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School of Hard Equinox
Saturday, September 20
Doors 8 pm; Show 9 pm
A series of vignettes featuring interviews with siblings of dictators, little white liars and others
Musical accompaniment by Luke Stewart and guests Written by Rosetta & Gutstein* Starring Raj Kapoor as a lonesome teamster with a sore left arm Beth Krausse as Ms. Anne, a little white (White?) liar Patrick Slevin as a Jew who brunches on Easter and Emily Cohen as Kim Jong Il’s sister *Emily Cohen and Dan Gutstein

School of Hard Equinox

Saturday, September 20

Doors 8 pm; Show 9 pm

A series of vignettes featuring interviews with siblings of dictators, little white liars and others

Musical accompaniment by Luke Stewart and guests

Written by Rosetta & Gutstein*

Starring
Raj Kapoor as a lonesome teamster with a sore left arm
Beth Krausse as Ms. Anne, a little white (White?) liar
Patrick Slevin as a Jew who brunches on Easter
and
Emily Cohen as Kim Jong Il’s sister

*Emily Cohen and Dan Gutstein

saturday august 30 2014
uncle woody sullender
others tba
—-

Sullender’s recent work examines the social construction of the performance space and how it reinforces specific rituals and modernist ideologies of listening.  By minor interventions and reconfigurations in existing spaces, not only can these rituals of listening be exploded, but larger notions of social relations can be explored.

Most recently this has manifested in performances/installations that utilize modular forms to divide and shape the space, primarily with cardboard outfitted with audio transducers, turning each object into a resonating ‘speaker’.  These ‘concerts’ incorporate gestures such as walls becoming tables, a stage platform becoming a table, stage curtains becoming a rug, etc. that imply shifts in roles as ‘listeners’.  


video from Issue Project Room with Sergei Tcherepnin:
http://vimeo.com/43948059

website:
http://www.woodysullender.com/

saturday august 30 2014

uncle woody sullender

others tba

—-

Sullender’s recent work examines the social construction of the performance space and how it reinforces specific rituals and modernist ideologies of listening.  By minor interventions and reconfigurations in existing spaces, not only can these rituals of listening be exploded, but larger notions of social relations can be explored.
Most recently this has manifested in performances/installations that utilize modular forms to divide and shape the space, primarily with cardboard outfitted with audio transducers, turning each object into a resonating ‘speaker’.  These ‘concerts’ incorporate gestures such as walls becoming tables, a stage platform becoming a table, stage curtains becoming a rug, etc. that imply shifts in roles as ‘listeners’.  
video from Issue Project Room with Sergei Tcherepnin:
website:
june 26 2014Keir Neuringer (sax) Ben Bennett (percussion) Weed Tree (drums/gtr) Renée Regan (performance) doors at 8 music at 830 sliding scale $5-10 donation Keir Neuringer is a musician and interdisciplinary artist who is involved in creative arts communities in Poland, Holland, and the US. He has cultivated a personal and intensely physical approach to saxophone improvisation, plays analogue electronics and Farfisa organ, and sings and narrates text. After training as a composer and saxophonist in the US, he spent two years on a Fulbright research grant in Krakow. He then moved to The Hague, where he spent eight years, curating performative audiovisual art and earning a masters degree from the experimental ArtScience Institute. He lives in Philadelphia and continues to travel widely to present his work, collaborating closely with Rafal Mazur, Ensemble Klang, and Julius Masri, among many others. “Ceremonies Out of the Air is the premiere double-length solo album of virtuoso Philadelphia-based saxophonist Keir Neuringer. Consisting of five extended improvisations performed before an invited audience in August 2013, the album presents the widely-travelled composer-performer’s raw emotions laid bare in sound. These ceremonies are physical exhalations of grief at the loss of his mother months before the recording – by turns contemplative, ecstatic, restrained, and unbridled. They reveal Neuringer’s prodigious technical vocabulary and physical stamina, as well as his idiosyncratic compositional influences and sensibilities. Central to all of it is the uncompromising urgency that is a key facet of Neuringer’s creative work. Between the album’s opening okay we can go now – an uninterrupted 21-minute meditation on the harmonics of the alto’s lowest pitch – and the keening closing folk rhapsody we had mostly good timesover an hour later, the sound of the saxophone ceases only between tracks, as Neuringer’s use of the circular breathing technique is set in relief against a wide emotional palette and a wealth of sonic history and musical practice. Ceremonies Out of the Air is released on CD and double-vinyl gatefold LP by New Atlantis Records in April 2014. Recorded by Eugene Lew and mastered by Kato Hideki, it features specially-commissioned art by Brooklyn-based painter Erin Rice and a deeply personal text by Neuringer. The album takes its title from a passage in Cormac McCarthy’s The Road: ‘Evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them.’” -New Atlantis Records stream a track & order direct here:https://keirneuringer.bandcamp.com/album/ceremonies-out-of-the-air website: http://keirneuringer.com/ ======================== Ben Bennett began musical training as a young child, studied jazz percussion, and soon began playing free improvisation exclusively. He has developed a highly personal and intensely physical approach to percussion, which involved gradually distilling the drum set down to a single vibrating membrane, and developing breath, friction, and other techniques to produce a wide array of sounds from minimal materials. His application of timing, repetition, and compositional form can reveal a surprising musicality in the most unlikely gestures. He has toured North America, Europe, and Japan, performing solo and in collaboration. Groups include Wrest with Jack Wright and Evan Lipson, Central Ohio War Coalition with Joe Panzner and Mike Shiflet, and bst.cr with Wilson Shook and Ryan Jewell. He has collaborated with many others, including Steve Baczkowski, Pascal Battus, Jack Callahan, Ben Hall, Michael Johnsen, Fred Lonberg­Holm, Ilan Manouach, Bob Marsh, Andrea Pensado, and Aaron Zarzutzki. He has released albums on Experimedia, Public Eyesore, Bug Incision, and Edgetone. “The crux of Bennett’s output is formed through his anomalous showmanship and in the resourceful nature of the instruments he tailors. If there is “value” to be found in his art, then these aspects surely make for a sensible starting point. Recycled objects and household items are transformed into contraptions assembled for a purpose unknown to the performer until the very moment he drags them before baffled onlookers, inserting them into an orifice or smashing them with an unrelated implement. Such instances of universal obscurity add to the queer web of noise that makes the resulting sound so riveting from the perspective of the audience.” ­Tiny Mixtapes “It appears that he is psychically and physically communed with sound itself in a way that is unique in our modern electrified music world, and that gives him the ability to sonically both reflect and compete with the urban and industrial environment, even while standing in opposition to it.” ­Chuck Hoffman “Ben Bennett is an extraordinaire percussionist whose performances transcend the realm of sound to become profound, personal, artistic statements.” ­Andrea Pensado “Cordes, flûte, baguettes de batterie, voix, corps, électronique… Ben Bennett joue avec intensité; des rythmes frénétiques, des craquements, des souffles stridents viennent dessiner un paysage musical où le corps se déplace. Un personnage libre, une musique tout en joie, en frottements mais aussi tout en retenue, en petites agressions contenues voire même silencieuses.” ­Aymeric Hainaux Links:http://label.experimedia.net/025/http://milmin.nixsyspaus.org/http://milmin.bandcamp.com/ Videos:https://www.youtube.com/watch?v=fm6XbI5vTfEhttps://vimeo.com/8536544https://vimeo.com/36675954 =================== Weed Tree http://questionthetruth.com/noise/weedtree ===================Renée Reganhttp://www.reneeregan.com/

