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Edmar Castaneda, Jazz Harp & Sandbox Percussion

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Edmar Castaneda, Jazz Harp & Sandbox Percussion
Wednesday, August 8, 2018 8:00 PM
The Stephen Talkhouse, Amagansett, NY
  • 21 & over
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GA

$20.00
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Show Details
  • When: Wednesday, Aug 8, 2018 8:00 PM
  • Ticket Price: $20.00
  • Restrictions: 21 & over
Edmar Castaneda, jazz harp Since arriving in the United States in 1994, Colombian-born harp virtuoso Edmar Castaneda has forged his own distinctive path in music. He brings not only an unfamiliar instrument but a wholly original voice to jazz, branching out into a world of different styles and genres. His wide-ranging career has been remarkable for discovering a brilliant role for the harp in jazz, then continuing to innovate and spark creativity from a wealth of formidable collaborations. His latest CD, Live in Montreal, features the latest in an ever-growing history of thrilling partnerships, an utterly unique duo with the electrifying Japanese pianist Hiromi. Live in Montreal follows four acclaimed albums as a leader, as well as collaborations with the likes of guitarist John Scofield, pianist Gonzalo Rubalcaba, bassists Marcus Miller and John Patitucci, bandolinist Hamilton de Holanda, Brazilian pop and jazz great Ivan Lins, and Castaneda’s mentor, Cuban-born saxophonist Paquito D’Rivera. He’s also shared stages with iconic artists including Sting, Ricki Lee Jones, The Yellowjackets and Paco De Lucia. In addition to his innovative approach to the jazz tradition, he’s written symphonic works for the Orquestra Clássica de Espinho and the São Paulo Jazz Symphony Orchestra, and chamber pieces for the Israel Camerata Jerusalem and the Orquestra Sinfónica Nacional de Colombia. Born in 1978 in the city of Bogotá, Colombia, Castaneda took up the harp as a teenager to play the folkloric music of his homeland. He discovered jazz shortly after moving to New York City to join his father in 1994 and was immediately drawn to the freedom and sophistication of the music. With no real precedent for the harp in the jazz world, Castaneda studied trumpet by day while trying out his newfound knowledge on the harp at a restaurant gig by night. He was ushered into the jazz community by Paquito D’Rivera, who recognized Castaneda’s passion and took the young harpist under his wing. D’Rivera has called him “an enormous talent… [Edmar] has the versatility and the enchanting charisma of a musician who has taken his harp out of the shadow to become one of the most original musicians from the Big Apple.” Since then, Castaneda has taken New York and the world stage by storm with the sheer force of his virtuosic command of the harp, revolutionizing the way audiences and critics alike consider an instrument commonly relegated to the “unusual category”. He’s been acclaimed as a master at realizing beautiful complexities of time, while skillfully drawing out lush colors and dynamic spirit and crafting almost unbelievable feats of cross-rhythms, layered with chordal nuances rivaling the most celebrated flamenco guitarist’s efforts. Castaneda made his debut as a leader in 2007 with Cuartos de Colores, which features the harpist in a variety of settings, including guest appearances by D’Rivera and the explosive percussionist Pedrito Martinez. He followed that with 2009’s Entre Cuerdas, a trio date with trombonist Marshall Gilkes and drummer Dave Silliman that also featured turns by Scofield, vibraphonist Joe Locke, percussionist Samuel Torres and Colombian vocalist Andrea Tierra. Double Portion (2012) was divided into solo and duo pieces, with Castaneda engaging in scintillating musical conversations with Rubalcaba, de Holanda and saxophonist Miguel Zénon. Live at the Jazz Standard (2015) showcased Castaneda’s World Ensemble, uniting musicians from a variety of global traditions. The stellar band brought back Gilkes, Silliman and Tierra alongside Swiss harmonica master Grégroire Maret; flautist Itai Kriss and saxophonist Shlomi Cohen (both from Israel); Chilean pianist Pablo Vergara; Castaneda’s countryman, Colombian drummer Rodrigo Villalon; Turkish kanun player Tamer Pinarbasi; and Brazilian Sergio Krakowski on pandeiro. “The Colombian plays the harp like hardly anyone else on earth. His hands, seemingly powered by two different people, produce a totally unique, symphonic fullness of sound, a rapid-fire of chords, balance of melodic figures and drive, served with euphoric Latin American rhythms, and the improvisatory freedom of a trained jazz musician...captivating virtuosity, but in no way only virtuosity for its own sake.” - Frankfurter Allgemeine Zeitung


Sandbox Percussion:Lauded by The Washington Post as “revitalizing the world of contemporary music” with “jaw- dropping virtuosity,” Sandbox Percussion has established themselves as a leading proponent in this generation of contemporary percussion chamber music. Brought together by their love of chamber music and the simple joy of playing together, Sandbox Percussion captivates audiences with performances that are both visually and aurally stunning. Through compelling collaborations with composers and performers, Jonathan Allen, Victor Caccese, Ian Rosenbaum and Terry Sweeney seek to engage a wider audience for classical music. Last season Sandbox Percussion presented 35 performances throughout the United States. During a tour through California they gave the world premiere of Thomas Kotcheff’s percussion quartet not only that one but that one & that too, and were presented on the Festival of New American Music in Sacramento, CA. In collaboration with Ensemble HOWL they gave the world premiere of Amy Beth Kirsten’s Quixote at Montclair State University’s Peak Performances concert series. During the American Music Festival at the Experimental Media and Performing Arts Center (EMPAC) in Troy, NY, Sandbox gave the world premiere of a concerto by Viet Cuong entitled Re(new)al along with the Albany Symphony. During the festival they also gave a recital which featured works by American composers Steve Reich, Christopher Cerrone, and David Crowell. In addition to keeping a busy concert schedule Sandbox has also participated in various masterclasses and coachings at schools such as the Peabody Conservatory, Curtis Institute, the University of Southern California, Kansas University, Cornell University, and Furman University. While there they coached students on some of the most pivotal works in the percussion repertoire including Steve Reich’s Drumming, György Ligeti’s, Síppal, dobbal, nádihegedüvel and John Cage’s Third Construction. These teaching experiences have inspired the quartet to pursue a role of pedagogy and mentorship for today’s young generation of musicians. This season Sandbox Percussion will present the third annual NYU Sandbox Percussion Seminar. This week long seminar invites percussion students from across the globe to rehearse and perform some of today’s leading percussion chamber music repertoire. A culminating performance is held at the iconic Brooklyn venue, National Sawdust. Most recently has marked the quartet’s growing interest in composition. Last season Jonathan Allen’s Sonata and Victor Caccese’s A Part, Apart were featured on ten separate programs throughout the U.S. Sandbox also worked closely with composer David Crowell on a marimba arrangement of his saxophone sextet, Point Reyes. They gave the world premiere in November 2014 in Brooklyn, NY. This season Sandbox will collaborate with The Industry, an opera company in Los Angeles, for the world premiere of Galileo, a 90-minute theatre piece by Andy Akiho. Other highlights will include a performance of Jerome Begin’s Wilderness in collaboration with the Brian Brooks Moving Company at Choregus Productions in Tulsa, OK, the first ever percussion quartet concert at the Cosmos Club in Washington, DC, a performance of Gyorgy Ligeti’s Síppal, dobbal, nádihegedüvel with mezzo-soprano Elspeth Davis at the Percussion Arts Society International Convention in Indianapolis, IN, and a second west coast tour including 11 performances from Seattle to Los Angeles. Sandbox Percussion endorses Pearl/Adams musical instruments, Vic Firth drumsticks and Remo drumheads.

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