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Rozanne Levine & Chakra Tuning at CSV Cultural Center, NYC, Mon. Dec. 12

Published:
Rozanne Levine Evolving Music Mondays presents Creative Sounds of Dissension

MONDAY, DECEMBER 12

featuring
ROZANNE LEVINE & CHAKRA TUNING
Rozanne Levine
Rozanne Levine
Rozanne Levine
b.1945
clarinet
—clarinets/bamboo flute
Perry Robinson
Perry Robinson
Perry Robinson
b.1938
clarinet
—clarinets
Mark Whitecage
Mark Whitecage
Mark Whitecage
b.1937
sax, alto
—clarinet/saxophones
Rosi Hertlein—violin/voice

CSV Cultural Center
LES Gallery, 1st floor
107 Suffolk Street (between Rivington & Delancey)
New York, NY 10002

DIRECTIONS:

The CSV Cultural Center is located at 107 Suffolk Street, between Rivington Street and Delancey Street, on the Lower East Side of Manhattan

By train: Take the F train to Delancey Street or J , M , or Z to Essex Street. Walk to Suffolk Street, make a left.

SHOWTIME: 7:30 PM

Also performing that evening:

Phat Chance (8:45 pm)
Vincent Chancey—French Horn
Steve Bloom—Guitar
Jeremy Carlstedt—Drums

TUKOTUKO (10 pm)
Tony Malaby—sax
John Hebert—bass
Gerald Cleaver—drums
Ches Smith—drums

ADMISSION: Tickets : $11 per set / $16 for 2 sets / $20 all night Students/Seniors : $8 per set / $12 for 2 / $18 all night

“Rozanne Levine's Chakra Tuning ... is a ritualistic exploration of space, timbre and communication ... this disc subsumes the clarinetist's delicate weavings of breath, line, voice and gesture into the group's fabric. Even when the foursome surge and pirouette, 'Only Moment' retains an extraordinarily meditative, almost therapeutic quality." —Clifford Allen, Signal to Noise

“It is spiritual music in its essence, but also an adventurous journey into musical form and dialogue, intense at times, then more relaxed and probing, now full of unexpected turns and interactions. All four musicians are excellent instrumentalists and their open dialogue is really worth hearing ... the real joy is in the intimate dialogue between the four musicians." —Stef Gijssels, stef.blogspot.com

“As soon as one spins 'Only Moment...'the room is pervaded by presences resembling spirits of wellbeing. Right away, the clarity of every note played, the consistency of the amalgamation among the musicians and a sense of shared endeavor for the abolishment of narrow-mindedness contribute to a private feeling of enjoyment which is absolutely not based on something “easing the nerves," or plain silly. With each listen we find ourselves perseveringly intent in attempting a veritable penetration of every sound ... The music comes out smoothly and extremely physically at once, influenced by so many things—natural occurrences, bird talking, native Indian chants, theatre—that the tracks might represent different segments of a being's life cycle ... Listening to these artists reveal their fundamental nature through the full command of the instruments is just amazing. All kinds of clarinets, saxophones, ocarinas, bird whistles and percussion are utilized by the nominal leader and her long-time male companions, while Hertlein—a mean violinist—also sings and handles additional percussive chores with the same nimbleness. The artists' technique might be admirable, and indeed it is. But what really wins for me is the sort of opposition to hopelessness that this gorgeous recording generates as early as the circulation of the first notes in the air." —Massimo Ricci, Touching Extremes

“Rozanne Levine and her mates are pure musicians, using nature as a touchstone for their musical debate. ...The three reedists, Levine, Mark Whitecage and Perry Robinson, sound a spirited interplay of voices that, along with violinist/percussionist Rosi Hertlein's foggy mourn and branch-snapping alarms, pulls you deeper into the forest. The cacophony of life only grows in variety and wonder." —Matt Marshall, Jazz Inside Magazine

“The first piece, 'Blues Lullaby in F' is a lovely, somber piece for solo clarinet which I found to be completely sublime. 'Thunder Talks' begins with just subtle percussion, ocarina, voice and other exquisite earthy sounds. It has an organic elegance that I find to be ever so fine, like meditating on the sounds of the forest. On 'Lost Freedoms' we hear a few layers of clarinets that sound orchestral, with superb harmonies. There is a unique blend and sound here that is quite magical. Perhaps it is the subtle electronics that Mark Whitecage employs that makes this so special. Although each clarinet is distinct with its own sound, the combination of three strong players makes this a particularly wonderful tapestry." —Bruce Lee Gallanter, Proprietor, Downtown Music Gallery


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