Friday, September 19, 2014

GASP Records releases Neil Leonard's "For Kounellis" - CD featuring saxophone and live electronics


 

"Mr. Leonard creates a haunting, rhythmic, chantlike score, secular spiritual music for a New World. After leaving the gallery I kept hearing it, with delight, in my head, on the street, all afternoon."Holland Cotter, New York Times, October 2013

GASP Records announces the release of For Kounellis, an extraordinary CD that features meditative, evocative electronic music created for a performance on Mount Vesuvius, Naples. The music draws on Leonard’s association with top-shelf artists including Marshall Allen, Joanne Brackeen, Don Byron, Richard Devine, Bill Frisell, Vijay Iyer, Rudresh Mahanthappa, Phill Niblock, Robin Rimbaud aka Scanner and Evan Ziporyn. Leonard's exciting and unconventional work is known widely through three decades of collaborations with visual artists featured by the Museum of Modern Art, Guggenheim Museum, Whitney Museum and Venice Biennale.

For Kounellis is a meditative, evocative electronic work featuring samples from Jannis Kounellis' sculpture, voice, live electronics and soprano saxophone. The sounds are based on Kounellis' untitled installation comprising 23 large church bells that Leonard recorded at the environmental sculpture park, La Marrana di Montemarcello in Italy. "The bells appear to spiral out from a cylindrical chamber rooted in the Earth’s core. I was struck by the intensity of this chorus of silent tongues, facing the sky and projecting a colossal resonance that is felt but is not heard. Like Kounellis’ inverted bells, Vesuvius’ mouth is a sonic hallmark of local history. Both face the sky, and suggest a tremendous capacity to transform the environment."
A highlight of the CD is the voice of local Vesuvian singer Alessia de Capua. “I processed and wove her voice thick choral textures that are intended to have the haunting, ancient quality suggested by both Kounellis installation of silent bells and the ominous volcano on which we premiered the piece. Alessia was new to this work but she instinctively knew how to create the atmosphere needed. Her voice became the sound of her native Vesuvian landscape.” The results are a unique combination of processed sound and acoustic performance that defies categorization.
The music was performed at Music Acoustica in Beijing, China; Nuits Sonores Festival in Lyon, France; and Museo Nacional de Bellas Artes, Havana, Cuba before this studio realization. For Kounellis, is available on CD for the first time here. The CD’s single track, For Kounellis creates an episodic journey that segues from ethereal resonance of processed bells, enchanting choral textures, slow paced hypnotic grooves and searing soprano saxophone solos creating a new music for 21st century listeners.







GASP Records releases Neil Leonard "Mil Maneras" - EP featuring Oren Fader performing works for guitar and electronics


"Mr. Leonard creates a haunting, rhythmic, chantlike score, secular spiritual music for a New World. After leaving the gallery I kept hearing it, with delight, in my head, on the street, all afternoon."
Holland Cotter, New York Times, October 2013

GASP Records announces the release of Mil Maneras by composer/electronic musician Neil Leonard. This extraordinary EP features hypnotic grooves, ethereal electronic sounds and performances by virtuoso guitarist Oren Fader. The music draws on Leonard’s association with top-shelf artists including Marshall Allen, Joanne Brackeen, Don Byron, Richard Devine, Bill Frisell, Vijay Iyer, Rudresh Mahanthappa, Phill Niblock, Robin Rimbaud aka Scanner and Evan Ziporyn.

Mil Maneras showcases the work that Leonard developed when he broke with musical convention and began collaborating with visual artists thirty years ago. These pieces are known widely through exhibitions and performances at the Museum of Modern Art, Whitney Museum, Guggenheim Museum and Venice Biennale.

The title track Mil Maneras was created for a mixed media installation with artist Maria Magdalena Campos-Pons for the Dak’Art Biennial of Contemporary African Art where the sound was heard in an abandon textile factory. “The atmospheric beginning has no rhythm, melody or harmony, just clouds of ethereal sound that evoke the ghosts for workers past. The groove that follows alludes to the perpetual rhythm of the factory full of machines pulling in threads and spinning out fabric displaying striking Senegalese designs.”

