Wednesday, August 31, 2011
Memories of the WTC on the Tenth Anniversary of 9/11
Sunday, August 14, 2011
A Report on the Dissident Arts Festival 2011 from Inside
THE ART OF REVOLUTION:
A Report on the Dissident Arts Festival 2011 from Inside
by John Pietaro, August 14, 2011
The Sunday morning rain still taps away at my window as I sit contemplating the radical sounds and visions still ringing within. Gray skies today are no match for the leftover vibrancy from last night; just put on accent on the left.
While this was the sixth Dissident Arts Festival, and the second in Manhattan, its gathering seemed decidedly new and brash. Beyond the walls of Greenwich Village’s Brecht Forum stood a city filled with economic uncertainty. Police barricades along West Street could not contain the striking Communications Workers and Electrical Workers who were staring down monopoly capital just a few blocks away, in the shadow of where the World Trade Center once stood. Grifters, grafters and stray teabaggers haunt the outer edges of major media, straw polls and even our home turf seeking blame and profit in all the wrong places. These are tenuous times, times that cry out for an infusion of inspiration and expression.
In 2006 the Dissident Arts Festival came to be in light of and in spite of the Bush Administration. That first year we offered a forum up in Beacon NY for cultural workers of every stripe to sing, to orate, to recite and improvise, and the people came. Pete Seeger and Malachy McCourt (then running on the Green ticket in the NYS governor’s race) were among the best-known names but every performer and speaker carried the weight of establish the nation’s only annual protest arts festival. In the years that followed, the Beacon-based event offered tributes to Paul Robeson and Woody Guthrie, Bertolt Brecht and Phil Ochs, spoke out against war and corruption, talked about social change and social ills and acted as a sounding board for that Hudson Valley community and the friends who traveled far and wide to be a part it-- for at least one day.
In 2010, when my wife and musical partner Laurie Towers and I moved back to Brooklyn after living up in Beacon for several years, the Festival of course followed. Last year was the Fest’s Manhattan debut and what better place than the Brecht Forum. We had a good turn-out and some amazing performers and the strong desire for serious, serious growth. Planning this year’s Fest began almost a year ago. Poet Steve Bloom came aboard and agreed to stand as Poetry Director, which took a load off of me and allowed me to focus on organizing the other aspects of the event. I saw the potential for Festival 2011 and by working closely with many performers and the good folks at the Brecht Forum, we now have good evidence of the power of the arts as a weapon of social change….
The Dissident Arts Festival 2011 began, fittingly enough, with a screening of the incredible film ‘SALT OF THE EARTH’. Conceived and directed by Hollywood 10 member Herbert Bieberman, the story concerns a real-life strike by a local of the International Mine, Mill and Smelter Workers, CIO—a radical union led by Communist Party members which defended the rights of miners and mill workers with a thoroughly egalitarian approach; many of its members were Mexican immigrants and the union fought hard for true equality in the workplace.
Bieberman, under brutal attack by HUAC, reached out to writer Michael Wilson, also a blacklistee, to create the framework for the miners’ story. Paul Jarrico, yes another blacklisted film artist, served as producer and the three brought several professional actors down to a site in New Mexico to begin filming with a cast made up largely of the miners and their families. No major studio would touch it and the film workers unions (SAG, IATSE, DGA) forbade their members from any involvement. Will Geer, who’d been a close associate of the CP and a loud activist for years already, knew he was walking the blacklist line but saw the need to become a part of this and signed on to play the sheriff (he must’ve eaten this up as he rarely if ever played villains). Mexican-born actor Rosaura Revueltas played the powerful lead role up until just before filming ended and she was forcibly deported by a frightened government hell-bent on ceasing production. The film only survived by being smuggled out of the state and finalized in post-production in secrecy.
