Wednesday May 23rd 8PM $10
Eli Namay has been working to develop a musical practice that is informed by critical theory and political activism. Artistically, he is particularly focused on how cultural and economic symbols mediate social relations (ideology, social reproduction, etc). Eli is interested in exploring ways economic and ideological influences on music might be disrupted artistically, thus creating a genuinely creative practice that is emotionally healing for both the listener and practitioner. This has led him to an interest in non/pan-idiomatic improvisation, experimental notation that gives rise to a multiplicity of outcomes, and the use of liminal perceptual frameworks.
Eli lives in Ch...icago where he performs on and teaches both the electric and double bass, regularly collaborating with folks from Chicago’s Folk, Jazz, Improvised Music, and New Music communities. He also teaches guitar, piano, drums, and voice. Eli holds a performance degree from Columbia College Chicago where he studied upright and electric bass with Chuck Webb, and Dan Anderson, and piano, composition, and improvisation with Dennis Luxion, among others. He has also studied double bass with Anton Hatwich, and Greg Sarchet of the Lyric Opera.
Some of Eli’s frequent collaborators both past and present include: Ishmael Ali, Luis Fernando Amaya, Jessica Aszodi, Emily Beisel, Jim Baker, Can I Get an Amen, Carol Genetti, Zachary Good, Alex Grimes, Gerrit Hatcher, Anton Hatwich, Bill Harris, Jeff Kimmel, Chris Kimmons, Lia Kohl, Old Lazarus’ Harp, Peter Maunu, John McCowen, Nick Meryhew, Ryan Packard, Phil Sudderberg, Katherine Young, and Bethany Younge.
A ≠ A is a set of new recordings and critical theory by bassist, writer, and activist Eli Namay. Namay will be presenting solo pieces from the recording along with excerpts from the writing. The writing portion of A ≠ A is an examination of the nature of symbols in relation to the human brain, how symbols constitute large scale class based societies, and what that might mean for our struggles both culturally and politically. Namay makes the case for understanding political struggle and cultural struggle as representing two distinct yet interrelated activities. Each affecting the other, but ultimately having distinct scopes. While the writing represents an offering in the realm of political struggle the recording is an offering in the realm of cultural struggle. Through the strategy of using familiar cultural symbols as foundational material for creative improvisation, the recording is created with the intention that it will hopefully act as inspiration for thinking not only about different possibilities for creative activity, but coupled with the writing, also about how dominant value systems (ideology) become constructed in a society dominated by monetary exchange value.
Xenga (VA/MD) — Years of collaboration between Jarrett Gilgore (reeds) & Ian McColm (drums) generate a constant reassessment of the classic free-jazz duo of sax and drums. Xenga takes this porous form and introduces a wide range of influences ranging from heavy metal to North African trance music. Gilgore and McColm strive to contribute new sounds and structures to the creative music canon using a variety of techniques developed over years of experimentation.
Stalwarts of the Baltimore-Washington improvised music scene, Gilgore & McColm have performed and collaborated with an array of international talent including Dave Rempis, Paul Giallorenzo, Jaimie Branch, and Washington DC’s own, Luke Stewart.
Sarah Hughes' Coy Fish -A bubbling and babbling stream of molten surrealism and languid blue escape through the prism of an electrified free jazz quartet.