Westerlies Weekend in Seattle: Sept. 20-23

by Gabriela Tedeschi

The Westerlies are a Seattle-bred brass quartet that has gained national acclaim for their genre-defying chamber music. Now, they’re giving back to the community that raised and inspired them with Westerlies Fest: a four-day music festival in Seattle featuring student workshops and concert collaborations with local artists.

The New York-based quartet is made up of Riley Mulherkar and Chloe Rowlands on trumpet with Andy Clausen and Willem de Koch on trombone. Mulherkar, Clausen, and de Koch are childhood friends from Seattle, and Rowlands (their newest member) was also born in Western Washington.

“The festival, for us, is an opportunity to feature all of the elements of what we do in their purest form as we envision them,” de Koch said. “Of course Seattle, being our hometown, seemed like the perfect place to bring together everything that we’ve gleaned from living in New York and traveling around the country performing.”

The festival runs Thursday, Sept. 20 through Sunday, Sept. 23. During the day on Thursday and Friday, the Westerlies are speaking and performing in schools around Seattle, with an emphasis on teaching in underserved areas. On Saturday and Sunday, they are leading a workshop for high school and college age musicians at Seattle Pacific University.

All four evenings, the Westerlies are performing at different venues around Seattle with a diverse group of collaborators ranging from spoken word poets to jazz singers and music students of all levels and instruments. Learn more about the concerts below:

Poets Troy Osaki (left) and Azura Tyabji (right).

Troy Osaki and Azura Tyabji with The Westerlies
Thursday, Sept. 20, 7:30pm, Wing Luke Museum

In partnership with Youth Speaks Seattle, the Westerlies are inviting local spoken-word poets to perform alongside them. Music will be interspersed between poetry performances, and the quartet will also accompany two poems with original compositions.

“[This performance includes] a lot of exciting young voices from Seattle that we wanted to hear and we wanted to give a platform to,” Mulherkar said.

One poet is Troy Osaki, a friend of the Westerlies from Garfield High School who now serves as a Youth Speaks mentor. Seattle Youth Poet Laureate Azura Tyabji will also perform original works, as will Zora “Rainchild” Seboulisa and Esther Eidenberg-Noppe. Emphasizing identity and examining areas of inequality, these young artists use poetry as a tool for inspiring change in the world.


TORCH with The Westerlies
Friday, Sept. 21, 7:30pm, Nickerson Studios at Seattle Pacific University

Friday’s performance is really two concerts in one: a set from the Westerlies and a set from the Seattle-based chamber ensemble TORCH.

The group is comprised of trumpeter Brian Chin, clarinetist Eric Likkel, double bassist Steve Schermer, and percussionist Ben Thomas (who also plays vibraphone and bandoneon). Like the Westerlies, TORCH is known for combining the intellectual rigor of classical music with a genre-meshing sound. Chin is also the founder and artist director of the nonprofit arts organization Common Tone Arts, a partner for the festival.

“That night really features some of the best of Seattle’s contemporary classical scene,” Mulherkar said. “This is really an opportunity for us to bring what we got from New York and present it right alongside all the amazing music that’s going on in Seattle.”


Kate Davis (left) and Theo Bleckmann (right; photo by Lynne Harty).

Theo Bleckmann and Kate Davis with The Westerlies
Saturday, Sept. 22, 7:30pm, First Free Methodist Church

The Westerlies are joined by two acclaimed guest artists from New York: contemporary classical and jazz singer Theo Bleckmann and singer-songwriter Kate Davis.

The core of Bleckmann’s set will be “Songs of Refuge and Resistance,” a project that the Westerlies and Bleckmann developed this June while in residency at Yellow Barn, an international center for chamber music in Vermont. The project combines songs of refuge and protest pieces to highlight both music’s integral role in resistance movements and its ability to provide solace in the midst of turmoil.

Davis will perform a set of original works showcasing her warm, velvety vocals and inventive lyrics—including a Westerlies collaboration on her song “St. Joseph,” arranged by de Koch.


The Westerlies with Workshop Students
Sunday, Sept. 23, 4pm, Nickerson Studios at Seattle Pacific University

Sunday’s performance will serve as the culmination of the two-day student workshop the Westerlies are hosting for young musicians of all levels, styles, and instruments. The workshop will give students insight into the Westerlies’ unique approach to composition, improvisation, and ensemble practice.

