Women in (New) Music: Q&A with Renée Baker

by Maggie Molloy

reneebakersseatedbatonChicago-based composer Renée Baker knows no creative boundaries—or rather, she just prefers to transcend them. Her music quite literally jumps off the page, often foregoing traditional Western sheet music in favor of graphic scores, improvisation, and even conduction.

As a violinist and composer, Baker has spent the past 25 years creating and conducting musical explorations into classical, jazz, and the furthest reaches of the avant-garde. Over the course of her career, she has founded nearly two dozen new music ensembles with a wide spectrum of musicians ranging from jazz cats to classically-trained orchestral players. Currently the Artistic Director of the Chicago Sinfonietta Chamber Ensemble and Mantra Blue Free Orchestra, Baker has cultivated a singularly expressive and inspiring musical voice.

And that voice is coming to Seattle this Friday, Oct. 28 for a performance with 12 of Seattle’s most outstanding improvising musicians at the Good Shepherd Center’s Chapel Performance Space.

The concert features the world premiere of Baker’s surrealist Cabinet of Wonder suite along with two other well-loved works: RAGE for Chamber Collisions and Altered Consciousness (a spatial conversation between minds).

The titles alone sparked a lot of excited curiosity for us here at Second Inversion. Lucky for us, Baker kindly obliged to answer our questions about her upcoming performance:

Second Inversion: How would you describe your compositional style? What are some of your major influences?

Renee BakerRenée Baker: I can’t ascribe a particular style but can certainly point to ideas and influences which inform my constantly evolving creative world. The process always starts with the question of intent: what do I want this work to say, explain, express, evoke? This is applicable to my composition, film work, sculpture, painting, musings for book works.

The works, whether in traditional or nontraditional notation are distillations of my view of the world. So as a method of communication I think my works transcend the old role of composer and comes closer to being a conduit and channeler of ideas and inspirations as they occur to me, I’m always thinking about what I want a work to say and what the motivation is for starting ANY work of art. So my products are remnants of all music periods, all art periods, past and current architecture, the ever changing palette of fashion, the extremes of the world of cinema, trending food fads—see, all this cycles all the time and everything influences everything.

I’m superbly influenced by Harlan Hubbard, Basho, Anselm Kiefer, Akira Kurosawa, Merce Cunningham, DW Griffith, Anne Truitt, Tasha Tudor, Earle Brown, Morton Feldman, Marina Abramovic, Meredith Monk, Leon Schidlowsky. Anthony Braxton, Joseph Beuys, Oscar Micheaux, William Kentridge—this list can go on and on. I’m a voracious sponge of a mind and at some point everything experienced is channeled directly or indirectly into a creative outlet.

SI: Can you describe a little bit about the three pieces being performed on the October 28 program?

RB: Cabinet of Wonder is a work created to celebrate the worlds of Cornell and Beuys: containers that hold varying compartments of meaning, determined by the viewer/listener in this case. As there works spoke to me, the over-reaching idea that stood out for me is that we are  so similar with the same types of thoughts, fears, idiosyncrasies, doubts and worries running through our minds—so our mind cabinets are quite similar.

I have used traditional notation, colors, forms, gestural conducting to demonstrate the commonality between us. Some of this will be processed organically by every human that interacts with psyche of another person. The three movements of Cabinet of Wonder will not intentionally break, unless there is a need for set change—but they are designed to segue right into each other as a solid representation of the constant state of mind flux. I don’t want to impose boundaries on the work, so we will all meet inside these movements and hopefully touch and relate to each other, right here, right now. 

RAGE for Chamber Collision is my sonic reaction to our human condition. Altered Consciousness is a spatial conversation between the members of the ensemble, myself and the space in which we find ourselves as humans that must relate to each other positively.

SI: What are some of the unique challenges and rewards of creating (and conducting!) music that utilizes conduction, graphic scores, and improvisation?

RB: It’s all about making a connection as a creator and transmitting my intent simply so that we can create new sonic landscapes. It’s so gratifying when you can develop a language with musicians with whom you’ve worked for over 25 years, but I get the same thrill, excitement and fulfillment from making a connection with absolute strangers—that we can meet, quickly size each other and get to the task, the love and joy of making the music happen.

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SI: You’ve been at the forefront of creative and avant-garde music for the past 25 years. What inspires you most about this music?

