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SUMMARY:A Light Under the Bushel: Paintings by Julia Bottoms
DESCRIPTION:A Light Under the Bushel: Paintings by Julia Bottoms\nOn View\nJul 14\, 2023 – Oct 29\, 2023\nThe practice of portraiture has historically served to not only represent the subject but to also preserve their spirit in its most honest form. For Buffalo-based visual artist Julia Bottoms\, traditional portraiture is a means to express the nuance and complexities of Black identity beyond limiting\, reductive stereotypes. Thinking through historic periods in which portraits were commissioned for figures of prominence\, Bottoms’ practice interrogates portraiture as a concept of record. The inclusion – or lack thereof – of Black and Brown bodies in classical portraiture has inspired a new series and conceptual direction in her work.  \nA Light Under the Bushel features work from this new series\, building upon the artist’s interest in expanding narratives around representations of Blackness. Black and Brown people certainly existed during times like the Renaissance and Victorian eras when classical portraits were created. However\, their inclusion in such works is rare and highly circumstantial\, their lives rarely deemed important enough to be documented by fine art. Bottoms’ new paintings push against this\, emphasizing that they have always been an important part of history. Inspired by portraits of these eras\, her work fuses the historic with the contemporary through her models’ dress. Her work is reminiscent of the recontextualization of blackness throughout history seen in the work of portrait artist Kehinde Wiley. However\, Bottoms moves in a different direction by employing soft\, gestural brush strokes and posing her models to emulate classical depictions of saints\, Madonna and Child\, warriors\, and other angelic beings\, imbuing her figures with an ethereal presence.  \nBottoms reflects on the allusion to religious iconography as twofold in an artist statement on the series:   \nFirst\, it’s meant to convey the intangible spiritual aspect of each person depicted. Second\, it is a reference to Black and Brown bodies as they relate to the history of Christianity. Growing up religious\, I often felt a disconnect between the Eurocentric imagery in religious art and what I knew to be the factual appearance of people from the regions described in the Bible. People from the Middle East and North Africa are people of color. The shades and features of Biblical characters would have varied\, but the fact that they were of color is undeniable. So it stands to reason that that would be reflected in classical art depictions. However\, that is not the case. This exclusion comes with an implication; The alignment of whiteness with purity/goodness and Blackness with corruption/evil has had far-reaching psychological ramifications for us all. In the case of Biblical depictions\, this is not only a lack of inclusion\, it is erasure.  \nAs I worked on the series\, a particular verse came to mind. In Matthew 5:15-16 Jesus says: “Neither do people light a lamp and put it under a bowl. Instead they put it on its stand\, and it gives light to everyone in the house. In the same way\, let your light so shine before others\, that they may see your good deeds and glorify your Father in heaven.”  \nI kept thinking about all the talents\, all the goodness\, and all the truly great accomplishments\, lost to time because a person’s skin color disqualified them from being recorded. How many lights were placed under a bushel and how deeply has humanity missed out on great minds for it? How many scientists\, poets\, mathematicians\, and philosophers have been lost to institutional bushels? The light we each possess is still subject in part to the roles we are forced into and the circumstances we must endure. But a light is still a light regardless of its location. In covering it\, the light does not cease to be what it is\, rather it is *us* who miss out on its illumination. \nOverall\, this series is meant to spark our imaginations. History cannot be re-written; however\, we can find value in reflecting on what inclusion could have looked like. Additionally\, perhaps this imagery can inspire an excavation of sorts\, in which we search for the accomplishments that have been recorded but ignored or distorted. It is my hope that the work will inspire the contemporary art world and artists going forward. Above all\, I challenge the viewer to value the light of every individual and to never be the bushel that conceals it. \nA Light Under the Bushel: Paintings by Julia Bottoms is made possible through the generosity of our presenting sponsor\, M&T Bank. For his leadership commitment\, we gratefully acknowledge Senator Sean M. Ryan\, with additional thanks to James & Dorothy Pappas and Gary & Willow Brost for their generous support.