“One thing that we’ve grown to be passionate about as an ensemble is improvising in a way that isn’t idiosyncratic to any genre,”  de Koch said. “The goal is to be able to introduce improvisation in a way that isn’t inhibited by any of the trappings of particular styles of music.”

The Westerlies also want to push young musicians to explore unusual instrument combinations, and to allow creative compatibility to overtake conventional ideas about ensemble work. Given their own history, the Westerlies know that good chemistry can lead to great music with any instrumentation.

“When we formed as a band, we didn’t form with the intention of being a brass quartet,” de Koch said. “We formed because we got along well as friends and admired one another’s personalities and musical tastes.”

At the concert on Sunday, students will perform in ensembles with the Westerlies, playing the music they create themselves through improvisation exercises.


Westerlies Fest runs Sept. 20 through Sept. 23. Thursday and Sunday’s performances are free, but reservations are recommended to guarantee admission. Student discounts and festival passes are available for Friday and Saturday’s concerts. For tickets and more information, click here.

Sneak Peek Audio Leak: Ken Thomson’s Sextet

by Maggie Molloy

Photo by Naomi White.

Ken Thomson’s music dances at the crossroads of contemporary classical and jazz—filled with boundless verve, blistering improvisations, and contrapuntal complexity. When he’s performing, his energy shines onstage—and when he’s writing music, it leaps off the page.

Though the clarinetist and saxophonist is perhaps best known as one of the Bang on a Can All-Stars, Thomson’s new album of original compositions, titled Sextet, features him performing alongside a hand-picked cast of jazz all-stars: saxophonist Anna Webber, trumpeter Russ Johnson, trombonist Alan Ferber, bassist Adam Armstrong, and drummer Daniel Dor.

The album begins with Thomson’s own arrangement of György Ligeti’s melancholic Passacaglia Ungherese before spiraling through a collection of six original groove-driven compositions that float freely between the rigor of through-composed music and the spontaneity of improvised solos.

We’re excited to premiere a track from the brand new album ahead of its September 7 release date. Click below to hear Thomson’s “Phantom Vibration Syndrome.”

Learn more about the music from the performers themselves in the trailer below!


Ken Thomson’s Sextet comes out September 7 on New Focus Recordings. Click here to pre-order the digital album.

Second Inversion’s 24-Hour Star-Spangled Marathon

by  Maggie Molloy

This Fourth of July, Second Inversion is celebrating the history of American musical innovation. Tune in all day long on July 4 for our 24-hour Star-Spangled Marathon, featuring American composers across history.

Throughout the day we’ll take you from the spiritual fantasias of Florence Beatrice Price to the jazzy rhapsodies of George Gershwin, from the musical nuts and bolts of John Cage to the tape experiments of Pauline Oliveros—from the minimalist musings of Philip Glass to the spacious landscapes of John Luther Adams, the avant-jazz stylings of Don Byron, the musical tapestries of Gabriela Lena Frank, and far beyond.

This Fourth of July, we’re celebrating the history of American music in all of its sparkling diversity, from sea to shining sea. Click here to tune in.

Plus, discover our hosts’ favorite musical selections from the marathon below.

Florence Beatrice Price: Fantasie Negre (Sono Luminus)
Lara Downes, piano

Fantasie Negre is such a cool piece, a fascinating mix of romantic era Western European influence and African American spiritual—it’s almost as if Liszt visited the American South and immediately rushed to a piano to interpret the melodies he heard. Fantastic gospel-like moments seep through dazzling displays of technique. It’s even more impressive when you think about all the things Price had to overcome just to compose: a black woman born in Little Rock, Arkansas, she attended New England Conservatory in 1906 but had to pass as Mexican in order to avoid abuse. Though she returned to Arkansas and married, she moved her family to Chicago to flee lynchings; her husband eventually became abusive and she filed for divorce, a rare step for a woman of her time. Despite these difficulties, her prodigious talent produced 300 works in her lifetime.
 Geoffrey Larson

Tune in to Second Inversion in the 12pm hour on July 4 to hear this piece.