june 26 2014Keir Neuringer (sax)
Ben Bennett (percussion)
Weed Tree (drums/gtr)
Renée Regan (performance)

doors at 8
music at 830

sliding scale $5-10 donation

Keir Neuringer is a musician and interdisciplinary artist who is involved in creative arts communities in Poland, Holland, and the US. He has cultivated a personal and intensely physical approach to saxophone improvisation, plays analogue electronics and Farfisa organ, and sings and narrates text. After training as a composer and saxophonist in the US, he spent two years on a Fulbright research grant in Krakow. He then moved to The Hague, where he spent eight years, curating performative audiovisual art and earning a masters degree from the experimental ArtScience Institute. He lives in Philadelphia and continues to travel widely to present his work, collaborating closely with Rafal Mazur, Ensemble Klang, and Julius Masri, among many others.

“Ceremonies Out of the Air is the premiere double-length solo album of virtuoso Philadelphia-based saxophonist Keir Neuringer. Consisting of five extended improvisations performed before an invited audience in August 2013, the album presents the widely-travelled composer-performer’s raw emotions laid bare in sound. These ceremonies are physical exhalations of grief at the loss of his mother months before the recording – by turns contemplative, ecstatic, restrained, and unbridled. They reveal Neuringer’s prodigious technical vocabulary and physical stamina, as well as his idiosyncratic compositional influences and sensibilities. Central to all of it is the uncompromising urgency that is a key facet of Neuringer’s creative work.

Between the album’s opening okay we can go now – an uninterrupted 21-minute meditation on the harmonics of the alto’s lowest pitch – and the keening closing folk rhapsody we had mostly good timesover an hour later, the sound of the saxophone ceases only between tracks, as Neuringer’s use of the circular breathing technique is set in relief against a wide emotional palette and a wealth of sonic history and musical practice.

Ceremonies Out of the Air is released on CD and double-vinyl gatefold LP by New Atlantis Records in April 2014. Recorded by Eugene Lew and mastered by Kato Hideki, it features specially-commissioned art by Brooklyn-based painter Erin Rice and a deeply personal text by Neuringer. The album takes its title from a passage in Cormac McCarthy’s The Road: ‘Evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them.’”
-New Atlantis Records

stream a track & order direct here:
https://keirneuringer.bandcamp.com/album/ceremonies-out-of-the-air
website: http://keirneuringer.com/

========================
Ben Bennett began musical training as a young child, studied jazz percussion, and soon began playing free improvisation exclusively. He has developed a highly personal and intensely physical approach to percussion, which involved gradually distilling the drum set down to a single vibrating membrane, and developing breath, friction, and other techniques to produce a wide array of sounds from minimal materials. His application of timing, repetition, and compositional form can reveal a surprising musicality in the most unlikely gestures.

He has toured North America, Europe, and Japan, performing solo and in collaboration. Groups include Wrest with Jack Wright and Evan Lipson, Central Ohio War Coalition with Joe Panzner and Mike Shiflet, and bst.cr with Wilson Shook and Ryan Jewell. He has collaborated with many others, including Steve Baczkowski, Pascal Battus, Jack Callahan, Ben Hall, Michael Johnsen, Fred Lonberg­Holm, Ilan Manouach, Bob Marsh, Andrea Pensado, and Aaron Zarzutzki. He has released albums on Experimedia, Public Eyesore, Bug Incision, and Edgetone.

“The crux of Bennett’s output is formed through his anomalous showmanship and in the resourceful nature of the instruments he tailors. If there is “value” to be found in his art, then these aspects surely make for a sensible starting point. Recycled objects and household items are transformed into contraptions assembled for a purpose unknown to the performer until the very moment he drags them before baffled onlookers, inserting them into an orifice or smashing them with an unrelated implement. Such instances of universal obscurity add to the queer web of noise that makes the resulting sound so riveting from the perspective of the audience.” ­Tiny Mixtapes

“It appears that he is psychically and physically communed with sound itself in a way that is unique in our modern electrified music world, and that gives him the ability to sonically both reflect and compete with the urban and industrial environment, even while standing in opposition to it.” ­Chuck Hoffman

“Ben Bennett is an extraordinaire percussionist whose performances transcend the realm of sound to become profound, personal, artistic statements.” ­Andrea Pensado

“Cordes, flûte, baguettes de batterie, voix, corps, électronique… Ben Bennett joue avec intensité; des rythmes frénétiques, des craquements, des souffles stridents viennent dessiner un paysage musical où le corps se déplace. Un personnage libre, une musique tout en joie, en frottements mais aussi tout en retenue, en petites agressions contenues voire même silencieuses.” ­Aymeric Hainaux

Links:
http://label.experimedia.net/025/
http://milmin.nixsyspaus.org/
http://milmin.bandcamp.com/

Videos:
https://www.youtube.com/
watch?v=fm6XbI5vTfE
https://vimeo.com/8536544
https://vimeo.com/36675954

