Patchwork Collective

Camel Sunday (7.8.07)

Scott — Fri, 06 Jul 2007 20:53:59 +0000

one day after the concert for earth—here comes the real…

Mary Halvorson and Jessica Pavone

with

Judith Berkson

and

Glows in the Dark (arce, burton, clark, pace, ralston)

$5 (super cheap)
ALL AGES!!!
8pm

www.myspace.com/maryandjess
www.myspace.com/judithberkson
www.myspace.com/glowsinthedarkmusic

check the sites to hear the truth.

Ken Vandermark Returns with Tim Daisy

Scott — Tue, 12 Jun 2007 01:52:01 +0000

Scott — Sun, 25 Mar 2007 22:21:06 +0000

A Patchwork April

Scott — Sun, 25 Mar 2007 22:16:08 +0000

Who: Tony Malaby Tuba Trio, with The Great White Jenkins
When: Wednesday 4/11, doors at 7:30pm, show starts at 8:00pm
Where: The Camel, 1621 W Broad St. (804)353-4901
Cost: $10 at the door

Patchwork Collective is proud to present the Tony Malaby Tuba Trio in person for one night only at The Camel. Tony Malaby has been actively writing and performing in New York since the mid-90’s, and leads several diverse musical projects. This group, made of sax, tuba, and drums, promises to be one of the most interesting ensembles yet. Opening the show will be Richmond favorites “The Great White Jenkins.” The blend of creative writing and arranging on display this night will be enough to make a camel cry, and a tuba sing!

Praise for Tony Malaby:
” Mr. Malaby, a powerful and increasingly prominent tenor saxophonist, brings a Spanish tinge to this progressive ensemble.”
-The New York Times

“Tony Malaby is a probing tenor saxophonist who is comfortable with both inside and outside playing. Some of Malaby’s work has been very avant-garde and left of center, although he has had no problem playing more mainstream post-bop.”
-All Music

“Si l’enfer est baigné de cette atmosphère chauffée à blanc, et peuplé de diablotins du même acabit que Tony, Marc et Daniel, il y a fort à parier pour que le paradis ne soit pas là où l’on croit… ” - Citizen Jazz.

Praise for John Hollenbeck:
“Percussionist-composer John Hollenbeck is among the new skinsmen with enough raw skill to make his estimable melodic gifts serve his impeccable timing.” K. Leander Williams - Time Out/NY

“…superb, technically ingenious…,passionate and serious, but also playful and funny…” Douglas Wolk - Village Voice

“…It’s sensitive, thinking music, continually changing shape and texture; Mr. Hollenbeck is an estimable jazz drummer whose goals clearly lie beyond jazz.” Ben Ratliff - New York Times

Praise for Marcus Rojas:
“The tuba was played here with unusual lyrical potency by Marcus Rojas.”
Bernard Holland, THE NEW YORK TIMES

“Marcus Rojas was mind blowing on tuba. His steady bass lines were touched by a fantastic range. …bass lines so down to earth, the worms were diggin it.”-THE PEAK, British Columbia

“…Marcus Rojas, possibly the worlds best all around tuba player.”
-Harvey Pekar

For more information contact Patchwork Collective:
Matt, Chris, Bryan, and Scott
at:
patchworkcollective@gmail.com

Patchwork Community Outreach

Chris — Thu, 08 Feb 2007 15:55:29 +0000

Hello all,

First of all, let us express our thanks to you, the Patchwork community, for making all of our shows such successes. As part of our expanding mission, we will be taking on a slew of community outreach projects. We want and need your help to make these projects as successful as our shows. If you would like to get involved, please shoot us an email (from the contact page above) and we will put you on the extra special community outreach mailing list so you will in the loop with all the news and updates for our latest projects.

Our next adventure will have us manning the phones during the pledge drive at a live TV broadcast for the Community Ideas Station here in Richmond. We need volunteers so if you’re interested, please let us know. Here’s the info.

What: Volunteering at Community Ideas Station
When: Saturday, March 17th 6:45-11pm (dinner catered from 6-8!!!!)
Where: The Community Idea Stations, 23 Sesame Street Richmond, Virginia 23235

If you are interested in this or any of our future projects, write us and let us know.

Thanks,
Bryan and the Patchwork Team

We ain’t frozen! We fresh.