Interiority is a highly evocative miniature suite created for a permanent installation on an Italian mountaintop. The work comprises a nocturnal experience in which visitors encounter a constellation of orbs that display video imagery, project electronic sound and reveal illuminated inscriptions. “The sound is inspired by paintings in the Etruscan necropolis in Tarquinia where frescos depict the afterlife as a vibrant and seductive continuation of our present existence. I created subtle and varied sonic textures to maintain the allure for the local population who will experience the piece for years to come."

Mil Maneras concludes with the blast-furnace strength performance by Oren Fader on Vitrales. “The piece combines the montunos and drumming of timba bands that I heard in Cuba with extended approaches to jazz composition introduced to me by George Russell. Parts of the piece were drafted using computer programs that I designed but the final version was made by hand, often with the guitar in my lap to feel how fingers dance.” Vitrales creates a mosaic of unique rhythms, intricate counterpoint and shimmering harmonies to create a new music for 21st Century listeners.









Wednesday, March 26, 2014

Juan Blanco: Nuestro Tiemo reviewed in Musicworks



Great to see this review of my CD with Juan Blanco in Muscworks. "I admit that my first close encounter with Nuestro Tiempo was akin to stumbling upon an alien spacecraft (with vintage gear percolating inside) … Beam me up, Blanco."

Friday, July 5, 2013

From Granma, Cuba's daily newspaper


A recent article from Il Corriere della Umbria

























A recent article from Il Corriere della Umbria on a concert with Alessandro Petrolati, Carlo Fatigoni and the Urbino Laptop Orchestra

Tuesday, June 11, 2013

Reviews of 53+1=54+1=55.Letter of the Year

I am pleased to share reviews of 53+1=54+1=55.Letter of the Year in following publications:


New York TimesArt News
BBC
Granma
Sapodeo Tropozo
UNDO
The Culture Trip

María Magdalena Campos-Pons & Neil Leonard

53+1=54+1=55.Letter of the Year
A multimedia sculptural installation

55th Venice Biennale
Museum of Archeology, Piazza San Marco, Venice
The Cuba Republic Pavilion, La Perversion de lo Clasico: Anarquia de los Relatos.
June 1 - Nov 24, 2013

Monday, June 10, 2013

53+1=54+1=55.Letter of the Year




















María Magdalena Campos-Pons & Neil Leonard

53+1=54+1=55.Letter of the Year
A multimedia sculptural installation

55th Venice Biennale
Museum of Archeology, Piazza San Marco, Venice
The Cuba Republic Pavilion, La Perversion de lo Clasico: Anarquia de los Relatos.

June 1 - Nov 24, 2013
Opening: May 31, 2013, 5:00 pm

53+1=54+1=55.Letter of the Year is a multimedia installation about home, migration, the necessity of finding and redefining the meaning of permanency and locality. Birdcages were used by emperors and common men to capture beauty and to dream of freedom. From Yoruba deities, to Leonardo da Vinci, to space travel today, men and women have always dreamed of flight as embodying a lightness of being.

The interviews in the birdcages document the reconstruction of a dialogue between Cuban residents and their family members who live abroad, and the transformative power of this exchange. The sonic environment is complemented by recordings of street criers, known as pregoneros, a reflection of the increased liberalization of small businesses that exists within a void of corporate control. The voices in the cages elude physical, political and cultural borders in contemporary society. The small videos featured inside the cages were conceived as a performative response to the historical weight of the exhibition site.

The installation is a construct of architecture and sound, old and new, evoking a country that is evolving. And, like birds, people keep singing their songs of hope and freedom.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

María Magdalena Campos-Pons & Neil Leonard

53+1=54+1=55.Letter of the Year
A multimedia sculptural installation

55esima Biennale di Venezia
Museuo Archeologico, Piazza San Marco, Venezia
Padiglione della Repubblica Cubana, La Perversion de lo Clasico: Anarquia de los Relatos.

