Crossovers II » Han Bennink, Mary Oliver (Duo ICP), with Mark Dresser
325 15th between J and K
$15.00 and $10.00 students
Parking is easy - on the street and at $3.00 parking lots very nearby.
Han Bennink, drums; Mary Oliver, violin/viola; Mark Dresser, bass (Amsterdam and San Diego)
(The Netherlands), drums
Bennink is an accomplished visual artist whose sculptures appear in galleries and his drawings grace the covers of numerous CDs and LPs, but this is not the reason why he was awarded theEuropean Jazz Prize in 2008. He became Sir Han when he was recently knighted “Ridder in deOrde van Oranje Nassau.” The artistic capabilities of this drummer from the Netherlands are yet further proof of the special sensibilities and creativity that he has demonstrated ever since his earliest days when his first percussion instrument was a kitchen chair. His curiosity regardingsound has led him to engage in successively more exciting explorations with wood and windinstruments and collaborations with other musicians, expanding the jazz context in the direction ofEuropean improvised music. Today more than ever, Bennink thus understands how to swing in thetraditional way and is a master of free improvisation with an exciting propensity to spur on his partners. Following in the footsteps of his prime model Kenny Clark, as well as Sonny Rollins, Eric Dolphy, and Dexter Gordon, he has claimed his place at the drums. Along with Misha Mengelberg, Willem Breuker and Peter Brötzmann, he has played a vital role in the genesis of European free jazz, and through his work with Clusone 3 and his duos, has produced surprising insights into the jazz experience and improvised music. Instant Composers Pool (ICP)– Orchestraalso performs all around the world, which confirms and highlights Bennink's special role as an ambassador for European jazz. A biography about Han Bennink and a film documentary wasreleased in September 2009.
Mary Oliver, violin, viola, and hardanger fiddle, is a performer whose virtuosity spans the worlds of scored and improvised music. Oliver (b. La Jolla, California) completed her studies at the University of California, San Diego where she received her Ph.D for her research in the theory and practice of improvised music. Her doctoral thesis, “Constellations in Play,” identified a newkind of creative discipline, which Oliver has pursued with colleagues locally and around the world. As a soloist, Oliver has performed in numerous international festivals and premiered works by,among others, John Cage, Chaya Czernowin, Brian Ferneyhough, Lou Harrison, Joëlle Léandre, George E. Lewis, Liza Lim, and Iannis Xenakis. She has worked alongside improvising musicians such as Han Bennink, Mark Dresser, Cor Fuhler, Joëlle Leandre, Phil Minton and Alexander von Schlippenbach. Based in Amsterdam, Oliver is a member of the Instant Composers Pool (ICP) Orkest, and a regular collaborator with dancer/choreographer Michael Schumacher. Her currentprojects include two duos: Oliver & Heggen with contrabassist Rozemarie Heggen; and JOMO with cellist Johanna Varner. She is on the faculty at the Hogeschool voor het Kunst Utrechtteaching at the school for Kunst, Media and Technologie.
Mark Dresser is an internationally renowned bass player, improviser, and composer. At the core of his music is an artistic obsession and commitment to expanding the sonic, musical, and expressive possibilities of the contrabass. He has recorded over one hundred thirty CDs and has collaborated with some of the strongest personalities in contemporary music including Anthony Braxton, Ray Anderson, Jane Ira Bloom, Tim Berne, Anthony Davis, Dave Douglas, Osvaldo Golijov, Gerry Hemingway, Bob Osertag, Joe Lovano, Roger Reynolds, Henry Threadgill, Dawn Upshaw, John Zorn. Since 2007 he has been deeply involved in telematic music performance and education. He is Professor of Music at University of California, San Diego. "Calling contrabassist Mark Dresser a virtuoso is like saying Albert Einstein was good at math." Robert Bush in San Diego City Times “Mr. Dresser, a bassist who is one of the great instrumental forces in recent American jazz outside of the mainstream ...” NY Times