Yesterday’s screening of ‘SALT OF THE EARTH’ served to inspire the Festival house. With so much attention on the strength of solidarity, if time had allowed I would have gotten some workers from the Verizon strike to come out and speak as well! But we were able to persuade the brilliant film maker KEVIN KEATING to become a part of the Fest for a second year in a row. Keating, who’d been cinematographer of ‘Harlan County USA’ and directed his own ‘Giuliani Time’, focused his discussion not so much on the art but the action----he offered even some burnt-out activists a new spark as he threaded together the visions of a 1950s multi-cultural, gender-equal strike with global rise-ups happening around the world right now.
The concert began in the 6 o’clock hour with THE GWEN LASTER ENSEMBLE (Gwen - violin/piano/voice, Monet-flute, Gary Fitz-percussion) working in tandem with a short indie film, ‘Divine Sparks’, by Imogene Drummond, about the transformative power of creativity. The Ensemble’s ethereal soundscapes and discordant New Music blended beautifully with the film’s imagery and narration and the audience seemed deeply embedded in it.
As the evening progressed, the music, true to form, traded the spotlight happily with poetry. STEVE BLOOM took the mic for the first time of the eve to not only introduce this segment but shared some of his own moving works with us. Steve’s poetry seems to easily straddle the styles of proletarian literature and daring spoken work of today. He was heard later in the evening too, always inspiring others to take pen to paper in a conscious attempt to change the world with poetry. He then brought out MARY ELLEN SANGER to recite her own socially-conscious pieces, some of which were based on her time living in Oaxaca, Mexico and incorporate both English and Spanish-language phrases. Mary Ellen too made more than one appearance over the course of the evening, greatly appreciated by this crowd hungry for wisdom between verses, activism in each phrase.
JUDY GORMAN has been a welcome presence at rallies for many years, sharing her music and insight with activist-audiences in several countries. She was also a wonderful presence at that very first Dissident Arts Fest in 2006 and made a huge impact at this one too. Judy taps into the folksong library but adds new spins to sacred protest standards that shake the cobwebs off and bring the audience together in rhythm. Her version of the Almanac Singers’ “Talking Union” bridges rap with old talking blues and her take on Woody’s “I Ain’t Got No Home” brought Guthrie to Joni Mitchell!
UPSURGE! came all the way from San Francisco to bring the crowd to its feet. Led by jazz poets Raymond Nat Turner and Zigi Lowenberg, the ensemble presented a finely confounded emulsion of modern jazz and spoken word, at once recalling the Beat poets, John Coltrane, Gill Scott-Heron and Amiri Baraka. The end result could serve to bring the Hip Hop generation straight to jazz! They have performed their call-to-arms smorgasbord of sound at multiple progressive gatherings in recent years and if they can arrange to travel across country each summer, they’d be a welcome part of future Dissident Arts Festivals. Ensemble members included Tony Jones on tenor saxophone, Rudi Mwongozi on piano, Bryce Sebastian on upright bass and Larry Johnson on drums (a very hip shining kit of Gretsch drums, I might add).
Next up was poet and singer-songwriter JACKIE SHEELER who performed two of her punk-influenced politically adept acoustic-guitar driven songs and then an expressive poem about aging in our society. Jackie notably wears her heart on her sleeve and her colorfully radical tattoos and mode of dress gave the Fest a much-needed punk jolt; we need to bring on more vestiges of the punk rock movement which also remains near to my own hear---I was happy to offer Jackie some percussion accompaniment on one of her more rhythmic songs. It’s not hard to hear the echoes of Patti Smith and CBGB in her performance.
THE NYC METRO RAGING GRANNIES filled the stage area next and taking it with a vengeance! This gathering of radical ‘women of a certain age’ included Corrine Willinger, Mercy Van Vleck and Sunny Armer, among a bunch of others and leader/accompanist Pamela Drake on guitar. The women brandished ‘Union Now!’ signs and sang several pieces which often newly radicalized old, formerly trusted melodies, to the delight of all. No, there was no need for polite patronizing: these ladies sang with verve and a strong sense of harmony all the while displaying their flowered bonnets!