Dal 1 Giugno al 24 Novembre 2013

Opening: 31 Maggio 2013, h 17:00


Il progetto 53+1=54+1=55.Letter of the Year consiste in un'installazione multimediale incentrata sui temi dell'appartenenza e la lontananza da ciò che chiamiamo "casa", sulla necessità di trovare e ridefinire il significato della permanenza e della propria posizione nel mondo. Le gabbie per uccelli furono usate da imperatori e da persone comuni, per catturare la bellezza e sognare la libertà, dalle divinità Yoruba a Leonardo Da Vinci, l'uomo ha sempre sognato di volare, il volo stesso rappresenta l'incarnazione della libertà totale dell'essere.

Nell'opera 53+1=54+1=55.Letter of the Year le video-interviste all'interno delle gabbie documentano la ricostruzione del dialogo tra residenti cubani e i loro familiari all'estero, lasciando trasparire la forza che questo scambio rinnovato porta con sè. Nella componente sonora dell'opera sono rintracciabili le registrazioni dei Pregoneros venditori di strada, la cui presenza è un riflesso della crescente liberalizzazione dei piccoli mercati che esistono indipendentemente dal vuoto lasciato da grandi organizzazioni. Le voci registrate nei video ci parlano superando le barriere fisiche, politiche e culturali della società contemporanea. La componente video del progetto à stata concepita come una risposta performativa all'importanza storica del luogo espositivo.

L'installazione si compone quindi di elementi architettonici e sonori, alla ricerca di un proprio equilibrio tra storia e contemporaneità, evocando la vita di un paese in continua evoluzione. E, come uccelli liberi sulle loro ali, uomini e donne continuano a cantare la loro canzone di speranza e libertà.

Sguardi Sonori 2013


Saturday, May 18, 2013

La perversión de lo Clásico: anarquía de los relatos (The perversion of classics: The anarchy of narrations)















La perversión de lo Clásico: anarquía de los relatos (The perversion of classics: The anarchy of narrations)

I am honored to present work in the Cuban Pavilion of the Venice Biennale along with: Rui Chafes, Pedro Costa, Glenda León, María Magdalena Campos-Pons & Neil Leonard, Francesca Leone, H.H. Lim, Liudmila & Nelson, Hermann Nitsch, Sandra Ramos, Lázaro Saavedra, Tonel, Gilberto Zorio, Wang Du.

Project

53+1=54+1=55/ Letter of the Year
A multimedia video sound sculptural installation
Maria Magdalena Campos-Pons
Neil Leonard
Museum of Archelogy Piazza de San Marco Venice
Republic of Cuba Pavilion opening: May 31, 2013, 5:00 pm

Campos-Pons’ work is a site- specific installation Project 53+1=54+1=55/ Letter of the Year. Conceived in collaboration with musician and composer Neil Leonard, this multimedia installation consists of the massive structure of birdcages. The work presents a parallel to the grid of architecture and sound, old and new, always in motion, so typical of Cuban cities but also the cities around the world. The birdcages are used as metaphorical vessels to capture dreams. Inside of them there is an accumulation of fact data and fragmented video narratives played on numerous monitors, creating the mixture of sounds and images of urban Cuba, as the country evolves and the basic diversity of discourse changes in a dramatic and even theatrical way on the island, as well as in perceptions of the island from abroad.

For 53+1=54+1=55. Letter of the Year, Leonard utilizes the sound of Cuban street criers to create a sonic map constructed of voices from the island. This antiphonal map is suggestive of innovations carried out in Basilica San Marco, directly across from the Cuban pavilion, where 16th century composers began using site-specific placement of instruments and voice in their musical scores for the first time in Europe. Leonard investigates how in both present day Havana and 16th century Venice, antiphony emerged as a keynote sound that was intertwined with artistic and social transformation.

Previews/Reviews:

http://theculturetrip.com/caribbean/cuba/articles/classic-tales-of-distortion-cuba-at-the-venice-biennale/

http://blog.uprising-art.com/interview-exclusive-maria-magdalena-campos-pons-neil-leonard/?lang=en

http://www.artsobserver.com/2012/06/20/havana-biennial-exhibitions-at-wifredo-lam-center/

Tuesday, May 7, 2013

La perversión de lo Clásico: anarquía de los relatos (The perversion of classics: The anarchy of narrations)



























After 27 years of working with Cuban artists in the US and on the island, I am honored to be invited to present work in the Cuban Pavilion of the Venice Biennale along with: Rui Chafes, Pedro Costa, Glenda León, María Magdalena Campos-Pons & Neil Leonard, Francesca Leone, H.H. Lim, Liudmila & Nelson, Hermann Nitsch, Sandra Ramos, Lázaro Saavedra, Tonel, Gilberto Zorio, Wang Du.