Steve Reich: Come Out (Nonesuch)
Daniel Hamm, voice

In 1966, Steve Reich took a four-second audio clip and spun it into one of the most harrowing musical works of the 20th century. Come Out takes as its basis a mere scrap from an analog tape interview of Daniel Hamm, a black teenager who was wrongfully arrested for murder in 1964 (one of what would come to be known as the Harlem Six). In the clip, Hamm describes the horrific police brutality he faced behind bars. But the police would not take him to the hospital unless he was bleeding—so he ripped open one of his bruises and “let some of the bruise blood come out to show them.”

Come out to show them. Reich gradually loops, phases, and transforms these words beyond recognition over the course of 13 minutes, transporting the listener beyond language and into the dizzying and devastating reality of the situation at hand. Over 50 years later, we find ourselves still spinning in the same tape loop, Hamm’s words still echoing in the race relations of today. – Maggie Molloy

Tune in to Second Inversion in the 3pm hour on July 4 to hear this piece.


John Luther Adams: Dream in White on White (New Albion)
Barbara Chapman, harp; Apollo Quartet and Strings

Many artists have long recognized that one of the United States’ most powerful attributes is its natural landscape and the massive scale thereof. However, this essential characteristic of the country has been something that many American composers have neglected (or at least struggled) to incorporate effectively into their music, focusing instead on human-centric cultural or traditional elements.

John Luther Adams breaks that mold, using the beauty, power, complexity, and scale of the American landscape itself as the inspiration for much of his work. Going further, Adams lived in Alaska, that state that perhaps best encapsulates the awesome power of the American landscape, for many years. He has managed to forge a unique and engrossing musical language that transports listeners to mountaintops, ocean shores, and glacial snowfields. – Seth Tompkins

Tune in to Second Inversion in the 6pm hour on July 4 to hear this piece.


Nico Muhly: Mothertongue (Bedroom Community)

Nico Muhly is an American contemporary composer whose mission is to gnaw at the edges of classical & rock/pop. Mothertongue is a fun example of how he melds genres, combining the intimacy and beauty of chamber music with a conceptual pastiche that adds fidgety energy to the mix. In the first movement, “Archive,” Muhly accomplishes this by incorporating the beauty of Abby Fischer’s voice speak-singing a jumble of numbers and places which, turns out, are all addresses where Muhly & Fischer have lived.

In “Hress,” the frenetic third movement, found sounds (pouring coffee, crunching cereal, etc.) create a morning routine. Don’t expect “Hress” to evoke a lazy Sunday sunrise, though. As the music picks up it’s clear these are the sounds of someone either hungover or extremely jet-legged going through the motions to get out the door and on with the day. Mothertongue proves Muhly has a knack for finding the sweet spot between concept and emotional connection; he’s corroding classical boundaries and inviting the next generation to explore his musical Pangaea. – Rachele Hales

Tune in to Second Inversion in the 9pm hour on July 4 to hear this piece.


Amir ElSaffar: Shards of Memory/B Half Flat Fantasy

I love this music! I’ve never heard anything like it. ElSaffar has fused together a lot of different musical traditions in this, but what stands out to me most are the jazz and the Middle Eastern sounds. ElSaffar is the child of an Iraqi immigrant and an American. He was born outside of Chicago, and grew up listening to his dad’s jazz collection. His first musical training was in a Lutheran church choir. Iraqi music came later for him—in 2001 he used the money he got from winning a jazz trumpet competition in to go to Iraq and study something called maqam music, and he spent the next five years studying with Iraqi masters in the Middle East and Europe. Anyway, I love how these traditions come together in his music so effortlessly to make something new. – Dacia Clay

Tune in to Second Inversion in the 11pm hour on July 4 to hear this piece.

Remembering Cecil Taylor (1929–2018)

by Michael Schell

The passing of Cecil Taylor on April 5 gives cause to reflect on the long life and career of one of America’s most innovative musicians. An enterprising bandleader and a pianist of prodigious technique and stamina, Taylor was one of the key figures in the development of free jazz.

In this respect he is often mentioned alongside his contemporary Ornette Coleman (1930–2015). But whereas Coleman learned to play saxophone in blues bands, and usually worked squarely within African-American musical traditions (jazz and later funk), Taylor was classically trained in composition and piano (including three years at New England Conservatory), and readily combined the rhythms and instrumentation of jazz with the forms and atonal harmonies of modernism. His synthesis of musical influences launched a movement in the late 1950s that was subsequently embraced by Eric Dolphy, the Art Ensemble of Chicago, and Anthony Braxton before eventually merging with European and rock-influenced styles to form the broad multi-ethnic genre of free improvisation that has been prominent since the 1980s.

