Audiograft Festival

April 5th – 9th 2021

I’ll be presenting work with a.hop, a newly-formed international band whose aim is to perform diverse compositions and ideas.

http://www.audiograft.co.uk/

The members are:

Anne-F Jacques
Bonnie Jones
Elizabeth Millar
Liew Niyomkarn
Lynette Quek
Royoko Akama
Suzueri
Valentina Villarroel
Veronica Cerrotta

Aire, metal, saliva y canto: cuatro experimentos con la trompeta

November 28, 2020, 6:00pm

Trio performance with Jacob Wick, Spencer Yeh, Bonnie Jones

Aire, metal, saliva y canto: cuatro experimentos con la trompeta
Ciclo de Trompeta Experimental
Curaduría: Jacob Wick

4ta. Sesión: Bonnie Jones (US), Jacob Wick (US – MX) y C. Spencer Yeh (US)

“No puedes tocar nada en la trompeta que no haya tocado Louis [Armstrong].”
-Miles Davis

La versión moderna de la trompeta con pistones se desarrolla durante el siglo XIX; es contemporánea de la máquina de humo, que utiliza una tecnología parecida. Ignorado por los compositores de música clásica europea, el instrumento se convierte en un componente importante en la música popular estadounidense de principios del siglo XX y gracias al desarrollo de nuevas tecnologías de grabación y nuevas redes de distribución de la música, inunda el mundo de la cultura popular de Estados Unidos. Durante esta época, artistas como Louis Armstrong, Rex Stewart, Cootie Williams, Cat Anderson y Clark Terry utilizaron gruñidos, gritos, deslices de labios, pistones parcialmente presionados, vibratos susurrantes, técnicas de articulación alternativas y más para evitar las limitaciones severas de la escala cromática occidental de 12 tonos y hacer de la trompeta una extensión de la condición humana. Desde entonces, otras y otros trompetistas han extraído alguna de estas técnicas prolongando el vibrato susurrante de Louis Armstrong hacia ráfagas de aire que asemejan sistemas de calefacción, por ejemplo, o elaborando los gruñidos de Cootie Williams hacía bloques densos de ruido blanco.

Siglos de pensamiento colonial y racista nos han condenado a una miopía tragicómica que nos limita a utilizar solamente técnicas ya desarrolladas y prácticas ya elaboradas, a remitirnos a culturas avanzadas y continentes civilizados. Esa miopía nos ha atrapado en un ciclo eterno de contemporaneidad en las artes en el que llevamos más de medio siglo redescubriendo las mismas “novedades” una y otra vez cada cinco o 10 años. En esta serie no vamos a descubrir nuevos sonidos de la trompeta —como dijo Miles Davis, Louis Armstrong ya tocó todo. En vez de ello, ensayaremos un experimento. Durante cuatro conciertos, cuatro agrupaciones de artistas internacionales buscarán algo viejo para utilizar los elementos básicos de la trompeta —aire, metal, saliva y canto– como principios rectores y así recuperar algo de la sensación de intimidad de la música improvisada en vivo a pesar de nuestra condición digital forzada.

dellago.unam.mx/nuevo/evento/aire-metal-saliva-y-canto-cuatro-experimentos-con-la-trompeta-3

insub.distances

October 10, 2020

Rodolphe Loubatière & Bonnie Jones interpret a score by Ryoko Akama.

“Grey (gray)” (2020) __/ A composition by Ryoko Akama (JP/UK)
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Bonnie Jones (US) : electronic
Rodolphe Loubatière (F/CH) : snare drum
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Ryoko Akama’s scores are spaces offered to the musicians, where abstraction takes form. Once again she proposes a reflection on the grey, on the color without colors, on subtle shifts of perception. Bonnie Jones and Rodolphe Loubatière both explore on their own that « hyperspace » born in distance. Through Bonnie’s circuits and wires and on skin surface for Rodolphe, it suddenly shape itself in our ears. This trio manages to balance concept and sensitivity of raw material, in a long electrocoustic-improvisation/music format.