Monday, April 1, 2013

Concert with Jamaaladeen Tacuma and Co at Outpost 186


Jamaaladeen Tacuma electric bassist , composer and music producer joins Ornette Coleman’s Prime time alum, Berklee School and Boston based veterans of the Free Improvisational Music Scene for a session at Outpost 186. OUTPOST 186 is a new arts, media and performance space at 186 1/2 Hampshire Street in Inman Square, Cambridge. This summit is not to be missed!

JAMAALADEEN TACUMA - ELECTRIC BASS
Dave Bryant - keyboards
Neil Leonard - saxophones
Tom Hall - saxophones
Chris Bowman - drums

Cecil Taylor on Jamaaladeen Tacuma:

I'll tell you an interesting guy that I heard, was a man named James Carter. The night before, I spent with [members of Carter's current electric band, drummer] Calvin [Weston] and Jamaladeen [Tacuma, electric bassist]. And the next night I go into practice, and in walks James Carter. So I ask him, he talked about his control over his instrument and he went into [talking about] Eric Dolphy. And I asked him what he thought about Anthony Braxton's music, and he dropped his head and said, "What can you say?"

 So I said to him, "One courtesy deserves another. I'll be there tonight when you play," and lemme tell you! I'm backstage, and that band starts, and Jamaladeen and Calvin... you know there's a difference between the blues and rhythm and blues, and man, when that band started, the intensity of the new rhythm and blues that they played! Carter is off stage, and when he walked in he stunned me with what he do! Know what he did? He made one harmonic sound, [imitating] eeerrrrrrrrgh, and then he walked off the fucking stage! And he comes back and makes another sound. Now, when he starts playing, when he was confronted, when he had to deal with that rhythm and blues shit, it wasn't about notes. And when James did this obbligato, man, it wasn't just technical, it was passionate! So James, at the end of that first number came and gave us his theme that demonstrated all of his control, and it was something.

 This is where I almost cried. He starts a piece, alone, and he's got a sense of humor, and he knew he had the audience, and he started playing "Good Morning Heartache". Gross, I was almost reduced to tears by what he did. I thought of Charlie Gayle, and he gave us that, but he also gave us Don Byas, and then he played softly, and went into a bossa nova...

 When he walked off, I'm standing there mesmerized, and he sees me and comes over and I say, "Hey, give me some more of that shit!" [laughs] I gotta hear that band again, cause man, the music is alive!

Cecil Taylor, 2001

Sunday, March 17, 2013

Venice Biennale: Cuba Pavilion










CUBA PAVILION

La Perversión de lo clásico: Anarquía de los relatos (La Perversione della classicità: Anarchia delle narrazioni)

Liudmila and Nelson, Maria Magdalena Campos and Neil Leonard, Sandra Ramos, Glenda Leon, Lazaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone

Commissioner: Miria Vicini. Curators: Jorge Fernandez Torres, Giacomo Zaza. Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17

SOUNDSHAPES at Berklee College of Music

SOUNDSHAPES, a diverse collection of new multimedia pieces that seeks to bring the multimedia work to the chamber music idiom.  Using a variety of mediums, approaches and techniques, music and visuals will be an integral part of each composition. Compositions by Ramon Castillo, Anthony Paul de Ritis, Kari Juusela, Dawn Kramer, Neil Leonard, John Mallia, Margaret McAllister, Stan Strickland. Composers will be performing their own work. Also performing: Peter Cokkinias, bass clarinet, Richard Boulanger, QuNeo, voice,Lin Zhantao, erhu. Wednesday, March 27th, 7:30pm, David Friend Recital Hall, Berklee College Music, 921 Bolyston St. Boston. Admission Free. 