Spoken word artist SARA GOUDARZI came on next. Originally from Tehran, Sara’s works included pieces about her childhood in Iran and offered a gentle but firm insight into the struggles of the Middle East and her people on these shores. Never raising her voice above a soft, conversational tone (she didn’t need to), the poet offered some wonderful examples of why she’s been so widely published.
My new band RADIO NOIR enjoyed its debut performance this night as well. Radio Noir plays what I like to call ‘Art Deco-damaged protest song’ or perhaps ‘1930s-tinged avant jazz’. In any event the line-up includes a wonderful young clarinetist Quincy Saul (a protégé of Fred Ho and increasingly busy musician, activist and author in his own right), Javier Hernandez-Miyares on electric guitar (Javier is a director at the 17 Frost performance space in Williamsburg, a producer, and prolific guitarist whom I first worked with over 25 years ago) and my much better half, Laurie Towers on electric bass (Laurie’s take on the bass guitar is akin to that of a lead guitarist in most settings, easily bridging jazz with R&B and rock). Radio Noir affords me the opportunity to feature my main instrument, the xylophone, one that is often completely overlooked in jazz music post-1935! I play xylophone with 4 mallets, something usually seen only with vibraphone and marimba, moving between the role of soloist and accompanist. To wonderful response, we performed Brecht/Eisler’s “Song of the United Front” (I also sang a couple of verses), an original modernist blues called “Langston”, a rather spacious take on Woody Guthrie’s “Pastures of Plenty”, a free improv over Hanns Eisler’s statement against HUAC (“Fantasia in G-Men”) and closed with a unique reading of the standard “Temptation”.
DAVE LIPPMAN, celebrated political satirist, had the audience in stitches as he portrayed the ‘Bard of Bankers’ and tore a new one for the transglobal capitalists and lost tea party minions equally. His punchy, comedic songs called attention to so many issues in such rapid succession that I lost count. Basking in the glow of his Bush-inspired, insipid characters, Lippman laughs at the conservative heartland even as he looks deep into the core of us all. As he set out to do, he kept the Festival “fairly unbalanced” in the best possible way.
The celebrated activist poet ANGELO VERGA offered the final spoken word performance and as always his was a powerful note to close that genre on. Angelo founded the ‘3 Poets 4 Peace’ in anticipation of the Iraq war and has been a presence in progressive and/or literary circles for many years. In his works, one can find a vision of life in New York that brings to mind the great Gotham writers of decades passed even as he conjures the state of affairs in today’s news. The lineage of John Reed, Mike Gold and Langston Hughes is well preserved in Angelo and many of the poets heard at this year’s Festival.
The Fest closed out with an aural eruption, the post-modern jazz ensemble SECRET ARCHITECTURE. I encountered this group, in their full quintet line-up, performing at Roulette for a special celebration of John Cage’s Musicircus about 3 months ago and immediately approached leaders Zach Mangan (drumkit) and Fraser Campbell (tenor saxophone). Last night they appeared as a whirlwind of a trio, with bassist Julian Smith, making up for lost sounds without ever breaking a sweat. A monstrously creative, communicative band, they use no written music, relying instead on previously composed vignettes that are masterfully woven together with musical cues and the occasional bit of eye contact. Drummer Zangan’s blurring chops, agitated ghost notes and penchant for tribal rhythms wrapped around Smith’s bold, barking and sliding bass lines and together they provided a brilliant foundation for the tenor of Campbell. The three successfully called on the Coltrane’s inspiration but one undoubtedly heard the 1960s Sonny Rollins trio in there and the spirit of jazz tomorrow! I sat listening but always in anticipation of another gig in which I would love to see this band paired with my own.
