**INSIDE OUT III **
Third iteration of Inside Out, a new series of jazz and improvised music.
8pm – SHROVE
Sam Decker – saxophone, compositions
Michael Sachs – saxophone, clarinet
Dov Manski – piano
Aryeh Kobrinsky – bass
9pm – Shy Bully
Nathaniel Morgan – saxophone
Jaimie Branch – trumpet
Jason Nazary – drums
Ellen O’Meara – synthesizers
Jessica Pavone – bass
Finding its name in the first movement of Stravinsky’s Petroushka, Shrove is an attempt to rethink the connections between folk music, 20th century classical music, and free improvisation. Shying away from the rhythmic and harmonic complexity of modern jazz, Shrove focuses instead on simple melodies evocative of the real or imagined folk songs that many modern composers, Bartok, Stravinsky, and Shorter in particular, used as their material. Simple themes are sharpened and subverted with counterpoint and chromatic harmony, and then enriched with deep and elastic groove. Within the compositions and arrangements Shrove explores the full sonic range of free improvisation in passages that sometimes threaten to swallow up the original material, and other times serve only as a texture.
Shy Bully is the new project of saxophonist and composer Nathaniel Morgan (Buckminster, The Hero of Warchester) with members Jaimie Branch (trumpet), Jason Nazary (drums), Ellen O’Meara (synthesizers), and Jessica Pavone (bass). They will be performing a brand new composition, titled “The Shy Bully,” that is loosely based on two reoccuring images from dreams and their connection or disconnection from each other. One image is a low angle aerial view of a brightly colored suburban home during the midday in an unfinished housing tract in the arid US South West. There are ten foot concrete storm drain pipes being installed. There are no people around. The other is the image of a single grulla horse with minor cuts on its forearms and gaskins being transported by submarine sometime around 1915 off the eastern coast of Turkey. “The Shy Bully,” which leaves room for much improvisation, explores the interpretation of these images and their relationship through six sections that, depending on the performance, may blur into one another.