===================
Weed Tree
http://questionthetruth.com/noise/weedtree

===================
Renée Regan
http://www.reneeregan.com/

Jason Kao Hwang (violin/viola) and Ayman Fanous (guitar/bouzouki) Jaimie Branch (trumpet) Lab Mice (Gary Rouzer & Chris Videll - objects/tapes/electronics)
tickets $10 at the door
 Thursday May 22 doors at 730 music at 8 Back Alley Theater 1365 Kennedy St NW DC (corner of 14th/Colorado/Kennnedy - downstairs from the Gold Corner Market) ================================ Jason Kao Hwang has created works ranging from jazz, “new” and world music. The 2012 Downbeats Critics’ Poll voted him “Rising Star for Violin.” Ayman Fanous works from a palate of distinctive and unconventional sounds on guitar and has played with an impressive array of collaborators on the avant-garde scene. Their duo project draws on elements of jazz, classical, flamenco, and middle-eastern music. According to the liner notes from Zilzal: “The music on this CD is the culmination of an improvisational co-language which has evolved slowly and naturally over 15 years. How do the sons of Chinese and Egyptian immigrants, growing up in dreary suburbs, make music relevant to both of them? The connections are many. The Silk Road brought the wonders of Chinese art to the Middle East in the 1200’s. Central Asia was a nexus of Islamic influence from the west and Chinese influence from the east. The same Islamic influence that brought plucked strings to Spain, birthplace of the guitar and flamenco. We were also both drawn to the subtly subversive free-jazz aesthetic – an expression of another, older and more tragic American diaspora. In many ways, this could only be American music.” From allaboutjazz.com: “The music forged by Egyptian guitarist/bouzouki player Ayman Fanous and violinist/violist Jason Kao Hwang is alternately thoughtful, prickly, exasperating, mournful, and enchanting. It speaks to mysteries and histories, capturing and refracting the shared language, cross-cultural references, and mystic vibes that these two men have been cultivating and exploring together for fifteen years…. Zilzal is an impressive and multifaceted collection. Unhurried and atmospheric at times, feverish at others, it is a cross-cultural experience through uncharted territory. As such, it is best engaged as a holistic experience free of fixed expectations.”
 =========================Jaimie Branch is a trumpeter working in the areas of composition and improvisation. Since graduating from the New England Conservatory of Music in 2005, she moved to Chicago becoming an active member in the Chicago creative music scene as a performer, presenter, and recording engineer. In 2012, Branch moved to Baltimore to pursue a Masters in Jazz Performance at Towson University. Recently she launched Pionic Records, an all vinyl label which she uses as an avenue to present her music to le universe. 
 ========================= Lab Mice was conceived back in November 2012 and went through several stages before our first performance in April 2013. We wanted to create something new, not just a combination of our usual sounds and tendencies. Chris usually pays heavy drone electronics, while I tend towards amplified objects with quickly changing textures. I decided to slow down my playing using circular motions and amplified motors. Chris chose to speed up his reaction time with his electronics and also used bowed cardboard and wood. The results sound machine-like yet warm and unpredictable. We both employ electronic and acoustic sound sources. The dynamics vary from silence to near silence to quiet.

Jason Kao Hwang (violin/viola) and Ayman Fanous (guitar/bouzouki)
Jaimie Branch (trumpet)
Lab Mice (Gary Rouzer & Chris Videll - objects/tapes/electronics)

tickets $10 at the door


Thursday May 22
doors at 730 music at 8
Back Alley Theater
1365 Kennedy St NW DC
(corner of 14th/Colorado/Kennnedy - downstairs from the Gold Corner Market)

================================

Jason Kao Hwang has created works ranging from jazz, “new” and world music. The 2012 Downbeats Critics’ Poll voted him “Rising Star for Violin.” Ayman Fanous works from a palate of distinctive and unconventional sounds on guitar and has played with an impressive array of collaborators on the avant-garde scene. Their duo project draws on elements of jazz, classical, flamenco, and middle-eastern music. According to the liner notes from Zilzal:

“The music on this CD is the culmination of an improvisational co-language which has evolved slowly and naturally over 15 years. How do the sons of Chinese and Egyptian immigrants, growing up in dreary suburbs, make music relevant to both of them? The connections are many. The Silk Road brought the wonders of Chinese art to the Middle East in the 1200’s. Central Asia was a nexus of Islamic influence from the west and Chinese influence from the east. The same Islamic influence that brought plucked strings to Spain, birthplace of the guitar and flamenco. We were also both drawn to the subtly subversive free-jazz aesthetic – an expression of another, older and more tragic American diaspora. In many ways, this could only be American music.”

From allaboutjazz.com:

“The music forged by Egyptian guitarist/bouzouki player Ayman Fanous and violinist/violist Jason Kao Hwang is alternately thoughtful, prickly, exasperating, mournful, and enchanting. It speaks to mysteries and histories, capturing and refracting the shared language, cross-cultural references, and mystic vibes that these two men have been cultivating and exploring together for fifteen years….

Zilzal is an impressive and multifaceted collection. Unhurried and atmospheric at times, feverish at others, it is a cross-cultural experience through uncharted territory. As such, it is best engaged as a holistic experience free of fixed expectations.”

=========================Jaimie Branch is a trumpeter working in the areas of composition and improvisation. Since graduating from the New England Conservatory of Music in 2005, she moved to Chicago becoming an active member in the Chicago creative music scene as a performer, presenter, and recording engineer. In 2012, Branch moved to Baltimore to pursue a Masters in Jazz Performance at Towson University. Recently she launched Pionic Records, an all vinyl label which she uses as an avenue to present her music to le universe.


=========================
Lab Mice was conceived back in November 2012 and went through several stages before our first performance in April 2013. We wanted to create something new, not just a combination of our usual sounds and tendencies. Chris usually pays heavy drone electronics, while I tend towards amplified objects with quickly changing textures.

I decided to slow down my playing using circular motions and amplified motors. Chris chose to speed up his reaction time with his electronics and also used bowed cardboard and wood.

The results sound machine-like yet warm and unpredictable. We both employ electronic and acoustic sound sources. The dynamics vary from silence to near silence to quiet.

Master percussionist Tatsuya Nakatani will direct an 11-member ensemble of local musicians, all playing gongs, on Friday, May 2, in the historic Back Alley Theater, 1365 Kennedy Street NW (corner of 14th/Kennedy/Colorado NW). Doors will open at 7pm; tickets are $10

