Friday 10 March 2017, 7.30pm
Delighted to host a two-day residency from singular multidisciplinary artist, Graham Lambkin. Formerly of The Shadow Ring and founder of the Kye label, Lambkin's work remains boundlessly uncategorisable and this should be an unmissable couple of nights.
“One gets the sense that Graham Lambkin sees the world through a very peculiar lens. His observations on the mundane are often startling, though rarely far-fetched. William Burroughs said of Denton Welch that Welch “makes the reader aware of the magic that is right under his eyes,” and the same could be said of Lambkin. He looks at an everyday object and sees an ocean of possibility.” – BOMB Magazine
“His work teases the fragile threads connecting the psychotic, the absurd and the mundane, often bringing them to the point of near ruination.” – Mark Harwood, from the forward to ‘Millows’.
Graham Lambkin is a multidisciplinary artist based in Upstate New York, who first came to prominence in the early 90′s through the formation of his music group The Shadow Ring. Combining a D.I.Y. post-punk ethic with folk music, cracked electronics, and surreal wordplay, The Shadow Ring created a unique hybrid sound that set them apart from their peers and continues to show as an influence today.
Following the dissolution of The Shadow Ring Lambkin embarked on a series of striking and highly original solo releases, including Salmon Run (2007) and Amateur Doubles (2012), a critically acclaimed trilogy with experimental tape musician Jason Lescalleet: The Breadwinner (2007), Air Supply (2010) and Photographs (2013), and Making A (2013) a collaboration with renowned table-top guitarist and founding member of the AMM group, Keith Rowe. His latest release, Schwarze Riesenfalter sees Lambkin paired with Wandelweiser composer Michael Pisaro in a musical reimagining for the texts of Georg Trakl.
Lambkin also curates the Kye label, which, since it's conception in 2001 has published audio work by contemporary artists such as Vanessa Rossetto, Malcolm Goldstein, and Joe McPhee, as well as archival collections from the likes of Henning Christiansen, Moniek Darge and Anton Heyboer.
Lambkin’s reputation as a visual artist came into focus during the 1990′s, designing record sleeves, t-shirts, posters/flyers for a slew of underground labels and bands including The Dead C, Harry Pussy, and Double Leopards. His playful combination of figurative and abstract elements lend Lambkin’s work a jarring, dreamlike quality, placing childlike totems against a darker adult undercurrent. Five books of Lambkin’s art/text have been published to date: Unfocused Hands (2004), Dumb Answer To Miracles (2009), Dripping Junk (2010) Millows (2012), and most recently Came To Call Mine (2014) a sumptuous collection of illutration and prose for children. To date Lambkin has had his artwork exhibited in three solo shows: Came To Mine at Audio Visual Arts, NYC (2014), Marble On The Rot, at 356 Mission Gallery, Los Angeles (2015), and most recently Moon blows close at Kunstlerhaus Stuttgart, Germany.
Lambkin is has just released his fifth solo LP/2CD Community (Kye / Erstwhile) this Oct, and is working on a collaborative project with Tokyo-based conceptual artist Taku Unami for 2017.
Since his emergence on the creative jazz and new music scene in the late ‘60s and early ‘70s, Joe McPhee has been a deeply emotional composer, improviser, and multi-instrumentalist, as well as a thoughtful conceptualist and theoretician.
McPhee’s first recordings as leader appeared on the CjR label, founded in 1969 by painter Craig Johnson . These include Underground Railroad by the Joe McPhee Quartet in 1969, Nation Time by Joe McPhee in 1970, and Trinity by Joe McPhee, Harold E. Smith and Mike Kull in 1971.
By 1974, Swiss entrepreneur Werner X. Uehlinger had become aware of McPhee’s recordings and unreleased tapes. Uehlinger was so impressed that he decided to form the Hat Hut label as a vehicle to release McPhee’s work. The label’s first LP was Black Magic Man, which had been recorded by McPhee in 1970. Black Magic Man was followed by The Willisau Concert and the landmark solo recording Tenor, released by Hat Hut in 1976. The earliest recordings by McPhee are often informed by the revolutionary movements of the late ‘60s and early ‘70s; for example, Nation Time is a tribute to poet Amiri Baraka and Joe McPhee & Survival Unit II at WBAI’s Free Music Store, 1971 (finally released as a Hat Art CD in 1996) is a sometimes anguished post-Coltrane cry for freedom.
During the 1990’s, McPhee finally began to attract wider attention from the North American creative jazz community. He has since been performing and recording prodigiously as both leader and collaborator, appearing on such labels as CIMP, Okkadisk, Music & Arts, and Victo. In 1996, 20 years after Tenor, Hatology released As Serious As Your Life, another solo recording (this time featuring McPhee performing on various instruments). McPhee also began a fruitful relationship with Chicago reedman Ken Vandermark , engaging in a set of improvisational dialogues with Vandermark and bassist Kent Kessler on the 1998 Okkadisk CD A Meeting in Chicago. The Vandermark connection also led to McPhee’s appearance on the Peter BrotzmanChicagoOctet/Tentet three-CD box set released by Okkadisk that same year. As the 1990s drew to a close, McPhee discovered two like-minded improvisers in bassist Dominic Duval and drummer Jay Rosen- TRIO X.
"He is a stellar improviser, relishing his sound materials so caringly and for so long, the kind of player that invites you to really step outside of whatever mix you're and think and feel for a while." Hank Shteamer, Dark Forces Swing Blind Punches
Hazzari are the duo of Mark Harwood and Lia Mazzari.