Taylor’s approach is well documented by a pair of classic Blue Note releases from 1966 that remain his most frequently cited albums. Taylor begins the title track of Conquistador! with a piano intro that sounds like Stockhausen. But after a few seconds, his side musicians enter with a flourish-filled theme whose vestigial swing feel and instrumentation (two horns, drummer Andrew Cyrille, and two bass players) reveal the music’s jazz roots. We hear an alto sax solo from Jimmy Lyons, then a trumpet solo from Bill Dixon, and then at 7:21 comes a new theme in E♭ minor, the sort of tune that ordinarily comes at the beginning of a jazz track. But then it’s back to improv with an extended clattering solo from Taylor. The E♭ minor melody is reprised by the horns at 13:26, whereupon we get another Taylor solo, this time with Alan Silva adding prominent counterpoint on a bowed bass. The final section features two entrances from the horns bracketing a duo for Silva and the other bassist, Henry Grimes.

The title track from the Unit Structures album employs a similar ensemble (including the same drum and bass players), but the music is more extensively composed, featuring the unpredictable block form used in such landmark 20th century compositions as Debussy’s Jeux or Stravinsky’s Symphonies of Wind Instruments. The first five minutes is a chain of contrasting ensemble sections, after which an animated jam finally gets going, led by a Ken McIntyre bass clarinet solo. An alto sax solo from Jimmy Lyons follows, then at 10:30 we get another chain of structured ensemble sections. At 12:25 the tempo picks up once again for Eddie Gale’s trumpet solo, followed by a Taylor piano solo filled with glissandos and tone clusters. One last tutti section closes the track.

After recording these Blue Note albums, Taylor started to focus on solo piano work. His closest predecessor among jazz pianists was Thelonious Monk, but in the Indent album from 1973, it’s clear that Monk’s melodic eccentricities and love of dissonance have been jacked up several notches. It was about this time that Taylor’s high-energy atonality, which owed so much to European modernism, began to influence younger composers of piano music, as evinced by Frederic Rzewski’s Squall from 1979 (compare it to the first track of Indent at around 4:40).

Taylor continued to perform as a soloist and a bandleader well into his 80s. He also partnered with artists from different backgrounds, such as the dancer Min Tanaka and the British electric guitarist Derek Bailey. One of his more unusual collaborations was this 2008 duet with composer/accordionist Pauline Oliveros:

The two musicians had never performed together before, and the beginning of the duo is a bit tentative, with Oliveros often echoing Taylor’s licks. But starting at 3:09 the pair establish a more complementary footing. Often Oliveros plays sustained notes and chords as counterpoint to Taylor’s trills and flourishes. In the quiet passage starting at 15:28 you can hear Oliveros exploiting the tuning clashes between her just-intoned Titano accordion and Taylor’s equal-tempered piano.

Though Taylor is usually the one doing the leading, he is conscious of the delicacy of his partner’s instrument, and his playing is notably softer and sparser than usual. The result is a surprisingly compelling musical experience from two unique American masters.

At the same time, though, this coupling highlights a prejudice that continues to haunt conventional narratives of Western art music. Of these two musicians—both of similar age and similar stature among musicians, and both clearly capable of articulating a shared musical language in a public space—only Oliveros is consistently mentioned in textbooks and retrospectives on contemporary classical music (see, for example, the otherwise admirable surveys by Paul Griffiths, Jennie Gottschalk, and Tim Rutherford-Johnson). The oversight comes from the notion that art music requires a score, that it must be “fixed in some sort of notation for a performer or creator to interpret or execute” (Rutherford-Johnson) to be authentic. This was a legitimate premise prior to the 20th century, but it has become obsolete in the age of audio recording, radio, and digital media. Nowadays the record, not the score, is the real “text”, and the persistent conception of classical music as an exclusively literate tradition has pushed the music of Taylor, and his fellow improvising avant-gardists (many of them from backgrounds that effectively barred them from the academy), to the margins of the canon.

