friend – passed away peacefully in her sleep on the morning of Nov. 24, 2016 at the age of 84. On Tuesday Nov. 29 from 7-9 PM at the Chapel, we honor and remember her with silence and sounding. Enter and exit as you wish, but please do so quietly. Chairs are provided, but if you prefer to sit on the floor, bring a cushion. All are welcome.

7 PM (bell): Silent meditation: “Listen in every possible way to everything possible to hear…and remind yourself when you are not listening.”

8 PM (bell): Tuning Meditation (voices only): “Begin by singing a pitch that you hear in your imagination. After contributing your pitch, listen for another player’s pitch and tune in unison to the pitch as exactly as possible. Listen again and sing a pitch that no one else is singing. The duration of pitches is determined by the duration of a comfortable breath. The dynamic level is soft throughout the piece. Continue by alternating between the three options described above:

• singing a new pitch of your own that no one else is singing
• just listening
• tuning in unison to the pitch of another singer.

Introduce new pitches at will and tune to as many different singers as are present. Although the dynamic level is soft make your tones available to others.”

8:30 PM (bell): Silent meditation

9 PM (bell): End