{il%1~or VANCOUVER TheHamber Foundation .n nw New Orchestra Workshop Sociely Celebrating 35 Years of Great Canadian Music-') Fill out his form for a chance to win a $50 CASHprize and the Orchestra's two latest CDs!All sections must be properly filled out to be eligible to win. Your information will not be shared with third parties. Please tell us about you ... Name: _________________ _ Occupation: _______________ Gender: QMale _ QFemale Email: _______________ Twitter: _____ _ Postal Code ______ (We're trying to find where the best and closest venues for our audiences may be for future shows) Age: Under 20 0 21-29 30-39 40-49 50-65 65+ 0 0 0 0 0 Please tell us about your interests in Music ... Have you attended a performance by this organization previously? QYes QNo If yes, how many have you attended in the last 12 months? __ With a 25-year history of playing improvised music as a large ensemble --originally known as the NOW Orchestra,--Orkestra Futura has gained international recognition and collaborated with Canadian and internationally renowned master musicians. Artistic Director Coat Cooke has toured Canada, the USA,Mexico, and Europe, collaborated on memorable projects with spoken word, dance and mixed media artists, and performed with many of the world's great improvisers including George Lewis, Marilyn Crispell, and Wadada Leo Smith. How many people are in your party? __ _ What made you want to see this evening's performance? How did you buy your tickets? 0 Online O Box Office O Phone www.noworchestra.com _ Hear It NOW: Time Travel marks the 35th year celebration of NOW Orchestra. The three-day event, under the direction of Artistic Director Coat Cooke, will feature Orkestra Futura with special guests. Do you plan on attending any future performances presented by the same group? O Yes, definitely O Maybe O No The Unsupervised, led by Jeff Younger, have been slated as a "modern, ,Canadian jazz predator," gifted with "skillsand talent that rise above," and a quintet ·•that offers incredibly complex, considered music in a highly excitable fashion." We are proud to present Tony Wilson's Longhcmd Trio's acclaimed brand of jazz. Their varied repertoire of high energy free improvisation to melancholy tunes with beautiful melodies are a must see. How did you find out about this show? (please choose only one) O Facebook O Newspaper feature story O Twitter O Radio O Our website O Other: ________ _ Where do you get your news from regularly? (please choose only one) O Georgia Straight O Other newspapers O TV O Social Networks O Online news sources O I'm not interested in daily news O Radio O Other ________ Thursday Nov. 22 I 8PM Jeff Younger's Unsupervised and Tony Wilson's Longhand Trio are blazing examples of Vancouver's rich and vibrant scene. Please tell us how you find out about events ... O Georgia Straight Thesethree nightswill serveas the perfect setting for three unforgettable concerts. _ Friday Nov. 23 I 8PM The second night features our own Orkestra Futura with two very special guests. We are joined by legendary composer/improviser/instrumentalist George f. Lewis and composer/ electronics artist Giorgio Magnanensi. Along with Coat Cooke, each of them will present new work! Orkestra Futura features, a stellar lineup: Lisa Miller (keyboards); DB Boyko (voice): Peter Hurst (voice); Jesse Zubot (violin); Brad Muirhead (bass/trombone); Kristian Naso (trumpet): Lee Hutzulak (electronics): Chad MacQuarrie (guitar); Clyde Reed (bass); and Skye Brooks (drums). Saturday Nov. 24 I 8PM The third night will feature our Workshops Ensembles. We will bring over 31.lmusidcms from our annual Improvised Music Workshops to play at our Hearn NOW concerl' series for the first time. What device do you use the most for internet access? (please choose only one) 0 Smartphone 0 laptop OTablet O Desktop computer How do you prefer to be contacted? (please choose only one) OEmail 0 Phone OText O Facebook OTwitter Where do you respond best to ads on line? (please choose only one) 0 Facebook Ads OGoogle Ads O I don't respond to ads O Newsletters O Other: ________ How often do you respond to an ad online in a day? 0 5+ 03-5 01-2 O Rarely O Never www.noworchestra.com _ We no longer ... (2012) IGiorgio Magnanensi For sax, trumpet, 2 trombones, violin, electric guitar, keys, bass, drum, 2 voices, electronics and video Thispiece has been written thanks to the support of The Canada Council for the Arts and it is dedicated to Coat Cooke, NOW and Orkestra Futura. Tonight's occasion is the happy reason for this piece as "we no longer ... " has been written to recognize the value of the NOW Orchestra, of its members and directors and of all the other moving forces behind this vital and important Vancouver music organization that has given so much in creative energy and live music making. Keeping alive a high level of curiosity and attention seems in these times an appropriate thing to do. That's what NOW has been