Sunday, March 10, 2013

Three days of concerts with Phill Niblock



























Everybody’s Mind to be Blown


This Sunday, Phill Niblock, OG avant-garde composer, will come to Middlebury with Neil Leonard, a sax player who does some crazy microtonal stuff, and blow everybody’s mind. This is unlike most things that happen here on campus, so if you need some refreshing from your routine (who am I kidding, of course you do) come get your mind expanded.

7:00pm   Introduction by Florian Hecker 
7:30pm   Performance: Two Lips                   
8:00pm   Book Signing & Reception
Join us for the launch of Working Title, a monograph on the avant-garde musician, filmmaker, and performer Phill Niblock. Written in both French and English, it provides an in-depth look at Niblock’s musical and cinematographic work, as well as historical background, philosophical insights, and technical advice. The book is accompanied by two double-sided DVDs of atypical videos: Remo Osaka, a continuation of The Movement of People Working series; Anecdotes from Childhood; and Katherine Liberovskaya’s 70 for 70 (+1), Seventy (one) Sides of Phill NiblockRead more about Working Title
The evening includes screenings of Anecdotes, Remo Osaka, and 70 for 70 (+1), and a live performance of Two Lips, a piece written by Niblock and recorded in 2011 by three different guitar quartets. At MIT, Two Lips will be played by students from the Berklee Interdisciplinary Arts Institute under the direction of Neil Leonard: Yun Yun Huang, Andrew Ikenberry, Jason Lim, Aseem Suri, and William Wingnall. The performance will be followed by a book signing reception.
Phill Niblock is a New York-based minimalist composer, multi-media musician, and filmmaker, as well as the director of the Experimental Intermedia Foundation, an intermedia arts collective founded in the late 1960s in New York. Full Biography
This project is presented in collaboration with the MIT List Visual Arts Center.

Monday, February 11, 2013

Spring 2013 Events

Hello friends and listeners,

Here is a quick look at events coming up this spring. As details continue emerge, I plan to update this note and share other imminent developments.

Cheers, Neil

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Thursday, February 28, 2013 at 7:00pm
Neil Leonard, solo saxophone/electronics/video
Jewett Art Gallery
Wellesley College
106 Central Street
Wellesley, MA, 02481
Free and open to the public

Thursday, March 7 – Friday, March 8, 2013
Artists & The Future Conference
Featuring Neil Leonard and Maria Magdalena Campos-Pons duscussing their work in the Havana Biennial
Massachusetts Institute of Technology
Wiesner Building (E15-001), Bartos Theater
20 Ames Street
Cambridge, MA
http://www.artistsincontext.org/index.php/connected-a-consequential/national-conference.html

Saturday, March 9, 2013
Middlebury College
Music of Phill Niblock
Neil Leonard, saxophones
Time/Location TBA

March 9-10, 2013
Deciphering Identity exhibition
Featuring BIAI/SMFA/BAI students collaborations
Jewett Art Gallery
Wellesley College
106 Central Street
Wellesley, MA, 02481
Gallery Hours: Weekdays 9am-5pm, Weekends 12-5pm
Free and open to the public

Tuesday, March 12, 2013, 7:00-9:00pm
Presentation of "Working Title," a monograph on the avant-garde musician, filmmaker, and performer Phill Niblock
Featuring BIAI students perform work by Niblock
Massachusetts Institute of Technology
Wiesner Building, ACT Cube (E15-001/lower level)
20 Ames Street,
Free and open to the public
http://act.mit.edu/projects-and-events/events/public-programs/working-title-a-phill-niblock-book-launch/

Thursday, March 14, 2013
Film Screening "Detras Del Muro"
Featuring Maria Magdalena Campos-Pons and Neil Leonard's work in the Havana Biennial
Le Festival International du Film sur l'art (FIFA)
Montreal, Canada
Time/Location TBA
http://www.artfifa.com

Saturday, March 16, 2013
BIAI student perform original work celebrating the inauguration of "Traffic" George Greenamyer's final permanent public art commission
Roslindale Square
Time/Location TBA
http://www.boston.com/yourtown/news/roslindale/2012/01/roslindale_public_art_installa.html