The concert will begin at 8pm with a set of solo percussion by Mr. Nakatani, followed by the music of the gong orchestra at 9pm.
The Nakatani Gong Orchestra was conceived by Tatsuya Nakatani over 10 years ago and, according to his website, is the only bowed-gong orchestra existing in the world. Prior to each concert, Mr. Nakatani holds a rehearsal with a diverse ensemble of local players (musicians and non-musicians alike), teaching them the simple bowing techniques and conducting cues needed for the performance.
Tatsuya Nakatani is an acoustic sound artist and percussionist. Originally from Japan, he has been residing in the USA for 18 years. He is now based in Easton, PA and New York City. The Nakatani Gong Orchestra has performed over 50 shows all over the USA since April 2011, including once previously in DC on the Millennium Stage at the Kennedy Center in February 2012.
from jazzrightnow.com:
“Under Nakatani’s direction, [the orchestra’s] sound grew out of nothingness with deep resonance. The sound from the bigger gongs burned like embers underneath the mid-sized and smaller gongs that gradually soared. The fluid body of sound grew and waned and then grew again as some players switched from handmade bows to mallets and back again. The music was meditative, the gong vibrations washing over the audience. Then, just as the music had emerged, it receded slowly until the sound and silence were one. An enticing experience of new music, the concert adds to the anticipation of what this percussion visionary will do next.”–Cisco Bradley, 1 Feb 2014
Master percussionist Tatsuya Nakatani will direct an 11-member ensemble of local musicians, all playing gongs, on Friday, May 2, in the historic Back Alley Theater, 1365 Kennedy Street NW (corner of 14th/Kennedy/Colorado NW). Doors will open at 7pm; tickets are $10

The concert will begin at 8pm with a set of solo percussion by Mr. Nakatani, followed by the music of the gong orchestra at 9pm.

The Nakatani Gong Orchestra was conceived by Tatsuya Nakatani over 10 years ago and, according to his website, is the only bowed-gong orchestra existing in the world. Prior to each concert, Mr. Nakatani holds a rehearsal with a diverse ensemble of local players (musicians and non-musicians alike), teaching them the simple bowing techniques and conducting cues needed for the performance.

Tatsuya Nakatani is an acoustic sound artist and percussionist. Originally from Japan, he has been residing in the USA for 18 years. He is now based in Easton, PA and New York City. The Nakatani Gong Orchestra has performed over 50 shows all over the USA since April 2011, including once previously in DC on the Millennium Stage at the Kennedy Center in February 2012.

from jazzrightnow.com:

“Under Nakatani’s direction, [the orchestra’s] sound grew out of nothingness with deep resonance. The sound from the bigger gongs burned like embers underneath the mid-sized and smaller gongs that gradually soared. The fluid body of sound grew and waned and then grew again as some players switched from handmade bows to mallets and back again. The music was meditative, the gong vibrations washing over the audience. Then, just as the music had emerged, it receded slowly until the sound and silence were one. An enticing experience of new music, the concert adds to the anticipation of what this percussion visionary will do next.”–Cisco Bradley, 1 Feb 2014

The Back Alley Theater is back! Sunday, April 6, 2014:Pet Bottle Ningen Archer Spade with Erik Ruin Weed Tree
We are very excited to announce the return of the Back Alley Theater! We have a fabulous night of new music to present. Pet Bottle Ningen is an “avant-garde rocketship which journeys through musical worlds of composition featuring four of New York City’s finest young ‘Downtown’ musicians.” Archer Spade is an experimental chamber music duo, featuring trombone and guitar, from Philadelphia. They’ll be joined by Providence projectionist extraordinaire Erik Ruin. D.C.’s Weed Tree (Amanda Huron on drums, Layne Garrett on guitar and percussion) rounds out the evening. 
This show begins at 7:00 PM. $5-$10 sliding scale, all proceeds to touring performers. All ages. All welcome!

The Back Alley Theater is back! Sunday, April 6, 2014:
Pet Bottle Ningen
Archer Spade with Erik Ruin
Weed Tree

We are very excited to announce the return of the Back Alley Theater! We have a fabulous night of new music to present. Pet Bottle Ningen is an “avant-garde rocketship which journeys through musical worlds of composition featuring four of New York City’s finest young ‘Downtown’ musicians.” Archer Spade is an experimental chamber music duo, featuring trombone and guitar, from Philadelphia. They’ll be joined by Providence projectionist extraordinaire Erik Ruin. D.C.’s Weed Tree (Amanda Huron on drums, Layne Garrett on guitar and percussion) rounds out the evening. 

This show begins at 7:00 PM. $5-$10 sliding scale, all proceeds to touring performers. All ages. All welcome!

Thursday, May 2, 2013: D.C. Moving Pictures presents a special screening of The Cook, the Thief, his Wife and her Lover, at the Back Alley Theater, 7:00 PM!

Thursday, May 2, 2013: D.C. Moving Pictures presents a special screening of The Cook, the Thief, his Wife and her Lover, at the Back Alley Theater, 7:00 PM!





On Thursday, April 13, 2013, Katze, TAPS, Ben Miller/Degeneration, and Insect Factory played the Back Alley Theater.

On Thursday, April 13, 2013, Katze, TAPS, Ben Miller/Degeneration, and Insect Factory played the Back Alley Theater.

Janet Feder and Susan Alcorn at the Back Alley Theater on Friday, June 8, 2012.  With Insect Factory, T.J. Borden and Keir Neuringer. [Photo: David Lobato.]

Janet Feder and Susan Alcorn at the Back Alley Theater on Friday, June 8, 2012.  With Insect Factory, T.J. Borden and Keir Neuringer. [Photo: David Lobato.]

Travis Laplante at the Back Alley Theater on May 19, 2012.  With Peter Evans, OOO, and the Morris, Sebastian and Zook Ensemble.   

Travis Laplante at the Back Alley Theater on May 19, 2012.  With Peter EvansOOO, and the Morris, Sebastian and Zook Ensemble.   

The Morris, Sebastian and Zook Ensemble at the Back Alley Theater on May 19, 2012.  With Peter Evans, Travis Laplante, and OOO.  

The Morris, Sebastian and Zook Ensemble at the Back Alley Theater on May 19, 2012.  With Peter EvansTravis Laplante, and OOO.  

Valerie Kuehne at the Back Alley Theater on April 22, 2012.  With Diamond Terrifier, Patrick Higgins, Joey Molinaro and 36.  [Photo: Paolo Valladolid]

Valerie Kuehne at the Back Alley Theater on April 22, 2012.  With Diamond Terrifier, Patrick Higgins, Joey Molinaro and 36.  [Photo: Paolo Valladolid]

Diamond Terrifier at the Back Alley Theater on April 22, 2012.  With Patrick Higgins, Joey Molinaro, Valerie Kuehne and 36. 