Chris — Tue, 30 Jan 2007 17:30:24 +0000

Alright let me start out by saying that Brian Jones is releasing two new cd’s next week, one of which is his Boots of Leather group, who I am always eager to listen to. This is his group in which he interprets a lot of rock music–I’ve seen them do songs from Velvet U to Elliot Smith to Beck. I think a reason I like this band so much is because as the only “non-jazz guy” in Patchwork Collective, I don’t have the filter of professional training and gigging to sift jazz through. I can recognize talent and appreciate it; I can recognize creativity and appreciate that; I just can’t recognize influences. Honestly I can tell Miles from Coltrane and that’s about it. Boots of Leather is interesting because they allow me to filter the music through my rock background, which is easy and relaxing for me (you could also do this with the Bad Plus or Brad Mehldau, e.g.)

This is one thing you have to love about listening to a style of music you’re unfamiliar with: the judgements you make are a constant struggle against all that you’ve known about music to that point, which can be scary and exciting at the same time! But when you find that one thread of familiarity or personality or creativity that you’ve been looking for, it becomes a jumping point from which you can dive into that song, or that band, or that genre. Velvet Underground as an influence on a jazz band? This is something I can pick up and relate to because when i feel that undertone of rockiness in Boots of Leather’s music, it becomes unbelievably approachable without losing any value whatsoever.

Anyways, the cd is Boots of Leather “Rich Man Poor Man,” and you can go pick it up when Brian Jones Double Quartet performs at ADA Gallery next Wednesday…

Wed Feb 7 2007
8pm-10pm
$5
ADA gallery
226 W. Broad (corner of broad and madison)

brian jones double quartet
jones + caputo (opening set)

Jandek

Matt — Fri, 12 Jan 2007 18:20:48 +0000

We are proud to announce that Beats Ugh Lee and Patchwork Collective will be hosting the inimitable Jandek on March 11 at the Firehouse Theatre. Tickets went on sale this morning at 10:00 on www.ticketalternative.com… Some have described Jandek as the sort of musician who was destined to be a cult phenomenon, though it’s quite remarkable that he’s managed to attract any following at all. Jandek isn’t an artist who has covered his tracks so much as he’s struggled to avoid leaving any — he releases his own albums, he only sells them by mail order, he doesn’t talk to the press, he doesn’t sit for photographs, and the rare few who’ve communicated with him can’t even get him to admit he is Jandek (he prefers to identity himself as “a representative of Corwood Industries,” the name of his self-run record label). This tends to fit the nature of his body of work, which is curious at best, frequently off-putting, and obsessively personal — Jandek’s recordings are dominated by spare, atonal guitar figures, mumbled vocals sometimes punctuated by fevered howls, self-abasing lyrics, minimal chord structures, and chaotic accompaniment (when there is any). However, while Jandek isn’t interested in developing a warm relationship with his audience, his commitment to his muse is impressive — Jandek released more than 45 albums between 1978 and 2006, with no signs that he intends to stop any time in the immediate future. Jandek is believed to be the alias of one Sterling Smith, a resident of Houston, TX, though even this much has never been confirmed by the man from Corwood himself. Jandek’s recording career began in 1978 with the release of an album called Ready for the House credited to the Units, though when it was learned there was already an active group called the Units, the billing was changed to Jandek. The front cover featured an enigmatic photo of a sparsely decorated living room and the back featured only basic information (artist, title, songs, Corwood’s P.O. box in Houston) in black type on a white background. In 1981, a second Jandek album appeared, Six and Six, and the cover followed the same format as the first album except that the front cover featured a grainy snapshot of a blank-faced young man. From this point on, Jandek would release at least one album a year (if not more), each following a similar visual template (with the blank young man often appearing in a variety of guises, leading many to believe it was Jandek himself) and offering more difficult, introspective sounds. While Corwood made no headway into record store distribution, the label would sometimes mail boxes of LPs free of charge to interested parties, and college radio stations and independent music zines were regularly serviced with Jandek’s latest releases, leading to a mild but persistent buzz about the nearly invisible Texan. Over the years, interest in Jandek grew to the point that some listeners wanted to know just who this man really was, through the artist wasn’t giving any clues; in 1999, Texas Monthly reporter Katy Vine spoke with a man from Houston she believed to be Jandek, though he refused to identify himself as such and didn’t wish to discuss Jandek’s music, though he was clearly familiar with it. In 2003, filmmaker Chad Freidrichs released a documentary about the musician, Jandek on Corwood, but while a “representative of Corwood Industries” cooperated with the production, there were no interviews with Jandek or onscreen signs of his active participation. On October 17, 2004, at Glasgow, Scotland’s Instal Festival (an annual event celebrating experimental music), a tall, slender man in a dark grey shirt, black slacks, and a fedora walked onto the stage and began performing with bassist Richard Youngs and drummer Alex Neilson. While the artist was not announced and he was not identified in the program, word quickly spread that Jandek had made his first documented live appearance at the event, which was later confirmed by fellow Instal participants. Corwood later released a live recording of the show, entitled Glasgow Sunday, and since then Jandek has made a handful of live appearances (most of which were announced in advance) in the United States and Europe, suggesting the most enigmatic figure in American music is has developed a new willingness to ever-so-slightly reveal himself to his audience.