Wednesday, March 27, 2013 at 7:30pm
Sound Shapes
Compositions for interactive multimedia by Berklee faculty
Berklee College of Music
David Friend Recital Hall
921 Boylston Street
Boston, MA, 02115
Free and open to the public

Saturday, March 30, 2013 from 10:00am to 04:00pm
BIAI/Concord Academy student music/dance/video work-in-progress
Dance/staging directed by Richard Colton, Music directed by Neil Leonard
Institute of Contemporary Art
100 Northern Ave
Boston, MA
http://www.icaboston.org/visit/

Wednesday, April 3, 2013 at 8:00pm
The Art of the Improvisers series
Concert by works by Neil Leonard (saxophone/electronics) and Robin Eubanks (trombone/electronics)
MIT Hayden Library Building
Killian Hall (Rm. 14W-111)
160 Memorial Drive
Cambridge, MA
Free and open to the public

Thursday-Saturday April 25-27, 2013
BIAI/Concord Academy student music/dance/video tour-de-fource performance
Dance/staging directed by Richard Colton, Music directed by Neil Leonard
Directed by Richard Colton
Concord Academy
Details TBA

Saturday, June 1 - Sunday, November 24, 2013
55 Venice Biennial: "The Encyclopedic Palace"
Cuban pavilion of Venice Biennial
Featuring work by Maria Magdalena Campos-Pons and Neil Leonard
http://www.labiennale.org

June, 2013
Collaborative performance with Mike Ladd/Pierce Warnecke
Lyon, France
Time/Location TBA


Friday, October 26, 2012

Berklee Interdisciplinary Arts Institute concert/clinic by Phill Niblcok























Berklee Interdisciplinary Arts Institute presents a concert of works by
Phill Niblock
Friday, October 26, 2012 - 8:00PM
Berklee College of Music
Electronic Production and Design Recital Hall
22 Fenway, Room 112 - Admission: Free!

Featuring: Fahrenheit 402 Ensemble, Barbara LaFitte, Director
Andrew Bustamante , flute; Barbara LaFitte, oboe; Neil Leonard, clarinet; Coral Hernandez, violin; Max Wolpert, violin; Bebe Kim, violin; Beltran Del Campo, viola; Roman Soto, cello; Samuel Clark McHale, cello; Julian Lenz, cello; Aleida Bautista, trombone; Zachary Lucia, piano

BIAI Electric Ebow Guitar Ensemble, Neil Leonard, Director
Jason Lim, Andrew Ikenberry, Garrett Frierson

"Phill Niblock's music and films are concerned with detail and simplicity . . . dense, imposing sound mass . . . Sum and difference tones pile up until they sound like an orchestra of voices . . . one listens first to one level of detail, then to another, only gradually learning to hear everything at once." 
Robert Palmer, New York Times

This event is sponsored by Berkee Interdisciplinary Arts Institute, Berklee Contemporary Chamber Ensemble, Electronic Production and Design Department.

Berklee Interdisciplinary Arts Institue lecture by Dayara Roque


Monday, September 24, 2012

Notes for the FEFA performance at the Havana Biennial

















Neil Leonard
Notes for the spoken introduction to FEFA performance/installation and Pregonero Competition

Havana Bienial
Wilfredo Lam Center
May 11, 2012

To celebrate the inauguration of the Bienial of Havana, the presentaion of FEFA, and the pregoneros of Cuba we have prepared a unique event for this opening.

When Magda asked me to design sound for the installation FEFA, I thought to use what for me was the most striking sound of urban life in Cuba, the pregonero. The pregoneros first caught my attention last year sitting on the patio in Matanzas where I witnessed pregoneros selling everything from bread and onions to poison to kill bugs or your mother-in-law. In the early morning and later afternoon the street was transformed into a spontaneous Mozart-like opera 'buffa' or comic opera.

In the installation FEFA you hear not only the ambient electronic composition that I developed through years of collaborating with Magdalena on films, videos, installations and performances, but in addition, you hear recorded voices of four pregoneros from Ciego de Ávila who sell garlic, bread, flowers, honey and buy gold.