Diamond Terrifier at the Back Alley Theater on April 22, 2012.  With Patrick Higgins, Joey Molinaro, Valerie Kuehne and 36

Susan Alcorn at the Back Alley Theater on April 3, 2012.  With Ember Schrag and Weed Tree.  [Photo: Paolo Valladolid]

Susan Alcorn at the Back Alley Theater on April 3, 2012.  With Ember Schrag and Weed Tree.  [Photo: Paolo Valladolid]

School of Hard Equinox
Saturday, September 20
Doors 8 pm; Show 9 pm
A series of vignettes featuring interviews with siblings of dictators, little white liars and others
Musical accompaniment by Luke Stewart and guests Written by Rosetta & Gutstein* Starring Raj Kapoor as a lonesome teamster with a sore left arm Beth Krausse as Ms. Anne, a little white (White?) liar Patrick Slevin as a Jew who brunches on Easter and Emily Cohen as Kim Jong Il’s sister *Emily Cohen and Dan Gutstein

School of Hard Equinox

Saturday, September 20

Doors 8 pm; Show 9 pm

A series of vignettes featuring interviews with siblings of dictators, little white liars and others

Musical accompaniment by Luke Stewart and guests

Written by Rosetta & Gutstein*

Starring
Raj Kapoor as a lonesome teamster with a sore left arm
Beth Krausse as Ms. Anne, a little white (White?) liar
Patrick Slevin as a Jew who brunches on Easter
and
Emily Cohen as Kim Jong Il’s sister

*Emily Cohen and Dan Gutstein

saturday august 30 2014
uncle woody sullender
others tba
—-

Sullender’s recent work examines the social construction of the performance space and how it reinforces specific rituals and modernist ideologies of listening.  By minor interventions and reconfigurations in existing spaces, not only can these rituals of listening be exploded, but larger notions of social relations can be explored.

Most recently this has manifested in performances/installations that utilize modular forms to divide and shape the space, primarily with cardboard outfitted with audio transducers, turning each object into a resonating ‘speaker’.  These ‘concerts’ incorporate gestures such as walls becoming tables, a stage platform becoming a table, stage curtains becoming a rug, etc. that imply shifts in roles as ‘listeners’.  


video from Issue Project Room with Sergei Tcherepnin:
http://vimeo.com/43948059

website:
http://www.woodysullender.com/

saturday august 30 2014

uncle woody sullender

others tba

—-

Sullender’s recent work examines the social construction of the performance space and how it reinforces specific rituals and modernist ideologies of listening.  By minor interventions and reconfigurations in existing spaces, not only can these rituals of listening be exploded, but larger notions of social relations can be explored.
Most recently this has manifested in performances/installations that utilize modular forms to divide and shape the space, primarily with cardboard outfitted with audio transducers, turning each object into a resonating ‘speaker’.  These ‘concerts’ incorporate gestures such as walls becoming tables, a stage platform becoming a table, stage curtains becoming a rug, etc. that imply shifts in roles as ‘listeners’.  
video from Issue Project Room with Sergei Tcherepnin:
website:
june 26 2014Keir Neuringer (sax) Ben Bennett (percussion) Weed Tree (drums/gtr) Renée Regan (performance) doors at 8 music at 830 sliding scale $5-10 donation Keir Neuringer is a musician and interdisciplinary artist who is involved in creative arts communities in Poland, Holland, and the US. He has cultivated a personal and intensely physical approach to saxophone improvisation, plays analogue electronics and Farfisa organ, and sings and narrates text. After training as a composer and saxophonist in the US, he spent two years on a Fulbright research grant in Krakow. He then moved to The Hague, where he spent eight years, curating performative audiovisual art and earning a masters degree from the experimental ArtScience Institute. He lives in Philadelphia and continues to travel widely to present his work, collaborating closely with Rafal Mazur, Ensemble Klang, and Julius Masri, among many others. “Ceremonies Out of the Air is the premiere double-length solo album of virtuoso Philadelphia-based saxophonist Keir Neuringer. Consisting of five extended improvisations performed before an invited audience in August 2013, the album presents the widely-travelled composer-performer’s raw emotions laid bare in sound. These ceremonies are physical exhalations of grief at the loss of his mother months before the recording – by turns contemplative, ecstatic, restrained, and unbridled. They reveal Neuringer’s prodigious technical vocabulary and physical stamina, as well as his idiosyncratic compositional influences and sensibilities. Central to all of it is the uncompromising urgency that is a key facet of Neuringer’s creative work. Between the album’s opening okay we can go now – an uninterrupted 21-minute meditation on the harmonics of the alto’s lowest pitch – and the keening closing folk rhapsody we had mostly good timesover an hour later, the sound of the saxophone ceases only between tracks, as Neuringer’s use of the circular breathing technique is set in relief against a wide emotional palette and a wealth of sonic history and musical practice. Ceremonies Out of the Air is released on CD and double-vinyl gatefold LP by New Atlantis Records in April 2014. Recorded by Eugene Lew and mastered by Kato Hideki, it features specially-commissioned art by Brooklyn-based painter Erin Rice and a deeply personal text by Neuringer. The album takes its title from a passage in Cormac McCarthy’s The Road: ‘Evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them.’” -New Atlantis Records stream a track & order direct here:https://keirneuringer.bandcamp.com/album/ceremonies-out-of-the-air website: http://keirneuringer.com/ ======================== Ben Bennett began musical training as a young child, studied jazz percussion, and soon began playing free improvisation exclusively. He has developed a highly personal and intensely physical approach to percussion, which involved gradually distilling the drum set down to a single vibrating membrane, and developing breath, friction, and other techniques to produce a wide array of sounds from minimal materials. His application of timing, repetition, and compositional form can reveal a surprising musicality in the most unlikely gestures. He has toured North America, Europe, and Japan, performing solo and in collaboration. Groups include Wrest with Jack Wright and Evan Lipson, Central Ohio War Coalition with Joe Panzner and Mike Shiflet, and bst.cr with Wilson Shook and Ryan Jewell. He has collaborated with many others, including Steve Baczkowski, Pascal Battus, Jack Callahan, Ben Hall, Michael Johnsen, Fred Lonberg­Holm, Ilan Manouach, Bob Marsh, Andrea Pensado, and Aaron Zarzutzki. He has released albums on Experimedia, Public Eyesore, Bug Incision, and Edgetone. “The crux of Bennett’s output is formed through his anomalous showmanship and in the resourceful nature of the instruments he tailors. If there is “value” to be found in his art, then these aspects surely make for a sensible starting point. Recycled objects and household items are transformed into contraptions assembled for a purpose unknown to the performer until the very moment he drags them before baffled onlookers, inserting them into an orifice or smashing them with an unrelated implement. Such instances of universal obscurity add to the queer web of noise that makes the resulting sound so riveting from the perspective of the audience.” ­Tiny Mixtapes “It appears that he is psychically and physically communed with sound itself in a way that is unique in our modern electrified music world, and that gives him the ability to sonically both reflect and compete with the urban and industrial environment, even while standing in opposition to it.” ­Chuck Hoffman “Ben Bennett is an extraordinaire percussionist whose performances transcend the realm of sound to become profound, personal, artistic statements.” ­Andrea Pensado “Cordes, flûte, baguettes de batterie, voix, corps, électronique… Ben Bennett joue avec intensité; des rythmes frénétiques, des craquements, des souffles stridents viennent dessiner un paysage musical où le corps se déplace. Un personnage libre, une musique tout en joie, en frottements mais aussi tout en retenue, en petites agressions contenues voire même silencieuses.” ­Aymeric Hainaux Links:http://label.experimedia.net/025/http://milmin.nixsyspaus.org/http://milmin.bandcamp.com/ Videos:https://www.youtube.com/watch?v=fm6XbI5vTfEhttps://vimeo.com/8536544https://vimeo.com/36675954 =================== Weed Tree http://questionthetruth.com/noise/weedtree ===================Renée Reganhttp://www.reneeregan.com/