Perhaps the revolution may not be televised but one can easily imagine fomenting rage and action with the combined forces of dissentful free jazz, revolutionary word, angry ballads, radical modernist harmonies, dissident dance and theatre, realist and surrealist film and the model of a century of revolutionary cultural workers who came before us to try to change the world. In paraphrase of a Brecht piece, ‘Daily Worker’ journalist and noted proletarian novelist Mike Gold wrote a column for many years which called on artists to take to the barricades in the social struggles of his day; he entitled his column “Change the World—It Needs It” . As much as it needed it then, the world desperately needs radical change today. Now. We are on the verge of a new agitation, a new awakening, a new inspiration that cultural workers must embrace and grow if we are to ever have the organization---the large majority of progressives---to take leadership and truly change the world. And no movement for such change has ever been sustained in the absence of revolutionary art. Dissident Art.
Wednesday, August 10, 2011
Dissident Arts Festival Celebrates the Radical Left (from "Downtown Express")
From "Downtown Express", "The Villager" and "The East Villager" newspapers, New York City:
Dissident Arts Festival celebrates the radical Left
BY LILY BOUVIER | “The arts are a weapon for social change!” — urges Lower Manhattan’s “Dissident Arts Festival.” In the name of social justice, dissidents and cultural workers will gather for this evening of progressive poetry, music and film — in celebration of radical Left culture (and in solidarity with the struggles of workers and the globally oppressed).
This year’s sixth annual festival will begin with a screening of long-blacklisted labor film “Salt of the Earth” (followed by discussion by film artist Kevin Keating). Then, musical performances from radical poetry/jazz ensemble Upsurge!, post-modern jazz band Secret Architecture, 1930s-meets-contemporary-improv band Radio Noir, jazz violinist and vocalist Gwen Laster, singer/songwriter Judy Gorman and labor/peace choir The NYC Metro Ragin’ Grannies. Political satirist Dave Lippman and poets Steve Bloom, Jackie Sheeler, Angelo Verga, Rashidah Ismaili, Robert Gibbons and Sara Goudarzi will also take the stage. Folk-protest songs, improvisation and contemporary composition will tear down boundaries and bend rules — calling dissidents to take action.
At the Brecht Forum, center of Left education and culture (451 West St., btw. Bank & Bethune Sts.). Aug. 13, 4-11pm. Sliding scale admission: $6/$10/$15 (free for Brecht Forum subscribers). For info and a schedule of events, call 212-242-4201 or visit brechtforum.org.
Shortlink:
Saturday, July 9, 2011
The Who, What and Where of THE DISSIDENT ARTS FESTIVAL

Regular readers of this blog will by now recognize the name of the festival I founded in 2006. Below is a detailed account of this year's Dissident Arts excursion....
August 13, 4PM - 11PM The Brecht Forum 451 West Street (between Bank and Bethune streets), New York NY 212-242-4201 www.brechtforum.org
Producer/Organizer – John Pietaro, Poetry Director- Steve Bloom
New York, NY: In the midst of reactionary fear-mongering, ongoing war, rising unemployment and a right-wing assault on organized labor, progressive artists speak out for social justice. The Dissident Arts Festival, now in its sixth year, is a platform for cultural workers to create, sing, recite, improvise, act and orate against war and inequity and in honor of the struggle of workers and the globally oppressed. Event organizer John Pietaro, a cultural and labor organizer, is proud to present the Dissident Arts Festival in conjunction with the Brecht Forum.
San Francisco’s radical poetry/jazz ensemble UPSURGE!
