6–7 July 2018

Nathaniel Mackey and The Creaking Breeze Ensemble

Cafe OTO are proud to present this new and unique collaboration between a seminal award-winning author and five uncompromisingly exploratory artists.

Over two nights Nathaniel Mackey with the Creaking Breeze Ensemble will (re-)enact letters from Mackey’s series of novels From A Broken Bottle… Mysteriously experimental, over these two nights, this project will seek to find a balance on the affective-semantic edge - or fulcrum - of language, sound, group and time. In developing and enacting a performance—balancing on Broken Bottle and elevated on Perfume Traces—the group will go where words don’t and back.

The Creaking Breeze Ensemble are:
Billy Steiger, Evie Ward, Paul Abbott, Seymour Wright and Ute Kangiesser

Nathaniel Mackey

Nathaniel Mackey was born in Miami, Florida, in 1947. He is the author of several books of fiction of “exquisite rhythmic lyricism” (Bookforum), poetry, and criticism and has received many awards for his work, including the National Book Award in poetry for Splay Anthem, the Stephen Henderson Award from the African American Literature and Culture Society, the Bollingen Prize, and the Ruth Lilly Poetry Prize. Mackey is the Reynolds Price Professor of English at Duke University.

Mackey cites poets William Carlos Williams and Amiri Baraka, in addition to jazz musicians John Coltrane and Don Cherry, as early influences in his exploration of how language can be infused and informed by music. In a 2006 interview with Bill Forman forMetroActivemagazine, Mackey addressed the relationship he seeks between music and his own poetry: “I try to cultivate the music of language, which is not just sounds. It’s also meaning and implication. It’s also nuance. It’s also a kind of angular suggestion.”

Mackey is the author of numerous books of poetry, includingNod House(2011), the National Book Award-winningSplay Anthem(2006),Whatsaid Serif(1998), andEroding Witness(1985), which was chosen for the National Poetry Series. He has published several book-length installments of his ongoing prose work,From a Broken Bottle Traces of Perfume Still Emanate, beginning withBedouin Hornbookin 1986. David Hajdu described the prose project as “not simply writing about jazz, but writing as jazz” in a 2008New York Times Book Reviewpiece on the fourth volume in Mackey’s series,Bass Cathedral(2007). Hajdu characterized the movement of language in the volumes as “kinetic and also contemplative, elegiac and mercurial, sometimes volatile.” The first three volumes of Mackey’s series were published together by New Directions in 2010. A recording of Mackey’s workStrick: Song of the Andoumboulou 16-25was released in 1995 by Spoken Engine Company, with musical accompaniment by Royal Hartigan and Hafez Modirzadeh.

Mackey coedited Moment’s Notice(1993) with Art Lange, and American Poetry: The Twentieth Century(2000) with Robert Hass, John Hollander, Carolyn Kizer, and Marjorie Perloff. Mackey has broadcast jazz and world music as a DJ on local noncommercial radio since the late 1970s, an endeavor he describes as similar to that of bringing together journal issues during his long tenure as the editor ofHambone magazine: “You segue, you juxtapose, you mix,” he noted in theMetroActive interview. Mackey’s critical work includesDiscrepant Engagement: Dissonance, Cross-Culturality, and Experimental Writing(1993) andParacritical Hinge: Essays, Talks, Notes, Interviews(2005). His many honors and awards include fellowships from the Guggenheim Foundation and the Foundation for Contemporary Arts; the Roy Harvey Pearce/Archive for New Poetry Prize; and the Stephen Henderson Award from the African American Literature and Culture Society; the 2014 Ruth Lilly Poetry Prize from the Poetry Foundation; and the 2015 Bollingen Prize from Yale University. From 2001 to 2007, he served as a chancellor of the Academy of American Poets.