june 26 2014Keir Neuringer (sax)
Ben Bennett (percussion)
Weed Tree (drums/gtr)
Renée Regan (performance)

doors at 8
music at 830

sliding scale $5-10 donation

Keir Neuringer is a musician and interdisciplinary artist who is involved in creative arts communities in Poland, Holland, and the US. He has cultivated a personal and intensely physical approach to saxophone improvisation, plays analogue electronics and Farfisa organ, and sings and narrates text. After training as a composer and saxophonist in the US, he spent two years on a Fulbright research grant in Krakow. He then moved to The Hague, where he spent eight years, curating performative audiovisual art and earning a masters degree from the experimental ArtScience Institute. He lives in Philadelphia and continues to travel widely to present his work, collaborating closely with Rafal Mazur, Ensemble Klang, and Julius Masri, among many others.

“Ceremonies Out of the Air is the premiere double-length solo album of virtuoso Philadelphia-based saxophonist Keir Neuringer. Consisting of five extended improvisations performed before an invited audience in August 2013, the album presents the widely-travelled composer-performer’s raw emotions laid bare in sound. These ceremonies are physical exhalations of grief at the loss of his mother months before the recording – by turns contemplative, ecstatic, restrained, and unbridled. They reveal Neuringer’s prodigious technical vocabulary and physical stamina, as well as his idiosyncratic compositional influences and sensibilities. Central to all of it is the uncompromising urgency that is a key facet of Neuringer’s creative work.

Between the album’s opening okay we can go now – an uninterrupted 21-minute meditation on the harmonics of the alto’s lowest pitch – and the keening closing folk rhapsody we had mostly good timesover an hour later, the sound of the saxophone ceases only between tracks, as Neuringer’s use of the circular breathing technique is set in relief against a wide emotional palette and a wealth of sonic history and musical practice.

Ceremonies Out of the Air is released on CD and double-vinyl gatefold LP by New Atlantis Records in April 2014. Recorded by Eugene Lew and mastered by Kato Hideki, it features specially-commissioned art by Brooklyn-based painter Erin Rice and a deeply personal text by Neuringer. The album takes its title from a passage in Cormac McCarthy’s The Road: ‘Evoke the forms. Where you’ve nothing else construct ceremonies out of the air and breathe upon them.’”
-New Atlantis Records

stream a track & order direct here:
https://keirneuringer.bandcamp.com/album/ceremonies-out-of-the-air
website: http://keirneuringer.com/

========================
Ben Bennett began musical training as a young child, studied jazz percussion, and soon began playing free improvisation exclusively. He has developed a highly personal and intensely physical approach to percussion, which involved gradually distilling the drum set down to a single vibrating membrane, and developing breath, friction, and other techniques to produce a wide array of sounds from minimal materials. His application of timing, repetition, and compositional form can reveal a surprising musicality in the most unlikely gestures.

He has toured North America, Europe, and Japan, performing solo and in collaboration. Groups include Wrest with Jack Wright and Evan Lipson, Central Ohio War Coalition with Joe Panzner and Mike Shiflet, and bst.cr with Wilson Shook and Ryan Jewell. He has collaborated with many others, including Steve Baczkowski, Pascal Battus, Jack Callahan, Ben Hall, Michael Johnsen, Fred Lonberg­Holm, Ilan Manouach, Bob Marsh, Andrea Pensado, and Aaron Zarzutzki. He has released albums on Experimedia, Public Eyesore, Bug Incision, and Edgetone.

“The crux of Bennett’s output is formed through his anomalous showmanship and in the resourceful nature of the instruments he tailors. If there is “value” to be found in his art, then these aspects surely make for a sensible starting point. Recycled objects and household items are transformed into contraptions assembled for a purpose unknown to the performer until the very moment he drags them before baffled onlookers, inserting them into an orifice or smashing them with an unrelated implement. Such instances of universal obscurity add to the queer web of noise that makes the resulting sound so riveting from the perspective of the audience.” ­Tiny Mixtapes

“It appears that he is psychically and physically communed with sound itself in a way that is unique in our modern electrified music world, and that gives him the ability to sonically both reflect and compete with the urban and industrial environment, even while standing in opposition to it.” ­Chuck Hoffman

“Ben Bennett is an extraordinaire percussionist whose performances transcend the realm of sound to become profound, personal, artistic statements.” ­Andrea Pensado

“Cordes, flûte, baguettes de batterie, voix, corps, électronique… Ben Bennett joue avec intensité; des rythmes frénétiques, des craquements, des souffles stridents viennent dessiner un paysage musical où le corps se déplace. Un personnage libre, une musique tout en joie, en frottements mais aussi tout en retenue, en petites agressions contenues voire même silencieuses.” ­Aymeric Hainaux

Links:
http://label.experimedia.net/025/
http://milmin.nixsyspaus.org/
http://milmin.bandcamp.com/

Videos:
https://www.youtube.com/
watch?v=fm6XbI5vTfE
https://vimeo.com/8536544
https://vimeo.com/36675954