URL:https://bornbuffalo.com/event/a-light-under-the-bushel-paintings-by-julia-bottoms/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event,Family
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/JuliaBottoms-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230922T080000
DTEND;TZID=America/New_York:20231222T200000
DTSTAMP:20260411T185320
CREATED:20230919T182607Z
LAST-MODIFIED:20230919T182618Z
UID:3409-1695369600-1703275200@bornbuffalo.com
SUMMARY:Communities: Trust The Front Yard Film Screening Series
DESCRIPTION:Communities: Trust\nThe Front Yard Film Screening Series \nSep 22\, 2023 – Dec 22\, 2023\nThe Front Yard film screening series features seasonally changing projected media art programs\, highlighting the work of Western New York artists. The inaugural program revolves around the theme of communities: trust\, coinciding with The 2023 Buffalo Humanities Festival. Presentations will begin after dark each night and will run for three months. \nCommunities: Trust\, guest curated by Dorothea Braemer\, Lukia Costello\, and  Meg Knowles\, tackles the topic of community and trust through the lens of the diverse perspectives of 10 regional media artists. Tammy McGovern’sAutostorm presents a notion of community disappeared into the confines of our cars. Kyla Kegler’s Monster Society performatively studies alienation and finding ways to approach community. Her Own Hero by Lukia Costello and the late Tilke Hill tackles the history of women’s self-defense\, and Harlem Nights by Kaitlyn Lowe celebrates the community of radical artists of the Harlem Renaissance in the form of a visual poem.  In Savage Future\, Terry Jones interrogates the American-Indian boarding school experience and in Mrs. Snow\, Annette Daniels-Taylor explores the mindset of a mid-century  African-American domestic worker.  Olurotimi Akanbi’sUrban Transitions draws attention to the contrast between communities in urban and rural landscapes in and around Buffalo\, while Edreys Wajed’s The Sidewalk imagines community from the perspective of a sidewalk on Buffalo’s East Side. Interwoven throughout the program are pieces by Phil Hastings and David Mawer.   Three pieces from Phil Hasting’s poetic fragmentum series metaphorically address community through evocative studies of humans and nature.  Seven playful geometric studies from David Mawer reference landing sequences and the pull of gravity through patterns of undulating dots\, lines and shapes\, sometimes superimposed over maps. \nDorothea Braemer and Meg Knowles are filmmakers and professors in the media production major at Buffalo State University\, and Lukia Costello\, also a filmmaker\, is the founding director of the Spark Filmmaker Collaborative and the Micromania Film Festival. \nCommunities: Trust – Program Order and Credits:\nTammy McGovern  – Autostorm\, 2023   \nKyla Kegler – Monster Society\, 2022 \nDavid Mawer – Lerp Puppet Strings\, No. 1\, 2023 \nPhilip Hastings –  fragmentum 62 (c)\, 2017 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 3\, 2023 \nLukia Costello and Tilke Hill – Her Own Hero\, 2022 \nDavid Mawer – Algorithm for a Gravity Wave: Dots\, 2023 \nKaitlyn Lowe – Harlem Nights\, 2022 \nPhil Hastings – fragmentum 37 (b)\, 2018 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 2\, 2023 \nTerry Jones – Savage Future\, 2022 \nAnnette Daniels-Taylor – Mrs. Snow\, 2017\, 2018 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 1\, 2023 \nOlurotimi Akanbi – Urban Transitions\, 2022 \nDavid Mawer – Algorithm for a Gravity Wave: Grid\, 2023 \nPhil Hastings – fragmentum 43 (b)\, 2019 \nDavid Mawer – Landing Sequence (for an Interdimensional Fleet)\, No. 4\, 2023 \nEdreys Wajed – The Sidewalk\, 2018 \nTRT: 32 mins 48 seconds
URL:https://bornbuffalo.com/event/communities-trust-the-front-yard-film-screening-series/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/thecoming-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231013T080000
DTEND;TZID=America/New_York:20240128T200000
DTSTAMP:20260411T185320
CREATED:20230919T124713Z
LAST-MODIFIED:20230919T124720Z
UID:3373-1697184000-1706472000@bornbuffalo.com
SUMMARY:A Clearing View Charles E. Burchfield Reframed
