Wayward in Limbo Podcasts
In response to the COVID-19 crisis, we’ve been considering how we can most directly assist the artists who inhabit our particular niche of the Seattle music community.
With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.
These tracks are available to stream at no charge on the Wayward website and SoundCloud, and will be promoted like our concerts via our weekly e-newsletter, our Facebook group, and our Twitter feed. The artists retain all rights to their recordings. We strongly encourage you to visit their web sites and purchase their recordings or contribute to their personal crowdfunding campaigns.
This series will continue for as long as we are unable to use the Chapel for performances.
35th Seattle Improvised Music Festival CANCELLED!
We are very disappointed to report that due to concerns over the COVID-19 coronavirus, we have decided to postpone this year’s Seattle Improvised Music Festival. We hope to make it happen in September, so stay tuned for more info as things solidify. Thank you.
The 35th annual Seattle Improvised Music Festival takes place March 11 – 15, 2020. All shows are $5 – $20 suggested donation at the door (no advance tickets, cash/checks only) and are open to all ages. See the full festival schedule for show times, venues, and artist line-up for each event.
Festival organizers Haley Freedlund, Chris Icasiano, and Steve Peters have invited four esteemed visiting artists – clarinetist Ben Goldberg (Bay Area), New York saxophonists Joe McPhee and Sam Newsome, pianist Dana Reason (Corvallis, OR) – to perform featured solo sets and in curated groupings along with a healthy sampling of local artists representing several generations and a wide range of musical activity. This year’s festival is organized with the explicit intention of bridging these generations.
Other festival highlights include a panel discussion led by Dana Reason; a participatory drone session led by saxophonist Bryan Lineberry, an afternoon dance/music show curated by choreographer Lorraine Lau; and a community improvisation session open to musicians at all levels of experience at the Racer Sessions at Cafe Racer.
Presented by Nonsequitur, with generous assistance from 4Culture and the Raynier Institute & Foundation.
34th Seattle Improvised Music Festival
The 34th annual Seattle Improvised Music Festival takes place February 6 – 10, 2019 at five venues around town. All shows are $5 – $20 suggested donation at the door (no advance tickets, cash/checks only) and are open to all ages. See the full festival schedule for show times, venues, and artist line-up for each event.
Festival organizers Haley Freedlund, Chris Icasiano, and Steve Peters have invited a handful of esteemed visiting artists – clarinetist/vocalist Holland Andrews (Portland), electronic musician CK Barlow (Baltimore), vibraphonist Andria Nicodemou (Cyprus/Boston), vocalist/dancer Odeya Nini (Los Angeles), saxophonist Patrick Shiroishi (Los Angeles) – to perform featured solo sets and in curated groupings along with twelve locals representing several generations and a wide range of musical activity.
Other festival highlights include a rare appearance by Banned Rehearsal, a Seattle improvising collective that has been playing privately for 35 years; an afternoon dance/music show curated by renowned choreographer Stephanie Skura; a tribute to recently deceased SIMF founder Paul Hoskin featuring 20+ veteran Seattle improvisers; and community improvisation sessions open to musicians at all levels of experience at Couth Buzzard Books and the Racer Sessions at Cafe Racer.
Presented by Nonsequitur, with generous assistance from the Raynier Institute & Foundation.