Photo
of Toshi Makihara (above) by John Berndt. Photos throughout site
by John Berndt, Bob Wagner, and the musicians.
HIGH
ZERO will occur at The American Visionary Art Museum (9PM, sept. 21st),
The Charles Theater (12:30 noon and 9PM Sept 24th), and The 14 Karat Cabaret
(9PM Sept 22nd. and 24th). Tickets are $10.
Performing
in HIGH ZERO this year: Magali Babin (Montreal): objects and transducers
• John Berndt (Baltimore): reeds, electronics, strings • Tom
Boram (Baltimore): guitar, piano, taps • Dave Champion (Philadelphia):
trombone • Vattel Cherry (Baltimore): acoustic bass • James
Coleman (Boston): theremin • John Dierker (Baltimore): reeds •
Bob Falesch (Chicago): keyboards and computer • Neil Feather (Baltimore):
self-made instruments • Carol Genetti (Chicago): voice • Joe
Giardullo (Poughkeepsie): saxophones • Lafayette Gilchrist (Baltimore):
keyboards • Paul Hoskin (Seattle): Reeds • Matt Ingalls (San
Francisco): clarinet • Michael Johnson (Pittsburgh): saxophones and
electronics • Scott Larson (Baltimore): accordion, guitar& electronics
• Eric Leonardson (Chicago): springs & self-built instruments •
Jerry Lim (Baltimore): guitar, Baltimore • Toshi Makihara (Philadelphia):
percussion • Bob Marsh (Chicago): voice, electronics, cello, piano
• Kaffe Mathews (London): transducers and computer • Joe McPhee
(Poughkeepsie): reeds, trumpet • Sean Meehan (New York): percussion
• Ian Nagoski (Philadelphia): electronics • John Oswald (Toronto):
saxophone • David Prentice (Toronto): violin • Catherine Pancake
(Baltimore): drums, dry ice, objects • Greg Pierce (Baltimore): drums,
guitar, saxophones • Julie Pomerleau (Chicago): violin • Evan
Rapport (Baltimore): reeds • Jon Rose (Amsterdam): violin and electronics
Bob Wagner (Baltimore): drums • Jason Willett, anything, Baltimore
• Jack Wright, saxophones, piano, Boulder
We
invite anyone interested in music, experimentation, or improvisation to
attend the 2nd HIGH ZERO festival, September 21st-24th 2000 at a variety
of venues around Baltimore.
The
first High Zero Festival of Experimental Improvised Music, held in Baltimore
September 24-26, 1999, was a small revolution. The festival spanned 3
venues (The Lodge, The Charles Theater and The 14 Kt. Cabaret), with twelve
sets of uncompromising freely improvised experimental music and 28 musicians
from across the country, all playing in new combinations. The
festival sold out in two of its four performances, and the other two were
packed. More importantly, the music was absolutely incredible and wildly
varied, and the ethos of open-ended collaboration between the musicians
felt revolutionary to those who participated. Few, if any, who experienced
it from the audience didn't realize something deeply unusual was happening
in Baltimore. We
would like to thank all who attended and participated. We were overwhelmed
by the response and deeply heartened to discover the level of interest
in such uncompromising work.