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More : http://insub.org/insub-distances/
HD audio : https://insub.bandcamp.com/
Interview about the piece : https://youtu.be/xYuYlMC9pD0
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Insub.distances – a project by Insub.asso & Insub.records – 2020
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Supported by : Prohelvetia (“Close distance” programm) / Fondation Suisa / Fondation Nicati-De Luze

From september until decembre 2020, INSUB. curates the Insub.distances project. It invited eight composers from the experimental scene to write original scores. These compositions were interpreted by 8 duos of musicians fully separated. The pieces, recorded & filmed, and broadcast online only investigate the issues of proximity and distance in a context where artistic mobility is turned obsolete by the current crisis, highlighting the need to create and exchange, beyond masks and closed borders. The 8 de-materialized performances that will be published one every two weeks, in video & audio formats, alongside interviews in which the musical, technical, contextual and personal aspects of the performers’ work are discussed. This de-materialized proposition explores virtuality as a palliative during the current situation – but also its limits by a crude montage which underlines the separation between the performers. The simplicity of the set-up ultimately reinforces the power of the music : tender and subtle counterpoints are found side by side to interwoven humming voices, explosive bursts, pulsations, meticulous explorations, resonance activations & ethereal harmonies…

10.09 Michael Pisaro-Liu ~ d’incise & Philippe Lauzier
24.09 Annette Schmucki ~ Antoine Läng & Myriam Pruvot
08.10 Ryoko Akama ~ Rodolphe Loubatière & Bonnie Jones
22.10 Jacques Demierre ~ Raphael Ortis & Camille Emaille
05.11 Clara de Asís ~ Violeta Motta & Cristián Alvear
19.11 Christian Wolfarth ~ Alexandra Bellon & Alexis Degrenier
03.12 Sarah Hennies ~ Cyril Bondi & Mike Majkowski
17.12 Jürg Frey ~ Anouck Genthon & Pierre-Yves Martel

Ryoko Akama // Bonnie Jones // Ian Power

February 23, 2020
8:30pm

Red Room
425 E 31st Street, Baltimore, MD 21218
http://redroom.org/

A night of solos and collaborations featuring UK-based composer and performer Ryoko Akama.

RYOKO AKAMA

She works with installations and sounds who approaches listening situations that magnify silence, time and space. Her sculptural work engages with mundane objects and invisible energies such as magnetism and gravity, employing small and fragile objects such as paper balloons and glass bottles in order to create tiny aural and visual occurrences that embody ‘almost nothing’ aesthetics. She also composes text scores and performs a diversity of alternative scores in collaboration with other artists and musicians. She co-curates ame and co-runs the independent publisher mumei publishing and melange edition. Selected installations include: the way they are (Yorkshire Sculpture Park, 2019, UK), composition of happiness (Spanien19C, 2019, Denmark), kosetsu (Stedelijk Museum, 2019, Amsterdam), ploughs and harrows (Konfrontation Festival, 2018, Austria), listening with the city (Internationales Musikinstitut Darmstadt, 2018, Germany), odds and ends (Bunkier Sztuki Gallery, 2018, Poland), loiner or (Industrial Museum of Leeds, 2018, UK), Object Migration (Avant Art Festival + Sanatorium Dź wię ku, 2017, Poland) and 1→ 5 (Uppsala Art Museum, 2016, Sweden)

IAN POWER

I am a composer and I live in Baltimore, Md. I write a discrete, occasionally severe music that takes as its starting point the performers’ relationship to their instruments and craft, as well as their social arrangement on stage. I use clear sounds and elongated repetitions which accumulate into a space of warmth, in which both listener and performer can be made open to and hyper-aware of their environment, and themselves. Born in Rochester, N.Y. in 1984, I studied at UC San Diego and Ithaca College. I received a PhD from Harvard University under Chaya Czernowin. I am currently Assistant Professor and Director of Integrated Arts at the University of Baltimore. I attended classes and workshops at the Brevard Music Center, the Darmstadt New Music Summer Courses, and the Akademie Schloss Solitude in Stuttgart. I have further studied music composition with Steven Takasugi, Robert Morris, John Luther Adams, Dana Wilson, and Antoine Beuger. I occasionally write on music and perform on piano, voice, and various other found object / percussive / improvised instruments.

BONNIE JONES

Baltimore-based electronic musician, member of the Red Room Collective and High Zero Foundation. https://bonnie-jones.com/

PeabodyHacks 2020, Hackathon Workshop

February 1, 2020
11:00am – 1:00pm

DIY Electronic Instruments: An Interactive Workshop w/ Bonnie Jones, TECHNE

TECHNE Co-Founder, Bonnie Jones introduces young students to DIY electronic instruments as part of the PeabodyHacks 2020 Hackathon at Peabody Institute in Baltimore, MD.

Join electronic musician Bonnie Jones for an interactive introduction to DIY electronic instruments! Hands-on fun with homemade contact microphones, photo-oscillator instruments, circuit bent guitar pedals, and more! Explore and collaborate with unusual new electronic sounds!