Explosive post-modern jazz SECRET ARCHITECTURE
Art Deco-damaged protest music RADIO NOIR
Jazz violinist/vocalist GWEN LASTER and her ensemble
Topical singer/songwriter JUDY GORMAN
Political satirist DAVE LIPPMAN
Labor/peace choir THE NYC METRO RAGING GRANNIES
And Poets STEVE BLOOM, JACKIE SHEELER, ANGELO VERGA, MARY ELLEN SANGER, ROBERT GIBBONS, SARA GOUDARZI
Now a Manhattan mainstay, the Dissident Arts Festival was founded in upstate NY in 2006 with a primary goal of establishing an annual showcase of politically progressive music, poetry and performance art---perhaps the only such vehicle in the nation. This Festival has sought to bring together a wide variety of sounds and styles, tearing down boundaries, bending rules and infusing the arts with the strongest, most radical activism, where folk-protest song meets free improvisation and contemporary composition. Featured among our past performers and speakers were actor/raconteur Malachy McCourt, folk legend Pete Seeger, poet Louis Reyes Rivera, revolutionary hip hop group ReadNex Poetry Squad, protest/garage band The Last Internationale, labor luminary Henry Foner, topical singer Bev Grant, ‘anti-folk’ singer Lach, jazz artist Ben Barson and filmmaker Kevin Keating (“Giuliani Time”). And we presented tributes to Woody Guthrie, Paul Robeson, Bertolt Brecht and Phil Ochs along the way. As of 2010, the Festival became affiliated with NYC’s Brecht Forum, a center of Left education and culture which has proven itself the perfect host of the Dissident Arts Festival. This year, Dissident Arts focuses on the improvisational and modernist heart of Protest Music while also featuring topical folk/acoustic performance, radical film and revolutionary poetry.
-Gwen Laster: jazz violinist/vocalist; ensemble TBA. Gwen Laster performs and records internationally with a wide variety of artists in the jazz, concert, popular, avant garde and multi-cultural music genres. Artists she has worked with include Shakira (Obama inaugural concert), Alicia Keys, Rhianna, Leroy Jenkins, Anthony Braxton, Joe Giardullo, Shaggy, Aretha Franklin, Joss Stone and Haitian vocalist Emeline Michel. Her chamber and orchestral work includes Sphinx Symphony Orchestra, Harlem Symphony Orchestra, Brooklyn Philharmonic, Sugar Hill Classical Band and The Braxton Opera "Shala". Laster has released two compact discs as a leader; she is currently recording "The Gameboard", based on the readings of Steve Rother's book "Re-member” and inspired by Eastern Philosophy. For more info see www.gwenlaster.com
-Steve Bloom: poet Steve is a long-time social activist and poet who lives in Brooklyn, NY. His work has been published extensively in both print and on-line journals. He has been a featured poet at readings as far away as Bakersfield, California. Steve is founder and host of the Activist Poets' Roundtable in New York City and today serves as Poetry Director of the Dissident Arts Festival. “Steve Bloom is a poet worth listening to”—Dennis Brutus, South African poet and political activist. Be sure to stop by www.stevebloompoetry.com for more on Steve
-Judy Gorman: acoustic topical singer/songwriter Judy performs in clubs, festivals, universities, peace & social justice events in over ten countries & forty-nine of these United States and has been on programs with Ani DiFranco, the Indigo Girls, Moby, Richie Havens, Sweet Honey in the Rock, Pete Seeger, Suzanne Vega, Whoopi Goldberg, James Earl Jones, Odetta, Susan Sarandon, and was a featured performer on the very first Dissident Arts Festival in 2006. She recently released THE RISING OF US ALL - 18 songs of peace & justice, women & work, struggle and celebration. This follows her disc, ANALOG GIRL IN A DIGITAL WORLD. "Her rich throaty vocals are as affecting as her thoughtful, often political lyrics” – ‘Ms. Magazine’. For more info see www.cdbaby.com/judygorman
-Mary Ellen Sanger: poet Mary Ellen lived for 17 years in Mexico, and has published short stories and poems in Spanish and English in several Mexican journals, including Luna Zeta and Zocalo. She has published poetry, essays, and stories in online venues, including Poets Against the War, Mexconnect, Mexico Files, and r.kv.ry. Her essay “A Grammar of Place” was anthologized in Mexico, a Love Story. She is currently writing a collection of short stories inspired by the women of Ixcotel State Penitentiary in Oaxaca, Mexico where she spent thirty-three days and nights falsely imprisoned in the fall of 2003. Stories from the collection have appeared in CrossBronx and J Journal, New Writing on Justice (from the John Jay College of Criminal Justice).
