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Ches Smith’s Clone row + Mary Halvorson & Tomas Fujiwara duo

October 17 @ 8:30 pm 10:30 pm

2220 Arts + Archives

2220 Beverly Blvd
Los Angeles, CA 90057 United States
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Doors at 8:00pm


8:30pm – Mary Halvorson & Tomas Fujiwara duo

Mary Halvorson – Guitar
Tomas Fujiwara – drums


9:30pm – Ches Smith’s Clone Row

Ches Smith – Drums, vibes, electronics
Mary Halvorson – Guitar
Liberty Ellman – Guitar
Nick Dunston – Bass, electronics

The New York Times
Marc Ribot

Ches Smith

Originally from Sacramento, California, Ches Smith is a drummer, percussionist, and composer based in New York. He has collaborated with a host of artists on many scenes since the early 2000s, including Marc Ribot, Tim Berne, John Zorn, Darius Jones, David Torn, John Tchicai, Nels Cline, Mary Halvorson, Trevor Dunn, Terry Riley, Kris Davis, Dave Holland, Secret Chiefs 3, Xiu Xiu, Good for Cows, Theory of Ruin, and Mr. Bungle, among others.

He has nine records to his name as a bandleader that feature his writing and ensemble curation, and is a devout student of Haitian Vodou drums, performing in religious and folkloric contexts in New York and Haiti for the last decade.

https://www.chessmith.com/

Ches Smith, drummer and composer
Mary Halvorson and Tomas Fujiwara, jazz composers and longtime collaborators

Mary Halvorson & Tomas Fujiwara

Guitarist, composer, and MacArthur fellow Mary Halvorson has been described as “a singular talent” (Lloyd Sachs, JazzTimes), ”NYC’s least-predictable improviser” (Howard Mandel, City Arts), “one of the most original jazz guitarists of our time” (Peter Margasak, Bandcamp Daily), and “one of today’s most formidable bandleaders” (Francis Davis, Village Voice). In recent DownBeat Critics Polls, she has been celebrated as guitarist, rising star jazz artist, and rising star composer of the year.


“Drummer Tomas Fujiwara works with rhythm as a pliable substance, solid but ever shifting. His style is forward-driving but rarely blunt or aggressive, and never random. He has a way of spreading out the center of a pulse while setting up a rigorous scaffolding of restraint…A conception of the drum set as a full-canvas instrument, almost orchestral in its scope.”
New York Times

https://www.maryhalvorson.com/
https://www.tomasfujiwara.com/

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