DESCRIPTION:A Clearing View\nCharles E. Burchfield Reframed \nOct 13\, 2023 – Jan 28\, 2024\nCharles E. Burchfield was one of the great American artists of the 20th century\, but his work is sometimes overlooked as are many works on paper\, because they cannot be left on museum walls for years at a time. They are also shown behind glass\, which presents viewers with reflections of themselves\, distorting the work itself. This exhibition is the beginning of an effort to both literally and metaphorically reframe his paintings and offer an unencumbered view of his brilliant work\, properly presented and celebrated the way it can be today. \nThe 1930s were an important time in Burchfield’s career. It was during this decade that his work was featured in the first solo exhibition ever held at the then new Museum of Modern Art in New York City. After quitting his job at the Birge Wallpaper company in 1929\, Burchfield was finally able to devote all of his energy to painting. Around the same time\, he started building his own frames to display his work. On August 29\, 1934\, he wrote in his journal: \nWorking these last few days again on frames; it is hard work\, but at times enjoyable. Even the mechanical uncreative parts\, such as rubbing with sand-paper or using the rasp are a physical pleasure\, like walking or swimming. \nWorks from this period\, often presented in large dramatic frames with rustic finishes\, are excellent illustrations of how Burchfield himself intended for the work to be seen. Most of the best examples have little or no matt bordering the work and are presented in the way one might expect to see an oil painting. \nModern glass\, used in everything from windows and lenses to fiberglass and fiber optic cables\, is a building block for civilization. In windows\, it protects people from the elements. Lens technology has allowed people to see more clearly as their sight fails them. Burchfield himself needed glasses to continue painting. On November 24\, 1939\, he wrote: \nA.M. When I tried to draw in the studio\, I found I could not focus on the work at arm’s length. Alarmed\, I called Dr. Bennett\, who\, instead of assuring me it could be remedied\, said it presented quite a problem\, and would I see him at 5:00 P.M. So I had a bad hour or so\, until I reasoned out myself\, that an extra pair of glasses\, with more space for intermediate work\, and less for distance\, should do the trick.  \nIn his journals\, Burchfield often spoke of weather clearing after a storm as the rain or wind that ravaged the landscape moved away. This exhibition does the same. Like those new glasses\, it offers a clearing view of work too long distorted by obsolete glass. By reframing Burchfield’s work\, we also re-present his legacy and its importance in a world that needs his love of nature and his focus on the details in the world around us that anyone can connect with and enjoy.
URL:https://bornbuffalo.com/event/a-clearing-view-charles-e-burchfield-reframed/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event,Family
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/Burchfield-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231013T080000
DTEND;TZID=America/New_York:20240428T200000
DTSTAMP:20260411T185320
CREATED:20230919T190811Z
LAST-MODIFIED:20230919T193751Z
UID:3438-1697184000-1714334400@bornbuffalo.com
SUMMARY:John Wood: The System is Alive
DESCRIPTION:John Wood: The System is Alive \nOct 13\, 2023 – Apr 28\, 2024\nJohn C. Wood (1922-2012) was an educator and artist whose practice transcended divisions of media. Wood taught with distinction at Alfred University from 1954 to 1987 where he developed the photo\, graphic design\, book arts\, printmaking\, and foundation programs in the School of Art & Design. Wood was a revered and influential professor who described his aesthetic practice as “being in the state of drawing” and grounded in his personalized forms of “System Drawing.” These philosophies\, prominent throughout this exhibition\, are the connective tissue for his life’s work.  \nThe exhibition focuses on the relationship between Wood’s visual scholarship and its expression through diverse media\, extending through more than 25 different forms and variants. Among the media are drawings on various substrates\, including a range of papers\, rocks\, and sand\, and an equivalent variety of print media\, including intaglio\, etching\, lithographs\, woodcuts\, silkscreen\, and photography. The photographic works are themselves in a range of formats\, from cyanotypes to multi-media collages. Many of the works seen here have never been exhibited before. In his work\, Wood did not offer answers to questions\, instead presenting pathways for consideration. His work took on a range of subjects\, but ultimately\, they were platforms for conversation on topics of environmental\, political\, and social concerns.  \nNearly all Wood’s notes\, writings on art\, and preparatory works have been held and archived by members of his family. This record of achievement and discovery stretching from 1948 into the new millennium has not previously been studied.  John Wood: The System is Alive represents an in-depth examination of close to 400 of Wood’s notebooks\, sketchbooks\, one-of-a-kind experimental artist’s books\, and unframed preliminary drawings bringing forth a profound reinterpretation and radically new appreciation of the depth and breadth of an artist generally remembered as master photographer and educator.   \nWood’s artwork is in collections nationally. These include Baltimore Museum of Art\, Center for Creative Photography\, George Eastman House\, J. Paul Getty Museum\, Los Angeles County Museum\, The Museum of Modern Art\, The National Gallery of Canada\, The San Francisco Museum of Modern Art\, Sheldon Memorial Art Gallery\, and many others. This exhibition\, curated by Joseph Scheer and organized with help from the supportive team at the Institute for Electronic Arts at Alfred University is presented with support from the Tower Family Fund\, and the Wendt Foundation\, Thanks to Carol Wood and family for all of their great work and Anthony Bannon\, PhD for his review and advice on the broad spectrum of the artist’s career.
URL:https://bornbuffalo.com/event/john-wood-the-system-is-alive/
LOCATION:Burchfield Penney Art Center\, 1300 Elmwood Avenue\, Buffalo\, NY\, 14222\, United States
CATEGORIES:Art Event,Buffalo Event
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/JohnWood-scaled.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231022T130000
DTEND;TZID=America/New_York:20231022T160000
DTSTAMP:20260411T185320
CREATED:20231006T112504Z
LAST-MODIFIED:20231006T112504Z
UID:4272-1697979600-1697990400@bornbuffalo.com
SUMMARY:GIRL SCOUTS: BROWNIE WOW JOURNEY
DESCRIPTION:GIRL SCOUTS: BROWNIE WOW JOURNEY\nOCTOBER 22 @ 1:00 PM – 4:00 PM\nDiscover how to love\, save\, and share the “wonders of water” as we investigate aquatic habitats and the wildlife within them through indoor and outdoor activities. Advance registration is required. Call 716.825.6397 for more details. \n$15 per scout
URL:https://bornbuffalo.com/event/girl-scouts-brownie-wow-journey/
LOCATION:Tifft Nature Preserve\, 1200 Fuhrmann Boulevard\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Family,Workshop
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/10/Tift_NP.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231021T193000
DTEND;TZID=America/New_York:20231021T193000
DTSTAMP:20260411T185320
CREATED:20231005T110436Z
LAST-MODIFIED:20231005T110445Z
UID:4043-1697916600-1697916600@bornbuffalo.com
SUMMARY:Haydn’s The Clock
DESCRIPTION:Haydn’s The Clock\nJulius Williams makes his BPO conducting debut leading Haydn’s exuberant “The Clock” symphony and expressive violinist Tessa Lark’s performances of Dvořák’s Romance and Ravel’s Tzigane. The program also features the turn-of-the-century Rhapsodic Overture of Edmund Thornton Jenkins\, and the inspirational Moments of Arrival by Elena Roussanova. \nProgram\nJulius P. Williams\, conductor\nTessa Lark\, violin \nJENKINS  Rhapsodic Overture\nDVOŘÁK  Romance in F minor for Violin and Orchestra\nRAVEL  Tzigane for Violin and Orchestra\nELENA ROUSSANOVA  Moments of Arrival\nI. Moving Forward\nII. Reflection\nIII. The Moment of Arrival\nHAYDN  Symphony No. 101 in D major\, “The Clock”\nI. Adagio – Presto\nII. Andante\nIII. Menuet: Allegretto\nIV. Finale: Vivace \nAbout Tessa Lark\nViolinist Tessa Lark is one of the most captivating artistic voices of our time\, consistently praised by critics and audiences for her astounding range of sounds\, technical agility\, and musical elegance. A budding superstar in the classical realm\, in 2020 she was nominated for a Grammy in the Best Classical Instrumental Solo category. She is also a highly acclaimed fiddler in the