'THE ISLE'
WORKS BY CAROLINE SHAW and MARY LATTIMORE
FEATURING SPECIAL GUEST ENSEMBLE
ROOMFUL OF TEETH
TUESDAY, JANUARY 30, 2024 | 8PM
FRANKIE (300 S MISSION RD, LOS ANGELES, 90033)
FRANKIE (300 S MISSION RD, LOS ANGELES, 90033)
ROOMFUL OF TEETH
TICKETS:
$10 (STUDENTS) / $25 (GENERAL) / $50 (PATRONS)
If ticket prices present an obstacle for you, please contact us and we will be happy to add you to the wait list for this concert.
PROGRAM
Mary LATTIMORE - Selections TBD [15’] // (MARY LATTIMORE, solo harp)
Caroline SHAW - The Isle (2023) [20’] * // (ROOMFUL OF TEETH, performers)
-
Mary LATTIMORE - Selections TBD [15’] // (MARY LATTIMORE, solo harp)
Caroline SHAW - Partita (2009-2012) [25’] // (ROOMFUL OF TEETH, performers)
* Los Angeles premiere
Mary LATTIMORE - Selections TBD [15’] // (MARY LATTIMORE, solo harp)
Caroline SHAW - The Isle (2023) [20’] * // (ROOMFUL OF TEETH, performers)
-
Mary LATTIMORE - Selections TBD [15’] // (MARY LATTIMORE, solo harp)
Caroline SHAW - Partita (2009-2012) [25’] // (ROOMFUL OF TEETH, performers)
* Los Angeles premiere
ROOMFUL OF TEETH
|
Estelí Gomez, voice
Martha Cluver, voice Caroline Shaw, voice |
Virginia Kelsey, voice
Steven Bradshaw, voice Jodie Landau, voice |
Thann Scoggin, voice
Cameron Beauchamp, voice * Randall Squires, audio engineer |
and MARY LATTIMORE, solo harp
* Artistic Director of ROOMFUL OF TEETH
READ MORE ABOUT THE ARTISTS:
CAROLINE SHAW, COMPOSER and VOCALIST
|
MARY LATTIMORE, COMPOSER and HARPIST
|
PERFORMER and COMPOSER BIOS:
ROOMFUL OF TEETH:
Roomful of Teeth is a Grammy-winning vocal band dedicated to reimagining the expressive potential of the human voice. By engaging collaboratively with artists, thinkers, and community leaders from around the world, the group seeks to uplift and amplify voices old and new while creating and performing meaningful and adventurous music.
Founded in 2009 by Brad Wells, the band was incubated at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts, where members studied with some of the world’s most extraordinary singers and teachers. Through experimentation, exploration, and plenty of failures, the group learned that the boundaries of the human voice are never what they seem, that rules can be bent, even broken, and perhaps they should be.
Through their unique collaborative process, Roomful of Teeth has worked with many of today’s most compelling musical creators to build a significant and continuously growing repertoire. They have collaborated with a wide range of artists and ensembles spanning genres and art forms.
As the world rapidly changes, Roomful of Teeth is cultivating deeper relationships with technology, continuing to explore and expand the artistic reach of the human voice. They are excited about new collaborative projects focused on stories of place, home, and community in diverse environments around the world. They explore, learn, and collaborate with passionate curiosity, contagious enthusiasm, and deep gratitude.
Founded in 2009 by Brad Wells, the band was incubated at the Massachusetts Museum of Contemporary Art (MASS MoCA) in North Adams, Massachusetts, where members studied with some of the world’s most extraordinary singers and teachers. Through experimentation, exploration, and plenty of failures, the group learned that the boundaries of the human voice are never what they seem, that rules can be bent, even broken, and perhaps they should be.
Through their unique collaborative process, Roomful of Teeth has worked with many of today’s most compelling musical creators to build a significant and continuously growing repertoire. They have collaborated with a wide range of artists and ensembles spanning genres and art forms.
