TRANSPARENCY SERIES
Loove Annex
238 N. 12 st, Williamsburg, Brooklyn
SUNDAY afternoons
spring 2026
details to come
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multidirectional creative music
A social & musical experiment in the possibilities of consensual self organization.
Transparencies
overlay
rhythmelodic patterns
that can be
recombined
in a decentralized way
though
improvisation and conducted signals.
at Nublu, 5/ 28/25
Eli Asher, Caylie Davis, Thomas Heberer – trumpet // Dick Griffin, Westbrook Johnson – trombone // Paul Austerlitz – bass clarinet // Iván Beremboim – contrabass clarinet // Claire de Brunner – bassoon // Josh Sinton – baritone saxophone // Cheryl Pyle – flutes // Nick Gianni – bass flute // Jason Kao Hwang – violin // James Keepnews, David Sidman – guitar // Evan Palmer – contrabass // Lloyd Haber, Colin Hinton – drums // patrick brennan – composition, conducting, & alto saxophone
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at El Taller Latino Americano’s Music Without Borders, NYC, April 28, 2023. Porteño Refractions/Refracciones porteñas with Ariel Pirotti (Buenos Aires)
Ariel Pirotti, piano * Melanie Dyer, viola * Claire de Brunner, bassoon * Haruna Fukazawa, Cheryl Pyle, flutes & piccolo * Nick Gianni, bass flute, bass clarinet * Jerome Harris, David Sidman, guitar * Michael T.A. Thompson, trap drums * Westbrook Johnson, trombone * Patrick Holmes, clarinet * Eli Asher, trumpet * Ken Filiano, Hilliard Greene, contrabass * patrick brennan, composition, conducting, saxophone.
refracción 1
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experiment:
outcomes of exploration remain open
OR
HOW can the multidimensional
dynamics of polyrhythm
shape & coordinate
intersecting
melodies?
HOW can song language more deeply incorporate drum language?
What kind of compositional interfaces could allow musicians to enter & exit at will?
ALSO
HOW could an ensemble be modularly organized so that no single player has to be there every time?
WHAT kind of interface could be
simple enough
to assimilate
& work with
yet still yield
open ended
variation?
WHAT are some other ways to synthesize
musicians’ independent narratives with
a well coordinated composite sound?
HOW could instrumental tone color — timbre — become more central to ensemble improvisation?
HOW many different ways can the flow of musical information be channeled & redirected during performance?
HOW could a music be organized so that it could travel fairly easily from
place
to
place
&
group
to
group
? ??
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