tradition of her native Kentucky\, delighting audiences with programming that includes Appalachian and bluegrass music and inspiring composers to write for her. \nFollowing a busy summer that saw her perform with NY’s Carnegie Hall Citywide\, La Jolla Music Society SummerFest\, and the Ravinia Festival\, among many others\, highlights of Lark’s 2023-24 season include the world premiere of Carlos Izcaray’s Violin Concerto – written for her – under the composer’s baton with the Alabama Symphony; and concerts with the Stuttgarter Philharmoniker\, marking both her European orchestral debut and her first performances of Gang Chen and Zhanhao He’s Violin Concerto\, “Butterfly Lovers.” She reprises Michael Torke’s violin concerto\, Sky – also written for her\, and the 2020 recording of which earned her a Grammy nomination – with Oklahoma’s Signature Symphony and the Sarasota Orchestra; returns to South Carolina’s Greenville Symphony\, the Virginia Symphony\, and England’s City of Birmingham Symphony Orchestra; and performs as a chamber musician in duos with double bassist Michael Thurber and jazz guitarist Frank Vignola. \nLark’s newest album\, The Stradgrass Sessions\, released in spring 2023\, features an all-star roster of collaborators and composers including double bassist Edgar Meyer\, pianist Jon Batiste\, mandolinist Sierra Hull\, and fiddler Michael Cleveland. Album selections mix original compositions by Lark and her collaborators with a sonata by Eugène Ysaÿe\, a selection of Bartók’s violin duets arranged for violin and mandolin\, and the world premiere recording of John Corigliano’s STOMP. \nThe violinist has performed with orchestras and at recital venues and festivals around the world. She has appeared with the Royal Scottish National Orchestra; the Louisville Orchestra; and the Albany\, Indianapolis\, Knoxville and Seattle Symphonies; as well as being presented by Carnegie Hall\, New York’s Lincoln Center\, London’s Wigmore Hall\, Amsterdam’s Concertgebouw\, the Music Center at Strathmore\, the Isabella Stewart Gardner Museum in Boston\, Cal Performances\, San Francisco Performances\, the Seattle Chamber Music Society\, Australia’s Musica Viva Festival\, and the Marlboro\, Mostly Mozart\, and Bridgehampton summer festivals. \nLark’s debut commercial recording was the Grammy-nominated Sky\, a bluegrass-inspired violin concerto written for her by Michael Torke and performed with the Albany Symphony Orchestra. Her discography also includes Fantasy on First Hand Records: fantasias by Schubert\, Telemann and Fritz Kreisler; Ravel’s Tzigane; and Lark’s own composition\, Appalachian Fantasy. Invention\, marking the debut album for the violin-bass duo of Lark and her fiancé\, Michael Thurber\, comprises arrangements of Two-Part Inventions by J. S. Bach along with original compositions by both duo partners. A live recording of Astor Piazzolla’s Four Seasons of Buenos Aires was released in 2021 by the BPO in honor of Piazzolla’s centenary. \nLark is a recipient of the Hunt Family Award\, one of Lincoln Center’s prestigious Emerging Artist Awards\, as well as a 2018 Borletti-Buitoni Trust Fellowship and a 2016 Avery Fisher Career Grant. She was Silver Medalist in the 9th Quadrennial International Violin Competition of Indianapolis\, and winner of the 2012 Naumburg International Violin Competition. \nIn addition to her performance schedule\, Lark was recently named Artistic Director of Musical Masterworks\, a chamber music presenter in Old Lyme\, Connecticut. She champions young aspiring artists and supports the next generation of musicians through her work as Co-host/Creative of NPR’s From the Top\, the premier radio showcase for the nation’s most talented young musicians. She also serves as Mentor and board member of the Irving M. Klein International Strings Competition. \nLark is a graduate of New England Conservatory and completed her Artist Diploma at The Juilliard School\, where she studied with Sylvia Rosenberg\, Ida Kavafian\, and Daniel Phillips. Her primary mentors include Cathy McGlasson\, Kurt Sassmannshaus\, Miriam Fried\, and Lucy Chapman. She plays a c. 1600 G.P. Maggini violin on loan from an anonymous donor through the Stradivari Society of Chicago. \nAbout Julius Williams\nJulius P. Williams is an award-winning conductor\, composer\, recording