Mackey taught for many years at the University of California, Santa Cruz and is currently the Reynolds Price Professor of Creative Writing at Duke University.

https://www.ndbooks.com/author/nathaniel-mackey/
http://writing.upenn.edu/pennsound/x/Mackey.php

Bass Cathedral Discography and Mix
https://www.ndbooks.com/article/a-bass-cathedral-discography-and-mix/

Mixcloud: https://www.mixcloud.com/ND_Publishing/bass-cathedral-mix/

Billy Steiger

Billy Steiger was born in Howth on the 16th December, 1986. Now he plays the violin.

“Then he sat down by a pond and began to play a tune. As he played, the most extraordinary thing happened. One by one the fish in the pond began to jump out and fly about in the air. And what is more, they were all different colours and they were singing to the music.”

Patrick, Quentin Blake.

https://billysteiger.bandcamp.com/

Evie Ward

Evie Ward is a poet (b. London, 1993). Her writing addresses synaesthetic response to materials, sound & listening, to technologies of communication the written visual/the written listen, and the statics, tactiles, limits of the written form. She has read-performed internationally and is co-founder of The Experimental Library with Seymour Wright. Among other publications, her poem about the late Cecil Taylor's 'Unit Structures' can be found in Cesura//Acceso journal. Ward is currently studying at The Courtauld Institute of Art, London where she is writing her postgraduate thesis about Moki Cherry’s tapestries.
www.eviescarlettward.com

Evie Ward

Paul Abbott

Paul Abbott

Paul Abbott is an artist and musician based in London, working through questions and feelings connecting music and language: using real and imaginary drums, synthetic sounds, performance and writing.

His current collaborations include XT & lll人 with Seymour Wright and Daichi Yoshikawa, Falls with Keira Greene, ULAPAARC with Cara Tolmie and an ongoing project with Will Holder.  A series of solo performances in Cafe OTO’s project space are documented here. Recent releases include solo's Sphuzo, qno, & Vagus and Pah' (XT), and vjerhanxsk (lll人). He is one of the co-editor’s of Cesura//Acceso and was one of the Sound and Music “Embedded” resident artists at Cafe Oto 2015-2016.

In addition Abbott has collaborated and performed with numerous other artists and musicians, including: Benedict Drew, Pat Thomas, Ute Kanngiesser, Billy Steiger, Bill Orcutt, Danny Haywood, Joel Grip, Brandon La Belle, Eddie Prevost, Steve Noble, Sebastian Lexer, Evan Parker and Otomo Yoshihide.

www.paulabbott.net

Seymour Wright

Seymour Wright lives in London. His practice is about the creative, situated friction of learning, ideas, people and the saxophone – music, history and technique ­– actual and potential. This is an on-going, rigorous and exhaustive exploration of imaginations, instrument, spaces and strucutures. The energy of this learning is applied to various collaborations and contexts to access/share what he has called the ‘awkward wealth of investigation’.

His solo work is documented on three widely acclaimed self-released collections Seymour Wright of Derby (2008), Seymour Writes Back (2015) and Is This Right? (2017).

His current collaborations include: abaria with Ute Kanngiesser; a duet with Crystabel Riley; [Ahmed] with Antonin Gerbal, Joel Grip and Pat Thomas; GUO with Daniel Blumberg; The Experimental Library with Evie Ward; XT with Paul Abbott; lll人 with Daichi Yoshikawa and Paul Abbott, a 'new jazz' trio with John Chantler and Steve Noble; an on-going inter-textual quartet with Paul Abbott, Cara Tolmie and Will Holder; a trans-atlantic duet with Anne Guthrie, and, with Jean-luc Guionnet a project addressing an imaginary lacunae in Aby Warburg's Atlas Mnemosyne. Bits of his writing has been published in C//A, Sound American and The Wire.

www.seymourwright.com

Ute Kanngiesser

“For over 10 years, I have only played unscripted/improvised music. I have experimented with the sound of the cello, limiting myself to the alive material at hand: vast and complicated layers within the instrument and myself; and to let this music evolve continuously in relationship with others. It relates to the process of uncovering an endless multiplicity of coexisting sense perspectives. And it deals with the energy that this gives rise to. For me, it is the most exciting place to play music from.”

www.utekanngiesser.com