Friday and Saturday, November 12 and 13
More details to be announced; masks required for entry
Originally planned to coincide with the opening of his recent gallery exhibition “Eugene Chadbourne: Catalogue of Birds and Selected Works” at Trinosophes, we are now closing the exhibition with two nights of performances by the Doc.
An early American free-improviser, Chadbourne has been making records since the mid-seventies that chart a dizzying course through the avant-garde, country music, protest songs, acid rock, jazz, metal, folk, punk and popular song. His work includes: performing with vanguard musicians like Anthony Braxton (most recently in a six CD box-set of duos), Han Bennink, Charles Tyler, Carla Bley, John Zorn, Frank Lowe, Sussie Ibarra and Joe Morris; leading Nashville session greats along with Hank William's pedal-steel player, Don Helms; and making collaborative records with rock musicians like The Violent Femmes, Camper Van Beethoven and Jimmy Carl Black of The Mothers Of Invention. Besides his sundry catalogues of original songs and releases, he also is the author of the book, Dreamory, and is a frequently published writer on music
Given that he is "The Human Repository of Song" (our honorific) and an excellent improviser, we may have contrasting nights of determined material versus improvised material. Or perhaps two nights of mixed approaches. The only thing we would guess is that there will be some Oliver Messiaen in the mix (see below).
Further information about Eugene Chadbourne: Catalogue of Birds for Banjo
Off the road for the first time in decades because of the pandemic, musician, improviser and human-repository-of song Eugene Chadbourne has been filling his free time with assorted creative projects, one of which is a unique and vibrant visual and musical adaptation of twentieth century French composer Oliver Messiaen’s Catalogue d’oiseaux. Messiaen was a serious amateur ornithologist. Written between 1956 and 1958, his Catalogue d’oiseaux features thirteen sections of piano music, each focused on a single species, with sixty-four of their closest neighbors in supporting roles. In Catalogue, birdsongs are used in a variety of ways—from subliminally imbedded impressionistic abstractions in harmonies to fairly literal imitations as melodic motif.
For nearly two years now, Chadbourne has been painting the birds featured within the Catalogue. He has also embarked on transcribing the dense piano music of Catalogue d’oiseaux for solo banjo, and has now amassed several volumes of music in Catalogue of Birds for Banjos, which was a highlight of this exhibition and will be for sale at his concerts.