artist\, educator\, author\, and pianist. Named one of Musical America’s Top 30 Professionals of the Year for 2022\, his career has taken him from his native New York to musical venues across the globe\, and has involved virtually every musical genre. He has conducted American orchestras in Dallas\, Oakland\, New Haven\, New Jersey\, Vermont\, Knoxville\, Sacramento\, Tulsa\, Savannah\, and more\, in addition to the Harlem Symphony\, Color of Music Festival Orchestra\, and New Works Orchestra. Career highlights include debuting at Carnegie Hall with the Symphony Saintpaulia; serving as Music Director of the Washington Symphony (1998-2003); and conducting the Pulitzer Prize-winning opera by Anthony Davis\, The Central Park Five\, premiering and preparing the work for Trilogy: An Opera Company (New Jersey). Williams’ other past positions include Artistic Director of the Costa del Sol Music Festival in Spain\, and Artistic Director of the School of Choral Studies at the NY State Summer School of the Arts for ten seasons. \nWilliams is currently Artistic Director of the Berklee Contemporary Symphony Orchestra\, and Professor of Composition at the Berklee College of Music in Boston\, as well as Music Director and conductor of Trilogy: An Opera Company. He is the immediate past president of the International Conductors Guild\, and Co-Chair of the League of American Orchestras’ Conductors Constituency. In the past\, Williams served as Assistant Conductor to Lukas Foss\, former BPO Music Director\, with the Brooklyn Philharmonic and the American Symphony in NY. Recently\, Williams conducted on tour with the Oberlin Conservatory Opera and the Cleveland Opera Theater\, receiving rave reviews for performances of Nkeiru Okoye’s opera\, Harriet Tubman. He was a guest conductor with the One World Festival Orchestra in Virginia\, and conducted a Gala performance with the Dallas Symphony at the Black Academy of Arts and Letters’ Riverfest Jazz Festival. In 2021\, he conducted the score for the Academy Award-eligible film\, Sky Blossom. This past season included conducting the Color of Music Festival Orchestra in Sacramento\, and the concert series at Boston’s Isabella Gardner Museum. In Europe\, Williams has performed and recorded with numerous esteemed symphonies. He has also been featured on national television\, profiled on CBS News’ Sunday Morning. \nA prolific composer\, Williams has created works for virtually every genre of contemporary classical performance\, including opera\, ballet\, orchestra\, chamber ensemble\, chorus and solo voice\, dance\, musical theatre\, and film. His music has been performed by countless orchestras including the New York Philharmonic\, Cleveland Orchestra\, Detroit Symphony\, St. Louis Symphony\, and Boston Pops. He has also served as Composer-in- Residence of Connecticut’s Nutmeg Ballet Company\, which premiered his ballet\, Cinderella. His opera\, Guinevere\, was performed at the Aspen Music Festival and at the Dubrovnik Summer Festival in Croatia. He composed the score for the film\, What Color is Love?\, and also scored the theatrical production to In Dahomey. Additionally\, Williams has served as a composer with the Boston Symphony’s Composer-In-Residence Project\, and as cover conductor for the Boston Pops Orchestra and the Rhode Island Philharmonic. His recordings are on the Albany\, Centaur\, Naxos and Videmus record labels. In 2024\, two new albums of orchestral music will be released on the Albany record label. \nIn addition to his conducting and composing careers\, Williams maintains a demanding schedule of speaking engagements\, consulting\, and academics. Williams is the recipient of many awards for musical and academic achievement: an Honorary Doctorate from Keene State College in New Hampshire\, the Detroit Symphony’s Emerging Composer Award\, the Gracie Allen Documentary Award\, the Distinguished Medal of Artistic Achievement from the Ecuador Youth Symphony Orchestra Foundation\, the Honorary Distinguished Alumnus Award from Langston University\, the Marquis Who’s Who Lifetime Achievement Award\, proclamations from the mayor and council of Newark for artistic contributions in 2023\, the National Culture of the Arts Award from the Association of Foreign Language Teachers of NY\, and  various ASCAP awards in composition for the past forty years.
