«Mutliflora Productions presents this concert as a part of its first annual DiY international music festival for the whole month of October in multiple venues across Washington, DC.»
Tashi Dorji grew up in Bhutan, on the eastern side of the Himalayas. Access to any music created outside the country is limited, as are most cultural options, given the geologically isolation of the country. How Dorji went from a life so remote to developing his innovative and revelatory guitar style is mind-boggling.
Yearning for access to the world outside, Dorji pursued and obtained scholarship to a liberal arts school in Asheville, NC, in his early twenties. He’s since settled in there, soaking up a vast array of music, most notably the works of Derek Bailey and John Zorn. Along the way, Dorji developed a playing style unbound by tradition, yet with a direct line to intuitive artistry. His recordings feature improvisations that spasmodically grow along tangential, surprising paths. All references break loose during a composition, as Dorji keys into his own inner world.
Joe Lally has played bass in Fugazi since the band’s inception in 1987. In 2003, the members of Fugazi decided to take anindefinite hiatus from recording and performing. Since that time, Joe has continued to write and perform solo material, accompanied by various musicians and friends. Joe will be joined this night by friends Janel Leppin and Jerry Busher
Guitar/electronic meditations dedicated to resistence.
«Jeff Barsky shows his exceptional ear for unconventional guitar sounds, using the instrument in ways it was never intended but never losing sight of the core sounds it can create. Thus, his work has an exceptional sense of depth and refinement, making for a sound that is adventurous, yet still engaging and enjoyable from beginning to end.» — Creaig Dunton
TRISTAN WELCH & RON OSHIMA
«Notes creep up in slow, metallic attack. A mood sets in just as the sax begins its lonesome burrow into your subconscious. Controlled bursts of avant-garde jazz streak melodiously but sorrowfully over ambient metallic pad sounds. At some point the notes pick up speed and intensity but never so much that they become grating. The sax is a good reinterpretation of hardbop vocabulary. This piece could be on a great album in the 1950s just as easily as it could be on bandcamp today (which it is). It’s a beautiful, restrained piece of work. It deals subtly with the harmonies. The ambient noise is always slowly shimmering just below the surface. These two artists play off one another well. Both are masters of understatement. I would play this at a funeral, or during church, or to sing me to sleep. It’s melancholy and introspective but always beautiful.» ISSUES MAGAZINE