doing for 35 years, and sound thinking with such a great and different group of people and musicians has always been a great opportunity to explore that particular kind of beauty which is not an object anymore, not any established rhetoric; it arises instead with intense and committed sound making aspiring to be listened to for what it really is: non sentimental creative energy. As for this work - and pretty much for all my works - I have always been seeking for any kind of possible balance between the politics of the code (a score), and the reality of sound making within its specific context(s) and mobile nature. While trying to pay attention to the many aspects involved in compositional practices, I wish to create a sonic space, which allows to embody the musical energy associated with and mostly produced by the singularity of the players and their dialogues in performance. I'm not just talking about spontaneous creation or extemporaneous approaches. The notational and compositional aspects of an original subjective" score would identify procedures for creating the work, but these procedures would also instigate exchanges, and re-creation and co-creation of materials starting from (and travelling through) differentiated utilization of and reactions to pre-formed shreds, fragments, drafts, memories, codes and other electronics, conducting and sound strategies,gesturesand figures. My work nonetheless aspires to be speechless, not eloquent, without the urgency of communicating anything. If it expresses anything at all, that is pure character- essence more than intentionality. It manifests potential energy more than activity, relying on its own bare existence. Giorgio Magncmensi I Pots (2012) George f. Lewis Ifor ensemble (world premiere) In May 20121witnessed several days of the Montreal street protests. Thousands of people walked down Rue Sherbrooke, singing, chanting, banging pots, beating drums, and blowing vuvuzelas-making music, making noise. The field recordings I made during my stay in the city form the basis for this composition. In May 1968,a number of European cities experienced student and worker strikes,riots, and other disturbances. These events proved to have lasting effect and affect, but were at firstseverely underestimated, both by traditional governmental authorities and by the European intellectual establishment of the day. Commentators and participants agreed that the unrest could be viewed as a revolt against various forms of societal repression, but Daniel "Danny the Red" Cohn-Bendit, the leader of the Nanterre student strikes,was closer to the mark in ascribing the power of the 1968 movement to "an uncontrollable spontaneity." Much of that spontaneity, then as now, is accompanied by noise; in fact, for traditional authority, spontaneous action is noise. Historian Jon Cruz points out the tricksterishpossibilitiesof noise as "sound out of order. It evades, eludes, spillsout of, or flows over, the preferred channels--out of place, resistant to capture." The improvised, spontaneous, seemingly leaderless nature of the sound of the Montreal protests were exactly that, reminding me of the primary remit of new music: to declare that change is possible. Once you start down that road in the virtual world of music, thoughts inevitably tum to what else might need changing in other spheres, and when we want change, in the memorable phrase of the rap group Public Enemy, we "bring the noise"-in Egypt, Tunisia,Montreal, or elsewhere. Thisnew work for Orkestra Futura, by making common cause with a recent national event that used improvisation to demand change, celebrates the New Orchestra Workshop's audacious thirty-year commitment to creativity through improvisation. My intention in this new work is not to aestheticize the protests, but simply to point out, with Jacques Attali, that, "Any noise, when two people decide to invest their imaginary and their desire in it, becomes a potential relationship, future order." The NOW's vision of a future order persists,and I am proud to have played a role in its history. George E. Lew-is. Global Unity (2012) ICoat Cooke Thiswork was written to celebrate being a part of the evolution of human consciousness. I give great thanks to all of the musicians playing this music. Coat Cooke Tony Wilson's Longhand Trio Orkestra Futum Tony Wilson I Guitar & Harmonica Skye Brooks I Drums, guitar & vocals RussellSholberg I Bass & saw Coat Cooke I Artistic Director I Reeds flute George E. Lewis I Special Guest ITrombone Giorgio Magnanensi I Special Guest I Electronics Brad Muirhead I Trombone Skye Brooks I Drums Kristian Naso I Trumpet Jesse Zubot (Violin) Chad MacQuarrie I Electric Guitar Clyde Reed I Bass Lisa Miller I Keyboards Lee Hutzulak I Electronics DB Boyko I Vocals Peter Hurst I Vocals Jeff Younger's Unsupervised Jeff Younger I Guitar & composition Colin Maskell I Tenor sax Kristian Naso I Trumpet RussellScholberg I Bass Ben Brown I Drums