URL:https://bornbuffalo.com/event/haydns-the-clock/
LOCATION:Kleinhans Music Hall\, 3 Symphony Circle\, Buffalo\, NY\, 14201\, United States
CATEGORIES:Buffalo Event,Live Music
ATTACH;FMTTYPE=image/png:https://bornbuffalo.com/wp-content/uploads/2023/10/HaydnsTheClock.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231022T190000
DTEND;TZID=America/New_York:20231022T190000
DTSTAMP:20260411T185320
CREATED:20230915T162101Z
LAST-MODIFIED:20230915T162101Z
UID:3104-1698001200-1698001200@bornbuffalo.com
SUMMARY:RAYLAND BAXTER W/ FLYTE- FALL TOUR 2023
DESCRIPTION:Twenty6 Productions Presents: Rayland Baxter w/ Flyte – FALL TOUR 2023 at Buffalo Iron Works on Sunday October 22nd\, 2023! \nRayland Baxter \nFor the making of his fourth album If I Were a Butterfly\, Rayland Baxter holed up for over a year at a former rubber-band factory turned studio in the Kentucky countryside—a seemingly humble environment that proved to be something of a wonderland. “I spent that year living in a barn with the squirrels and the birds\, on my own most of the time\, and I discovered so much about music and how to create it\,” says the Tennessee-bred singer/songwriter. “Instead of going into a studio with a producer for two weeks\, I just waited for the record to build itself. I’d get up and go outside\, see a butterfly and connect that with some impulsive thought I’d had three months ago\, and suddenly a song I’d been working on would make sense. That’s how the whole album came to be.” \nThe follow-up to 2018’s critically acclaimed Wide Awake\, If I Were a Butterfly finds Baxter co-producing alongside Tim O’Sullivan (Grace Potter\, The Head and the Heart) and Kai Welch (Molly Tuttle\, Sierra Hull)\, slowly piecing together the album’s patchwork of lush psychedelia and Beatlesesque pop. In addition to working at Thunder Sound (the Kentucky studio he called home for months on end)\, Baxter recorded in California\, Texas\, Tennessee\, and Washington\, enlisting a remarkable lineup of musicians: Shakey Graves\, Lennon Stella\, several members of Cage the Elephant\, Zac Cockrell of Alabama Shakes\, Morning Teleportation’s Travis Goodwin\, and legendary Motown drummer Miss Bobbye Hall\, among many others. In an especially meaningful turn\, two of the album’s tracks feature the elegant pedal steel work of his father\, Bucky Baxter (a musician who performed with Bob Dylan and who passed away in May 2020). Thanks to the extraordinary care and ingenuity behind its creation\, If I Were a Butterfly arrives as a work of rarefied magic\, capable of stirring up immense feeling while leaving the listener happily wonderstruck. \nBaxter’s debut release as a producer\, If I Were a Butterfly bears a dazzling unpredictability that has much to do with his limitless imagination as a collector and collagist of sound. “Sometimes the bullfrogs in the pond outside would pulse in a certain tempo and I’d apply that to a song\, or I’d hear a bird chirping and it would inspire me to add harmonica in a particular place\,” he says. “I could be walking around this massive building in the middle of the night and the air-conditioning would turn on\, and it’d give me the idea to include a synth part that holds a similar note. I’d wait for those moments to happen and whenever I tried to force anything\, the music usually rejected it.” \nA perfect introduction to If I Were a Butterfly’s elaborate sonic world\, the album-opening title track begins with a recording of a Baxter singing at age four\, then drifts into a delicately sprawling reverie ornamented with so many lovely details (lavish flute and cello melodies\, radiant horns\, the hypnotic harmonies of Lennon Stella and Baxter’s girlfriend\, Sophia Rose). “I liked the idea of the first voice on the record being me as a little