-NYC Metro Raging Grannies: labor/anti-war choir The Raging Grannies are an international coalition comprised of local and regional groups of mature women who sing parodies set to familiar tunes to promote peace, justice, human rights and a green planet. The New York City Metro gaggle features Corinne Willinger, Mercy Van Vlack and Sunny Armer and is accompanied by Pamela Drake on guitar.
-Jackie Sheeler: poet/singer/songwriter Award-winning poet and songwriter, Jackie has two CDs and three books under her belt so far. Her most recent collection, “Earthquake Came to Harlem,” was published by NY Quarterly Books in 2010; a CD of original songs is coming out this fall. An occasional blogger and card-carrying activist, Jackie enjoys committing random acts of kindness and random acts of righteous indignation in equal measure. Find out more: http://jackiesheeler.com
-Upsurge!: San Francisco’s radical jazz and poetry ensemble Zigi Lowenberg- JazzPoetry Vocals/Raymond Nat Turner- JazzPoetry Vocals/Tony Jones- tenor saxophone/ Rudi Mwongozi- piano/Bryce Sebastian- bass/Larry Johnson- drums
UpSurge! is a free-pushing jazz band with two strong poets out front, Raymond Nat Turner and Zigi Lowenberg, who chant, shout, sing, whisper, dance and speak their message. Combining poetry and jazz, male and female, Los Angeles and New York, Jewish and African-American, UpSurge! crosses boundaries, twists expectations, moves minds, and incites action while always holding true to the rhythm. The ensemble opened the historic rally in October 2001 at Oakland City Hall in support of then embattled Congresswoman Barbara Lee after her courageous, lone vote against invading Afghanistan along with Danny Glover, Alice Walker, Ishmael Reed. From a flatbed truck in March 2003 they kicked off the march from Mosswood Park to protest the U.S. invasion of Iraq. The radical repertoire of UpSurge! includes new takes on Jazz standards, folk songs and classic JazzPoetry works. "Tough fun" - Holly Near. www.wireonfire.com/upsurge
-Sara Goudarzi : poet New York City writer and performer of poetry, Sara was born in Tehran and grew up in Iran, Kenya, and the U.S. Her writing has appeared in The Adirondack Review, National Geographic News, The Christian Science Monitor, and Drunken Boat, among others. She is the founder and co-editor of /One/ The Journal of Literature, Art and Ideas. Her CD, Oryan, Selected Poems of Baba Taher, in collaboration with Kees van den Doel, is available on CD Baby. Sara also teaches writing at NYU and is working on a first novel. Her website: www.saragoudarzi.com.
-Radio Noir: Art Deco-damaged protest music
John Pietaro-Xylophone, Voice/Quincy Saul-Clarinet/Javier Miyares-Electric Guitar/Laurie Towers-Electric Bass
Radio Radio Noir will offer their debut performance at this year’s Dissident Arts Festival. The ensemble reflects the fervent radicalism and sounds of the 1930s even as it embraces the ethics of downtown newmusic.
---Xylophonist John Pietaro’s work reflects the xylophone soloists of the 1920s and a century of rogue percussionists and revolutionary composers, and is driven by protest songs, out jazz, punk rock and Marxism. He has performed with Alan Ginsberg, Fred Ho, Pete Seeger, the Flames of Discontent, others and writes widely for the Left press and his own blog. He works professionally in the labor movement.
---Clarinetist Quincy Saul , is a performer and social activist immersed in a radical vision of his instrument even as he reaches into its rich jazz heritage. He is a member of Scientific Soul Sessions in Harlem, a research associate for the ecosocialist journal 'Capitalism Nature Socialism', and a writer with a blog at www.smashthisscreen.blogstpot.com. A student of Fred Ho, Quincy performs throughout the NY area.