Ironically, Oliveros also emphasized improvisation in her work, and almost all of her published scores use verbal instructions rather than musical notation. But she was still invariably described as a “composer”, and was able to achieve success in the milieu of universities, concert venues and foundations, whereas Taylor was always a “jazz musician” who mainly performed at night clubs and festivals. And so his eminence languishes in the domain of jazz history, jazz radio, and jazz CD bins. Despite today’s well-publicized efforts to improve diversity in musical opportunity and programming, it seems that the segregation borne of professional biases can be just as intractable as the cruder chauvinism of social bigotry. Taylor’s music, so powerful and innovative, deserves recognition that transcends these boundaries.

The Best of Thelonious Monk: The Blue Note Years

by Michael Schell

This month seems like an opportune time for a salute in Thelonious Monk’s direction, honoring both his 100th birthday and the 70th anniversary of the first of the Blue Note recording sessions that Monk aficionados generally consider his most important work. Highlights from these 1947–52 sessions have been gathered into a handy single-CD reissue that showcases the things that make Monk’s music so compelling: his catchy and highly chromatic jazz compositions, and his unique and piquant improv style that combines bebop and stride piano techniques with harmonic innovations from modern composed music.

Included are the first recordings of such Monk standards as Epistrophy, Straight No Chaser, Well You Needn’t, and ‘Round Midnight (the bane of many a piano student overwhelmed by its complicated chord changes). And then there’s Misterioso, a mini-compendium of Monkish eccentricities. It’s ostensibly a 12-bar blues in B♭, but its melody consists of non-swinging broken sixths that sound more like Scarlatti than bebop.

After Monk and vibraphonist Milt Jackson play through the tune, Jackson offers a fairly conventional solo lasting one chorus. Then Monk begins his solo, and things start getting weird. He spends one chorus toying around with the dissonant clash between D♭ and D♮, and a second chorus combining blues licks with whole-tone scales and long rests. When Jackson starts reprising the theme, Monk spends several bars plunking out harsh isolated notes in counterpoint before finally joining Jackson on the melody. The track ends with one last whole-tone flurry from Monk. Throw in the crude 78 Era sound quality, and the whole thing has a kind of primitive mystique to it, teetering more and more on the edge of crazy as it goes on—kind of a metaphor for Monk’s own life and mental health struggles. Have a listen, and (re)acquaint yourself with this unorthodox American musical genius.

Westerlies Go West: Tonight at the Royal Room!

by Maggie Molloy

Photo by Sasha Arutyunova.

The Westerlies are back in the Northwest this week, coming home with new sounds and brand new music to premiere tonight at the Royal Room in Columbia City.

Far from your typical brass band, the Seattle-bred, New York-based quartet is known on both coasts for their bold artistry, impeccable finesse, eclectic musical interpretations, and remarkable versatility. Together, they’ve cultivated an expansive brass quartet repertoire featuring over 50 original compositions as well as adaptations of composers as diverse and wide-ranging as Ives, Ellington, Bartók, Ligeti, and many more.

Comprised of Riley Mulherkar and Zubin Hensler on trumpet with Andy Clausen and Willem de Koch on trombone, the Westerlies grew up together playing music in Seattle under the mentorship of Wayne Horvitz—making their homecoming performance all the more special, as Horvitz is the co-founder and music programmer of the Royal Room.

The Westerlies performing with Wayne Horvitz at the Royal Room. Photo by Daniel Sheehan.

Tonight, you can expect to hear a little jazz, a little classical, some folk, roots, blues, and chamber influences—but no matter what the Westerlies play, the one element that remains constant across all of their music is the warmth, camaraderie, charisma, and humor of four longtime friends.

“Whatever ‘sound’ the Westerlies have stumbled upon is the result of four friends channeling these diverse interests through warm air, buzzing lips and conical brass tubes—with a lot of love and saliva in there too,” said Andy Clausen.

For a sneak preview, check out our in-studio videos of the guys performing works by Charles Ives, Andy Clausen, and Wayne Horvitz:


The Westerlies perform at the Royal Room Thursday, June 15 at 8pm. For tickets and additional information, please click here.

NEW VIDEO: PROJECT Trio’s “Sloeberry Jam”

by Maggie Molloy

Comprised of three classically-trained musicians with an ear for eclecticism, PROJECT Trio​ brings humor, charisma, technical prowess, and clever arrangements to classical repertoire and pop music alike.

Check out our brand new video of the trio performing their sweet and syrupy “Sloeberry Jam” at Town Hall Seattle:

Like what you hear? Check out our video library for more contemporary and cross-genre works from some of the biggest names in new music!