kid\, not knowing where I’d be today\,” notes Baxter\, who embedded newly unearthed audio clips of himself and his older sister Brooke all throughout the album. Graced with the combustible guitar work of his bandmate Barney Cortez\, “Billy Goat” kicks up a potent tension with its restless grooves and hot-tempered gang vocals. “It’s a breakup song about being with someone who’s on a different life path—one side wants to influence the other\, and inevitably you part ways\,” says Baxter. From there\, the album takes on a feverish momentum with “Rubberband Man\,” a delightfully frenzied track channeling a wild and giddy freedom. “There’s rubber bands all over the property at Thunder Sound—in the earth\, in the concrete\, used as insulation for the studio\,” says Baxter. “I took a mishmash of images in my head and it turned into a song about staying flexible\, rolling with the punches.” \nIn its searching reflection on love and loss and striving for transcendence\, If I Were a Butterfly reaches a quietly glorious intensity on “Tadpole”: a piano ballad threaded with childhood memories at turns oddly tender (catching frogs and crawfish in a nearby toxic creek) and nightmarish (hearing the gunshot when an across-the-street neighbor took her own life). And on “My Argentina\,” If I Were a Butterfly closes out with a piano-driven and painfully raw outpouring\, its starkness intermittently broken by soulful strings and gospel-esque harmonies. “One time at the studio I stayed up all night and played that song maybe 100 times; we ended up using the last take\, which was recorded at about five in the morning\,” says Baxter. “It’s a song that represents the thoughts one might have about a perfect love life\, and I love how it ends the album in a big angelic cloud of reverb.” \nFor Baxter\, the act of self-producing such a sonically and emotionally expansive body of work proved both exhilarating and arduous. “It really wore me out to spend all that time alone at the studio\, editing the hell out of this record; my heart definitely suffered\,” he says. “But I also had the guidance of my dad\, who was in my dreams all the time—if I was moving too fast\, I’d hear him telling me to slow down.” Another profound influence on the album-making process: the 2018 deaths of Baxter’s close friends Billy Swayze (a musician whose parents owned the rubber band company that became Thunder Sound) and Tiger Merritt (the vocalist/guitarist for Morning Teleportation\, who worked with Swayze in constructing the studio). “Billy and Tiger had been going up there since 2015\, and finally they turned it into a legit recording studio\,” he says. “It’s a very special place to me\, so they’re two of the four angels I decided to dedicate this record to.” \nEven in its most somber moments\, If I Were a Butterfly wholly fulfills Baxter’s mission of imparting a certain purposeful joy. “It’s been a weird few years\, but I think the big picture is for us to just exist and find love and be loved\, and try to see that all the daily bullshit is simply bugs on the windshield\,” says Baxter. “I hope that this album makes people feel the way I do whenever I listen to my favorite records\, and that it gives them a platform to dream on.” \nBuffalo Iron Works \n49 Illinois St Buffalo\, NY 14203 \nTickets: $23 ADV/$26 DOS \nDoors: 7:00pm \nShow: 8:00pm \nAges: 18+
URL:https://bornbuffalo.com/event/rayland-baxter-w-flyte-fall-tour-2023/
LOCATION:Buffalo Iron Works\, 49 Illinois St\, Buffalo\, NY\, 14203\, United States
CATEGORIES:Buffalo Event,Live Music,Nightlife
ATTACH;FMTTYPE=image/jpeg:https://bornbuffalo.com/wp-content/uploads/2023/09/Rayland-Baxter.jpeg
ORGANIZER;CN="Twenty6 Productions":MAILTO:events@twenty6productions.com
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