June 30. The Camel

Matt — Fri, 12 Jan 2007 18:12:24 +0000

Vandermark and Daisy (2 Sets)
Standards and Practices

I.S.M live at Commercial Taphouse

Chris — Thu, 11 Jan 2007 15:15:35 +0000

What: I.S.M
Where: Commercial Taphouse (111 N. Robinson St. Richmond, VA)
When: Sunday, January 21st at 9pm
How Much: Free Free Free

Bryan Hooten: Trombone/Compositions
Matthew White: Guitar
Cameron Ralston: Basses
Pinson Chanselle: Drums/Percussion

I.S.M is the precocious brainchild Richmond composer and trombonist Bryan Hooten. Featuring all original creations, the music of I.S.M fuses the adventurous spontaneity of jazz and the elaborate architecture of twentieth-century art-music. The fallout from this reaction yields devastating rhythms, melodies that zig instead of zag, and harmonies from the depths of space.

The musicians in I.S.M bring with them their experiences in Fight the Big Bull, The Great White Jenkins, Ilad, Bio Ritmo, and various Patchwork Collective concoctions.

Check out www.myspace.com/hootenmusic for some audio samples.

THURSDAY!

Chris — Wed, 13 Dec 2006 06:13:21 +0000

It’s our next show! Press release to follow…
What: Richmond Turntable Sessions v4.0
Who: Famed Richmond musicians from various scenes playing together!
Where: Gallery5 (200 W Marshall St)
When: December 14th @ 7 (starts at 730)
How much: $7 at the door ($1 off for bringing a can of food, $1 off for wearing a christmas sweater!)

In a season where gift-giving is the norm, Patchwork Collective has put together a little Christmas treat for all of Richmond. Although it comes with out ribbons, it comes with out tags, and it comes without packages, boxes, or bags, Turntable Session v4.0 looks like it’s going to be a humbug-dinger, and we are just pleased as punch with the line-up. Featuring Richmond turntable stalwarts Krames (you’ve seen him at Nanci Raygun and New York Deli sweaty dance parties) and Throdown (last seen with us in the Black Orchestra!), turntable sessions exist as a way to visualize the turntable as more than just a backbeat.

To prove this to you, we have created Richmond’s Turntable Sessions, an idea originally conceived of by Billy Martin of Medeski Martin and Wood up in good ol’ NYC. The clock is set for 10 minutes. A DJ and 2 or 3 musicians are allowed that amount of time to create whatever type of song they can. People clap. The line up changes and all is repeated. I’m telling you, man, it’s a recipe for fun.

Musicians this installment are some of the best we’ve had yet. Members of Tulsa Drone, The Silent Type, Caustic Castle, Yo Mamma’s Brass Band, Fight the Big Bull, Devil’s Workshop, Patchworkestra, and Mao Amore will be on hand to perform in this one, with isntruments ranging from guitar to saxophone to hammered dulcimer to the turntable itself.

In a further act of Christmas Spirit, any and all who come to the show wearing a Christmas sweater will receive $1 off the door price. More importantly, any and all who come to the show bringing a can of food for the homeless will receive an additional $1 off the door price! It’s almost like Patchwork is paying you to get into the Christmas spirit–and why shouldn’t we? Patchwork loves a cheerful giver!