===================
Weed Tree
http://questionthetruth.com/noise/weedtree

===================
Renée Regan
http://www.reneeregan.com/

Jason Kao Hwang (violin/viola) and Ayman Fanous (guitar/bouzouki) Jaimie Branch (trumpet) Lab Mice (Gary Rouzer & Chris Videll - objects/tapes/electronics)
tickets $10 at the door
 Thursday May 22 doors at 730 music at 8 Back Alley Theater 1365 Kennedy St NW DC (corner of 14th/Colorado/Kennnedy - downstairs from the Gold Corner Market) ================================ Jason Kao Hwang has created works ranging from jazz, “new” and world music. The 2012 Downbeats Critics’ Poll voted him “Rising Star for Violin.” Ayman Fanous works from a palate of distinctive and unconventional sounds on guitar and has played with an impressive array of collaborators on the avant-garde scene. Their duo project draws on elements of jazz, classical, flamenco, and middle-eastern music. According to the liner notes from Zilzal: “The music on this CD is the culmination of an improvisational co-language which has evolved slowly and naturally over 15 years. How do the sons of Chinese and Egyptian immigrants, growing up in dreary suburbs, make music relevant to both of them? The connections are many. The Silk Road brought the wonders of Chinese art to the Middle East in the 1200’s. Central Asia was a nexus of Islamic influence from the west and Chinese influence from the east. The same Islamic influence that brought plucked strings to Spain, birthplace of the guitar and flamenco. We were also both drawn to the subtly subversive free-jazz aesthetic – an expression of another, older and more tragic American diaspora. In many ways, this could only be American music.” From allaboutjazz.com: “The music forged by Egyptian guitarist/bouzouki player Ayman Fanous and violinist/violist Jason Kao Hwang is alternately thoughtful, prickly, exasperating, mournful, and enchanting. It speaks to mysteries and histories, capturing and refracting the shared language, cross-cultural references, and mystic vibes that these two men have been cultivating and exploring together for fifteen years…. Zilzal is an impressive and multifaceted collection. Unhurried and atmospheric at times, feverish at others, it is a cross-cultural experience through uncharted territory. As such, it is best engaged as a holistic experience free of fixed expectations.”
 =========================Jaimie Branch is a trumpeter working in the areas of composition and improvisation. Since graduating from the New England Conservatory of Music in 2005, she moved to Chicago becoming an active member in the Chicago creative music scene as a performer, presenter, and recording engineer. In 2012, Branch moved to Baltimore to pursue a Masters in Jazz Performance at Towson University. Recently she launched Pionic Records, an all vinyl label which she uses as an avenue to present her music to le universe. 
 ========================= Lab Mice was conceived back in November 2012 and went through several stages before our first performance in April 2013. We wanted to create something new, not just a combination of our usual sounds and tendencies. Chris usually pays heavy drone electronics, while I tend towards amplified objects with quickly changing textures. I decided to slow down my playing using circular motions and amplified motors. Chris chose to speed up his reaction time with his electronics and also used bowed cardboard and wood. The results sound machine-like yet warm and unpredictable. We both employ electronic and acoustic sound sources. The dynamics vary from silence to near silence to quiet.

Jason Kao Hwang (violin/viola) and Ayman Fanous (guitar/bouzouki)
Jaimie Branch (trumpet)
Lab Mice (Gary Rouzer & Chris Videll - objects/tapes/electronics)

tickets $10 at the door


Thursday May 22
doors at 730 music at 8
Back Alley Theater
1365 Kennedy St NW DC
(corner of 14th/Colorado/Kennnedy - downstairs from the Gold Corner Market)

================================

Jason Kao Hwang has created works ranging from jazz, “new” and world music. The 2012 Downbeats Critics’ Poll voted him “Rising Star for Violin.” Ayman Fanous works from a palate of distinctive and unconventional sounds on guitar and has played with an impressive array of collaborators on the avant-garde scene. Their duo project draws on elements of jazz, classical, flamenco, and middle-eastern music. According to the liner notes from Zilzal:

“The music on this CD is the culmination of an improvisational co-language which has evolved slowly and naturally over 15 years. How do the sons of Chinese and Egyptian immigrants, growing up in dreary suburbs, make music relevant to both of them? The connections are many. The Silk Road brought the wonders of Chinese art to the Middle East in the 1200’s. Central Asia was a nexus of Islamic influence from the west and Chinese influence from the east. The same Islamic influence that brought plucked strings to Spain, birthplace of the guitar and flamenco. We were also both drawn to the subtly subversive free-jazz aesthetic – an expression of another, older and more tragic American diaspora. In many ways, this could only be American music.”

From allaboutjazz.com:

“The music forged by Egyptian guitarist/bouzouki player Ayman Fanous and violinist/violist Jason Kao Hwang is alternately thoughtful, prickly, exasperating, mournful, and enchanting. It speaks to mysteries and histories, capturing and refracting the shared language, cross-cultural references, and mystic vibes that these two men have been cultivating and exploring together for fifteen years….

Zilzal is an impressive and multifaceted collection. Unhurried and atmospheric at times, feverish at others, it is a cross-cultural experience through uncharted territory. As such, it is best engaged as a holistic experience free of fixed expectations.”

=========================Jaimie Branch is a trumpeter working in the areas of composition and improvisation. Since graduating from the New England Conservatory of Music in 2005, she moved to Chicago becoming an active member in the Chicago creative music scene as a performer, presenter, and recording engineer. In 2012, Branch moved to Baltimore to pursue a Masters in Jazz Performance at Towson University. Recently she launched Pionic Records, an all vinyl label which she uses as an avenue to present her music to le universe.


=========================
Lab Mice was conceived back in November 2012 and went through several stages before our first performance in April 2013. We wanted to create something new, not just a combination of our usual sounds and tendencies. Chris usually pays heavy drone electronics, while I tend towards amplified objects with quickly changing textures.

I decided to slow down my playing using circular motions and amplified motors. Chris chose to speed up his reaction time with his electronics and also used bowed cardboard and wood.

The results sound machine-like yet warm and unpredictable. We both employ electronic and acoustic sound sources. The dynamics vary from silence to near silence to quiet.

Master percussionist Tatsuya Nakatani will direct an 11-member ensemble of local musicians, all playing gongs, on Friday, May 2, in the historic Back Alley Theater, 1365 Kennedy Street NW (corner of 14th/Kennedy/Colorado NW). Doors will open at 7pm; tickets are $10