RB: Oh no!! I’m a baby in the world of creative music. Having spent most of my life in the symphony orchestra. This culture came as a welcome addendum to my creative world. As I have listened and accessed the never ending world of creative, intuitive composition, I am constantly surprised by the creativity of fellow humans. I don’t think we can exhaust the ideas—I hope to maintain this openness regarding creation and intuition always. I never stop studying scores, listening to new works, exposing myself to even the most extreme of performance arts because the disciplines are intersecting each other at a rate I’ve never seen before.

SI: Women are extremely underrepresented in musical leadership roles, and especially in composing and conducting. How has being a woman, and especially an African-American woman, shaped your experiences in these roles?

RB: I’ll make this easy: everyone, men and women, are so bent on getting their piece of whatever pie they think they deserve, that the energy needed for truly creating your vision and sharing that with the universe, gets pushed aside. I have certainly faced racism, discrimination, sexism, ageism, classicism, brown eye-ism, straight and nappy hair-isms—it just doesn’t end.

But it’s not new. When you’re smart, front, and present AND a woman, you have to be ready for your Weeble moments. Remember the Weeble commercials? Weebles wobble but they don’t fall down? There you have it. I formed the Chicago Modern Orchestra Project and my chamber orchestra in Berlin, PEK Contemporary Project, because I didn’t want to be bitter about possibly not being given opportunities to have my music heard. I’ve been wonderfully lucky and terribly unlucky in many circumstances.

The biggest elephants in the room are racism and sexism—okay, got it! So what do you do about? If you feel your voice MUST be added to the chorus of creativity and made tangible for the world to taste, then make it happen. I’ve started over 20 new music ensembles, each fitting a different music demographic, and have had a marvelous time doing it. Not to sound like the happy Pollyanna, but if the wall keeps appearing, be sure that your work can stand up, and you climb on it and go over the wall. As a woman you will have some luck, but you have to provide your own working world sometimes. Be prepared, say yes, show up!!!

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SI: What advice do you have for other women who are fighting to make it onto concert programs and conductor podiums?

RB: CREATE YOUR PLACE!! Puuuuush!!! Be confident that you deserve an opportunity and go after it. Be sure that you’re going after YOUR idea of success—we’re not all going to have Beyoncé-like careers, but diversify your talents and keep your practice fresh and relevant. Podiums are opening but there are still criteria that some of us will never fit—go ’round it!!

 


SI: What are you most looking forward to with the October 28 performance, and what do you hope audience members will gain from it?

RB: I want to experience new, creative minds and ideas from artists who have had special journeys of their own. I hope we can add to each other’s experiences and for the audience, I want them to meet and experience the authentic creative mind of Renée Baker. My way of seeing the world through music is an open door.

Renée Baker’s Seattle performance is this Friday, Oct. 28 at 8 p.m. at the Chapel Performance Space at the Good Shepherd Center in Wallingford. For information and tickets, please click here.

Women in (New) Music: Global Concertos Q&A with Samantha Boshnack

by Maggie Molloy

The concerto may traditionally be a Western musical form, but composer and trumpeter Samantha Boshnack likes to take a more global approach.

Photo by Daniel Sheehan.

Photo by Daniel Sheehan.

Her international opus, aptly titled Global Concertos, is a collection of five distinct pieces written for world-class soloists from, well, all over the world. Accompanied by the B’snorkestra (an alternative chamber ensemble Boshnack founded in 2011), the five concertos feature the soloistic talents of Thione Diop on West African talking drum, Christos Govetas on Greek clarinet, Srivani Jade on North Indian vocals, Julio Lauregui on Latin American piano, and Thomas Marriott on American jazz trumpet.

Drawing from classical, jazz, rock, avant-garde, salsa, and world music traditions, the concertos combine written and improvisational elements to craft an entirely new sound that is truly global in its scope.

Sam Boshnack Still 15

Photo by Ian Lucero.

Though the tour de force originally premiered in May of 2015, the gang is back for another evening of international jams as part of the Earshot Jazz Festival, co-presented with Cornish at PONCHO Concert Hall this coming Monday, Oct. 24 at 8pm.

We sat down with Boshnack to talk about concertos, community, and the rest of the world.

Second Inversion: What was the inspiration behind Global Concertos?

boshnack-3_photo-by-daniel-sheehan

Photo by Daniel Sheehan.