Upon finishing this work, I realized that the first Cuban song that I can remember hearing US was the Manisero recorded by Louis Armstrong in 1930. As a young boy growing up in the US, before I knew that Cuba existed, I discovered my father's 78 recording of Manisero and delighted in Armstrong playing the role of "The Peanut Vendor." So for Armstrong too, an essential sound of our neighboring island was the pregonero.

The pregonero is not only a keynote sound in Cuba, but at the pinnacle of the art market in the US, at art auction houses such as Christie's and Sotheby's, where a painting sells for as much as for $120 million dollars, the auctioneer, much like a pregonero has to convince, charm, and close the deal.

Here today in FEFA we are celebrating artisan of the spoken word. We have invited a group of 15 pregoneros to compete in the first competition of the pregonero. The pregoneros will perform in the top balcony, first individually so you can hear their pregones and then they will descend into the courtyard where you are encouraged to buy their wares. After the performance, a jury will select winners in three categories: the most musical pregon, the most poetic pregon and the pregon that features the most innovative marketing of FEFA.

The jury for the Pregonero Competition is comprised of Enmanuel Blanco, Director of the Laboratorio Nacional de Musica Electronica de Cuba, an organization that for years has programmed cutting-edge art, music and performance, including large scale works by Maestro Manuel Mendive and composer Juan Piñera, both presenting work in this Biennial. Feliciano Arango, the inventor of timba bass and for the past 8 years director of Los Hermanos Arango, a group from Guanabacoa that performs authentic afrocuban folkloric music with contemporary arrangements for that leave the original chants and rhythms in tact. Eugenio Arango, percussionist for Los Hermanos Arangos and teacher of Afrocuban percusssion and Cristina Arango, vocalist for Los Hermanos Arangos.

Before beginning the competition Maria Magdalena Campos-Pons (FEFA) will come share a few words with us.

Thank you.

Monday, May 7, 2012

Installation/performance with street vendors and "Premio de Pregonero." If you are in Havana stop by to check out a performance with some amazing folkloric spoken word artists.

Programación Oncena Bienal de La Habana: Viernes 11 de mayo

Inauguración de espacio expositivo/ 12:00m
Patricia Villalobos, Nury González, Jorge Pardo, Carlos Garaicoa, María Magdalena Campos-Neil Leonard, Craig Shillito

“FeFa” (competencia de pregones). María Magdalena Campos-Neil Leonard.

Centro de Arte Contemporáneo Wifredo Lam. 
San Ignacio 22 esq. Empedrado. Plaza de la Catedral.
Tel. 861-2096

Wednesday, January 18, 2012

LOS HERMANOS ARANGOS - DIRECT FROM HAVANA



LOS HERMANOS ARANGO - DIRECT FROM HAVANA
Tuesday, February 21, 2012, 8:15 PM
Berklee Performance Center

Los Hermanos Arango is an ensemble from Guanabacoa, Cuba where Yoruba, Abakua and other West African traditions are preserved in their most authentic form in the Americas. The Arangos are the only Cuban band to use completely unaltered Afrocuban ritual voice/hand drumming as the basis for a modern repertoire that integrates electric bass, keyboards, brass/winds (no drumset). Leaders, Feliciano and Eugenio Arango are the top-call percussionist/bassist in Cuba and toured with Chucho Valdes, Afrocuban All-Stars, N.G. La Banda, Pablo Milanes, Emiliano Salvador. 

Los Hermanos Arango is led by Feliciano Arango, who was mentored by seminal Cuban bassist Orlando 'Cachaito' Lopez and toured with seminal pianist/composer Emiliano Salvador. Arango was the founding bassist for N.G. La Banda, who he played with for 15 years. With N.G. La Banda, Arango developed a new style of Cuban dance music called 'timba'. He was responsible for leading Cuban bassist into a new approach to bass that greatly enhanced the melodic, percussive overall sound of the instrument in Cuban music. 

Ticket: $8 in advance, $12 the day of show. 
Berklee Students get four free tickets prior to day of show, and up to four $4 tickets on the day of show. 

Berklee Performance Center
136 Massachusetts Avenue
Boston MA 02115
http://www.berkleebpc.com/
617 747-2261
The Berklee Performance Center is easily accessible by public transportation, with parking available in neighboring garages.