The concert will begin at 8pm with a set of solo percussion by Mr. Nakatani, followed by the music of the gong orchestra at 9pm.
The Nakatani Gong Orchestra was conceived by Tatsuya Nakatani over 10 years ago and, according to his website, is the only bowed-gong orchestra existing in the world. Prior to each concert, Mr. Nakatani holds a rehearsal with a diverse ensemble of local players (musicians and non-musicians alike), teaching them the simple bowing techniques and conducting cues needed for the performance.
Tatsuya Nakatani is an acoustic sound artist and percussionist. Originally from Japan, he has been residing in the USA for 18 years. He is now based in Easton, PA and New York City. The Nakatani Gong Orchestra has performed over 50 shows all over the USA since April 2011, including once previously in DC on the Millennium Stage at the Kennedy Center in February 2012.
from jazzrightnow.com:
“Under Nakatani’s direction, [the orchestra’s] sound grew out of nothingness with deep resonance. The sound from the bigger gongs burned like embers underneath the mid-sized and smaller gongs that gradually soared. The fluid body of sound grew and waned and then grew again as some players switched from handmade bows to mallets and back again. The music was meditative, the gong vibrations washing over the audience. Then, just as the music had emerged, it receded slowly until the sound and silence were one. An enticing experience of new music, the concert adds to the anticipation of what this percussion visionary will do next.”–Cisco Bradley, 1 Feb 2014
Master percussionist Tatsuya Nakatani will direct an 11-member ensemble of local musicians, all playing gongs, on Friday, May 2, in the historic Back Alley Theater, 1365 Kennedy Street NW (corner of 14th/Kennedy/Colorado NW). Doors will open at 7pm; tickets are $10

The concert will begin at 8pm with a set of solo percussion by Mr. Nakatani, followed by the music of the gong orchestra at 9pm.

The Nakatani Gong Orchestra was conceived by Tatsuya Nakatani over 10 years ago and, according to his website, is the only bowed-gong orchestra existing in the world. Prior to each concert, Mr. Nakatani holds a rehearsal with a diverse ensemble of local players (musicians and non-musicians alike), teaching them the simple bowing techniques and conducting cues needed for the performance.

Tatsuya Nakatani is an acoustic sound artist and percussionist. Originally from Japan, he has been residing in the USA for 18 years. He is now based in Easton, PA and New York City. The Nakatani Gong Orchestra has performed over 50 shows all over the USA since April 2011, including once previously in DC on the Millennium Stage at the Kennedy Center in February 2012.

from jazzrightnow.com:

“Under Nakatani’s direction, [the orchestra’s] sound grew out of nothingness with deep resonance. The sound from the bigger gongs burned like embers underneath the mid-sized and smaller gongs that gradually soared. The fluid body of sound grew and waned and then grew again as some players switched from handmade bows to mallets and back again. The music was meditative, the gong vibrations washing over the audience. Then, just as the music had emerged, it receded slowly until the sound and silence were one. An enticing experience of new music, the concert adds to the anticipation of what this percussion visionary will do next.”–Cisco Bradley, 1 Feb 2014

The Back Alley Theater is back! Sunday, April 6, 2014:Pet Bottle Ningen Archer Spade with Erik Ruin Weed Tree
We are very excited to announce the return of the Back Alley Theater! We have a fabulous night of new music to present. Pet Bottle Ningen is an “avant-garde rocketship which journeys through musical worlds of composition featuring four of New York City’s finest young ‘Downtown’ musicians.” Archer Spade is an experimental chamber music duo, featuring trombone and guitar, from Philadelphia. They’ll be joined by Providence projectionist extraordinaire Erik Ruin. D.C.’s Weed Tree (Amanda Huron on drums, Layne Garrett on guitar and percussion) rounds out the evening. 
This show begins at 7:00 PM. $5-$10 sliding scale, all proceeds to touring performers. All ages. All welcome!

The Back Alley Theater is back! Sunday, April 6, 2014:
Pet Bottle Ningen
Archer Spade with Erik Ruin
Weed Tree

We are very excited to announce the return of the Back Alley Theater! We have a fabulous night of new music to present. Pet Bottle Ningen is an “avant-garde rocketship which journeys through musical worlds of composition featuring four of New York City’s finest young ‘Downtown’ musicians.” Archer Spade is an experimental chamber music duo, featuring trombone and guitar, from Philadelphia. They’ll be joined by Providence projectionist extraordinaire Erik Ruin. D.C.’s Weed Tree (Amanda Huron on drums, Layne Garrett on guitar and percussion) rounds out the evening. 

This show begins at 7:00 PM. $5-$10 sliding scale, all proceeds to touring performers. All ages. All welcome!

Thursday, May 2, 2013: D.C. Moving Pictures presents a special screening of The Cook, the Thief, his Wife and her Lover, at the Back Alley Theater, 7:00 PM!

Thursday, May 2, 2013: D.C. Moving Pictures presents a special screening of The Cook, the Thief, his Wife and her Lover, at the Back Alley Theater, 7:00 PM!





On Thursday, April 13, 2013, Katze, TAPS, Ben Miller/Degeneration, and Insect Factory played the Back Alley Theater.

On Thursday, April 13, 2013, Katze, TAPS, Ben Miller/Degeneration, and Insect Factory played the Back Alley Theater.

Janet Feder and Susan Alcorn at the Back Alley Theater on Friday, June 8, 2012.  With Insect Factory, T.J. Borden and Keir Neuringer. [Photo: David Lobato.]

Janet Feder and Susan Alcorn at the Back Alley Theater on Friday, June 8, 2012.  With Insect Factory, T.J. Borden and Keir Neuringer. [Photo: David Lobato.]

Travis Laplante at the Back Alley Theater on May 19, 2012.  With Peter Evans, OOO, and the Morris, Sebastian and Zook Ensemble.   

Travis Laplante at the Back Alley Theater on May 19, 2012.  With Peter EvansOOO, and the Morris, Sebastian and Zook Ensemble.   

The Morris, Sebastian and Zook Ensemble at the Back Alley Theater on May 19, 2012.  With Peter Evans, Travis Laplante, and OOO.  

The Morris, Sebastian and Zook Ensemble at the Back Alley Theater on May 19, 2012.  With Peter EvansTravis Laplante, and OOO.  

Valerie Kuehne at the Back Alley Theater on April 22, 2012.  With Diamond Terrifier, Patrick Higgins, Joey Molinaro and 36.  [Photo: Paolo Valladolid]

Valerie Kuehne at the Back Alley Theater on April 22, 2012.  With Diamond Terrifier, Patrick Higgins, Joey Molinaro and 36.  [Photo: Paolo Valladolid]

Diamond Terrifier at the Back Alley Theater on April 22, 2012.  With Patrick Higgins, Joey Molinaro, Valerie Kuehne and 36. 

Diamond Terrifier at the Back Alley Theater on April 22, 2012.  With Patrick Higgins, Joey Molinaro, Valerie Kuehne and 36

Susan Alcorn at the Back Alley Theater on April 3, 2012.  With Ember Schrag and Weed Tree.  [Photo: Paolo Valladolid]

Susan Alcorn at the Back Alley Theater on April 3, 2012.  With Ember Schrag and Weed Tree.  [Photo: Paolo Valladolid]

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