Samantha Boshnack: Global Concertos arose from my desire to celebrate individual expression and virtuosity of musicians outside of Western classical music. I also felt inspired by the concept of a concerto—a large group working together to elevate and support an individual. All of the soloists featured are artists I deeply admire. 

Traditionally in concertos, the virtuosity of the soloist is mostly displayed by their performance of the composer’s written material, although a concerto may contain improvised cadenzas. Global Concertos expands on this idea—in addition to my written material, there is also space for each individually virtuosic soloist to showcase their particular style of improvisation, aural tradition, rhythm/groove and ornamentation. While B’shnorkestra provides the accompaniment, its members are top musicians from jazz, rock, avant-garde, salsa, world, classical and more—providing the flexibility needed for works spanning the globe in their reach.

I created the B’shnorkestra in 2011 and have written a number of pieces for the group (we released our debut record Go to Orange in 2013). This felt like an exciting next step for us. I could still write ideas for the “orchestra” like I had before, but then I could also leave space for the soloist to showcase their brilliant musicality—and together we could create something different than anything either of us individually could.  

For my concerto for vocalist Srivani Jade, I used a Rabindranath Tagore poem entitled Prarthona. Tagore wrote this before India gained its independence. He is describing his dream of how the new, awakened India should be. I chose this poem for lyrics because of its inspiring message extolling the power of unity and the strength of diversity. My goal in this project was to create a musical world that has “not been broken up into fragments.”

B'shnorkestra

Photo by Bruce Clayton Tom.

SI: The concertos feature a wide range of soloists playing instruments from all over the world. Can you describe a bit about what the concertos sound like?

SB: My goal when choosing soloists was to represent five different continents and also five different families of instruments. So I wrote for vocal, brass, woodwind, drum, and piano; and Asia, North America, Europe, Africa and South America are represented. I felt like I hit the jackpot, because I managed to accomplish those goals while also working with amazing soloists who are leaders in their musical communities. I was really inspired by each of them. As I was writing this work, I delved deep into each of their recording catalogues and tried to really hear how their voice would fit in each piece. In addition, I was trying to maintain my individual voice as a composer. I think they and I were both pushed outside of our musical comfort zone, making this a truly experimental work. It was maybe a bit scary.  

Prarthona features Indian classical vocalist Srivani Jade.  I wrote Srivani a melody with Tagore’s lyrics, which she learned by ear. Then we worked together to create sections for her to improvise over. The Concerto for Julio, written for pianist Julio Jáuregui, draws on Latin American roots and exploits the piano as a percussion instrument. In the Concerto for Christos, Macedonian multi-instrumentalist Christos Govetas, here on clarinet, brings a distinctly Balkan flavor to the proceedings.

Sam Boshnack Still 17

Photo by Ian Lucero.

While rhythm has always been a key component for me, the Concerto for Talking Drum takes that dynamic to a whole new level, as Senegalese percussionist Thione Diop brings his organic mastery of the West African talking drum to bear on this combination of African and Western motifs. Last is the Concerto for Jazz Trumpet, written for Seattle-native Thomas Marriott. As the most overtly jazz-oriented of the concertos, it is emblematic for its spontaneity.  Each of these pieces has many sections in it, allowing me to explore different moods and styles within each culture.

SI: What are some of the unique challenges and rewards of studying, composing, and performing this music?

SB: This project (by design) created an opportunity to collaborate and experiment with some musicians that I would not normally get to work with. This was so rewarding for me. My compositional language expanded by adapting to the musical worlds of these diverse, top-notch soloists. The challenge was that I had to use different strategies and methods than usual in order to write for each soloist, because many did not read Western notation. I learned from and worked with each soloist individually to discover ways to successfully display their incredible talent within my compositions. The beauty is that music is universal, and the soloists could rely on their ear. 

B'snorkestra

Photo by Bruce Clayton Tom.

SI: What do you find most inspiring about collaborating with these soloists from around the globe?

SB: Having such a diverse group of soloists allowed me to explore so many musical palettes. Each tradition is so rich and deep. It was an honor to work with these soloists to create compositions for them to shine on.  

SI: Women are extremely underrepresented in musical leadership roles, and especially in composing and band leading. How has being a woman shaped your experiences in these roles?