---Guitarist Javier Miyares-Hernandez is a performer, composer and producer. Currently he is the creative director of 17 Frost Theater Of The Arts in Williamsburg Brooklyn, and performs with Sineparade, The Phonometricians On Cosmic Fire, and Radio Noir. Visit: www.javiermiyares.com for more information
---Bassist Laurie Towers, a featured soloist with the Flames of Discontent, embraces traditions for the electric bass in jazz, R&B, and rock and has forged a ‘lead bass’ style which is reflective of her influences Carol Kaye, James Jamerson, Jaco Pastorious and Charlie Haden. Towers is a feminist, an activist and an entrepreneur and has served as a mentor to at-risk girls and victims of domestic violence.
-Robert Gibbons: poet Robert is a writer living in New York City. He has published in the recent edition of ‘the Uphook Anthology’. In addition, Mr. Gibbons has published in ‘the Palm Beach Post’ and ‘the Riverdale Press’. A performance poet, he has performed all over New York City including the Cornelia Street Cafe, Small's Jazz Night Club, and Nightingales.
-Dave Lippman & Bard of the Bankers: progressive satirist To keep the festival fairly unbalanced, Dave Lippman will present Wild Bill Bailout, the Bard of the Bankers. Lippman is widely known on many coasts and in some interiors for his sharp send-ups of topical subjects ranging from weapons of mass distraction to SUVs and the wars to defend them. He has toured widely in the United States, Europe, Australia, and war-zones of Central America in a 35-year musical career. Ex-CIA agent John Stockwell declared Lippman prescient for writing a song about the Grenada "rescue" a year before it happened; Lippman declared it manifest destiny, based on the size of the island. For all this and more be sure to see http://davelippman.com
-Angelo Verga: poet Angelo is a poet, teacher, editor, manuscript doctor and curator of innumerable literary events. His sixth collection, Praise for What Remains (Three Rooms Press, 2009), is a long poem set in the crooked footpaths of lower Manhattan. He has been widely published and anthologized, and translated into a dozen languages. His earlier publications include 33 New York City Poems (Booklyn, 2005), 3 Poets 4 Peace (Against The Tide, 2003), A Hurricane Is (Jane Street, 2002), The Six O’clock News (Wind, 1999) and Across The Street from Lincoln Hospital (New School, 1995)
-Secret Architecture: post-modern jazz on the edge
Fraser Campbell – Saxophone/JJ Byars – Saxophone/Julian Smith – Bass/Zach Mangan – Drums
Secret Architecture is a creative improvisational Jazz group co founded by Fraser Campbell (Perth) and Zach Mangan (USA). Since meeting at Berklee College of Music and forming the group in 2006, they have performed successfully in many diverse and creative venues including Ibeam, Roulette, Rochester Art Center and The Cedar Cultural Center , tours of Scotland and live air-shots on BBC radio have created a notable stir for the group in Europe; they will be returning to the continent later this year. Meanwhile back in NY they hold a weekly residence at Caffe Vivaldi, one of New York City’s premier jazz venues. Secret Architecture is a “Working Group” completely free of sheet music and playing with total group interplay. The group have developed their own unique voice with an eclectic range of musical influences ranging from the likes of Ornette Coleman, Olivier Messiaen and Bjork. Don’t forget to visit: http://secretarchitecture.com
In the midst of reactionary fear-mongering, ongoing war, rising unemployment and a right-wing assault on organized labor, revolutionary artists speak out for social justice. The Dissident Arts Festival, now in its sixth year, is a platform for cultural workers to create, sing, recite, improvise, act and orate against war and inequity and in honor of the struggle of workers and the globally oppressed.
Festival Poetry Director/Host: Steve Bloom The Dissident Arts Festival is co-produced with the Brecht Forum
We’d like to thank all of the revolutionary cultural workers whose presence makes this event possible --as well as all of those who came before us to inspire generations of radical activists to take a stand for humanity, peace and a better world. The battle for social justice without the artists is stripped of its soul.
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