As the world rapidly changes, Roomful of Teeth is cultivating deeper relationships with technology, continuing to explore and expand the artistic reach of the human voice. They are excited about new collaborative projects focused on stories of place, home, and community in diverse environments around the world. They explore, learn, and collaborate with passionate curiosity, contagious enthusiasm, and deep gratitude.
CAROLINE SHAW:
Caroline Shaw is a musician who moves among roles, genres, and mediums, trying to imagine a world of sound that has never been heard before but has always existed. She works often in collaboration with others, as producer, composer, violinist, and vocalist. Caroline is the recipient of the 2013 Pulitzer Prize in Music, several Grammy awards, an honorary doctorate from Yale, and a Thomas J. Watson Fellowship.
This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society).
Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary.
This year’s projects include the score to “Fleishman is in Trouble” (FX/Hulu), vocal work with Rosalía (MOTOMAMI), the score to Josephine Decker’s “The Sky Is Everywhere” (A24/Apple), music for the National Theatre’s production of “The Crucible” (dir. Lyndsey Turner), Justin Peck’s “Partita” with NY City Ballet, a new stage work “LIFE” (Gandini Juggling/Merce Cunningham Trust), the premiere of “Microfictions Vol. 3” for NY Philharmonic and Roomful of Teeth, a live orchestral score for Wu Tsang’s silent film “Moby Dick” co-composed with Andrew Yee, two albums on Nonesuch (“Evergreen” and “The Blue Hour”), the score for Helen Simoneau’s dance work “Delicate Power”, tours of Graveyards & Gardens (co-created immersive theatrical work with Vanessa Goodman), and tours with So Percussion featuring songs from “Let The Soil Play Its Simple Part” (Nonesuch), amid occasional chamber music appearances as violist (Chamber Music Society of Minnesota, La Jolla Music Society).
Caroline has written over 100 works in the last decade, for Anne Sofie von Otter, Davóne Tines, Yo Yo Ma, Renée Fleming, Dawn Upshaw, LA Phil, Philharmonia Baroque, Seattle Symphony, Cincinnati Symphony, Aizuri Quartet, The Crossing, Dover Quartet, Calidore Quartet, Brooklyn Rider, Miro Quartet, I Giardini, Ars Nova Copenhagen, Ariadne Greif, Brooklyn Youth Chorus, Britt Festival, and the Vail Dance Festival. She has contributed production to albums by Rosalía, Woodkid, and Nas. Her work as vocalist or composer has appeared in several films, tv series, and podcasts including The Humans, Bombshell, Yellowjackets, Maid, Dark, Beyonce’s Homecoming, Tár, Dolly Parton’s America, and More Perfect. Her favorite color is yellow, and her favorite smell is rosemary.
MARY LATTIMORE:
Classically trained on the harp since age 11, Mary Lattimore (b. 1980) incorporates experimental techniques and technologies into her music, thereby extending the conventions of her instrument. Her compositions bring the harp into new aesthetic and methodological territories, which allow the listener to consider the instrument in a new light—for example, combining the chiming arpeggios one would expect from a harp with textures more common to a synthesizer. "I am melding [my history] with the harp to form a single, personal voice that is a product of my diverse experiences," she says. "The classical training, the composition, and the experimental improvisation are all the infrastructure of the larger picture."
Lattimore's innovative collaborative work includes recordings and performances with multi-instrumentalist Jeff Zeigler, indie rock luminaries Thurston Moore and Kurt Vile, and singer-songwriter Sharon Van Etten. She received her Bachelor of Music in Harp Performance from the Eastman School of Music in 2002 and she has since recorded a solo album, The Withdrawing Room. In September 2014, she released Slant of Light, a collaborative record with synthesizer player Jeff Zeigler.
Lattimore's innovative collaborative work includes recordings and performances with multi-instrumentalist Jeff Zeigler, indie rock luminaries Thurston Moore and Kurt Vile, and singer-songwriter Sharon Van Etten. She received her Bachelor of Music in Harp Performance from the Eastman School of Music in 2002 and she has since recorded a solo album, The Withdrawing Room. In September 2014, she released Slant of Light, a collaborative record with synthesizer player Jeff Zeigler.