SB: It is certainly a great challenge.  I think all women in leadership roles in all fields face the same challenges.  We have to fight harder to have our ideas heard.  My work mostly falls in the jazz realm of music (although I would say this project veered away from that), and jazz is so male-dominated.

I think you go through many stages of dealing with sexism—when you are younger you face different challenges then when you’re a bit older. Or sometimes you have an encounter in music that is so discriminatory that it knocks you down and you feel very defeated. But ultimately you love what you do, and you get back up again. I work with a lot of great men who understand the struggle and are supportive, but unfortunately not all are like this. I would say I find a lot of strength in my relationships with other women. They do understand the struggle and we can support each other in the hard times.

SI: What advice do you have for other women who are fighting to have their music heard?

SB: You’re not wrong in feeling that it’s hard, but I think it’s really important that we keep fighting.  

SI: What are you most looking forward to with this performance, and what do you hope audiences will gain from it?

SB: It’s been interesting diving back into this music again for this performance. We premiered these pieces in May 2015. Like I said, for me—it was all a little scary then. This was the biggest show I had ever undertaken. Nineteen musicians—some I hadn’t worked with before, all new music—it was a lot. But we rehearsed hard and frequently, and pulled it off. Actually, I got a really fabulous live recording of the show which I am releasing on CD. This recording will be available for sale at the show, and online (pre-order on Bandcamp, release date November 18). So this time around, that feeling of “will it work?” is not in my brain. This time around we get to relax a little more into the work, I’m really looking forward to that. Because the soloists are all such great improvisers, the pieces are different this time and it’s so fun to hear what changes.

I hope the audience will gain a deeper knowledge and appreciation for all of the incredible and diverse talent we have here in our city.  

globalconbandcamp

The Global Concertos performance is Monday, Oct. 24 at 8pm at PONCHO Concert Hall. For additional information, please click here.

From John Cage to Afro-Cuban Jazz: Concerts You Do NOT Want to Miss This Season

by Maggie Molloy

Ahh, fall. The leaves are changing, the rain is sprinkling, the sky is cloudy, and the pumpkin spice marketing is in full swing. Those hot summer days are finally behind us and we’re back to our familiar, cozy, flannel-covered fall in Seattle. After all, October is a time for new beginnings, new adventures, and—most importantly—new music.

bridget-kibbey

Seattle’s 2016-2017 concert season is jam-packed with fresh new music of every shape, style, and structure (or lack thereof). From John Cage to Afro-Cuban jazz,  Astor Piazzolla to Andy Warhol, Benjamin Britten to Brazilian poetry—there is something for everyone. Here are some of our top picks for the season:

On Stage with KING FM: Second Inversion is thrilled to host two concerts this year as part of the second season of On Stage with Classical KING FM! In March, we’ll present the Seattle Marimba Quartet with an eclectic program of classical favorites, modern marimba repertoire, and interactive drumming rhythms drawing from Afro-Cuban, Brazilian, and African musical traditions.

Then in May, back by popular demand, we present the Seattle Rock Orchestra Quintet with the mesmerizing Tamara Power-Drutis for a program that transforms pop songs into art songs, reimagining both classic and modern tunes as intimate chamber works for the recital hall. Check out our videos from last season for a sneak-peek of what you can expect.

seattle-rock-orchestra-quintet

Seattle Symphony: Ditch the conventional concert-going experience of strict seating, fancy attire, and three-hour long performances with Seattle Symphony’s [Untitled] concert series. This season you can catch landmark works by Witold Lutosławski (arguably Poland’s most innovative composer since Chopin), drench yourself in the dramatic soundscapes of Polish composer and singer Agata Zubel, explore the wide-ranging musical styles of Soviet era composers, and even enter into the twisted worlds of two of America’s most confounding cultural icons: pop artist Andy Warhol and jazz pianist Thelonious Monk.

And speaking of jazz: Seattle Symphony will also co-present their annual Sonic Evolution concert with Earshot Jazz this November. Grace Love and the Garfield High School Jazz Band join the symphony for an evening celebrating two extraordinary Seattle musicians: the incomparable composer and record producer Quincy Jones and the legendary blues singer Ernestine Anderson, both of whom attended Garfield High School.

