As SASSAS enters the final weekend of our annual fund drive, I want to thank everyone who’s given so far. We have $6,800 to raise in order to reach our fund drive goal of $10,000! Please donate today.
Why does SASSAS continue to be one of the leading experimental music organizations in Los Angeles?
SASSAS pays artists a guaranteed fee for all sound. and soundSpark concerts. Artists receive $100…
It’s been a long time coming but I’m holding a copy of V1.1 of SASSAS Records with tracks by Aaron Dilloway and Extended Organ (Mike Kelley, Paul McCarthy, Fredrik Nilsen, Joe Potts, Tom Recchion) and a cover by Dave Muller! It looks and sounds amazing. Dave’s cover was inspired by Aaron’s track – titled Union of the Snakes.
Copies of V1.1 will be available at Dave Muller’s Three Day Weekend celebrating Bastille Day July 14-18 at Blum & Poe. The…
1. The members of Southern California Sound Ecology (SCSE) come from a range of different musical perspectives and backgrounds, from noise to “slow sound” (which is related to lowercase)….how did you come together to form SCSE? How do the different approaches inform the group as a whole?
Jorge Martin: It could be that each member (past, present, future) of the ensemble has their own historical perspective of how the SCSE formed, but I credit Glenn Bach for its start…
If you’re a follower of SASSAS on Facebook or Twitter or on our mailing list, you’ve probably noticed that we’re in a fundraising frenzy. We are working on overdrive to bridge the gap that exists between our ambitions and our size — closing the gap on our programming expense deficit while laying the groundwork for crossing the magic $100,000 budget threshold that would enable us to apply for increased levels of funding to support our programming!
It’s grant season and we’ve just…
Did you catch The future of new music is at risk if we continue to undervalue composers in The Guardian last month? WE AGREE! That’s why we’re trying to up our game!
We’re happy to announce that our Kickstarter campaign for the free sound. concerts at the Baldwin Hills Scenic Overlook has been selected by ArtBasel (yes THAT ArtBasel) as one of 4 featured projects for their new crowdfunding initiative. We feel this increased visibility will benefit…
Great to see this article on the amazing Chas Smith in Artillery. We’re happy to have hosted him in a few concerts (and note to self – must get that Cold Blue concert video online!). Here’s what IS online. Check it out.
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What led you to the work you’re making now? I’m especially curious about the transition from the work you were doing with banjo to a more sculptural practice.
I came to the current performance work from a number of pathways, one being my frustrations working within the limitations of the more codified ‘improvised music’ context. While I was primarily playing banjo, I also worked with Maryanne Amacher and Ei Arakawa, two very different artists who dealt with the performance environment…
Just added by the New Yorker:
“Editor’s note: This article, which is part of our Shouts & Murmurs humor blog, is a work of satire.”
So there you go….
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“Jazz might be the stupidest thing anyone ever came up with. The band starts a song, but then everything falls apart and the musicians just play whatever they want for as long they can stand it. People take turns noodling around, and once they run out of ideas and have to…
It’s great to be back after a year in Charlottesville as the Ruffin Distinguished Artist in Residence at UVA. SASSAS is blessed with two dedicated Assistant Directors, Christina Ondrus and Daniel Corral, who stepped up and did an incredible job while I was away! In the last month SASSAS has launched an incredible new website (fabulously designed by Team A) and we’re received two Critics Picks and a review in…
Great review of Mark Trayle’s performance at SMMoA on Saturday!
“In fact, textures seemed to be what Trayle’s performance was all about. Just as Pereira became fascinating finding a musical play of light as a complement to Zurbarán’s puckered lemon, Trayle’s granular electronic surfaces drew the eye to Swain’s granular surfaces. Indeed, his yellows were as crinkly as a lemon’s skin.
Before Trayle began, I saw Swain’s paintings as great swaths of earth and sky as seen from afar.…