Untitled Concert

Meany Center for the Performing Arts: Formerly known as the UW World Series, Meany Center is still just as committed as ever to bringing music from around the world to their Seattle stage. In November, they’ll feature the Grammy-nominated Imani Winds quintet, known around the globe for their dynamic playing, culturally conscious programming, and adventurous collaborations. Argentine tango composer Astor Piazzolla, Cuban-born jazz saxophonist Paquito D’Rivera, and Palestinian-American oud and violin virtuoso Simon Shaheen are just a few of the composers listed on this program.

In January, the New York-based Jack Quartet presents an evening of composed and improvised music along with visiting artists from the internationally acclaimed Six Tones Ensemble and UW School of Music faculty members Richard Karpen, Juan Pampin, Cuong Vu, and Ted Poor. And if you can’t make it to these concerts, don’t sweat—Second Inversion will be broadcasting them live on our online stream.

imani-winds

John Cage Musicircus: Come one, come all to the John Cage Musicircus this November 19! This multimedia concert “happening” features over over 60 musicians, dancers, performance artists, and poets simultaneously performing pieces from Cage’s expansive body of work, including the Sonatas and Interludes for prepared piano, In a Landscape for (unprepared) piano, Child of Tree for amplified cactus, Third Construction for unorthodox percussion instruments, Cartridge Music for amplified small sounds, 45’ For A Speaker for spoken voice, and much more!

Performers will be stationed all over Town Hall, with audience members encouraged to explore how the sonic and visual experience shifts as they wander freely throughout the building. Plus, Second Inversion’s own Maggie Molloy will present the pre-concert lecture, perform two piano works, and distribute free copies of her John Cage Diary series as a zine for audience members to take home!

john-cage-musicircusNorth Corner Chamber Orchestra: Celebrate those cozy winter nights with NOCCO’s annual Solstice Celebration, this year featuring the music of Stravinsky, Respighi, Bach, and Seattle composer Angelique Poteat. Then in February for Black History Month, NOCCO performs a program featuring a newly commissioned work by local composer Hanna Brenn and performance artist C. Davida Ingram alongside classics by two Pulitzer Prize-winning African American composers: Scott Joplin and George Walker. And in April, their season wraps up with a brand new world premiere by NOCCO’s principal clarinetist and composer, Sean Osborn, along with well-loved works by Rossini and Haydn.

noccoSeattle Modern Orchestra: These guys are starting their season off with a bang: three new premieres by living composers. First, a U.S. premiere by Lithuanian composer Vykintas Baltakas, then a West Coast premiere by German composer Wolfgang Rihm, followed by a world premiere by American composer Andrew Waggoner featuring Grammy-winning guest pianist Gloria Cheng.

The rest of the season features cutting-edge collaborations with University of Washington’s Solaris Vocal Ensemble and the Paris-based clarinetist Carol Robinson, a world premiere by SMO co-artistic director Jérémy Jolley, the 80th birthday of legendary Seattle trombonist Stuart Dempster, the 90th birthday of renowned Seattle clarinetist and composer William O. “Bill” Smith, and the centennial celebration of American composer Robert Erickson.

gloria-chengUniversal Language Project: ULP is back for another season of interdisciplinary and out-of-the-box collaborations between 21st century musicians and artists of all disciplines. In October: a multi-media work by Marcus Oldham about racial reconciliation (featuring Second Inversion regulars the Skyros Quartet). In January, composer Chris Stover showcases his works for chamber jazz ensemble featuring spoken word, found sounds, and dance inspired by Brazilian poets. Then in March, the season wraps up with a surreal, outer space-inspired performance featuring artist Erin Jorgensen with local musicians, the overtones of her 5-octave marimba merging with intimate whispering and beautifully minimal music in a small stab towards enlightenment.

erin-jorgensenEmerald City Music: Now in its inaugural season, Emerald City Music is on a mission to make classical chamber music accessible to broader audiences in Seattle and Olympia. And they’re not wasting any time: their inaugural season features 45 renowned guest artists from around the world. Each of the concerts offers a uniquely thematic glimpse into the chamber music repertory, featuring classical masterworks and newly composed music alike. Bookended by concerts featuring familiar works by Bach and Beethoven, this year you can also expand your classical music palette with cutting-edge performances of works by the likes of Henri Dutilleux, Thomas Adès, Benjamin Britten, Bohuslav Martinů, Percy Grainger, David Schiff, Per Nørgård, Ryan Francis, Thomas Koppel, and more.

dover-quartetTown Music Series: Curated by Second Inversion Artistic Advisor Joshua Roman, the Town Music Series programs cutting-edge and virtuosic chamber works which bring together the best of old and new classical traditions. Their 2016-2017 season kicks off with cellist Joshua Roman joined by violinist Caroline Goulding for an evening of dynamic duets by Halvorsen, Kodály, and Ravel. Stay tuned for details on the rest of the season!

joshua-romanWayward Music Series: If you’ve got wayward or otherwise unconventional music taste, the Wayward Music Series will keep you satiated all year long. Check their online calendar or subscribe to their newsletter for specifics on upcoming events, which span the new music gamut from contemporary classical to the outer limits of jazz, electroacoustic experiments to explorations of the avant-garde, eccentric instruments to unorthodox sound art, multimedia collaborations and much more.

wayward-music-seriesThese are just a handful of the new music happenings we’re most looking forward to this season—for more up-to-the-minute details on experimental, avant-garde, and otherwise unconventional music events around the Northwest, check out Second Inversion’s full event calendar!

LIVE CONCERT SPOTLIGHT: October 17-18

by Maggie Molloy

Looking to expand your musical horizons? Here are some exciting and experimental Seattle music events taking place this weekend.

Inverted Space Featuring UW Student Compositions

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Young 20-somethings are often at the forefront of new music ventures, constantly pushing the boundaries of familiar music genres and creating new ways of experimenting with sound. Seattle’s vibrant young musician scene is no exception. This Friday, music students from the University of Washington are presenting a colorful concert full of contemporary musical compositions written by their peers.

Inverted Space, UW’s contemporary music ensemble, will be performing small ensemble works written by fellow UW music students. The compositions include a solo work for violin and electronics, a duo for saxophone and cello, and many other unique musical compositions with imaginative instrumentation.

The concert is part of Nonsequitur’s Wayward Music Series, and will take place in the gorgeous Chapel Performance Space at the historic Good Shepherd Center in Wallingford.​ The concert is this Friday, Oct. 17 at 7:30 p.m.

 

Seattle Symphony’s [untitled] Season Opener

SSO Musicians at LPR (c) Brandon Patoc

(photo credit: Brandon Patoc)

This Friday, the Seattle Symphony is taking their music outside of Benaroya Hall and into…the lobby.

That’s right; Seattle Symphony is opening their 2014-2015 [untitled] series with a late-night concert presented in Benaroya Hall’s beautiful Samuel and Althea Stroum Grand Lobby. The performance will feature compositions by the influential 20th century Hungarian composer György Ligeti as well as contemporary composers Djuro Zivkovic and Andrew Norman.

Symphony musicians will perform Gyorgy Ligeti’s String Quartet No. 1, “Métamorphoses nocturnes.” One of his more daring early works, the quartet is written in one continuous movement which can be divided into 17 contrasting sections. The concert program also features Serbian-Swedish composer and violinist Djuro Zivkovic’s “On the Guarding of the Heart” as well as American composer Andrew Norman’s “Try.”

If you’d like to hear some insightful interviews with Andrew Norman, Djuro Zivkovic, and Mikhail Schmidt, one of the violinists, check out this great feature from Seattle Symphony!

The performance will take place in Benaroya Hall’s grand lobby this Friday, Oct. 17 at 10 p.m.  Be sure to stop by the KING FM table and say hi to Second Inversion’s Maggie Stapleton!

 

William O. Smith’s Jazz Clarinet

SONY DSC

This Saturday night, William O. Smith is jazzing up classical clarinet music with a performance of his own imaginative compositions and creative improvisations. The classically-trained jazz clarinetist has devoted much of his career to studying and cataloguing an impressive range of extended clarinet techniques, all of which have informed his own original compositions.

Smith will be joined by trombonist Stuart Dempster and clarinetist Jesse Canterbury. The captivating program includes a piece written for clarinet and improvising computer, a piece written for clarinet and computer-transformed sounds, as well as artful improvisations in duo and trio combinations.

The event, which is co-presented by the Earshot Jazz Festival and Nonsequitur, will take place at the Good Shepherd Center’s Chapel Performance Space in Wallingford this Saturday, Oct. 18 at 8 p.m.